#musicindustryarticle

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The real truth behind pay to play!

By Chris Standring

Few things get my goat. "Pay To Play" has always been one of them, as long as I can remember. Until recently. For those of you who are not familiar with this concept, I will briefly explain. I should preface this article by saying that there are indeed many other band-booking scenarios. This article is specific to one and one only. Also, the concept of pay to play is rife in big US cities such as Los Angeles and New York. It may not exist in certain countries. It's not a perfect world, just the one that we live in. Ok, with that little disclaimer aside, I will continue.... An unknown (and unproven) band will approach a club booker and try to get their act booked on a certain date. The booker listens to the band's CD and decides that they are worthy of public attention and agrees to give the band a date. There are two ways this will pan out. First, about 300 tickets will be printed up and sold to the band by the club. The band then sell these tickets to their fans and do their promotional job enticing people to come to see their show. It is in the band's interest to sell all the tickets otherwise they are out of pocket and end up "paying to play". The second way is where a contract is issued to the band explaining that they need to have a certain amount of people in the club for them to make a profit, let us say 100. If 100 people do not show up and pay 5 bucks to get in, the remaining amount is due to the club. So if a band only fill that club with 50 people, then 50 people (that haven't paid $5) is due to the club. The band end up paying the club $250.00 Ok so now we have that understood let's try to get a new perspective on this. Although I have always abhorred this behavior from club bookers I have a new attitude to it, something that changed once I started touring as a recording artist, promoting my own records. What all bands want is a nice guarantee to perform at venues and start making a profit. However, as a new unproven artist, one has absolutely no market share. This is an essential "ticket value". If a promoter wants to book The Eagles to play live then he knows that this band has an enormous fanbase and can guarantee an audience. He then does a deal with the bands' agent who later accepts. The promoter is initially out of pocket but with low risk as he has done the numbers and knows that he will turn a profit with this proven act. The new artist has no market price as this band is unknown. Therefore a club booker cannot offer a guarantee because he is at risk with this band. It is, therefore, the band's responsibility to take the risk. Usually, the band does take a hit because it cannot draw a crowd and ends up out of pocket. Now the band has an attitude about giving away free entertainment! But this is business. A product needs to be proven to work before other business people decide to get involved and give away money. Here is something that opened my eyes once I got in the record game. A manager friend of mine said to me as I signed my first record deal, "Welcome Chris, now you're off to the races let's see how much money you lose in the first year!" Now there's the encouragement I thought. Wise words however and I took heed... As my first radio single took off on the airwaves I started to get invitations to perform at radio station events and promotional functions. Most radio stations like to have annual events they call "listener parties" where they invite thousands of listeners to an event they put on and invite let us say 3 bands to perform. The first two artists will be proven stars, the third (little old me in this example) what they call a "new rising star". The first two bands may be offered a guarantee to perform, but quite possibly not. Usually, if money is offered for radio events it will be minimal as they expect record label tour support. Sponsors sometimes jump on board and offer free hotel and air so ostensibly the radio station ends upcoming just a little out of pocket to promote their event. So, I am invited to perform at one of these listener parties but the radio station only wants to pay $1500.00 assuming that my label will kick in the rest. I go back to my label and ask for a further $2000.00. The event is on the east coast and I have to fly 4 other guys as there is no air sponsor. Air tickets are costing $595 each as it's peak summertime. That's $2975.00 before I have even paid my sidemen! My label agrees to kick in $1500 and that's it! So now I have a guaranteed budget of $3000 and my airfares for the band have tapped that! I absolutely have to pay my band as they should not have to take a hit, it's my career after all! I decided to try and do the show without a sax player. That will save me airfare and show fees. Now my airfare is down to $2380.00. I'll pay my band $250.00 each to do this show. Now I am up to $3130.00 I am down $130.00 and I haven't paid myself a penny!!! Do I do the show? You're damn right I do, this listener party has 7000 people coming in checking me out, possibly buying my CD and becoming new fans. Now 3 years later and another hit record to my name I am being offered more healthy guarantees from promoters in the USA and Europe. Why? because I was smart in the beginning and made sure I got things to work when I needed them to. Now I even have musicians I call to do shows that live in New York, Los Angeles and London to make an even healthier profit. This is obviously not such a good idea if you are a 4 piece band but as a solo artist, you can do this very effectively. By hiring musicians in London for a UK show I can save myself around $2400.00 That's a big slice if you do this on a regular basis! To understand one thing. You have to start small and build your fan base. Once you have a legitimate fan base, you can do good deals with promoters. In order to do this, you need to localize. Build-in one area and expand. It's a "baby step" program. Watch for the con artists, they do exist as I'm sure you know. Be smart. I love contracts, you should grow to love them too. Prove yourself. Build your market share and understand that "pay to play" does exist but it's nothing more than smart business. Once you have market worth, trust me promoters will be calling you offering healthy guarantees!

Source: Music-Articles.com

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Tips for Improving Stage Performance

by EDMUND BRUNETTI

So, you’ve formed a band and you have your first performance – it’s exciting, right? While this may be true, a lot of bands face difficulties when they first start performing live. If you aren’t properly prepared, you could get discouraged when things go wrong and your band isn’t getting the response you want. Let’s get into some tips that you can use to improve your live performances.

Practice

Practicing is one of the most important things your band can do before getting on stage. You don’t have to practice your band’s original music – you can find guitar chords and tabs to your favorite songs to get better at your instrument. There are free tabs for guitar players available on plenty of websites, so look around and find songs you’ll love to practice.

Even if you practice using your band’s music, you don’t have to play it exactly as it’s written. Experimenting is one of the ways you can get better at your instrument, though you should aim to focus instead of just twiddling the strings. Try playing around with the song’s set up and finding what sounds best before you go out and put on a show.

A Few Days Before the Show

It may seem like bands just show up and perform, but there’s a bit more to it than that. It takes communication and planning to have a great show, which requires action on your part. Your band will need to create an input list as well as a stage plot before the performance. An input list shows the mics and lines needed for your performance while the stage plot shows your band’s set up once on stage.

Before the day of your show, check all of your band’s equipment to make sure it is functioning properly. You should also make sure that your guitar’s strings are fresh and tuned, the drum head is in good condition, and that you have plenty of wireless batteries.

On the Day of the Show

On the day of your band’s gig, be sure that you arrive as early as possible so that you have enough time to set up and hand over your stage plot and input list. Once you’ve spoken with the production staff, and have set up your equipment, tune your instruments and get ready for a soundcheck.

The amps should be set at an ideal volume so they don’t drown out the rest of the band. You should also consider the volume of monitor mixers, which can ruin the sound for fans sitting in the front tow. Some artists prefer bringing in their own mic, so make sure that the band does a quick soundcheck to ensure that each member is heard properly.

In a nutshell, having a great performance takes a lot of preparation. You should practice often, using free tabs for guitar musicians online – just make sure any guitar chords and tabs used for practice are transposed properly. Your band should also get all pre-show information and gear so that you know what you’re working with.

Source: Amazines.com

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Online Branding for Musicians How to - Why Branding Your Band Is Essential

By Ken Cavalier

Before I begin writing this article, I'd like to say that most artists and musicians are sometimes intimidated by the word BRAND. A lot, or even most, have no idea what it means or what it is, and most importantly how crucial it can be to set themself apart from all of the thousands of other acts out there; and being the band that ultimately achieves success.

First, let me point out that building your digital brand is not as complicated as you might think. As a matter of fact, it's probably one of the easiest and least expensive forms of marketing your music and your band. As I indicated, I am going to lay this out - step-by-step so that it is very easy to follow and implement. So, let's get into it a little:

First, let me point out that building your digital brand is not as complicated as you might think. As a matter of fact, it's probably one of the easiest and least expensive forms of marketing your music and your band. As I indicated, I am going to lay this out - step-by-step so that it is very easy to follow and implement. So, let's get into it a little:

YOUR LOGO:

This is probably the simplest form of your brand. Every act should have a logo that in some way or another represents who you are. It should be simple and easy to understand. But you must have one. Don't rush it - do many different ideas and samples until you pick the final version. Collaborate with band-members, fans, and friends for different ideas. Six heads are better than one.

YOUR STORY:

Remember, you essentially want your digital brand to tell the story of who you are. Focus on details that describe your image and likeness, your on-stage consistent look, and a consistent look and feel for your websites and social media. Once you devise your branded image, exploit it everywhere. When fans move from website to website or see you perform, your brand must be consistent. Everywhere people look for you, they must be able to absolutely know it's you - simply by seeing your consistent logo, brand, and image. It must be memorable!!

CONSTRUCT A COMMUNITY OF FOLLOWERS:

Personalize your fan engagement experiences. Build trust and affection in your close personal community. Engage as often as possible. Possibly use brand-infused giveaways as a way to increase your follower's cooperation.

Use Instagram, Twitter, and Facebook to constantly spread your brand and expose it to as many followers as possible. By all means, shoot professional videos. Video will enhance your brand and give your fans a closer look at what you're all about and become closer to you.

OVERSHADOW YOUR COMPETITION:

Dominate your particular music market by being distinctive in every aspect of your digital and traditional marketing efforts. Some examples are your official website, your social media sites, and posts, new CD releases and especially in your merchandise. Your merch must be distinctive and express your image and brand in its designs. Along with your logo, merch designs should also reflect your band's character and its overall story. The designs should be original and trendy. If they're truly cool designs, people will buy them even if it had nothing to do with your band; hence, more collateral exposure for your brand.

PUBLICITY & MUSIC MEDIA RELATIONS:

Exploit your brand in the news media, interviews, radio, and in music review blogs. Getting coverage in any of the media outlets will create serious attention and awareness for your brand, and further, enhance it. This type of outreach is better handled by a seasoned music publicist. It takes a great deal of time, expertise, and an accumulation of high profile media contacts. It's extremely difficult for the average artist to be taken seriously by media outlets. A professional music publicist, who is trusted by the media, may cost you a few bucks, but it's worth every penny.

SO, IN SUMMARY:

Remember, don't get too intense or complicated. And most importantly, don't get frustrated. Take your time - do it right and keep it simple. Don't forget to work with all of your band-members, fans, friends, and followers when it comes to establishing your logo, story, image, and designs. Six heads are better than one. Take a look at the extremely popular acts that you admire - see how they approach branding. You may want to consider emulating some of their ideas.

Branding is a serious business. It's not something to be ignored. It's the visual representation of you as an artist. Just have fun, and do it!

Source: EzineArticles .com

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Seven Things Musicians Do In The Wrong Order

By T. Hess

A lot of musicians do the correct things, but at the wrong time (and in the wrong order). They try to build their music careers while basing many of their decisions on fear, incorrect assumptions, and tips from amateur musicians rather than proven professionals.

The following music career mistakes make achieving success in this industry very difficult:

Mistake #1: Contacting Music Companies Too Soon To Try To Get A Record Deal

A lot of musicians want a recording contract, but only a small percentage of them really know what music companies are looking for. These companies invest tons of money into musicians similar to how people put their money into stock on the market.

You have to give these companies 100% proof that their investment will pay off for many years to come. When you can do this, music companies feel comfortable investing in your career because they believe it will help them earn money. When you contact them too soon, before you can provide proof of your potential to help them succeed, you are simply wasting your time.

You don't have to have massive accomplishments before you can contact them, but you do need to make sure that a company can completely trust in:

*Your desire to achieve big things

*Your ability to work hard on a consistent basis

*Your ability to persevere

*Your mindset for business

*How well you can sell music to your existing fans

Mistake #2: Only Focusing On Mastering Your Instrument And Neglecting Your Career

Tons of musicians are afraid of growing their careers because they don't think their musical skills are good enough. They feel like they need to master their instrument completely before they can even think about getting into the music industry.

1. It takes a lot more than musical talent to grow a career in this industry. When you spend all your spare time practicing your instrument, you lose time you could be spending to work on growing other areas of your career.

2. There's no such thing as completely mastering a musical instrument because you will always find new things to improve.

You need to get started growing your career when your musical skills are around an intermediate level or above. Continue getting better musically while developing your music career at the same time.

Mistake #3: Waiting Too Long To Find A Music Career Mentor

The majority of musicians do not have any training for how to achieve success in the music business, because:

1. They don't know that music career mentoring exists.

2. They don't have enough ambition to pursue success in this business.

When you work with a music career mentor, you are investing in your future (not merely spending money). Mentoring helps you make tons more money than what you invest in it. This is how:

*You no longer have to guess when it comes to how you should grow your career. You save tons of time and money working with an experienced mentor than you would simply be guessing about what to do next.

*You find out the best way to promote yourself and your music. This gives you a massive advantage when working with/without a music company.

*You discover how to create opportunities in your music career without any outside help. This makes your career very stable and secure while giving you complete control over how much success you want to have.

Disclaimer: You might be aware that I have a music career mentoring program to help musicians become successful. So maybe you believe everything above was written just so you will join it. This is only partially correct. Of course, I want to help musicians like you to succeed. However, the benefits of working with a mentor can't be denied whether you work with me or not.

Mistake #4: Not Training Yourself To Have The Right Mindset At The Start Of Your Music Career

The way you think determines how far you get in the music industry. Have a poor mindset, and you will never achieve great success.

Fact: your mindset consists of much more than simply thinking with a positive attitude. When you train yourself with a success-oriented mindset, you train yourself to:

*Push through in the face of challenges where others would give up.

*Turn problems into massive opportunities for success.

*Do the hard work other musicians don't do, so you can achieve the big results most musicians never get it.

To do these things you have to train your mindset from the very beginning of your career and build a solid foundation from which to expand.

Mistake #5: Not Building Up A Local Following Of Fans

Music companies are way more interested in musicians who have a huge local following than those who have a moderate internet following. It's harder to grow a loyal fanbase in your local town than to attract thousands of people all over the world to check out your online videos/channel/etc. Plus, it's very difficult to fake a local following versus having a lot of likes on Facebook (for example).

Mistake #6: Waiting Too Long To Get Freedom Of Time And Money

Let's face it: you need to have the freedom to be able to accept certain opportunities in your music career as they present themselves. This means you need both time and money.

Too many musicians don't consider this until it is much too late. They spend the majority of their time working at normal day jobs while keeping their music career as a side hobby.

The majority of day jobs require you to spend full-time hours working every week. This makes it nearly impossible to grow a music career and make money at it. Many musicians get stuck at their jobs and never end up going into music.

Get back control over your time and money as soon as you can (by starting early in your music career).

Mistake #7: Planning Your Music Career From The Start Instead Of The End

You need to plan your music career by thinking from the end and working your way backward. Think about what your highest goal is and the final step you must take before you achieve it, then work backward from there. This gives you the precise path you need to take to get there.

The majority of musicians don't do this. The try to plan out the steps they have to take from where they are. This is a good way to get stuck and not achieve the things you want.

An experienced music career mentor shows you how to design a strategy to reach your musical goals as fast as possible.

Get the music business training necessary to become successful.

Source: EzineArticles.com

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Music Licensing - What, How and Why It's Important for Your Business

By Mark Malekpour

Music licensing commonly refers to 'royalty free music' or 'production music'. This is music that has been written and produced with the sole purpose of being used in another project. Anyone can then license this music for a fee, to use in their project.

What about commercial music?

Commercial music, written and performed by artists like Adele, M83 and U2 for example, cannot be used for any purpose other than personal/private performance. When you buy a CD or download an MP3, it is specifically stated that you cannot do anything with that song or music track except listen to it yourself. Any business use is prohibited, even playing it on the radio to customers at a hair salon.

To play commercial music to the public, a public performance licensed is required by the appropriate performing rights organization of that country. In the UK it may be PRS or PPL. In the US/Canada, it may be BMI or ASCAP. These organizations arrange a fee to the proprietor of the business, based on the size of their business/location. This can be expensive, and time-consuming just to play the radio to your customers on your premises, but does permit the business to play the radio to its customers without legal issues.

This is not a suitable solution for video production and filmmaking, as the usage and purpose of music are not the same. As many video production companies produce content for clients, they need background music for their video/film that is cleared for its intended purpose. When licensing commercial music, arranging such a license for online, public performance, in-store and mass distribution quickly becomes expensive and convoluted.

Royalty-free music licensing offers a simple and cost-effective solution to acquiring well-produced music with all necessary rights for the client, within an affordable, transparent license.

Who needs to license music?

Anyone creating digital content with the intention of publishing it online or publicly. It's really that simple. You cannot legally use music you have not written yourself, or licensed from a music library.

What about 'home movies' and 'personal projects'?

The same rules apply to home movies and personal projects, but because these are produced not-for-profit, nor professionally on behalf of a client it is possible to use commercial music in this type of content. However, when this content is published on social platforms like Facebook and YouTube, you may find your video is blocked in certain countries or deleted entirely. This is because commercial artists and record labels have an agreement in place that monitors the use of their content on these platforms, and can enforce accordingly. There is, however, many commercial artists and record labels who permit the use of their music in exchange for advertising. An ad will be attached to your content as a pre-roll, overlay or half-time break during the video in exchange for permission to use their music track. If you're producing something personal, 'for fun' then this shouldn't be an issue.

The risks of using commercial music in professional video

A client may want the latest chart hit in their video because it resonates with their target audience, or they feel it represents their brand. However, as outlined previously this could end up immediately being blocked or deleted with further implications like account suspension. If the video is not blocked or deleted, then it will be served with ads.

This is the last thing you want for your client. You've produced a video promoting their new product, and before the video has even started, viewers are being shown ads for competing brands and products. It degrades the potential of the video and the brand.

Why license ROYALTY FREE MUSIC?

There are THREE key reasons why licensing music correctly is hugely important.

1. You're using music that will NOT be subject to copyright claims, blocks or deletion when it is published online. This means you can deliver your end-product to your client without fear of any music-related issues.

2. You can MONETISE the content you produce. If you're producing the content for your own online channel on YouTube, you'll no doubt be entered into the partner program, to earn money from ads displayed on your videos. You cannot earn money from these ads if the music is not licensed, as it will go straight to the artist/producer of the music. Pay for the music license, earn money from that music license. Simple.

3. Create an identity for your video. Whether you're producing something on behalf of a client, or yourself. If you use a hugely popular, well known commercial music track, chances are that song will resonate with the viewer more than your content. However, if you create really good video content AND license the perfect music track nobody has heard before, you're offering a completely unique audio/visual package that is new and fresh.

What about free music?

If you look for it, you will find music that is available to use for free. But ask yourself, why is it free?

Free in exchange for ads and revenue.

The creator could be giving you permission to use their music in exchange for ad-revenue online via YouTube and Facebook, and you won't know this until you publish it and get informed ads will be displayed alongside your video, with all revenue going to the artist.

A poor quality sample

The free music track you're using could be a low-quality sample of something an artist is trying to sell. This could be a low 128kbs MP3 that appears suitable, but when played back against high-quality content, will sound quiet, muted and generally not as good. When music is licensed from a library, it should be available in broadcast quality WAV or 320kbps MP3 as standard.

Who else is using it?

You won't be the only one looking for free music. People creating content purely for personal projects don't have a budget for music licensing so they need something free. If you're producing a project for a client who is paying you, would they be happy with you using the same free music track as everyone else? If it's free, chances are a lot of people will make use of it.

Clearance and Assurance

Anyone can upload a music track online. There is no vetting, no quality control or legal assurance. Any Blog or digital content platform can host a music track for others to share. So, when you're downloading a 'free music track' how do you know the provider actually has the right to provide it to you? When you license a music track from a professional curated library, you have the assurance that every single music track has been reviewed, contracted and published legally for you to license and use.

Why pay for music?

There are thousands of music tracks online. What difference is there between 'Track A' and 'Track B'? As a video producer/filmmaker, ask yourself this question: "There are thousands of video cameras available. iPhones can shoot 4K video and you can plug a microphone into them. Why should a company hire me to shoot their video"?

When you license music from a reputable library, you're paying for the expertise in writing and composing the music track. From the start, middle and end. The quality of instruments used. The production of dynamic audio, the builds, and crescendos. The post-production mastering and edits so that a 3-minute piece can be condensed into a short 30-second edit without losing any of the magic of the music track.

The difference you get when someone films a corporate video on their iPhone compared to someone filming the same video with a professional camera, lighting, and staging is painfully obvious. It is no different when it comes to music or photography. There is technology, the knowledge of the skill and the ability to combine them to achieve the highest quality result.

What can I do with licensed music?

Whatever you want. Music can be licensed for limited use or global distribution, mass production, and broadcast. You can license music for a specific purpose and tailor it to accommodate any additional requirements at any time.

Licensing royalty free music is intended to be the most cost-effective and practical solution for using music in your professional projects. General online distribution is commonly a one-time license fee per track for lifetime usage.

Source: EzineArticles.com

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Beef Up Your Music Press Kit

By Ken Cavalier

One of the biggest mistakes I've seen made by bands and artists today is to under-estimate the importance of a professional promotional kit. Your promo kit, also known as a press kit or media kit is probably one of the single most important elements in an artist's initial presentation to venues, promoters and most importantly record companies. First-impression is so important in the music business. Some artists just don't get it! With the major influx of CDs and packages that record companies receive on a daily basis... with most realizing the inside of the trash can at the receptionist's desk, its vital that your package stands out from the crowd and distinguishes you from the rest as a true professional who's package is worth reviewing and CD worth listening too.

In preparing your press kit you need to find every element possible that will distinguish you from the masses. Throwing together a bunch of poor quality copies, unprofessional photos and poorly written copy and bio all stuffed in a flimsy folder just isn't going to cut it. The press kit is a representation and extension of you. If it's a sloppy heap of papers, that's exactly how you come off. On the other hand, if it's a well-organized presentation, you come off as a pro.

Some of the elements that need to be taken into consideration when putting your kit together are things such as theme, concept, and layout. You should come up with a concept and theme for the kit, one that is memorable and basically ties every page together in some form of continuity. A theme could be based on the artists or bands name. For example, if the band's name is "Orange Freedom" The color scheme could have orange in it, either the paper or text or icons could be oranges. I'm aware this particular example may seem a bit infantile but I think you get the basic idea. Remember you want the band name to be memorable. Just to give you another example, recently we were showcasing one of our acts named "Uncle Plum" in New York City in front of 4 major record labels. The day of the showcase, we had one of our interns travel via cab around the city and deliver a reminder to each A&R and record executive invited to the showcase. Along with the cleverly written reminder invitation to the showcase, she promptly dropped off a basket of plums to each record executive. May sound silly... but it works.

Part of your concept should also be a professionally designed logo. A logo is very important and must be something easily remembered and contain the elements of your overall concept.

The utilization of professional packaging for your media kit is also vitally important. The binder must be strong, and not easily damageable. It wouldn't hurt to use a binder the same color as the band's logo once again for continuity. Although these types of portfolios can be expensive... sometimes a few bucks each, it's definitely money well spent.

A professional photo is definitely a necessity in your kit, maybe even a few photos. If you're a band, you will need the 8* x 10* B&W glossy of the band and also individual photos of each band member included in the bio section which we'll discuss later. A high-quality professional photo is a must. Having friends or relatives take a snap -hot won't cut it either. The photo is an area where you can't afford to try a save a few bucks. You need to shop around for a professional photographer to do this. I can't emphasize the importance of this enough. If you have the budget, hiring a professional music industry stylish to touch up your image may not be a bad idea either. Although I realize for most bands this may be cost-prohibitive.

The write-up section should contain two elements; your bio or the band member's bio; these should be short and to the point. Don't go nuts with a long detailed biography. Labels and others just don't have time to read it so they'll just skip it. There you will possibly lose out on providing information to the kit recipient which may be advantageous to you. Include things like your influences and other experience in the industry. They really don't care much about your baby picture or what you did when you were six years old unless, of course, you were a child sensation at the time. Your fact sheet; This should contain any favorable press or write-ups you've received such as tours, radio airplay, reviews, good sales figures on an independent release, etc. You can also include GOOD COPIES of any articles, interviews or reviews from newspapers or trade magazines. Every page of your press kit should include you or your manager's contact information and your website URL. Be truthful and keep it all as short and sweet as possible.

Now for the most important element of your kit... Your Music. Include a professionally recorded demo of your absolute best 3 songs. No more than three. The format should be on CD only. Encase your disk in a professionally labeled jewel case which includes your theme, contact information, and logo. It's important for your CD presentation to be as professional as possible. It's nice to have a separate pocket in your portfolio to house the CD so there is no chance for it to fall out or get lost. It's better contained that way. Or as we've done on occasion with some of our kits, use Velcro to hold the jewel case on the rear inside portion of the portfolio.

Now in summary, here are the elements to include:

* Create a theme and concept

* Design a professional logo

* Use professional packaging

* 8" x 10" Black & White glossy promo photo

* Individual band member photos if applicable

* Artist or band bio

* Fact Sheet... favorable write-ups and quotes

* Additional press... reviews, interviews, articles

* 3 Song CD Demo

Your press kit is your representation of you when you are not there. Don't take it lightly. Check it thoroughly for errors and content and be diligent. If your kit is special it will stand out and labels, venues, and the music media will take notice.

Article Source: EzineArticles .com

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How to get the best results from your Studio Recording Session

By Eva Brandt

Preparing for a Studio Recording Session can be an overwhelming task. Recording your music can be expensive and time-consuming but it can also be a rewarding experience leaving you with a product you can be proud of for years to come; with careful and considered pre-planning you can put yourself in the best possible position to make the most of the opportunity. Efficient Time Management Getting ready for the studio session can be chaotic, especially if you’ve not organized things beforehand. Have all of the songs written prior to recording. If you play in a band, allocate roles to all of the members so that people know what they are doing. Rehearsing at home will save you a lot of time and money. Practicing will also improve your performance, which will affect the quality of the record. You should also be certain of the quality of the equipment. Guitar strings should be changed in advance. Waiting for something to go wrong at the studio in order to fix it will interfere with the session and is a classic case of “planning to fail”. Have a Budget Decide on a specific amount that you are willing to spend on the recording session and the production of your album. Many performers and bands believe that they will be done with the recording session quickly. Quite often, the process is lengthier than initially planned. If you require more hours for studio recording than initially planned, then expect this to naturally inflate the initial cost as well. Estimate the number of hours you will need and add a few more in case you run over. Make your budget calculations on the basis of these hours. It’s always best to have an idea of how much you “may” end up spending, rather than getting an unpleasant surprise at the end. Be Mentally Prepared Have enough hours of sleep before going to the studio. Recording your music can be a physically challenging task, especially if you need many hours. Being in the right state of mind will make things easier. Drinking and recreational activities the night before may sound cool but they are usually a bad idea. Work on your focus and your commitment. Refrain from paying attention to distractions and try to play your music or to sing as naturally, as possible. Always listen to the outcome before moving on. You may think that it sounds great while recording it but things may sound a little different when examining it much later on. It’s normal to feel that a certain take you’ve done isn’t good enough. It’s ok to do re-takes until you feel you’ve nailed it but try to agree to a cut-off point. It’s easy to lose track of time obsessing over every little bit of detail, especially when you’re aiming for perfection. A Few Additional Tips and Ideas If you have a drummer, make sure that the person arrives at the studio a couple of hours before the rest of the band. The extra time would be wisely spent setting up the instruments up consulting the sound engineer. All band members should go through a soundcheck before recording starts. Keep noise to a minimum and allow the engineer to focus on the task at hand. Your producer should have a demo of the songs that you are planning to record at the studio. All of the production ideas and your specialized requirements are best discussed and agreed ahead of time. Leaving creative ideas and other aspects of the recording process to the last minute could be a source of disagreement and frustration and could just eat up precious studio time. Being prepared, rehearsing and making sure that the instruments are in top condition will only help to ensure the quality of the recording session and give you the best possible opportunity to cut that killer track.

Source: ArticleAlley.com

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Inspired Songwriting Tips

By Yuri Nikitin

Here are some exact examples of what you can do to set a song together. You can get inspired by a number of methods such as: 1. A chord progression 2. A cool riff 3. A lead melody One of the things you require to do is generate a part that compliments your original idea such as adding a melody to a chord progression or adding up a chord progression to a melody. Say you have a chord progression you truly like. To make your musical painting, you have toknow theoretically what key you're in. If you're weak on modal theory, but familiar with a scale or neck pattern that sounds fine against your chord progression, employ what you know to create a melody over it. The easiest way to accomplish this is to find a multitrack recorder and record your chord progression on one track. Play it over and over a lot of times. When you play it back, work out your melody on another track. As you're working on a melody line, try to take note for cool harmony among your melody and chord progression. If only one exacting note sounds totally great against one of the chords, go with it and start building around that great relationship. Now, if you're notes are all correct but you can't seem to come up with something you like, it may be time to inject a new technique to spice things up a bit. Let's say you recognize the chords and you know the notes. Try looking at the notes in a whole new way such as: 1. Arpeggios. (The notes of the chords) 2. Skipping strings for wider note intervals. 3. Right hand tapping. 4. Whammy bar effects. 5. Pinching harmonics... One of the biggest problems is not being able to decide for if something was good or not. If you have this trouble too, get someone else's opinion. If possible someone who can suggest helpful insight. If you can't find someone to critique your tune, you MUST decide for yourself and move on...otherwise you'll never get your tune finished.

music-articles.com

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First Impressions Are Everything

By Laura Blair

As a freelance journalist, there’s not a bigger turn-off than a CD that lands on my desk with a bio or press release that looks like it’s been written by the drummer’s 14-year old brother. Given the stacks of CDs most journalists regularly receive, packages such as this are likely to go to the bottom of the pile. As an assistant publicist I’ve learned that it’s all about perception; framing a project with the right vocabulary to make it appeal to the right people. First impressions are important whether you are sending your CD to a journalist, in the hopes a CD or live show review, a manager if you’re seeking a management deal, an A&R rep in the hopes of a record deal…or any number of the players in the industry who can help or hinder your career. Chances are, the first (and sometimes only) contact you will have with such people is via a package mailed to them. If you are an indie musician, the last thing you want to appear is unprofessional, by way of a sloppy submission package. A well thought out press kit (don’t worry, it’s not as complex as it sounds) can give you the appearance of a band with its act together. And that might actually sparks someone’s interest enough to actually listen to your music. Such a kit can be as simple as a glossy black and white photo and a bio or history of the band. Even is there is no photo, a bio, or at least a one-sheet on the band is essential. If you are going to write the material yourself, here are some brief tips: Keep it short and to the point. In my experience, unless you are already a well-known band, any bio or press release that runs beyond one side of a page, is a waste of time. Most people don’t have either the time or concentration span to read all the way through to the end. So compress all your thoughts into one side of a page. Write from a 3rd person perspective i.e. don’t use “we” or “I”. Focus on “industry-friendly” details: What style of music you play – many bands don’t want to categorize themselves, but A&R reps etc. want to know what market you could potentially reach. Any achievements thus far – local press, airplay etc. Any other interesting details about the band that could make for a good story. What makes you different than all the other bands looking for a break? Since there are so many nuances to be considered, many of which may vary according to who exactly you are approaching, it is my recommendation that you invest a small amount of money in a freelance writer who can write your bio or press release for you. A couple of reasons: they will give the impression of an objective 3rd party and it is easier for them to highlight the points of interest that a band member (or their best friend/brother etc) may not consider. It is far easier to have someone else write about you and have it sound credible than for you to do it yourself. Also, a writer, whether they are used to doing PR writing or journalistic work can lend your bio an air of professionalism. This can be the difference between someone listening to your CD because you seem serious, or it being tossed aside with the thought of ‘another amateur indie band.’ There are other things a good writer can help you out with, such as incorporating any local press that a band may have already received, or writing compelling content for your website or MP3.com site. Sometimes there are some things best left to others. Just because you can write a great lyric, doesn’t mean you can express the spirit of your band in a professional, industry-friendly manner. It’s true that PR companies will also provide you these services, but usually at a cost that is out of reach of many bands and musicians who still have day jobs. Using an individual writer will furnish you with the professional air you need at a fraction of the cost. Each writer’s fees are going to vary, but you can expect to pay half upfront and the rest on completion of the project. 

Source: http://www.music-articles.com

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5 Tips for Improving Your Song’s Melodic Hooks

Melodic hooks can be the heart of a song. These tasty bits of ear candy can make the difference between an “almost” – and a life-changing hit. They can be instrumental or sung and can occur in any section of a song – the intro, verse, chorus, pre-chorus, post-chorus, bridge, or outro. Catchy musical phrases hook in your listeners and keep them on the proverbial line. They can occur in multiple sections of a given song (i.e., a verse, a pre-chorus, and chorus) and although it is not typical, there can be more than one musical and/or vocal hook per section. But they are most frequently found in choruses and post-choruses. Ideally, unforgettable hooks pop into our heads–or pour out of our keyboards or guitars–spontaneously. But when they don’t, we can apply craft to create these extra-memorable melodic moments and add additional hooks to maximize our songs’ chances for success. Let’s look at five ways to embellish our melodies and help them burn into listeners’ brains. 1. Use a Stutter A stutter in a song occurs when melody is crafted so that part of a word—typically the first syllable—is repeated one or more times by the vocalist. A perfect example of a song with a st-st-st-stutter is Carrie Underwood’s smash hit, “Undo It” (written by Underwood with Kara DioGuardi, Marti Fredericksen, and Luke Laird). The title is sung “Uh-Uh-Uh-Uh-Uh-Uh-Uh-Undo It,” turning the stutter into the primary hook in the chorus. For another example, listen to Elton John’s “Bennie and the Jets” (written by Sir Elton John and Bernie Taupin). It’s hard to imagine that #1 song without its signature stutter, the “Buh-Buh-Buh” that precedes the name “Bennie.” 2. Repeat a Rhythm Write a melody that includes a unique, instantly memorable rhythm in the vocal melody of a given section of your song (i.e., verse, chorus …). Then repeat this rhythm multiple times within the same part of the song. In order to accomplish this, each line that has the same rhythm needs to have the same—or approximately the same—number of syllables in the lyric that accompanies it. This technique resulted in a powerhouse hook in GRAMMY winning Best Rock Song, “When I’m Gone” (recorded by 3 Doors Down and written by band members Brad Arnold, Todd Harrell, Matt Roberts, and Chris Henderson). Note how the last note of each line of the chorus is emphasized, and that every line of the chorus melody repeats almost the same rhythm, creating a melody that delivered it to the top of Billboard’s Top 40 Mainstream and Hot Mainstream Rock charts. To hear another great example of the power of this technique, listen to the quirky rhythms in the melodic phrases that repeat in the verses of Old Dominion’s “No Such Thing as a Broken Heart” (written by Jesse Frasure, BMI’s reigning Country Songwriter of the Year, with Matthew Ramsey, Trevor Rosen, and Brad Tursi). Also note the musical phrase that repeats in the choruses. 3. Include a “Nonsense Syllable” In this context, a nonsense syllable refers to a sound that is sung but has no meaning. These include: “Ooh,” Oh,” Yo,” “Ay,” “Ahh,” “Ooh,” and “I.” These (and other sounds) can be joined together to create vocal hooks that combine melodies with sounds such as, “Oh-I, Oh-I, Oh,” “Ooh, Oh, Oh, Oh, Oh,” and “Ay-Ay-Ay-Ay-Oh-Ay-Oh.” Camila Cabello’s breakthrough smash, “Havana” (featuring Young Thug, and written by Cabello with Jeffrey Williams, Frank Dukes, Brittany Hazzard, Ali Tamposi, Brian Lee, Andrew Watt, Pharrell Williams, Kaan Gunesberk, and Louis Bell) added the sound “ooh-na-na (ay, ay)” to the title to create an unforgettable hook. Similarly, Sugarland used “Whoa-oh, whoa-oh” to take their song, “Stuck Like Glue” (written by Jennifer Nettles, Kristian Bush, Kevin Griffin, and Shy Carter) to the #1 slot on Billboard’s Country Digital Songs Chart, racking up more than 2.6 millions digital sales along the way. 4. Add a catchy post-chorus A post-chorus can be defined as a part of a song that occurs after the chorus, providing an additional hook that typically includes vocals. It introduces melody that is not heard in the chorus or elsewhere in the song, and in many instances, it has few lyrics that have not previously been heard in the song. It often reiterates the title and incorporates nonsense syllables. Examples of strong post-choruses include Keith Urban’s “Wasted Time” (written by Urban with James Abrahart and William Wells). For more information about post-chorus references, check out “The Power of Post-Choruses.” 5. Include a Catchy Instrumental Lick A musical motif, sometimes referred to as a signature lick, is a melodic phrase that is typically introduced in a song’s intro and recurs throughout the song. Some hit songs, such as Vanessa Carlton’s “Thousand Miles” and Jason Derulo's "Talk Dirty" have multiple instrumental phrases that serve as hooks. Carlton’s #1 hit includes a motif that is played on piano during the intro and in the verses, as well as the instrumental hook played by the strings in the second half of the verses. One of my favorite instrumental hooks is the guitar lick that introduces Rascal Flatts’ recording of “What Hurts the Most” (written by Jeffrey Steele and Steve Robson). This version of the song reached #1 on Billboard’s Hot Country Songs and Adult Contemporary charts and received a Country Song of the Year GRAMMY nomination. The same lick can be heard (with slight variations) played on a synthesizer in Cascada’s pop/dance recording of the same song. At a recent songwriting workshop, I led my students through an exercise during which they applied each of these techniques to one of their songs. They explored including a stutter, repeating hooky rhythms, adding nonsense syllables, writing a post-chorus, and incorporating a catchy musical lick. One unforgettable hook can be your song’s ticket to the top of the charts. But why stop at one, when multiple hooks can maximize your chances of success? Try these tools in your own songs. Not every song will be benefit from each of these techniques; the decision needs to be made on a song-by-song basis. But you won’t know whether one or more of these melodic tools might take your song to the next level unless you try.

https://www.songwriting.net/blog/5-tips-for-improving-your-songs-melodic-hooks

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What You Need to Know About Starting a Music Business

By David Andrew Wiebe

For many reasons, the music industry isn't the easiest sector to start a business in.

If your target audience consists of musicians, many of them don't have much by way of expendable income.

If you're an independent studio or record label, it may not be as easy for you to profit from streaming royalties and other revenue sources as it is for major labels.

And because it's such a fun and creative industry - at least from the outside looking in - it's also competitive on just about every level.

Here are some things you need to know about starting a music business.

Fundamentally, It's Just Like Starting Any Other Business

It's good to be aware of the unique industry challenges and how they might affect your ability to create a successful business.

But fundamentally, building a music business is not that different from building a business in any other sector. You need to find a need, create a product or service that alleviates the problem, and then market your offer to the people who need it.

Information can be a bit of a hard sell in today's information-rich environment. But if you can curate the best of the best and put it together in a compelling eBook or course at a price your audience can afford, you may find your footing.

That's a key point worth remembering - you must tailor your offer to the unique needs of your audience.

Every Business Needs To Be A Publisher

This is a bit of a blanket statement and may not apply to every business case. But most businesses would do well to become a publisher in their industry and share ongoing updates, news items, curated content, and tutorials or how-to guides to serve their audience.

First of all, this keeps your followers engaged. It gives them a reason to keep coming back to your website, and it gives you something worth sharing on social media.

Second of all, content helps you attract more leads. You can grow your email list on an ongoing basis by matching compelling opt-in offers to your content.

Third of all, publishing helps you sell more. This does not mean that every blog post of yours should be a sales letter. Rather, by building trust with your audience on an ongoing basis, you'll develop enough rapport with them to move them down your sales funnel to where they'll want to buy from you.

You can achieve good results with advertising and other marketing endeavors too, but publishing has many benefits (such as authority), that are hard to ignore.

Article Source: EzineArticles .com

http://ronnieraven.bandcamp.com

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9 Tips for Buying Rap Instrumentals Online

By Shalini Madhav

Nowadays, the popularity of buying rap instrumentals online is on the rise. As a matter of fact, it has been bringing artists and producers together from all parts of the world. If you are looking for some tips to buy rap beats online, read this article.

1. Music Licenses

First of all, you should know the difference between different music licenses. Basically, there are two types of licenses: exclusive and non-exclusive. With an exclusive license, you can use the instrumentals for your projects.

On the other hand, a non-exclusive license allows you to use it only for your projects, but the rights to sell the instrumental still remain with the producer.

2. Know which licenses you should buy

You should be ready to spend more money to buy exclusive licenses. You should go for this type of license if you are going to release an album. On the other hand, if you want to record a mixtape or demo, you should go for the other type of license.

3. Prices

Often, owners of instrumental sites get carried away and charge unreasonably high prices for their beats. At the time of writing this piece, they are charging up to $1000 for exclusive rights. Of course, the price tags are based on the talent and popularity of the producers, but we won't recommend shelling out too much for a track.

4. Buy from trusted Sites

If you are going to buy from a website, make sure you choose a trustworthy seller. On the site, you should get the mailing address, email, phone number and contact details of the seller. Make sure they have a privacy policy too.

5. Look for the symbols

Aside from this, the site should also feature third-party trust symbols, such as PayPal Verified, BBB Certification, Shopping reviews, and other antivirus certifications.

6. Email the site

It may sound crazy but some instrumental sites won't get back to you if you email them. You may not want to do business with someone who doesn't even bother replying you through email. Trusted sellers will reply within a few days if not hours.

7. Look for testimonials

Testimonials are not essential, but they help a lot. As a matter of fact, testimonials will help you have a good idea of the trustworthiness of the site.

8. Avoid producers on Soundclick/MySpace page

Good produces always have their own websites. It sounds weird if someone is selling a good beat but using SoundClick or My Space as a medium. Therefore, we suggest that you avoid these sellers.

9. Google the Site

You may also want to search for the site on Google. As a matter of fact, this will give you a pretty good idea of the reputation of the site. If you find bad comments or something unusual in the search results, go back and look for some other site.

So, these 9 tips can help you buy instrumentals from the right site. Hopefully, you will have a great release.

Article Source: EzineArticles .com

http://ronnieraven.bandcamp.com

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Online Branding for Musicians How to - Why Branding Your Band Is Essential

by Ken Cavalier

Before I begin writing this article, I'd like to say that most artists and musicians are sometimes intimidated with the word BRAND. A lot, or even most, have no idea what it means or what it is, and most importantly how crucial it can be to setting themself apart from all of the thousands of other acts out there; and being the band that ultimately achieves success.

First, let me point out that building your digital brand is not as complicated as you might think. As a matter of fact, it's probably one of the easiest and least expensive forms of marketing your music, and your band. As I indicated, I am going to lay this out - step-by-step so that it is very easy to follow and implement. So, let's get into it a little:

YOUR LOGO:

This is probably the simplest form of your brand. Every act should have a logo that in some way or another represents who you are. It should be simple and easy to understand. But you must have one. Don't rush it - do many different ideas and samples until you pick the final version. Collaborate with band-members, fans, and friends for different ideas. Six heads are better than one.

YOUR STORY:

Remember, you essentially want your digital brand to tell the story of who you are. Focus on details that describe your image and likeness, your on-stage consistent look, and a consistent look and feel for your websites and social media. Once you devise your branded image, exploit it everywhere. When fans move from website to website, or see you perform, your brand must be consistent. Everywhere people look for you, they must be able to absolutely know it's you - simply by seeing your consistent logo, brand, and image. It must be memorable!!

CONSTRUCT A COMMUNITY OF FOLLOWERS:

Personalize your fan engagement experiences. Build trust and affection in your close personal community. Engage as often as possible. Possibly use brand-infused giveaways as a way to increase your follower's cooperation.

Use Instagram, Twitter, and Facebook to constantly spread your brand and expose it to as many followers as possible. By all means, shoot professional videos. Video will enhance your brand and give your fans a closer look at what you're all about and become closer to you.

OVERSHADOW YOUR COMPETITION:

Dominate your particular music market by being distinctive in every aspect of your digital and traditional marketing efforts. Some examples are your official website, your social media sites and posts, new CD releases and especially in your merchandise. Your merch must be distinctive and express your image and brand in its designs. Along with your logo, merch designs should also reflect your band's character and its overall story. The designs should be original and trendy. If they're truly cool designs, people will buy them even if it had nothing to do with your band; hence, more collateral exposure for your brand.

PUBLICITY & MUSIC MEDIA RELATIONS:

Exploit your brand in the news media, interviews, radio, and in music review blogs. Getting coverage in any of the media outlets will create serious attention and awareness for your brand, and further enhance it. This type of outreach is better handled by a seasoned music publicist. It takes a great deal of time, expertise, and an accumulation of high profile media contacts. It's extremely difficult for the average artist to be taken seriously by media outlets. A professional music publicist, who is trusted by the media, may cost you a few bucks, but it's worth every penny.

SO, IN SUMMARY:

Remember, don't get too intense or complicated. And most importantly, don't get frustrated. Take your time - do it right and keep it simple. Don't forget to work with all of your band-members, fans, friends and followers when it comes to establishing your logo, story, image, and designs. Six heads are better than one. Take a look at the extremely popular acts that you admire - see how they approach branding. You may want to consider emulating some of their ideas.

Branding is serious business. It's not something to be ignored. It's the visual representation of you as an artist. Just have fun, and do it!

Article Source: EzineArticles .com

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Where To Publish Your Lyrics

Note that the ultimate goal behind publishing your lyrics is to get other musicians and songwriters to read it and write music to it. So, it makes sense to publish your lyrics on the websites that other songwriters usually visit. Always remember that your lyrics are not poetry, so poetry websites and forums might not do you any good getting musicians to see your lyrics and read them. Look for songwriting oriented places to market your lyrics...That's where musicians and other songwriters hang out!

I have compiled this short list of places and strategies in the hope that it helps you find the right music collaborator...

Songwriting Forums. There are lots of songwriting forums out there...only COLLABORATION forums might be useful. For example, there is artistcollaboration.com which gives you a chance to connect with other songwriters, musicians and lyricists, but you have to pay a subscription fee to be a member. Among free collaboration forums, Writing Fever forum is very useful (especially for online collaboration), also the collaboration forum of musesmuse.com and tunesmith.com are of excellent quality.

When you join a forum, post your work and get to know other members. Always remember to be specific about what you want so that other members can understand you and approach you in the right way.

Songwriting Classified Ads. It's always a good idea to post an Ad, and see what the wind will bring. Try gigfinder.com, getgigs.com and soundbarter.com...these websites offer classifieds posting for free and are very popular.

Now you have to be smart writing your ad, make it short, specific and be clear on what you want from your collaborator. Try to put a link to the webpage where you publish your lyrics. It's always useful if others have an idea of your style before actually contacting you.

Lyrics Directories. There are lyrics directories that list lyrics of famous singers and bands, those are useless to us. You need to find a lyrics directory for INDEPENDENT LYRICISTS. Writing Fever Lyrics Directory is free, with no censorship and offers very fast submission process. When you submit your lyrics to lyrics directories, submit correct contact information so that songwriters who read your lyrics can contact you later and ask to collaborate with you.

Remember to be patient with these directories since you will probably not get instant response to your lyrics. Lyrics directories increase the chances that your work will be read over a long period of time, while with forums you will usually have your lyrics read over the period of 2 days from your posting date at best...Forums are very dynamic, lyrics directories aren't.

Your Own Web Page. Having your own web page can be a great way to have presence and be known. It can also add to your credibility as a songwriter. You can always have yourself a profile at soundclick.com or myspace.com although these websites are more helpful for bands and artists who want to showcase their ALREADY COMPLETE songs to some AUDIENCE, which is not our case. The best way to go is to have your own independent website. It will offer you more freedom on the way you present your work to your collaborators and will be very powerful helping you manage your collaborator search the way you want. Check out this page for more information on how to get a free, professional looking personal website for free and without technical knowledge.

Finally, I'd like to stress on the fact that one strategy of the four strategies above will not cut it alone. Combine all strategies together when you search for collaboration, that way you can be sure you will have a strong presence as a lyricist and be able to find the collaborator you are looking for.

http://www.songwritingfever.com/songwritingtips/lyrics3.php

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The Many Benefits of the Songwriting Process

By Del Boland

I think we've all heard that we should enjoy the journey. This may be applied to many things including life itself. However, this adage is particularly true in the process of songwriting.

Songwriting has been an enjoyable avocation for me. Of course, there are ultimate goals that I would like to achieve, but there is also the everyday enjoyment that comes from learning and creating something new. Besides, we all have a choice. We can rush through the songwriting process to make millions of dollars, or we can enjoy every step along the way with better probabilities for retaining what we learn. Taking the process one step at a time allows us to truly appreciate songwriting as an art and it teaches us the more important reasons for writing songs in the first place. That is, we can find fulfillment from songwriting even when the songs do not produce income. It is a wonderful form of expression, but there are many examples of great songs that never received the attention they deserved so there are no guarantees. It makes a lot of sense to me that we, as songwriters, should sit back and enjoy the process and build on the elements of songwriting. In the process of learning, you can build musical collateral for the future.

In my foray into songwriting, I developed a better understanding of the music business environment. I think it is very important to understand the roles of publishers, A&R professionals, labels, producers, agents, managers, song-pluggers, and recording engineers. In addition, I continue to learn about the various types of songwriting contracts as well as better understand the various organizations that support songwriters such as ASCAP, BMI, SESAC, and The Harry Fox Agency.

I believe success is part inspiration, preparation, perspiration, and opportunity, but it is also somewhat dependent on the order. We sometimes take our preparation for granted when it is in the context of growing up, but, as kids, we are in preparation for our respective careers from the day that we are born. In essence, a true opportunity cannot exist unless we are ready, willing, and able to take full advantage of it. For example, an executive interview with a Fortune 500 company would provide no particular value to a toddler. Additionally, some events can be characterized by our state of readiness at the time that it occurs. If I had met Paul Simon when I was 10 years old, for instance, it would most likely fall into the inspiration category. If I met Paul Simon today, I would like to think it might fall into the opportunity category.

This leads very nicely into the element of developing relationships. We should learn the importance of developing relationships along the way. You never know when you might be talking to someone that can help you get your big break, so it makes a lot of sense to treat everyone you meet with respect. It is difficult to see clearly through the haze of uncertainty during these times, but it pays to give consideration to every aspect of the music business and not develop harsh opinions too quickly. Unfortunately, there are a lot of negative opinions about recording labels today. While there is greed and excess found in all industries, the recording labels are taking a beating as some artists have found success outside the influence and control of the labels. It still makes sense to maintain all options and to consider any opportunities that might be presented without harboring ill feelings or preconceived notions. While the labels are certainly struggling, they still have strong relationships in the areas of mass media, marketing, and distribution.

Some folks believe that the new music paradigm is a road to success for ALL independents, and it is simply not true. This problem has not changed over the past 50 years. The problem is getting mass media exposure. The Internet is great, but it is vast and still somewhat random in nature. Stated differently, if everyone knew your name or the name of one of your songs, they would be able to find you. However, if everyone knew your name or the name of one of your songs, you would have already achieved your goal. It remains necessary for independent artists to be discovered and then promoted in a mass media setting. Word of mouth is certainly a viable alternative, but you must have a product that grabs the attention of a large audience which is not so different than the more traditional forms of media exposure when you think about it.

So far, I have concentrated on the surrounding elements, but it is also possible to experience more direct personal gains. For example, as a self taught musician, I find myself frequently searching for new techniques and opportunities for development. I was surprised to find songwriting as an opportunity for improving as a guitarist.

In short, I have learned a lot from the necessity for producing the very same sounds with my guitar that I can sometimes hear in my mind. It has proven beneficial beyond any other traditional forms of learning such as guitar lessons, articles, methods, video tapes, or techniques. For me it was a wonderful discovery to find this particular benefit as an extra bonus while continuing to learn about songwriting. Learning more about the guitar is only one example of my particular songwriting journey. Obviously, each learning opportunity will be different for each individual.

Songwriting has opened doors for me in other areas as well. Before I began my journey into songwriting, I found it very difficult to express myself lyrically and musically. It was like a barrier existed between me and the ability to write songs. The songs were very fuzzy to me and not particularly well defined during that time. I knew the songs were there, but I did not know how to tap into this creative yet seemingly elusive resource. After reading books and taking some courses, I managed to find some valuable resources and I am now in the process of "finding my voice". In the meantime, I am finding new doors to open and new areas to explore.

One of the benefits I discovered in this process of learning was building confidence in my ability to write songs. After writing a few songs, I found it easier to write even more songs. The more I write, the more I write. I am now taking a little more time to address specific elements, so I haven't been quite as prolific, but I know what I am able to accomplish.

Perhaps the greatest single benefit that I've discovered is the ability to express myself without fear. Yes, it does get me in trouble from time to time, but it is also important to know when NOT to express our innermost thoughts. For an aspiring songwriter, this ability to express oneself is a desirable trait. That is, a songwriter must be comfortable enough to express many thoughts and emotions that we as humans have learned to suppress. However, an additional word of caution may be necessary. Similar to our relationships with people, our songwriting success is dependent on our ability to provide a point of view with which many others may be able to relate. Alternatively, as a form of art, we may be at liberty to create points of view that are difficult to understand but we are also at risk of not finding an audience when we fail to appeal to the general public. Such songs exist, but many of these songs may be categorized as "lost art", as it is unlikely that a lot of people will hear songs that do not speak universally to their unique sets of circumstances. For the pure songwriter, it is almost impossible to get an "artsy" song published or recorded.

Of course, singer songwriters have the distinct advantage of playing their own songs, which allows them to jump over the barriers that exist for pure songwriters. That is, performing artists and producers, set apart from singer-songwriters, are very selective in the songs (written by others) they include as part of their CD or compilation. This brings up yet another possible benefit of the songwriting process. That is, folks who feel very strongly about their art might be less likely to adjust to the rather narrow market for songs. This creates the necessity to develop as a singer songwriter. It makes sense for the singer-songwriter to also find opportunities to perform in front of an audience. Of course, becoming a singer songwriter may satisfy one condition for this particular group, but it also makes it twice as unlikely to breakout. In particular, the artist must now write songs that connect with a significant portion of the listening public and have a sound, as an artist, that is appealing as well. Playing in front of an audience provides feedback that can be very useful for "developing a voice" for this group of songwriters.

I have learned the importance of communicating thoughts very efficiently. Songwriting generally gives us about 3.5 minutes to convey a thought or an idea. This is the reason why you don't hear songs that explain how to build the space shuttle. It is not possible to convey thoughts that are too complex in a limited amount of time, so decisions must be made. This process involves organizing my thoughts and making the best use of the time available, which requires me to select my words carefully.

I have learned how to work together with others in a creative environment. Collaborating can be very rewarding for songwriters as it provides an opportunity to learn from others. It also provides the opportunity to lend a particular strength to a collaborative effort that may have a greater chance for success. For example, a great lyricist can sometimes find a great composer. Perhaps the lyricist and composer may also find someone with a great voice to help capture the attention of an A&R professional. With the availability of inexpensive recording equipment and the ease with which files are transferred, this can now be done long distance via the Internet.

Finally, like the adage "a journey of a thousand miles begins with one step", it is important to begin the process. I'm not an expert on psychology and building momentum, but it seems likely to me that the moment we commit ourselves to accomplish a goal, then the burden of the initial decision making process is usually set behind us. It also seems reasonable that our own acceptance of a desired goal is key to success. Taking the first step requires that we accept the task or project in which we have selected. This act alone can provide sufficient motivation to begin the process because we have convinced ourselves of the potential value for starting such a journey.

Source: EzineArticles .com

[gibsonmusicart]

Write Songs the Music Industry Wants to Hear!

By Alex Forbes

Sure, "art for art's sake" is cool... but what if you're pursuing a career as a songwriter? This article is full of suggestions for how you can tailor your songs to suit the requirements of music business professionals. Many of us bemoan the state of commercial music today, but what are you doing to improve things in your own microcosmic corner of the universe? Are you working to create the next wave of great material — songs that have a lifespan of more than a few weeks or months? How can you use your talents to actually make a powerful contribution... and make a living while you're at it? The first step is to take a good look inside and explore what you as a unique individual have to say, lyrically and musically. What do you think about, believe in, stand for? What makes you tick? These precious truths that bubble up from the soul provide the driving force behind great songwriting. These sparks of inspiration, these "aha! moments," are what listeners crave when they play a song. They're also what People Behind Desks are desparate to find. Do you have the courage to lay bare your personal truth in public? I firmly believe that's what it takes to achieve success with your songs. The cynical among us will say, "no, you just need the right equipment, a catchy hook and a whole lot of money behind you." Sure, those things help, but if you're trying to break into the business, your song has to simultaneously grab people by the guts, tickle their ears, and slam them over the head like a 2-by-4. Strive to write songs that take risks, tap into the universal via the personal, and motivate people to laugh, cry, feel, dance or take action. Make an effort to innovate, not imitate what's already out there. In other words, write your passion. Songs miraculously translate to listeners the exact emotion you felt while you were writing them. Do your best to work that magic! Another quality that professionals look for in a song is strong dynamic flow. Skillful use of the many conventions of songwriting can manipulate listeners in the most enjoyable way. Don't be afraid to push those emotional buttons! Here are some ways to go about it: • Suck listeners in with lyrical, melodic and chordal tension. • Create a question in their minds: how will this turn out in the end? • Throw their bodies off balance with chords or melodies that are unexpected or quirky. • Take a strong point of view that's boldly provocative, unique or intensely felt. • Paint a vivid picture in the mind's eye. • Set a palpable mood. • Construct an entire sonic and/or lyrical environment. Once you have piqued people's interest, crank up their involvement using all the techniques in your lyrical toolbox, i.e. rhyme, meter, imagery, metaphor, alliteration... you name it. Avoid clichés like the plague, or turn them on their heads somehow. Experiment until you find the melody lines that best show off your lyrics, and vice versa. Salt your song with enough repetition to make it memorable, but not so much that it becomes predictable. Use chord progressions that are fresh, stimulating the ear rather than lulling it into complacency. When it comes time for the ultimate payoff, your Hook, don't settle! This is your Money Shot, and most music biz pros will hit the "eject" button if they don't hear a strong hook in one listen. One listen! Here are a few ways to enhance your hook: • Construct your song so that all roads, lyrically and melodically, lead to your hook. • Remember that famous music business adage: "Don't bore us, get to the chorus." • More hooks is merrier! Instrumental riffs, backups, rhythmical chord movement, and verse melodies can provide secondary hooks. • Fear not repetition (up to a point, of course). • Throw in memorable "monkey wrench" words that stand out. • Make sure the world can sing along. • Play with the language: use slang, twists of phrase, even invent a new word! Finally, People Behind Desks really appreciate it if you know your marketplace. Don't submit a country ballad when their artist is a heavy metal guitar-shredder. And if you're the performer, have at least 3 crowd-pleasing, radio-ready songs in hand before you shop a deal. Make a detailed study of the hits in your chosen genres, and incorporate those lessons into your work. The Internet has made it incredibly easy to educate yourself about what's selling these days, so there's no excuse for ignorance. Look at the world for a moment from the perspective of a music industry pro: They'll respond positively if they think your song will save their job. By bringing them dynamic, single-worthy, heartfelt material you'll be well on your way to doing just that, and creating a career for yourself as well. Happy songwriting!

Source: Music-Articles .com