Mixing is where it all comes together whether you are a band or electronic musician it is an important stage. As a band you you might mix during a separate session with some other band members or as an electronic musician you may well mix as you produce a track. In any event some useful tips follow for getting an improved mix down.
I was asked to tutor a musician in my area who never faced composing from scratch.
Of course, there are several approaches to composition, but here’s what you will refer to as a composer:
- Rhythm( and time )
These are the fundamentals of music. You can order these three milestones as you like, merge some together or even ignore some of them. A lot of composer experimented pieces with no harmony and/or no melody or no time and to me that is where music is going, to some degree.
A few months ago, Google introduced their own social networking platform with the intention of entering the ring to contend for the social media crown against the likes of Facebook and Twitter. This platform, simply dubbed Google + (pronounced Google Plus), showcases quite a few similar features as its leading competition. So as a musician, you may be asking yourself ‘why would I even bother if Im already on Facebook and Twitter? Do I REALLY need to update yet another social account??’.
Well frankly, the answer is yes, you really do need to get yourself set up on Google + and the reasons as such are quite simple.
Happy New Year from Music Think Tank & Hypebot.com!
Thanks for reading and contributing to the conversation! If you would like to contribute a post, read the guidelines and post a summary on the MTT open tab. Every week, several posts will be moved from the MTT open tab to the main MTT page and featured on Hypebot.com so if your post seems to be “missing”, your post may have been moved to the MTT main page and will be published soon.
It’s a new year and fresh start! What are your plans for the new year and what projects are you working on?
What improvements or suggestions do you have for Music Think Tank and Hypebot?
Let’s make 2012 great!
Happy New Year!
—Natalie (@ncswim881), MTT Community Manager, and the rest of the MTT & Hypebot crew
Many people start thinking about their goals on New Year’s Day, many start thinking about this 3 months ahead and start gearing up for it and preparing to have it. This is the best time to start, it helps you think ahead, gives you more time to prepare and gives you extra time to think about strategy. 2012 is a few days away but of course it isnt too late to start thinking about what you want for the year!
Digital music caught the record labels off guard and smashed their business to pieces, and from the rubble new economic realities are emerging. In this new reality, most independent artists, especially those who are just starting out, should give their music away for free. Sound crazy? Maybe, but hear me out. It boils down to 3 main concepts.
SoundCloud continues to be a terrific location for music promotion. Taking advantage of SoundCloud’s growing community of music lovers should be a strategic practice of all musicians, big and small. Sharing tracks, creating sets, and interacting with other users are all essential parts of good SoundCloud promotion. Add to that commenting, following and group joining, and SoundCloud becomes the online pulse of social music.
This is an adapted piece from something that I wrote on my marketing blog.
Permission Marketing Vs. Self-Entitled Marketing
The concept of “Permission Marketing” has been around for some time. Popularized by marketing guru and author Seth Godin, it essentially boils down to marketers asking for “permission” before advancing to higher levels of engagement or a purchasing process with customers. It’s often contrasted with what Godin likes to call “interruption marketing,” the practice where advertisers try and “interrupt” a person’s normal pattern through an advertising blitz (such as a billboard, tv commercial, magazine ad, etc.).
I believe that a better descriptor for interruption marketing and stronger contrast to permission marketing is the idea of “self-entitled” marketing. Self-Entitlement generally refers to the idea that one feels they deserve access, privileges, or rights without regard to others and (whether it is deserved or not). It’s narcissistic. And it’s also the approach that many brands take to spread their message.
Godin’s describes permission marketing by writing, ”Permission is like dating. You don’t start by asking for the sale at first impression. You earn the right, over time, bit by bit.” Self-entitled marketing is like asking for a long-term commitment with the first impression.
Let’s apply these concepts to the world of musicians…
There’s no doubt about it. Mobile marketing is the term “du jour.” Music industry conferences, networking events, the twitterverse and blogosphere are on fire with mobile marketing chit-chat. Bands apps, QR codes, SMS marketing….it’s a never-ending mobile maze. This is the first blog post in a three-part series attempting to demystify the issue of mobile marketing. I’ll be exploring the foundations of a solid mobile marketing strategy for musicians and identifying what tools are out there for the DIY music community. But firstly, what does mobile marketing actually mean to your average, trying-to-do it all local musician?
Don’t let the memory of a past experience hold you back or prevent you from trying again.
Everyone experiences failures. It’s a part of life.
The important thing is to learn from the things that didn’t work out for you. Take a step back from your failed attempts and try to remove your emotions from the situation. I realize how hard this is, but try to look at things analytically.
If the same thing were to happen to someone else, what advice would you give them? When you take a subjective look at the situation, be honest with yourself and ask, Why? What was missing? What could have been done differently?
For a developing artist, failed attempts are often the norm rather than the exception. In Canada, the first thing that jumps to mind is funding and grant application rejections from our government’s cultural organizations (FACTOR, BC Music, Alberta Music, SaskMusic, Manitoba Music, etc.). It can be a real drag to find out that your application was rejected. Especially after you spent so much time creating the “perfect” marketing plan… and you even printed it on pretty paper too!
There’s no lack of things to get you down when you live the life of an artist. Heartbreaking and frustrating things surround you (if you let them). Let downs such as your songs being rejected by radio programmers, promoters not accepting your band to play in their venue, being denied a slot on a festival, agents turning you down, managers saying you’re not ready for them, and of course… empty venues.
Posted By: Michael Brandvold (Michael is a 20 year music marketing veteran who has worked with unsigned indie bands and international superstars. Michael owns Michael Brandvold Marketing a site dedicated to providing tips and advice for musicians.)
This is a guest post by Anne Leighton.
The best, savviest musicians listen to their publicist’s expertise. Jethro Tull’s Ian Anderson and Tower of Power’s Emilio Castillo pay attention to what I tell them when I disagree, find a wrong fact in their bio, or if they NEED to do an interview during a vacation. They also tell me when something needs to be fixed. We’ve never had an argument. Sure, we’ve all made mistakes that were based in misunderstood e-mails or my faulty research for an address. All my artists have missed interviews, but we rebound and reschedule. We’re human.
Your publicist interfaces with you: the media, other world and industry tastemakers, or gatekeepers to get you more known in your career.
We work together. Whether it’s you or Ian, artists have to realize the type of coverage (radio, print, TV, internet) they will receive in conjunction with where they are at the time of their album’s release. If you’re at Lady Gaga’s level, most everyone will devote space and time to you. If you had hits more than three to 40 years ago, selected national outlets might be interested, but chances lie more in local print and radio. If you’re still determined to wake up early in the morning, you could get some local TV coverage.
Yesterday a friend of mine called me with a question. His band had been contacted (via ReverbNation) by a company who claimed that they were a publishing and licensing firm in Los Angeles. Oooooh Los Angeles.
The company told him that they saw his profile, liked one of his songs, and thought they could get their song placed in Television and Film, but of course there was a price, three hundred dollars to be exact ($300!!!). For this price the company would spend the next year getting the band’s music out there…. rrrrrrright.
See this example contains all of the classic signs you’re being scammed and they are…
1. Treat it Like a Job Application
I can’t stress this point enough. If you want to get the right sponsor, label, agent, etc., you have to treat the process like you would for a high-end job. You wouldn’t send a generic cover letter filled with typo’s and grammatical errors or an incomplete resume would you? It seems basic but nearly 70% of the submissions I receive lack some of the basics - at least 20% forgot to include the band’s name or a link to the website. If you want a someone to take you seriously, then you have to take yourself seriously enough to make sure the presentation is just right.
It’s often said “It isn’t what you know but who you know.” Just like job applicants who have a mutual contact or letter of recommendation have an advantage, artists that have spent their time networking and building their reputation will have much greater odds. Think of A&R reps as recruiters or the HR department. Put yourself in their mindset, ask someone else to look at your press kit before you hit send. Try not to send unsolicited demo’s (if it is a company you want to work with, introduce yourself and get to know them first).
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(Updated January 13, 2016)