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Ebonie Smith

Photo: Roy Rochlin/Getty Images

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Ebonie Smith, Atlantic Records Producer/Engineer, Gives An All-Access Tour Of Made In Memphis' 4U Recording Studios

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In a clip from the latest episode of "Pensado's Place," the award-winning record maker comes home to walk us through the studio belonging to her "music industry godfather," Stax songwriting legend David Porter
Nate Hertweck
GRAMMYs
Sep 2, 2020 - 4:31 pm

Normally, you'd find Ebonie Smith behind the console in the New York City, where she works as a producer/engineer for Atlantic Records. But on the latest episode of audio mainstay "Pensado's Place," Smith gives us an all-access tour of Made In Memphis and 4U Studio, the home base of legendary songwriter/producer David Porter.

Smith was the feautured guest on "Pensado's Place #470" earlier this summer, a must-watch episode. Now, she returns for the special "Shoptalk" segment (2 minutes 45 seconds into the video above), where Smith takes us through the prestigious facility belonging to the man she calls her "music industry godfather," appropriately lauding his legacy by saying, "He's probably one of the smartest, most amazing, most energetic, living legends that you'll ever get an opportunity to be around and to see, so I'm actually grateful that he lets me in here when I come home." 

But Smith is well on her way to building a legacy of her own. As a multi-talented producer/engineer and singer/songwriter, Smith has worked a wide variety of projects, including Janelle Monáe, Sturgill Simpson, Cardi B and the "Hamilton" Original Broadway Cast Recording. She won the Mad Skills Award at the 2020 She Rocks Award, and was nominated for a Pensado Award in the category of "Best Break Thru Mixing Engineer" as well as for Forbes' 30 Under 30.

She's also extremely active in the music community. Smith is the founder and president of Gender Amplified, Inc., an organization that celebrates and supports women and girls in music production and audio engineering, and in fact she serves as an elected governor of the Recording Academy New York Chapter and member of the Producers & Engineers Wing.

Starting her tour in the Studio A control room, she highlights the API AXS Legacy console, noting the smaller-format API 1608 holds it down at her studio in New York, so she's instantly comfortable with the board and the room. Then she heads out to the live room to talk about how centering the energy in a studio is her first order of business.

"For me, I love to come into a studio and the first thing I find is the piano, because that's how I cleanse the space. That's also how I purify my mind and prepare myself to be of service in the space," she says, just before sitting down to 4U's Baldwin piano and playing beatifully.

Smith also points out some of her favorite pieces of outboard gear, includng the famous Tube-Tech CL 1B compressor, which is always in her vocal chain. She also professes her love for the Neve 1073: "I'm a Neve girl. If I could just have everything runing through a 1073, that would just make my day."

Over in Studio B, Smith shows off the API lunchboxes, especially the 560 graphic EQs, and the Neve 33609 stereo compressor and notes that every detail matters, down to how electricity of a space will affect your gear.

"A lot of folks say, 'Why do you need all this stuff in 2020, especially when you have the software emulators?' In my opinion, I like to say all the time, 'Electronics have a story to tell, and electrons have a story " she says pointing to her favorite API hardware EQs. "These four units sound different, all of them, because electrons have a story to tell."

Read More: Dave Pensado & Herb Trawick On "Pensado's Place," Expanding Audio's Scope & Being Inducted Into The TEC Hall Of Fame

Smith shoots some rather impressive hoops at the court outside the studio before concluding the tour in Studio C, where she likes to jump on the drum kit to let her energy out. Maybe next time you'll catch her in the Big Apple, but for now Smith seemed right at home at Made In Memphis Entertainment's state-of-the-art complex. 

The rest of this "Pensado's Place" episode features an inspiring interview with GRAMMY winner Fantastic Negrito, who shares some serious music motivation. Show creators and co-hosts Dave Pensado and Herb Trawick go deep with its guests from across the vast landscape of the audio world for over 450 episodes and couniting. 

To learn more about Ebonie Smith, you can check out her website, and be sure to follow the Recording Academy Producers & Engineers Wing on Instagram to stay connected and informed. 

David Porter & Made In Memphis Host Recording Academy Rap, R&B & Latin Writers Retreat

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2020 New Member Class Roundtable

 
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Recording Academy Invites & Celebrates Its 2020 New Member Class

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Academy President/CEO Harvey Mason jr. says, "We'll continue to fight to achieve inclusive representation across gender, race, age, national origin, sexual orientation, and beyond within our community"
Nate Hertweck
GRAMMYs
Jul 9, 2020 - 6:30 am

Today the Recording Academy invited more than 2,300 music professionals the join as its 2020 new member class. The invitees come from wide-ranging backgrounds, genres and disciplines. They have made important contributions to music and posess the potential to influence progressive changes within the music industry.

By the numbers, the 2020 class of invitees is 48 percent female, 21 percent African American/African descent, 8 percent Hispanic, and 3 percent Asian American and Pacific Islander. The representation of this class also spans ages, genre and region. The Recording Academy's current membership is 26 percent female and 25 percent from traditionally underrepresented communities.

"We are proud of the strides we've made toward ensuring our membership is diverse and inclusive, which is reflected within this new pool of invitees,” said Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy. "While this progress signifies meaningful impact, there's still more work to be done. We'll continue to fight to achieve inclusive representation across gender, race, age, national origin, sexual orientation, and beyond within our community. Furthermore, we’re excited to see how the contributions of the incoming new member class will help inspire meaningful change within the music industry."

Ensuring that the Recording Academy's membership is fully representative of the music community has been a longstanding goal of Recording Academy Trustees. In December 2019, the Recording Academy pledged to implement 17 of 18 reforms set forth by the Diversity & Inclusion Task Force, including increasing outreach to diverse communities and doubling the number of women voters by 2025. Specifically, this means 2,500 new women voters by the year 2025. 

To celebrate the incoming new member class, GRAMMY.com Editor-In-Chief Justin Joseph hosted a roundtable discussion on June 24 titled "Your Academy: Welcoming the 2020 New Member Class." Featuring new invitees and existing members, the conversation showcased an authentic look into what it means to be a member of the Academy, the important initiatives worked on year-round, progress members hope to see within the Academy, and diversity and inclusion in the music industry at large.

“As part of the Membership Committee for the last year for the LA Chapter… this is what I tell everyone when we’re talking about Membership in the Recording Academy," GRAMMY winner John Legend explained. "As much as we all complain about who won the GRAMMY this year for this or that, and how we’re not being represented in the right way, we literally can change it by being there—by showing up, by telling or collaborators to show up and be there…We can literally be the change that we want to see in the Academy.”

Coming from the opposite coast, GRAMMY-winning mastering engineer Emily Lazar also weighed in on the importance of the duty and value of being an active Recording Academy member during the roundtable.

“I became a governor in my local Chapter in New York, and the second I engaged on that level, everything really changed for me as far as understanding what the Academy had for me and what I could bring to the Academy," she said. "That give-and-take was very important to me, personally.”

This message of service resonated with the new members, such as Ozuna, the Latin trap/pop hitmaker who has been hailed as the "New King of Reggaeton."

“I’m entering the Recording Academy as a new member—even though I thankfully have had success early on and throughout my career—but I am still new to experiences in the music industry," Ozuna said. "On this zoom call, I’ve learned that I can influence in the music industry by doing more than just producing and making songs.”

 “At first I had the idea that the Academy was more of over 40, non-black men who would base all action on popularity and stats," admitted versatile singer/songwriter Victoria Monet during the roundtable. "Now learning more about what is actually happening, I think that’s important to communicate to my peers, because I think they also have no idea—they just want the GRAMMY—if they don’t get it, they complain and have no idea about the process.”

With this diverse new class enriching the landscape of the Academy, showcasing more talents from more areas of the music community than ever before, the view for many incoming members feels more like home, somewhere anyone can see themselves making a meaningful difference.

 “I had a realization one day," said rising artist Kiana Ledé. "Why can’t I be the girl that represents all the other girls that feel like me? I think that coincides with how I felt about the GRAMMYs and the Recording Academy. I have definitely been the person to sit back and complain, and cry, and be upset when I haven’t seen myself being represented. And then I realized I have so much power within myself—to put myself in that position—to represent people like me. I can be that person to step out and do that.”

Seconding Lede's empowering words, GRAMMY-winning gospel legend and ardent advocate for music creators' rights Yolanda Adams talked about the education and opportunities Academy membership can help unlock.

 “It is up to us as artists to educate ourselves," Adams said. "We need to get ourselves informed, and the great place to do that is start with the Recording Academy’s websites, their webinars, all of those things are there just for you to make sure that your transition from non-member to member is worth it, because there’s so many things that are afforded to you through the Academy.”

Ultimately, the power is in the hands of the members, which underscores the importance of this year's class becoming involved in the process.

“As much change as you want to see, you can be the voice that makes it happen," said Legend. "If you want to get involved, if you want to make difference, you really have the ability to do so right away. You don’t have to wait until you have more seniority... You can come into these meetings right away, have your voice heard, and folks really want to be responsive to what you have to say.”

Tammy Hurt, Vice Chair of the Academy's Board of Trustees, backed up Legend's powerful words with some insight on what's keeps her passionately involved in the process. "One of my favorite things about the Academy is that everything we do is 100 percent peer-driven," she shared. "The process is driven specifically by the Members who serve the Academy. If there’s something that you love, that you want to get involved with, you’re passionate about, by all means. If there’s something you want to change, by all means. It’s rolling up your sleeves, showing up, engaging and being part of the process.”

In fact, the more than 2,300 new invitations extended today represent the continuation of the Academy's community-driven and peer-reviewed membership model, which was implemented in 2018 in an ongoing effort to be more representative and relevant.

"Building out our membership body is a process that encourages inclusivity from start to finish, and it's a privilege to extend invitations to the 2020 class of invitees that represent the wide-ranging backgrounds and crafts that makes the music industry so unique," said Kelley Purcell, Senior Director of Member Outreach at the Recording Academy. "These individuals will become the driving force behind the Recording Academy, and it's encouraging to see how our membership continues to evolve each year as we take steps toward building a more inclusive and vibrant community."

For more information on the Recording Academy's membership process and requirements, visit here. For full information and details surrounding the new class visit here.

The Recording Academy & Color Of Change Team Up To Promote Positive Change In The Music Industry

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Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage

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Report: Music & Culture Infrastructure Can Create Better "Future Cities"

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How sound planning for a creative future in our urban areas makes all the difference for artists and musicians
Nate Hertweck
GRAMMYs
Oct 23, 2019 - 2:27 pm

The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.

To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."

"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"

According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.

"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."

The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.

"All future cities are creative cities. All future cities are music cities."

On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate

"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."

For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.

"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."

The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.

Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."

In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.

"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."

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Be Like Björk: Iceland Unveils New 'Record In Iceland' Initiative

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Molly Tuttle

Photo: Zach Pigg & Chelsea Rochelle

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Molly Tuttle & Producer Tony Berg Discuss the Cross-Country Making Of Her New Covers Album

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Tuttle's new Berg-produced LP '...but I’d rather be with you' features the Nashville artist’s takes on The National, Harry Styles, the Stones and more
Dan Reilly
GRAMMYs
Sep 23, 2020 - 4:13 pm

At the beginning of 2020, when it looked like the year would be as normal as any can be, Molly Tuttle met with producer Tony Berg to discuss working on a new album of original songs. Then the pandemic hit, forcing the 27-year-old singer, songwriter, and guitarist to stay home alone in Nashville with no access to a proper studio, putting plans to develop her next LP on hold.

But Tuttle didn’t just wallow in isolation or pass the time making a sourdough starter. She kept in touch with Berg, whose most recent production credit was Phoebe Bridgers’ 2020 standout Punisher, and they figured out a new project: an album where Tuttle would home-record cover songs that had special meaning to her at various points in her life. Inspired, she taught herself to use Pro Tools and got to arranging and tracking, then sending her work to Berg, who was sequestered in Los Angeles.

That collection became …but i'd rather be with you, which was released by Compass in August. The 10-track LP features renditions of songs by artists including The National, FKA Twigs, Rancid, Harry Styles, Cat Stevens, and the Rolling Stones, all anchored by Tuttle’s powerfully shimmering vocals and virtuosic guitar playing. It’s a departure from the bluegrass and Americana that won her acclaim, but as she explains, 2020 felt like the right time to explore something new while returning to the songs that brought her so much joy. We recently caught up with Tuttle and Berg — who are still separated by thousands of miles — to discuss how the album came to be.

How did the process for recording this album start?

Tuttle: Tony and I had been talking about making a record and then once quarantine started, we had this idea to do it remotely and choose these cover songs. We both wanted a creative project to work on and these songs kind of stood out to me as ones that I wanted to put my own voice to. They were some of my favorite songs. It was kind of an unconventional way to make an album, but we both thought it would be a fun and interesting new project to work on remotely.

Berg: Yeah, we had a plan and then the world got in the way.

Tuttle: It gave me something to look forward to when I wasn't like screaming at my computer because Pro Tools was crashing. That certainly wasn't good for my mental health, but overall, I loved working on it. It was really gratifying to be able to share something with people during this time that hopefully helps people who are struggling.

How did you narrow down the list of songs?

Tuttle: That maybe took the longest out of the whole process. We went back and forth sending each other playlists and different songs. I think we decided early on that we had to only choose songs we both felt really strongly about and both really loved.

Berg: Well, I would send Molly songs by [Karlheinz] Stockhausen and John Cage and she would say, "Oh no, that's not going to go." [Laughs] It was, I'm not going to say effortless, but in the relative scheme of things, it was surprising how quickly and easily we agreed upon repertoire.

Tuttle: That's true. It was funny — I feel like we were looking for the same qualities in the songs and we ended up with such a diverse array of different genres that we were pulling from, but we wanted the same qualities: great lyrics, great melodies, interesting chords, and stuff that I could really put my own spin on. We were gravitating towards songs that sounded really different from what I do.

Berg: It's as if we met and then eloped. It was like this instant wedding.

Molly, you mentioned your misadventures with Pro Tools. What was that process like?

Tuttle: It was just that I'd never run Pro Tools before and I still don't have a great setup for it. I was going off my six-year-old MacBook, which I don't even think is supposed to run Pro Tools. My little house, all my electricity and stuff, was interfering but Will [Maclellan], who mixed the album, and Tony would walk me through stuff. There were hiccups along the way, but overall that felt pretty smooth. I wasn't doing anything crazy with plugins or like anything super advanced — just basically trying to get it to run.

Berg: What was interesting about that was, I think we both approached it with an unspoken dread because making a record is a social exercise. It's the interaction of players and the discussion of ideas and contacts and to be denied face-to-face, in-the-room experience, I found it a little daunting initially. By the second day, it was second nature.

What was it like putting the songs together with the backing musicians without being able to work in person?

Tuttle: I really trusted Tony and I trusted all the musicians because the people he asked to play on it were so wonderful. They were people I'd never played with before, but I was familiar with most of them. I just had to let go. I realized it was better if I didn't listen to stuff a lot until it was more fleshed out because there was a temptation to get really nitpicky with each piece along the way. My biggest concern was my own parts and that it would gel with everyone since we weren't playing altogether.

Berg: There's the great luxury of, as Molly was alluding to, if you're going to call Matt Chamberlain, Rich Hinman, Taylor Goldsmith, Gabe Nolan, Patrick Warren, basically, it's hard to f*** up. These are great musicians with a real history of sensitivity to song and to the artist.

Tuttle: There was the slight anxiety of, “I'm probably not going to hear these until they're all done. I hope I like it,” but again, I wanted to make this record with Tony because I knew he would choose great people. Then when he sent me the list of players and I was like, "There's not really a way that that's going to not sound awesome."

Did any track make you nervous to record, with the worry that the original artist would disapprove?

Berg: No, we were lucky, weren't we, Molly?

Tuttle: Yeah, no.

Berg: We heard wonderful things back from [The National’s] Matt Berninger, whom I know pretty well and I have huge respect for, so that was a relief.

Tuttle: That broke the ice because you sent it to him and he was the first one who heard the cover of one of his songs [“Fake Empire”]. Then the guys from Rancid have reached out to me and said they really loved the cover [“Olympia, WA”]. One of them got the vinyl and posted a video of him listening to it. I was like, "Oh, my God." Then Harry Styles, he started following me online and I messaged him and he said he had heard the cover [of “Sunflower, Vol. 6”] and loved it. He was the one I thought for sure would never hear the cover.

Berg: Of course, Mick and Keith haven't said a thing.

Tuttle: Yeah. We're still waiting on that one.

Berg: The nerve.

How much did working on this project help you both in terms of mental health during this overwhelming year?

Tuttle: It definitely made me reflect on what these songs have meant to me. I felt I was struggling being creative and feeling like I had purpose. It was comforting to come back to these songs and just revisit how I felt when I first heard them and what they mean to me now, then also have something that would hopefully bring other people joy. It really gave me a sense of purpose. And it was fun making the videos for them and having that connection with people still.

Berg: In what is perhaps inarguably the worst year in our history since World War II, the community that has stood up, in my opinion, has been the musician community. By that, I mean the quality of material we've been exposed to, whether it's Fiona Apple, Bob Dylan, Phoebe Bridgers, or Molly Tuttle, I think speaks to artists acknowledging their responsibility to do their best work in the face of adversity. Maybe it is collectively about hope that the orange imbecile will no longer be part of our lives in 45 days.

Tuttle: Yeah, it's overwhelming how much incredible music has been coming out. I've been listening to more music than I have in years.

Berg: On a personal note, when I was first introduced to Molly, I was aware of her as a guitarist. I'd watched some videos, but spending time with her, getting to hear her, I realized that as much focus should be placed on her singing and on the intelligence of what she brings to a record, because that shows the breadth of her as an artist. The fact that she's a world-class player, it's almost a given, but to learn that she sings as beautifully and intelligently as she does is something I'd like an audience to really be aware of. Her next album, I would like for her writing to be the focus of all of it, because that's where she really would excel.

Some of the videos you’ve put out touch on some weighty topics. What was the decision behind that?

Tuttle: Yeah, the “Fake Empire” video was the first one. We decided to put that out because we thought it was relevant to the moment we're in. That song, to me, feels like a wakeup call [to] people who have the privilege to ignore these things happening in our country. That was during the time that I was going to Black Lives Matter protests in Nashville and trying to get more engaged in the community, as I still am. We took a lot of protest footage from the ‘50s and ‘60s and put it with that song to kind of contrast the message of the song, the dreamlike quality with these really powerful images from American history.

How is Nashville these days? You had the tornado in March and then the pandemic hit right after, and there still seems to be a lot of fighting over safety precautions from the virus.

Tuttle: It's really bizarre. We had the tornado a couple of weeks before quarantine started. It's like people almost have forgotten about that. Now it's COVID, but people are still trying to rebuild from the tornado. A lot of businesses have just been closed this whole time because their buildings were destroyed and they couldn't reopen because of COVID. It's bizarre to see people packed into bars and restaurants. I drove by downtown and you feel like half the people aren't wearing masks. It seems really chaotic. A lot of people are frustrated. I'm frustrated that people aren't being safe. Then people on the other side are mad that they haven't let bars open to full capacity yet. I've seen pictures of bars completely packed with people not wearing masks and it's freaky.

Yeah, many musicians have said they won’t tour until there’s a vaccine or some sort of indication that things are safer. How do you feel about getting back on the road?

Tuttle: I don't know. I thought of the vaccine as the thing that hopefully people will be able to get and want to take. I don't know what's going to happen, but I feel like until there's a vaccine, I just don't want people getting sick at my shows.

But whenever it happens, like you said, musicians might be able to be the ones who can get back out there and maybe make us feel normal again.

Tuttle: Yeah. No matter what, there's still the music. It’s all really heartbreaking but it makes you realize what's actually important about playing music.

Ebonie Smith, Atlantic Records Producer/Engineer, Gives An All-Access Tour Of Made In Memphis' 4U Recording Studios

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Photo: Soundtrap/Unsplash

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Good Splits Debuts Free Music Royalty Calculator

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The free artist-centric tool was launched in beta in 2019 and is now available accepting sign ups for new users on a rolling basis
Ana Monroy Yglesias
GRAMMYs
Aug 25, 2020 - 1:15 pm

Last week, on Aug. 19, Good Splits officially launched their free music royalty calculator for artists, after a 2019 beta round. The new tool was created by Nashville-based music manager Jordan Mattison, who founded Good Folk Management, and New York-based digital agency Coalesce.

"The music industry has a terrible history of serving the artist last. Good Splits was built to help artists do their royalty accounting in a super accessible way—and I hope it's one step toward a more equitable music business," Mattison recently told Billboard. "Not only does it save time, it actually helps more artists get paid what they're owed, which in turn actually lets them plan for the future—something musicians feel is often out of their reach."

Watch: How The Watts Summer Festival Created Community And Offered Healing | History Of

Good Splits' target users are independent artists or, as their website states, "working musicians who don't have access to fancy accounting teams." With the artist in mind, the team created "a new, simple tool that would allow musicians to bid farewell to their unwieldy spreadsheets, calculate payments faster, and provide more reliability and transparency to their collaborators."

"We saw a problem in the music business and knew that some smart strategy, simple tech and savvy design could help fill the gap in a real, tangible way," Tucker Margulies of Coalesce said to Billboard. "It shouldn't take crazy technology to be able to know how much a song has made or how much you owe a collaborator."

Good Splits was designed to work with all major aggregators and distributors, including self-distributor models like Tunecore or serviced-distributors like AWAL. The only data the user needs to provide is a CSV file from whichever music service they use, along with the splits. The tool will offer "a clean, easy-to-understand earnings breakdown by song, album and collaborator" to help users make payouts simpler and more transparent.

Good Splits is accepting new users for the free service on a rolling basis—visit their website for more info and to sign up.

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