Turn My Headphones Up!

Whether you want to listen to music or movies without disturbing others, get the best out of your iPOD, or drown out background noise while WERKING, there's a set of headphones for you. You can buy a portable pair for $10 or spend as much as $500 for headphones with active noise-reduction technology. Here are a few tips to keep in mind while shopping for "Sonically Superior" Headphones!


Evaluate sound quality
Headphones should feed you clear, accurate sound with sufficient volume. In general, over-the-ear corded headphones are often the best choice for serious music listening, though they're obviously not the best choice for use on the go. Models with lower sensitivity might not do well with all portable devices, which produce less power. A few of them will do best with a separate headphone amplifier. Like speakers, headphones might emphasize different parts of the audio spectrum. Sound quality can vary greatly between models and your preference will be highly personal, so it's recommended that you try them before buying. Online shoppers should check out return policies to make sure that purchases can be returned or exchanged for another model.

For the best sound, stick with corded models
Most corded models and some wireless sets are fine for use with a TV or, if you're not too critical, for listening to music. Over-the-ear corded headphones are often the best choice for serious music listening at home. While wireless headphones can be convenient, many have background hissing and/or dynamic range compression that flattens the sound to some extent. We've found that digital wireless models can provide better performance than analog, and 2.5 gigahertz models often beat 900 megahertz headphones. But all wireless headphones are susceptible to interference from other devices, such as microwave ovens, cordless phones, and computer hard drives that operate in the same frequencies. Look for headphones with multiple channels so you can switch to another frequency if you encounter interference.

Make sure they're comfortable
Many headphones or earphones that seem fine at first could become quite uncomfortable during extended use. Comfort, of course, is subjective, depending in part on the size and shape of your head and ears and how much adjustment a headphone allows. The pressure from the earphones and the weight affect how a model feels. With any headphones, prolonged listening can make your ears warm and sweaty. Many on-ear models offer a good trade-off between comfort and quality. Some people find that earphones that are wedged in the ear can become painful with prolonged use. Insert-type earphones usually come with different-sized tips to accommodate a range of ears. While less obtrusive than other types. These can pop out at times.

Choose a design suited to your expected use
Consider how you'll use your headphones, and get a model most appropriate for that application. Closed, over-the-ear models are great for listening at home but could be too large to be easily stowed when you're traveling. Portable models might sacrifice some sound quality for small size, but they are handy. Ear buds and insert models are great for listening to music during on-the-go activities. If you'll be doing a lot of flying, or listening in a noisy environment, consider headphones with active noise-reduction technology. Also, over-the-ear and insert types can block ambient noise. Keep in mind that you'll have to replace batteries with active-noise-reduction and wireless models.

What headphones do you prefer?

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Promote Musicians On Amazon

Promote music on www.amazon.com

Artist Central enables musicians, record labels and managers to upload official content to www.amazon.com artist stores.

You can upload MP3s for free streaming, official photos, videos, a biography, a Twitter feed, and a page banner. Your content will be featured before any content already on the musician's artist store.

Click here to find out more info!

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Top Reasons on why you should attend "IdOMusic" on 8/5/10

IdOMusic has done some great things for music makers and has become an incredible platform for people who want to network. Even better, you get to be in the same room with all the people that can help you succeed. These are the people that you want to talk with and build relationships with. IdOMusic is known for great panels, showcases, and networking opportunities.

On August 5^th, 2010 IdOMusic will have great opportunities for you. Doors open @ 8 p.m. but its FREE to get in before 8:30 p.m. If you make it out early enough you can attend IdOMusic for FREE 3x a month. Not too many events in ATLANTA are this generous. Bring your friends, girlfriends, boyfriends, and anyone else that is involved with music who wants quality networking. I wanted to mention about our NEW Music University 7 DVDs available right now. You can click on the link below to get a snippet of the 4-disc DVD. This is a great educational experience right in your DVD player.

http://www.youtube.com/watch?v=jwzYxCLDcdY

Couldn’t make it out to our past MU7, no worries now you can purchase a 4-disc DVD or single copy of MU7.

(To purchase click on the link below)

http://mu7dvd.eventbrite.com/

There is also a raffle that you can enter to win a FREE Music University 7 4-disc DVD set. All you have to do is purchase a ticket to IdOMusic for August 5^th and you will automatically be entered into the drawing.

(Purchase a ticket below)

http://patchwerk.eventbrite.com/

ALL ARTISTS AND PRODUCERS/SONGWRITERS PLEASE SHOW UP EARLY TO SIGN-UP FOR OPEN MIC SHOWCASES. I’ve seen people show up at 6:30 p.m. waiting outside the venue so they can get a guarantee open mic. spot. These people are smart and they beat the line that consists of 100s. Please don’t make the mistake of showing up 5 minutes late, cause it is NOT a guarantee you will be able to perform because of the limited slots available.

Bring yourself some promotional items but be ready to talk & network with others. The best way to network is to communicate with individuals and not just hand out a mix-tape than walk away. I’ve had people tell me that they rather talk with the person than get a random CD thrown at them. The best way to ensure that your music gets heard by anyone is to have a basic conversation with them. Follow-up with them and let them know it was good meeting them at the event. This is IMPORTANT and I can’t stress enough on how important this skill is to have in this business. The more someone gets to know about you the better chance of building a relationship with that person. I understand how important networking is to people so I want to make sure that people benefit from it 100%.

OUR POPULAR PANEL is ON-DEMAND. This month we have a special treat for all you future business owners and CEOs. Our panel topic for the month is, “Building a Music Empire”. We will have Curtis Daniel III who is the owner and manager of Patch Werk Studios in Atlanta. Than we have Michael Mauldin who is the owner/president of Artistic Control Group and Mauldin Brand Agency. And last but not least we have Kawan “KP” Prather who is an owner/executive at Ghet-O-Vision, Def Jam, and Interscope. These are all well-known people in the industry and have had years of professional experience handling a business. (GOOGLE THEM!) This is a must-attend panel discussion that will leave you saying, WOW! That was amazing! So come out and network with these professionals because they are here to help others succeed in the business of music.

IdOMusic is the place to be and filled with people who are waiting to network with you. So don’t second guess yourself, this is one of the best investments on your music career. Be a part of IdOMusic and spread word so others like you can benefit from these opportunities. I hope to see you all @ IdOMusic this Thursday, August 5^th 8 p.m.

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Make or Break Management

The Contract That Will Change Your Career

The Contract That Will Change Your Career
By: Adam Barnosky
July 2010

"EVERYTIME YOU TALK TO ME, you're ten percent smarter than you were before, so I just add that ten percent on to what all the dummies charge for nothing." -Albert Grossman, the legendary 1960s rock manager, explaining why his commission rate was ten percentage points above the industry standard of fifteen percent. In 1961, Bob Dylan was unknown, living in a tiny apartment in New York City, scraping his way into the packed open mics of Greenwich Village. Just two years later, Dylan was touring internationally in support of his third album. The business success behind his career was in the hands of one man: Albert Grossman. Grossman was, by all accounts, a quintessential talent manager: brash, sharp tongued and impeccably dressed, in fervent pursuit of his two most prized passions - money and the success of his clients. In other words, Grossman was everything you'd want in a manager. He may have been expensive, but he was worth every penny.

A manager can make or break your career. There are both practical and legal considerations to keep in mind when determining whether the time is right for management. Two of the practical considerations are (1) finding a manager and (2) finding the right manager. Regarding the former, large management companies actively pursue artists for their roster and rarely accept unsolicited material. However, artists can find management from a variety of other sources. While many managers have tested track records, some transition into the field from other avenues. The White Stripes (Ian Montone, former music attorney) and The Strokes (Ryan Gentles, former venue booking agent) found management from alternative sources. Search the connections you already have and keep a keen eye on those who might provide proper guidance.

The manager that could change your career trajectory could be right under your nose. Regarding the latter, the right manager has to be someone you can trust. While this seems to be common sense, the music world is filled with stories of swindlers and thieves who prey on the faith of their talent (see Lou Pearlman and Allen Klein, prominent rock managers fired by their artists for unsavory - and costly - business practices). After you've decided on a manager (or have been pursued by one), here are a few legal stipulations to keep in mind. While there are dozens of provisions within a properly drafted management agreement, below are some of the more significant terms to consider.

1. Term: Your agreement needs to be long enough for management to achieve its initial goals (a year or more for new artists). However, be wary of terms that are indefinite or bound you to a manager for several years without an exit strategy. The agreement should be mutually beneficial: if management is advancing your career, it should be rewarded and the relationship should continue. However, if management is not performing what is required, there should be a framework set for terminating services within a reasonable timetable.

2. Commission: The industry standard for music managers is usually fifteen percent. This number reflects the gross (not net) of proceeds, which means your manager can take home a hefty paycheck, especially in comparison to any individual band member. A manager's reputation and past successes can reflect his or her take. In essence, a great manager is worth a higher percentage, at least initially, based upon the power of his or her phonebook and clout within the market (see Albert Grossman, above).

3. Sunset Clause: This clause is one of the most important in your management contract and deals with what percentage your former manager will be paid subsequent to his or her representation. Essentially, a manager will be paid for a certain amount of years for the deals entered into under their management contract. Generally, the manager's commission lowers every year following the end of the contract. If your sunset clause is too generous, your gross income could be docked between thirty to forty percent before you see a dime (imagine paying alimony to several ex-spouses).

4. Number of Clients: Attorneys are bound by the Model Rules of Professional Conduct, which prohibit a lawyer from taking on more clients than he or she can handle. For better or worse, managers are not bound by ethical standards. To avoid being the neglected child, it may be wise to include a stipulation in your contract regarding the number of other clients the manager may sign while under your agreement (and to include a term stating that your manager will use "best efforts" in his or her representation).

DISCLAIMER: The information contained in this column is general legal information for educational purposes only. Any use or reliance on this column does not create or constitute an attorney-client relationship.

Courtesy of performermag.com

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How To Write A Great Song For Someone Else

By Jordan Galland
Performer Magazine June 2010

THE TRUTH IS, when it comes to making art of any kind, there are no rules. But when it comes to music, by recognizing patterns, charting your strengths and weaknesses and navigating the diverse expanse of aesthetic styles, you'll be able to create unique, well-written songs, whether they're for you or for someone else.

1. Break It Down And Decide On A Genre I write mostly pop music and collaborate with people who are looking for my particular take on the genre. But if you're the one seeking out a recording artist in hopes that they'll want to perform a song you've written, start from the very beginning. Break down their particular genre as thoroughly as you can. Identify what makes the drum fill sound like a perfect fit, the guitar riff shine a little brighter or the bass line carry the melody. A comprehensive breakdown of modern pop music begins with dividing songs up into categories according to shared audible characteristics - dance, rock, folk and so on. It's not unlike a biological classification (animal, vegetable, or mineral); you've got to know which entity you're dealing with and then of course you can mix and match.

2. Find Your Audience Not unlike trying to write a song for yourself, determine who your audience is. When David [Muller, formerly of Fiery Furnaces] and I started out, ten years ago, we were making this mellow, spooky-tinted music, but out of necessity for getting audiences into it live, we ended up going for a more energetic, dance-rock kind of sound. In this case, you're appealing directly to an artist, so absorb as much as you can about them. Listen to their records, read their bio, research other collaborators they've worked with. If you recognize a pattern, decide if it would be best to stick to that pattern (read: give them what they want) or completely surprise them with something they may have never thought they were capable of.

3. Anticipate What They'll Love Think about writing this particular song the same way you would write a script, hoping that a specific actor will get attached. Write the part for that actor, not for yourself. Sean Lennon and I have been friends for years - he's played in my band and I've written songs with him - so we have a shared vocabulary for music. We've both always been into soundtracks and have spent a lot of time talking about film music, and allowing it to influence our music together. In other cases, I'll completely separate myself from the project. What would showcase my vocals, or guitar playing and so on, might not be the same for someone else. Separate yourself from the project in that way.

4. Write It Down This seems like an obvious one. Yes, write down the song itself, but also keep notes. For me, lyrically speaking, being a songwriter is like being a scientific researcher. You've got to keep extensive notes about the things you notice in any given environment. Anywhere you go, everything surrounding you is information you can make sense (or nonsense) of later. Treat this notebook like Darwin's Journal. Fill it with inspiration and just plain observation. A sentence from a National Geographic article you're reading in the waiting room at the dentist. A misheard song lyric on the radio. A fragmented memory of a nightmare - it all goes in.

I got the idea for a song called "Softcore" from a sentence in James Joyce's Ulysses, "Soft Soft Hand," and on a totally different note got the idea for my song "Airbrush" not from a book but from remembering something my brother used to say: "the preview is always better than the movie."

5. Be willing to share, but have enough to go around Having a signature sound or songwriting style is an asset, but make sure you have a diverse enough catalog that it gives other performers something to choose from, but leaves you with some ideas too. You've got your own career as a performer to think about - don't hold back, but every once in a while it might just be worth it to keep that top secret bridge you wrote for your next album.

Courtesy of performermag.com

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I dO TAKE MONEY

By Peter Jason Riley, CPA

Musicians and taxes don’t seem to mix very well. Taxes and administrating the business of music are often last on the list of concerns for the working musician. The artist temperament simply does not interface well with the exacting rule-filled world of federal and state taxation. Musicians avoid the whole matter and consequently leave themselves vulnerable to bad advice. The secret to overcoming this phobia is to develop an understanding of the mechanisms of the tax code and some simple, effective ways of complying with this onerous task. I often use the analogy that you may not need to know how to fix your car but it is helpful to know how it basically works. In so doing you will pay less in taxes and you will be less likely to fall prey to erroneous tax information and disreputable advisors.

Most working musicians are considered "self-employed" in regard to filing their taxes. In a legal and taxpaying sense this means that your "business" as a musician and you as an individual taxpayer are one and the same. There is no legal separation such as one would have in a corporation or other legal entity. The musician/performer usually files a "Schedule C" as part of their regular 1040 income tax form (this is where you report all those nasty 1099’s you received last year!). The performer may also file form 8829 for the home office deduction and will be required to pay self-employment tax (Schedule SE) on their net income (profit) as well as federal income tax. All these forms are part of the year-end 1040 income tax filing. The self-employed musician will also usually be required to pay estimated quarterly taxes on Form 1040-ES (if the tax liability is to exceed $1,000).

The goal is first and foremost to lower your taxes! The musician/performer has a number of tax deductions that are unique. In the balance of this article we will try to break them down to their component parts to make the issues understandable. For the IRS, all deductible business expenses are those that are:

1. Incurred in connection with your trade, business, or profession
2. Must be "ordinary" and "necessary"
3. Must "NOT be lavish or extravagant under the circumstances"

It does not take much analysis to see that these guidelines are not an exacting science. Bruce Springsteen’s recent stay at the Four Season’s Hotel in Boston would for many other working musicians be considered "lavish and extravagant" by the IRS. Mr. Springsteen can no doubt justify the expense due to his need for security and privacy that most musicians would not need. Is a vintage 1955 Fender Stratocaster purchased for $75K "lavish and extravagant" when you can easily buy a new one for less than $1,000? Good question; it may even be considered an "antique" and as such the depreciation write-off may not even be allowed. (By the way, in two recent appeals, courts determined that antique instruments are allowed depreciation as long as they are being played—see the section on equipment.) As you can see, there is plenty of space for interpretation between the cracks here. These are the types of questions that can arise on audits ­ so be prepared.

The performer has a bag of basic expenses that easily fit the above criteria: travel (hotel, meals, etc.), vehicle and transportation, equipment, supplies, stage clothes, home office expenses, legal and professional fees, recording costs, etc.

Want to continue to read more or want specific information, go to artstaxinfo.com .

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How to Effectively Network @ Music Events

Have you heard people say that it’s “who you know & NOT what you know”? This is the case when it comes to the Music and Entertainment business. You could be the world’s most talented person but if you have no connections than no-one will pay attention to your great talents. If you are someone that is willing to network effectively than you are on the right path by reading this article.

Networking is a great way to get your name or business a reputation. Recording artists do what they do best in the recording studio, but they also need to be the best at networking. Anybody that is interested in having a long-time career needs to understand that these accomplishments don’t happen over night. It takes months to even years to establish a strong network of connections. One of the best ways to network is to attend events such as; iDoMusic (www.idomusiconline.com). I specifically chose iDoMusic because this great event happens 3x a month. iDoMusic is a music networking event for music makers who are trying to establish new relationships, watch talented showcases, and to listen in on our panel discussions with BIG-NAME industry professionals. These types of opportunities don’t exist on the streets, they only exist by making the initiative to come out and taking your career seriously.

I also would like to talk about the difference between NETWORKING and PROMOTING. These two things are very different from each other but I see a lot of common mistakes happen. When someone comes out to network it is to establish some kind of business relationship. Promotion to some people is like handing out flyers or CDs than walking away like nothing happened. I highly suggest individuals to really try to take their time to work on their people skills. It bothers me when I see a room filled with talented individuals but they barely network with each other. If you are going to hand anybody promotional items than have the courage to stick around for 2-3 minutes discussing who you are and what you do. These people all came out to do the same thing, NETWORK. Passing out promotional items doesn’t matter unless you establish some kind of connection with that person, otherwise that CD or flyer might just end up in the dumpster. Don’t settle for anything less but you have to be serious to do more which in return will reward you BIG in the future. The best effective method is to have a 30-second elevator pitch on who you are and what you do. If you elevator pitch sells them than you are giving that person a GOOD reason to follow up with you the next day or week. Give them your business card, CD, or any promotional items that represent you and your business after the conversation is over and move to the NEXT.

The importance of networking is to make that next-step in your music career. One day you will be able to achieve all the things that you’ve ever wanted but it comes with a lot of responsibilities. Networking is one of them and once you become a master at it, you will be on your way to making that KEY Major move.

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How to build a Basic Recording set-up

Building a simple mobile studio is a great way to record anywhere. But knowing the simple facts about audio gear is important so you save yourself time and money. If you are someone who isn’t willing to learn the recording process than the best way is to go into a professional studio.

Give Patch Werk studios a call because they are one of the best in Atlanta, guaranteed. It is a really well-known Hip-Hop studio for having clients including: T.I., Jay-Z, Ludacris, Young Jeezy, Gucci Mane, Dem Franchise boys and the list goes on. Studio 995, Studio 9000, and 1019 offer music artists one of the best recording experiences, so go there if you aren’t interested in recording yourself. For everyone else I’ll be talking about the basic set-up so you can record yourself or have an engineer hook you up. If you are a beginner than these will be baby-steps for you.

These are the basics to what you would need for your recording set-up. When it comes to the brand it would be up to you on how much you want to spend. I recommend people do a good bit of research like visiting the guitar center website to check on specs and reviews on the different gear. That way you are more aware of your purchases and dollars spent.

1. Microphone (Condenser) w/Pop Filter and Shock-Mount

2. Mic. stand

3. Mic. cable

4. Digi-design M-box (Audio Interface)

5. Lap-top (MAC-Book Pro for Laptops)

6. Headphones

7. DAW program software (Logic Pro or Pro Tools)

8. Vocal booth with sound treatment (Can be a closet booth with Sound proof walls)

9. Powered Monitors (KRK, YAMAHA, JBL, MACKIE, GENELEC,)

10. Desk (Big enough to fit your gear)

Alright, so what do you do after purchasing and collecting everything?

Hook it all up and get to learning or recording. You can start with the microphone and hook that up to your mic. cable. Once that is completed hook the end of the mic. cable up to the back of your audio interface (M-box), input 1. Hook the audio interface up to your computer through a USB cable. After doing this turn on your computer and open up your DAW software within the computer (Pro Tools or Logic). Once everything is set-up with the microphone and stand, create an Audio track within the DAW and hit the (r) Record button to arm your track to record. I would hope that you have some kind of knowledge of the recording process so the process shouldn’t be too complicated. If not than read audio books or visit Youtube videos showing you what I’m explaining. Alright, now go to the audio interface and hit the input 1 button on it. The microphone will have pre-amp power now coming from the interface. You are ready to go.

Make sure to have a good booth set-up for your vocals or even for live instruments. Its good to have the natural dry sound, so later you can go back and add cool effects or reverbs. One rule is to never have distortion or clipping otherwise your vocals will come out terrible. I hope all beginner engineers, artists, producers, and anyone interested in audio engineering benefits from this information. Come back for future tips and strategies. Good luck! and get your ideas in recording.

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Do you have what it takes to be a producer?

Today there are many types of producers and each of them are in charge of different roles. People often assume that all producers do the same thing, WRONG!. The word “Producer” has evolved throughout the years and has become a popular career in the audio industry. Producers like Quincy Jones (Michael Jackson), George Martin (The Beatles), Jerry Fin (Blink 182), and etc. are examples of some of the best producers. I often like to compare “Rock” producers to “Hip-Hop” producers because they both play a similar role but their job description can be different from each other.

Back in the 40’s, 50’s, and early 60’s, the term “producer” referred to as someone who would basically oversee a song or an album. Overall the producer’s job is to keep the band on schedule. There are producers who act as the eyes and ears for the record company, and sometimes they would also act as cheerleaders, making sure the band was comfortable. Other producers who had developed connections with record executives expanded their jobs to include finding new talent and shopping record deals. These individuals called themselves, “record producers”.

The goal in music production normally is to produce quality music that will either become a hit or change the world. Today’s producers have become one of the main factors in ensuring an album’s success. Their job is to make sure that a song, album, or artist becomes a huge success. Besides overseeing the quality of every component, today’s producers often come up with the music. Mostly importantly, they provide an overall energy or vibe to the whole project. This is important because it could affect the completion of the project and as well put an artist in a difficult situation.

Once the producer is a hit, any artist that attaches himself or herself to that producer is likely to be a hit in today’s market place. Dr. Dre is a great example of someone who has mastered the concept and formula in order to keep making “hits”. I believe that he is able to deliver because of the certain energy Dre carries with him either inside the studio or outside the studio.

Now I would like to talk about the different producers and what each of them do.

1. Executive Producer

2. Music Producer

3. Engineering Producer

4. Associate Producer

5. Assistant Producer

Executive Producer- The executive producer (EP) will be responsible for funding, and may even be responsible for organizing the project. They might even be responsible for hiring a music or engineering producer for the project. The EP is convinced that the artist and product are worthy of investing time and money into to, with the sole purpose of reaping the benefits of lucrative record sales and a healthy return on his or her investment. Make no mistake, this is a business! The EP may also handle budgets and schedules.

Music Producer- Music producers spend most of their time focusing on the music, arrangement, and execution. A music producer arranges the music and often helps the artist write some of the parts. Some music producers start out as songwriters who have studied music theory and end up with degrees in music or theory. The music producer needs to know how to work with musicians who have different levels of expertise. One of the key things to being a great producer is having the ability to change someone’s music and not upset the artist. Most artists are touchy about their music, especially when someone is rewriting or reworking it.

Engineering Producer- The engineering producer’s main job is to monitor the quality of every aspect of the project and make sure it comes out as good as possible. The engineering producer typically starts out as a recording engineer, and then moves on to actual producing for a project. They also help organize the project.

Associate Producer- An associate producer is an associate of the executive producer and is there to act as the eyes, ears, and mouth of the EP in his absence.

Assistant Producer- An assistant producer is typically hired by a producer to all types of tasks, which could include many of the administrative jobs often done by an executive producer. The assistant will sometimes make progress reports to the record company. Most importantly, the assistant producer has the capability of taking over the project incase there is an emergency with the main producer.

After reading this article I hope you are able to understand the different roles of producers. They all do different things within different genres so don’t get them confused. Do you have what it takes to be a producer in the recording industry??

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Releasing Your Own Record: A Legal Checklist

Written by Bart Day, Entertainment Attorney, 2002


For artists who are releasing their own record for the first time, without the involvement or assistance of a label, the process can be a little intimidating. It can be easy to miss some key legal details in the process.

Here, therefore, is a very basic checklist of issues to be considered when releasing a record. Bear in mind, though, that your own particular circumstances may dictate that you take certain steps that are different from, or in addition to, the various steps mentioned below. Also, it has been necessary to greatly oversimplify some of the issues discussed below due to space limitations.

1) Agreement Between Members of Group. If it is a group (as opposed to a solo artist) releasing the record, and if the group has not already formalized its relationship by way of a partnership agreement, incorporation, or limited liability company ("LLC"), there should at least be a clear and simple written agreement among the group members about how the finances of the recording project will be handled. Also, it is always a good idea to deal with the issue of the ownership of the group's name as early in the group's career as possible.

2) Investors. If there are investors involved, documents will need to be prepared in order to comply with certain Federal and State securities laws. Be especially careful here.

3) Distribution and Promotion Strategy. Think ahead about how the record will be distributed, advertised, and promoted, and how much money will be needed to effectively market the record. Sometimes all (or almost all) of the budget for a project is spent on recording and manufacturing costs, and there is little or no money left to effectively advertise or promote the record. This, of course, is not really a legal issue but is such a common (and often fatal) problem that I feel obliged to mention it here.

4) Mechanical Licenses. For any cover songs appearing on the record, you must obtain a mechanical license from the owner of the song (i.e., the song's publisher), authorizing the song to be recorded and providing for the payment of mechanical royalties. In many cases this license can be obtained fromThe Harry Fox Agency (212/ 370-5330). Allow six to eight weeks for this process.

For songs not licensable through Harry Fox, you must contact the publisher directly. Usually the easiest way to do so is to obtain the publisher's contact info from the "song indexing" departments at ASCAP and BMI.

5) Sampling Clearances. If you are including any samples on your record, you need to obtain sample clearances from the publisher of the musical composition being sampled AND, separately, the record label that owns the master being sampled. Do this as early as possible, as there will be some instances in which either the publisher or label will not be willing to issue a license, or the licensing fee which they require may not be affordable.

Also, some duplicators will require you to sign a form stating that either you have not used any samples, or that if you have done so, you have obtained all necessary clearances. If there is any obvious sampling done, the duplicator may require you to show them the clearance documentation.

6) "Work for Hire" Agreements. For any session people, engineers, etc. whom you are hiring, it is wise to have them sign a short and simple "work for hire" agreement, to preclude any possible future claims by them that they are owed royalties or that they have ownership rights in the masters. Do this BEFORE you go into the studio.

7) Producer Agreement. If you are using an outside producer, there needs to be a producer agreement signed, defining (among other things) how the various costs of the recording sessions will be handled, what advances (if any) will be paid to the producer, and what producer royalties will be paid to the producer. Just as in the case of the Work for Hire agreements mentioned above, do this BEFORE you go into the studio.

8) Production Credits. Make sure that the production credits listed in the liner notes--for session people, producers, and others--conform to any contractual requirements. For example, the producer agreement will often be very specific about how the producer's credits are to be listed. For musicians performing on the record who are signed to a label, they will normally need to be credited as appearing "Courtesy Of" their label.

9) Liability Releases/Permission Forms. You need to consider the possible necessity of getting a liability release or permission form signed in any of the following scenarios: (a) If a photograph and/or artistic image of an individual outside the group is included in the artwork; (b) If any of the artwork which you are going to use is owned by any third party; or (c) If any logos or trademarks owned by third parties appear in your artwork. There can be some tricky legal issues in this area, so be very careful here.

10) Copyright Notices for Songs. Be sure that the liner notes contain the correct copyright notices for all of the songs on the record, i.e., both for your original songs and any cover songs that you are using. Information about copyright notices can be obtained here. Also, make sure that the song credits correctly state for each song the name of the song's publisher and the publisher's performing rights society (i.e., ASCAP, BMI, etc.).

Read the rest of this article on www.musicbizacademy.com

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The Pros & Cons of Signing A Publishing Deal

Cliff Goldmacher is a songwriter/engineer/producer/author and owner of recording studios in Nashville and New York City.

A Little Background Before We Begin…

For those of you that are artists writing your own songs or simply songwriters who don’t perform but who would like others to use their songs, a publishing company is one way of helping you get your music to the next level.

Publishing companies can be huge with hundreds of writers or as small as a single writer but they all share the common trait of trying to find ways to exploit the songs in their catalog by getting artists to record them, music supervisors to use them on television or in movies or any one of a number of other uses. In exchange for marketing a song or songs in this fashion, publishers will take part or total ownership of the copyrights. This is otherwise known as owning the publishing.

For most songwriters in the early stages of their careers, the idea of being hired as a staff songwriter for a publishing company is close to the Holy Grail. It represents that most coveted prize of industry recognition and validation of your talent along with a gateway to cuts, movie placements and any one of a number of other exciting possibilities. However, keep in mind that wanting or entering into a relationship with a publisher in order to simply validate your talent is probably not the best approach. As with any business relationship, it's essential that you, as the songwriter, understand what you're giving up as well as what you stand to gain by signing over partial (or complete) ownership of your copyrights to a music publisher.

To read the rest of this article on tunecore.com

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Affix Makes Music Licensing EASY-AS-CAKE

I recently caught up with the guys over at Affix Music and after hearing about all the great things they're doing with their new music licensing company it's no wonder why it seems as if EVERY SINGLE ONE of the the artists, and producers I know of are jumping on this. Checkout their site... If you're into making money with your music you'll know what to do when you get there. Click on the Image ...

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Digital Minded: Making Music With iPad

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An ear for music-Karpae Dium

An ear for music-Karpae Dium

When you hear music these days, pop music to be exact, you hear more and more artist applying a melodic feel to there songs. For example David Guetta (Guy who made sexy chic with akon) uses a number of synths to add that pop 80's feel that most artists are looking for these days. Now the big question is how do you add advanced melodies to your music. For starters, listening to the Beatles and groups of the same genre and imitating what they do is a good technique. After you have it down search for your own sound but still use what you've learned. Also, listen and study music that has a lot of strings, synths, guitars and pianos to enhance your music theory. To increase your capacity for making good music you have to consistently "werk" at it, innovate, and broaden your horizons. Accumulating a better ear for music is the first step!

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"Quested: The Finest Studio Monitors in the World"

When he took over the management of DJM studios in the early eighties, Roger pursued his passion for accurate monitoring by developing a soft-dome monitor system that would deliver the high sound pressure levels demanded by clients with a clarity surpassing that only previously available in the best Hi-Fi speakers. These monitors quickly established themselves as a firm favourite with visiting engineers and producers, becoming prototypes for the Q215.

Requests from other recording complexes to design similar monitors for them started to arrive, the first being from London’s Rooster Studios. The Q215 was too large for the facility so the Q212 was born. Demand grew to such an extent that Roger decided to take the plunge and he started Quested Monitoring Systems.

Quested Monitoring System’s soft-dome designs have been imitated the world over but never equalled. To this day Roger continues to develop new monitor designs while maintaining close working relationships with engineers, producers, studios, driver manufacturers and electronics designers to produce the finest studio monitors in the world.

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I dO Music!..."Empowering Musicians Worldwide"

The Power or Ability To Invent

In a recent interview with Billboard Magazine, rocker Lenny Kravitz explained why he virtually ran away and spent the last 2 years living in Europe.

"I moved to Europe because of the climate in America -- and I don't just mean the economy or politics," says Kravitz. "It was also what my record label was going through. People were getting fired every week. There was no money, and people were operating out of fear as opposed to creativity...it just became a drag."

"I was like, 'This is not what I do,'" says Kravitz. "I do what I feel. I don't hire the producer du jour or have so-and-so rap on the middle part of a song."

His words got me thinking about how to stay creative in a world filled with bad news, no money, and constant struggle. Sometimes it just seems like your best isn’t good enough and you’re forever climbing a steep hill. So, I searched the internet for some ways to keep the mojo going, to keep the creative juices pumping. Here’s what I found…

Be willing to explore new ideas - Too many times, people find themselves in the same situations, surrounded by the same people, but wonder they keep getting the same results. America is probably the most diverse country in the world. Just the food you eat can take you on a global adventure so why not do the same with your music, writing or your surroundings? The next time you find out about a show or an event that might not "fit" with what you’re used to, take the plunge and check it out. You just might like it.

Always take notes - Whether you use a notebook, the notes section of your cell phone, sending yourself a text message, or using a digital recorder, you must take notes. You ever notice how the best ideas come at the most random times, usually inspired by something your friend says or something you see just walking around. I don’t know how many times I have thought of a hot line for a song, but later forgot how the melody went or even what the word were. Beyond writing down your next hook, just jotting down what you see for an hour straight while you sit at the bus stop or at a cafe could provide so much inspiration and realize a little stress.

Follow other creative people - Facebook, Twitter, MySpace, Linked In, ReverbNation, Imeem, are just a few of the sites you can find an endless amount of creative people to follow. They have to be in just music either. Broaden your circles and follow people that work in other creative industries such as design, art, or dance. Or just follow people that you think have something creative to offer. Also, go to events that are NOT held at clubs, lounges, or venues. Atlanta is filled to the brim with more than just music.

Tidy loose ends later - A lot of musicians, artists, and songwriters are perfectionist in some shape or form. Too many times, we are caught up in how this song or project compares to what is on the radio or TV, what the "haters" might say, or how we can become the next Beyonce or Jay-Z. Instead of focusing on what can go wrong, just have fun with what you are creating and worry about the details later. That's what the mixing and mastering sessions are for.

Encourage risky behavior - Say whatever you want to say, even if it sounds weird. Dress however you want to dress whether or not it fits the latest trend. Don’t be afraid to stand out in a strange way. That is how trends are made and how music continues to evolve. Perfect examples = Lady Gaga, Prince, Michael Jackson, Afrika Bambaataa, Eminem, David Bowie, Grace Jones, Erykah Badu, etc.

Share – You need feedback to improve. By sharing your music with friends, family, on MySpace, on Soundcloud, at I dO Music, in mixtape form, at shows, or just catching the reactions of people as you blast your music in your car, you can get an idea of what needs to change, what needs to stay, and if you need to start over all together. *NOTE: for this to be affective, you have to stop thinking that everyone is a hater.

Start – Sometimes, this is that hardest thing to do, but it is the best way to keep that creativity intact. Just start writing, freestyling, singing, dancing, humming, tapping your feet, or drawing. You might be surprised what you come up with.

Feel free to post some of your tips on how to be and maintain your creativity. I look forward to hearing how you keep it moving. Later!




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I dO Music!..."Empowering Musicians Worldwide"

Where Should That Drum Sound Sit in the Mix?

Thought all you producer/engineers would appreciate the following diagram showing you where your different drum sounds should sit in the mix as far as frequency is concerned. You can edit frequencies of your sounds with any sound editing program such as Protools. The vertical range denotes the frequency your should use and the horizontal plane denotes the range of panning you should employ. Enjoy...

(Click to Enlarge)

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The Teen Perspective: Love or Money

Hey music heads, I'm "Karpae Dium" and welcome to my column... "Teen Perspective". This column will focus on providing you with my perspective on various music topics as a sixteen year old high school student currently living in Atlanta. Why should you care??? Well - simply because I know music but more importantly because "I BUY MUSIC" and so do most of my peers. Anyone that sells music commercially knows we teens primarily support the music industry buying more music than any other age-group. In fact - one of the major reasons the music industry is experiencing so much decline is because we're just not satisfied with what's coming out of our speakers! According to research done by major research firm NPD Group "In the case of paid digital downloads, 32% of teens purchasing less digital music expressed discontent with the music that was available for purchase" - Well together, we're going to fix that! In this column I will be giving you the highly sought raw insight of us "teenies" as some record labels call them. In addition I'll share updates on music events as well as some cool things I've learned along the way.

Love or Money?!

It isn't hard to figure out why many people in Atlanta are starting there own businesses. In Atlanta the unemployment rate is up to 10.7 percent. That being said people are now doing things they've always wanted to do since they were "teenies", but didn't because it was not practical when they were growing up. Now you're seeing more and more people quitting their jobs and starting music companies or becoming full-time musicians themselves. I was watching the news the other day and a woman speaking said something very profound... she said "I don't love what I do". Later in the show she talks about her new business as a fashion designer. This made me think about why people wouldn't do what they love? It came to me instantly, the reason is Money!! Money alone will make a lot of people second guess almost every decision. That's a dangerous place to be in. There has to come a day where you ask your self... "Should I do music for the love or the money?" Well that's an easy one right...??

Karpae Dium

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Up & Coming Bands Living Comfortable?

Here's a clip from a very insightful conversation I came across on Linked-IN where an indie band posed a question looking for advice on how to live comfortably while on the come-up (if there's such a thing right?!?)

Question: Please any advice out there? Up and coming band needs guidance to living comfortable with music careers.

Answer: (by Alex De La EspriellaOwner, Quicktrackz Entertainment LLC)

"a good manager that will secure gigs and paid events is a good start. lets b real tho... although it is possible to make money with your music i wouldn't quit your day job until the industry demands it simply because right now its too volatile. wayyy to many paradigm shifts going on. if you can get yourself promoted, under good management, and translate your efforts in to Cash money via the Internet then your ahead of the majority of the pack. i know way too many struggling artists to tell you its a cake walk. however if your smart, tech savvy, and driven enough you'll figure it out and live the dream! also check out www.TheHolodigm.com its a great website owned and operated by a veteran music manager / agent named John Hartmann. He managed Peter Paul and Mary, America, and Cher just to name a few. 50Years experience and now he teaches music business at prestigious school in LA. get your fans to buy songs direct from your website instead of looking for distribution... that way you keep alll the cash! oh yea... in case you didn't already know its no longer a music business.... its a multimedia business, the music is just one part of the big picture. every release / record should have a YouTube video at the very least... pictures help sell RECORDS! and NETWORK! NETWORK! NETWORK! NETWORK! NETWORK! hope that helps a bit."

Good answer Alex! A lot of aspiring artists and bands don't quite understand what it takes to successfully create and sustain a career in this industry. Hope this helps them put things in perspective! Here's a link to read more from this post on LinkedIn: http://www.linkedin.com/groupAnswers?viewQuestionAndAnswers=&discussionID=6057439&gid=92831&trk=EML_anet_qa_ttle-0Qt79xs2RVr6JBpnsJt7dBpSBA

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3 Top Music Debates




1) Can Artists who don’t write their own music be taken seriously?
(What do you think?)

2) Do you support Death of Autotune?
(What do you think?)

3) One Hit Wonder vs True Artist?
(What do you think?)


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I dO Music!
"Empowering Musicians Worldwide"