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Zod ft. Dean Cramer: Kings Of A&R

In 2020, industries of all types have been forced to quickly recalculate their means and modes of business. They’ve had to dig deep and innovate, creating ways to stay afloat in the middle of a worldwide pandemic. The music business is no stranger to this. Already mercurial by nature, it has been heavily reliant upon digital and online marketing, advertising, and sales for quite a few years now, and the pandemic has pushed the music business to be even more malleable than ever.

Online publication reviews, YouTube and synch placements, and Spotify and Apple Music features and playlists are like gold to both the independent and signed artist. A review of a song via a music blog or online magazine can garner an artist some serious buzz. It can capture the ears and curiosity of upwards of tens of thousands of potential fans. There’s an old saying that “there’s no such thing as bad publicity”, and while that’s a bit simplistic in a lot of ways, it is highly true when it comes to gaining exposure for aspiring artists, musicians, and producers. 

Today, I was able to interview Dean Cramer, founder of the well-crafted and highly-regarded online music publication “Kings of A&R.” Created roughly twenty years ago, Kings of A&R was the first of its kind. Dean began making his mark well before social media became the phenomenon it is presently. We work closely with Dean, and we wanted to dive into Kings of A&Rs history and process. Read the interview below to learn about Dean, his love for music, and Kings of A&R.


Dean Cramer | Founder, Kings of A&R


Tell me a little bit about yourself and what exactly Kings of A&R is and does. 

I’m very curious. I always enjoyed figuring out how things work. I also enjoy experimenting and building. Kings of A&R is a intelligent music site. I say intelligent because everything I post whether it’s perspective piece, commentary or an opinion article, I hope a reader takes something away from it.  Kings has a really cool community of readers. When I highlight an artist, it may evolve into a discussion. The goal is to elevate the artist. Many of the artists that are highlighted find themselves in a better position whether they land on a editorial or personal playlist or land on another music blog. 

How long has Kings of A&R been around? What was the initial inspiration in creating this blog/site?

Kings has been around for 20 years – before social media ever existed. Kings was the first music blog in its class. I met someone recently who said the music business ripped a page from the kings of A&R playbook. At the time when I started the site, there was no outlet for artists. I was inspired to create a platform for artists. 

What does a typical day look like running your blog? Are you constantly scouring to find new and exciting artists to cover, and what exactly are you looking to find? 

The first thing I do when I wake up is go through emails, skim through music news, charts, and data.  It’s my daily ritual. As far as the rest of the day, I have no structure and I try to keep it creative. I tend to highlight artists that fit the kings theme which is current and edgy. 

Who was the last artist you came across that really inspired you and made you excited to cover? 

DC: There have been several, but recently I really like Clide and Lee Cole. Both are fantastic songwriters and are nicely building a resume. 

You and Zodlounge have worked together for years. Can you tell me a little bit about how that got started and where the relationship is pointing today?

I believe it was Brett Vargason that emailed me artists they were collaborating with. I thought they were really good. I started giving the artists shoutouts and with their hardwork, many of those artists landed TV placements. Today, I have a great collaborative relationship with the Zodlounge team. They are great working with artists and have a true passion for the art. Most importantly, they are just great people. I say that because personality is important to make a collaboration work. 

Can you give me some insider information on the state of pop music’s evolution in today’s digital-content driven world? 

I’m not sure it’s evolution or de-evolution. I’ll just say this. An artist must have three qualities. A fantastic vocal, a unique songwriting ability, and performance. If those things are mastered, you’ll more likely survive the shifting environment.

I like to end these by asking the contributor to give one piece of advice to artists or folks preparing to work in the music industry. What would be your advice? 

I don’t want to sound motivational, but love what you do, because  the only way to do great work is to love what you do. In all seriousness, it’s the truth. 


Don’t forget to check out and follow “Zodlounge” on Spotify

Hit us up at 615-491-7053 or email Tom at

Zod ft. Bryson Nelson: Nelson Drum Shop

It’s 2 o’clock on a muggy June afternoon in East Nashville. I’m driving my trusty, beat up S-10 with the a/c vent pointed directly at my face, keeping my eyes peeled for a vintage-inspired, cleverly-designed sign I’ve seen many times before. As I sputter my way down Gallatin Avenue, I see buildings and storefronts of every kind; modern tall and skinny homes, old run-down duplexes, colorful carnicerias, and a hip new organic deli. I notice people of every kind, too: a white woman walking out of a gas station, a couple of young african-american boys carrying a large white box, a latino guy in a work-truck, an elderly man walking his dog. There were a lot more, but those were just a few I spoke into my voice-memos. I spotted the vibey Nelson Drum Shop sign on an old brick building lined with vinyl siding near the roof and pulled in. 

I sat in my truck for a few minutes reviewing the questions I had prepared for Bryson Nelson, the accomplished drum-banger and founder of Nelson Drum Shop. I figured the conversation would go as these things generally do, but I was wrong. It went better. I’ve frequented Nelson Drum Shop with our own Brett Vargason, investigating their tasteful collection of for-sale vintage drum kits, new and old cymbals, timeless snares, and quirky percussion. Brett has spent countless hours in there and has tried out and bought many of the kits Nelson has to offer. On this day, though, I was able to get to know the heart and soul of it all.

Bryson Nelson | Nelson Drum Shop


AM: Bryson, let’s start at the beginning! Tell me a little bit about what inspired you to start playing drums.  

Bryson: I always just really connected with music. I grew up in a town called Placerville, California. It’s right outside of Lake Tahoe. At around 11 years old is when I started. I actually wanted to play guitar, but my homeschool co-op didn’t have a guitar. They had a drum set. So it was sort of accidental. Then I just fell in love with it! Literally all my free time was spent playing drums. Since I was homeschooled, I was able to go to a co-op for a couple of hours then come home and play drums all day. We lived in the middle of nowhere too, so you can imagine. My parents didn’t make a lot of money, but they found a way to get me weekly lessons. 

AM: Tell me about some of your drumming experiences. Were you a touring drummer before starting Nelson Drum Shop?  

Bryson: So… I was a touring drummer, and played for a fair amount of different artists. My main gig was for Tim Timmons, a CCM artist that I played with for 7 or 8 years. I’m very loyal, so I mainly stuck with him because I loved him and loved what he was about. I was with Tim on the road until 2015. In 2019, I went on the road with Darren King on a double-drum tour… his first solo/dj tour – but haven’t been on the road since. I also drum tech’d for him which sort of led to this opportunity! My wife actually nannies his children, so it worked out really well.  

AM: How did Nelson Drum Shop come to be? What jump started this move?  

Bryson: In 2015, when I first moved here, the main reason was to get off the road. But, it was actually never my intention to open a retail shop. It was never part of the end goal. I started this because I wanted a way to make friends… that sounds funny, but I would invite drummers to my house to just play and hang out. My biggest passion has always been hosting people and having community. That’s what I’m really passionate about. So the shop and drumming itself has always been extremely secondary to that passion. 

AM: I love that. So, you’re saying that Nelson Drum Shop is essentially a byproduct of a desire for deeper relationships and community?  

Bryson: Exactly! I mean, I tell this to everybody, but drums and cooking are my two biggest passions. This just so happened to be the thing that I do. My wife Beth and I moved to East Nashville and live just a block away from the shop. Culturally, it’s more in line with what we were looking for; progressive, open-minded, and diverse. So, the shop is here because our community is here.  

AM: I’d love to see a jazz club over here in East!  

Bryson: Yeah, actually that’s another dream of mine! I have too many dreams. It stresses my wife out because this already takes so much of my time and life! My dream would be to buy a place, where half of it is this shop and the other half is a jazz-club, cocktail-lounge.  

AM: Tell me about the hard-working managers here at Nelson Drum Shop-  

Bryson: So, our retail manager is Asa Lane and our digital manager is Lemuel Hayes. Lemuel and I both do photography for the shop, but he really handles most of that now. We all do a little bit of everything and we’re really big on equality here. We also partner with Lucas Aldridge for restorations of drums and that sort of thing. My main role right now is to just sort of host the community, envision and oversee the operations, and find drums to bring in here.  

AM: Run me through a “day in the life” of owning a vintage drum retail shop. Are you scouring the internet for old awesome pieces?  

Bryson: So, that’s definitely how it started. The more established the business became, the less frequent scouring became. At this point, the majority of everything we bring in comes from people emailing us directly about single pieces or vintage collections of drums they are looking to get rid of. I buy a lot from the same people. I’ll travel up to New York or Chicago and pull back a whole cargo van full of drums. It’s hard to find good prices online nowadays — this is going to sound sales-y but I’m the furthest thing from that — online prices are pretty high, and we try really hard to make great, vintage pieces affordable for the everyday player. We’re not exactly marketing to the elite.  

AM: So, you bring the drums back, restore what needs to be restored, snap photos, and post them on your site and socials. Do the majority of your sales come via in-store or online? I know the pandemic had to have affected this immensely. 

Bryson: Yeah, it’s very different now because of the pandemic. Going back to community and “byproducts”, I have intentionally tried to keep sales offline since the inception. I wanted to put photos of 5% of the drums in my shop online, and hope the person that saw it would pop in and see a ton more drums when they got here. It definitely goes back to the community thing. Asa and Lemuel have both been pushing me for a long time to sell stuff online, and we have a great platform for it, as drums go pretty quickly once they’re up, but yeah… I’m still very stubborn about it. I’m grateful that we’re able to keep moving forward, but I’m still community, in-store focused.  

AM: So, ultimate thesis: Nelson Drum Shop needs to be community-driven first, and the drum sales come second.  

Bryson: Yes. 


After this inspiring interview, I had one thought that I believe is true: Because Nelson Drum Shop
is community first, drum sales have come. Maybe they have come second. But, they’ve come regardless. And they just keep on coming… along with great relationships and a great reputation. Bryson and I both agreed that good byproducts come from putting others first. Always. You can always find soul and joy somewhere when you value integrity, honesty, and community first. And that’s why this conversation was amazing. It was refreshing. Through it all, it became clear there are still people who make these kinds of calls from their hearts. In one way or another, regardless of monetary gain or success or adoration, they win. And to be honest, success comes frequently to these types. 

So, go visit these guys ASAP! The shop is open. It’s amazing! The drums are spectacular, the prices are fair, and the humans that run it are the best kind of humans. Support your local vintage drum shop, because by doing so, you’re breathing life into a community. And it’s highly likely that you’ll make some unforgettable acquaintances that turn into friends while there. Oh… and you’ll probably bang on some of the vibiest, sweetest drums you’ve ever heard. How could I forget that part?


Nelson Drum Shop
3241 Gallatin Pike, 
Nashville, TN 37216 
(615) 948-1744

Don’t forget to check out and follow “Zodlounge” on Spotify

Hit us up at 615-491-7053 or email Tom at

Zod ft. Adam Grover: Sterling Sound

Symbiosis: The Art + Science of Audio Mastering

Audio mastering. The finishing touch. The final step before the distribution of a song to the masses. At its core, mastering is about finality; cohesiveness, balance, and consistency. After all the individual tracks are finished and the mix is completed, the mix engineer will provide a stereo track to the mastering engineer. From there, the mastering engineer will finesse and tweak the song using compression, EQ, etc. to get the cohesion and balance necessary for album or single song distribution! 

The newest featured guest on Zodisms is Adam Grover: Mastering Engineer at the famed Sterling Sound in Nashville, Tennessee.

Zodlounge has been utilizing Adam’s ear and expertise for well over a year now, and we just keep coming back to him and Sterling. I was able to get some really interesting information from Adam, the mastering process, and his personal journey into the world of audio mastering.


ZOD: Tell me a little bit about Sterling Sound: what the mission is, and what your role is in the company. 

AG: Sterling Sound has been around for over 50 years and is one of the top mastering facilities in the world located in Nashville, TN and Edgewater, NJ. We are comprised of 13 mastering engineers with a supportive staff of technicians, operations, and project managers spread across the globe. Our goal is to provide clients with reliable, consistent, world class masters complimented by our exceptional customer service. As a mastering engineer at Sterling Sound, I aim to bring out the best qualities of the recording and present them in a way that uplifts the music and creates something special for the listener.

ZOD: Explain to me what mastering is, generally, and then expound on your personal workflow and a “day in the studio”. 

AG: The role of a mastering engineer varies project-to-project. We are essentially taking something that has been finished by the mix engineer and then adding to the production using EQ, compression, limiting and other tools in creative ways to deliver a product that is commercially acceptable.  For instance, you can’t have a hip-hop record with a weak low end. You can’t have rock without a good punch. And you can’t have a country record with bad vocals. We provide the mix engineers and producers with checks and balances to make sure the mix they have been working on will stand up against other commercial releases and will translate well to multiple listening environments. In some ways, it is like photoshop for audio. The subject matter is predetermined and we go in to do touch up work. Sometimes the sonic change from mix to master is vastly different, sometimes it is not. It all depends on what the mix sounds like coming in. When starting on a mix, I have nothing enabled. I just want to listen to the song and get a feel for the production before introducing any tools. Finding the right limiter or signal path for the job is the most crucial step for me. So I spend a lot of time A/Bing multiple signal paths until the clear winner is heard. I’ll then compare the track to other releases that are in the ballpark of the production or other releases by that artist. When that sweet spot is found, there is usually nothing I can do within a couple tenths of a dB that can improve the track. That’s when I know it is ready.

ZOD: Tell me about your journey to Sterling Sound. Where are you from? And when did you first realize that you wanted to work in the music industry on the creative/technical side?

AG:  I grew up in Virginia Beach, VA. Music started for me when I went to a Peter Frampton concert around the age of 7.  A woman ran up on stage and took her shirt off while Peter played “Do You Feel Like We Do” – I knew from that moment on that I wanted to work in music. I started playing guitar a few years later, self-taught since we couldn’t afford lessons. I listened to a lot of Black Sabbath, Metallica, Pink Floyd and Metallica at the time. I watched MTV religiously to keep up with local music icons like N.E.R.D, Missy Elliott, Timbaland, and Clipse.  They were looked at as legends in middle school. We would have beat battles on the lunch table using our fist for the bass and a pencil for the hi-hat/snare. When The Neptunes and Clipse dropped “Grindin”, everyone was banging that on the lunch table for the rest of the year. It drove the teachers crazy! haha!

My best friend’s mom had the hookup for free VIP tickets at the local venue, The Norva. We went to see a lot of crazy shows; Saosin, All That Remains, Norma Jean, Kottonmouth Kings, Cypress Hill, Children of Bodom, Avenged Sevenfold, Streetlight Manifesto, and many others. I was even kicked out of the venue on my 16th birthday for crowd-surfing.  I remember on more than one occasion that the bands would thank the Front-Of-House engineers and venue for providing them with such great sound. That really stuck with me so I became committed to be the guy that provided bands with a “good sound”.

I started to play French Horn in middle school and I started taking it more seriously in high school. I attended an arts high school program called the Governor’s School for the Arts. That program really positioned me to get into college. It was there that I learned about the various music production college courses. I later went on to study Music Production and Technology with an emphasis on French Horn Performance at the Hartt School of Music in Hartford, CT.

After college I landed a gig working with Andrew Mendelson at Georgetown Masters on Music Row. We mastered records for artists such as Kenny Chesney, Willie Nelson, Kacey Musgraves, Florida Georgia Line, Sam Hunt, Dan + Shay and many others.

In 2017 I learned of Sterling Sound’s plan to open a facility in Nashville. Ted Jensen needed a project manager, but I was also an engineer. We were able to work out a situation where I could manage Ted’s bookings during the day and master records at night and on the weekends. After working in that role for two years, I moved on to full time mastering.

ZOD: Zodlounge loves hiring you and Sterling for the vast majority of their mastering needs. How has the relationship between you and Zod been? And why has it been so seamless, both creatively and technically?!

AG:  When pulling up a song to master, I’m listening for that secret sauce in the track that I can highlight and bring forth in the production. Sometimes it is the drum groove, the sound of the kick, the bass line, or the vocal performance.  Something that is interesting in the production that I can highlight and use to pull in the listener. Whenever I pull up a track from Zodlounge, the direction I need to take the song is always a clear choice. You guys do an excellent job making great songs into stellar productions. Zod does this seamlessly across multiple genres, too. We’ve worked on R&B, hip-hop, rock, indie rock, country, pop and other genres together and I’m blown away how you guys are able to shift gears and chameleon over to another genre and really nail “that sound” for each genre. Brett, Tom, Aaron and Paige are also some of the nicest people I’ve ever met in Nashville. I think our friendship has allowed us to be open about the mixing and mastering stages and have constructive conversations about the art we create to be sure we are making something timeless each and every time. You guys really care about your craft and the people that create art in the community and I love you all for sharing that energy with those around you.

Adam is a hard-working, dedicated, and incredibly talented engineer. Sterling’s facilities, gear, and philosophies are top-notch!  

Reach out to Adam Grover at to discuss your project and rates! Tell him we sent you! 

Don’t forget to check out and follow “Zodlounge” on Spotify

Hit us up at 615-491-7053 or email Tom at

Zod ft. Chandler Limited: The REDD

Due to this unprecedented time in our lives, the music industry has been dismantled and shut down in a myriad of ways. From venues closing and tours being canceled, to recording sessions being rescheduled and album releases being pushed back, COVID19 has been ruthless to artists, touring crews, promoters, and future planning. Although there is no true end in sight quite yet, one sector of the music industry is absolutely thriving: Gear Sales. According to Rolling Stone, musical instrument companies are “seeing an increase in acoustic guitar, synthesizer, keyboard, and pro audio orders…” Beginners and professionals alike have been diving into their isolation with a particular goal in mind; to learn and create. Could this spark a creative renaissance of sorts? Or are the majority of these people just passing the time? From purchasing budget guitars to biting the bullet on high-end boutique reproductions of vintage recording gear, creators are creating. That’s for sure.  

Today, we are going to dive in and learn about one of these companies in particular:
Chandler Limited. 

Chandler is a high-end, boutique pro audio designer and builder that has their roots firmly planted in both vintage magic and modern innovation.  Here’s a rundown of the company’s history from Chandler’s head of marketing,
Adam Fiori:

“Chandler Limited was founded a little over 20 years ago by our Chief Designer, Wade Goeke. While Wade’s journey into audio electronics dates much earlier, the beginnings of Chandler Limited as a company began by him building gear out of a closet in a rented house while living and working in Los Angeles. The first units were the LTD-1 EQ/Preamp and LTD-2 Compressor, and as Wade sold his first units, word spread fast amongst the cognoscenti of the recording industry and the company was born. With potential being shown, it can’t be stressed enough how supportive and nurturing Wade’s parents were in helping him get Chandler Limited off the ground. It’s interesting to note, the next ‘guidepost moment’ in the Chandler Limited story—which came quickly— was the introduction of the first EMI / Abbey Road Studios unit, the TG1 Limiter. A TG1 Limiter made its way to the iconic Olympic Studios in the U.K. and into the hands of its well-known producer and engineer. At about this time, EMI had purchased Olympic Studios, and staff from Abbey Road Studios went to visit the newly acquired studio, while there, the team noticed the TG1 in the rack and Spike—the proud owner of his TG1—spoke highly of it to the team. The Abbey Road team were impressed, however, since EMI had long since stopped producing its own equipment, back in 1974—keep in mind, none of it was ever built for sale to the public— it was perplexing to see this new unit. This event became the catalyst for the Chandler Limited and EMI / Abbey Road Studios relationship, and the equipment Wade is designing and we are building has extended the legacy begun by EMI engineers dating back to the 1930s, to this day.”


Zodlounge utilizes some of Chandler’s amazing products daily. The most used item in our studio for capturing sounds is the Chandler Limited REDD Large-Diaphragm Tube Condenser Microphone. Zod owner, musician, producer, mixer, and jack-of-all-trades Tom Michael has this to say about the REDD: 

Q: You’ve been utilizing the Chandler REDD for going on two years now. What do you like so much about the mic, particularly on vocals? 

Tom: I love how the low end punches and the top end isn’t harsh. It’s hard to achieve one without the other and the REDD does this. The built in preamp is also a great feature. I almost always run it straight to the compressor out of the mic. It sounds great on male or female vocals and you can really drive it to give it some edge. 

Q: You don’t use this microphone only for vocals. What are some of your favorite applications for this mic? 

Tom: My favorite use is as a mono room mic for drums. I set it in the middle of the room in omni mode and run that through the TubeTech CL1B Compressor. It adds a nice warm ambience to the drum mix. It’s also great on violin and cello. You need one great mic and I can think of no better than the REDD. 

Q: Out of the numerous songs you’ve cut using the REDD, can you recommend one or two the reader should check out?

Tom: Check out “Bang” by TAELA for a female pop vocal.
For a male pop vocal check out “Here and Now” by Buddy Wright (Releasing May 8th).
For a more classic, intimate vocal listen to “Undertow” on the Zodlounge Spotify channel. A lot of great artists will be posted there with REDD all over those recordings. 

 Q: Have you used any of Chandler’s other gear (hardware or software)? If so, what stands out to you the most? 

Tom: I am in love with the UA Chandler Zener Limiter plug-in! The Germanium preamp is one of my favorites.


Our last Zodisms guest, TJ Bechill of NEAT Audio, sold us the mic a couple of years ago. He had something to say about the Chandler REDD that stood out to me when talking to him. He said, “I just know that the REDD is a mic that every studio owner, producer, and engineer would want to have in their possession.” 



You can find Chandler’s awesome products at
They sell their gear at Vintage King, Sweetwater, and many other pro audio retailers. 

You can find these songs and links at and follow “Zodlounge” on Spotify! Hit us up for an awesome experience with the REDD at 615-491-7053!


Zod ft. NEAT Audio: The Lifeblood

Zodlounge is going to bring new content in the form of interviews, blogs, and excerpts to their site for our readers and clients’ perusal. This is our inaugural post. Please share! 

Most people have no idea how much preparation, planning, and hard work goes on behind-the-scenes within the music industry. From creative writing and studio work to record deals, gear, crews and touring, there are so many fluid, moving parts going on at once that one could not possibly see what truly transpires to get an act from studio to stage. Most often, people see point A and/or Point B, not the actual journey it took to get from one to the other. This is the proverbial “dirty work” that nobody notices. And this “dirty work” is crucial.

Each artist/act/band is different. They took a different path, even if just a slight variation from another. In the truest sense of the phrase, there’s not just one way to go about it. 

There are three foundational necessities when it comes to putting on a show: 

1) The Act

2) The Fan 

3) The Gear 

Conceptually, it is simple. Gear is the lifeblood of the show. Gear is what connects the artist to the fan. 

Today, we are introducing TJ Bechill. He is owner and lead technician of NEAT Audio (Next Era Audio Technologies), here to discuss what standard gear is needed to put on a great show and how he blends tried-and-true tricks of the trade with new, ever-evolving technology to bring an artists’ show to life and connect them to their fans. 



ZOD: TJ, tell us a little bit about what got you into audio in the first place. 

TJ: It started with a love affair with music. My dad and uncle loved hi-fi stereo systems back when I was a kid. I focused on the bass when I was a young kid. We had these large-format speakers that put out a lot of energy. For you HIFI nerds out there, my favorite set of speakers were my uncles 2 pair of Infinity RS4.5. Later on, I started playing in bands and because my family was musical, there were instruments around the house. My parents really fueled it all. I ended up going to college for Music Technology at University of Saint Francis. After graduating, I started working at Sweetwater as a Sales Engineer. 

ZOD: So, after years at Sweetwater where you built relationships with acts like Twenty One Pilots, Shinedown, and Bleachers/Jack Antonoff – you decided to branch out and create NEAT Audio LLC. Tell us a little bit about why and about what NEAT does.  

TJ: NEAT builds playback rigs, wireless rigs, tour automation, and sells & installs studio gear as well. I started doing these sorts of things at Sweetwater, and it got to a point where I was needed on the road more and more. So, I decided to start NEAT and be available for acts anywhere in the country for anything they’d need… 24/7. 

ZOD: It seems you navigate an ever-changing branch of the music industry. Any working artist has the potential to use pretty much everything you sell and install, correct? What are the basics that a new touring artist should be prepared for? 

TJ: Control your controllables. Focus first on the things that can make your performance better. An in-ear split rig for monitoring is a necessity for performance and connecting to the artist. Playback rigs are used to supplement tracks from an album that cannot be replicated live without major headaches or hiring more players and crew. This gives the fans what they want and what they heard on your last album that then brought them out to your show. 

ZOD: How does NEAT’s business model intersect with what Zodlounge does? They seem like two very different worlds, but do they work in conjunction with one another? 

TJ: NEAT and Zodlounge have collaborated on everything from finding the correct studio gear to building playback and in-ear rigs for artists Zod has produced. Working hand-in-hand allows NEAT and Zodlounge to create a bridge between studio and live applications, seamlessly. 

ZOD: What’s your favorite band? 

TJ: Don’t go there. I have too many clients! Just kidding, I don’t really have an answer but my listening is greatly dictated by my mood. 


NEAT deals in a vast array of studio and touring gear, and TJ’s 24/7 approach to servicing the artist is a breath of fresh air and stress-reliever in one of the most volatile aspects of the music business. 

Contact TJ Bechill at or 260-415-2563 for quotes and questions you may have regarding your live show setup! Mention this article to Zodlounge or TJ and receive a day-rate discount on NEAT Audio services.