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Entries in publishing (20)

Thursday
Oct052017

Did Led Zeppelin Steal Stairway To Heaven? 

I don’t think that any respectful musician should be proud of violating the copyright of another one. With all the social networks that exist nowadays, if someone makes a plagiarism, the news will spread worldwide in a matter of minutes. It is far too embarrassing of a place to put yourself in.

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Wednesday
Sep272017

The Process Of Releasing Electronic Music In 6 Simple Steps

For anyone who hasn’t worked their way through my free course “Getting Started With Self Releasing Music” I’d like to simplify the process of going from having a few tracks made, right through to releasing your music and seeing it on iTunes, Spotify and everywhere else.

This process will be more suited to electronic musicians, although could feasibly apply to bands and solo artists too. This is going to be a very simplified process, but should help those who don’t know about it, understand things better.

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Monday
Jun052017

10 Record Deal Red Flags

This guest post by Canadian entertainment lawyer Byron Pascoe originally appeared on the Bandzoogle Blog

When a band receives their first record deal, there’s a sense of accomplishment. Someone likes me! Where do I sign?

Before signing a contract with a label, it’s important to understand what you’re signing.

When I’m reviewing a record label agreement for an artist, it’s not uncommon for there to be a number of “red flags” – warnings to watch out for in the agreement and/or the relationship with the label.

The following list (in no particular order) provides some common red flags to keep in mind.

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Monday
Apr242017

Legal Basics For The Diy World: Artists, Authors, Creators And Musicians

Under US copyright law, copyright (literally, the right to make and sell copies) automatically vests in the creator the moment the expression of an idea is “fixed in a tangible medium” (in other words, the moment you write it down, type it or record it on tape). With respect to music specifically, there are really two copyrights: a copyright in the musical composition owned by the songwriter and a sound recording copyright in the sound of the recording owned by the recording artist (but usually transferred to the record company when a record deal is signed). It is important to remember that you own the copyright in your work the moment you write it down or record it, and you can only transfer those rights by signing a written agreement to transfer them. Therefore, you must be wary of any agreement you are asked to sign. 

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Friday
Nov182016

4 Tips For Songwriters Seeking Artists To Record Their Songs

This article originally appeared on Soundfly’s Flypaper

The goal of many a songwriter is to find artists to sing our material. And there are few things more thrilling than when you hear your music come to life. The first time you get to hear an artist’s take on a song you spent hours on, all alone in your writing room, is truly magical. The feeling exists somewhere in between hearing a very personal cover, and the ephemeral act of co-writing or collaborating with someone.

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Sunday
Oct162016

7 Things I Wish Somebody Had Told Me About Releasing Music

 About 10 years ago, a pretty awful music producer was sitting in his parents spare-room on his computer trying to make sense of Ableton Live, and the world of record labels, sales and music production.

That producer was me, and there are a few things I wish somebody had told me back then.

I’ve come a fair distance since those days, but many of the things I wish I’d been told are still as true today, so I’d like to cover a few for you.

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Friday
Oct142016

The Return Of The Song Plugger - The Unsung Heros Behind Songwriting’s Renaissance In The Digital Age 

By Thomas Scherer, EVP US publishing and international writer services at BMG

We’re in the middle of a golden age of collaboration in the music industry. The digital age has removed barriers for artists and writers teaming up to work together, contributing parts, ideas, lyrics and so much more. In the past twelve months, some of the biggest hits in our catalogue - such as DJ Snake’s “Let Me Love You” ft. Justin Bieber and Florida Georgia Line’s “H.O.L.Y.” - have been co-created by amazingly talented writing and production teams. Yet all of this creativity is underpinned by an unsung role that has never been more important within the music industry - the song plugger. 

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Friday
Sep162016

Is Your Single A Flop?

“Oh well, there’s always the next single.”

“It doesn’t seem like anyone is interested.”

These are two things I often hear from bands following the first week of pitching media on a single. This is often after only seeing ten to 20 outlets cover the band. Did I mention it was after only one week actively promoting the release?

There’s often a sense of panic from musicians after that first week – the band invested a lot of money – and it’s already a flop.

It’s not, I promise.

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Wednesday
Aug032016

Consent Decree Impact Infographic

Editor’s Note: This infographic is intended to visualize the recent decisions made by the Department of Justice for the Consent Decrees. For more information on these decisions and how they could impact songwriters, please check out our post, “5 Things Songwriters Need to Know About the Consent Decree.” This post originally appears on the Soundstr Blog

 

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Thursday
Jul282016

Maintain Media Relationships Between Releases 

Are you frustrated because all the music bloggers who loved your last record seem to care less about the new one you’re releasing? After repeated attempts to contact the writer, you can’t seem to get a response no matter how hard you try.

Here’s the cold, hard truth: Your band is not the center of the journalist’s universe. Writers are often battling fast-paced deadlines, an overflow of submissions in their inboxes, and, more often than not, a full-time job with deadlines and demands of its own.

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Wednesday
Jul272016

5 Things Songwriters Need To Know About The Consent Decree

What is the Consent Decree, and why are people talking (and so upset!) about it?

While the music industry can seem glamorous, it does have its “unsexy” parts just like any other business sector. For songwriters, one of the least discussed (yet most important topics) is music licensing. But major changes to the consent decree – the federal agreement that governs how ASCAP and BMI operate – is bringing this topic to the surface.

The truth is, these changes could be the biggest in the music industry in 75 years and greatly impact your career.

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Tuesday
Mar222016

What 'No Unsolicited Material' Means And Why You Should Take It Seriously

This article originally appeared on the Sonicbids Blog

Artists and songwriters have encountered this roadblock of a phrase many times before: “no unsolicited material.” The ominous slogan conjures up images of faceless label execs in black suits and ties with an arm out, palm forward in the universal gesture for, “Stop. We are untouchable. Your career goes no further.”

It can be the most infuriating thing for an eager artist to deal with. That’s especially true when youknow you have great material that aligns with the label’s brand and roster. I get you, buddy. I’ve been there, too. But “no unsolicited material” is actually not as scary and unapproachable of a term as it seems once you understand why labels use it in the first place.

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Monday
Feb082016

Legal Issues With Songwriter Collaborations

Under the US copyright law, an author or creator owns a copyright in his or her work the moment it is “fixed in a tangible medium” (i.e., the moment the expression of an idea is written down or recorded in some manner). When it comes to the recorded music business there are two primary copyrights of interest: one in the musical composition or song; another in the sound recording of that song. A copyright extends for the life of an author plus 70 years, and in the case of collaborators on a copyright it extends for the life of the last surviving collaborator plus 70 years.

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Thursday
Aug272015

4 Things Your Music Publicist Should Never Say

This article originally appeared on the Sonicbids blog

There are things that a publicist, or someone purporting to be a PR professional, will say that are instant red flags. If these statements don’t sound quite right, that means they probably aren’t. So you better ask the person who said them to clarify. That, or reserve your right to be a bit suspect.

I’ve heard certain people who claim to be/who act like PR people say a handful of things that cause my eyebrow to raise a little. These sayings indicate that they don’t know what they are doing, that they aren’t legit, or that they might be a poser. Four of the most questionable statements I’ve heard in some variation or another are below, and are what to be on the lookout for.

Click to read more ...