PLAY IT SAFE The Music Garage’s security is rock-solid.

Somewhere between sheepish open-mike strummers and overstyled arena rockers is a growing middle class of Chicago musicians. Thanks in part to democratic Internet tools such as CDBaby, and accessible recording software like ProTools, bands can now record, sell and market their own music—all without the help of a major label. As the music scene flourishes, we uncovered a few key players and places that help local bands make it in the new do-it-yourself, band-as-business model—offering everything from studio space to professional workshops and a new online resource database.

Cyber punks
Need a publicist, booking agent or entertainment lawyer? Hizzoner might know a guy, or at least his new and improved website for the arts will. The Chicago Department of Cultural Affairs launched the Chicago Artists Resource (CAR) website in 2005 to give artists and arts organizations a central Internet locale to search for grants, look for work, find studio space, post events and join online forums to chat with others in their fields. Until now, the online community was skewed toward the visual arts, but a revamped version launched last week gives performing artists something to shout about, too, with new sections dedicated to theater, dance and, of course, music. CAR Version 2 (chicagoartistsresource.org).

Garage rocks
If you’ve ever had your gear stolen from a practice studio or an alley while unloading, you’ll immediately see the appeal of the Music Garage, a near West Side space where bands can set up private studios and rehearsal rooms. The five-story former paper warehouse was converted last year into a buzzing hive of 110 high-tech spaces, complete with Fort Knox–like security. Since it opened its doors, big-money bands such as Yoko Ono and Smashing Pumpkins have trusted the Garage’s 36 security cameras, fenced-in parking lot and solid steel doors to protect their gear. Other amenities include T1 lines, sound-absorbing foam-paneled walls, user-controlled automatic elevators, 24-hour access, 2,000-amp electrical service, and even an on-site guitar and amp repair shop operated by Schroeder Guitar. Owner Zini Lardieri says there’s one more perk: “You can bring people here, and it’s not the kind of place where you have to say, ‘Oh, uh, don’t use that bathroom.’ ” Music Garage, 345 N Loomis St (312-997-1972, musicgarage.com). Studio spaces start at $450 per month and can be custom built.

Hit play, then record
The music-scene vets behind a new three-part Evanston space fondly refer to it as “a country club for music instead of sports.” Though you won’t find a valet or sauna, S.P.A.C.E. does have a 3,000-square-foot live music venue; a members-only area in the rear equipped with a lounge and a recording studio; and Union Pizzeria, which delivers right to the studio without interrupting your session. By signing on as a member of the League of Creative Musicians, music makers can access the space, take masters classes and get professional engineering and experienced production support. Members also have access to the club’s admirable collection of vintage guitars and mikes. Partners Dave Specter, a blues guitarist, and Stuart Rosenberg, a seasoned musician who once produced and hosted WBEZ’s Earth Club, say they hope the new venue will revive the spirit of the defunct Amazinggrace, an Evanston coffee house that fostered a thriving, supportive, eclectic music scene in the ’70s. Of course, today, all that camaraderie comes at a country-club price: Memberships run from $2,500 to $7,500. Union Pizzeria/S.P.A.C.E./League of Creative Musicians, 1245 Chicago Ave, Evanston (847-492-8190, evanstonspace@mac.com).

Sound opinions
As rock photographer Paul Natkin says, “Musicians don’t usually like to take advice.” That’s why he was surprised to see hundreds of bandmates crowding the Chicago Cultural Center and furiously scribbling notes during Musicians at Work, a series of industry advice panels. Jointly produced by the City of Chicago and the Chicago Music Commission—a nonprofit advocacy organization Natkin heads with Alligator Records founder Bruce Iglauer and others—the series serves as something akin to free rock-star training seminars. Though fall’s lineup is still TBD, musicians on the move and indie scene makers can expect to hear from seasoned local record-label owners, performers, promoters and music media who will dole out advice on topics such as touring, booking, marketing and thriving in the biz (Chicago Cultural Center, 77 E Randolph St; 312-744-6630, cityofchicago.org/culturalaffairs). Until the forums return, check out the Music Garage’s like-minded Sound Advice series, which has featured the sage words of industrial god Martin Atkins, entertainment lawyer Brian Rosenblatt and Q101 DJ Chris Payne ( musicgarage.com).