2L April 99 Studio - Two Louies Magazine

ART SPARKS $ 

CRAVEDOG’S DAY 

TL EXTORTION PLOT 

CRAY GOES INDIE 

STUDIO/MASTERING GUIDE 

OREGON MUSIC / APRIL 1999 

FERNANDO 

GOES HOLLYWOOD 

photo Buko

THE AMERICAN 

FEDERATION OF 

MUSICIANS LOCAL 

99 IS HERE TO 

HELP PROTECT 

ALL MUSICIANS. 

ALL YOU HAVE TO 

DO IS CALL FOR 

THE 

INFORMATION. 

SEE FOR 

YOURSELF IT'S A 

GOOD THING. 

THE AMERICAN 

FEDERATION OF MUSICIANS 

325 NE 20TH 

PORTLAND, OR 97232 

(503) 235-8791 

e-mail: afm.99@Juno .com 

http://www.teleport.com/~musenut/ 

Local99.html 

Professional Musicians Agency 

(503) 235-8379

April, 1983. (l. to r.) Mark Spangler, Al Kooper and Jon Koonce rehearsing in Los Angeles for Koonce’s second A&M album, “I Got My Eye On You”. 

Johnny & The Distractions released their first 

indie album in December of 1980. Within weeks 

Rolling Stone Magazine had a copy and gave it a 

gushing review, Seattle promoter John Bauer signed Johnny 

and the band to a management contract and within months, 

they were in Los Angeles recording for A&M Records. 

The first album; Johnny & The Distractions “Let It Rock” 

was released in January of ’82, just as another A&M rookie 

leather jacketed roots rocker, Bryan Adams was having a breakthrough 

hit with “Cuts Like A Knife”. Johnny and his Distractions 

got lost in the promotional shuffle. The under-promoted 

lp still managed to sell 60,000 units. 

For the A&M follow-up, the focus was on Jon. 

Gone were the Distractions; keyboardist Gregg Perry, 

LETTERS 

Two Louies Extortion Attempt 

Following is a series of emails to twolouie@aol.com 

Our individual witty responses have been deleted 

for brevity. 

Date: Wednesday, March 3, 1999 12:10:56 PM 

From: Two Louies 

Subj: Names 

To: Two Louie 

Like uh, you want this screen name? It’ll cost you! 

bassist Mark Larue Todd and drummer Kevin Jarvis. 

Only guitarist Mark Spangler survived. 

Sixties blues heavyweight Al Kooper was brought in to 

produce the horn laden tracks. Bryan Adams was going to be 

A&M’s Guitar Guy, Koonce would be the Soul Singer. 

The record sold barely 30 thousand units. 

By ’85 Jon was back in Portland with a reformed Johnny 

& The Distractions. Steve Miller’s manager was talking whole 

new deal and Capitol Records was very impressed that the 

band’s “Totally Distracted” indie release had produced a regional 

radio hit ;”She’s My Girl”. 

By February of 1986, The Distractions had played their 

last gig. 

Jon reunited with original Distractions keyboardist 

Date: Friday, March 5, 1999 8:40:31 PM 


Subj: Moronic behavior 


So.... I’m thinkin’ ya should buy this screen name 

from me, Bubba. Only 200.00, but that will increase 

by 100.00 for every month during which you suffer 

brain damage and fail to respond. 

Signed, TWO LOUIES@AOL.COM (Pay attention 

you fool.) 

Date: Wednesday, March 10, 1999 9:12:15 PM 


Subj: Re: Moronic behavior 


Okily. 

Gregg Perry, drummer Gregg Williams and bassist Phil Haxton 

to form The Hawks, Later he put together Mystery Train with 

Mark Spangler on guitar, Andy Gauthier on drums and Rich 

Gooch on bass. 

In early ’92 Koonce formed the Gas Hogs with Gauthier 

on drums and Don Weiss on bass. They played their first gig 

at the Dandelion Pub. 

In the Spring of 1995 the Gas Hogs released “Forever 

Faithful Rockin’ Daddy” 

In January of 1996 Andy Strange replaced Don Weiss 

on bass. 

In May of 1997 the Gas Hogs released “Pump Sausage” 

In the summer of 1998 Jon Koonce moved to Nashville. 

How about 300.00? You can take the dough out of 

the hides of the supposed “webmasters” with which 

you currently surround yourself. Are they “huffers” 

by chance? 

Please remit your payment to: 

M.C.M. 

P.O. Box 24 

North Plains, OR 97133 

Once received, you can assume control/ownership of 

the screen name TwoLouies 

(TwoLouies@AOL.COM), per AOL’s Rules & Regulations, 

and I will agree to NOT beat you senseless 

with your own stupidity, with regard to securing the 

rights to your own blasted name. 

Sincerly, 

TwoLouies@aol.com 

Continued on page 23 

TWO LOUIES, April 1999 - Page 3

Page 4 - TWO LOUIES, April 1999 

Monkey Fur; too much fun for 

a pig and a clown.

y Marianne Steiner 

GROWTH IS GOOD 

Jon Lemon at Walter Midi 

wants people to know (who 

don’t already) about his new 

building, significantly upgraded 

to 2200 sq. ft. of 

recording space. Full of 

new equipment: Manley 

pre amps, Yamaha 02R , Hammond B3 

organ and Steinway 7’ grand piano. 

When asked what appeals 

to musicians who record at 

Midi, Jon says, “They pick it for 

the space, the recording 

room is huge (24’ high ceilings) 

and comfortable. I’ve 

got top-notch quality equipment, 

which makes for a great 

sound. The cost is reasonable.” Current 

projects being recorded at Midi are 

Five Fingers of Funk, rapper/hip hop 

artist Al C, Hog Whitman, who’s a regular 

on Imus in the Morning, B 

Sharpe and The Radio Flyers. 

Kevin Hahn at Opal Studios 

has added a second larger recording 

room as well as a new fully automated 

digital console (Yamaha 02R) and 

new tube pre amps, which it seems more 

and more studios are using these days to get that 

“warm clear sound.” Bassist Albert Reda is recording 

tracks at Opal right now for a solo CD 

project. Stephanie Schneiderman is working 

with Kevin on her first CD project and singer/ 

songwriter/guitar player Kent Dolan is at Opal 

recording tracks for his upcoming CD. 

Dennis Carter at Falcon is looking forward to 

the opening of his new recording room, designed by 

Richie Moore in California (former Plant and Abbey 

Road engineer). The room will open in early summer. 

Though smaller than the main room, the new 

room will be loaded with a 16 track digital recorder, 

8 track pro tools, Mackie digital console and audio 

for video. Falcon’s main room, which is equipped 

“ ‘The Mic Strangla,’ 23 year old Octavia, Portland’s 

premiere female rapper, has just released “Walking 

on Water,” which includes tracks featuring locals 

Abdi Sharif, Q7 and Davon.” 

with lots of vintage gear, is booked through the end 

of June. Dennis says bands like to record at Falcon 

because it’s casual and it’s known for getting that “fat, 

Tommy Tutone; a new backup band. 

old sound” out of the equipment. Generator just 

finished recording their new CD and the buzz is that 

Epic & Capital may be interested. The American Girls 

will start a 7 week block of recording at Falcon early 

this month. Ezra Holbrook will be producing that 

CD for Trauma Records. In June, Grindstone will be 

heading to Falcon for a 2-3 week block of recording 

for their next CD. Obo Addi, whom Dennis has 

worked with for over 10 years, will be putting down 

tracks early this month before leaving for a tour to 

Ghana. Dennis, who himself is a drummer, has just 

joined Soul Vaccination. After being solely dedicated 

to his studio for the past 12 years, Dennis 

is looking forward to getting back out to live 

gigs and enjoying the performing side again. 

Sounds like Dennis is striking balance. That’s 

a good sign that things are goin’ fine over at Falcon. 

Right on. 

Red Carpet Treatment 

After 18 years at his current SW location, 

Gavin Pursinger will be relocating 

Red Carpet in the next month, 

though the location hasn’t been 

disclosed at this time. Gavin’s got 

a huge collection of vintage tube 

recording equipment. He joked 

that he likes tube equipment so 

much because “it looks really cool 

when you turn all the lights out and 

it also helps keep the heating bills 

down.” But of course, those who know Gavin and 

those who have recorded at Red Carpet, know that 

it’s Gavin’s passion for sound and his interest 

in the equipment’s åhistory that keeps 

him dusting off those tubes and recording 

such great music with them. Lisa 

Miller and the Trailer Park Honeys are 

mixing tracks at Red Carpet right now. 

Featured guests on her upcoming CD are 

Billy Kennedy, Paul Brainard, Little Sue 

and Bingo. Look for a summer 

release date on Undercover 

Records. Also tracking at 

Red Carpet is June Howell, 

wife of Joe from Uncle Joe’s 

Guitar Shop. She’s putting out a 

singer’s album featuring Eddie 

Weed on piano. Joe is producing 

the CD. 

Homestyle 

Mark Kaeder, engineer/owner of 

No Moving Parts studio, wants to let bands 

know that his all-digital recording studio is a fun 

place to record at. “I’ve got all pro gear, and because 

my studio is in my house, it’s inexpensive to record 

here.” Mark says he tailors his approach to recording 

to the band’s needs and provides a comfortable 

“home-like” recording environment that allows 

people to relax and enjoy themselves. Like Kevin at 

Opal, Mark relies on tube equipment: mics, pre amp 

and compressor, to add that warm tube sound to his 

digital recordings. 

On Site Audio 

It’s always nice to add a couple of live tracks onto 

a CD project. On site will record anywhere and anytime 

a band needs. Check out On Site’s ad in this 

issue. 

Messenger Tracks 

Ed Hobbs at Messenger Tracks Recording is well 

sought out these days, having a hefty amount of his 

studio time booked by acts from Grapetree Music 



Petty on Board! 

MP3 continues to share dominance on the 

internet scene along with internet radio as the main 

topics of activity and developing news. 

Internet music label MP3.com scored big time 

with the announcement of the release of “Free Girl 

Now” a new track, in it’s entirety, from Tom Petty’s 

new Warner Bros. Album “Echo” due out mid April. 

The release comes a full 30 days prior to the release 

of the album. This represents a major step forward in 

the acceptance of the MP3 format by major artists 

and their willingness to use the medium to market 

their products which are currently distributed via 

conventional means. 

In addition to MP3.com, Tunes.com, parent site 

of RollingStone.com, DownBeat.com, and 

TheSource.com, has added both an MP3 search engine 

and an unsigned artist MP3 upload area on its 

site. 

MTV Networks also announced plans to add 

MP3’s to its MTV Online and VH1 Online sites in 

addition to a new and as yet unnamed hub site, due 

later this year. 

You knew it was Coming! 

Along with recent announcements regarding 

artists and content, digital technology itself is making 

major news with the reported pending release of 

a new music format from Microsoft that will allow 

computer users to digitally download music approximately 

twice as fast as MP3? Given their market penetration 

and dominance, this could conceivably be 

an MP3 killer. Industry insiders say Microsoft is 

making aggressive moves within the music industry 

to ensure that it wins the war to establish the de facto 

digital distribution standard. 

The reported release of MS Audio 4.0 will be 

capable of delivering a superior digital product to that 

of MP3 using about half the amount of computer 

storage. Microsoft reportedly plans to include the 

multimedia application in its forthcoming Windows 

Media Player 4.0, due for a beta release in April. 

The newest version of Windows Media Player 

will be shipped as a built-in application with future 

versions of Windows 98 and the forthcoming Windows 

2000. 


This new technology reportedly does have some 

form of copyright protection. A customized version 

of the new technology is expected to be shipped with 

future versions of Microsoft’s portable PC operating 

system Windows CE. Many handheld computer makers, 

including Casio and Everex, are already ramping 

up for the new technology by adding stereo output 

jacks into their newest palm-size computer models. 

Microsoft is quietly demonstrating MS Audio 

4.0 to key music industry executives; the company 

plans to feature authorized music by some major labels 

in a promotion surrounding the forthcoming 

debut of the technology. Many key details about MS 

Audio 4.0 remain unknown, and Microsoft is not 

commenting stating that “it does not comment on 

unreleased products”. 

Make no mistake about it, Microsoft is moving 

in a major fashion to position itself in the digital 

“MTV Networks also announced plans to add MP3’s to 

its MTV Online and VH1 Online sites in addition to a 

new and as yet unnamed hub site, due later this year.” 

download domain. Microsoft recently announced a 

$15 million equity investment in digital rights management 

company Reciprocal. Microsoft’s sudden 

move into the digital download arena joins an already 

fiercely crowded race. IBM, Sony Corp., AT&T Labs 

a2b, and Liquid Audio are among the major companies 

offering proprietary digital download systems. 

RealNetworks, a leading streaming audio company, 

is also expected to unveil its own proprietary 

digital download solution in the coming weeks. In 

addition, RealNetworks, is making available new MP3 

streaming technology to its existing user base of over 

15 million registered users of RealPlayer G2. An MP3 

streaming plug-in, created by Digital Bitcasting Corp., 

is available as an “auto-update” to G2. RealNetworks 

recently signed distribution deals with America 

Online and Netscape to ensure that MP3 players will 

soon be more prevalent than ever 

As previously reported, all of these companies 

are active members of the music industry’s Secure 

Digital Music Initiative (SDMI) Microsoft is reportedly 

making it’s move very early in an attempt to introduce 

its MS Audio 4.0 prior to the establishment 

of any SDMI-approved standard. 

Music industry officials are quoted as taking a 

wait and see attitude towards the recent reports. Industry 

executives say “[Microsoft] will need to demonstrate 

a clear commitment to SDMI, and the copyright 

protection goals stated for this initiative, before 

[we are] willing to consider supporting their efforts 

“Digital technology itself is making major news with 

the reported pending release of a new music format 

from Microsoft that will allow computer users to 

digitally download music approximately twice as fast 

as MP3. Given their market penetration and 

dominance, this could conceivably be an MP3 killer.” 

Windows Media Player will reportedly continue 

to support unprotected format MP3; a source says 

that the software may enable users to convert select 

MS Audio 4.0 files into MP3 files. This feature would 

allow Microsoft’s new format to be compatible with 

the existing generation of portable music players, such 

as Diamond Multimedia’s Rio and Creative 

Technology’s Project NOMAD which would be a huge 

breath of relief. Without this compatibility, and the 

fact that Microsoft is including this technology in it’s 

pda designed O/S CE, that could be a death knoll to 

the MP3 hardware format. 

One industry source was quoted as stating that 

“Microsoft doesn’t want to go to war with MP3, but, 

they do want to make sure that their technology is 

widely used.” 

Other News 

As stated at the top of the column, the other 

major development on the web is the continuing proliferation 

of “web radio” 

The Beastie Boys’ label, Grand Royal, has opened 

up its own all-day, all-night radio station on the 

Internet. The station plays primarily only Grand Royal 

artists. The playlist includes new tracks from Sean 

Lennon, Buffalo Daughter, and Ben Lee; Plans are also 

in development to include unreleased and rare tracks 

from the label’s roster. The station is webcast using 

yet another new technology, MP3 streaming technology 

SHOUTCAST and can be found at 

www.grandroyal.com. 

Not to be outdone, Jimmy Buffett has launched 

his own around-the-clock radio station on the 

Internet. Radio Margaritaville features classic Buffett 

tracks for Parrotheads, as well as several unreleased 

and rare recordings. Radio Margaritaville can be accessed 

at www.margaritaville.com. 

LL

Fresh off the heady exposure of 2 

screenings of an “Adidash” spoof on 

Fox 49’s Indie Film Showcase, the 

TuTu/Archon collaborations continue to roast 

culture, gleefully poking fun with a sharp schtick. 

This next batch they are cooking up smells like 

boiled cabbage and is as juicy as a greasy sausage. 

It is “Polka ’99 - The Kielbasa Kronicles” 

(brought to you by PVC, the Polka Home Shopping 

Network). Included in this scintillating smorgasbord 

is the world premiere of four Polkatastic videos: “Saving 

the Thin Red Kielbasa”, “2001: A Polka Odyssey”, 

“Yankovic In Love/Shakespeare in Leiderhosen”, and 

“Polka In A Bottle”. Polkateers responsible for the celluloid: 

Larry Smith, Jeff Bucy, Ted Eugenis, Jim Baldwin, 

Greg McMickle, Wade Evans, Robin Hoffmeister, Lisa 

Hval, Tom Shrader, Patrick Leary, MaryChris Mass, Brad 

Krohn, Marguerite Scott, Vicki Dalpez, Bridgid 

Blackburn, Botielus, and yours truly. The PolkaFest will 

include Polkadelic musical acts: A contingency 

of The Portland Accordion Club, 

led by Pete Kowsun, The PolkaDoubts, 

Little Deb and The Stoners, Samsonite 

& Delight-Ya, and DJ Woijee. There will 

be a Bowling Skills Clinic, Cabbage Rolling 

Contest, Polish Speaking Interpreter, 

and Polka Dancing Lessons! Oh, 

my mind is reeling! All this will happen 

on MayDay - Saturday May 1st , 

8pm at The Eagles Lodge, 4904 SE 

Hawthorne Blvd, in Portland. Lots of 

free parking, Full No Host Bar (cash 

only at yesterday’s prices), Polka Cola, 

and Kielbasa in a Blanket. $3 donation 

requested at the door, $1.29 if dressed in 

polka attire or donating canned food (to be 

held in the Chesky family Y2K food locker), 

$5 for PIBs (Persons In Black) fl this is a colorful occasion, 

by gum! For more information: (503)231-8891, 

firedrill.com/polka, & www.AudioPhile.com/Cheese. 

Before that, Pirate Jenny will hoist the mainsail to 

ride the tide of their second CD release. They’ll be opening 

the treasure chest at Berbatis to reveal what’s in the 

glistening jewel case labeled “Once Upon a Wave” on 

tax day, April 15. Avast me mateys! With songs like 

“Damn Fine Sailor” and “The Loneliest Sailor” and 

“Long Time Sailing”, you’ll have to “Strap On Your Courage” 

to avoid a “Chain Reaction (Shackle Reaction)”. The 

lyrics are hilarious and really paint a 

picture of what concerns a pirate might 

have had in the course of his swashbuckling. 

It’s not all guns a blazing, but 

also thoughtful introspection about 

topics like cures for scurvy and cat-onine 

tail sores, and wondering if any 

mail washed up in a bottle that day. The 

tunes have a surprising amount of variety even though 

they are all attached to the pirate theme; Paul Ianotti 

really rips on the wooden xylophone in “Chatterbox”, 

and “Black Flag” & “Courage” flat out rock a metal boat! 

So, round up your Jolly friend Roger to swill some spiced 

rum and holler robust “Yo, ho-ho’s”, whether or not they 

are in key! Every Pirate Jenny show is an evening of ribald 

debauchery, me laddies! A rip-roaring, seafarin’ good 

time is guaranteed to all & to all a good night! For maximum 

understanding of the Pirate Jenny phenomenon 

and garb suggestions for the show, have a gander at their 

award winning web site: www.teleport.com/~pirate/ 

“Every Thursday, Patrick Lamb and Dan Balmer host a 

Jazz Jam at the Heathman Hotel from 8pm - 12am in the 

historic lobby. All you have to do is show up with your 

axe and let Patrick or Dan know that you want to play.” 

pj.html. For more info: Pirate@teleport.com 

From the cloth of The Furleys, Brian Copeland 

has sewn together a new pair of Pale Green Pants. Cindy 

Rosen, Photographic Documentarian of local stars, suggested 

the moniker “The Ropers” as a more natural progression 

from The Furleys, but they 

photo Larry Smith 

Half of The PolkaDoubts: Delight-Ya, D'Anse Combeau, and Samsonite. 

went with the Dr. Seuss story instead. This band is going 

to be just as full of energy, Brian says, with “Lots of 

pop, lots of groove, lots of wack! The material is really 

strong - we are keeping a few Furleys favorites, but most 

of the material is new. Sort of imagine The Furleys with 

the same groove, but with more pop and variety. Not a 

funk band, but still some funk influence. Right now we 

are working on finishing up recording a demo and will 

be playing out in the next few months. The recording is 

nearly finished and is turning out great. I have a great 

feeling about this one! I can’t wait to get out and play 

again!” Brian has been writing new songs with Eric Flagel 

of Beater & Folk You, and they will both sing and play 

guitar. The additional legs of Pale Green Pants are: Gene 

Ermel (drums), Rob Schrecongost (bass) and Mark 

Talley (tenor saxophone). 

From the turbulent relationship down below in 

“Three’s Company” to a partnership reaching for the 

stars. Saxophonist extraordinaire Patrick Lamb and Actress 

nonpareil Amy Maxwell have announced their 

engagement and impending marriage next year in the 

little white wedding chapel near Oaks Park. The wedding 

will be intimately private, and the reception afterwards 

is sure to be a who’s-who of successful and popular 

musicians. I’m sharpening my pencils already! 

Patrick and Amy’s love story is so heartwarming 

and inspiring. They have been dating almost three years, 

and met at Nordstrom when she was doing special events 

for the Oregon region as one of their special events coordinators. 

She had been there for a decade when they 

met, having started when she was fourteen, and putting 

herself through college. They fell in love, Patrick’s business 

was growing, and a year later, Amy decided to trek 

out on a new journey and leave corporate life to work 

together. Now Patrick handles the music issues, and Amy 

handles the marketing, bookings, publicity, managing, 

accounting and all the other business stuff Patrick 

doesn’t like. Then on the side when Amy is not working 

with Patrick, she is pursuing her acting career. She has 

worked on various projects in the area, including the 

motion picture Zero Effect, movies filmed for the Lifetime 

channel, industrials, commercials, and has been 

studying acting on a regular basis. Patrick is very supportive 

of her love for acting. She tells me there have 

been many times she has racked up a huge cell phone 

bill because she is doing work from the set of a project. 

Amy says “It is nice because both of our loves of 

entertaining tend to go hand in hand, and we both 

enjoy what the other loves to do. We have a very 

exciting life and we are both getting a chance to 

do what we love, and I wouldn’t trade it for the 

world.” 

If doing what you love is playing your 

instrument in public every chance you 

get, you should know about Patrick’s 

weekly jams. Every Thursday, he and 

Dan Balmer host a Jazz Jam at the 

Heathman Hotel from 8pm - 12am in 

the historic lobby. All you have to do is 

show up with your axe and let Patrick or Dan 

know that you want to play. After the first 

set by the quartet, you can sit in with Dan 

on guitar, Patrick on sax, George Mitchell 

on piano, and Jeff Minniweather on 

drums. Amy says “It’s a great group of 

guys to play with, even if they haven’t had a chance to 

before”. Botielus and I are gonna grab our accordions 

and run down there, for sure! When’s the last time you 

think there was some squeezin’ at the Heathman? For 

more info: Patrick Lamb’s 24 hour Schedule Line 

(503)650-7138, lamb@teleport.com, 

www.patricklamb.com. 

If you’d like to let me know what you’re up to: 

Delight-Ya@juno.com, PO Box 6714, Portland OR 

97228-6714 

LL 


Seeing Red— Baseboard Heaters 

Self-Produced 

The Alt/Country tag in the realm of Pop music 

is an interesting one. The term presupposes that it is 

some new hybrid form: a random musical mutation 

in Rock ‘n’ Roll. But, in reality, nothing could be 

further from the truth. Since the early days of 

Elvis, Carl Perkins and Johnny Cash; to Buddy 

Holly, Chuck Berry and the Everly Brothers; 

recycled by way of England via the Beatles 

and the Stones; from whence it was then 

re-integrated in the US in the Early ’70s 

by Bob Dylan, Neil Young, the Eagles, the 

latter-day Byrds and most of all by 

Creedence Clearwater Revival, perhaps 

the definitive Alt/Country band— Country 

music has been as intrinsic as Rhythm 

& Blues in constructing the 

foundation of Rock ‘n’ Roll. 

In the ’80s the Country 

banner in Rock was carried 

by John Mellancamp, 

but upstarts such as REM 

and Elvis Costello, as well as 

the Replacements were in 

the parade as well. In the 

’90s, Soul Asylum and the Wilco 

contingent adopted County elements. 

The entire Grunge movement could be seen 

as rooted in the revivalist days of the early ’70s: plaid 

flannel shirts and all, the father of which has been 

deemed to be Neil Young. In truth, Country music 

has always been an integral feature of Rock music and 

it always will be. Alt/Country is just a hype term to 

get the kids to buy something they think is new and 


different, Like the Swing thing. 

Anyway, there has always been a strong “Alt/ 

Country” scene in Portland, from the days of Triggers 

Revenge, Wheatfield and Hurrman Burrman, to 

current times with the likes of Haymaker, Thrillbilly 

and Sunset Valley. Add to the list Baseboard Heaters, 

a likable quartet who combine strands of the Replace- 

ments, Soul Asylum, the Outlaws, the Eagles and even, 

on occasion, Counting Crows to weave a muscular, 

jangling sound of their own. 

Guitarists Rob Stroup and Matt Brown are 

joined by bassist Matt Souther and drummer Jason 

Krzmarzick to create a hardscrabble joyful noise, like 

the sound of a well-tuned Chevy pickup crunching 

down a gravel road in the musical heartland. Stroup 

writes and sings most of the songs, though Brown 

contributes a tune or two as well, while fulfilling his 

role as lead guitarist. 

Astute local scenesters might recognize Souther’s 

name from his former job as a managerial type and 

occasional radio personality with KNRK radio, as well 

as from his current position with KINK. But, as with 

all the various forms of media largess we might encounter 

within our beloved musical community, we 

need only ask if Matt can do the job to which he is 

assigned. And the answer here is yes, he fits in fine in 

this scenario. 

And the scenario, with just a couple of exceptions, 

is a high-energy affair that owes as much to 

Carl Perkins as it does to the Replacements. The band 

alternates between chunky and biting, power-chord 

dominated opuses and more homely rockers that 

percolate with smart fervency. 

“Roll The Dice” is of the former variety. Over 

slashing, Neil Youngish chords, Stroup’s twangy drawl 

bears a vocal resemblance to a young Glen Frey as he 

ponders his younger days— “I turned the page on 

my photo book/’Til I saw the strange and innocent 

“There has always been a strong ‘Alt/Country’ 

scene in Portland, from the days of Triggers 

Revenge, Wheatfield and Hurrman Burrman, to 

current times with the likes of Haymaker, 

Thrillbilly and Sunset Valley.” 

The Baseboard Heaters; as comfortable as old sneakers. 

looks/In eyes too young and cynical/When life had 

everything to offer and heaven held all the answers/ 

We knew who hung the stars made them spherical.” 

Brown’s “Minneapolis” finds him longing for his 

homeland “To see my saviors where they play guitar 

and sing.” Apparently they don’t do enough of that 

here in Cocktail Town. “You lose the beauty of the 

melody” and all that. A churning riff, reminiscent of 

Costello’s “Pump It Up,” propels the tune. With a truck 

drivin’ rhythm and some flashy County licks by 

Brown, “Cigarette Girl” chugs along on a nicotine 

high, backing Stroup in his adolescent tale of sexual 

fantasy regarding that young woman who hawks the 

Camels in a bar near you tonight. 

The early Eagles come to mind on “Road,” a 

slowed down remake of Johnny Rivers’ “Secret Agent 

Man,” with cowboy boots and prairie dogs as the 

props in this wild 

wild western tune. 

The jagged rhythm 

guitar chords of 

“In The Morning” 

illuminate Stroup’s 

soberly mature 

lyric (for a song 

based on Country 

values) that curiously 

considers 

the morning after, 

the night before. A 

jarringly jaunty 

Country flavored 

bridge hotwires 

this runaway tractor. 

The ballad 

“So Far To 

You” treads familiar 

musical cornfields, 

though 

here again Stroup’s oddly existential lyrics add interesting 

spice to the proceedings: the bitter last days of 

a dying relationship. “Demon” recorded live on 

KBOO, benefits from a good mix of Krzmarzick’s 

crispy snare smacks to drive a minor key rocker. 

Continued on page 10

RECORDING CONTRACTS AND 

“RECOUPABLES” 

As mentioned in previous articles, the typical 

recording contract will allow the record company to 

reimburse itself (recoup) certain specified costs from 

the artist’s future royalties, before any artist royalties 

are actually paid to the artist. 

For example, if an artist is due $100,000 in royalties, 

and at the same time $80,000 of recoupable expenses 

have accumulated, the record company will reimburse 

itself the $80,000 off the top, and pay the artist 

the remaining $20,000 (i.e., the $100,000 minus the 

$80,000). 

If, on the other hand, the artist’s future royalties 

are $30,000, and the total recoupable expenses are 

$80,000, then the record company customarily will 

have to eat the $50,000 shortfall (i.e., the $80,000 minus 

the $30,000), and will not be entitled to go after 

the artist personally to collect from the artist any part 

of the shortfall. 

When negotiating a recording contract, it is of 

course in the artist’s best interests to limit as much as 

possible the costs which the record company can later 

recoup from the artist’s royalties. The outcome of such 

negotiations on the issue of recoupable expenses will 

depend in part on the artist’s negotiating clout, and 

on the particular record company involved. Even so, 

there are some customary parameters on what can be 

negotiated on the various issues relating to 

recoupables, and there are customary limits beyond 

which record companies will generally not negotiate. 

The most common recoupables are as follows: 

1. Recording Costs. The most common traditional 

recoupable item is recording costs. This usually includes 

not only the recording studio’s time charges 

and recording materials (such as tape and outboard 

gear), but also rehearsal studio expenses, session fees 

paid to session musicians, the cost of transporting 

equipment, and miscellaneous other recording-related 

expenses. However, “mastering” is not generally considered 

a recoupable expense. 

In some situations, the producer’s fees will also 

be treated as a recoupable expense, depending on how 

the deal is structured. 

2. Personal Cash Advances. Major labels often 

pay cash advances to artists above and beyond the actual 

recording costs. For example, the advance for an 

album might be $150,000, with $125,000 of that 

amount allocated to the estimated out-of-pocket recording 

costs, and the remaining $25,000 to be considered 

a cash advance to the artist, to be used by the 

artist for living expenses, etc. These personal advances 

are almost always recoupable from future royalties, at 

least for new artists. However, if the artist has substantial 

negotiating clout, some or all of the cash advance 

may be treated as a non-recoupable signing 

bonus. 

3. Production Costs of Music Videos. Typically, 

one-half (50%) of the cost of producing music videos 

will be recoupable from the artist’s future record sales 

royalties. Recording contracts often also provide that 

the other one-half of the video production costs are 

recoupable from video-related monies potentially 

payable by the record company to the artist — for 

example, royalties payable to the artist from acrossthe-counter 

music videos sales (though as a practical 

“The 100% recoupability of tour 

support for concert tours is to be 

distinguished from tour support for 

so-called “talk tours,” where the 

record company at its own expense 

sets up tours for press interviews, 

radio station visits, “meets and 

greets,” in different locations, not 

involving any concert performances.” 

matter such royalties are rarely generated in any significant 

amounts, except in the case of very successful 

artists). 

4. Independent Promotion. If the record company 

hires outside (“independent”) promotion people 

to promote a record to radio stations, usually onehalf 

(and sometimes all) of the “independent promotion” 

costs will be recoupable. The exact percentage 

will depend on the artist’s negotiating leverage. If the 

artist has any negotiating clout at all, recoupability can 

usually be kept to 50%, and if possible, independent 

promotion costs should be totally non-recoupable. 

It should also be mentioned that typically none 

of the costs of the record company’s own in-house 

normal promotional efforts should ever be considered 

recoupable. 

5 “Special Promotion”. Some contracts will provide 

that “special promotion” expenses (but not “normal” 

promotion expenses) will be recoupable. It is 

very important that the term “special promotion” be 

specifically defined in the contract. Otherwise, there 

are likely to later be disagreements between the artist 

and record company, as to whether particular expenses 

should in fact be considered “special promotion” expenses 

(as opposed to “normal” promotion expenses), 

and hence recoupable. 

6. Tour Support. Years ago, tour support for 

concert tours was almost always totally non-recoupable. 

Today, however, tour support is often one hundred 

percent (100%) recoupable. 

The 100% recoupability of tour support for concert 

tours is to be distinguished from tour support for 

so-called “talk tours,” where the record company at its 

own expense sets up tours for press interviews, radio 

station visits, “meets and greets,” in different locations, 

not involving any concert performances. Due to the 

high cost of performance touring, these “talk tours” 

have become increasingly common in recent years for 

certain genres of artists. The cost of such “talk tours” 

is generally not recoupable from the artist’s future royalties. 

7. Artwork. Artwork costs are generally not recoupable. 

However, many recording contracts provide 

that if the label incurs extra and unusual expenses 

due to the fact that the artist has requested or approved 

“special” artwork or packaging, the label will be entitled 

to recoup the additional and non-standard costs 

involved. 

RED FLAG ISSUES 

Sometimes one will encounter an independent 

label contract providing that the record company will 

be entitled to recoup not only the various expenses 

mentioned above, but also in-house promotion expenses, 

and even sometimes the cost of mastering and 

(in extreme cases) the cost of manufacturing records. 

These types of costs (particularly manufacturing 

costs) should, of course, never be recoupable. If 

they are, it is extremely likely that the artist will never 

earn a significant amount of royalties, if any at all. In 

effect, what the record company is doing here is making 

the artist shoulder the large bulk of the total costs 

from the artist’s relatively small share of the total 

record sales income. No reputable record company 

will try to recoup manufacturing costs and in-house 



Continued from page 8 

Brown’s “We’ll See,” also recorded live on KBOO, is 

an all-around shitkicking two-step 

yahoo romp, chock-full of awshucks 

guitar pickin’. 

Baseboard Heaters are as 

comfortable as an old pair of 

sneakers. Their songs lack classic 

hooklines or choruses, yet 

they resonate with enough dusty 

charm to pass muster. Stroup’s familiar 

vocal twang isn’t memorable on its own, but 

rings with a certain vibrancy. Brown’s 

edgy guitar stylings are a spirited sprint 

through cowpie heaven, with enough 

crunch in the clinches to rock out 

when necessary. 

All in all, the Heaters 

generate enough warmth to 

take the chill off a room, 

but it never quite gets toasty 

or steamy. Refinement of 

their promising songwriting 

ability would bode the band 

well as would a concentration 

on the individual songs’ 

presentation. There is much 

to like about the band, but not 

quite enough (as yet) to set them apart 

from other bands of their breed. 

Old Man Motel— Fernando 

Crave Dog Records 

Fernando Viciconte, teamed with producer/ 

prodigy/multi-instrumentalist Luther Russell, turned 

in one of Portland’s best albums of 1998 with Pacoima, 

a raucous and tender tribute to Viciconte’s Hispanic 

heritage. The sad/joyous piquancy of that Spanish 

sung masterpiece stands in testament to the special 

musical abilities that both musicians demonstrated 

with uncanny regularity. Because this new album is a 

“Fernando Viciconte, and presumably Luther Russell, 

have concocted another minor masterpiece with Old 

Man Motel. They mine rich veins of musical gold, 

utilizing well-planned arrangements and magical 

production choices.” 

May release, the advance copy received contained no 

information whatsoever regarding the lineup of musical 

contributors. So, it is impossible to determine 

with absolute certitude that Russell has indeed returned 

to produce and play on this outing, but all the 

elements are in place to hazard an educated guess that 

he probably has. 


For this is another wonderful record, full of a 

rich musical heritage that spreads its Latin roots 

through the fertile ground of such disparate Rock 

influences as the Beatles, Creedence and Neil Young, 

the Blues and traditional Folk genres; with succinct 

instrumental accompaniment and very few wasted 

strokes. The marriage of Fernando’s rich voice and 

intelligent songs with artful arrangements 

and clever 

photo Buko 

Fernando; tapped into the wellspring of genius. 

instrumentation makes for a marvelously eclectic 

collection, nearly as endearing as its predecessor. 

The album “starts up” with the driving “Ride” a 

chunky piece of swamp dog, raw and sinewy. A simple 

electric guitar figure, sort of like a twisted version of 

that found in Creedence’s “Born On The Bayou,” floats 

over an insistent upstroke Tex-Mex rhythm guitar and 

buoyant bass, an urgent cowbell pushing the beat of 

the catchy chorus, as Fernando shouts down some 

bad voogum vocals. Rootsy and timeless. Very cool. 

Very cool too is the Beatlesque “Same Ol’ King,” 

Lennon inspired piano plunking and close-harmony 

vocals call to mind something from the Sergeant Pepper 

period. Even more John-like is the stirring “Jesus,” 

in which Fernando captures precisely the visceral 

angst of Lennon’s “Mother,” while smoldering Neil 

Young inspired guitars rumble and flare beneath. 

Tough stuff! 

“So. California” echoes Nilsson’s “Everybody’s 

Talkin’.” A fluttering acoustic guitar butterflies across 

a meadow of grazing cello-like guitar accents; faint 

breezes of flute sounds and chimes of steel-guitar 

whisp and whirl on the periphery. Yet a cloud of sadness 

shadows the vocal melody, making of this a 

hauntingly memorable song. More Neil Young riffage 

with the churning guitar chords of “Couldn’t Believe,” 

a dead ringer for “Ohio” from the CSNY days. 

Fernando’s slippery vocal delivery in the verses 

and Lennon-flavored cries in the choruses 

move the tune 

away from 

the mundane 

toward 

the sublime. 

Keyboard 

flutes and 

chattering maracas 

flicker as if in 

dim candlelight, as 

waltzing rimshots play 

against Fernando’s gentle 

vocal and lilting harmonies in 

the choruses of “Deviant.” Another 

touchingly pretty song. Fractious 

glancing guitar stabs and glaring organ 

pads parry with Viciconte’s gutsy vocal 

on “Swing Low,” a slow, lurching number 

with a menacing fervor at its core. 

The title track is driven by a skittering piano 

and jittery upstroke rhythm guitar chops, 

well-blended harmony vocals meld at the center 

of the mix, angelic amidst the chaotic surroundings. 

“Another Victim” has a strong chorus and a molten 

guitar solo section. “Rainin’ Outside” is a jagged piece 

of slap-back pie, a Carl Perkins crust with inspired 

vocal filling; whopping dollops of slide guitar and 

rickety drumsticks dancing on the snare rim lopped 

on the top. The ensemble takes the arrangement up a 

notch in the back half, grinding out some gritty Rock, 

a milieu in which Viciconte is entirely within his element. 

Tasty. 

“Angyline” moves from the intimate cabin jam 

of the intro into a Country flavored rumble down 

that dusty old dirt road. A darker passage lies in the 

moody “In The End.” A solitary acoustic guitar is the 

only accompaniment to Fernando’s lone accompaniment, 

with a harmony vocal joining in at the turnaround. 

Midway, a churchy organ joins in the mix, 

joined sometime later by slide guitars and drum backing 

building to a forceful finale. The “bonus track,” 

“El Legale,” sounds like an outtake from Pacoima: a 

rollicking Tex Mex enchilada smothered in cheese and 

hot sauce. Yeow! 

Fernando Viciconte, and presumably Luther 

Russell, have concocted another minor masterpiece 

with Old Man Motel. They mine rich veins of musi- 


A VACATION FROM VENOM-MY POISON 

PEN RUNNING DRY. No animals were harmed during 

the writing of this column. FRISCO DISCO uses 

no pesticides, 100% Oregonic rhymes from the Hate- 

Free zone. 

Let me please introduce myself, I stand six feet 

four in the Portland rain...and, I know the poses, in 

the city of roses, yeah, I have learned to play the 

game. 

You know, swizzle stick you’re so thick sometimes, 

with your psycho babble and your Ouija scrabble, all 

these, beer drinking druids, dripping with fluids, 

honey this isn’t grunge baby its grime, chasing 

strange angels, keep chasing strange strange angels, 

all those strange angels and fast friends 

of mine. 

Stalker hour at the troubled loners club, 

no ones talking at all, so many vacant stares 

beyond repair, loves a crimson bulb and 4 neon 

walls, SEGUE-CHORUS OUTRO. 

PIRATES AND POSEURS, hooligans 

and holy rollers, not quite on 

their toes-ers, in the city of rose-ers, life 

is so old here, seems no one is bold here, they 

find a place to die and wait to grow old 

here. The clock punching ilk they 

drink their milk, but you and I were 

Rock and Rye, now that its come to 

this, I’d risk it all for just one kiss, just 

one kiss, just one kiss good-bye-hyehigh. 

Pirates and poseurs, what a 

bunch of hosers, Rehab bulldozers, in 

the city of rosers, hard as bone-crushing 

disco, dripping with crisco, no thank 

you ma’am, I’ll stay in San Francisco. The new 

boy scouts with leather and change, arming 

themselves with fashion sense, now that its come 

to this, I’d risk it all to climb the fence, get off 

the fence, razorwire electric suspense, pirates and 

poseurs, hooligans and holy-rollers, rehab bulldozers, 

in the city of rosers, yeah they’re not on their toesers, 

those silly stick up their nose-ers, those happening 

hosers, in the city of rose-ers RAVE-UP/LEAD/OUTRO 

My name is Rozz and I been here way too often, 

where Holgate intersects Foster, in a rundown sheet rock 

coffin, 59 was a bad year for wine but a great year for 

guitars, and I should have been an astronaut, coz all I 

ever see is stars. On the eastside of nowhere pumping 

by Rozz Rezabek-Wright 

“My commercial for 

STREETLIGHT RECORDS has 

preoccupied me the last couple of 

weeks. Its done now and it airs all 

month in April on channel 26 with video 

footage of NEGATIVE TREND on a 

Friday night video program similar to 

BOHEMIA AFTERDARK in Portland.” 

out lost children by the dozen, most of our cars are up 

on blocks and we always got a cheap beer buzz on. My 

roommate is a T.V. and my neighbor is a cat, and my 

insignificant other doesn’t even know where I’m at. On 

the east side of nowhere poverty’s an evil overlord, 

chances getting slimmer than a punk rocker on the cover 

of Forbes, thru cyclone fences, pit bulls watch the bottle 

guy pushing his cart past another pregnant teen smokin’ 

camels outside the mini- mart. On the east side of nowhere 

life’s defined in outlines of chalk, the dirty littered 

sidewalks stretch endlessly, block after block, like 

this participatory palatable noise, sing-a-long anthem 

crap. I’ve had my 15 minutes, now every day’s just another 

slap. On the east side of nowhere Portland Oregon. 

The east side of nowhere in Portland 

Oregon…OUTRO... 

Sweet skinny bones, tempestuous and wild,old 

skinny bones, my steely- eyed psycho child. In a city of 

roses, stuck in this state of despair, got my mind down 

in the gutter babe, there’s always company down there. 

Time will implicate most everyone, I’m betting this will 

never end, a breeze kicks up from out of nowhere now, 

and soon becomes a bitter wind, and I say oh-oh OH, 

skinny bones, oh-oh-OH psycho child, oh-oh-OH these 

skinny bones, such a steely- eyed psycho child. 

Cold and dry, the clouds have finally cleared out 

but the summers gone for good this time. I feel like I’m, 

scraped raw by the wind here, its like some rusty razor 

used one too many times. Soon enough ,they’ll 

be carving jack-o-lanterns, and they look like 

people I know. The crops are in and it hasn’t 

been a good year. You don’t always reap just what 

you sow. Cold and dry, auburn is the color..of 

my hair and my clothes and the trees. Maybe I, 

should buy a rust-bucket ford falcon and keep 

chasing the warm Cali breeze. I’m a man whose 

always homesick, just a man with way too many 

vices, so many petty bones to pick, and too thick 

for criticism or advice. So the leaves leave the 

branches, flags fly high atop the bridge, I mull 

over old romances, with another 40 ounces in 

the fridge, cold and dry, but safe up in the window, 

watching the season die. 

When I came home to an empty town 

there were icy stares everywhere around me. 

I saw strangers that used to be friends, in the 

beginning ,of the end game. Then you found 

me, and you crowned me king of the losers, beyond 

the boundaries you drowned me and unwound 

me, now I’m going to the big empty room upstairs. 

I can’t come down, I cant see straight, coz I’ve been 

this way too long. I can’t turn my back, can’t just look 

away, maybe I’m not as strong as I should be. 

Then you found me and you crowned me king of 

the losers, beyond all boundaries you unwound me, and 




Group out of Texas. Grapetree is the world’s largest 

gospel rap label and their artists come from all over 

the country to record with Ed. He’s recorded albums 

for DCP, Bruthaz Grimm and L.G. Wise and is working 

now with locals Back 4 and Siena Kincaid. 

O.T.M.S (Octavia “The Mic Strangla” Harris) recorded 

her new CD “Walking on Water” at Messenger. 

O.T.M.S 

Speaking of “The Mic Strangla,” 23 

year old Octavia, Portland’s premiere female 

rapper, has just released “Walking on 

Water,” which includes tracks featuring locals 

Abdi Sharif, Q7 and Davon. She is working 

hard to promote this first and self-produced 

CD. She’s appeared on local radio (KPSU, 

KBOO), gotten local media to write about her 

and is working on distribution for her CD. 

OTMS has a seemingly endless drive and motivation 

to be known and heard, which is not 

common among most 23-year-old 

women. She definitely stands out in 

the crowd. When asked how the name 

“mic strangla” came about, she said, “ 

It’s really just about the power that I 

put into my shows.” In addition to 

producing her CD, she works full-time, 

promotes herself wherever she can 

(there’s not a telephone pole in Portland 

that won’t be sporting her promo posters), 

and also shares her talents and experience 

working with Jefferson High student, Q7 

who has “great rap potential,” and is featured on a 

few tracks on the new double CD. O.T.M.S, is wellrespected 

in local rap circles and is known for putting 

down hard hitting rap with good lyrical hook. 

She says, “My messages are all positive. I write about 

real-life things that are goin’ down, but I don’t need 

to swear and be nasty to rap anymore. I did that when 

I was 151 (her previous celebrity) and I was hanging 

with the wrong crowd and speaking the wrong messages. 

I decided, through the help of the Lord, that I 

was better than that and didn’t need to be representing 

a liquor or any of the other negative stuff that 

goes with a lot of rap today.” Since Octavia opted for 

a more responsible, disciplined route, she’s been setting 

an example to audiences (and herself) that “You 

CAN make things happen for good in your life,” and 

she is moving upward quickly. “I still put down the 

power but it’s all positive now, and people are digging 

it.” The hardest thing, she says, is getting gigs. 


There aren’t that many opportunities for rappers 

in town to play shows. When she heard 

that KXL FM was starting a new rap/hip 

hop format, she got on the phone. Her 

goal is to have the locally-owned station 

playing local rap and hip hop artists and lead to more 

shows around town. She’s not the type to give up, so 

it may happen. When she talks about, G.O.T.M, A 

Black Clan, Q7, Hakim & JMAC, Kenny Mack, Pros 

& Cons, Grassrootz, Five Fingers of Funk and other 

rap/hip hop artists in 

town she 

Octavia; the Mic Strangla. 

says, “It’s not just about promotin’ my stuff, it’s about 

the whole package of Portland rap. People need to 

know about the quality rap and hip hop coming out 

of this town. The audience is there, the stations and 

“Tommy Tutone will also be doing two shows in May 

with Colin Hay, former lead singer of Men at Work.” 

venues just arent’ playing enough of it.” Octavia will 

be performing to the congregation at Greater Portland 

Bible Church on Sunday, April 25 th for morning 

services. This show is open to all. 

Burgundy 

Former FATMAN guitarist, Luis Tataje, has 

joined up as DJ and guitarist for Burgundy, a new 

band whose music has been likened to Sky Cries Mary 

and The Cocteau Twins. “Our music is very accessible 

to the listener,” Luis says. Burgundy has a 4 

song CD out and they’re heading to L.A. in early May 

to do several shows. I’m looking forward to seeing 

them play in town when they return. 

People and Places 

Tami Greer, singer-songwriter from B.C., who 

played the Lillith Faire in Canada, has begun to establish 

herself in local songwriter circles as a promising 

force. Not long after she relocated to town with 

her husband, Tami had some initial dealings with L.A. 

interests, but she said, “ nothing has come of it so far, 

so I’m still working on a lot of promotion and distribution 

myself.” Recently, Tami was involved with Jeff 

Trott, singing a track for a project he’s working 

on. You can see Tami perform songs from her latest 

CD, “T Greer” on Saturday, May 1 st at an afternoon 

in-store at NW Music Millennium and that same 

night, be at Snake & Weasel opening for Nicole 

Campbell (a good camp to be with). 

Tommy Tutone will be playing some local shows 

in the coming months. On Friday, April 30 th , he’ll be 

at Lenora’s Ghost in Independence, Oregon (just outside 

Salem). It’ll be one of first shows with his new 

back-up band, including Andy Gautier on 

drums. People are saying that Lenora’s is 

a great place to play. Good atmosphere 

and it gets a good crowd. Tommy will 

also be doing two shows in May with 

Colin Hay, former lead singer of Men at 

Work. They’ll be in Eugene at Vets Club on Friday, 

May 21 st and in Portland on Sunday, May 

23 rd at Berbatis. TheRozz Rezabek Band opens the 

show. 

Eugene surf band, The Brainwashers 

will be opening for Tommy Tutone at 

Lenora’s Ghost and the Vets Club. Brainwashers’ 

guitarist Pete Weinberger, who’s also 

the longest standing member of The Surf Trio, 

is now fronting local Ramone’s tribute band, The 

Romanes. Known for his impeccable and classic 

guitar playing, this is the first time Weinberger 

has fronted a band vocally. Haven’t seen them 

yet, but they’ve played several gigs since December 

and appear to be drawing a good crowd. People 

who’ve seen them say it’s a great show. Check ‘em 

out. 

Warren Pash and Jerry Joseph will be leaving 

for Europe mid-month for a six-week tour to France, 

Berlin & Italy. They’ll perform separate sets but plan 

on doing a couple of songs together during the tour. 

Warren, who recently performed at SxSW, also performed 

at a friend’s memorial benefit while in Austin, 

along with Lucinda Williams, Joe Ely, and, get 

this, David Byrne. Warren said that was the highlight 

of SxSW and that the festival, as a whole, was a zoo. 

“Imagine being a restaurant critic for a newspaper 

and someone says, ‘We want you sample 100 restaurants 

in a week and tell us your favorite one’.” 

17 Reasons Why were named Grand Prize Winner 

in a recent Sony Battle of the Bands competition. 

Prizes include a demo recording contract with Sony. 

More details to come. 

‘til next time… 

Gigs/Events/Releases you’d like me to know 

about? E-mail me: Lovepunk@involved.com 

LL

An Unreel World 

Lake Oswego 

(503)639 9364 

Email: Mannykarin@aol.com 

Owner: Karin Kopp 

Engineers: Manny Keller or bring your own 

Tracks: 24 +digital 

Rates: $20/hr 

Equipment: Yamaha midi automated console 

with moving faders and recall, Masterworks 

64 bit Multiband Compressor,Limiter, CD Recorder 

with Jam, Mackie CR1604 VLZ and 

CR1202VLZ Submixers , 2 Alesis Adats, Midi 

Machine controlled by a Power Macintosh 

8600 with Digital Performer, MOTU 2408 PCI 

card, 24 digital audio, unlimited Midi Tracks 

all synced sample accurate with a Midi Time 

Piece AV, Event 20/20bas Studio Monitors, 2 

Panasonic DAT’s, AKG, Audio Technica, Beyer 

Dynamic, Crown, EV and Shure Microphones, 

Lexicon PCM 70, Quadraverb2 and Yamaha 

on board processors, DBX Compressors, Expanders, 

Gates and Limiters, Tube Mike 

Preamp and Tube Leveling Amp/Compressor, 

Guitar and Bass Preamps , Ensoniq ASR Sampler 

with SCSI and large sound library, Yamaha 

MU80, Korg Wavestation, Roland R70 and V 

Drums Pro Set with TD10 Percussion Sound 

Module, DW Maple Drum Set, Yamaha Recording 

Custom Birch Drum Set. 

Clients: J Bird Koder, Renato Caranto, Tracey 

Fordice, Roger Sause, Mark Olmstead, Nico 

Wind, Karen Therese, City of Newport, 

FOX49, Security Pacific, PGE, Vancouver Ford. 

Notes: Great daylight atmosphere in beautiful 

wooded Rivergrove area, inhouse bassist 

and drummer available, call for songwriter 

special rates. 

Anonymous Noise 

248-2136 

Owner: Karl Brummer 

Engineers/Producers: Karl Brummer 

Tracks: 8 Track, 

Rates: $12/hr. 

Equipment: Fostex model 80, Mackie 24 x 8 

console, Panosonic SV-3700 DAT, Symetrix 

compressors, Whirlpool TG1924, Audiologic 

quadgate, Kenmore 6021D, 5 reverb units, Vintage 

Fender & Ampeg tube amps. Microphones; 

Shure, E/V, Sennheiser, AKG & Audio 

Technica. Clients: The Raging Woodies, 

Everclear (for Capitol Records), Sean Croghan, 

Gern Blanston, Iommi Subbs, Skiploader, Sissy 

Face, Nervous Christians, Bazuka Joe, Atomic 

61, Slugabed, Surf Maggots, New Bad Things, 

Hogwild, Iceberg Slim, Rubberneck, Fall From 

Grace, Galaxy Trio, 90 Proof, The Impalas, Belligerent 

Youth, Ardey Allotey, Circus Mind, 

Springtooth, Portland Children’s Theatre, Triangle 

Productions, etc. Also live show recording 

to DAT available. 

Apache Recording Studios 

4009 E. 18th St. 

Vancouver, WA 98661 

Vancouver phone: (360) 694-5381 

Portland office: (503) 293-9266 

Rates: $35/hr to $75/hr an hour 

Description: Apache Recording Studios was 

conceived and designed by Jef "Woop" Warner, 

former Geffen recording artist and producer. 

Stressing an earthy environment of cedar, redwood, 

tile and American Indian art. The control 

room features a classic Trident 70 console 

with Lexicon and Drawmer tube processing, 

32-Track digital multitrack, computer editing 

and mastering, with monitors from Uri, 

Tannoy, and Alesis. An 1890’s Knabe 9ft. concert 

grand piano resides in the spacious live 

tracking room. Equipment: 48 input custom 

Trident 70 console, (4) Adat w/BRC, Lexicon 

300, LXP15, PCM 70, Eventide H-3000, 16 

track digital audio workstation (SAW plus), 

Drawmer stereo tube compressor, Dbx, AKG, 

Micro-tech Geffel 92, etc. Recent Clients: Ten 

Pound Rain, C.R.O.W., Father Mary, Ozone 

Park, and Warner Brothers recording artists 

Rough Cutt, Lid, Rustvein, Rexsoul, 

Hokus Pokus, Jen Triano, John 

Thayer, Hot Buttered Nun. 

Bill Scream Music 

422 SW 13th 

Portland, OR 97205 

221-5737 

Owner: Bill Scream 

Engineers/Producers: Rick Waritz, 

Leslie Carter 

Tracks: 24 & 16 track plus Sound 

Tools Digital 2 track 


Equipment: Studio A — 

Studiomaster Series II 40-channel 

MIDI automated console; 

Tascam MS-16 multitrack; Otari 

MX55 2 track; Yamaha Rev 7; 

Yamaha XPS-90 (2); Roland 

DEP-5; Alesis Multiverb; Alesis 

Microverb; Symetrix 4 channel 

noise gate; Aphex exciter; DBX 166 stereo compressor; 

Yamaha NS-10 monitors. Studio B — 

Soundcraft 6000 console (32x16x24); Otari 

MTR 90 II multitrack; Panasonic SU3500 

DAT; Lexicon PCM 70; Lexicon LXP-1 (2); 

Eventide H3000 ultraharmonizer; Yamaha 

XPS 90; Lexicon PCM 60; Roland SDE 1000 

delay; JBL 7/10 compressor; Aphex 612 2channel 

noise gate; BBE 822. Mastering gear 

—Digidesign Sound Tools digital hard disk recording 

system; Otari MX 55 2-track MIDI 

gear: Akai 5950 sampler (3); Roland D-550 

synth (2); Yamaha DK-7; Akai MPC-60. 

Other: Mini Moog, Vocoder (a real one) Clients: 

Skinhorse, NIKE — Scored music and 

sound design to “Bo Knows Bo,” a 45-minute 

video for sale internationally, spring ’92 collections 

videos, Dec. sales meeting audio to 

slide show productions; Nintendo/Lindsey 

West — Sudio production for Las Vegas trade 

show; Nu Shooz (Atlantic Records); Craig 

Carothers (“Little Hercules”). 

Blue Dog Recording 

1314 NW Irving 


(503) 295-2712 

Owner: Bruce Robertson 

Engineer/Producers: Bruce Robertson, Keld 

Bangsberg 

Tracks: 32 (24 ADAT, 8 Hard Disk) 

Rates: $35/hr.; Block rates available 

Equipment: Recording: Alesis X2 In line Recording 

Console (24 input, 64 input at mix 

down, 8 aux. sends, full parametric EQ, mute 

automation on all inputs & sends), 24 tracks 

of ADAT, Alesis BRC, Al-1 Digital Interface, 

Pro Tools 3, Session 8 Macintosh, Audiomedia 

II/Sound Designer II, Niche ACM Level Automation, 

Panasonic SV3200 DAT, Denon, 

Sony, Kenwood, Cassette Decks, Roland 24 input 

Submixer Effects: Digitech TSR-24 stereo 

multiFX, Roland SE-50 multiFX, Alesis 

Midiverb 4, Mciroberb III, Korg DRV-1000, 

Digitech DDL, (3) dbx 266 stereo Comp/Gate, 

Korg KEC-42 EQ/Cmp/Gate Mic/Monitor: 

(2) AKG C1000S, (2) AKG D112, (3) AKG C- 

408, Audio-Technica ATM-4033, Audio- 

Technica ATM-31, (3) Shure SM-57, Tubehead 

Direct Box, RA-100 Power Amp, AKG & Audio-Technica 

Headphones, KRK 9000B Monitors 

Hardware/Software: Macintosh Quadra 

650, APS 1.7 Gigabyte Hard Drive, Apple CD- 

300 CD-ROM Drive, Digital Performer, 

Unisyn, Sound Designer II, Jupiter Systems 

MDT & Infinity, Hollywood Edge Premiere 

Edition SFX Library, Midi Time Piece II APC 

Un-interruptible Power Supply Instruments: 

Korg 01/Wfd, SampleCell Sampler, Alesis 

Quadrasynth module, Alesis D4, E-mu 

Proformance+, Korg DW-8000, Tama Artstar 

Drum set, Zildjian Cymbals, Assorted Percussion 

Coffee Maker: Braun Flavor Select, 10 

cup. Special Note: We are a full service studio 

offering top quality at fair prices. Our facility 

includes a separate drum room, studio and 

control room. We offer a comfortable, low 

STUDIO/MASTERING 

stress atmosphere 

for songwriters, bands, and commercial productions. 

We also produce and write music 

Clients: The Willies, Sweet Baby Onion, 

Trip21, Brothers of Baladi, Gypsy Caravan, J. 

Michael Kearsey, Doug Fulton, Bill Parsons, 

Guerrilla Motion Pictures, J.D. Kiggins, Bill 

Wadhams, Planned Marketing, Jason Baker, 

One Fish Two Fish, Albert Glenn and others. 

Chameleon Studios 

2921 N.W. Nicolai 


(503) 241-7974 Fax: 224-6382 

Owner: Robert Rude 

Engineers: Robert Rude, Calvin Walker 

Tracks: 32, 16 ADAT, 8 hard disk Pro Tools 

Rates: $35.00 per hour, call for block rates 

Equipment: 32x8 Tascam M2600 board, JBL 

and Tannoy monitors, MacQuadra 950, 

ProTools Project, 2 8 track ADAT XT's. Two 

Leslie speakers, Hammond A100. Call for processing 

gear and mic info. 

Notes: Studio is 3600 square feet with 2 floating 

iso booths. Chameleon also rents out PA's 

and rehearsal space, call for rates. 

Clients: Black Flag Productions, Gravity Frog, 

Grass Roots, Hollygram Records, Crazy Like 

Me, Mobius, Dontae, Tone Poet, Draw Back 

Slim, Chuck Atkins, Andy Stokes, Oregon Historical 

Society, Linda Hornbuckle, Calvin 

Walker, Arnold Brothers, Kristy Hinds, 

Everclear. 

Cockeye Recordings 

NW Portland 

(503) 294-0650 

Owner: Cord Amato 

Tracks: 16 

Rates: $20.00 per hour/block rates available 

Equipment: Allen & Heath 16/16 board, MS 

16 Tascam, Alesis monitor 1, LXP1, Alesis 

Microverb, Digiteck, RDS 1900, Slrdid 

Wusftsverb Plus, BDX 166, A Compressor/limiter, 

Fostex 37 Compressor/limiter, Alesis 3630, 

Technics SVDA 10, Nackamichi tape deck. Microphones: 

Audio Techica 4030, AKG C1000, 

numerous 58’s & 57’s (Shure), Rode NT1, Audio 

Technica 37R’s, ATM 31, Electravoice 

257D, ATM 63’s. 

Clients: The Tribulations, Wow & Flutter, Love 

Claire, The Gnash, Brigantine, Ultralust... 

Columbia West Recording 

Troutdale, OR 

(503) 492-9072 Fax: (503) 492-9009 

Owner: James Warren 

Engineer: Steve Sundholm 

Tracks: 24 Digital, 16 Analog 1" 

Rates: Special Introductory Rates! $30.00 per 

hr. Day and Project rates available. 

Outboard: Manley Dual-Mono Tube Mic Pre, 

Manley Dual-Mono Electro-Optical Limiter 

(LA-2A), Drawmer 1961 Tube EQ, Lexicon 

PCM90, Lexicon MPX-1, TC Electronics 

M2000, Lexicon Alex, (2) Drawmer DL 241 

Compressor/Gate/Limiter, DBX 166 Com- 

pressor, Aphex 622 Logic Assisted 

Gate. Tape Medium: Tascam MS-16 1" 16 

track, (3) Alesis ADAT XT (with BRC), (2) 

Panasonic SV-3800 DAT, Tascam DA-P1 Portable 

DAT, Marantz PMM 502 Cassette Deck, 

Mackie 24x8 Console (with meter bridge), 

Mackie 24 Channel Expander (with meter 

bridge) Mics: Manley Stero Gold Refernce Mic, 

Manley Refernce Cardiod, (matched pair) 

AKG C414 TL-II, (2) AKG C414, AKG D112, 

(2) AKG C461, (2) AT 4051, (2) Sure SM81, 

(6) Sure SM 57, Sony 7506 headphones MIDI: 

Roland A-90 Master Controller, E-Mu e6400 

Sampler (128 MB Sound Memory), Korg 

X5DR, Alesis DM5, Roland MC-303 

Groovebox, MOTU MIDI Timepiece AV, Logic 

Audio Other: Sundholm Acoustics SL6.5/S 

and SL6.5E Reference Monitors, Sundholm 

Acoustics Silver Quad Pro Wiring, Power Mac 

8500/132 (80 MB RAM), 4 GB Hard Drive, 2times 

CD-R Audio Media III PCI Card, Sound 

Designer II, MasterList, CD, Agfa Arcus II 

Scanner, PageMaker, Photoshop, Charis Works 

Clients: Spin Jupiter Spin, WOW, David 

Friesen and Bud Shank, Fran Ashcroft, Robert 

Crowell with Gordon Lee, Wormwood, 

Regroovination, Mt. Hood Community college, 

Sunstone, Oysterville Underground, Peas 

& Carrots, Highly Contagious. 

Michael Cooper Recording 

2405 Bailey Hill Road 

Eugene, OR 97405-9418 

Phone/Fax: (541) 683-2750 

Owners: Michael Cooper 

Engineers: Michael Cooper, Michael Souther 

Tracks: 24 Track Digital 

Rates: $30.00 - $40.00/hr. 

Equipment: Consoles and recorders: Fully 

automated Yamaha 02R Digital Recording 

Console with complete recall and moving faders, 

(3) Alesis ADATs Alesis BRC Master Remote 

Control, Panasonic SV-3700 R-DAT, 

Sony DTC 75ES R-DAT, Denon DRM-740. 

Microphones: AKG C12VR Tube Condenser, 

Neumann U87A, AKG C414B/TLII, (2) B & K 

4011, (4) AKG C460B, (2) AKG D112, (2) 

Crown PZMs, (3) Sennheiser MD-441, (5) 

Shure SM57, Shure Beta 57, etc. Reverb & Effects 

Dynacord DRP20, Lexicon, PCM70, 

Lexicon PCM60, Roland SDE-2500, DigiTech 

DSP256XL, Alesis Midiverb II, MXR 1500 

DDL, (2) Yamaha 02R on board effects processors. 

Processing: (41) Yamaha 02R 

onboard compressor/limiter/gates, (1) Aphex 

Tube Expressor, (2) Aphex Expressor, Aphex 

612 Expander/Gate, Klark Teknik DN504 

Quad Comp Limiter, BBS DPR-901 Dynamic 

Equalizer, Millennia Media HV-3 Mic Preamp, 

(2) Rane ME30, BBE 422A Sonic Maximizer. 

Monitoring: Tannoy PBM-8, Yamaha NS- 

10M Studio, Tannoy PS-88 subwoofer, Audio 

Technica ATH-M40 and ATH-D40, Fostex 



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360.696.5999 • Vancouver, WA • fuserock@aol.com 

http://members.aol.com/fuserock/naudio 



T20, Crown PB-1 power amp, Rane HC6 headphone 

amp. MIDI: Power Computing 

PowerCenter 132 computer, Sony 200sx 17 

inch color monitor, Emagic Logic v2.5 sequencer, 

Emu Emax sampler, Roland Juno 106, 

Casio CZ101, JLCooper MSB+ MIDI 

patchbay, Opcode Studio Plus Two MIDI interface. 

Other: Alesis DM5 Drum Module, 

Tech 21 SansAmp Rack, Missing Link BPH and 

Stewart ADB-1 direct boxes. Description: 

Michael Cooper has written over 100 technical 

articles on recording engineering for Mix, 

Recording, Electronic Musician, and Musician 

magazines. He is a Contributing Editor for 

Mix, the world's leading technical journal for 

recording engineers and studios, published in 

over 100 countries around the globe. Michael 

Cooper is the largest studio in the Eugene- 

Springfield area, featuring 37L x 17W x 20H 

cedarwood main room, 3 isolation booths and 

20 -bit fiber optic digital recording. All 

mixdown settings and moves are digitally 

stored for instant recall if a remix is ever 

needed. Clients: Chevalier, Alice DiMicele, 

Art Grooveanx, Paul Prince, Kalamity Jam, The 

Haines Kanter Project, Jibliminis, MK Menard, 

Dopplegang, Roughstock, Kudana, Shumba, 

Jim Scott (formerly with The Paul Winter 

Consort), Lefty Gruve, Big Bubba, Rob Tobias, 

The Tom Waters Band, Blue Face, Laura Zaerr, 

Carol Valentine, Acoustic Space, Jeff Defty, The 

Steaming Pigs, Moth, The Path, Dakmafan, 

Sharon Rogers, Mina Spiro, Grupo Condor, 

Barb Stevens Newcomb, Emily Fox, Steve 

Carter, Nicholette Helm & The Destination, 

Poni Brendan, Aeoliah, Divino, Thrombus, 

Ichele & The Bad Boys, The Falling Spikes, The 

Guardians of American Morality, Patrick 

Dodd, Sheba Dawn, and scores more..... 

Dave’s Attic Productions 

Washington Square Area 

Portland, OR 

(503) 768-9336 

Owner: David Fleschner 

Engineer: David Fleschner 

Tracks: 16 Track Digital 

Rates: $10 per hr. 8 Track. $15 per hr. 16 Track, 

Block Rates and Remote Rates available. 

Equipment: Fostex D-90 8 track hard disk recorder, 

Fostex D-5 Dat, Macintosh based audio 

and midi recorder (Digital Performer, 

Logic Audio, Cubase VST), Event Rode NT-1, 

Shure Beta 58, SM58, SM57, EV257 microphones, 

Behringer Composer, Hammond B- 

3 organ with Leslie Cabinet, Fender Rhodes, 

Yamaha P300 Digital Piano/Controller, 

Ensoniq ASRX Sampler, Hammond XB-2. 

Clients: Groove Revelation, The Olde Savage 

Duo, Dylan Vance Quartet, Andy Tabb, Seth 

Samuels, Aloha High School Bands, Chris 

Gragg’s Deep Roots Troutdale Poetry Experiment 

featuring: Dan Balmer, Kimberli Ranson, 

Mary Kadderly and Nancy King, Newel Briggs, 

Danny East, Anthony Jamesbarry, Rannato 

Carranto Jr. And Ezekiel Goodrick. 

Dead Aunt Thelma’s Studio 

PO Box 82222 

Portland, OR 97282-0222 

(503) 235-9693 

Web: www.thelmas.com 

Studio Manager: Mike Moore 

Office Manager: Nicole Campbell 

Owners: OCP Publications 

Engineers: Mike Moore, Dean Baskerville, 

Ryan Foster, Ronn Chick, Bob Stark, Josh 

Millman. 

Tracks: 16/24 track analog, 24 tracks of ADAT, 

16 channel ProTools, and video lock. 

Equipment: Trident 24x24x8 console; 

Focusrite, API, Avalon, Millennia, Cranesong 

and Manley mic pre’s; top of the line selection 

of mics including Neumann, AKG, and 

Telefunken; Cranesong, Manley, Altec & Urei 

compressors, HEDD & Apogee AD/DA converters; 

Genelec, Yamaha and Auratone monitors; 

Panasonic SV-3700 DATs; Macintosh 

Power Tower w/14 gig capacity; Steinway B 

Grand Piano; complete list available on request 

Notes: Thelma’s is a nationally acclaimed, 

Berger designed studio frequented by the 

Northwest’s best talent. We offer recording, engineering 

and mastering of music projects as 

well as audio for video. Fast becoming one of 

Portland’s premiere studios. 

Clients: Nicole Campbell, Baseboard Heaters, 

Steve Hettum, Terry Robb, Wilco, Sheryl Crow, 

Jeff Trott, Mel Kubik, Steve Bradley, Brian Cutler, 

Sheila Wilcoxson, Too Slim & The 

Taildraggers, Brenda Dickey, McKinley, 

Silkenseed, Tall Jazz, Microsoft, Fred Meyer, 

Adidas, Warner/Chappell music, Weiden & 

Kennedy, & many more. 

Dithering Heights 

(located close-in NE Portland) 

PO Box 13205 


(503) 288-1291 

Email: YLYL71A@prodigy.com 

Owner: Engineer/Producer, Michael J. 

Cubbon 

Rates: $16 - $20/hr. Block rates possible. 

Tracks: 8 and 16-track digital studio 

Equipment: 8-track Session 8 hard disk recording 

system, interfaced with 8-track ADAT; 

StudioMaster 8-bus tracking board, Yamaha 

Pro-mix 01 digital mixing board, TEA tube 

pre-amp/DI, Lexicon, Dbx, Alphex, Shure & 

AKG Mics, KRK’s, Sony DAT. Clients: 

LoveNancySugar, Roger Nusic, Rainforest 

Records, Cannonball Simp, Pop Theology. 

Note: Offering a casual, relaxed atmosphere 

and highly-personalized attention, specializing 

in artist-development demos and the occasional 

CD project. 

Doctor Digital; The Sync Ward Studios 

Portland, OR 

(503) 892-0043, 1888-373-4485 

Email: drdigtl@spiratone.com 

Owner: Mark Frethem 

Engineers/Producers: Mark Frethem 

Tracks: 72+ (64 ProTools 24 Mix-Plus, 8 

ADAT) 

Rates: $25/hr to $75/hr - (Basic ADAT rates, 

ProTools non-sync, ProTools sync) 

Equipment Consoles: Mackie 32x8, Samson 

2242, Mackie 1604 VLZ (Linear): ADAT, 

Fostex D-10 DAT w/timecode, Fostex D-5 (5) 

Denon and Technics cassette decks. 

Computer Hardware/Software: PowerMac 

9500 233 Mhz w/G-3 -21” monitor, Quadra 

950, 30 gig hard disk space, Jazz/Zip drives, 

Protools 4.3, Sound designer II, Masterlist CD, 

Adobe Premier, Radius Videovision Studio, 

586 133 Mhz PC w/21” monitor, NTSC monitors 

Monitors: Tannoy, Infinity, Atlantic Technologies 

& Auratone, DCM Subwoofer 

Mics: AT 4033 (2), Neum. KM100 (2), AKG 

c408 (2), AT25, AT825 stereo mic, EV RE20, 

Senn. 441, SM57 (2), SM81, SM58, many others 

available on request. 

Processors/effects: Protools IV/TDM: Waves 

TDM Bundle, JVP, Dverb, DPP-1, DINR, 

Focusrite D2, D3. TC Megareverb, Digidesign 

delays, gates, compressors, & EQ’s. 

Outboard: ART Pro MPA mic pre, Lexicon 

MPX 100, Yamaha SPX 90II, Digitech 256XL, 

Midiverb II, LA-22 dual channel compressor/ 

limiter, ART MDMj-8L 

MIDI: Peavey C8-88-note weighted key controller, 

Kurzweil K2500R, K2000S keyboard, 

EMU Proteus 1, Yamaha TG33, Alesis D4, 

Octapad & kick trigger, MIDI Timepiece AV,

(2) Studio 4’S, Studio Vision Pro (MAC), 

Cakewalk Pro (PC) 

Instruments and Amplifiers: Fender HM 

Strat, Peavey T-40 bass, Alvarez Classical, 

Peavey Rock Master guitar pre-amp 

Miscellaneous: Marantz PMD 321 CD Player 

w/Digital output, Onkyo Integra THX surround 

sound amplifier, Krups Espresso maker 

w/mobile I.V. & stand. 

Sound Effects Library: Hollywood Edge Premier, 

The Edge, Cititrax, Cartoon Trax, and 

various customn designed. Music library 

choices available. 

Notes: The Sync Ward is located just off I-5 

and 99W and is a full service production facility 

that provides the latest tools and engineering 

talent covering a wide range of audio 

applications from full album production and 

mastering to audio/visual. All 3 separate 

Protools systems can sync to picture for post 

production for video and film, ADR,Foley, and 

sweetening for video and film. Dolby 4:2:4 

Surround Sound Mix encoding and 5.1 discrete. 

An elaborate MIDI suite with a weighted 

88 note controller, the finest digital pianos, 

SFX and sample libraries offer a wide palette 

of sounds to choose from. Located in a secluded 

Southwest Portland house, Sync Ward 

South is creatively conducive, upscale, yet unobtrusive 

allowing the producer or the artist 

to concentrate on their craft rather than their 

pocketbook. 

Patients: Patients include: Bill Matson 

(film:”Different”),Portland Center Stage 

(play:”A Christmas Carol”), Generator, Chamber 

Music NorthWest, Dale Van Wormer, Jerry 

Joseph, Nobody, Henry Moon, Boka Marimba, 

Beater, 16 Volt, Gutter Jacket, Ardey Allotey, 

Roger Sause, Pam Jordan, Toni Land, Andy 

Harrison, Richard Moore, Wes Burden, Paul 

Owens, Karl Mansfield, Dave Carter, Blue 

Honey, Haymaker, Geffen Records, Inphase, 

Inc.,KPDX Fox 49, Oregon Ballet Theatre, 

WhiteHorse Studios, Rigsi (Electra), Atom 

Sane, World Media T.V., Encounter Video, Inc. 

and many others. 

Don Ross Productions 

3097 Floral Hill Drive 

Eugene, OR 97403 

(541) 343-2692 Fax: (541) 683-1943 

Owner/Engineer: Don Ross 

Tracks: 24 track Digital, 16 track Analog 

Rates: $45.00-$75.00 

Equipment: 24 track Tascam DA-8's mods by 

Audio Upgrades 8 w/RC 848, SY88 & IF88AE, 

16 track Tascam MS16 1", Tascam DA30 

Fostex D-10 Time code DAT & Panasonic 3700 

DAT 2 tracks, Revox PR-99 MkII, B77 2 track, 

1/2 tracks, Digidesign Pro Tools digital hard 

disk recording/editing system w/Mac IIFX, 6 

Gig hard drive, Wang Dat & Studio Vision 

Masterlist CD and Pinnacle RCD 1000. 

Tascam M-3700 32x8 automated console, 

mods by Audio Upgrades; Tannoy NFM-8, 

Yamaha NS-10, & Auratone 5C monitors; 

Aiwa, & Tascam cassette decks; Lexicon PCM 

80, LXP 1's, LXP-5’s w/MRC & Yamaha 

SPX90’s reverb/delays; Manley tube compressor, 

Aphex 661 tube compressor, dbx 266's, 

Drawmer DL241, Aphex 106, Aphex 720 

Dominator II & Ashly SC-50 comp/limiters; 

BSS DPR-504 & Aphex 105 Noise Gates; Aphex 

Aural Exciter, Symetrix SX201 parametric 

EQ’s, Gaines MP-2 mic pre’s. Mic’s: Neumann 

U87’s, KM84’s, mods by Laus Heyne, AKG 

460’s, 451’s, Sennheiser MD 421, EV RE20, 

408B’s, Shure SM53’s, 57’s. Other Important 

Stuff: 1927 Steinway M grand piano, Kurzweil 

PC88 MX, Ensoniq, EPS w/44meg, Syquest & 

300 meg of samples, Opcode Studio 3, JL Cooper 

PPS-100 dk10 KAT, Alesis D4, pre CBS 

Fender Super & Twin reverb, Zoom 9050 JVC 

CR-85OU 3/4" video deck w/SMPTE address 

trk., Sony video monitors 13" & 20", Fostex 

4030/4035/4010 SMPTE sync system, Sony 

SLV-575, SLV-585 1/2’ VHS, Symetrix TI-101 

phone batch, Telos Zepher for digital land 

patch & a Braun10 cup coffee maker. Clients: 

Mason Williams, Strangers, Multiple Sarcasm, 

Betmars, Babies with Axes, Valley Boys, Terry 

Robb, Austin, Stephen Cohen, Chico Schwall, 

Katie Henry, T.R. Kelley, Debbie Diedrich, 

Boogie Patrol Express, Mike & Carleen 

McCornack, Jim Scott, (formerly with the Paul 

Winter Consort), Cousin Larry, Dylan Storm 

and Tracy Bonham. 

Echo Star Studio 

Address : Portland Or. 

Phone : (503) 358-3071 or (503) 358-3070 

E-mail: edrei@echostarstudio.com 

Website: www.echostrastudio.com 

Owners : Marcus Sheppard, Edward Rei 

Engineers/Producers : Edward Rei 

Tracks : 24 track digital 

Rates : •In-House as low as $175 a day for 

blocks. •Mobile at venue - $300 a day. Travel 

fee applied to locations more than 25 miles 

from downtown Portland. Equipment : Console 

- Soundcraft Ghost 24x24x8x2, midi machine 

control, automated mutes. MMC Control 

: Oz Audio Q-6 6x6 headphone mixer/ 

amp. Decks: Alesis ADAT’s w/ BRC Controller, 

Fostex D-5 DAT, Tascam 103 Cassette. 

Monitors: Event 20/20 near fields with Hafler 

P-3000 power amp, Yamaha, Sony, Tascam 

headphones with Oz Audio Q-6 headphone 

amp. Signal Processing: ART Dual mic pre 

(tube), TL Audio dual mic pre (tube), ART 

Dual Levelar, Behringer Composer, Behringer 

AutoCom, ,Behringer AutoQuad, Alesis 3066, 

Alesis D-4. Effect Processing : Lexicon LXP-5 

(x2) w/MRC Controller, Alesis Quadraverb 2, 

Alesis Quadraverb, ADA multi effects processor. 

Microphones : AT 4050, AT 4033, EV RE- 

27 n/d, Tascam PE-125, Shure SM-57 (x4), 

(more on the way).Snakes: 200 ft. 24x8 Pro 

Co. transformer isolated. 200 ft. 110 AC w/ 

transformer isolation. 

The Echo Star mobile recording rig is set up 

to record at any remote location that the vehicle 

can safely reach. The vehicle has room 

to sit 3 people plus the engineer. 

Clients : Sky Blue Mind, Love Lode, Emerge, 

Brain Dead, Soul Fest ’97. 

Falcon Recording Studios 

15A S.E. 15th 


(503) 236-3856 

Fax: (503) 236-0266 

Email: falcon@cyberhighway.net 

Contact: Dennis Carter for booking information. 

Rates: Studio A: 24 Track analog/digital: 

$60.00 per hr., 16 Track digital: $50.00 per hr., 

2 Track DAT: $45.00 per hr., Set-up: $30.00 per 

hr., Copy & Edit: $35.00 per hr. Studio B: 16 

Track digital: $35.00 per hr., Pro Tools: $75.00, 

Digital Workstation: $45.00 per hr., Set-up: 

$20.00 per hr., Mastering: $50.00 per hr., CD 

Master: $75.00, Additional CD's: $45.00 each. 

Block rates available for Studio A. A complete 

staff of musicians for writing, arranging and 

production is available upon request. Production, 

writing and arranging costs will be billed 

separately. Rates vary depending upon project. 

Studio A redesigned and tuned by Dr. Richie 

Moore— Sony MXP-3036 36x24 automated 

recording console; MS 3000 computer automation 

system for Sony console, Sony/MCI JH 

24 24 track 2"tape machine; MCI JH 110 2 

track 1/4" tape machine; Apogee AD 1000 A/ 

D converter, Tascam DA-88 (3) 24 tracks digital 

recording, Fostex D-10 DAT Recorder, 

Macintoch Quadra 605, Meyers HD-1monitor 

speakers/KRK monitors, UREI 813C time 

aligned speakers. Processing: Neve 33609 stereo 

compressor/limiter, Crane Song stereo limiter, 

Summit EQP-200 EQ's, Neve 1272 class 

A mic pre amps (6), Neve 3405 mic pres (2), 

API 512 b mic pre amps (2), API 550b EQ's 

(2), API 312 mic preamps (4), Focusrite Quad 

mic preamps (4 channels), Lexicon 300 digital 

reverb,AMS RMX-16 Reverb, Eventide 


15480-B SE 82nd Drive 

Clackamas, OR 97015 

Used Guitars & Amps 

Electronic Repairs & Custom Modifications 

Factory Authorized Service for all major brands 

Used Equipment including vintage tube amps. 

Large Tube Inventory 

Joe Casimir 

557-4668 

Fax 557-4670 

MTS 


THE GRAND OL' SOAP OPRY 

On The Cover- Fernando 

April 10, 1963, the Kingsmen recorded 

Portland’s Greatest Hit, “Louie Louie”. 

Exactly thirty five years later to the day, 

April 10, 1998, the Supreme Court returned 

ownership of the master of “Louie Louie” to 

the Kingsmen, establishing far reaching artists 

rights precedents in the music industry. 

This month Buddy Holly’s widow sued 

MCA Records... 

And the beat goes on... 

The Internet music industry 

and the MP3 compression 

format continue 

to dominate the 

Music Industry news. 

Tom Petty put “Free 

Girl Now” from his upcoming 

Warner Bros. album on 

MP3.com, one of the primary 

legitimate web sites 

for MP3 music. 

You remember 

Tom, the artist activist 

who made 

his record label 

lower the price 

of his albums 

years ago? 

Entertainment 

Weekly’s (3/12/99) ‘ 

“Everything you 

wanted to know 

about MP3” but were 

afraid to ask” by Jeff 

Jensen put several industry leaders 

on the record. 

“If they don’t figure out 

how to get the artist paid, there 

just aren’t going to be that 

many people making music for 

a living.” says Bonnie Raitt. 

k.d. lang says “Listeners are dominated 

and intimidated by the record stores 

and the radio into what they should listen to. 

So this is a wonderful way for artists and fans 

to bypass that.” 


The most respected executive in the 

record business, Ahmet Ertegun of Atlantic, 

says, “You’ll see a rush of artists abandoning 

labels and releasing their music directly over 

the Net. But then they’ll come back when they 

realize they’re not making any money.” 

Ah yes, the music business. 

The professionals get a jump on the 

learning curve. 

September 29th & 30th in the PSU Ballroom, 

the American Federation of Musicians 

will present a state of the art Internet Seminar 

with panelists to include executives from 

MP3.com and other MP3 labels. The anti- 

MP3 argument will be made 

Luther Russell; Fernando’s producer. 

photo Buko 

by PR reps of the RIAA and members of 

NARAS, BMI and ASCAP. 

AFM Local 99 president Denise Westby 

says, “We won’t be taking any position on the 

Internet music business, we’ll just be showing 

the musicians what’s out there.” Registration 

for the two day event is $125 in advance, 

$150 at the door. 

Saturday, October 2nd the union plans 

to invite 800 guests to the Scottish Rites 

Temple for some live music to celebrate the 

AFM’s 100 year anniversary. 

If those dates sound familiar it’s because 

they’re also the dates of this year’s 

fifth annual North By Northwest. “We’re 

not being competitive.” says AFM prexy 

Westby, “we had our dates booked months 

before NxNW.” 

NxNW is scheduled for September 

30-2. 

Portland’s KVO Advertising represents 

the Recording Industry Association 

of America around the world 

in the raging debate over the MP3 

Internet explosion. 

As the gold and platinum 

award people, the RIAA is responsible 

for keeping track 

of the statistics of the recording 

business. For example, 

the RIAA says 

“Only 3% of major label 

releases achieve commercial 

success. 

It’s a tough business already. 

Pierre Ouellette is the “”O” 

in KVO. 

Pierre played guitar in Don 

& The Goodtimes and Paul 

Revere & The Raiders. 

For the last 20 years Pierre 

has gigged periodically with 

the Sludge Brothers. “We still 

do it for the art.” says Pierre. 

Oh, to be Art... 

Everclear continues to be offered every 

break the entertainment business allows, 

based on the strength of their Capitol album 

So Much For The Afterglow which is holding 

strong at #81 after 76 weeks on Billboard’s Top 

200 chart.

The latest Everclear single “One Hit Wonder” 

is #24 on BB’s Modern Rock Tracks after 

11 weeks. 

Art Alexakis showed up prominently 

in VH-1’s coverage of the 

Rock-n-Roll Hall Of Fame 

photo Buko 

Awards Show. Amid the huge names Art was 

honored to induct Del Shannon. (“Runaway”) 

Playboy magazine’s Fast Tracks (5/99) 

bannered Art’s pending big screen movie 

debut...”Alexakis plays a thief and a member 

of a New York art band in Committed, co-starring 

Heather Graham...” 

Then, there are the Spokes model gigs... 

The SCI FI Channel is re-working their 

image with a series of new spots, “intended 

to transform the geeky, retro image into something 

hipper.”, says Entertainment Weekly (4/ 

9/99). 

“Set to premiere at the end of April, the 

ads feature famous sci-fi fans,” including 

Everclear and rapper Busta Rhymes. 

For Busta’s ten second commercial, the 

“hyperactive hip-hopper’s trademark braids 

were jacked into floating turntables that 

download musical ‘space beats’ to his mouth.” 

Anything but EC as a Star Trek crew... 

Some of the attention gets expensive... 

4th Plane Jaiant; the old fashioned way. 

“Everclear fan gets $1.2 million compensation 

for injuries.” 

The Boston Globe reported (3/19) that a 

fan injured in a stage-diving incident at an 

Everclear concert involving two members of 

the New England Patriots football team has 

reached a settlement agreement. 

Tameeka Messier was injured November 

11, 1997 at the Paradise nightclub when she 

was struck by a stage-diving Patriots guard 

Max Lane. After surgery to remove two herniated 

disks from her neck and fuse three vertebrae, 

she sued Lane, Quarterback Drew 

Bledsoe and Everclear. 

EC’s manager Darren Lewis disputed 

Messier’s claims in her suit that Art Alexakis 

invited the football players on stage. Rather, 

BY BUCK MUNGER 

he said, Alexakis and bandmates Greg Eklund 

and Craig Montoya were backstage at the time 

of the incident, having just ended their set. 

The players, Lewis said, were invited onto the 

stage by club security during the band’s final 

number. 

According to the Globe report most of 

the money will come from Lane and 

Bledsoe. Lewis said the band would make 

its contribution ($100,000) “in the form of 

legal costs covered by the band’s insurance.” 

Dan Clark dodged a lawsuit by NARAS... 

Dano was “credentialed” by NARAS to 

cover the Grammy Awards in Los 

Angeles for Z100, and with his hand 

held recorder and scanner, managed 

to find the closed circuit frequency 

that connected the television 

show’s director Walter Miller and 

members of the production 

crew. 

The show behind the 

Grammy Show... 

Dano recorded Miller 

trashing celebrities and shouting 

obscenities to camera people and 

production workers in the truck. 

Highlights of the behind the scenes 

listen included Miller shouting at “Titanic” 

winner James Horner, “Get that 

shithead off the stage!” 

When winner Lauryn Hill brought her 

bible on stage Miller shouted, “Oh no, she’s 

gonna read a book!” 

“Next break I’m gonna read from the 

Torah” said Miller to the truck. 

Z100 began broadcasting Dano’s recording 

the day after the Grammies. Clark also 

gave a copy to L.A.’s KISS-FM, and they put it 

on the air immediately. With all the buzz it 

still took NARAS about a week to hear about 

it. 

The letter from NARAS’ lawyers gave 

Dano till March 15th at 5:00PM to “deliver to 

us all copies of any recordings in existence of 

the intercepted communications with a certificate 

attesting under penalty of perjury that 

there are no other copies extant.” 

Right... 






H3000, Lexicon PCM70 digital effects processor 

(2), Yamaha Rev 7 digital reverb (2), Lexicon 

PCM42 digital delay, Drawmer DS 201 

dual channel noise gates (4), JBL/URIE 7110 

compressor-limiters (2), UREI 1176 LN peak 

limiters (2), DBX 160X compressor/limiters 

(2), DBX 160 compressor/limiters (2), Urie LA 

22 compressor/limiters (2), Teletronics LA-2A, 

LA-4 compressor/limiter (2) Studio B — 

Ramsa WR-T820B recording console; Tascam 

DA-88 (2) 16 tracks digital recording, Pro 

Tools POI 8 ch./888 I/O, Mac 7600 w/20" 

monitor, Yamaha CD Recorder, Panasonic 

SRV-3500 Professional DAT, Yamaha NS10 A/ 

KRK monitors, Roland SRV-2000 effects processor, 

Behringer Composer (stereo limiter), 

Behringer Multi Comp (4 limiters), Behringer 

Auto Quad (4 gates), Behringer Edison (3D 

Imager), Lexicon LXP 5, Lexicon LXP 1, 

Macintosh Quadra 700 (24 meg ram, 1 gig internal 

hard drive) 1 gig external hard drive, 

Audiomedia II card (Sound Designer II/ Session), 

Apogee AD 500 converters, Opcode Studio 

3 (2). Software: Performer5.5, Vision 1.01, 

Pro Tools / Soundesigner, Master List CD, extensive 

sound library for S-1100, D-50, D-110, 

DX7, TX, MS 3000 automation 1.4, Galaxy. 

Available Instruments: Yamaha 6'6" concert 

grand piano, Yamaha Recording Series Drums 

(9 pieces), Gretcsh 5 piece drum set, Akai S- 

1100 (mass Micro 45 mg cartridge hard drive), 

Korg M1-R, Korg 01-W fd, Korg 01-W, Roland 

D-110, Roland D-50 Roland Octapad, 

Ampeg B-15 tube bass amplifier. Microphones: 

Neuman U-47 tubes (2) Klaus Hynes 

modified, Neuman U-87 (2), Neuman U-67 

Klaus Hynes modified, Neuman KM 84 (2) 

Klaus Hynes modified, AKG 414 (5) Klaus 

Hynes modified (1 modified), AKG C460, AKG 

D112, Shure SM 91, Sennheiser 421 (4), Beyer 

M201 (3), Shure SM-57's (5) Clients: Rubberneck, 

Calobo, Five Fingers of Funk, Higher 

Ground, David Andrews, Pete Miser, Rhythm 

Jones, Tree Frogs, Curtis Salgado, 

Hummingfish, Lifesavas, Dan Balmer Trio, 

Linda Hornbuckle, Dennis Springer, Dan 

Faehley, Tom Grant, Richard Arnold, Obo 

Addy, Calvin Walker, Rob Daiker Project, Mary 

Kadderly, Wreck Creation, Bombay, The Delinquents, 

See Jane Run, Bloomrailer FINN. 

Ryan Foster Mastering 

Portland/Los Angeles 

(503) 224-8346 

Mastering/Audio Engineer 

All the right gear and cool, laid back atmosphere, 

competitive rates. "The mastering/audio engineer 

you've come to know." Clients: Sony, 

Loosegrove, Sub Pop, Astralwerks, FT Records, 

Resistor, Shortwave Records, Estrus, Elemental, 

T/K Records, Top Secret, Darla, Rain 

Records, Burnside Records, Jus' Family 

Records, Bombay Records, M.A.H. Records, 

Empty Records, Dohnut Records, Rainforest 

Records, Satan's Pilgrims, Jesus Presley, 

Silkenseed, Chata Addy, Gino Vanelli, Land of 

the Blind, Ken De Rouchie Band, Hungry Mob, 

Life Savas, Live at Laurelthirst, Izaya, Heavy 

Johnson Trio, Daylights, Hummingfish, Kerosene 

Dream, Cool Nutz, Loveload, Jollymon, 

Gus Van Sant, Systemwide, Grindstone, 

Floater, Countrypolitans, Here Comes Everybody, 

Mel. 

Fresh Tracks Studio 

1813 S.E. 59th 


(503) 235-7402 

Email: fresh@teleport.com 

WWW Address: http://www.teleport.com/ 

~fresh 

Owners: Jon Lindahl 

Engineers: Jon Lindahl, Guy Baker, and Casey 

Spain 

Tracks: 32, 24, 16, & 8 (16 tracks of digital & 

16 tracks of analog) 

Rates: $40 for 32 track, $35 for 24 track, $30 

for 16 track, & $25 for 8 track. 

Equipment: 2 XT Alesis ADAT-can sync up 

to 16 track to get 24 or 32 tracks, analog to get 

24 track via JL Cooper Synchronizer, 24 x 8 x 

2 Soundcraft Mixing Console, MS16 Tascam 

16 track, 80-8 Teac 8 track, ART MPA dual tube 

mic pre-amp, DBX 266 Dual Compressor/ 

Gate, DBX 163x Compressor, DBX 161 Compressor, 

Biamp Quad Limiter/GHate, DBX 

463x Gate, Yamaha 31-band EQ, Biamp Dual 

10-band EQ, Rockman Guitar Pre-Amp, 

Rockman stereo Chours/Delay, Roland SRV 

2000 Digital reverb, Roland SDE 1000 Delay, 

ART SGE Mach 2 Effects Processor, Alexsis 

Midi Verb, JBL 4311 monitors, KLH monitors, 

Auratone monitors, BBE 802 Aural Exciter, 

Panasonic 3700 DAT Mastering machine, 

Otari 1/2 track Mastering machine; wide selection 

of microphones (AKG, Rode, 

Sennheiser, E.V., Shure, Byer, Audio Technica.) 

MIDI Equipment: ATARI 1040 ST computer, 

Symte Track Program, Proteus 1 Sound Module, 

Yamaha TG100 Tone Module, Alexsis HR 

16 Drum machine, Yamaha TG 100 Tone Module, 

Roland MKS-100 Sampler, ESQ-1 Keyboard, 

Casio Midi Guitar. Clients: Fran Gray, 

Molly Bloom, Shanghaied on the Willamette, 

Elf Kings, Burner, Yes Have Some, Buddah 

Beatnik, Vivian’s Keeper, Steve Einhorn and 

Kate Powers, Banjo TWO, Marc Hanson, Al 

Pasque, Ralph Archenhold, Dana Libonoti, 

dismas, La Rai, Steve Hettum, Harris McCray, 

Stephen Cohen, Greg Baker, Chris Palmetto, 

Peter Dubois, Farrell Griffen, and Sylvia 

Hackathorne 

Gung Ho Studios 

86821 McMorott Lane 

Eugene, Oregon 97402 

(541) 484-9352 

1-800-262-9352 

Owner: Bill Barnett 

Engineer: Bill Barnett 

Tracks: 24 analog 2” mix down automation 

Equipment: Westar console- 36 channel, 72 

input, 24 buss. Genelec monitors, Otari 2” 24 

track recorder, Adats available Otari Analog 2 

track with Dolby S/R. 2 Panasonic 3700 DAT 

recorders, Neuman, AKG, Sennheiser microphones 

available. Lexicon 480 L Evintide 8300. 

Vintage tube pre-amp Limiters and Eq’s. 

Carver compact disc recorder (Model #PDR- 

10). Clients: The (Cherry Poppin’) Daddies, 

Laura Kemp, Virginia Cohen, Billy Jack, 

Etouffee, Portland’s “In June” The Bluebinos, 

Love Death & Agriculture, Mark Allan, 

Caliente, Polka Gem, American Girls, Stevie 

Z, Black Stone Jazz Quartet, and Marigold. 

Haywire Recording 

Southeast Portland 

P.O. Box 66381 PDX OR 97290 

503-775-7795 

Engineers: Robert Bartleson, George Verongos 

Tracks: 8/16/24 tracks, Analog or Digital 

Services: Live & Remote Recording, Free- 

Lance, Engineering and Producing, In-house 

Studio Recording, CD Mastering 

Specialties: Remote Recording & Producing 

Rates: Live & Remote recordings: individual 

quotes; 8-track recording spring special: $10/ 

hr; 24-track recording: $30/hr and up depending 

on studio. 

Equipment: Compressors; GML 8900 stereo 

peak limiter, Urei 1176 compressor/limiter, (2) 

DBX 160x compressor/limiters. Microphones; 

Neumann U48 tube mic, (2) AKG 414 ULS, 

(2) AKG 460, AKG D112, (4) Shure SM 57, 

(4) Sennheiser 421, (2) Beyer M260 Ribbon. 

Tape Machines; Panasonic SV3700 DAT, 

Tascam 48-B 1/2" 8 Track Recorder, Tascam

122MKII cassette deck. Effects; Lexicon PCM 

42, Yamaha SPX 900, Alesis Midiverb. Misc: 8 

Channels of API 550A EQ's, Neve split Mic 

Pre/EQ, V/T Tube DI. Amplifiers; Ampeg 

Portaflex B-15 bass amp, Vox Royal Guardsman, 

Vintage Supro Guitar amp. Monitors; 

Yamaha NS-10 Studio. Clients: Wilco (Warner 

Bros. records), Skiploader (Geffen records), 

Thirty-Ought-Six (Mute records), Eric 

Mathews (Sub-pop records), Pond (Sony 

records), Adam Wade, Bassoon Brothers, 

Scribble, Slackjaw, Spoil Sports, Suplex, Contraption, 

Crowdog, Pushover, Failtaker, Cowboy 

Angels, Benny Wilson, J.C. 

Rico, Flophouse Palace, Gravelpit, The Cow 

Trippers, Many Choirs, Big bands & other large 

ensembles. 

Jackpot! Recording Studio 

1925 S.E. Morrison 

Portland, Oregon 97214 

(503) 239-5389 

Email: fboa@teleport.com 

http://www.teleport.com/~fboa 

Owner: Larry Crane 

Engineers/Producers: Joanna Bolme, Larry 

Crane, Brendan Hoffman 

Tracks: 16 on 2” tape 

Rates: $240 per day (8 hrs) or $35.00 per hour 

Equipment: MCI JH16 16 track 2" recorder 

(circa 1973), Allen and Heath 40 input, 16 buss, 

16 monitor mixing console, Panasonic SV 

3800 DAT recorder, Panasonic SV 3700 DAT 

recorder, Flying Calf analog to digital converter, 

Marantz CDR 630 CD recorder, Denon 

DRW 580 cassette deck, Accurate Sound Corp. 

2 track or mono 1/4” deck, Tannoy PBM 8 

monitors, YamahaNS 10m monitors, Manley 

“limiter/compressor”, RNC 1773 “Really Nice 

Compressor” by FMR (3),k LA Audio 4x4 

compressor/gate, Behringer MDX 2100 “Composer” 

dual limiter/compressor/gate, 

Behringer XR 1400 4 channel Multigate, Alesis 

Micro Limiter, Korg DTR-2 digital tuner, 

Yamaha Rev 7 digital reverb, Alesis Midiverb 

II (2), Alesis Microverb II (2), Ibanez AD 202 

analog delay, Digitech TSR 24S dual channel 

digital processor, AudioArts 4100 Parametric 

EQ (2), Sytek MPX-4A 4 channel class A mic 

preamp, Rolls RP 220 tube mic preamp, PAIA 

tube mic preamp, SansAmp Bass Driver DI, 

DBX “Boom Box” subharmonic synthesizer, 

Sony MDR 7506 headphones (5), AKG K 240 

headphones, Cable Upright Piano, Hammond 

Organ with broken keys, Leslie 900 speaker/ 

amp combo. 

Microphones: Manley Cardiod Reference 

Tube Mic, Earthworks 30K omnidirectional 

condensers (matched pair), Langevin CR 3A 

(2), Crown CM-700, AKG D112, Electro Voice 

RE 20, Audio Technica Pro 37R (3), Shure SM 

57 (7), Shure SM 58, Ajudio Technica Pro 25, 

Astatic JT-30 crystal Mic. 

Clients: Elliott Smith, Pavement, Quasi, No.2, 

Pinehurst Kids, Varnaline, Richmond 

Fontaine, Satan’s Pilgrims, Tra La La, The 

Chimps, Blackjack, Chris Eckman, Fernando, 

Pete Krebs, Birddog, Fuckpriest Fantastic, 

Miranda July, Jr. High, The Spinsters, The 

Dickel Brothers, Zoogz Rift, Snowmen, etc. 

Special Notes: We specialize in “alternative/ 

indie” rock type stuff if that’s what you want 

to call it. 

J.A.S. Recording 

P.O. Box 884 

Beaverton, OR 97075 

274-2833 

Owner: Andy Strike 

Engineer: Andy Strike 

Tracks: 16 channel mixing direct to DAT 

Rates: $150 per day (8 hours). Over 8 hours 

prorated to daily rate. 

Equipment: Soundtech ST162 16 x 2 x 1 mixer; 

Digitech DSP 128 plus digital effects processor; 

Tamaha GC 2020 stereo limiter; Symetrix 

CL-150 compressor/limiter. Microphones: 

AKG C535 condenser; Audio Technica ATM11 

(2); Shure SM57/56 (6); EV PL259 (2); and 

many others. AKG K240 headphones. Master- 

ing: Revox A100 1/2 track 1/4 inch 15/7.5 ips; 

DA-7 Digital Audio Recorder (DAT); Optonica 

RT-6605 3-head analog cassette; Nakamichi 2head 

analog cassette. Special note: We are a 

live, on-location recording service. We record 

directly to digital to produce natural and accurate-sounding 

recordings. We record live 

performances or in your home. 

J&M Recording, Inc./First Take Studio 

7845 S.E. Flavel St. 


777-9281 

Owners: James & Mavis Nyssen 

Engineers/Producers: Doug Pershing 

Tracks: 24 analog, 99 MIDI 

Rates: $45/hr.;block rates available—call. 

Equipment: Soundtracks MRX Series 24x8x2 

console. Lexicon LXP 15, LXP5 and LXP1; 

Korg A1; Digitech DSP256XL; Yamaha Rev 7; 

Aphex compellor; Aphex aural exciter Type C; 

ART DR-X; dbx 263 de-esser; Audio Logic 266 

dual gate + compressor + limiter; Audio Logic 

440 Quadnoise gate; Rockton Hush IICX stereo 

noise reduction system; JBL Control 1 Plus 

monitors. Microphone—AKG 414; Audi 

Technica ATM 31R; EV N/D 408; Shure SM57; 

AKG D112; Carvin CM90E condensor mics; 

Shure SM56. Mastering—Two Sony DAT machines 

and a Carver PST-24 dual cassette deck 

with MPX filter and Dolby B and C noise reduction. 

MIDI: KX88 MIDI Master controller; 

Yamaha SY99 and DX7’s; Korg Wavestation 

EX; Emu E-Max II with 8 megs of sample 

RAM; Emu Performance; Emu Percussion; 

Emu Proteus/2. Other: Macintosh IIci; Mark 

of the Unicorn MIDI Time Piece; Opcode Vision 

3.1 sequencing software & Galaxy Editor 

librarians; ADA MP-1 MIDI programmable 

tube guitar pre-amp; stereo Marshall 4 x 12 

cabinet; Marshall SE 100 speaker emulator; 

MosValve guitar power amp; Jackson Pro- 

Winger bass. 

KAOS Recording 

Portland, OR 

(503) 287-5066 

Owner: John Belluzzi 

Engineers: John Belluzzi 

Tracks: Tascam 1" 16 track 

Rates: $175.00 per day 

Equipment: Panasonic DAT, ART tube compressor, 

Rode tube mic, 2 Rode condensor 

mic's, tube pre amp, 24-8 Mackie mixing 

board, Tascam DA 30, Lexicon LXP1, LXP5, 

DBX 166 compressor, JBL 43 12 control monitors, 

AKG 414, Equitech, Sennheiser 421, EVPL 

20, EV 308, EV 408, Audiotechnic 37R, SVT 

B2 bass amp, line 6 guitar amp, Premier XPK 

drumset, SPL pychoacoustic EQ. Clients: 

Fernando, Little Sue, Golden Delicious, 

Gravelpit, Disfunctional, The Automatics, 

Bluto, Lovelode, Backside Disaster, Nervous 

Christians, Sissyface, Gern Blanston, Doris 

Daze, Patsy's Void, The Delinquents, Murder 

God, Fall From Grace, Forehead, Scribble, 

Iowa Hawkeyes, Yankee Wuss, Village Idiot, 

Sweet Backyard, Iommi Stubbs. 

Lion's Roehr Studio 

5613 S.E. 69th 


(503) 771-8384 

Owner: Mike Roehr 

Producers: Jeff Powell, Karl Lazdins, Mike 

Roehr 

Tracks: 16 ADAT 

Rates: $15 to $20; location prices also available 

Equipment: 2 Soundcraft consoles, TL, audio 

tube pre-amp, Drawmer compression, 

Harmon Kardon amplifier, DBX, Aphex, Sony, 

Lexicon, Art and Digitech. Mics: E/V 408, A/ 

T PRo 25 and Audix D-3 and OM3 Xb, (2) 

AKG C-1000 S's, Audio Technica 4033, SM 57. 

Monitors: Tannoy PBM-8's. Clients: Other 

Living Things, Furious George, Peter Bach, 

Rhythm Jones. 


Make your recording dreams 

a reality at the NEW! 

studio 

up to 32 tracks digital 

16 track analog 

Steinway, Hammond, 

Rhodes, & 16 other keyboards 761-0964 


Tina Tina S S Marie Marie Band 

Band 

April 12 

Dublin Pub 

http://www.users.uswest.net/~bvp 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 

✯ 


SEE US 

April 16-17th, 

May 14-15th, 

@ Dr. Feelgoods 

CD “Namaste” 

available at Music 

Millennium and 

Locals Only. 

For bookings call 

736-1257 

or 230-1869 

COMING SOON: 

“MAN IN A GLASS” 

THE EP 

FROM PIPE DREAMS 

ON CD 

American Coin Machine 

Sega, Pinballs, Video 

Automatic Products 

Dixie - Narco 

Used Games 

700 SE Clay 233-7000 

ATTENTION PORTLAND MUSICIANS! 

� 

announcing... 

Columbia 

Columbia 

w w • • e e • • s s • • t 

t 

r r e e c c o o o r r d d i i i n n g 

g 

The standard just raised. 

(503)492-9072 

� 

� 



Museum Music Productions 

Lake Oswego, OR 

(503) 699-3505 

email: museum@cybcon.com 

www.cybcon.com/~museum 

Rates: $40.00/hr & negotiable 

Music Director: Roger Mielke 

Tracks: 24+ 

Equipment: AMEK console 24x16x2, NEVE 

Traking room, Summit tube mic preamps, 

Summit tube compressors, (3) Alesis ADAT 

XT, OTARI MX-50 open reel analog recorder, 

SCHIMMEL 7' Grand Piano, Nuemann TLM 

170, and any mic available on request ahead 

of time. Live recording room dimensions 

27x21 with fifteen foot ceiling for BIG ASS 

DRUM SOUNDS ! ISO booth #1 9x8, ISO 

booth#2 8x6, Control Room Portland Biggest 

and most comfortable 27x26 with large 

couches. We offer Water Sking or Boating on 

your breaks on Lake Oswego. Call for tour, 

when you see this place you will love it. When 

you hear us you will be sold. Roger Mielke's 

Partial Credits: KISS Gene Simmons, Steve 

Vai, Lita Ford, Halloween III, Kick Boxer 

Claude Van Damme, Major TV work,Over 

fifty album credits. Call for a tour. 

Nettleingham Audio 

360-696-5999 

Vancouver, WA 

(just minutes from downtown PDX) 

Email: fuserock@aol.com 

Services: CD Mastering, one-offs, digital editing, 

independent engineering 

Specialties: CD Mastering 

Owner/Engineer: Kevin Nettleingham (Independents 

welcome) 

Tracks: 32 Track Digital Hard Disk 

Rates: $50.00 per hour 

Equipment: Digital Audio Workstation; 

Digidesign Pro Tools 24 system, Software Version: 

4.1.1, Audio Hard Drives; 3 x Seagate 

Barracuda 4 gig. & 1 Quantum Atlas II 9 gig. 

Computer; Macintosh Power PC 9600/233. 

RAM.; 144 megabytes. Internal Hard Drive; 2 

gigabytes. w/ dual 20" monitors. Monitoring 

Console; Mackie CR1604-VLZ. Analog Processing; 

GML 8200 Parametric Equalizer, 

Cranesong STC-8 Discreet Class A Compressor 

Limiter. 

Digital Processing: Waves; L1 Limiter, Q10 

Paragraphic EQ, C1, Compressor/Gate, Renaissance, 

Compressor, S1 Stereo Imager, 

TrueVerb & WaveConvert, TC Electronics: 

Reverb & Chorus Antares Systems: Auto-Tune 

& MDT WaveMechanics: PurePitch DUY: 

DaD Valve & Wide Intelligent Devices: IQ 

Drawmer: Compressor/Limiter & Gates 

Digidesign: DINR & other various effects Data 

Back-up: Exabyte EXB-8700LT 8mm CD Recorder: 

Philips CDD 2600 4x read, 2x write 

Software: Digidesign Master List CD Version 

2.0, Adaptec Toast 3.5.4 Monitors: Meyer 

Sound HD-1 High Definition Audio Monitors 

Metering: Intelligent Devices AD-1 Pro Audio 

Analyzer, Waves PAZ Pscychoacoustic Analyzer. 

2 Track Players/Recorders: Tascam DA- 

30 MKII DAT, Nakamichi MR-2 Cassette, 

Marantz PMD-321 CD with AES and SPDIF 

outputs. A Few Of My Clients: 5 O, Clock 

People, Magic Marker Records, Bland Records, 

Boot to Head Records, Buko, Crowdog, Liquid, 

Reno Jazz Quintet, King/Vinnegar/Brown 

Porter Quintet, Artists for a Hate-Free 

America, Gravelpit, Airforce Records, Village 

Idiot, Daylights, Threscher, 44 Long, 

Grammatrain, Crux , Schizophonic Records, 

PHD Records, KBOO Church of NW Music, 

Renato Caranto, Ellen Whtye & Reflex Blue, 

Allegro Distributers, The Bassoon Brothers, 

Emile Pandolfi, Musicraft Multi-Media, 

Moultrie Patten, Steinway and Sons, Johnny 

Limbo & the Lugnuts, Matt Messing, Rob 

Bartleson. 

No Moving Parts 

S.E. Portland (near Laurelhurst) 

234-6410 

Owners:Mark/Michele Kaeder ,Justin 

McCarthy 

Engeneer/Producers:Justin McCarthy , Mark 

Kaeder 

Tracks:40 (32 harddisk,8 adat) 

Equipment: Recording: Alesis X2 Recording 

console (24x8 ,64 sources at mixdown full 

parametric eq on all channels), Creamw@re 

Tdat-16 hard drive recorder with Firewalkers 

DSP and Osirus audio restoration software 

(running on a P2 266 with 128 megs of ram 

and 32 gigs of storage) , NEW Creamw@re 

Pulsar 96/24 DSP, Synthesis, Mixing platform 

(running on seperate P2 233 with 128 megs 

of ram and 4 gigs of storage) with Cubase VST 

MIDI sequencing and HDR software.(too 

many other audio programs to list) , Fostex 

RD-8 ADAT. Outboard: Lexicon MPX-1 

multieffects processer, ART Pro MPA tube mic 

pre, ART Pro VLA optical tube compressor, 

DBX 1066 stereo copressor/limiter/gate, Real 

Tube RT-902 tube guitar pre. Monitors: 

Genelec 1029A biamp monitoring system w/ 

sub , Event 20/20 bas active refrence monitors. 

Synthesis: Roland XP-80 MIDI workstation , 

Ensoniq ASR-X sampeler ,Alesis D-4 MIDI 

drums, Roland GI-10 guitar MIDI interface , 

Fender Strat with MIDI pickups. Condenser 

mics:Soundeluxe U-95 multipattern tube mic 

, Rode NT-2 , Rode NT-1, Audio Technica 

,ATM35, AT-851a, AT-4041(2) Cardiod Dynamics: 

E.V. ND-868, ND-367 , Peavey 

PVM22 (2) , Cad 22 (2).Misc:Yamaha 

CDR400t 4X CD writer. AKG and SONY headphones 

,Samson Headphone amp , Dennon 

3head cassette deck, SWR Bass amp with Eden 

4x10 cabinet 

Notes:No Moving Parts is a comfortable, low 

cost recording environment with a friendly 

and knowledgeable staff. Providing Exceptional 

sound quality with the kind of speed 

and flexability that only hard drive recording 

can provide. Perfect for inexpensive, great 

sounding demos or for budgeting the kind of 

time it takes to complete a fully produced final 

product, Check out our website at 

www.nomovingparts.com for more info. Clients: 

Dizzy pilots, Glorybox ,The Automatics 

, The Blue Ribbon Boys, Heywood, Creepy Old 

Trucks, Lew Jones , Hsu String Quartet , Bucket 

of Rocks ,Recording and editing for the 

independant film Breach Of Etiquett , Commercial 

sountracking for Outdoor Animation 

and sound effects and background music for 

Colorado Time Systems sports reader boards. 

Northstar Recording 

13716 S.E. Ramona 


(503) 760-7777 Fax: (503) 760-4342 

Owners: Scott James Hybl, Curt Cassingham 

Engineers/Producers: Dean Baskerville, Rob 

Farley, Bob Barnes, Mike Conner 

Tracks: 32, 24, 16 

Rates: 32/24 track, $50/hr.; 16 track, $35/hr. 

or $60 tape rolling. Block rates — 32/24 track, 

$40/hr. on 50 prepaid hours. 

Equipment: Otari MX-80 2" tape machine; 

Tascam 85-16B; Tascam 85-16 1" machine; 

Panasonic SV-3500 DAT; Technics SVMD1 

portable DAT; Ampex ATR 800 1/2 track; Otari 

MX 5050 1/2 track; Klark Teknik DN780 reverb; 

Lexicon PCM 70 & LXP-1; Roland 

SRV2000 (2); Alesis Midiverb II; MicMix 

XL305; A/O plate reverb; Eventide 949 harmo- 


LAST MONTH 

THIS MONTH 

artist/label/title 

top tracks 

WEDNESDAY 10:30-MID. 

92.7 FM Columbia Gorge 

100.7 FM Corvallis/Albany 

3 1 LITTLE SUE Cravedog CD ............................................................................................... Crow 

4 2 AMERICAN GIRLS pace Age/ Elemental CD ....... In The Whiskey YaYa’s 

2 2 HERMAN JOLLY HJ CD ............................................. Mad Cowboy Disease 

2 2 BASEBOARD HEATERS Demo CD ................. The Baseboard Heaters 

• 3 FERNANDO Cravedog CD .......................................................................... Old Man Motel 

6 4 T GREER Page Music CD ................................................................................. T Greer 

13 5 LARRY YES Yes Enterprises CD .................................................................. Larry Yes 

7 5 THE VIBRASONICS Ultrasonics CD ........................... Tiki Torch Cocktail 

11 6 VARIOUS Nilla CatCD .......................................................... Whiskers and Hinds 

• 6 4 HR. RAMONA Yeah, It’s Rock CD ........................................ Pharmacy Park 

8 7 JEFF LANDON Hush CD ....................................................................... Slowness 

• 7 44 LONG Sideburn CD .................................................... Inside the Horse’s Head 

9 8 KIL KARE Kil Kare CD ................................................................................... Kil Kare 

• 8 GRAVELPIT Rockadelic Records CD .................................................. Snow Globe 

10 8 STEPHEN SPYRIT Fireborn CD .......... Love Poems For The Millenium 

• 9 ROLLERBALL Jalody Grotto 7” ...................................................... Late for Corn 

12 9 WRITTEN IN ASHES Nightfeast CD .................................... Nightfeast Single 

12 10 ROGER NUSIC RNC CD ................................................................................ LLLLL 

• 11 ROLLERBALL Pacific Wonderland 12” .................................. We Owned Lions 

• 11 WARTIME CHOCOLATE CA ................................. Wartime Chocolate 

13 12 TED THIEMAN Demo CA .............................................. Send Home the Jackets 

• 13 MEL Mel CD ............................................................................................................. Tantric 

4 1 LITTLE SUE Cravedog CD ............................................................................. Strong 

5 2 THE AMERICAN GIRLS Space Age/ Elemental CD .................... Elizabeth 

2 3 HERMAN JOLLY HJ CD ................................................................. Slow Dance 

3 4 BASE BOARD HEATERS Demo CD ..................................................... Road 

• 5 FERNANDO Cravedog CD ................................................................................................ Jesus 

• 5 T GREER Page Music CD ...................................................................... I Gotta Buzz 

live offerings at the church 

Wednesday, April 7th ----------------------- Stephen Spyrit-live in the Studio1 

Wednesday, April 14th ------------------------------------New Release Showcase 

Wednesday, April 21st------------------------------- 44 Long-live in the Studio1 

Wednesday, April 28th -------------------- Wally Dynamite-live in the Studio1 

Wednesday, May 5th ------------------ The American Girls-live in the Studio1 

4811 SE Hawthorne 238-1646 

APRIL 

Friday 9th 

Smooch Knob, Conduit, Emerge & Noise 

Saturday 10th 

Chris Mayther & Soul Vaccination 

Wednesday 14th 

Honey Bee, Groove & Red Madder 

Thursday 15th 

Higher Ground & Captain Tractor 

Friday 16th 

Benefit Show 

Soular, Earthforce, Walleye, 

Sasquatch & Blue Sky Roadster 

Saturday 17th 

Pagan Jug Band &River Roots 

Thursday 22sd 

Rafferty, Rotating Leslies & guests 

Friday 23rd 

Love Lode, Anger Managment,Dead Red Head 

Saturday 24th 

Nicotine, 9v Mile, John Thayer, 4th Plane Jaiant 

Friday 30th 

Omar Torrez & guests 




nizer; Aphex Dominator II & Aural Exciter; 

BBE sonic maximizer; Lexicon prime time; 

Delta-Lab DL-5 Harmoni-computer; UREI 

1176LN limiters & 7110; Roland SDE 1000 & 

DEP-5; dbx 463 de-esser; Yamaha SPX-90; Valley 

People Dynamite; US Audio Gatex; Burwen 

noise filter; Aphex 612 stereo gate; Symetrix 

vocal processor (2); Wendel Jr. w/all cards; 

Sycologic trigger; dbx 463 gate; dbx 160 limiter; 

Sound Workshop Series 30 console w/ 

Roland 12 line mixer; Tascam 8 line mixer, 

UREI 809, JBL 4311, Auratone monitors; 

Hafler 250; Crown D-75; Rane HC-6; Sound 

Genesis Split headphones; Sound Tools digital 

editing w/ 1 gigabyte hard drive; 650 megabyte 

removable optical cartridge; 45 meg mass 

micro removable; Adam-Smith Zeta Three 

syncronizer. MIDI: Emulator III (2) 8 meg 

machines; Emulator I; E-Max II & I; Proteus I 

& II, EMU SP1200; Alesis HR16; Drumulator; 

Oberheim DPX-1; Jupiter 6; Yamaha DX7; 

Yamaha DX7 & FB-01; Tama Techstar drums; 

Jambox 4+; JL Cooper PPS-100 SMPTE. 

Other: Yamaha 6' grand piano; Macintosh II 

w/ Sound Tools; Mac SE, SE/FD-HD & Plus; 

Roland MC-500 MK II, MC 500 & MSQ 700; 

Alchemy; Sound Designer I & II; Master List; 

Soft Synth; Dinale; Drum File; Superstudio; 

PageMaker; Microsoft Works; Overvue; etc. 

Clients: Kingsmen, Dan Reed Network, 

Margie Boule; Versus; Sceptre; U.S. Bancorp; 

Graphic Media; Vidamix; Leslie Carter; 

Romeo; Tenley Hollway; Ria; Maureen Love; 

Bartholomew; Todd Michaels; Free Rain 

Records. 

Opal Studio 

P.O. Box 86713 


(503) 774-4310 

E-mail: opalpdx@teleport.com 

Owner: Kevin Hahn 

Engineer/Producers: Kevin Hahn, Vince 

Tognetti, Chris Stevens, 

Tracks: 24 

Rates: $40.00 per hour; block and project 

rates available 

Equipment: Yamaha O2R automated digital 

console, 24 tracks of 20 bit ADATS with BRC, 

Tascam DA-30 mkII, Tascam DA-20, Marantz 

615 CD recorder, Tascam 302 dual cass., Teac 

PD-D860 

Microphones: Neumann U87 (2), AKG 414, 

AT4050, AT4033, AT4051, AKG D112 (2), 

Audix D1, D2, D3 (2), EV ND757a, Shure 57 

(5) 58, and others. 

Processors: Focusrite Red 8 mic pre-amps, 

TLA PA-5001 quad tube pre-amps, ART Pro 

MPA, Eventide H3000 SE, Lexicon LXP-15, 

Yamaha SPX-90, O2R onboard effects (2), 

Aphex Compellor, Symetrix 425, Aphex aural 

exciter, Aphex 107 pre-amps, Alesis M-EQ 230 

Monitors: Urei 809, Yamaha NS-10m, KRK, 

Auratone. 

Other: Cakewalk Pro Audio 8, Fender, Gibson, 

Jackson and various other guitars, Marshall, 

Crate tube combo, Ensoniq TS-12, D4... 

Clients: Shrapnel Records, Shortwave Records, 

Deen Castronova, 17 Reasons Why, Silkenseed, 

Heavy Bros., Stephanie Schneiderman, Sky 

Blue Mind, Dan Blaufus/Sandy Frye, Jive 

Talkin’ Robots, Jollymon, Paradigm Driven, 

Written in Ashes... 

Pro-Arts Productions 

1350 Chambers Street 

Eugene, OR 97402 


(541) 345-9918 

Owner: Tony Proveaux 

Engineer: Tony Proveaux 

Tracks: 16 

Equipment: Alexis Adat digital recorders- 16 

track, Mackie 8 buss mixing board, various 

amps, guitars, AKG mic’s. 

Clients: Floater, KPants, Surf Trio, Flapjacks, 

Oswald 5-0, Headhunter, Surfonics, and others. 

Pushy Jew Productions 

N.E. Portland 

(503) 288-9279 

Owner/ Engineer: Ken Goldstein 

Tracks: 8 tracks digital audio editing 

Rates: $15.00 per hour/projects negotiable 

Equipment: Pro Tools & Studio Vision Pro, 

Hard-disk mastering to DAT, Tascam DA 30 

MK II, Unlimited MIDI tracks, SMPTE Capable 

Clients: Lynn Haldeman, Jeff Otto, 

Kevin Russell, Mary Sue Tobin, Tom Anderson, 

Quixotic Music Productions, Two Louies 

Radio Magazine 

Q Studios, inc. 

Aloha, OR 

Phone/Fax: (503) 591-1200 

Email: qstudios@cybernw.com 

WWW: http://www.transport.com/~qstudios 

Engineers: Eric Danskine, various independents 

welcome 

Rates: $25.00/hr, project quotes when applicable. 

Equipment: 24 track ADAT system w/BRC, 

64 input X2 console w/fader automation, 

Macintoch based Digital Audio WorkStation 

running Deck II software, Tascam DA-30 DAT, 

Tascam, Sony & Yamaha cassette recorders, 

Nakamichi CD player, Roalnd M-160. Effects: 

Lexicon LXP-15, LXP-1, LXP-5 w/MRC, RSP 

Intelliverb, Korg A3, Ibanez SDR-1000+, Alesis 

MIDIverb II, Roland SDE-1000. Signal Processing: 

RSP2200 multi-band compressor, 

"Saturator" tube, Ampex PR-10 tube mic pre 

(2 ch.), Alesis 3630 compressor/gates (2), 

Yamaha GC2020Bii compressor/gates, HUSH 

8X expander (8ch.), Digitech MEQ-28 third 

octave programmable EQ, BBE 822A Sonic 

Maximizer. Mics: AKG C408, (x5), Audio 

TEchnica 4033 (x2), Sennhaiser 421 (x2), 

Beyer Dynamic M88 ribbon (x2), Sure SM-57 

(x3), Electrovoice ND 257 & MC-100. Other: 

Yamaha NS-10M & custom CV monitors with 

Carver Amplification. Fully balanced tt patch 

bay. E MU Proteus 1 & 2 MIDI sound modules, 

Akai S2000 sampler with computer editor, 

Akai S-900 sampler, Akai MX-76 weighted 

key controller, Master Tracks Pro sequencer. 

Premier Resonator drum set with Zildijian 

cymbals. Seperate control room and performance 

room with iso booth. Patio off control 

room. Clients: Polygram, London Records, 

MOMO Digital Records (MDR), Zelleznik Recording 

Co., Consolidated, Gregarious, pH7, 

Feller, Lielythe, Zombot Farm, Morgan 

Hardisty, Josh Dog, Jen Bernard, Lynn Anderson, 

Pierian Springs Software, Bassist College, 

Way Far Guitars, Sister of Lars, Mind Disciple, 

Hyperthermia, Wash, Emerge MC, Tone Deaf 

Orchard, Green Juice, Black Pearl, Funkknot. 

R Studio 

(503) 285-9168 

Owner: Gregg Whitehead 

Engineers: Gregg Whitehead, Kristopher 

Merkel 

Rates: $25.00/ per hour 

Tracks: 16 tracks analog/ 16 tracks Digital/ 

Full automation 

Equipment: Tape Machines: Fostex E-16, 

30ips olbyw/,D C Sony DTC-700 D, Sony tape 

deck with Dobly S, Computer: Pentium 90, 3 

gigs memory scsi, 16 meg ram, Digial Audio 

Labs "digital only" card D, Crystal Lake Audio 

"Crystal Clear Wavetable," soundcard, "SAW 

PLUS" 16 tracks Hard Disk recording and editing, 

Consoles: Yamaha ProMix 01, (digital 

mixer with full automation; levels, mutes, EQ, 

effects, compression, and total recall) Fostex 

18 x 4 x 2 warm sounding mixer (3 band 

parimetric EQ per channel), Monitoring: 

Peavy-Phase Reference monitors, Yamaha NS- 

10, Auratone, AKG & Sony headphones, EFX: 

EQ, Compression, and Gates: Alesis, DBX, 

Moog (pari),Behringer, ECC, Mutron, 

Yamaha, Deltalab, Microphones: CAD, AKG, 

EV, Shure, Audix, Audio-Technica, SMPTE, 

and MIDI. Digital sequencing and editing 

software Clients: Iddy Biddy, Tilting At Windmills, 

King Black Acid, Brothaz Grimm, Soil, 

Allen Jackson, Psycho Drome, Trip 21, Blue 

Jean Rayburn, Monde la Bella, Ray, Killing 

Field, Big House 

Rainbow Recording 

6614 S.W. Garden Home Rd. 


(503) 246-5576 

Owner: Galen Hegna 

Producer: Galen Hegna 

Engineer: Galen Hegna, Steve Martin 

Tracks: 16 / 24 

Rates: $35/hr. Block rates available (call for 

info). 

Equipment: Harrison 36 channel mixing console, 

ADAT digital recorder, Fostex, Otari, 

Nakamichi, Aphex, digital editing capabilities, 

Yamaha, dbx, BBE, DAT decks, Panasonic sync 

to video, synchronizers, MIDI controllers, sequencers, 

JBL, Neumann, AKG, Sennheiser, 

EV, Shure, upright grand piano, plus much 

much more. Call for details Clients: Paul 

Chasman, Carl Dees, 12 Gauge, Dennis 

Moorehouse, Funnel, Don Leigh Blues Band, 

Dan Hegman and Don Bliss, Out of the Blue, 

Cherokee Jerry, Steve Axeford, and Dixon Jane. 

Recording Associates 

5821 S.E. Powell Blvd. 


(503) 777-4621 

Owners: Jay Webster, Chris Webster, Bob 

Stoutenburg 

Engineers/Producers: Bob Stoutenburg 

Tracks: 16/24 

Rates: 1/2” 16 Track, $30/hr, Block (over 10 

hours) $25/hr. 2” 16/24 Track, $50/hr. 

Equipment: MCI JH416 24 x 24 console; 

Ampex MM1100 24/16 track; Fostex B16 1/2" 

16 track; Otari 50/50 2 track; Yamaha NS-10 

monitors; Teletronics, Symetrix, DBX compressors/limiters; 

Delta Lab, Roland, Alesis, 

Evantide, MXR delays; Mic-Mix aural exciter; 

Orban-Parasound de-esser; Neumann, 

Sennheiser, Shure, E-V, AKG microphones 

Other: Real-time and high-speed cassette duplicating 

services. Video production and duplication 

Clients: There Ya Go, Stain, Loco, 

Okie Drifters, Twist of Fate, Flat Black Tomato, 

Tom Foolery, Tracer, Steeplejack, Nucking 

Futs, Elmer’s Restaurants, Oregon Historical 

Society, The Branders, Swing Line Cubs, 

Stumptown Jazz, Calloway & Lee, Darin 

Clendenin Trio, Last Rodeo Band, Ted Lee Orchestra, 

Marketing Concepts, National Examination 

Center, Vacation Villages, Inn at Spanish 

Head, Witch Throttle Gush & The Green 

Devils, Kevin Collins and the Mojos. 

Red Carpet Treatment 

S.W. Portland 

(503) 292- 3861 

Owners: Gavin & Wendy Pursinger 

Engineer: Gavin Pursinger 

Tracks: 16tk 2” 15/30 ips. 2tk 1/2” 15/30 ips 

Rates: $35/hr or 10 hr block for $250. in advance. 

Plus tape costs. 

Recorders: Scully 288-16 (2” 16tk), Ampex 

AG440B (1/2” 2tk), Studer A700 (1/4” 2tk), 

Ampex 351-C (mono tube 1/4”), Panasonic 

SV 3700DAT, Digital Audio Labs Hard Disk 

Editor, Phillips CD Burner, Pioneer 3 head cassette 

(+4 converted). 

Monitors: Large JBL Alnico 15”/2”/Eliptical 

ring system in factory cabinets Biamped and 

TUBE driven. Near fields are JBL/Crown PA 

in playing room. Headphones have separate 

mixes in each playing room-Crown 300A & 

Phase 400 powered. 

Console: Sunn SPL 3424 & 4424 well tied for 

56 inputs 

Tube Equipment: RCT Tube 4x8 Stereo Plate 

Reverb, Presto 40B (regulated) mic pre, RCT 

stereo tube limiter (6L6GCs), KGW Line Amp, 

RCT stereo tube mic/line pre 

(5879s&6L6GCs), RCT tube mic pre 

(5879&6L6GC), RCT stereo differential limiter 

(6SN7GTAs), 2 Bogen Tube mixers 5ch 

(EF86s), RCT stereo tube DI (12AT7x). RCT 

TUBE GEAR HAS SEPARATE POWER SUP- 

PLIES AND DC HEATERS. 

Effects: RCT Tube Stereo Plate, AKG BX 10 

Rev, Alesis & Lexicon revs, Behringer Dualflex 

exiter, Orban Optic Compressor, Behringer 

Composer, 2 Tapco +4 stereo graphic EQs, Audio 

Logic Quad Gates (VCA), 2 Scully 280 mic 

pres, Ampex 440C mic/line pre, 5 Digital Delays, 

12 ch patchable DBX 180 noise reduction. 

Mics: AKG “The Tube”, 451 (2), D-12, 330BT 

(4), Electrovoice RE20, RE 16 (2), DS 35 (2), 

665, 1777A (2), RE 50, Sennheiser 421, Shure 

55S, 56 (2), 58, PE50SP. Helpinstill magnetic 

piano pickup. 

Instruments: grand piano, Hammond CV & 

Leslie, Fender Rhodes 88 stereo, Fender Telecaster 

bass, Gibson melody maker (P90s), 

Rickenbacker 330-12 string(George Harrison 

style), Yamaha acoustic 12 string, 65 Fender 

Pro & dual showman cabinet, Sunn 2000s, 

Sunn 1200s, Sunn 100s, Ampex jet J-12. 

Clients: Ray Charles, Chubby Checker, Al Rivers 

III & The Ink Spots, Ike Willis Band, War, 

Edwin Starr, Howard Roberts & Mel Brown, 

The Weevils w/Billy Hagen & Dave Gill, Blake 

Wood, Kathleen Riley, James Robbins Band, 

Cross Country, Diamond Eye, Kevin Collins, 

The Bluesters, The Rockfords, Robert Brown, 

Rob Ohearn, Miss Red Flowers, Plesure Seekers, 

Planet Quarantine, Kind & Loving Spiders, 

Undercover Records, Cravedog, Fernando 

(Luther Russel on keys), June & Joey, Vintage 

Flashback, Band of Andys, Strawberry,Orange 

Collection, Lamurians, In Cell, Sleepover, Producer 

mike Mason, Brownell Sound & Bluegrass 

on the Green, Lisa Miller & the Trailer 

Park Honeys, and many more. 

Rex Recording 

1931 S.E. Morrison 


(503) 238-4525 

Owner: Sunny Day Productions, Inc. 

Engineers/Producers: Cal Katterman, Jeff 

Fuller, Keld Bangsberg, Russ Gorsline, Greg 

Branson 

Tracks: 24 8/8 analog, 16 track digital 

Rates: $40 to $100/hr. Call for block rates. 

Equipment: Mixing — Amek Angela with automation 

28 x 24 w/6 aux sends (64 x 2 

mixdown), ProDisk III, Sony JH-24 2" 24track 

recorder 30/15 ips; UREI 1176LN x 2 

peak limiters, DBX 160 x 2 limiters; EMT stereo 

plat reverb 7' w/ solid-state amp; EMT 

mono plate reverb 7' w/tube amp; Lexicon 

PCM 70 x 2 digital effects unit; Lexicon LXP- 

15, Lexicon LXP-1, Symetrix 501 limiter, 

Aphex Compellor II, Symetrix 564 Quad Gate, 

Yamaha SPX 90 digital effects unit; Alesis 

Midiverb II; ADL expander/gates; Scamp rack; 

S100 gates, S01 comp/limiters, de-essers, parametric 

EQ, Yamaha NS-10 monitors, Auratone 

monitors, Bi-amp TC-120 power amp; DBX 

150-X stereo noise reduction (6); Symetrix 522 

comp/lim/gate/ducker (stereo); Symetrix dual 

gate; Alesis microverb and microverb II; SAE 

stereo parametric EQ; Scamp S01 compressor 

and S100 gate. Mastering — Panasonic SV- 

3700 DAT (3), Tascam DA-30 MkII DAT, 

Tascam DA-60 Time Code DAT, Otari MTR- 

10 1/4" half-track recorder 30/15 ips; Fostex 

E-2 1/4" 1/2 track stereo w/DBX I & CTTC; 

Technics RS-B905 3-head mastering cassette 


Frisco Disco 


drowned me, now I’m going to the big empty room 

upstairs. I’ll see you in the big empty room upstairs, 

waiting all alone in the big empty room. 

Cold Portland rain, comin down on me, watershed 

of a broken, drowning man. Cole Porter and pain 

up the ying yang, trying to explain what even I don’t 

understand so I stagger along the railroad tracks, worn 

Nike-town knock-offs and an old knapsack.The ominous 

skyline, like every mirror I pass, reflecting aging, 

crumbling artifacts, counting railroad ties like Kerouac, 

swear again I’m never looking back. On the Cole Porter 

reign, in the cold Portland rain. Cole Porter reigns, in 

the cold Portland rain. 

Its been my goal to go thru life well rested, I never 

meant to become the sideshow I am. 

I can tell you when it happened, the night I got 

arrested and they threw me in the slammer with my 

band. Deep into the season of treason and slumber, genetic 

celebrities stealing my rhyme, my reason and 

thunder. Some teenage crackhead cop-out, salon punk 

cut and a melrose pout, telling me what rock-n-roll is 

all about. 

DON’T TRUST ROCK STARS UNDER 30, 

They’re no deeper than a shallow grave and their hair is 

dirty. No, DON’T TRUST ROCK STARS UNDER 30. 

I Feel like a track star on acid when I’m sleeping, 

the company I’m keeping got me headed for a fall. I’ll 

see you on Springer, it will be a real hum-dinger. I guess 

I’m a 

real right-winger after all, and I, DON’T TRUST 

ROCK STARS UNDER 30. How can they be so pretty 

with their hair so dirty. And now the hit parade begins 

again on the hour. Those tragically hip paraders wilt 

like flowers, there’s such a sweet and sour taste between 

us, if men are from mars and women from Venus, I 

wanna be a Martian with a solid gold penis and absolute 

power..DON’T TRUST ROCK STARS UNDER 

THIRTY. 

My shortermemory, its shot to hell these days, I 

can’t remember things in all the usual ways, coz I’m too 

pale and white, I stay up all night, I need to go outside, 

I need to take a ride..nah-nah,na-nah na-nah ah MY 

SHORTERMEMORY is long-gone, so long, MY 

SHORTERMEMORY. Hey, my shortermemory, these 

days its shot to hell, I can’t remember things. I suppose 

its just as well, coz there is too much pain here, you 

know it always rains here. I need to go outside, I need 

to take a drive, nah-na-nah-n-na-nah 

MY SHORTERMEMORY, its long gone, so long, 

and its no mystery... 

My life expectancy is measured out in hours, I 

need to go outside, and smell the wildflowers. I’m 

wound way too tight, better call it in tonight, need to 

take a drive, if I was prizefighter I’d just take a dive, coz 

my SHORTERMEMORY is long gone,ding-dong... 

My commercial for STREETLIGHT RECORDS 

has preoccupied me the last couple of weeks. Its done 

now and it airs all month in April on channel 26 with 

video footage of NEGATIVE TREND on a Friday night 

video program similar to BOHEMIA AFTERDARK in 

Portland. Then I got a call that none of the songs in the 

17 minute film shot by VANCE PIPER(who went on to 

be the cameraman on T-2 and is now with TOUCH- 

STONE pictures) as a college film project in 16 mm. is 

cohesive enough to show in it’s entirety so they want to 

do an on-camera interview as well. I don’t have 

babysitting, so to my delight, they said to bring my son 

along and “it will give the piece a time 

reference,perspective on how you’ve changed in 20 

years”. Cool as fuck...they’ve met my wonderful monster 

on several occasions when he’s came to the office 

and studio complex with me. So were practicing answers 

to the questions and I’m hoping the lights and 

cameras won’t overwhelm my sophisticated three year 

old. 

John Fletcher was an acquaintance of mine and 

worked for me several years ago as an assistant. I appreciate 

his candor and will contemplate his constructive 

criticism as I try to better myself as a writer, musician 

and person. I thank all of you for the feedback... 

We’re not over the hill.. and the band’s not breaking 

up, we’re not over the hill, we’re just finally sobering 

up, we’re not over the hill, we’re just trying to get 

laid, coz we’re not over the hill, and it’s doubtful we’ll 

get paid. SHUT-UP NOW,SHUT UP NOW..shut up 

and stop complaining. Shut-up now, shut-up now, its 

Portland..its always raining...new ills, less thrills, overdue 

bills, well..take a chill pill. we’re not over the hill. 

sha-la-la-la 

hah, we’re not over the hill, though there’s no demand 

for our supply,we’re not over the hill,were just 

trying to scrape by, and strive , survive, finally 

arrive...then die, having never worn a tie, and all the 

jive, that comes with living nine to five.. 

“John Fletcher was an acquaintance of mine and worked 

for me several years ago as an assistant. I appreciate his 

candor and will contemplate his constructive criticism as 

I try to better myself as a writer, musician and person.” 

We’re not over the hill, just trying to have some 

fun, we’re not over the hill, even though they say we’re 

spun. we’re not over the hill, got black coffee in my cup. 

I’m not over the hill, and you’re never gonna shut me 

up. Yeah we’re not over the hill, it just takes longer to 

get out of bed, we’re not over the hill, just coz were starting 

to like the grateful dead. SHUT UP NOW,SHUT 

UP NOW, shut up and stop complaining, shut-up now, 

shut-up now, some things don’t need explaining. SHUT 

UP NOW,SHUT UP NOW, shut up and stop your 

whining, time for some realigning, shut up and stop 

your crying ,its time for really trying..SHUT UP NOW, 

SHUT UP NOW. YOU LIVE IN PORTLAND ITS AL- 

WAYS RAINING. SOME THINGS DON’T NEED 

EXPLAINING..at all. 

LETTERS 


Date: Thursday, March 18, 1999 7:33:02 PM 


Subj: Re: Name 


Buck, Buck, Buck, is that your best comeback? You’re 

slipping. Or getting old and senile, can’t figure out 

which and don’t care. Hey, when you got a minute, 

go to: www.internic.com and search for 

twolouies.com — Since you’ve been on the giving end 

so much, HOW DOES IT FEEL to have some 

tubesteak ram it up your ass with a horse’s cock? 

You’ve been on the giving end often enough, “we” figured 

you might like to experience the other side. 

Date: Thursday, March 18, 1999 9:41:56 AM 


Subj: Name 


>> Munger, haven’t heard yay or nay on the Two 

Louies offer. Let us know soon so we can move on 

and sell the name to, I don’t know... Bonnie Carter or 

the highest bidder. Act today or someone will get 

squirrelly and domain Two Louie.com .... errrrrr... 

Two Louies.com 





yeah ... you’re right..... let “us” see..... what can we do 

with twolouie.com........ errrrrrrrrr, twolouies.com ..... 

stay tuned “Buck,” it’ll be a pisser!!!!!!! 





You must REALLY FEEL STUPID, to let your .com 

name get bought by someone else.... hence your continual 

response... You’re a pathetic mammy rammer, 

“Buck” or whatever your name is. Listen up, you rat 

bastard, here’s the last offer before we make 

twolouie.com — errrrrrrrrrr, sorry, twolouies.com 

the toast of the www. perv universe....... $10000.00 

for BOTH names — take it or leave it. “We hope you 

leave it. Because we’ll thoroughly enjoy and take great 

delight in making the twolouies AOL screen name — 

the recognized “weirdo” that haunts every Portland 

chat room. Trolling for little girls, young men, hell 

who cares. We’ll just make sure, that everyone in ANY 

PDX chat is thoroughly disgusted by 

Twolouies@aol.com LOL.This is just for starters 

tubesteak, And, as they used to say in your “precious” 

Marines Corp “STAND THE FUCK BY” ..... stay 

tuned for twolouies.com — you’ll swallow hard when 

you see it. In the meantime, twolouie, check us out in 

the chat rooms... 

(ed. note: Oh please, mister cyber bully, don’t 

beat us up and steal our lunch money. 

NEXT Month: Pictures of the Perp!) 



cal gold, utilizing well-planned arrangements and 

magical production choices. They are obvious students 

of the crafts of writing and producing Rock 

music. They are tapped into the wellspring of genius 

at the fountain of inspiration drinking down all that 

their minds and souls can possibly hold. 

Advance EP— Kaitlyn Ni Donovan 

Self-Produced 

It’s been five years already since Kaitlyn Ni 

Donovan first appeared on the scene, with a penchant 

for unique, ethereal song suites and hauntingly beautiful 

vocal presentations. Some believed she would 

have found wider success by now, with her unusual 

style. But Kaitlyn has taken a somewhat longer road. 

Regardless. As evidenced by the three advance tracks 

included among the four on this EP, she is clearly at 

the threshold of achieving the recognition to which 

her rare musical gifts had always given so much promise. 

Kaitlyn has surrounded herself with a deep pool 

of auxiliary talent including, among several others, 

guitarist Jonathan Drews and bassist Eric Furlong— 

who, between them, have played in a bazillion bands 

in their five or so years in the local scene; as well as 

production god Tony Lash, whose contribution here 

is immeasurable. The result is a gloriously original 

sound which might be categorized as falling somewhere 

between Sarah McLachlan, the Cocteau Twins, 

Loreena McKennit and Portishead in the grand celestial 

scheme of musical things. But Kaitlyn’s sound 

is singularly her own, derived from her “morphed” 

chord progressions on guitar and Celtic influences 

on the violin. She is one of a kind. 

“Ceiling Tiles” begins with a drum loop, slightly 

compressed to resemble Portishead’s style, as grumbling 

guitar sounds whir mechanically into the frame. 

Kaitlyn enters with gentle acoustic guitar arpeggios, 

while amorphous sounds formlessly hover in the 

sonic æther. Suddenly a green rain of mournful Celtic 

violins cascade upon the scene. A moody electric piano 

paces the landscape beneath. As Kaitlyn begins 

to sing, the instruments receding into the mist, only 

the piano and her guitar to guide her as the drum 

loop clocks relentlessly in the spatial distance; her 

voice a vaporous honey whisper. This song would be 

perfect soundtrack material for Jane Eyre 

orWuthering Heights. 

Glistening mandolins dance like snowflakes in 


the moonlight on “Tiny Twigs.” A soaring dove of a 

violin glides among the heavens, Kaitlyn’s angelic 

voice hushing a sweet lullaby from above. Hypnotically 

resonant, similar to portions of Terry Riley’s 

minimalist epic In C. Simply beautiful. Acoustic and 

electric guitars weave a sonorous brocade on “Awake 

In The Sand,” Kait’s delicate voice tripping lightly 

across the flimsy fabric. A melancholy cello passes 

through the chorus and bridge, as layers of sumptuous 

harmonies choir in divine resplendence. 

The home recorded “Wingside” hearkens to 

Kaitlyn’s beginnings, but demonstrates precisely the 

evolution this EP represents. For she has lived up to 

the challenge of channeling her extraordinarily phenomenal 

propensity for melody. A voice for the new 

millennium, exquisitely ephemeral, magically enchanting. 

Kaitlyn Ni Donovan may have taken the 

long road on her journey to discover the means to 

her own musical expression. But with this recording, 

there is no doubt that she has indeed at last arrived at 

her destination. 

I Go Zoom— Mary Kadderly 

Mary Margaret Music 

Mary Kadderly has sung out in the vibrant local 

Jazz scene for many years now, regularly gigging with 

pianist Steve Christofferson in a duo format for several 

of them. Here they are joined by a stellar sidecrew, 

to create a refined Pop sound, with smooth Jazz undertones. 

Kadderly can, with facile zeal, sing rings 

around 99.9% of her competition. Her easy contralto 

effortlessly navigates a wide swath of musical styles— 

so diverse, it is difficult to describe exactly from which 

“Jerry Hahn’s peerless tone, unmistakable when it 

appears in the mix, supports a fluid Jazz-savvy fret 

technique that is a complete education for anyone 

who might fancy himself to be a guitarist.” 

bag she may be actually coming. But every stylistic 

guise she dons seems as if it were one she has worn all 

her life. 

And talk about a sterling backup band! All nine 

songs overflow with big name players, including 

Christofferson on a variety of keyboards, drummer 

Jeff Minnieweather and Joey Seifers on electric and 

standup bass. Dan Faehnle alternates lead guitar 

chores with the legendary Jerry Hahn whom, in every 

instance, gives rise to a profound sense of wonder 

and astonishment at his marvelously subdued and 

constrained approach to the instrument. His peerless 

tone, unmistakable when it appears in the mix, 

supports a fluid Jazz-savvy fret technique that is a 

complete education for anyone who might fancy himself 

to be a guitarist. This guy is a master. 

As if that were not enough honey in the mead, 

Valerie Day adds percussion to a number tracks, while 

guitarslinger Trooper Tim Ellis makes several appearances 

in an auxiliary role, fleshing out zesty rhythms 

on acoustic guitar in some parts, comping faithfully 

on electric in others. Trumpeter Paul Mazzio and 

saxman Lee Wuthernow sweeten a number of cuts. 

Even violinist Skip Parente sits in on a tune. 

A few of the songs are well-enough crafted to 

seem like standards or, at the very least, standardsto-be. 

Kadderly had a hand in the writing of all the 

songs, creating a varied palate of melodies for the intelligent 

poetry of lyricists Todd Schultz and Brett 

Bender, as well as for a several of her own verses. 

Schultz, especially, distinguishes himself in his two 

lyric contributions, with an actual and distinctive style 

of writing that is literary in its construction, intellectually 

incisive and emotionally perceptive. 

For the most part though, the aural focus is on 

the stalwart musicianship that drips from every tune. 

Christofferson kicks off the title track with swinging 

boogie piano licks, as Kadderly delivers a light lyric 

with a smooth and assured vocal with a great sense 

timing and energy. “Someday Sometime” is a pretty 

ballad, a little predictable lyrically, but with a sophisticated 

arrangement that calls to mind some of Jim 

Webb’s most memorable songs. 

“Sea Of Love” funks things up in a mellow way: 

kind of like a toned down version of Steely Dan’s 

“Parker’s Band,” Christofferson’s Hammond chattering 

and purring in the foreground. Hahn fires off a 

staccato onslaught of well-aimed notes in a brilliant 

solo that touches all the bases in the process of hitting 

it out of the park. 

“It’s Not Over Yet” couples Day’s spicy bongos 

with Minnieweather’s hip-hoppy drum patterns 

against Seifers’ satisfying standup bass— as Mary 

throws down a space age vocal melody over Faehnle’s 

Wes Montgomery flavored guitar voicings. Schultz’ 

clever lyric adds to the sensually charged atmosphere, 

creating a rich tension in its own right. “Can You Feel 

It” play’s on the traditional Bo Diddly rhythm, adding 

New Orlean’s juju with Christofferson’s chunky 

Hammond and stride colorations on piano. 

The piece de resistance of the set is the is the 

marvelous torch ballad “Love Is Losing,” where Hahn 

is allowed to showcase his incredible skills. Over a 

quiet Jazz trio scenario: Minnieweather massaging his 

snare with gentle brushstrokes; solid underpinning 

by Seifers on standup bass, Hahn layers ghostly chords 

behind Kadderly’s smoldering vocal. She wraps her 

voice around a supple marriage of her classic melody 

and Schultz’ inspired lyric: “Fact or fiction/You decide/So 

we’re in love/Somehow that’s not enough/You 

were so real/Now you dodge and conceal/Dead love 

is cruel/I’m a memory fool/Love is losing, it’s the end 

of the ride.” Hahn’s flawless timing and graceful phrasing 

is as supple as fine leather. Trumpeter Mazzio casts 

a lovely Jazz-blue light upon his wonderful solo, 

stretching each note with confident luxuriousness. 

To front a collection of pros such as these requires 

that a singer have a lot of fortitude and considerable 

chops— just to keep the listener’s attention 

from straying too far into the background: to explore 

the awe-inspiring instrumental terrain. Mary 

Kadderly never fails to remain at the center of the 

session displaying versatility and appeal at every turn. 

This album is a tremendous showcase for her quite 

significant skills. She meets every musicalchallenge 

with complete style and class. 

LL


promotion costs from the artist’s royalties. 

The comment just made assumes, however, that 

the contract involved is an artist-record company recording 

agreement, which typically gives the artist a 

royalty of somewhere between twelve percent (12%) 

and fifteen percent (15%) of the list price of records 

sold. However, there are other types of common agreements 

in the music business, such as “artist-producer 

development agreements,” “artist-label joint venture 

agreements,” and “pressing/distribution (“P & D”) 

agreements,” which do allow the recoupment of costs 

not normally recoupable under the traditional recording 

contract. However, these other types of contracts 

are structured very differently than the typical artistrecord 

company recording contract, and the artist’s 

royalty percentage share is usually much higher under 

those other types of agreements. 

Therefore, when determining what is reasonable 

and what is not reasonable in terms of recoupable 

costs, it is extremely important to know exactly what 

kind of contract you are looking at, since the appropriate 

percentages will vary dramatically from one 

kind of contract to the next. You’ll just need to “crunch 

the numbers,” and on that basis determine whether 

the deal makes economic sense for you or not. 

Also, it is extremely important to remember that 

DRUM SHOP 

any recoupable expenses are normally recoupable only 

from “artist royalties,” and not from “mechanical royalties” 

(i.e., those royalties paid by a label to band 

members because they have written songs on the 

band’s records). As a result, band members who wrote 

material on the band’s records will typically start receiving 

mechanical royalties before they receive any 

artist royalties. These “mechanical royalties” should 

never be affected by a label’s recoupment rights. 

RECOUPABLES AND ROYALTY 

ACCOUNTINGS 

It is important for an artist (and/or his/her manager 

or accountant) to review very carefully all royalty 

statements received from the record company, since 

record companies sometimes try to recoup expenses 

which are clearly not properly recoupable under the 

terms of the recording contract. 

Sometimes, also, a review of a royalty statement 

will indicate that the record company is attempting 

to recoup an expense of questionable recoupability. In 

other words, the recording contract may not be par- 

ticularly clear about whether or not that particular 

expense may properly be recouped by the record company 

under the terms of the recording contract. In 

this situation, the issue will need to be negotiated and 

resolved with the label. 

Editor’s Note: Bart Day is a Portland-based entertainment 

attorney in private practice. He is also the 

co-owner of ALLMEDIA, Ltd., a company with offices 

in Portland and Los Angeles. ALLMEDIA specializes in 

administering the licensing of music for film, television, 

commercials, and computer games. 

Bart also co-authored a chapter in the new edition 

of The Musician’s Business and Legal Guide, a 

book compiled by the Beverly Hills Bar Association 

and published by Prentice-Hall Publishing (New 

York). 

“It should also be mentioned that typically 

none of the costs of the record company’s 

own in-house normal promotional efforts 

should ever be considered recoupable.” 

The reader is cautioned to seek the advice of the 

reader’s own attorney concerning the applicability of the 

general principles discussed in this column to the reader’s 

own activities. 

LL 


THE GRAND OL' SOAP OPRY BY BUCK MUNGER 


Fernando needs a lawyer too... 

To bang out the boiler-plate on that 

mega-deal, just around the corner with 

Interscope Records... 

March 29th Interscope flew Cravedog 

recording artist Fernando and his band, guitarist 

Dan Eccies, bassist Joe Chiusano and 

drummer Clayton Jones to Los Angeles to 

perform five songs in a rented rehearsal hall 

for a group of A&R executives from all the 

labels of the new Universal-Seagrams group. 

Cravedog owner Todd Crosby said big 

things started happening for Fernando the day 

after he signed a partnership deal with Off The 

Porch Mgt., owned by Brad Bogart, son of 

Neil Bogart, founder of Casablanca Records 

(Kiss, Donna Summers) 

Todd and Brad now co-manage 

Fernando. 

Crosby met the Bogarts through Luther 

Russell, producer of Fernando’s latest 

Cravedog release, “Old Man Motel” Russell’s 

band Federales, themselves newly signed to 

Geffen, is managed by Brad Bogart.. 

Could this be Cravedog’s first major label 

discovery, like Everclear for Tim Kerr 

Records? Remember the money Mercury 

showered on T/K after that? 

“I’ve got this record and one more says 

the indie label owner. 

Robert Cray chooses an indie label... 

In the lead story of Billboard’s Artists & 

Music feature by Chris Morris April 3, 1998 

“Cray Brings His ‘Shoes’ To Ryko -Label bow 

Finds Guitarist Playing With Southern Soul 

Sound” 

After 13 years on Mercury Records Robert 

says he chose Rykodisc to release “Take 

Your Shoes Off” because “We wanted some 

more attention paid to us.” 

In 1986 Cray’s Mercury/HighTone album 

“Strong Persuader” went double-platinum 

Robert says, “Rykodisc...said the right 

things. We checked on their track record, and 

they spend a lot of time with the records they 

do release.” 

Robert wrote or co-wrote six of the 

album’s 12 songs. 

Cray is supported on “Take Off Your 

Shoes” by his longtime band-keyboardist Jim 

Pugh, bassist Karl Sevareid, and drummer 


Kevin Hayes. For the recording Robert also 

used the Memphis Horns and regular Rolling 

Stones sideman Bobby Keys. 

Cray say of the record, “We have some 

soul things, and then you hear some different 

influences, Jimi Hendrix and things like that, 

creep through, and soul singers and all that.” 

Jimi Hendrix is a good influence 

Jimi has two albums on Billboard’s Top 

200 (4/3/99). “Live At The Fillmore East #162 

and “The Best Of Jimi Hendrix” #186. 

Robert’s bandmate Curtis Salgado has a 

new album out too. 

Curtis’ fourth solo album and first for 

Shanachie Records “Wiggle Outta This” is 

generating heat in the blues world and early 

airplay up and down the coast. 

Blues Review says “One of the country’s 

most innovative and exciting blues performers. 

The San Francisco Examiner says “One 

in a million voice...melodic, churning gutsy 

harmonica playing.” 

Curtis swings through Portland at the 

Crystal Ballroom, April 15th and back again 

April 28th at “Museum After Hours”. 

Two of these and you’re on your butt... 

Gig Magazine covered the Seattle scene 

in their March ’99 issue, finding that the most 

interesting original club band they saw, is from 

Portland, Oregon. 

Pink Martini gets the color photo and 24 

point type pitch, “...they blend classical, Latin, 

and jazz elements into a hybrid sound that 

attracts a wide fan base. The 10-piece band, 

led by classically trained pianist Thomas Lauderdale, 

plays clubs, theaters, conventions and 

even the Cannes Film Festival, where they 

backed Al Green for three songs. Their selfreleased 

CD, “Sympathique, has sold close to 

40,000 units.” 

Meredith Brooks prepares Sophomore 

effort... 

That tough follow-up to your platinum, 

double Grammy nominated, round the world 

heralded big hit album. 

But how high are Capitol’s expectations? 

Ms. Brooks is going for what worked last 

time, playing all the guitar parts and writing 

or co-writing all the songs with her long time 

collaborator Shelly Peiken and newcomers 

Rick Nowells and Billy Steinberg. 

Meredith will co-produce with David 

Darling (the Boxing Gandhis) 

The Capitol Records release will be entitled 

“Deconstruction” 

March 10th Meredith recorded “Lay 

Down” at the Capitol studios with rap superstar 

Queen Latifah and the choir from 

Crenshaw High School. 

Get down girl friend... 

That other band from Corvallis, The W’s. 

refuse to fade on Billboard’s Heatseekers chart, 

clinging to #37 after 8 months on that chart. 

“Fourth From The Last” is on 5 Minute 

Walk Records. 

Sleater-Kinney’s album “The Hot Rock” 

on Kill Rock Stars is #35 on Billboard’s 

Heatseekers chart after 4 weeks. 

The all woman band was the subject of a 

cover story (The Band From The End Of The 

World) in the online magazine w 

www.addict.com, written by Michael 

Goldberg, dateline Portland. 

“In the beginning, way back in 1994, 

Sleater-Kinney sounded something like what 

you’d get mixing Bikini Kill and the Ramones. 

They wrote fierce, riot grrrl-style, feminist 

rants. Their entire first album lasts about 22 

minutes.” 

Doing it the old fashioned way... 

In the last 35 days 4th Plane Jaiant has 

played 10 clubs, done 5 in-stores, granted 10 

college interviews and visited 8 radio stations. 

The month of travel in support of their 

indie release “Tideline” has taken them to the 

University of Montana, The University of 

Great Falls, Eastern Oregon University, the 

University of Puget Sound, Pierce College, 

Southern Oregon University and Chemeketa 

College 

April 10th they appear at Oregon State 

University. 

Radio airplay on”Tideline” is building 

rapidly in northern California with several 

R&R, Album Network, Gavin, Friday Morning 

Quarterback and Billboard reporting stations 

playing it in “heavy” rotation.

LETTERS 


Dear Buko, 

So in one of your most recent pictures of Slippery 

Nipple, I swear to God, if you look really carefully, 

in the corner? By the big amp? It looks like a wisp 

of smoke? But it isn't? If you look at it hard for a 

long time, I swear to God, right there in the corner, 

you can see the ghost of Flip Wilson. 

Ched 

Dear Mr. Munger, 

I have been a guitar collector and afficianado for 

many years. I have had a particular interest in 

finding one specialty guitar, produced by Gibson 

in 1981 through 1984. It was a guitar called the 

Sonex-180 Deluxe, and besides being a single 

cutaway with a composite body, this prodigiously 

lethargic chunk of barely-sanded ebony painted 

crapwood sported a ubiquitous two-ply black 

pickguard and a handyman's bolt on maple neck, 

presumably excellent for hand to hand combat with 

beer drunk bar shitbags. Add to this splintery 

sledgehammer a couple of exposed humbuckings 

and turnomatic bridgestop tailpiece, and you've got 

yourself a shining piece of battleaxe flotsam best 

used to drive tent stakes into hard clay. The thing 

that sets the old Sonex-180 apart from all the rest, 

however, is the little known fact that its body was 

carved in such a way as to fit snugly on the human 

head, making for a stylishly attractive disco hat. 

Please contact me soonest if you have any 

information regarding where I might acquire this 

guitar. 

Regards, 

Ted Blanston 

Boring, Oregon 

Dear Two Louies, 

Girl power is the bomb! I'm Lacy, the lead singer 

in a band called the Panties. We are the bomb! 

When we play in town, guys throw their hotel keys 

at us. We collect them at the intermission, and 

Billy. 

The book. 

Please send $12.00 

plus $2.00 to cover 

postage costs, to: 

No Fate Publishing 

3800A Bridgeport Way W. 

Suite 492 

University Place, WA 98466 

during the second set we send our roadies to their 

rooms all over town with these keys and they steal 

the guys' briefs! Get it? Cause we're the Panties! 

Girl power rules! We have fun! Yay! Sometimes, I 

wear RED lipstick! I get so crazy fun! Satin (she's 

the drummer) has her bass drum filled with Beanie 

Babies! We're so new, we're crazy! I like to hop 

and skip when I sing! Whee! We all work together 

very hard, because the message in our music is the 

thing, you know. The most important thing is the 

message our music gives the people. We'll never 

“We’ll thoroughly enjoy and take great delight in making the twolouies AOL 

screen name — the recognized “weirdo” that haunts every Portland chat room. 

Trolling for little girls, young men, hell who cares. We’ll just make sure, that 

everyone in ANY PDX chat is thoroughly disgusted by Twolouies@aol.com” 

break up. Ever ever. We sing about love, and 

relationships, and special times, and heartbreaks. . 

. and the good times too! We're fun! Our new 

album is called "Driving Big Daddy Home." We 

hope you like it. We like it a lot. Whee! Girl power 

rules! Rock on, dudes. 

Lacy 

LL 


MUSIC CITY USA 

the GRUDGE MATCH 

Saturday, May 1st ’99 

Rose Garden 

The Nashville Kats 

vs 

The Portland Forest Dragons 

Two great music & football towns clash. 

For seating in the Music Industry VIP section 

call Eric Dodson at the Dragons 297-2255 




deck; Tascam 32 1/2 track; Scully 280 B-2 1/2 

track (2); Technics 1500 1/4" and 1/2 track (3); 

Otari MX 5050 1/4" 1/2 8-track, Tascam 

ATR60-T 2-track w/SMPTE, Tascam BR20-T 

2-track w/SMPTE Microphones — Audio 

Technica AT 4050, AT 4033; Sony C-500 (2); 

Sony C-37P, Sony ECM 377, Neumann U67, 

U87, KM84i, KM86; Sanken CU31 (2); E-V 

RE15; Shure SM81 (2), SM57; Beyer PZM; 

Sennheiser 421, ME20, ME80; RE15. MIDI: 

EMU E-Max digital sampler; Yamaha DX7; 

Roland U-20 multi-timbral keyboard; Yamaha 

TX81Z sound module; Ensoniq ESQ-1; 

Oberheim OB-8; Alesis HR-16 drum machine; 

Oberheim DMX drum machine; Cooper PPS- 

1 sync box, Ensoniq EPS, Roland MKS-20, 

Roland MT-32, Roland R-8 drum machine. 

Other: Chickering 8' grand piano; Sony JH- 

10 1"video; JVC 8250 3/4" U-Matic; AK Q-lock 

4.10 sync; Atari 1040 computer w/Hybrid Arts’ 

SMPTE Track Pro software; headphone splitters 

1 in x 4 out; AKG headphones K-240 (2) 

Sennheiser headphones; Technics RS-B605 

cassette decks (30) with Dolby HX Pro, Dolby 

B or DBX II noise reduction. Clients: Valerie 

Carter/Jackson Browne, Chellie Mitchell, 

Hummingfish, Fourty Thieves, Johnny Limbo 

& the Lugnuts, Lonesome Taxi, Mark 

Eubanks, Phame Choir 

River Recording 

Milwaukie, OR 

(503) 659-5760 

Owner: Steve Parker 

Engineer/Producer: Steve Parker 

Tracks: 8 


Equipment: Carvin 16 x 8 board; MIDI-verb 

digital reverb I & II; Fostex A-2 half-track recorder; 

digital delay; compressors; noise gates; 

limiters; aural exciters; JBL & Auratone monitors; 

control room designed by Acoustic Sciences. 

MIDI: Yamaha drum machine, ESQ 1 

keys. Clients: Vandal, Poor Boy, Dub Squad, 

Ellen & the Nightwatchers, Christy Delaney 

Sonic Recording 

Northeast Portland 

(503) 230-2713 

Owner: Max Williams 

Producer/Engineer: Max Williams 

Tracks: 8, 2 

Rates: $15/hr. or $13/hr. for 20 hrs. 

Equipment: Tascam 388 w/parametric EQ; 

dbx I on all tracks; Yamaha Rev 7; Alesis MIDI 

Verb III; Alesis micro gate (2); dbx 163x compressor 

limiter (2); Alesis micro enhancer; 

Tascam 42B 2 track; dbx I noise reduction; 

Teac V-450 cassette deck; DAT available. 

MIDI: Roland D-59 w/ Roland PG-1000 editor; 

Roland SH 101 monophonic synth; 

Roland TR-505 drum machine; large selection 

of percussion equipment. Clients: Demo tapes 

for Red River Band, Steve Hettum, Noel 

Lenahaghn, Blue Moon, None of the Above, 

The Henwoods, Billy Kennedy w/Steve 

Hettum. Video soundtrack for Malcolm 

Brenner. 

Sound Impressions, Inc. 

1920 N. Vancouver 


(503) 287-3975 1-888-287-3975 

Fax: 249-5021 

Email: sound@teleport.com 

Web Address: www.teleport.com/~sound/ 

welcome.html 

Other Services: Video Production & Duplication, 

On-Hold Messaging & CD Rom 

Authoring. 

Owner: Dan Decker 

Engineers: Nick Kellogg, Dan Decker, Independents 

Welcome 

Tracks: 24/Dolby SR, 16 Track Digital 

Rates: As low as $40/hr. Block rates available. 

Equipment: Amek Matchless 26 inputs, 24 

buss, in-line monitoring and 8 subgroups, 72 

inputs for mix down. 384 point patch bay for 

access to all inputs to console, tape machines, 

digital workstations, and effects. Makie 1602, 

Bi-amp 1624 Automation: 2 Roland Compueditors 

(30 channels) 3-Niche MIDI Audio 

Control Modules (24 channels) Multi-track: 

Otari MX-80 24 track CB-120 locator for programmable 

punch-in and punch-out. Noise 

Reduction: Dolby 363 SR / A 2 channels, Dolby 

XP 24 channels SR Digidesign D.I.W.R. Digital 

Audio Workstations: Digidesign Pro Tools 

II 4-track, Two Pro-Tools III 16 track Power 

Mix, Sound Tools and Designer, with Pro I/O, 

Video Slave Driver, SMPTE Slave Driver, 2 1.2 

Gig and 300 Meg Drives. Mastering Decks: 

Otari MTR-12 II (center track) 1/4", Tascam 

52 1/4", Panasonic SV-3500 RDAT, Panasonic 

SV-3900 DAT. Synchronizers: Adams-Smith 

Zeta Three's. Digital Reverbs/Delays: Lexicon: 

480L, 2-PCM-70's 2-LXP-1, PCM-41, 2- 

Yamaha REV-7's, SPX-90, Alesis Multiverb, 

Ibanez SDR-1000, Eventide H-3000 Ultra Harmonizer, 

ADA Pitchtrack, Roland SDE-3000, 

Deltalab 64, 1064, Audio Design Delay. Other 

Outboard Effects: TL Audio Stereo Mic Pre, 

Aphex Type II Aural Exciter, Aphex Type B 

Aural Exciter, 2-dbx 263X de-esser's. 

B.A.S.E. Spatial Processor. Equalizers: Orban 

672A 8 band full parametric EQ, Orban 622B 

four band stereo full parametric, NIH PE-30 

four band parametric, UREI A522 1/3 octave 

graphic. Compressors and Gates: Crane Song 

STC-8 Stereo Compressor, Aphex Stereo Compeller, 

2-JBL 7110's 2-Symetrix CL-501's 3- 

Symetrix CL-150, 2-Symetrix CL-100, Yamaha 

CG2020, Aphex 612 Stereo Gate, 2-Symetrix 

544 Quad Gates, Audio Logic Quad Gates. 

MIDI Equipment: Mac IICX with color monitor 

and 100 Meg drive; Performer sequencing 

software, Digital Performer, MIDI Time Piece 

Interface. Instruments: Yamaha C-3 6 foot 

grand piano, Yamaha DX7, Yamaha DX7S, 

Oberheim Matrix 6R, Oberheim Matrix 1000, 

Korg DW-8000, Sequential Drumtrax, Alesis 

D-4 Drum Module, Korg M3R, EMU Proteus, 

Ensonic ASR10, Fender P-Bass, Fender Jazz 

Bass, Fender Telecaster, Kramer DMZ-5000 

Fretless Bass, Gibson J-40 acoustic, Rickenbacher 

5001 Stereo Bass, Ampeg B-15 Bass 

amp, Fender Sidekick amp, Kawi K1, Korg 

Polly 800. Microphones: AKG “The Tube,” 

414's, Neuman U-87, Neuman KM-140's, EV- 

RE20, AKG 330's, 320's, 451's, 460's, D-12's, 

D112. Audio Technica ATM-63's, Tascam PE- 

250's, Sony Condensers, American and Shure 

Ribbons, Shure SM-57's Sennheiser 421's & 

more! Monitors/Amplification: UREI 813's, 

KRK 7000's, Yamaha NS10's, Auratone 5-C, 

Fostex T-20 and Sony headphones. Ramsa, 

Crown, Biamp, Yamaha, Symetrix, and QSC 

Amplification. Video Workstation: AVID Media 

Suite Pro, 8 Gig Drive, DAT Back Up, 20" 

Mitsubishi, and 17" NEC monitors, Power Mac 

8100 100 MHz., EDL generation for Sony, 

Grass Valley, and CMX. Video Recorders: 

Sony UVW-1800 Beta SP, Sony V0-9800 HI- 

8, Sony 2600 U-matic, 10 VHS duplication Station, 

Sony RM-450 Controller. Video Monitors: 

NEC 27", Sony 14", Sony 9" Field. Clients: 

Tektronix, Sony Records, MCA, Trail 

Blazers, OCVSN, Mark Air, Atlantic Records, 

Capitol Records, LPKF, Redford/Carver, T/K 

Records, Michaels of Oregon, Weiden Communications, 

City of Gresham, Unicove, The 

Dandy Warhols, Poison Idea, Eric Mathews, 

Swoon 23, Craig Carothers, Heatmiser, Dan 

Balmer, Jon Koonce and the Gas Hogs, Dan 

Reed, Monde La Bella, Caveman Shoe Store, 


“WHAT DO THE ROLLING STONES, EVERCLEAR, ZZ TOP, 

JACKSON BROWNE, METALLICA, INXS, CHEAP TRICK 

AND THE STONE TEMPLE PILOTS HAVE IN COMMON?” 

GUITARS FROM GUITAR CRAZY. 

NOW BUYING LIKE NEVER BEFORE. 

CASH FOR GOOD USED GUITARS. 

1739 SE HAWTHORNE 238-4487 

on the Westside 

Just of Sunset Hwy, near 185th. 

19450 NW Cornell Rd. 439-9500 

(Next to Max & Hildy’s) 




Hearing Voices, Snowbud, Nu Shooz, John 

Nilsen, Michael Harrison, Tall Jazz, Dub 

Squad, Gary Ogan, Dub Dubrie, Steve 

Christopherson, Mel, In June, Doro & Morre, 

Lyle Ford, Marv & Rindy Ross, Land of the 

Blind, Cardinal, Al Perez and many more. 

SuperDigital (TM) Mastering 

A Division of Super Digital Ltd. 1634 S.W. Alder 


503-228-2222 / 1-800-79AUDIO 

Fax: 503-228-6819 

Owner: Rick McMillen 

Mastering Engineers: Ryan Foster, Rick 

McMillen, Bob Stark, Tony Lash 

Tracks: Mainly just 2 

Rates: Worth it 

Equipment: Real cool audio Gizmos: Pro 

Tools 4 loaded with lotsa outboard software, 

Genelecs, GML, Manley Tube Pultecs, Manley 

Tube, Cranesong, TC Finalizer, Apogee 20 Bit, 

UV22, Focusrite, Sony, Panasonic, Nakamichi, 

Otari, Lots more of the best analog and digital 

gizmos. Mastering/Digital editing/all types of 

transfers/We specialize in CD one offs. Note: 

We do affordable world class mastering and 

have engineers with Gold record experience. 

We have experienced staff from Paisley Park, 

Sony Disc Manufacturing, and other facilities. 

This is REAL mastering that will take your album 

to the next level! If you need CD's or 

cassettes we will maintain the Master's quality 

with our state of the art hi speed Digalog 

(R) cassette duplication machinery and low 

cost CD replication! Clients: Capitol Records, 

Sup Pop Records, Sony Records, Geffen 

Records, Cavity Search Records, CandyAss 

Records, Verve Records, Dandy Warhols, Gino 

Vannelli, HeatMiser, TrailBlazers, Michael 

Harrison, Eric Mathews, Poison Idea, Elliot 

Smith, Cheralee Dillon, Burnside Records, 

McKinley, Bugskull, 16 Volt, Kelly Joe Phelps, 

Nero's Rome, Sweaty Nipples, Pete Miser/5 

Fingers of Funk, Ron Lloyd, Hazel, Izaya, Cool 

Nutz, etc. etc. etc. 

Tonic Media 

PO Box 14062 

Portland Oregon, 97214 

(503) 236-2123 

Owner: Alan Alexander III 

Engineer: Alan Alexander III 

Rates: $35 per hour for mastering 

Mastering Suite Equipment: Pro Tools, Sound 

Designer, Mackie CR1604-VLZ Mixer, Tascam 

DA 88, Sony DAT Recorder, Jaz Drive, Yamaha 

CDR 102 CD Recorder, JBL Control 5 monitor 

speakers, Digitech DSP128+ Programmable 

DSP,(2) Alesis Microverb II, Rocktron 

Hush IIX Noise Reduction Unit, (2) BBE Sonic 

Maximizer - aural enhancer (one stereo, one 

mono), Alesis Micro Gate - noise gate. 24 track 

digital recording studio also available. Feel free 

to inquire regarding MIDI and other gear. 

Clients: Hungry Mob, Dub Squad, KMHD Radio, 

NW Film and Video Center, Lawrence 

Johnson Productions, Angela Pope, Shannon 

Day, Quixotic Music Productions, Workhorse 

Productions, 21 Cent Media, Inc., Arts in Education, 

Regional Arts And Culture Council, 

City of Portland. 


TRAX 

5539 E. Burnside 


(503) 231-4142 

Owners: Steve Goodman, Kevin Olson- 

Peterson 

Engineers: Steve Goodman, Kevin Olson- 

Peterson 

Tracks: 16 

Rates: $25/hr.; $200 for 10 hrs.; 11-20 hrs, $18/ 

hr.; 21-40 hrs., $16/hr. All rates include engineers 

as musicians, too—guitar, bass, keys, vocals. 

Equipment: Ramsa WR-t820 20 channel mixing/recording 

console; Tascam MS-16 16-track 

recorder, Akai GX-600D 2-track recorder; 

Sony Beta hi-fi; Teac EW-750R cassette recorder; 

Digitech DSP 256 multi effects processor 

& IPS 33B super harmony machine; 

BBE 422A sonic maximizer; ART MDC 2001 

de-esser/compressor/exciter; ART Pro-Verb 

digital reverb; Ibanez DD-700 digital delay; 

Behringer Dualflex enhancer/exciter; Valley 

Audio Gatex; EMU Performance 1+; Yamaha 

NS10m monitors; M & K Subwoof; JBL studio 

monitors; Ramsa WR-TM20 & Yamaha 

RH-5M headphones; Sure SM-33 Ribbon mic; 

EV RE20 mic; SM-57 mics; SM-58 mics; TOA 

K-3 & Kr condenser mics; AT 4033 mic; SM 

94 mic; Sennheiser 421. MIDI: Atari 1040 

computer; Master Tracks Pro sequencer; KMX 

MIDI patch bay; Passport SMPTE interface; 

Korg M3R tome module; Ensoniq EPS sampler; 

Yamaha DX7; Sound effects library; 

Yamaha RX17 digital rhythm programmer. 

Other: Yamaha CP-70 electric baby grand piano; 

Mini Moog; Hammond organ w/Leslie; 

Pro One; Rickenbacher 330 12-string guitar; 

Les Paul Custom; Hofner basses (one fretless); 

Fender Stratocaster; J-200 acoustic guitar; 

Custom Strat; T.C. Electronics Chorus; 

Rockman compressor/sustainer; Rockman 

chorus/delay. Note: We do custom song writing 

(words or music); jingles; give music lessons 

(guitar, bass, keyboards). Clients: Rose 

City Sound; Boyd’s Coffee; Sundown Sound; 

Standard Insurance (production work); Stingers. 

The Voice-Over House 

In the Hollywood District 

P.O. Box 13755 


(503) 288-9972 

Personnel: Joseph Waters, Amy Hecht, Martin 

Hecht 

Announcing: The Voice-Over House now features 

DigiDesign Pro Tools III, 16 (55 virtual 

track) Hard Disk recording-pristine high quality 

sound. Unique Equipment: Featuring 

Bruel & Kjaer microphones (4006, 4002 (2), 

4011), powered by Millennia Preamps for the 

best in acoustic recording. Great compressors: 

Valley 440 (classic) and Aphex Compellor 320. 

Other: Pro Tools direct-to-disk. Much more. 

Tracks: 8-Track Otari 1/2 in.; 1/2 track Otari 

MX5050 BII; 1/2 track Revox A-77; Sony DTC- 

100; Sony 75 es DAT; Nakamichi LX-5 cassette. 

Rates: $35/hr. days; $45/hr. eves. & wknds. 

Block rates at $25/hr. per 7 hr. day; introductory 

4 hr. block for $60. Recent Projects: Bob 

Shoemaker, Tom Welles, Higher Ground, 

Whiney Draper. 

Walter Midi Recording 

1420 SE 162 

Portland OR 97233 

Phone and Fax 503-761-0964 

waltrmid@teleport.com 

Recording Digital: (4) Alesis Adats provide 32 

tracks of digital recording. Digidesign Session 

8 provides another 8 tracks of recording plus 

computer editing and mastering. Digidesign 

Adat Interface allows digital transfer plus synchronization 

to and from Adats. Alesis BRC 

allows autolocate, autopunch, SMPTE, etc. Recording 

Analog: Tascam MS-16 1‰ 16 track 

with dbx type 1 and autolocater. Mixers and 

Monitors: Alesis X2 24x8. 48 tracks at 

mixdown. Mute automation. Monitor on 

Alesis Monitor One with Hafler P1500 amp. 

Mixdown: Panasonic SV-3700 and Tascam 

DA-30 DAT. Also Harmon/Kardon and 

Nakamichi cassette decks; Philips 2x CD recorder. 

Outboard Processors: Manley dual/ 

mono mic pre; (2) Drawmer 1960 dual compressor 

pre; (2) Behringer Composer compressor; 

(3) Alesis 3630 compressor; Symetrix 501 

compressor; Behringer Intelligate; Aphex 105 

quad gate; BBE 322 Sonic Maximizer; DOD 

430 graphic eq. 

Effects: (2) Alesis Quadraverb 2; Lexicon Alex; 

Yamaha SPX90; (2) Digitech DSP128; Alesis 

Microverb; Boss SE50. Keyboards (Synthesizers): 

Roland JV-1080; Clavia Nord Lead; (2) 

Korg SG-1D Sampling Grand; Korg O3R/W 

synth; Rhodes (Roland) VK1000 organ; 

Ensoniq VFX-SD synth; Roland U220 synth; 

Roland S-550 sampler; Alesis QS7 synth; 

Roland Juno 60 analog synth; Roland Organ/ 

Strings 09 analog synth; Roland SC7 Sound 

Canvas; Yamaha FB01 synth. 

Keyboards (Acoustic and Electric): Steinway 

Model B 7' grand piano; Steinway 1906 concert 

upright piano; Hammond M3 plus Leslie; 

Fender Rhodes suitcase piano. 

Microphones: Manley Reference Cardioid; (3) 

AT4050; AKG C3000; AKG D112; AT4033; EV 

PL20; lots of 57s and 58s; etc... Computers/ 

Programs: PC Pentium 100 meg, 24 meg RAM 

running Session 8, Cakewalk Pro Audio 6.0, 

Sound Forge 4.0 Misc: Hollywood Edge sound 

effects library; Misc. effects pedals. Rates: 8 

track Adat - $18/hr, 8 track Session 8 - $22/hr, 

16 track analog or digital - $22/hr, 24 track 

digital - $26/hr, Block rates available on 16 and 

24 track. 

Clients include: Izaya „The Next‰ CD release; 

Land of the Blind „Nearnuffto (Don't 

make no nevermind) „ ; Fran Gray/Heart 

Spring Music various CD releases; Radio Flyer; 

Mackin' Rob; B Sharp; David Michael 

Carrillo/Gentle Wind Music various CD releases; 

Headland/Lazy Bones CD release; 

Cascadia Folk Quartet CD release; Shelley 

James CD release; Savage Symphony CD release; 

Hog Whitman; Pan Gypsies; Turntable 

Bay; Mike Stahlman; Jeff and the Revolvers. 

White Horse Studios 

1634 S.W. Alder St. 


(503) 222-0116; FAX (503) 222-3658 

Owners: Ron Spencer, Jeanne McKirchy-Spencer 

House Engineers: Dave Friedlander, Sean 

Flora Independent Engineers: Bob Stark, 

Mike Moore, Tony Lash, Doug Dubrow 

Tracks: 24+ 

Rates: Call for project quotes. Block rates: The 

best around. 

Equipment:Mixing—Solid State Logic 6056E 

console; Multitrack: Studer A820 24-track w/ 

Dolby SR; Monitors: Genelec 1025A; KRK 703; 

Yamaha NS-10M; JBL Control One; Auratone 

5C; Reverbs: Lexicon 480L; AMS RMX-16; 

AKG ADR 68K; EMT 140s plate; Lexicon 

PCM70; Eventide H3000SE; Dynacord DRP 

20; Yamaha SPX 9011; Ursa Major SST-282; 

Alesis MIDIVerb II; Delays: TC Electronic 2290 

(2); Lexicon PCM 42 (2); Eventide Instant 

Flanger; Signal processing: Summit TLA 100 

(2); UREI 1176LN; UREI LA22; Drawmer DS 

201 (2). Mastering—Two-track machines: 

Ampex ATR 102 w/Dolby SR; Panasonic 

SV3700 DAT with Apogee AD-500 Analog to 

Digital converters; Nakamichi MR-1 cassette 

decks (3); Digital workstations: Digidesign 

Protools Suite; Waveframe AudioFrame 1000 

Suite; Mics—Neumann U47, U87, U89, TLM 

170; KM 84 (4); AKG The Tube, 414 (5), 460 

(6), D112 (2); Sennheiser 421 (7); Sure SM&; 

SM81 (2); SM 57 (3). MIDI: Alesis D4 drum 

machine; EMU Proteus 1, Proteus 1XR, Proteus 

2; KORG 01/w DW-8000; Kurzweil K250, 

K2000; Oberheim Matrix 6R; Roland Planet 

5, D-50, R 8M drum module, U220, Sound 

Canvas; Sequential Prophet 5; additional items 

on request. Other: Yamaha C7 7” grand piano; 

Software: Mark of the Unicorn Performer 

4.2AV; Opcode Studio Vision; Digidesign 

Sound Tools; Hardware: Macintosh II, IIcx, 

Quadra 840AV; 650; Mark of the Unicorn 

MIDI Time Piece. Clients: 

Nightnoise(Windham Hill)/Shadow of Time; 

Mimori Yusa (Epic/Sony); Val Gardena (Mercury)/River 

of Stone; Sweaty Nipples 

(Megaforce); Tom Grant(Mercury)/The View 

From Here; David Friesen with Michael 

Brecker, Clarke Terry, Glen Moore and 

UweKropinski; Renegade Saints (Don Gilmore 

producer), Heatmiser (Frontier)/Dead Air; 

Will Vinton; Wieden & Kennedy; NBC; Nike; 

Cole & Weber (OMD), Harvester, Skiploader, 

The Kentucky Rules, Thomas Lauderdale, 

Satan's Pilgrims, Greg Paul, Sydney Stevens, 

Cal Scott, Robbie Kaye, and Seth Samuels. 

Established 1979 

Publisher 

James E. Crummy 

Editor 

Buck Munger 

Director of Photography 

Buko 

Writers 

Marc Baker 

Buko 

S.P. Clarke 

Susan Connell 

Cybele 

Bart Day 

Bud Palmer 

Marianne Steiner 

Photographers 

David Ackerman 

Buko 

Christine Frederica 

Gustavo Rapaport 

Layout & Graphics 

Buko 

Printer 

Oregon Lithoprint 

Two Louies Magazine 

2745 NE 34th 


(503) 284-5931 

FAX: (503) 335-3633 

Email addresses: 

Editor: TwoLouie@aol.com 

Layout: buko@teleport.com 

© 1998 by Two Louies Magazine. May not 

be reproduced in any form without the expressed 

written consent of the publisher. 

Two Louies is available by subscription. 

Send $35.00 for one year, postpaid to: 

2745 NE 34th 


LL

FREE 

Wanted Alive! 

4-string bass player & basic 

drummer for original rock-from hard 

drivin’ to ballads. Chicks are cool. Call: 

236-3733 

Singer/lyricist seeking queer 

friendly musicians for original, alternative, 

extremely moody, trancedance 

soul grooves. No country or jazz 

or hard drugs. Call: 233-7921 Be you. 

Drummer wanting to start an 

ARTIST FORM of FREE MUSIC, 

SOUND JAZZ, WORD JAZZ, 

SOUND SCULPTURE< NON-TRA- 

DITIONAL TRANSCENDENTAL. 

Call: 241-7908 

Randall_platt@Hotmail.com 

BASS PLAYER NEEDED. We 

have a place to practice and a low tech 

studio to make recordings on a 4 track. 

All 3 of us have previous gigging experience 

and we have released 3 EP’s 

and a 7 inch vinyl. 

We drink a ton of coffee and like 

Husker du, Dinosaur Jr., Foo Fighters, 

Pearl Jam and Black Sabbath Call: 

Todd 708-7070 

& 

NE 122nd & Glisan. 

255-5039 

Club Cabos 

SE 18th & McLOUGHLIN 

232-3799 

MUSICIANS CLASSIFIEDS 

STOP IN ANY PORTLAND MUSIC 

LOCATION & FILL OUT THE FREE FORM 

Musicians Wanted for summer 

gig. Drums/Bass/Keys/Guitar. Must 

have own equipment, experience preferred. 

Covers/a few originals. Compensation. 

Call: Ryan 402-2027 

GUITARIST seeks to form, 

maybe join hard rock or pop situation. 

Going for the top. May need transport. 

No drugs. Call: Richard 282- 

9142 

DRUMMER with back-up vocals 

and full P.A. looking for 

weekendcover band. Call: 353-9045. 

The New Planet Order seeks guitarist. 

Versatile. Modern. P.A. Investors. 

Management. Metal, Rock, Blues, 

Reggae, Funk. Makin’ Magic & Money 

Call: Pete 788-1667 or Vanilla 256- 

7780 

Christian Classic Rock Band 

looking for vocals, high energy to have 

fun & see what happens. A lot of originals. 

Call after 4:30PM Philip 775- 

5230 

DRUMMER, experienced, creative 

& versatile seeks professional 

group or players. Call: Pete 788-1667 

Road Toured Experienced 

drummer only interested in original 

music,. business smart, dedicated rock 

band. If you’re serious, driven and 

have professionalism Call: Jeff 360/ 

891-0903 

The Orange Collection, original 

band seeks bassist. We are ready with 

a 6 song EP to promote. Seek pr or 

semi-pro. Sheryl Crow, Kravitz, 

Stones, Pop Call: Shawn 260/992-8703 

Wanted Bass Player to play Blues, 

Rock & alternative Any age, as long as 

you can play. Serious only Call:. Robert 

Holly at 761-3182 

Need lead vocal,male for original 

material. Folky~progressive tight 

lyrics, solid melodies. I’ll back you 

with acoustic & harmony. Serious 

Only. P.D.Wells 289-6891 

Pro session drummer available 

for live performances and recordings. 

Plays all styles. Prefers original material, 

but will play tasty covers. Call 

Dan Dragon (503) 358-3737 

The tunes are the core, the jams 

launch from there. Rock Jazz Groove 

guitarist seeks adventurous players. 

Jon 736-9339 

Needed - bass / guitar / singer. 

Have space to practice. Heavy Stuff. 

Todd (503) 708-7070. 

Drummer - bassist - singer- 

(One Guy) Looking for working 

bands. Rock, Country, Blues. John 

(541) 935-5023. 

Guitar player looking for other 

guitarists, or drummer. I have been 

playing for 4 years. Call Kevin at 

(503) 669-8742. I play rock but interested 

in other stuff too. 

I am the best singer in the universe, 

my description, Need a band or 

musical instrument type person to 

show. Please call,leave message. Gregory 

777-0898 

“WE LOVE BACHELOR PARTIES” 

Featuring the most beautiful 

dancers in the Northwest 

Come on by for 

CHAR BROILED STEAKS 

BREAKFAST, LUNCH or DINNER 

Open Daily 7am - 2am 

we have 

OREGON LOTTERY GAMES TOO!!

2L April 99 Studio - Two Louies Magazine

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