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Schedule a Virtual Tour
Tour a Studio
In New York
Get started with a virtual tour of a studio. Or call us for more information at (800) 755-7597
Get started with a virtual tour of a studio. Or call us for more information at (800) 755-7597
The Recording Connection in New York offers opportunities for up-and-coming audio engineers and music producers that no ordinary school can offer: the chance to extern with a world-class music producer or audio engineer in a top-level recording studio.
New York is one of the greatest hotbeds of creativity in the world. Individuals travel from all around the world to live in and experience the culture of New York. The Recording Connection capitalizes on the energy and interconnectedness of this city (and state) in order to help you make the most of your learning experience. You'll be paired with a currently working audio engineer or music producer who will teach you the ways of your craft. You'll be working and learning in the real world audio engineering and music production school alternative.
Our mentorships are based around genre. If you're into rap or hip-hop, we'll pair you with a producer who makes that type of music. If you're into country, it's the same thing. We tailor our curriculum and concentrations according to your needs and interests. We also make sure that all of our students learn Pro Tools, Logic, Reason, and Ableton, so they'll be prepared for every hurdle they might have to jump.
The Recording Connection has locations in almost every city in New York. Whether you prefer to study in New York City itself, or in Rochester, Albany, Buffalo, Watertown or Syracuse, we have relationships with studios in all these citiess and can place you there as an extern. If we don't have a location in the town where you live, we'll set one up for you.
The music industry runs on connections. You need to know people in order to make things happen. You need to have a lot of connections to people in power. That's one of the biggest things that the Recording Connection does for you. We put you in the same room with people that can make decisions. We get you in the door and help you make the contacts that you'll need for a long and fruitful career.
Get started with a virtual tour of a studio. Or call us for more information at (800) 755-7597
From the basics of listening and microphone placement to Pro Tools and mastering, extern with a professional audio engineer in the studio, learn in the trenches and on-the-job. Take your dreams to the professional level in our Recording Connection for Audio Engineering & Music Production program.Audio Engineering Details
Learn advanced audio techniques in overdubbing, mixdown and mastering. Extern under a professional audio engineer/music producer/mixer while gaining an insider's access to the music industry with the Recording Connection for Advanced Audio Engineering & Music Production program.Advanced Audio Details
Take your beat making and hip hop knowledge to the professional level by learning from a major Hip Hop Producer in his or her studio in our Recording Connection for Hip Hop & Beat Making program. Learn what separates the real-deals from the wannabes.Hip Hop / Beat Making Details
Prepare for a career as a front-of-house engineer by externing under a touring audio engineer. Recording Connection for Live Music program is geared for those who want to get inside of the music industry and tour the world.Live Sound Details
Learn Logic Pro as you extern under a professional electronic music composer, dance music producer, or touring DJ in their studio in our Recording Connection for Logic Pro Electronic Music Production program. Gain insider access to the electronic music scene. You tell us your favorite genres of electronic music, and we will help you produce that type of music.Electronic Music Production Details
Capture the music in your head with our hands-on Ableton Live curriculum featuring private training from noted EDM DJs and producers. In the Recording Connection for Ableton Electronic Music Production program, learn how to elevate your music to the professional level and get your sound in front of the decision makers at major EDM labels.Ableton Electronic Music Details
Looking to build a career as a music producer? Our insider access is your opportunity to make lasting hookups that can help you get started at producing today's music. In our Recording Connection for Music Production program, you'll learn in private sessions with a professional producer who can show you the ins-and-outs of this dynamic career.Music Producing Details
Turn your passion and ear for music into a career by understanding the world of managers, agents, royalties, copyrights, 360 deals and more. Learn the real ins-and-outs of music business from inside the industry in Recording Connection for Music Business program. Are you the next music mogul?Music Business Details
The Recording Connection Live DJ program pairs you with a working, touring DJ, who'll tutor you on what it takes to succeed on the world's biggest stages. Want an insider's perspective? Get the ultimate all-access pass to music-performance business knowhow. Get schooled in one-on-one lessons from a working, touring DJ.Live DJ Details
Learn Post Audio while externing under a Post Production Specialist in their recording studio. If working on movie, TV and video game soundtracks sounds like an incredible career, the Recording Connection for Post Production for Film and TV workshop is for you.Post Production for Film and TV Details
Collaborate with music producers and learn from some of the most qualified professionals in the industry like those who've crafted records for U2, Kendrick Lamar, Beyoncé, The Red Hot Chili Peppers, Metallica, Michael Jackson, Shania Twain, Hole, Nirvana, Ozzy Osbourne and hundreds more. The Recording Connection Learn from Legends workshop is for graduates of the Recording Connection for Audio Engineering & Music Production program and is currently an invite-only workshop.Learn from Legends Details
Fast track your career with certification credentials in Pro Tools. By getting yourself tested and certified in Recording Connection's Audio Certification workshop, you are showing over 5,000 producers and engineers worldwide that you have what it takes to work for them as both and an assistant engineer and an engineer/producer.Audio Certification Details
Why learn from teachers when you can learn from industry giants?
Shane Anderson is a seasoned music industry veteran. With over 20+ years in the music industry Shane has vast experience in production, recording, mixing and mastering as well as the ins and outs of the music business. Shane began his musical career in his early teens as a demo vocalist for labels and also as a sound engineer for the MUZAK corporation. At age 18 he opened his first studio location in Honolulu, HI called "Unique Studios" and oversaw the daily operations of the recording studio as well as landing several indie label deals and distribution agreements while in Hawaii working with local talent. In 2009 Shane released a solo album titled "Dangerous". This album took off online primarily on MYSPACE and gained much success with over 2.5 Million plays worldwide landing him on BILLBOARD NEWSWIRE and ultimately landing him several placements on TV shows to include "The Kardashians" "MTV" "E- Networks" and Oxygen to name a few.
Shane moved down to Los Angeles 2010 where he formed with his long-time high school friend a production company called "The Go Gettas" where he continued to build on his credits and catalog working with artist who have been on American Idol, X Factor, Dancing with The Stars and Disney to name a few. After landing multiple placements in Film/TV Shane relocated to the Sacramento area in 2016 to build on Unique Recording Studios and help bridge the gap between artist and the industry.
Shane runs Unique Recording Studios as a production label, distribution company and recording studio for artist to create and focus on their art. Unique Recording Studios has also newly launched an exciting new venture at URS called "The Collective" which will allow producers, engineers, songwriters and artist to collaborate in house at Unique Recording Studios to work together to create music and promote building a large collaborative catalog of music to submit to labels, publishers, music supervisors and overall decision makers in the music industry. This will provide a great opportunity for students who complete their coursework at the recording connection.
Spike TV
The Kardashians
The Fosters
Taking the Stage
Washington Heights
Bad Girls Club
Make a Wish Foundation
The Truth
Michael Lynche
Mark Ballas
Stephanie Scott
Alex Mauricio
Amara Jean
AJ Green
Missy Crissy
Grasu XXL
Maria Cozette
Learn from Recording Connection mentor Zack Phillips or one of our mentors in the Bay Area.
Discovering his love of music while growing up in New York City in the '80s, Zack Phillips' approach to music is "part science, part mysticism." Gaining experience as a DJ and live sound engineer, Phillips received a formal education in audio engineering.
From there, Phillips honed his craft working at several studios before finally establishing his own studio: FreqLab Recording. In addition to recording, editing, mixing, and production, Phillips also works on developing the artists he works with, exploring innovative and inventive ways of engineering audio. Phillips has worked with a wide range of artists, including Talib Kweli, The Kooks, and Blue Hawaii.
You'll be working in a state-of-the-art facility renovated by Phillips himself. While he made sure to design the studio to get the most out of the space, he also wanted to make it as comfortable as possible for engineers and artists alike.
If you study at the San Francisco Recording Connection, you'll be working with people as passionate about music as you are. Up and comers, established stars, and other entertainment entities such as Comedy Central or Electronic Arts. But you won't be watching TV or playing video games – you'll be coming to work hard every day.Request an Invitation
Learn from Recording Connection mentor Donny Baker or one of our mentors in the greater LA area.
Donny Baker, Studio Manager and Lead Tech at ES Studios in Burbank, is able to summarize his job as the Recording Connection Burbank, CA, mentor in a single sentence:
"We help with the weaknesses and push towards the strengths."
It's a simple concept, but takes a lot of work to see through to the end. Baker has spent most of his adult life in the music business, touring as an engineer for nearly 13 years before finding a home in the studio.
Baker has been with ES Studios since 2003, and brings a wealth of knowledge to the Recording Connection program. He believes in the proven time-tested approach of learning hands-on within the studio environment. Sure there are books (an eBook, actually), quizzes, exercises, and tests. Oftentimes though, Baker likes to start with the student, see where their curiosity is leading them.
Sometimes Baker just wants to see what the student has to offer.
"It's a guideline," Baker said of the Burbank audio engineering Recording Connection course. "It's used as a way to get from point A to Point Z. We can take a student who knows nothing about recording or doesn't know much about computers and we can make that person an engineer."
The one-on-one mentoring, the hanging out and talking, and the personal attention Baker gives to his students are why he has been such a successful mentor for us. He finds out where the student wants to go and he guides the program in that direction.
Video: What to expect with Donny Baker
Helping students find their place
NUGGETS OF TRUTH: Recording Connection mentor Donny Baker on what it takes to make it in recording
JoAnn Bush, owner of ES Audio in Los Angeles
Learn from Recording Connection mentor Steve Catizone or one of our mentors in the greater Boston area.
Steve Catizone at Infinite Recording has worked with some of the biggest names in the industry across several genres. U2 and Justin Bieber, Billy Crystal and Bob Saget, and Disney and M-Audio. And while he knows his way around a studio, knowing your way around a client is just as important.
Every recording professional had their first gig at some point. The adrenaline gets pumping, you could be working with a star, and you might start overcompensating.
"Don't be too opinionated when you're talking to the clients," Catizone said. "Just sort of listen and absorb. See what the climate in the room is, and make sure that if you do say something, it's tactful."
And relax. You could be a master of your craft, but if you don't have a good repertoire with your clients, no one will want to work with you. Learn how to read the room, develop solid relationships, and remember it's a collaborative effort. The "hang-ability" will follow.
"If people enjoy having you in the room, it's a big thing," Catizone said. "A lot of that comes down to personality and basically just being a positive force in the room, and being creative, and knowing when to offer up ideas and how to tactfully do so, and knowing when to not be the guy 'doing your job' but just being cool to hang around with."
This is the advantage of the Charlestown Recording Connection programs. Yes, you'll learn the technical side of the recording industry, but you'll also learn how to handle yourself while in the studio. We believe the one-on-one time with a professional mentor gives you a complete picture of the business.
That's what sets us apart from the traditional method of learning. The sights, smells, and sounds of a real studio can't be matched in a classroom.
Recording Connection mentor Steve Catizone on creating opportunities for his students
Recording Connection mentor Steve Catizone talks studio etiquette
Learn from Recording Connection mentor Bernard Johnson or one of our mentors in the greater San Diego area.
Bernard Johnson didn't follow the usual path to becoming a Recording Connection mentor in El Cajon, Ca. He discovered a love of mass media as a 14-year-old, entering a certification program to find out how it all came together.
After finishing the program, he began co-producing a top-ten music show in Detroit and received an award for exemplary airwave checks from the Michigan Broadcast Association. Then his career took a turn: Johnson entered the military.
After a 20-year career in the military, often leading departments with 90 people, Johnson returned to what he loved as a teenager, earning a masters in audio production. While the military can be quite regimented, Johnson was attracted to the freeform method of instruction that Recording Connection offered students. As he knows better than most, the standard course isn't always the best course.
"When I saw (Recording Connection) model, I was like, 'Wow, this is it. I love it.'" Johnson said. "And it allows students to have the opportunity not to feel cemented to something like, 'This is what you need to do, this is the direction and the route you need to do it.'"
The Recording Connection Program gives you access to a professional engineer, fully-functioning studio, and hands-on education, it could also earn you a career. The Noize Factory is a perfect example of that: Johnson hired one of his former students (Efrain Matias) as a staff engineer.
But you have to work for it. Recording Connection students must be willing to put in the time, effort, and focus to get the most out of it. Johnson expects nothing less.
"I do want to say commitment, passion, perseverance, and finishing until the end," Johnson said. "They're not just doing something for money or just doing it 'just because.' They're literally passionate about it."
Recording Connection mentor Bernard 'IQue' Johnson Shares His Smarts & Hires from Within!
Recording Connection grad Goes to NAMM, Gets Hired, Gets Going in Audio!
Learn from Recording Connection mentor Joey Heier or one of our mentors in the New Brunswick area.
Audio engineer and studio owner Joey Heier has been in the business of making music for decades. With a client list that includes names like Christina Aguilera, B.o.B., Jill Scott, and Dru Hill, Joey knows what it takes to work in music. Furthermore, he has a zeal for sharing his passion for audio with newcomers.
So much so, that he's gotten the nickname "Uncle Joey" from our students. He maintains contact with literally dozens of our graduates, many of whom have gone on to build great careers in the music industry.
We recently asked Joey Heier why he loves mentoring for Recording Connection. Here's what he said:
"It's a tremendous passion for me. I enjoy doing this so much. I have a style that I believe in. I talk with my students about a textbook answer that they're probably going to forget immediately, and then give them an 'Uncle Joe' definition that's two or three words that they're going to remember immediately. Then they're going to understand what the textbook definition is by hearing it in a simpler fashion.
"I have great kids that come in and really, really want to do this… I have an outstanding job, and there's no reason why I shouldn't do it with a smile. And that doesn't happen with every kid, naturally—it really depends if they want to do it. But if they want to do it, I am so honored to have the opportunity to teach, and I think that's why it works well for me."
NUGGETS OF TRUTH: Recording Connection mentor Joey ("Uncle Joe") Heier talks about the importance of hands-on training and his passion for teaching
Learn from Recording Connection mentor Aaron R. Reppert or one of our mentors in the greater St. Louis area.
Originally founded in 2000 by Recording Connection mentor Aaron R. Reppert, TravSonic Sound & Media has grown a lot since its early, humble beginnings. TravSonic Mobile, established in 2009, caters to a number of high profile clients in music, technology, the arts, and the corporate world. The thriving company offers a range of remote recording technologies and services for seminar, concerts, festivals, and events.
Today, TravSonic Sound & Media is an award-winning, full-service media production company serving clients from its Nashville and Overland offices.Request an Invitation
Learn from Recording Connection mentor Rick Carson or one of our mentors in the greater Lincoln area.
Recording Connection mentor engineer/producer Rick Carson has a passion for teaching today's rising talents in the world of audio. Designed by famous recording studio designer, Rod Gervais, his studio features three control rooms, world-class equipment, and has the distinction of having Nebraska's only large format SSL mixing console.
A Day in the Life of Our Students
A Day in the Life of Our Students
Learn from Recording Connection mentors Parker Ament and Danny Howard or one of our mentors in the greater LA area.
Recording Connection mentors Parker Ament and Danny Howard are up to the minute music producers, audio engineers, and entrepreneurs who know how to navigate the music industry in the 21st Century. Besides working with artists like Omarion, Todrick Hall, and Lauren Chase, they create great sound design tutorials on their popular YouTube channel.Request an Invitation
Recording Connection mentor Jason Phelps is an audio engineer, producer, and musician who's been involved in music all his life. He's downright passionate about recording, producing, and teaching the next generation of music industry professionals. He expects the externs he trains to bring their A-game, and to listen and learn in a proactive manner.Request an Invitation
Learn from Recording Connection mentor Ross Vanderslice or one of our mentors in the St. Louis area.
An engineer since 2001, Ross Vanderslice has worked with some of the biggest names in the recording industry. The experience he's gained works perfectly with what we do at Recording Connection: pairing externs with seasoned professionals for invaluable one-on-one time with a mentor.
With multiple studios and state-of-the-art equipment, Vanderslice has worked with several Recording Connection externs. Doing it right is about so much more than having the right gear, software, or equipment. Because of his experience working with internationally-known acts, Vanderslice knows how to work with artists, how to make them feel comfortable and safe within the studio environment.
Here are some of the clients with whom Vanderslice and/or the professional audio engineers at his studio have worked:Request an Invitation
Black Eyed Peas
Jaden Smith
Panic! at the Disco
Waka Flocka
Tech N9ne
Travis Barker
Son Volt
Chuck Berry
Rick Ross
Lil Wayne
The Game
Jurassic 5
Ja Rule
David Banner
Jive Records
Universal Records
Rocafella Records
RCA Records
Def Jam
Lil Jon
Murphy Lee
Capitol Records
Bad Boy Entertainment
Atlantic Records
Axenzo had recently graduated San Diego State University with a degree in mechanical engineering when he found that having achieved a major life goal, namely getting a degree to make his parents happy, had quite an interesting effect on him. Now that he'd achieved that, what else was possible? What could he achieve if he pursued something he was downright passionate about—music.
While an engineering student, Axenzo had tried to double in music but the classes weren't stimulating and were "very theoretical" with nothing practical or new to offer. Brewing at the back of his mind for years been the idea of learning how to produce EDM. While it wasn't a choice his mother would consider practical, to him it was the natural conclusion. Axenzo was an active EDM explorer who attended shows regularly, a lifelong musician who played guitar and piano, and even wrote melodies on a whim. Music was just the thing going on in his mind.
After completing his college degree with high marks, Axenzo spent a number of months training with a professional EDM music mentor who taught him Pro Tools and Logic with direct, one-on-one lessons. Although he already knew how to play a couple instruments he'd never set his hands on a DAW. Nevertheless he excelled fast, and consistently challenged himself while getting hands-on training and tips from his music mentor, a longtime engineer and EDM producer himself. During his time in the program Axenzo was able to create his own EDM songs, first starting on MIDI, then composing from within a digital environment. Crossing the bridge from having to play and record, to creating digitally "opened a door" for the EDM creator and DJ.
In the two years since graduating the program, Axenzo has built a promising career in EDM as a DJ who has opened for Bob Sinclar, Robin Schulz, Steve Aoki, Marshmello, Borgeous, Nicky Romero, among others. Nevertheless, for him DJing and especially composing new material as a producer is a never ending journey. The great unifier isn't by genre or culture for the rising talent. Regularly dipping into multiple genres and researching far and wide, Axenzo is in quest of something singularly specific: "I'm trying to create something that every time people listen to my tracks they'll know it's me. That's my focus right now. I'm working on it every day."
Now, the melodies and musical ideas Axenzo used to write on a whim are being put to use professionally as he divides his workdays between producing new material and performing at venues. He says, he's even got a surefire way of capturing the music when it hits: "I open the recorder on my phone and just sing the melody to myself. Even if I'm in the shower, I'll get out and record it."
Now versed in Ableton as well as Logic and Pro Tools, Axenzo is fluent in the various DAWS and he's confident in his capacity to continually explore and grow as an artist. And as for future goals, he's got a few: "I definitely would like to play in big festivals. Hopefully at Ultra Miami, EDC Las Vegas, and I would like to go worldwide. I'm working on it. I know there's lots of competition, but I think nothing is impossible."
As for the time he spent as an extern in the program, Axenzo says, "It was an amazing journey. I am extremely thankful."
Axenzo currently performs weeklies at The Hard Rock Café in Las Vegas, Nevada, and The Pool House and Sunset Vibes in San Diego, California.Request an Invitation
Bob Sinclair,Marshmello,Steve Aoki,Robin Schulz,Borgeous,Nicku Romero,DJ Chuckie,WandW
Kevin Sharpe is an Emmy Award winning producer, engineer, and keyboardist. He has produced, recorded or mixed many fine artists. Click here to see a list of credits.
Kevin began recording at the age of 15 years old with a 4 track Teac reel to real, a Yamaha mixer, Moog synth and a broken drum machine. Soon he was recording local bands and the neighbors dog. After years of making noise and honing his recording skills he opened a small studio in Troy, Michigan. twenty five years and a couple of thousand bands later, he still gets chills while mixing a great song.
As a producer, Kevin is 100 percent committed to doing whats best for the song, while preserving the unique chemistry of the preforming artist or band. By making the recording process work for the music, the artists vision shines through to the finished product. After all it is always about the music!
Kevin attended Oakland University before studying music at Rochester College. After completing his education, he has taken several courses at The Berklee College of Music.
Graylyn "Gino" Claiborne gets hired by his mentor's studio after graduating!Aver
Critical Bill
My BedBugs
David Shelby
Avery Sharpe
Blue Snaggletooth
Recording Connection mentor Gregory Hainer is an interesting case. Usually our Recording mentors work primarily in the music industry but Gregory has made a successful career for himself in music as well as film, television, and video game entertainment as a music composer, voice over specialist, Sound FX designer and mixer on numerous projects including: Plants vs. Zombies 2, Batman: Arkham Asylum, Guild Wars 2, Prince of Egypt, Elder Scrolls V: Skyrim, We Were Soldiers, Dishonored, Black Hawk Down, and many more.
Gregory does most of his work from Scorpio Sound, his boutique studio located in the Hollywood Hills. His unique skills-set, talent, and setup enables him to do work larger audio studios can't. "From a client's perspective, I own the studio, so there is no middle management overhead to worry about because the owner/operator is also the creative head. This means I have the freedom to choose to spend a little more time with my clients in order to get things perfect versus having to be out of a studio by a specific time." Specialty might as well be Gregory's middle name. "I get quite a few calls for the most unusual or difficult to design stuff that many in-house teams can't quite seem to pull off convincingly, such as creating sounds for creatures, magic spells, sci-fi effects, light sabers and the like. But I will also get the occasional call to do the less-fun direct stuff like cleaning up poorly recorded production audio from a film, or digging out inaudible archival dialogue from excessive background noise."
On top of working in the film, TV, and video game industries Gregory also takes on Recording Connection externs and teaches them about both the industry and the craft of audio engineering.
RC grad Andrew Holscher reports back on his Eddie Kramer Experience
Recording Connection mentor Gregory Hainer on Vibe and Flow
Elder Scrolls V: Skyrim
Plants vs. Zombies
Guild Wars 2
Black Hark Down
Fallout 4
Lego DC Comics Super Heroes: Justice League - Cosmic Clash
The 5th Demention
Dead Island 2
Guild Wars 2
Lost Souls
Terminator 3: Rise of the Machines
Justice League Heroes
Jurassic Park
Quake II
Dishonored 2
Recording Connection mentor Josh "Igloo" Monroy is proof-positive that getting in and showing your commitment to the craft, day-in and day-out, can launch your career to unprecedented heights. With more than a decade in the music industry, Monroy has worked with everyone from Justin Bieber to Quincy Jones, to The Notorious B.I.G.
Monroy is looking for the same kind of commitment from his externs. Whether it's during the Recording Connection for Audio Engineering & Music Production program or using Ableton to lay down hip hop or electronic music tracks, Monroy is looking for inspiration, originality, and dedication.
"I do two-hour drills with my externs where they have two hours to make a track, and there has to be a full-on song, or music bed for a song anyway," Monroy said. "That means intro, verse, chorus, the whole nine yards, Not just an 8-bar loop that's looped over and over again for three minutes. I don't want to hear that."
The seasoned engineer/composer/producer is also known for his longtime work with iconic artist Ludacris. The ability to work with a wide range of acts – and create something extraordinary – is what makes someone a sought-after studio engineer.
"They walk in the room and there's no expectation, and then they leave six to eight hours later, and there's this whole freaking song made, and it's special," Monroy said. "It's about them and it's encompassing their influences and what they love. It's not just this generic track…That's what I show my externs, is how to get inside someone's head in a short period of time [and] use your time wisely so that the artist walks away satisfied."
RC mentor Josh Monroy Talks How He Got Hired by Ludacris and Doing JoJo's "Mad Love"
IGLOO began his career in Atlanta GA as an engineer
where he worked with Elton John
and eventually met Ludacris. He soon took over as head engineer of The LudaPlex
Ludacris' private production studio in Atlanta
where he continued to earn many platinum and gold certified records such as Justin Bieber's "Baby"
as well as a Grammy for Rap Album of the Year with Ludacris himself. He signed a publishing deal with Sony/ATV Music Publishing and relocated to LA since 2010. His recent hit song with Walla - "101" has 30 million streams on Spotify alone
and has been featured on NFL Sunday Night Football
Apple Support hold music
and Starbuck's own Spotify playlist. He produced the title track of JoJo's 2016 Mad Love on Atlantic Records
which debuted at #6 on the Billboard Hot 200. He's had music featured on ABC's hit TV series Black Box
JC Penny's
Arizona Jeans
The Simpson's
and Harley Davidson. He's currently developing new projects for release in 2018 and is on the lookout for new and interesting artists.
Jeramy Roberts is an EDM producer, composer, DJ and Ableton educator located in Austin, Texas. As founder of the Electronic Musician's Guild, his approach combines the creative and the pragmatic—an ethos that's dedicated to helping his students get their music out into the digital marketplace and distributed on major platforms.
Jeramy has sold his songs and records in dozens of countries around the world. He has broken the Top 100 spot in numerous international sales charts and even his former students have hit #2 in Amazon's House Top 100 while training under his direction. A loyal lover of EDM and the great local EDM scene in Austin, Jeramy Roberts is serious about helping today's most driven and committed newcomers create productive, rewarding careers in music.
#IZCONNECTED 62 | Jeramy Roberts - How To Monetize Your EDM
Recording Connection mentor Jeramy Roberts talks about the new music industry and creating your own job within it
An established audio engineer/producer based in New Orleans, Recording Connection mentor Misha Kachkachishvili is an industry veteran whose client list includes names like Solange Knowles, Eric Clapton, Willie Nelson, Janelle Monae, Taj Mahal, T-Bone Burnett and many others. A few years ago, he purchased a historic church left decimated by Hurricane Katrina, chose to keep the church's historic pipe organ donated by philanthropist Andrew Carnegie, and converted the space into what is now Esplanade Studios, the largest recording studio in Louisiana (and one of the most prestigious).
A Day in the Life of Our Student
Recording Connection mentor Misha Kachkachishvili on working with artists and finding opportunity
Kendrick Lamar
Eric Clapton
Willie Nelson
Dr. John
David Crosby
Bonnie Raitt
Joe Jackson
Elvis Costello
Rickie Jones
Irma Thomas
Van Morrison
Mary J Blige
Janelle Monae
Mary J Blige
Solange Knowles
Sean Combs
Young Jeezy
Lil Boosie
Ana Popovic
Kim Burrell
John Legend
In 1996, Scotty became Production Manager for the powerhouse production team, The Characters. It was during this time that Scott worked on numerous Platinum and Gold albums, including releases by SWV, Johnny Gill, Tyrese, B2K, Brian McKnight, Petey Pablo, and Faith Evans. Scotty has been lending his expertise in Studio and Production Management at Engine Room Audio since 2006.Request an Invitation
Trey Songz
50 Cent
Johnny Gill
Brian McKnight
Petey Pablo
Faith Evans.
Then I ended up writing the rest of the song and was able to record the whole song a few days later. I am so excited about it because it sounds pretty good for my first time. I had a great week.
Tommy Hendricks Recording Connection Student
We get it. This isn't your normal four-year college requiring coursework not associated with your area of interest. We are a post-secondary institution or trade school that's different in its approach. Here's how you can get more info:
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First Communion
Congratulations to the 27 girls and boys who received their First Communion at a special Mass in St.Michael's Church on Saturday morning last May 16th at 11am. Thank God the weather remained fine for what was a lovely ceremony.Our congratulations to the children, their parents, their teachers, to Fr. McGrath P.P. and all who helped to make the Church beautiful on this special day.
Thank you to everyone who supported the recent cake sale in aid of obtaining a defibrillator for Mullinahone. A total of €750 was raised through the sale of cakes and donations. The balance was kindly donated by Mullinahone Credit Union and Ronan Brett of Brett's Hardware. The AED will be placed on the wall of Brett's Hardware. Free training will be given shortly on the use of same. Please contact Breda on 087-7422614 to book a place.
Community Playschool
Parents and children are invited to attend an open day at the playschool on Saturday next May 23rd from 11am to 1pm to view the bright child-centred facilities and to meet the FETAC playschool qualified staff.
Semi-Final Beckons
As we go to press, the future path of our senior hurlers is uncertain. On Saturday evening last we were due to play Carrick Swan in our first round South Tipp clash, but a bereavement caused this game to be postponed. Our sympathy to the Hogan family in Carrick-on-Suir. The game has been re-arranged to be played on this Tuesday night in Monroe, so by the time you read this, the future will be much clearer. At the other side of the draw Killenaule beat Ballingarry 0-15 to 0-13 in Fethard on Sunday evening. If we win in Monroe, we will meet Killenaule in the first South Tipp semi-final. Were we to lose, all would not be lost as we would then play Ballingarry in a losers first round tie. The winners of this game would go through to a second South Tipp sem-final against the losers of the first semi-final. Let us hope that our recent good form will continue and that as you read this that we are safely in the first semi-final.
Credit Union
In May 1978, Mullinahone Credit Union opened to the public. For the last almost 40 years our Credit Union has operated most successfully on a voluntary basis giving sterling service to the people of the local area.However, in recent years pressure of government legislation has made it virtually impossible for any voluntary credit union such as ours to continue to operate in its present form. Discussions have taken place with Clonmel Credit Union with a view to us amalgamating with a full time credit union. This idea of amalgamation which was approved at our last AGM is now ready to take place and will continue to see credit union work in the village linked by computer to Clonmel and Fethard and providing new and improved services for all members. Details of these will be issued shortly.
Local Lotto Jackpot
The last local lotto jackpot draw took place on Monday 11th May 2015. The numbers drawn were 3,21, 25 and 27. There were no jackpot winners, but we had four Match 3 winners. Congratulations to Jim Buggy, Amy Molyneaux, Martin Costello and Eddie + Stephen. Next draw will be on Monday 25thMay when the jackpot could be worth €12,250.
Parish Newsletter
Sympathy is extended to Joseph and Philip Brennan and the extended family on the death of Jimmy Brennan of Fethard Street which took place last week. Jimmy first came to Mullinahone from Co. Roscommon over 50 years ago. Sympathy also to Ann Phelan, Bellevue on the recent death of her brother, Pat Cleary in Clonmel. Anniversary Masses next weekend Saturday 23rd May at 8pm Bill and Mary Hennessy, Modeshill, Sunday 24th May at 9.30am James and Brigid Grant, Cappanagrane, Sunday 24th May at 11.30am Jack Tobin, Ballyduggan. May devotions will be celebrated for the rest of the month each Sunday at 7pm in St. Michael's Church and on weekdays Monday to Friday at 7.15 pm at the Callan Road grotto.

subset: commoncrawl


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The Chicago Architecture Group will be holding a presentation on June 5th. Below is the information and a link to register. I hope to see you there.
by David Dickinson
Followed by open forum
Tim is a Solutions Architect for PSC Group, LLC. He has been an IT consultant since 1999 specializing in Microsoft technologies. Along with running the Chicago Information Technology Architects Group and speaking on Microsoft and architecture topics he was also contributing author on "The Definitive Guide to the Microsoft Enterprise Library".


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Organic Food and the Equal Money System
"Bio isn't exactly better" is what this paper's headline reads here.
When we go to the supermarket, we can see all the parallel foods existent next to your 'regular type' branded as 'Bio' or 'Organic'. I noticed an interesting thing which was the considerably higher prices in all things organic/bio in all the products.
When standing in front of the milk shelf, I saw that 'bio milk' was up to a euro higher than your regular kind. In that moment, I realized how the entire commercial trickery presented a seemingly casual 'choice' – yet, we've got to know how we've been impulsed through the media to believe that there is a way to eat 'healthier' by consuming bio/ organic products which are apparently produced through 'strict measures' wherein no pesticides, additives, GMOs (genetically modified organisms) or chemical fertilizers were used in their production.
The current 'health-scare' relating to food comes from the realization of the amount of chemical procedures involved in producing the food that we eat.
Following an emerging 'new age' era of being 'environmental friendly' as part of the 'becoming green' campaign that has gained momentum over the past decades, the capitalist move was to create a new set of products that would satisfy this need to have foods that could support human beings in feeling 'more safe' when eating due to the considerations that have been promoted/ commercialized as part of 'going green' lifestyles en vogue.
This campaign became nothing else but a great money-making trend that has disregarded one of the most basic facts which is: everything here on Earth is organic. Since everything grows from the Earth, the only point to be looked at is how this 'Green Revolution' came to be.
The 'revolution' emerged as a response to the industrialization of agriculture, which is inherently tied to the requirements of the amount of production that capitalism creates and promotes without considering the actual process required to produce; this implies using the fastest, cheapest possible means of both tools/prime matter as well as labor force for which agriculture is one of the worst remunerated activities in this world. We can take the example of the farmers in India who have been involved in endless payrolls wherein they've opted to kill themselves due to being unable to pay their debts linked to a transnational monopoly like Monsanto and thus, having no food to eat while being literally surrounded by it. This is one of the consequences of how such 'green revolution' sought to avoid being a part of the commercialization of buying products that were GMOs and deciding to pay more to be apparently clean from this and other outflows of the industrialization of agriculture.
In essence, the desire for bio/ organic a.k.a 'healthy' food stems from this and other series of events/actions wherein we are simply facing the fears relating to eating what we've created as the acceptance of living in a world where everything is determined by money itself, never actually caring for the well-being of humanity or any other living being in any way whatsoever.
There is also a convenient aspect of information added upon this to suit the green-market holders without having the most basic point in place whenever we go for the idea of 'going green' and 'eating organic': everything here is of the Earth, so 'organic food' implies all food as everything else.
The special conditions only exist currently as what should be the usual way of growing food; though due to the profit-making aspect of it, we've created it into a separate point wherein the rest of the food is seen as 'harmful' due to the conditions wherein money-making is the driving force to produce food.
The bottom line is that both organic-bio and 'regular food' are currently driven by money-creation, so whether or not it is 'less contaminated' it's still not an practical solution that can be available for everyone and it is in fact supporting an exclusive market for those who can afford it. So, it's a juicy aspect that only benefits some, and there's no actual common sense in buying and supporting these types of foods which, at the end of the day, are the same as all of the other foods.
So – how will all this separation between foods cease to exist within the Equal Money System?
Because money won't be the motivation to genetically modify organisms, nor will the overall production be limited and determined by money itself. We will be making sure that the best standards for food production are in place wherein we'll erase the divide between 'regular' and 'bio-organic' to finally implement a single way of harvesting food that's naturally good to eat.
We'll certainly require the experts on this in terms of how to treat any plague or create pesticides that are not toxic per se. All of this is currently part of the monopolized food industry which can be boiled down to mainly one single word: Monsanto –and so develop ways to grow food effectively without greed being in the way of placing people's food at risk by wanting to make an extra buck, because that will simply not be possible.
There will be more people involved in food production, which won't be out of a necessity to 'get by' and survive, but through actual consideration of making sure that the production takes place in the terms of what's best for all, as well as for themselves. Learning how to grow our own food will also become part of the basic Living Education, that's never been existent as part of a regular curriculum in schools before.
This one example of how all current nice tags that sell well will cease to exist, as food will be organic, bio and regularly grown within safe conditions wherein no health-scare will exist, since money won't be the driving force that is currently disregarding people's lives in the name of profit. We'll literally stop only existing as 'organic robots'.
As an additional point of support, I've re-uploaded this video that was originally uploaded in the DesteniProductions channel based on an article that we came across a couple years ago, and I made a video pointing out the common sense aspects on what 'organic food' is. Nevermind the title, as it was meant to simply create an audience for the video. Through the publishing of it, we saw how strong the organic food 'belief system' has become and thus, realized how important it is to support others in realizing the common sense aspect of food in this world, as well as the actual cause behind this current hype. Yes, you got it: Money and Fear.
Both are sorted out in the Equal Money System
Everything's Organic as Everything comes from the Earth
Food will stop being a profit-driven industry and instead become part our living care that we'll work for – therefore, we'll make sure it is the best for all in Equality.


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The first is a dude who picked a really gross place to hide from the police: under a pile of shit in a port-a-potty.
Thank you, Carol!
And second: no matter how good a deal the store may be offering on that fancy mink coat, it may not be worth it. For all you know it's been stuffed up in a lady's crotch for 3 days.
Thank you, Lee!


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ML with Numerical Integration vs. WLSMV
Mplus Discussion
Categorical Data Modeling
Scott Weaver
posted on Saturday, May 22, 2004 - 10:15 am
Drs. Muthen & Muthen,
I plan to estimate a full structural equation model (with missing data) with 11 latent factors (all continuous) for 4 groups (crossed 2x2 of gender and ethnicity - 200-300 subjects per group). 8/11 latent factors are represented by categorical indicators (4-11 per factor). Because most categorical indicators have only 3-4 response options with some showing floor effects, I don't believe that I have the option of treating these variables as continous and using MLR.
One option that I have (which I've used thus far to examine each latent construct separately for the groups) is WLSMV. The Mplus manual (and the short course handouts) refers to using ML with numerical integration. Can you speak to the relative merits of each approach in general and as it might pertain to my specific model? My understanding is that numerical integration will involve considerable computational resources - do you suspect that it would be too much for my model? Thank you! Scott
posted on Saturday, May 22, 2004 - 2:57 pm
ML is an efficient estimator, so has in theory somewhat smaller SEs than WLSMV, but in practice the difference may not be large given that WLSMV uses bivariate information which probably contains the most essential information. ML can take advantage of MAR missingness, that is missingness predicted by the variables that are observed for the individual (both covariates and outcomes), whereas with WLSMV missingness can only be related to covariates not outcomes. ML via numerical integration is intended for models with a few latent variables and gets heavy whenever the number of factors gets above 3-4. It is not feasible with your 11 factors.
Scott Weaver
posted on Sunday, May 23, 2004 - 9:25 am
Dr. Muthen -
Thank you for your informative response. I have a short follow-up question. As a disadvantage, you state that WLSMV missingness can only be related to covariates not outcomes. Then, is potentially problematic if I specify type=missing (WLSMV) in a CFA with categorical indicators since there are only observed outcomes and no observed covariates? How does Mplus account for missingness and under what assumptions for this type of model? Thank you, Scott
posted on Sunday, May 23, 2004 - 10:50 am
Without covariates and with categorical outcomes, WLSMV computes polychoric correlations which are based on the pairwise present data for the two variables at hand. So this is drawing on an MCAR assumption for the pair.
Scott Weaver
posted on Sunday, May 23, 2004 - 11:39 am
Thanks again for your responses. Am I correct in interpreting your response as saying that pairwise deletion of subjects with missing data is occurring with WLSMV when type=missing and no covariates are present. Do the standard problems with pairwise deletion (such as greater risk of non-positive definite matrices and biased standard error estimates)apply here as well?
posted on Sunday, May 23, 2004 - 1:01 pm
Yes. There is not much else one can do in the framework of using polychorics and WLS. One can always bring in covariates that are predictive of missingness - covariates that probably also have a causal role in the model.
posted on Tuesday, June 29, 2004 - 12:59 pm
I�ve been experimenting with the numerical integration features in Mplus and had a couple of questions.
1. I have a 3 factor MIMC model (categorical latent variable indicators) that I ran using WLSMV. The model is identified, converges, no problem. I then attempted to run the model using INTEGRATION=MONTECARLO(500), using the WLSMV estimates as start values, and the model hits a saddle point. Turning CHOLESKY off, using MONTECARLO(250) or MONTECARLO(750), perturbing my start values doesn't rectify the situation, nor did setting the convergence criteria at really low values. When I used INTEGRATION=STANDARD(15), however, the model converged fine (after running overnight for 8 hours), and produced estimates by in large in line with the WLSMV model.
So my first question is this: is the default numerical integration algorithm somehow inherently better / more stable than MONTECARLO (or GAUSSHERMITE) ?
2. When setting the convergence criteria, for example, MCONVERGENCE=.05, Mplus actually reads these parameters as the inputted value / 10000, is this correct ? This is the sense I get examining the TECH8 output from my runs � that the estimation doesn�t terminate at (for example) .05, but at some much smaller value.
3. In terms of getting rather complicated models to converge using numerical integration in Mplus, how critical is the choice of convergence criteria ? I.e., what would be the consequences of using critical values of .001 versus .0001 (etc.) ? Can one �compensate� for more modest convergence criteria by increasing the number of MONTECARLO draws or integration points ?
4. Is there a way to set the parameters on my machine (via a .CFG file, for example) to allocate the maximum amount of RAM possible to Mplus when running numerical integration jobs ? For example, I have >750MB of RAM, and would like to make sure Mplus is using as much of it possible (in the event that this speeds up estimation).
Thanks very much.
posted on Tuesday, June 29, 2004 - 3:13 pm
1. Yes. The default numerical integration algorithm is better than MONTECARLO and GAUSSHERMITE. It is more precise and stable than MONTECARLO and is generally more reliable than GAUSSHERMITE. We do not recommend MONTECARLO for 1-3 dimensions of integration since the regular integration is possible for most models. If time is an issue you can use INTEGRATION=STANDARD(7), with more lenient convergence criteria, which will be less precise but 8 times faster for 3 dimensions.
2. No. Mplus uses multiple convergence criteria. Convergence is reported only if all convergence criteria are satisfied. MCONVERGENCE refers to the log-likelihood derivative. The second column in Tech 8 is controlled by LOGCRITERION and the third by RLOGCRITERION. The user manual has complete information about the convergence criteria.
3. The choice of convergence criteria is critical for models with "flat" log-likelihood. If the log-likelihood is "pointy" the convergence criteria is not critical. The log-likelihood tends to be more pointy for models with less parameters and large sample size. In practice the only way to see if 0.0001 is better than 0.001 is to run both and compare the difference in the parameters. Generally speaking one cannot �compensate� for modest convergence criteria by large number of integration points, however I would not be surprised if there is a small such effect with MONTECARLO integration.
4. No, but this is not needed since Mplus would use all the memory that is needed if it is available. You can monitor what Mplus uses in the Windows Task Manager. If the memory is not enough than Mplus may use less than 100% of the CPU.
posted on Thursday, July 15, 2004 - 5:24 am
Who can give me a short description of the WLSMV-estimator and how it works (including the formula and the meanings of the Symbols?
Linda K. Muthen
posted on Thursday, July 15, 2004 - 6:55 am
Try Chapter 4 of the Technical Appendices which are posted on the Mplus website. See Technical Appendices in the left margin.
posted on Tuesday, September 07, 2004 - 7:37 am
I am interested in the robust ML estimator, MLMV. It is my understanding that this technique could be used with ordinal data, but it may also be more computationally intensive than WLS (due to the full-information ML technique) when larger models are used.
If this is correct, do we know the limitations of MLMV in terms of model size? Although a requirement for the ML estimator is normally distributed data, is MLMV as sensitive to distributional nonnormality (e.g., item or parcel level skew/kurtosis) as ML or does the mean/variance adjustment help to accommodate this problem?
Linda K. Muthen
posted on Wednesday, September 29, 2004 - 4:30 pm
MLM and MLMV are not available for categorical dependent variables. Only ML, MLR, and MLF are available for categorical dependent variables. With categorical dependent variables, no normality assumption of the data is made.
posted on Tuesday, January 03, 2006 - 5:30 pm
Dr. Muthen,
We are running a series of model comparisons for categorical data. Since the models are not nested we are using the Information Criteria which are available through MLR estimation. For one of the potential models, there are convergence problems which we have attempted to address in multiple ways (e.g. investigating different start values including the use different numbers of random start values). This may be a mute point, however, if the AIC, BIC, and BCC are at all informative. Even though the model fails to converge the output provides these values. Are the information criteria useful in this context.
Linda K. Muthen
posted on Wednesday, January 04, 2006 - 9:02 am
I don't think that we would give these values if the model did not converge. Can you send your input, data, output, and license number to
so I can see your problem?
Eisuke Segawa
posted on Thursday, July 13, 2006 - 10:02 am
On Tuesday, June 29, 2004 Tihomir replied to a question,
"1. Yes. The default numerical integration algorithm is better than MONTECARLO and GAUSSHERMITE. It is more precise and stable than MONTECARLO and is generally more reliable than GAUSSHERMITE."
Is there a document that describes why the default method is more reliable than GAUSSHERMITE? Also, is there a document which describes how quadrature points and weights are determined in the default method?
Thank you.
Bengt O. Muthen
posted on Friday, July 14, 2006 - 4:40 pm
No, there is not. But given an interest, we can produce more information.
posted on Saturday, November 15, 2008 - 9:08 pm
Three questions:
1.) I have been experimenting with a series of Factor Mixture Models with ordinal indicators. I have noticed that the command "ALGORITHM = INTEGRATION" is required whenever I specify the indicators as being categorical. So is integration needed (e.g., using MLR estimation) because we are treating the ordinal data as discretized version of a continuous underlying variable, and we need to integrate in order to derive thresholds and other estimates?
2.) Is it correct that polychoric correlations are not used in these models, since we are not using WLS or WLSMV as the estimator and due to the general assumptions of mixture models?
3.) Are there any papers written on this particular topic so that I can better understand what's happening? Thank you.
Bengt O. Muthen
posted on Sunday, November 16, 2008 - 10:28 am
1) No, that's not the reason. Numerical integration is needed for ML estimation when the model involves a combination of continuous latent variables and categorical observed variables. Same thing in IRT where single-class models are considered - see that literature for more technical details in the single-class case, e.g. the Psychometrika paper by Bock & Aitkin (see References on our web site).
2) Yes.
3) See the Muthen-Asparouhov (2008) chapter
Muth�n, B. & Asparouhov, T. (2008). Growth mixture modeling: Analysis with non-Gaussian random effects. In Fitzmaurice, G., Davidian, M., Verbeke, G. & Molenberghs, G. (eds.), Longitudinal Data Analysis, pp. 143-165. Boca Raton: Chapman & Hall/CRC Press.
which is on our web site (Papers, GMM).
posted on Wednesday, August 04, 2010 - 4:03 am
A note above states that "The default numerical integration algorithm is better than MONTECARLO and GAUSSHERMITE. It is more precise and stable than MONTECARLO and is generally more reliable than GAUSSHERMITE. We do not recommend MONTECARLO for 1-3 dimensions of integration since the regular integration is possible for most models. If time is an issue you can use INTEGRATION=STANDARD(7), with more lenient convergence criteria, which will be less precise but 8 times faster for 3 dimensions."
I'm trying to run a model with 4 dimensions of integration. Due to the complexity of the model, it appears that the model will run for approximately 10 hours if I use INTEGRATION=STANDARD, so I am looking for a way to decrease the duration. However, as MONTECARLO is stated to be less precise than STANDARD, I'm not sure about how to proceed. Would it be preferable to use MONTECARLO or STANDARD(7) in terms of the accuracy of the results?
Linda K. Muthen
posted on Wednesday, August 04, 2010 - 9:40 am
I would use STANDARD (7) and then for the final model use the default using starting values from the SVALUES option of the OUTPUT command to speed things up.
posted on Wednesday, August 04, 2010 - 12:18 pm
Thank you for the guidance. Just to clarify what you mean by "for the final model," I understand that I need to run my model twice, once with STANDARD(7), and a second time with STANDARD(15) using the starting values from the STANDARD(7) run. Is this correct?
Linda K. Muthen
posted on Wednesday, August 04, 2010 - 4:54 pm
Whichever model is your final model should be run with the default of STANDARD (15). Sometimes, one runs more than one model before the final model.
posted on Wednesday, August 04, 2010 - 5:52 pm
Thank you very much for the help. This really decreased the the running time for the final model to about 2 hours.
Mary Campa
posted on Monday, October 24, 2011 - 5:42 pm
Hello. I am running a two level mixture model with 4 between level dimensions of integration. I have tried to reduce the initial running time by using standard(7) statement as indicated in the 8/4/10 post but it did not change the final number of integration points (50625). The program has issued a warning about the computational burden and suggested reducing integration points or using montecarlo but neither of these statements has made a difference.
Here is the code I am using:
C#1; C#2*1; C#3; C#4; C#1 with C#2 C#3 C#4; C#2 with C#3 c#4; C#3 with C#4;
Any suggestions appreciated. Thank you.
Bengt O. Muthen
posted on Monday, October 24, 2011 - 8:41 pm
Sounds like you have a very large sample size - what is it?
How many dimensions do you have on Within?
If you like, you can send your full outputs for integration=7 and integration=MonteCarlo to Support.
Mary Campa
posted on Monday, October 24, 2011 - 9:19 pm
There are no dimensions on within and the sample size is 707 relationships (clustered in 83 people).
My problem is that I cannot get the 5 class model to run (I have tried twice, leaving it overnight to work and came in to find my computer shut down from "unexpected errors"). I just updated my computer to 64 bit to run the program and was able to go through 4 classes but not the fifth on the two-level. The simple model (without clustering) suggests that 5 classes is the best fit so I need to press on. However, neither using integration = 7 or integration = MonteCarlo statements seem to change what is happening. Even with integration = 7 I get an error that says the paging file is too small for this operation to complete. Sadly, I cannot send output I cannot produce.
Is there another way to run this model that will produce class memberships and be computationally tractable?
Linda K. Muthen
posted on Tuesday, October 25, 2011 - 2:45 pm
Please send your input, data, and license number to
Tim Konold
posted on Wednesday, March 14, 2012 - 9:14 am
Can you please clarify for me whether it is possible to deal with categorical variables and missing data in EFA/CFA models with V6 and how this is done.
I have specified my categorical variables and the fact that data are missing. If I request ML estimation, will I obtain results based on a polychoric correlation matrix with missingness handled through FIML? If not, what is occurring with the specification of both categorical variables and missing?
Many thanks.
Linda K. Muthen
posted on Wednesday, March 14, 2012 - 5:56 pm
The default in Version 6 is to use all available information. With categorical outcomes, you can use weighted least squares, maximum likelihood, or multiple imputation. Maximum likelihood does not analyze correlations.
Mplus provides maximum likelihood estimation under MCAR (missing completely at random), MAR (missing at random), and NMAR (not missing at random) for continuous, censored, binary, ordered categorical (ordinal), unordered categorical (nominal), counts, or combinations of these variable types (Little & Rubin, 2002). MAR means that missingness can be a function of observed covariates and observed outcomes. For censored and categorical outcomes using weighted least squares estimation, missingness is allowed to be a function of the observed covariates but not the observed outcomes. When there are no covariates in the model, this is analogous to pairwise present analysis.
Sarah Ryan
posted on Friday, October 05, 2012 - 6:32 am
Is it possible to use the two-tier approach with categorical outcomes, a new feature discussed in the version 7 release, for a model in which I have four latent factors- but in which I do expect the factors to exhibit some level of correlation?
I am also curious as to whether any sort of "probability calculator" (such as the new latent transition probability calculator for LCA) will eventually be available to use with categorical outcomes in Mplus?
Bengt O. Muthen
posted on Friday, October 05, 2012 - 9:49 am
No, two-tier is used when you for instance have 2 uncorrelated factors that are the only factors influencing an item. So a typical candidate is a bi-factor model.
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'America's Got Talent' Recap: Mel B Gets Burned During Magic Act
The live shows of 'America's Got Talent' continued on Aug 12, and with the million dollar prize within reach, the competition is certainly heating up! Mel B certainly knows that better than anyone. During Mike Super's magic act, the judge actually got burned — ouch! Read below for a full recap of the night's performances!
What a night on America's Got Talent! Full of action packed and surprising performances — one that even left Mel B, 39, with a burn mark on her hand — prompted judge, Howie Mandel, 58, to call the night, "the hardest ever to judge." Read below for all the details!
The Judges Favorite Acts Of The Night
Howie started off the show by recognizing the tragic and untimely death of Robin Williams on Aug, 11. Despite his sadness, the judge was looking forward to seeing some great talent that would hopefully help to fill, "the giant void that has been left behind," by the fallen actor's passing.
Dragon House "The Agents" took the stage first, and with the challenge of wanting to look like CGI animation, this group always has to be perfectly in sync in order for the performance to work. Mel B had big things to say about the group, dressed in all white suits, calling them, "everything." All of the judges were in agreement, but Howard Stern did have a word of advice for the group,"love what you do, but you can't do the same thing every week."
Dance group, Cornell Bhangra, was up next and brought some light to the stage wearing their signature colorful outfits. One member even surprised the judges when he popped out from an audience chair and joined the rest of the group onstage. This was the first time that the judges had seen the group. Thanks to the Today Show viewers, the group was able to make it straight to the live shows. All of the judges loved the group, but Mel B was the biggest fan calling them, "off the chain!"
Dad by day, mystifier by night, Mike Super, took the stage with his spirit, Desmond. Adding electricity to the air, Mike asked Mel B to join him on stage, and placed Desmond inside of her. When asked if she believed in Desmond she said no, so Mike had a scary spice doll that Mike would touch and Desmond would replicate on the judge herself. In a cool twist, Mike lit the dolls hands on fire, and Mel had small burn marks on her palms — so scary! While Howard liked the act, he professed to hating Desmond and asking Mike to return without him. Howie and Heidi Klum loved every part of it — sorry Howard, you are alone on this one!
Adrian Romoff, is definitely a child prodigy. While Adrian is only 9, he has advanced all the way to tenth grade. The young entertainer graced the stage showing off his amazing piano playing. At the beginning of his performance he even got so enthusiast that his glasses fell off! That didn't slow him down one big and he was able to continue with ease. Howie and Howard were completely in awe of his, Howie even called him "boy-thoven!"
AcroArmy, was amazing! At one point, a man was balancing on another member's head with one arm! People were flipping and being thrown across the stages in perfect synchronization, it was crazy! All of the judges were in agreement and called them, "true performers."
Wendy Liebman, started off a little slow with her comedy routine, luckily she got a few laughs out of Howie. Then as she got into the swing of things and was joking about her age, the judges were cracking up! Howard even called her a "rock star!"
Sons of Serendip, sang Chris Isaak's "Wicked Game." Bringing a slower and more peaceful sound to the stage, this musical four-some definitely stood out. While the men has known each other for a few years, they have only been a group for five months — so crazy! They received rave reviews from every judge, especially Howie who said, " I feel good, I am so soothed."
Blue Journey's animation and dance combo never ceases to amaze! The judges and audience were definitely in agreement on this one, and gave the duo a standing ovation. Mel b even proclaimed, "I want this act to win," — wow, big compliment! Howie also gave them a huge nod saying that they are, "the best dance group ever on the show."
Christian Stoinev, is a 5th generation circus performer who is a seasoned acrobat with the help of his adorable dog, Scooby! At first just Christian came out, but in a grand entrance, the stage opened up and Scooby came out to a huge round of applause and definitely was ready to performance. Christian balanced and was flipping upside down, while Scooby was balancing right on top of his owners feet! So cute! Heidi called it one of her favorites of the night, and complimented Christian on his body. Howard called it his favorite act of the night!
The Judges Least Favorite Of The Night
Anna Clendening, 21, took on Christina Perri's huge ballad "Human," for her live performance. Hitting the high notes with ease, Anna had the crowd on their feet. Anna, who struggles from an anxiety disorder was thanked by Howie for being so open and honest, especially in light of Robin Williams tragic death. While Howie was a big fan, Howard wished that Anna had been a bit more edgy, but otherwise she received all positive notes!
Musical brother duo, Kieran & Finian Makepeace, tackled "Lights" by Ellie Goulding. While their harmonies might have been on point, Heidi was not feeling it, and called the performance "sleepy." Meanwhile, Mel B came to the guys defense and claimed that they "made it their own." Unfortunately for Mel, Howie and Howard agreed with Heidi.
Singing One Direction's "You & I," soldier, Paul Ieti, brought his unique voice to the stage. While Howie and Mel B loved it, Howard was not sure that he would make it through, saying that this night was just filled with too many good acts.
With so many great acts, and only 5 spots open to advance to the semi-final rounds, America certainly has a tough job ahead of them!
What do YOU think, HollywoodLifers? Do you agree with the judges critiques? Who was your favorite act of the night?
— Caitlin Beck


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Our bodies are a huge factory of different chemicals and nutritional elements which we rely on to be healthy and happy.
Genetics, diet and lifestyle, and environment, all have big parts to play in the balance of our body's chemistry; if even one element of our chemistry is out of balance or something is present that shouldn't be there, it can lead to health problems and disease.
We look at all these aspects telling you what you need to do to get well.
Your body exhibits thousands and thousands of different signs and symptoms about your internal biochemical balance. This balance can be negatively influenced by genetics, environmental toxicity, bad diet and lifestyle leading to feeling "out of sorts", poor health and even disease states.


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Recap: Shea, Bonfigli find net as RSL, FCD draw 1-1
FRISCO, Texas – Brek Shea drilled a penalty kick to give FC Dallas a 1-0 lead just before halftime, but Real Salt Lake's Emiliano Bonfigli answered back in 72nd minute as the clash between the two Western Conference rivals ended in a 1-1 tie Wednesday night at FC Dallas Stadium.
Shea's goal came after RSL defender Tony Beltran was called for a handball in the box. The ball appeared to graze Beltran's elbow, and the questionable call left the visitors perplexed.
Real Salt Lake, who were without star striker Fabián Espíndola, failed to get anything going offensively in the first half as they failed to manage a single shot on goal in the opening period after the fifth minute.
Their best chance at scoring came in the second minute when Paulo Junior created an opportunity for Álvaro Saborío, but the shot was saved by FC Dallas goalkeeper Chris Seitz, who made his second start of the season in place of the injured Kevin Hartman.
However, the second half was a different story. Bonfigli came on as a substitute in the 69th minute and just three minutes later scored the equalizer, giving him his first career MLS goal. After a spell of possession for the visitors, Will Johnson found Bonfigli's run with a chipped ball, and the youngster took one touch before finishing low past Seitz.
Without suspended striker Blas Pérez, FC Dallas came out in a 4-4-2 formation and relied heavily on Fabián Castillo and Scott Sealy.
Castillo pressured the Salt Lake backline throughout the first half and had a chance to give FCD an early lead in the 19th minute but goalkeeper Nick Rimando made a nice save.
Just two minutes later, Castillo had a golden opportunity from the center of the box, but Sealy was at the wrong place at the wrong time and blocked the shot.
In the latter portion of the game, RSL were able to limit Dallas even without 2010 MLS Defender of the Year Jámison Olave, who was suspended after being ejected in last weekend's 3-1 loss at San Jose.
OPTA Chalkboard: RSL stand their ground in midfield, control possession
FC Dallas lost another midfielder in Carlos Rodríguez, who was stretchered off after injuring his arm in the second half, allowing Jackson Gonçalves to make his first appearance of the season after being recalled from his loan to Brazilian first-division side Cruzeiro.
With the point, FC Dallas move to 3-3-2 on the year. They travel to Los Angeles on Saturday to take on the Galaxy.
Real Salt Lake are now winless in three and move to 5-3-1. They will host winless Toronto at Rio Tinto Stadium on Saturday.
MLSsoccer.com Men of the Match
|What We Saw
|Will Johnson
|A complete performance from the midfielder – good passing, excellent in defense, kept Dallas on their toes with long-range efforts, and a good assist to boot.
|Emiliano Bonfigli
|On as a sub, the rookie nonetheless saved the game for RSL, displaying excellent technique and a cool head to equalize.
|Brek Shea
|Caused plenty of problems for RSL in first half and scored with a coolly-struck penalty, though faded down the stretch.


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The Last Few Slow Mornings of Summer
Brian has been remarkably stress-free this last week of summer . . . until yesterday morning, that is. He woke up stressed out and has stayed that way. Teachers have a tough job, if you didn't already know that. Add a church job on top of that, and, well, it's stressful.
This weekend is tax-free weekend in Tennessee, but I am not crazy enough to save my back-to-school shopping for that madness so we went yesterday. School supplies cost us $120 at Target. Yes, you read that right. I should mention that total included new socks for both kids since we pretty much toss out all the holey, mismatched socks at the end of the school year and start fresh. We also bought new tennis shoes for the kids (not at Target) and just wait until you see Rory's. It will be abundantly clear that she picked out her own. Unfortunately, both of my kids have super skinny feet and pricey Nikes seems to fit them both the best. Fortunately, we bought them at a shop that had buy 1 get 1 half off plus I had a $5 coupon so we didn't break the bank too badly.
Brian is off to school working on his room while Camden, Rory, and I are still in our p.j.'s at 11:00. Camden is downstairs reading, I am blogging, and Rory is behind me playing HGTV star/Brother vs. Brother, which should give you a good indication of what we've been watching around here. It is pretty funny.
I was all about getting us back on schedule so that the kids won't have a rude awakening the first day of school, but decided to skip the alarm clock all together this week. As a result, this happened this morning. All 3 of us in bed with Camden helping Rory read. So sweet.


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News | April 18, 2013
Three From JPL on Time Magazine 'Most Influential' List
Yeomans manages NASA's Near-Earth Objects Program Office at JPL, which coordinates the search for and tracking of asteroids and comets passing into Earth's neighborhood to identify possible hazards to Earth.
Since 2004, Theisinger and Cook have alternated managing NASA's Mars Science Laboratory project, which landed the highly successful car-sized Curiosity rover on Mars last summer. Both previously managed NASA's Mars Exploration Rover project with its twin rovers, Spirit and Opportunity.
The TIME 100, as the magazine's Managing Editor Richard Stengel has explained, is "a list of the most influential people in the world. They're scientists, they're thinkers, they're philosophers, they're leaders, they're icons, they're artists, they're visionaries. People who are using their ideas, their visions, their actions to transform the world and have an effect on a multitude of people."
"We are honored to have three distinguished individuals from JPL on the TIME list of most influential people," said JPL Director Charles Elachi. "Their contributions in the fields of asteroid research and Mars exploration is representative of all the exciting and important work being done at NASA and JPL on behalf of the American people."
Yeomans grew up in Rochester, N.Y., and now lives in Glendale, Calif. He graduated from Middlebury College, Vt., with a bachelor's degree in mathematics and earned a doctorate in astronomy from the University of Maryland, College Park. He has worked at JPL since 1976. In addition to managing NASA's Near-Earth Objects Program Office, Yeomans is supervisor for JPL's Solar System Dynamics Group. He was a science team member for the Deep Impact/EPOXI mission, which deployed an impactor that was "run over" by comet Tempel 1 in 2005 and flew close to comet Hartley 2 in 2010. He was also the U.S. project scientist for the Japanese-led Hayabusa mission that returned a sample from near-Earth object Itokawa in 2010, and a team chief for the Near-Earth Asteroid Rendezvous mission that orbited, then landed on the asteroid Eros in 2001. The first images of the return of comet Halley in 1982 were also obtained based on Yeomans predictions.
Theisinger is a native of Fresno, Calif., and lives now in La Crescenta, Calif. He graduated from the California Institute of Technology in Pasadena, with a degree in physics. His career at JPL began in 1967 with the Mariner 5 mission to Venus and now includes contributions to missions including the Voyager mission to the outer planets (launched in 1977 and still going) and the Galileo mission to Jupiter (launched in 1989 and concluded in 2003). His Mars experience dates back to the 1971 Mariner 9 orbiter mission to Mars.
Cook is originally from Bismarck, N.D., and now lives in Santa Clarita, Calif. He earned a bachelor's degree in engineering physics from the University of Colorado, Boulder, and a master's degree in aerospace engineering from the University of Texas, Austin. Cook joined JPL in 1989, working first on the Magellan mission to Venus. He was the Mars Pathfinder mission manager responsible for operating the first rover - Sojourner - on the surface of Mars in 1997. He held several roles on the Mars Exploration Rover project, which landed the Spirit and Opportunity rovers in 2004, including flight system manager and project manager.
The NASA Near Earth Objects (NEO) program at the agency's headquarters in Washington manages and funds the search, study and monitoring of NEOs, or asteroids and comets, whose orbits periodically bring them close to Earth. NASA's study of NEOs provides important clues to understanding the origin of our solar system. The objects also are a repository of natural resources and could become waystations for future exploration. In collaboration with other external organizations, one of the program's key goals is to search for and try to mitigate potential NEO impacts on Earth. JPL conducts the NEO program's technical and scientific activities.
For more information about asteroids and near-Earth objects, visit: http://www.jpl.nasa.gov/asteroidwatch .
NASA's Mars Science Laboratory project is using Curiosity to investigate the environmental history within Gale Crater, a location where the project has found that conditions were long ago favorable for microbial life. Curiosity, carrying 10 science instruments, landed in August 2012 to begin its two-year prime mission. JPL, a division of Caltech, manages the project for NASA's Science Mission Directorate in Washington.
For more about the mission, visit: http://www.nasa.gov/msl and http://mars.jpl.nasa.gov/msl . The TIME profile of Yeomans can be seen at: http://time100.time.com/2013/04/18/time-100/slide/don-yeomans/ . The profile of Theisinger and Cook can be seen at: http://time100.time.com/2013/04/18/time-100/slide/peter-theisinger-and-richard-cook/. More information on the TIME 100 can be found at: http://www.time.com/time100 .
News Media ContactJia-Rui Cook 818-354-0850
Jet Propulsion Laboratory, Pasadena, Calif.


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4 days only!!!!! Claudia this is your chance!
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Posted by Vanessa at 4:30 PM .
4 days only!!!!! Claudia this is your chance!
2 comments
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CCU gets grant for American Music film seriesby Mona Prufer
Thanks to the efforts of music faculty members Amy Tully and Patti Edwards, Coastal Carolina University is able to present "America's Music: A Film History of Our Popular Music from Blues to Bluegrass to Broadway," a six-part series that runs from late January through April.
Tully and Edwards were awarded a $2,500 grant from the National Endowment for the Humanities: Exploring the Human Endeavor, which went to CCU's Department of Music and Kimbel Library. CCU is one of only 50 sites nationwide selected to host this program series and the only organization in South Carolina to show it.
"We are thrilled to participate in this exciting program that will help introduce different types of music, show how modern music has been influenced by older styles, and bridge gaps among generations," said Tully, assistant professor of music at CCU.
Edwards, associate professor or music, said the series is not meant to offer an all-inclusive treatment of 20th century popular music. "Each screening and discussion session will examine an important American musical genre in the context of key social and historical developments, with events in American music history acting as a catalyst for that examination."
The series will consist of screenings of documentary films about major genres of 20th century American music, followed by scholarly discussions on how the music has impacted our American culture and musical landscape. Each session will end with live music featuring CCU music faculty and students. Edwards is the project director, and Tully is the project scholar.
The screenings and discussions will be held in the James J. Johnson Auditorium of the E. Craig Wall Sr. College of Business Administration Building on select Mondays from 7 to 9 p.m.
The six sessions focus on musical genres that are uniquely American: blues, gospel, Broadway, jazz, bluegrass, country, rock 'n' roll, mambo and hip hop. The sessions are designed to educate audiences in how 20th century American music has influenced modern culture.
The program series will be shown on the following days:
• Monday, Feb. 10, from 7 to 9 p.m.
Session Two: Broadway and Tin Pan Alley featuring "Broadway: The American Musical, Episode 2: Syncopated City (1919-1933)"
• Monday, Feb. 24, from 7 to 9 p.m.
Session Three: Swing Jazz featuring "Ken Burns' Jazz: Episode 6: Swing: The Velocity of Celebration" and "International Sweethearts of Rhythm"
* Monday, March 24, from 7 to 9 p.m.
Session Four: Country and Bluegrass featuring "High Lonesome: The Story of Bluegrass Music"
* Monday, April 7, from 7 to 9 p.m.
Session Five: Latin Rhythms from Mambo to Hip Hop featuring "Latin Music USA, Episode 1: Bridges" and "From Mambo to Hip Hop: A South Bronx Tale"
* Monday, April 21, from 7 to 9 p.m.
Session Six: Rock 'n' Roll featuring "Plugging In"
"America's Music" is a project by the Tribeca Film Institute in collaboration with the American Library Association, Tribeca Flashpoint and the Society for American Music.
The James J. Johnson Auditorium is in the E. Craig Wall Sr. College of Business Administration at 119 Chanticleer Drive E. in Conway. For more information, contact Edwards at 843-349-2570 or email@example.com, or Tully at 843-349-2352 or firstname.lastname@example.com.


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Remember the Pens drafting him, watching him a little as a prospect, then with the Rangers AHL team. Its only been two games (5/6 at this point), but so far he's only given up 1 goal total. He got the shutout against the Predators on Monday and looked strong doing it, even though the Predators we're pathetic offensively.
Still way to early to tell whether he stands a chance in the NHL, but just never thought that he would ever get a decent look in the NHL.


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A Conversation in Prague
Born in Prague in 1931, Ivan Klíma has undergone what Jan Kott calls a "European education": during his adult years as a novelist, critic, and playwright his work was suppressed in Czechoslovakia by the Communist authorities (and his family members harried and punished right along with him), while during his early years, as a Jewish child, he was transported, with his parents, to the Terezin concentration camp by the Nazis. In 1969, when the Russians moved into Czechoslovakia, he was out of the country, in London, on the way to the University of Michigan to see a production of one of his plays and to teach literature. When his teaching duties ended in Ann Arbor in the spring of 1970, he returned to Czechoslovakia with his wife and two children to become one of the "admirable handful"—as a professor, recently reinstated at Charles University, described Klíma and his circle to me at lunch one day—whose persistent opposition to the regime made their daily lives extremely hard.
Of his fifteen or so novels and collections of stories, those written after 1970 were published openly only abroad, in Europe primarily; only two books—neither of them among his best—have appeared in America, where his work is virtually unknown. Coincidentally, Ivan Klíma's novel Love and Garbage, inspired in part by his months during the Seventies as a Prague street cleaner, was published in Czechoslovakia on the very day that I flew there to see him. He arrived at the airport to pick me up on February 22, after spending the morning in a Prague bookstore where readers who had just bought his book waited for him to sign their copies in a line that stretched from the shop into the street. (During my week in Prague, the longest lines I saw were for ice cream and for books.) The initial printing of Love and Garbage, his first Czech publication in twenty years, was 100,000 copies. Later in the afternoon, he learned that a second book of his, My Merry Mornings, a collection of stories, had been published that day as well, also in an edition of 100,000. In the three months since censorship has been abolished, a stage play of his has been produced and a TV play has been broadcast. Five more of his books are to appear this year.
Love and Garbage is the story of a well-known, banned Czech writer "hemmed in by prohibition" and at work as a street cleaner, who, for a number of years, finds some freedom from the claustrophobic refuge of his home—from the trusting wife who wants to make people happy and is writing a study on self-sacrifice; from the two dearly loved growing children—with a moody, spooky, demanding sculptress, a married mother herself, who comes eventually to curse him and to slander the wife he can't leave. To this woman he is erotically addicted.
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