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REGISTRATION DEADLINE EXTENDED TO MARCH 31st... IdOMusic® Weekend 2010!!
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IdOMusic® Spotlights: B.o.B aka Bobby Ray
Congratulations to IdOMusic® Alumni B.o.B aka Bobby Ray as he prepares to release his album April 27th titled "B.o.B Presents: The Adventures of Bobby Ray." We'll let him tell you how networking "WERKED" for his career!
IdOMusic® Weekend takes place April 1st-4th! If you haven't registered make it happen today!!!
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IdOMusic® Weekend takes place April 1st-4th! If you haven't registered make it happen today!!!
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M.U. 7 Panelist Profiles: William "Big Worm" Blount
To find out more about William "Big Worm" Blount register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE. The deadline is Wednesday, March 31st!!
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Recording Arts @ Full Sail University
Full Sail University is located in Winter Park, FL. They offer associate’s, bachelor’s degrees, and master’s degrees in a variety of entertainment and media-related fields. The school is known for offering an “accelerated” education, meaning that the school’s degree programs can be completed in less than half of the time of a typical college degree. The associate’s programs are 12-months, the bachelor’s program 21-32 months, and the master’s programs range from 12-13 months.
I graduated within twenty-three months with my associate’s in Recording Arts and bachelor’s in Music Business. Full Sail has given me an education that is rewarding once you graduate. It is one-of a kind and you won’t find another Full Sail anywhere else. There has been negative and positive criticism about the school. I noticed a lot of the negative things people say about Full Sail are mostly false. Half of the critics that talk negative about the school are undergraduates who could never maintain to finish their program. They either dropped out or couldn’t find an internship after graduation. Job placement is not always a guarantee; it takes a lot of research and submitting of resumes to land a job/internship. Getting a job in the music industry is not easy, and it takes a-lot of paying your dues. Sometimes months after interning for a company, people quit because they don’t have the motivation and passion that it takes. The Music business is a 24-hour industry and it requires a lot of people to be busy/consistent. Full sail has given the tools and training for graduates to be successful with their careers. A lot of the students either miss out or simply don’t take advantage of their career development department. The department simply works with students to get them an internship within the field. While they have this great opportunity, I see students not taking advantage of the tools that was provided. I have met people who attended full sail for the wrong reasons and they ended up wasting time along with a lot of money. I have also seen great things happen with graduates who were making big career moves. So regardless of what people say about the school, it is a personal decision that requires a lot of passion behind to become a student at FSU.
The list goes on with Full Sail graduates that are on the move; I have listed some of the more famous grads from the school. These graduates have been on the move and have been involved with some of the biggest recording projects to date. Check them out!
- Sebastian Krys
- Phil Tan
- Cordy Rierson
- Gary Rizzo
- Steve Switaj
- Jason Whitmore
- Leslie Brathwaite
www.FullSail.com
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And The Winner Is......
With so many musical artists, have you ever wondered how one wins the most coveted award in music? The top sellers of the year are usually nominated each year. You may be surprised to find that the general public doesn’t get to chime in. All nominees are chosen by their peers in the Recording Academy. Who’s to say what each individual voter is looking for, this may be the reason for so many ‘upsets’ during the show. Listed below is the process that all submissions have to go through, according to Grammy.com.
Submission
Recording Academy members and record companies enter recordings and music videos released during the eligibility year which they consider worthy of recognition in the GRAMMY Awards process.
Screening
Reviewing sessions by more than 150 experts in various fields are held to ensure that entered recordings meet specific qualifications and have been placed in appropriate fields such as Rock, R&B, Jazz, Country, Gospel, New Age, Rap, Classical and Latin, among others. The purpose of screenings is not to make artistic or technical judgments about the recordings, but rather to make sure that each entry is eligible and placed in its proper category.
Nominating
First-round ballots are sent to voting members in good dues standing. To help ensure the quality of the voting, members are directed to vote only in their fields of expertise; they may nominate in the four general categories (Record Of The Year, Album Of The Year, Song Of The Year and Best New Artist) and in no more than nine (9) out of the 29 fields. Ballots are tabulated by the independent accounting firm of Deloitte.
Special Nominating Committees
In craft and other specialized categories, final nominations are determined by national nomination review committees comprised of voting members from all of The Academy's Chapter cities.
Final Voting
Final-round ballots are sent to voting members in good dues standing. The finalists determined by the special nominating committees are also included in this ballot. In this final round, Recording Academy members may vote in the four general categories and in no more than eight (8) of the 29 fields. Ballots again are tabulated by the independent accounting firm of Deloitte.
Results
Results of members' voting are not known until the GRAMMY Awards presentation ceremony when names of the winners are delivered by Deloitte in sealed envelopes. GRAMMY Award winners are revealed during the GRAMMY Awards telecast.
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IdOMusic® Spotlight Interview with Super Producer NEEDLZ & Manger Music Jones
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Success at SXSW Festival
But for music executives that flocked to the event on Sunday, the 10-day music, film, and interactive industry networking marathon was an chance to live on the razor's edge of technology and glimpse of the industry's changing face.
By nearly all measures, the festival, now in its 24th year, was bigger than ever with a record 13,022 music industry professionals registered. Acts like Courtney Love's band Hole and the Stone Temple Pilots used the festival as a springboard to end a multi-year hiatus from performing live.
Though some attendance figures dipped in 2009, the ongoing recession has not dimmed interest in live music, said Brent Grulke, the festival's creative director.
"Although the music industry has changed, music itself and those who pursue it remains as healthy as ever," Grulke said.
Nearly 2,000 artists from over 40 countries played in the music portion of South by Southwest, also dubbed as SXSW, that ran through Sunday, up about 100 from last year. The festival has grown from humble roots in 1987 to become a must-attend event for global music business rainmakers and taste-makers.
Source: Billboard.biz
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M.U. 7 Panelist Profiles: Rocko
In 2002, Rocko started Rocky Road, a development company that allowed him to play a role in every aspect of budding artists’ growth. “I was infatuated with the way people produced music form scratch, how you go in and make something out of nothing,” says Rocko. “I kinda like feel in love with that whole idea. I wanted to learn how to write and format songs and make beats.”
In early 2006, Rocko decided it was time to become the artist he had always hoped to develop. “I knew I had the swagger to pull it off,” he says. “I was seeing all these guys who were not really who they said they were and getting away with it so I was like, ‘Ok, if it’s that easy, lemme do me.’”
Rocko immediately reached out to all the key people who he had built relationships with throughout his years in the music business. He recorded songs with Rick Ross, and Jim Jones and occasionally leaked a song or two to test his product. “Once I realized that people were feeling me I just went out and hit the streets real hard,” says the resourceful MC who recorded his hit “Umma Do Me” in August of ‘06. “I just started emailing the record out and going through different markets and promoting. We would be passing out CDs and posters and going out partying and making sure they played my song. The buzz just started to grow and before I knew it ‘Umma Do Me’ was at like 300 spins.”
To find out more about Rocko register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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M.U. 7 Panelist Profiles: Big Jim Wright
Working out of Jam & Lewis’ state-of-the-art facilities Flyte Time studios in Minneapolis, Big Jim undertook a busy schedule of writing, producing and performing. Over the next several years, he would work with a virtual Who’s Who of modern musical greats including, Sounds of Blackness, Janet Jackson, Sting, Elton John, Mariah Carey, Aretha Franklin, Rod Stewart, The Isley Brothers, …the list, as they say, goes on. Among his latest undertakings: a creative collaboration with Jimmy Jam & Terry Lewis in executive producing, writing, and scoring the Beyoncé Knowles and Cuba Gooding Jr. feature film, Fighting Temptation, the end title song “Definition of Love” performed by Deborah Cox from the film Akeelah and the Bee, “Ne Me Laisse Pas Seule Ici” and “Nobody Cares” for the soundtrack from the biographical and historical drama film Hotel Rwanda. He has won several other awards throughout his career including: ASCAP, NAACP, and DOVE awards, along with numerous Grammy Award nominations.
To find out more about Big Jim Wright register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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M.U. 7 Panelist Profiles: Tweet
In the early nineties, Tweet joined the female quintet Sugah. Sugah was composed of Tweet, Susan Weems, and Rolita White, and was a part of Devante Swing's Swing Mob collective. While there, she met Timbaland, Magoo, Missy "Misdemeanor" Elliott (who at the time was a part of Sista), Playa, Ginuwine, and Renee Anderson who were also all apart of the Swing Mob collective. During her time with Sugah, Tweet formed a close friendship with Elliott.
In March 2002, Tweet entered the charts with her debut solo single, "Oops (Oh My)", a risqué song about self-loving and appreciation. The song was produced by Timbaland and featured guest vocals by Missy Elliott. The single hit number one on the Hot R&B/Hip-Hop Songs and number seven on the Billboard Hot 100, with the help of a remix featuring Fabolous.
To find out more about Tweet register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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Seven Tips for Promotion
[1] Pick up the phone
Calling past clients and reminding them of what you have is the single most effective way to generate sales. When you have something new to sell, use your phone to make contact. Making cold calls is another necessity. It can be a difficult task to pick up the handset and punch a stranger's number, but you must break through your fear.
[2] Set up in-person situations
The personal touch really works. No letter, e-mail, or flyer is ever going to take the place of standing face-to-face with someone and making your pitch. You can build rapport, address every objection, and win people over fast when you are in the flesh.
[3] Send a letter/e-mail
Dropping a reminder in the mail or e-mail is a good promotional strategy when approaching past buyers to generate new business. Also, if you carefully refine your possible prospects, dropping a sales letter in the mail can make a good initial contact that you follow up with a cold telephone call.
[4] Network
Building a network of contacts requires that you become part of a scene. Networking allows you to gather useful information and make valuable contacts with people who can help you. Remember that networking is both give and take. You want to help the other person as much as they want to help you. IdOmusic event is a great place to network.
[5] Use word of mouth
If you asked 100 people in the music industry what the best promotion is, 90% would say word of mouth. If you asked that 90% what that meant, only a handful could tell you. The elusive word of mouth promotional strategy implies that you do nothing and people just naturally seek you out. This is, of course, ludicrous. Successful word of mouth needs constant coaxing on your part. First, deliver quality music products and services. Second, make sure you tell everybody about your successes. Remind your clients, fans, relatives, network, and other business peers of all that you have available and encourage them to pass on your information to their friends, relatives, colleagues, and more. Third, get referrals from satisfied clients and pursue them. And fourth, display your contact information prominently on everything you create and make it easy for people to find and get in touch with you.
[6] Create a web site
Today, virtually everyone in the music industry can benefit from a Web site. With most music bought on-line, the Web is the place to be. Set up your Web site as your personal Web community and storefront where everybody comes to get information, learn about you, and to buy from you
[7] Get ruthless
When it comes to promoting your music industry career, you'd better be ruthless. Do whatever it takes to get your message across to people who would buy what you have to sell. Set yourself apart from the rest.
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Video: Tips to Being A Manager
A graduate of Harvard, Bennie Diggs had a measure of success with his own soul group, Revelation, in the 1970s before moving on to careers as a songwriter, conductor, performer, producer, and manager.
Here he gives some info about being a manager in the music business.
For more information like what you heard from Bennie make sure you register for Music University 7 taking place next Sunday! Register Here BANG!!!!
Source: Artisthousemusic.org
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Here he gives some info about being a manager in the music business.
For more information like what you heard from Bennie make sure you register for Music University 7 taking place next Sunday! Register Here BANG!!!!
Source: Artisthousemusic.org
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Copyright Your Music
As an artist, have you ever felt that somebody was on the move to steal your work?
It is extremely important to register any title of work with the library of congress (U.S. copyright office). Works of authorship include: (1) Literary works, (2) musical works, (3) dramatic works, (4) pantomimes & choreographic works, (5) pictorial, graphic, and sculptural works, (6) motion pictures and other audiovisual works, (7) sound recordings, and (8) architectural works.
I will be talking about (1) Literary works, (2) Musical works, and (7) Sound recordings just because I am a producer & songwriter myself. A recording artist for an example that writes original lyrics to a hit song should immediately copyright the lyrics under literary works. “Literary works” can be expressed in words, numbers, or other verbal or numerical symbols or markings. A beat-maker should copyright the “Musical works” since he/she wrote the original compositions and original arrangements. Copyrights on musical works (musical compositions), protect both music and lyrics, and the copyright owner can control the rights to either one. So if the beat-maker also writes the lyrics to a whole song including production, he/she is the owner of the musical works. If the recording artist/performer is responsible for the lyrics they would register it under “Literary works”. The beat-maker (producer) would register his/her original composition and arrangement under “Musical works”. Make sure before the recording session is over that both the artist and producer leave with a split sheet with percentages of who makes what. If your song is making you money you will be glad as a producer or artist that you had agreements and split sheets filled out. Now lets get into “Sound recordings”.
According to the Copyright Act of 1976, a sound recording is a work that results “from the fixation of a series of musical, spoke, or other sounds.” Typically, record labels, performers, and producers seek copyrights to the sound recording. When a musical composition is recorded, one might wonder why it is possible to separately register both the underlying musical composition as well as the recording of it. Copyright registration for a musical work protects the composition itself; copyright registration on the sound recording protects the particular way in which the composition is performed and realized, typically through the efforts of the artist, engineer, and producer.
For example, in 1988, Bobby Brown, Teddy Riley, and Gene Griffin wrote the song, My Perogative. In 2004, Britney Spears covered (i.e. performed her own version or arrangement of) the tune on her Greatest hits album. As authors of the music, Brown, Riley, and Griffin could seek copyright registration for their musical composition. As a performer and interpreter of the work, Spears could seek a sound recording copyright for her performance of the work. (It should be noted that, traditionally, writers have generally assigned their copyrights to their publishers and recording artists to their record labels.) However, since Spears did not write the song, she could not claim a copyright on the actual music itself. In fact, for her to have made a legal sound recording of the song, she (or her record label) would have had to pay a licensing fee to the copyright holder(s) to do so.
If you are an unsigned artist, your best bet is to be the sole owner of the sound recording until you get signed to a label. This way no-body can claim credit for the long hours and passion that goes into your music.
For more information, visit the Library of Congress: (Copyright Office)
http://www.copyright.gov/
(Facts and examples from:)
“Music Copyright and Publishing” (2009) Kimberly L. Craft, J.D.
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My Professional "Home" Studio
"Home studio" is a term that has become two things in recent years; More common, and widely misused. With the advent of the digital age, all things that seemed largely far away and unattainable are becoming easier to access everyday. One of those things is the ability to compose and create music. 10 years ago, it wasn't common for a preteen to be able to come home from school and create an instrumental before it was time for dinner. It also wasn't common for that same kid to be able to record and mix that track before his bed time. That same track can be uploaded and listened to countless times all before he leaves school the next day. Today the ability to be sonically creative is becoming more affordable, accessible and unfortunately, taken for granted and highly over-glorified.
I'm not trying to bash home recording, because it can be a very useful tool. Home recording helps artists in that it allows affordable, and convenient ways to lay down reference tracks, demo songs, and mixtape material to be given away to fans. It is also convenient to have a makeshift booth ready to record as soon as inspiration strikes. Home recording hurts artists because since the tools are so widely available, more and more people are doing it...meaning more and more untalented people are doing it. This makes it difficult for those who are serious about their craft to be competitive using home-based material. Also, with so much home-recorded material in circulation around the internet and the streets, the standard for quality audio has dropped severely. No matter how many times your homies say it sounds "pro", it isn't rivaling professional recording and mixing.
The answer: INVEST IN YOURSELF AND YOUR CRAFT
Book Professional sessions at Professional studios like Patchwerk! Recording at home isn't a crime. It is a great tool for artists, but use it appropriately. Listen to your rough tracks to know what to do in your REAL sessions. Having them as a reference will show you exactly what to do in the pro studio so that your booked session is a breeze and you can get more bang for your buck.
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M.U. 7 Panelist Profiles: Johnta Austin
A songwriter, arranger, producer, and vocalist, Atlanta's Johnta Austin initially stepped out on SWV's Release Some Tension, broke out as the songwriter of Tyrese's 1998 Top Ten hit "Sweet Lady," and, by 2004, hit a hot streak that involved collaborations with Mary J. Blige ("Be Without You"), Mariah Carey ("We Belong Together"), and Janet Jackson (much of 20 Y.O.). Signed to So So Def, the label founded by close associate and Virgin urban head Jermaine Dupri, Austin released his debut solo album -- Ocean Blue -- in late 2006. At the time, he was only in his mid-twenties. ~ Andy Kellman, All Music Guide
To find out more about Johnta Austin register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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Events: ATL Beat Battle
What: ATL Beat Battle
When: March 24, 2010
Where: Djangos 495 Peachtree Street
ATL Beat Battle is always providing a platform to expose your talents; however,each month taking a stand on education and knowledge towards "Year Of The Placements".
Interested? Contact JAS for more information!
WWW.ATLBEATBATTLE.NING.COM
TWITTER.COM/ATLBEATBATTLE
MYSPACE.COM/ATLSPRODUCERSBEATBATTLE
404-207-6717
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UMG Launches U.S Price Test
Beginning in the second quarter and continuing through most of the year, the company's Velocity program will test lower CD prices. Single CDs will have the suggested list prices of $10, $9, $8, $7 and $6.
To accommodate the lower pricing, UMG labels also plan to step up deluxe versions of albums that can sell at higher prices for the more devout music fans and collectors. UMG is also banking that the lower price points will at the least be offset by increasing CD sales volume.
Most new releases will carry the new price points, although there will be the occasional exception, UMG sources say. At deadline, it was unclear exactly when the program would begin, because Universal Music Group still hadn't relayed that information to accounts.
"We think [the new pricing program] will really bring new life into the physical format," Universal Music Group Distribution president/CEO Jim Urie said.
25% profit margin
Retailers should respond well to the new price points. But the level of their acceptance will likely depend on the profit margins that the new UMG wholesale prices afford. According to sources, the new pricing structure will carry a 25% profit margin, which means that $10 list CDs will wholesale for $7.50; $9 for $6.75, $8 for $6, and so on.
Consequently, retailers who buy from wholesalers will likely be less enthusiastic about the move.
Between all the retail circulars touting hit titles at $9.99, and iTunes selling albums at that same price point, it became conventional wisdom among merchants that $10 is the magic price point that will induce consumers to buy more CDs.
The new UMG pricing structure for CDs won’t impact its digital pricing; the company plans to keep its current pricing for digital.
This move is really inevitable if you look at the selling of CDs in the last 10 years. Things can not get better for the CD world until the price point is addressed. $10 CDs are a better sale than ever before. Let us see how this works.
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Who Is Sam Adams???
The city of Boston is laying claim to yet another Sam Adams: an upstart Trinity College rapper who emerged from virtual obscurity when his primarily self-produced EP, "Boston's Boy," debuted atop iTunes' hip-hop digital albums chart.
Outpacing the sales of hip-hop superstars like Lil Wayne and DJ Khaled, the 22-year-old's set sold nearly 8,000 digital copies in its first week. Adams' single, "I Hate College" -- a remix of the Asher Roth hit "I Love College," in which Adams raps about "blowing trees" and "getting laid" -- has tallied more than 1 million views on YouTube. He also counts more than 25,000 Facebook friends and close to 2,000 followers on Twitter.
"I was in my room and the instrumental [of Asher Roth's song] was playing," says Adams (born Samuel Adams Wisner) as he recalls the origins of "I Hate College." "I hated it at first, then I was humming it to myself. Then the humming turned into this catchy tune. The song isn't a dis to Asher; I was excited when he came out because he was another white kid doing well. I just ended up loving that beat." It has been viewed on YouTube more than 1 million times.
Only a few songs into recording his yet-untitled hip-hop/electronic/dance debut album due in late 2010, Adams is already in talks with multiple labels, including Atlantic, Universal Motown, Interscope, Sony, Jive and E1. He's also set to open for fellow rappers Drake, Kid Cudi and LMFAO in the coming months.
Source: Billboard.biz
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Album Covers Are the First Impression
Recently, Pitchfork posted a list of what it considers to be the worse album covers of 2009. In attempts to be symbolic, many of the artists fall flat. This serves as an important lesson for artists. An album cover should help your audience understand you just a bit more and make people want to actually buy your music. The cover of your album is the first part of your music compilation that people see. First impressions can make or break you. Be sure to take your album cover seriously.Here is a link to Pitchfork's list of album covers that could have been better.
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M.U. 7 Panelist Profiles: Mistah F.A.B
Mistah F.A.B. began his musical rise in the Bay Area as a young artist signed to Straight Hits Entertainment, where he dropped his debut album, Nig-Latin in 2003. Although this album garnered some success and recognition, the majority of FAB's recognition came from his skills as a battle rapper. Mistah F.A.B. has battled many MC's in the Hip Hop world. Some of whom include, Clyde Carson of The Team, Killa Keise, Lil Al, Spade, and Locksmith of The Frontline. FAB is most known for his freestyle battles with Jin of Ruff Ryders, and Royce Da 5'9. Fab has the uncanny ability to freestyle for long stretches of time. Specifically, he is known for freestyling, or rapping "off the top of the dome" on a whim, that is he is able to do it anywhere at anytime. This is evident when he did a freestyle from his hospital bed after his car accident.
To find out more about Mistah F.A.B register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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M.U. 7 Panelist Profiles: Big Bank Black
Known for taking care of their homeboys on lockdown and their families, Duct Tape Entertainment is truly a family affair; like brothers from another mother. What started off as a hustle has turned into a legitimate career move that helps employ friends who ordinarily would choose the detrimental path often traveled. “I almost feel like a missionary,” says Black. “I figured if I could get all these people to follow me doing the wrong thing, I could turn that around into something positive and still put money in their pockets.” Spoken like a true boss.
To find out more about Big Bank Black register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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Events: The Industry 3 Seminar
The A-Town Club of Clark Atlanta University Presents The Industry 3
A Real Seminar and Panel Discussion on how to get connected as a student into the Entertainment Industry by students in the Entertainment Industry.
Hosted By Justin Hatney
Featuring Panelist from Georgia State University MEISA Organization (Music & Entertainment Industry Student Association)
Come hear insightful information and also get a chance to network with A&R, Producers, Public Relations, and other jobs in the Entertainment Industry.
When: March 18th, 2010
Time: 7:30 PM
Place: Clark Atlanta University Carl & Mary Ware Academic Building 101
223 James P. Brawley Drive SW Atlanta, Ga 30314
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M.U. 7 Panelist Profiles: Craig King
Craig King was hired to be musical director on the most ambitious tour that Will Smith had ever been part of…it was called “The Greatest Hip-Hop Tour in the World.” The tour featured Public Enemy, supported by DJ Jazzy Jeff & The Fresh Prince, Naughty-by-Nature, Kid & Play, Queen Latifah, A Tribe Called Quest, Busta Rhymes, and the Ghetto Boyz.
"I remember talking with Latifah at great lengths about her dreams of becoming an actress, this was a time when anything was possible in Hip-Hop,” King recalls. I was wanting to break into the musical mainstream and start working with artists determined to grow roots in the hip-hop game.”
King was introduced to hip-hop mogul, Eddie Farrell. King found himself working with a monster development company, “The Untouchables”, responsible for the careers of Sean ‘Puffy’ Combs, Heavy D, Mary J. Blige, and Donnell Jones, to name a few. King has also provided instrumentation for Kanye West’s grammy award winning hit song “The Good Life” from his Graduation album.
To find out more about Craig King register for IdOMusic® Weekend 2010 and M.U.7 at Patchwerk Recording Studios HERE.
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Industry Insider: Buzzin Box
There has been a shift in the industry where independent artist are defining their own success. They have become privy to the fact that it is more lucrative and beneficial to simply remain independent and build their fan base in hopes of reaching the major labels, or signing a worldwide distribution deal with a reputable digital or terrestrial distributor. The bulk of marketing is now done online via blogs, viral videos and social networking sites, and that is where the Buzzin Box comes into play.
"We just wanted to create a platform on the web that is professional, effective and straight to the point. Our online vistors are able to view selected genre of artists, and follow each artist along the way as they are featured on the site. We also provide our readers with some of the most up-to-date relevant music industry news in our 'Music Industry Buzz' category, fostering a well-balanced multi-music website for artist, industry executives, fans, and listeners alike,' says Co-Founder and Owner, Carlos Pittman
For more info please visit www.thebuzzinbox.com
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Events: Almost Famous 2010 Spring Edition
Thursday, March 18th 8PM
@Ambient Plus Studio
585 Wells St SW
Atlanta GA 30312
Full directions to venue at www.almostfamousshow.com
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Mastering Your Music
Mastering is widely misunderstood, often mangled, and sometimes mistaken for mixing. So, what is mastering? It's the audio step that comes just before manufacturing a CD. Some people would even say it's a crucial step. Once you have finished recording and mixing your songs, the tracks are shaped, sculpted, scooped, equalized, compressed, and finessed into sonic splendor (well, you hope) through the audio process known as mastering. Mastering is what gives depth, punch, clarity and volume to your tracks. It is part science, part craft, and part alchemy. . . just like songwriting, singing, performing and recording.
"Loud vs. Proud."
Contrary to popular belief, mastering is only a little about making a hotter sound. While it's true that the gain, or volume level, is boosted during mastering, it may be that raw decibels are the least critical aspect of the process. What's important is the way mastering makes songs sound. Because in the end, mastering is less about "loud" and more about "proud."
Mastering Engineers Speak Out.
"Mastering is the crucial, critical, and final creative step in the process of making an audio recording," states Art Sayecki of Burbank, California's Art Mastering. "When your work is in the hands of a mastering engineer, that is when all the ultimate sonic judgments are made, all necessary aural enhancements are applied, and the definitive content of your project becomes a coherent and sophisticated artistic creation. When a mastering engineer does the job properly, it can literally separate the hits from the rest of the market."
http://www.musicbizacademy.com/articles/gman_mastering.htm
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10 Things to Do Before You Release Your Album
Following are, in no particular order, 10 important things you should do before you release your album:
1. If you are hiring musicians (background singers, instrumentalists, etc.) to play on your album, you will need to make sure they fill out a musicians release agreement or talent release form. This agreement is not necessary for musicians that own their own record label, are performing on their own albums, and will pay for and release the albums themselves. It is used more for the “hired guns” than group members.
2. All writers and publishers involved should fill out a songwriter publisher share letter of agreement that spells out their writer and publisher shares. This agreement is a document that all writers and publishers should sign and keep for their records. Any money made from the songs (except for money paid to the writers and publishers by their respective Performing Rights Organizations) should be split up according to what is spelled out in this agreement.
3. All involved songwriters should fill out a form PA and register their work (the songs) with the U.S. Copyright Office .
4. The artists / performers or the record producer (or both), unless Musician Release Agreements have been signed, should fill out a form SR and register the album (sound recording) with the U.S. Copyright Office. If you are the writer and performer / producer on the album, you can fill out just one Form SR instead of both forms.
5. Register for an Internatinal Standard Recording Code (ISRC) for your songs. If you are not based in the United States, visit here to find the ISRC Agency in your territory. The ISRC is a unique international identifier for the songs (tracks) on your album and functions as a digital “fingerprint” for each track. Unlike a Universal Product Code (UPC), the ISRC is tied to the track and not the carrier of the track (CD, cassette, etc). The ISRC is usually inserted onto the CD master during the CD mastering session.
6. If you include songs on your album that you have not written yourself (i.e. covers), you will need to obtain a Mechanical License from the Harry Fox Agency (via Songfile ) that will allow you to manufacture and distribute up to 2,500 copies to the public. If you happen to know the songwriter(s) yourself, you can negotiate a fee directly with them or just write up a Notice of Intention to Obtain a Compulsory License and issue it to them.
7. If you wish to have your own UPC Bar Code, you can get one from GS1 US . Several companies, for example CD manufacturers, will offer you a UPC Bar Code free with their services. Keep in mind that in these cases the UPC Bar Code will belong to the CD manufacturer. If you produce another album, it will not have a UPC Bar Code unless you get another one from them or someone else. Having your own Uniform Code Council account will allow you to assign all your music-related products a unique UPC Bar Code in your company’s name.
8. As a songwriter and/or publisher, in order to get paid for the performances of your songs on radio, TV, in nightclubs, airlines, elevators, jukeboxes, etc., you should join a Performing Rights Organization (PRO). In the United States, you can join ASCAP or BMI . Another U.S. PRO is SESAC , but affiliation with SESAC is by invitation only (subject to review by their writer / publisher relations staff).
9. As a Sound Recording Copyright Owner (SRCO – e.g. artist, producer, record label), in order to get paid for non-interactive digital transmissions on cable, satellite and web cast services, you should join SoundExchange .
10. Add your songs to the Gracenote Media Database . When correctly added, song titles and artist names will be displayed on media players (e.g. home stereos, computer media players, satellite and terrestrial radio, mp3 players, cell phones and other wireless devices, etc.) that take advantage of the Gracenote Media Database data. Alternatively, you can use a freedb-aware program to upload your songs into the database. PLEASE NOTE: The contracts above are for educational purposes only. As with all contractual situations, you should have your contracts drafted and/or negotiated by an experienced music business attorney who is well-versed in drafting and negotiating these types of contracts. If you need help finding an attorney, you can start by going here .
http://www.musicbizacademy.com/articles/jr_albumrelease.htm
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Video Recap: IdOMusic® February
If you missed last month's installment of IdOMusic® have no worries. We always have a recap ready for you to check out. Don't let the same thing happen when IdOMusic® Weekend takes place April 1st-4th!!!
What's your take... leave your comments below.
What's your take... leave your comments below.
Who's Werking @ Patchwerk Studios
Who's Werking in Studio 9000?Young Jeezy is working on Thug Motivation 103, his latest LP, as of July 2009.Thug Motivation 103 is the fourth studio album by rapper Young Jeezy. The album has no confirmed collaborations yet. Production will include tracks by JR Rotem, Scott Storch, Just Blaze, J.U.S.T.I.C.E. League, Beewirks, Kanye West, Sakwe and The Inkredibles. This past February Jeezy was in PatchWerk Studios with his touring partner Jay-Z having songs mixed by Leslie Brathwaite assisted by Brian Pedersen.
West Coast Rapper Glasses Malone was in PatchWerk Recording Studios this past February having songs mixed by Leslie Brathwaite assisted by PatchWerk engineer Brian Pedersen. Malone's first album, Beach Cruiser, was originally scheduled to come out on February 20, 2007. However, due to a change in record labels, Malone signed a new deal with Cash Money Records and Hoo-Bangin' Recordsand his album release scheduled tentatively for April 2008. His album has now been pushed back to 2010 and there is now a new single, "Sun Come Up" featuring T-Pain, Rick Ross, and Birdman, as well as two new mixtapes.
Raymond v. Raymond is the forthcoming sixth studio album by R&B singer Usher.The album features production from Jermaine Dupri among others including The Runners, Ester Dean,T-Pain, Polow da Don, Ne-Yo, Anthony Hamilton, The Neptunes, Adam Levine, RedOne, and Tricky Stewart. Usher was recently having songs mixed at PatchWerk Recording Studios by Jeremy Stevenson assisted by PatchWerk engineer Tripp Tiller.
Ludacris' Battle of the Sexes is the upcoming seventh studio album from the Atlanta rapper. Battle of the Sexes which was released on March 9, 2010 was originally tagged as a collaboration album by Ludacris and label-mate Shawnna. After Shawnna was removed from Disturbing tha Peace, Ludacris stated that he still wanted the album to highlight different view points from males and females, so he recorded tracks with Nicki Minaj, Lil' Kim, Eve, Trina, Ciara, Ne-Yo, Monica, Flo Rida and Plies. Ludacris was in PatchWerk getting mixes done for his album by engineer Leslie Brathwaite assisted by PatchWerk engineer Brian Pedersen.
Other sessions in 9000 include those for Jazze Pha (D.Brown), Alley Boy (K. Anders), Gucci Mane (K. Anders), J Star (D. Brown), Chi (D. Brown), Patience (Greg / D. Brown), Lola (K. Anders) Sean Garrett (M. Miller), and Khalil (K. Anders).
TO BOOK A SESSION IN PATCHWERK'S STUDIO 9000 OR TO RECEIVE
ALL THEIR CURRENT RATES/SPECIALS YOU CAN CALL 404-874-9880
PatchWerk's 9000 NEW CLIENT RATE is: $700 / 8 hours
PatchWerk's 9000 MORNING SPECIAL is: $1080 / 8 hours
Who's Werking in Studio 995?
Jazze Pha, best known for making hits with suchartists as Ciara, Nelly, Ludacris, UGK, Trick Daddy, T.I., Big Boi, Girlicious and Lil Wayne was in PatchWerk studios this past February working on some new records. All of Jazze's sessions in 995 were engineered by PatchWerk engineer Kori Anders.
Drumma Boy just released a 2010 All Star Playlist mixtape.With a tracklist that includes hits Drumma Boy produced himself in collaboration with artists such as Young Jeezy, Yo Gotti, Gorilla Zoe,Yung Joc, Paul Wall, Plies, Rocko, Rick Ross, T.I., O.J. Da Juice Man, Gucci Mane, Birdman, Lil Jon, 8-Ball & MJG, Juelz Santana, The Game and more. Drumma Boy was in PatchWerk for a few days this past February working with PatchWerk engineer Kori Anders.
Musician, producer, singer and songwriter Sean Garrett, who has been responsible for a series of chart-topping compositions, was also in the studio recording with PatchWerk engineer Mike "Snotty" Miller assisted by Charles Hammond.
Rocko Da Don's 2nd studio album entitled One of One is set to be released sometime in 2010. Rocko was in PatchWerk Studios this past February having work done alongside PatchWerk engineer Mike "Snotty" Miller.
Other sessions in 995 included those for Gucci Mane (K. Anders), Kash (IV Duncan/D. Brown), PRG's (M. Wilson), Write Time (M. Wilson), Big Jim Wright (M. Wilson/D. Brown), Mars (M. Wilson), Reggie (M. Wilson), Alley Boy (K. Anders), Doost LLC (M. Wilson), Certified Music Group (M. Wilson), J Harden (M. Wilson), Sipp Kings (M. Wilson), Mitri (M. Wilson).
TO BOOK A SESSION IN PATCHWERK'S STUDIO 995 OR TO RECEIVE
ALL THEIR CURRENT RATES/SPECIALS YOU CAN CALL 404-874-9880
PatchWerk's 995 NEW CLIENT RATE is: $500 / 8 hours
PatchWerk's 995 MORNING SPECIAL is: $760 / 8 hours
Who's Werking in Studio 1019?
R&B and soul singer/songwriter and guitarist, Tweet was in PatchWerk's Studio 1019 for several days working with PatchWerk engineer Mike "Snotty" Miller. Tweet is due to release her third studio album, Love,Tweet on Umbrella Recordings. It was originally scheduled for a June 2008 release but was later canceled. The project was rumored to have been shelved, but was later confirmed for a fall 2008 release. In late 2009, the song "Love Again" began making the rounds online, a sign that a full track list might finally follow. Love,Tweet will be released sometime in 2010.
Plies new single "She Got It Made" is off of the new album "Goon Affiliated" hitting stores May 25th. Plies was recently having work done at PatchWerk Recording Studios alongside PatchWerk engineer Dee Brown.
Other sessions in 1019 included those for Big Oomp (M. Wilson/D. Brown), Dat Boy P (M. Wilson), Kaane Hayes (B. Friesen), Hillman B2 (M. Miller), Charlie (M. Solis), Alley Boy (M. Solis), Ty Tribbett (M. Miller), Ali Syed (D. Brown) Reggie (M. Wilson), Filmoe Slimm (D. Brown), Vito (K. Anders) and Government Gang (D. Brown)
TO BOOK A SESSION IN PATCHWERK'S STUDIO 1019 OR TO RECEIVE
ALL THEIR CURRENT RATES/SPECIALS YOU CAN CALL 404-874-9880
PatchWerk's STUDIO 1019 RATE is: $75 / hour
Songwriting 101
Songwriting is an incredible way to communicate your emotions. Some people write songs for private use, but others write songs to market and produce for an audience. In this article, the focus will be how to write a hit song for an audience.
The first step, and often the most challenging step, is choosing a topic for your song. There are a few things to keep in mind when choosing topics for your song. First, you have to remember that your song idea has to appeal to a large audience. This is a reason that love is such a popular song topic. Everyone can relate to it,
and it has so many different aspects to write about.
Also keep in mind when choosing a topic that you need to make the singer for your song look good. This means that you typically won't want to write about topics that will make your listener judge your singer's character or their values. Look for things that move you emotionally because chances are, you'll be able to move others, too.
The second step is to create an outline that tells your story. The verses of a song typically tell the story in detail through feelings and unique imagery while the chorus of a song sums up the idea. The chorus of the song is very important because it is a section of the song that repeats itself over and over again. It provides memorability for the song, and these are the lines that your listener will remember.
It is very important that the ideas that you choose for your verse tie into the main idea and emotional theme of your lyric as indicated in the chorus. This is more easily accomplished by starting your lyric at the chorus, then developing verses to support your chorus.
The third step is to write and refine your lyric. Make sure to use a conversational and natural tone. This makes your lyric more believable and easier to relate to for your listeners. Also make sure to use unique imagery and focus on details to make listeners imagine a scene or emotion instead of just stating feelings in your song. This will help your listener imagine for themselves what the character of the song is going through, and often makes the listening experience more powerful and emotional.
Writing great lyrics is a great way to get a large audience, and it is a necessary tool for crafting timeless songs.
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CD Release Tips
Putting together the pieces of a unique and outstanding album is no piece of cake. Artists sometimes spend years on the writing of their albums. There is a lot of time, effort, and money put into getting music recorded, mixed, and mastered. For the sake of getting the most out of your work, it is important that you have a strategic plan for your music. Creating anticipation, deciding on a single, and building a website are just a few of the steps you can take in order to make sure your music gets noticed.
1. Pick a single before you have a release date for your CD.
2. Choose a release date for the single that’s a few weeks ahead of the release of the CD.
3. Build anticipation for the release of the single. Mention it on your social networking sites, website and mailing list at least a few days in advance. If you have a good story behind it or anything interesting to say about it then talk about it. You could even add a countdown timer on your website to build the anticipation.
4.Launch the single on your website. Create a very simple landing page with:
- A graphic that promotes your new album with the release date.
- A small MP3 player or a video player that plays your new single or a 90 second sample of it.
- A mailing list signup form.
- A very visible graphic that says: “Sign up for email updates to download this song for free!” or something similar.
5.Use all of your social media outlets, your mailing list and any other means to direct people to your website immediately upon the release of the single.
6. Play the single at every show after you release it online.
7. Use your mailing list, social media, live shows and word of mouth to build anticipation for the album in the days leading up to the release.
8. Have a CD release party.
9.Work it! Sell some CDs!
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