Contacting music industry professionals can be easy if you have the right approach. Unfortunately, many independent artists do not use the right approach and have limited success. The Guerrilla Promotion tips in this post are designed to help musicians that find it difficult to get in touch with or to work with music industry professionals. If you find yourself leaving a lot of message that don’t get returned, or cant get people on the phone, this article may help.
Music Think Tank Open
Anybody (no really anybody) can contribute anything relevant to this page…All mp3s should be posted on the MTT radio page. If you cannot find your post here, your article may have been moved to the MTT homepage.
As a new guy here I hope not over stepping my bounds but I had an interesting discussion with a musician friend and thought I’d share it because honestly maybe I’m the only one who thinks this way…
I put out my new record today (Dec. 20th) and while talking with a friend about it he said “when are you going to start shopping it to labels?” I thought about it very briefly and said “there are a couple small labels I’d like to get it out to but that’s actually not the first move on my list…” after I said that he looked at me like I had just kicked his baby or something and said “first of all, why would that not be a top priority and secondly why only small “independent” labels? You should be banging down the door to get in with the big guys, that’s where the success is.” I graciously disagreed and he asked why. (he asked in kind of a prick type, puffed up minor might I add)
Here’s my reasoning for not going after the big guys and feel free to add your two cents:
Switchcam, a new music startup, is algorithmically “reconstructing” concerts from fan footage. Switchcam has created software that takes concert videos from YouTube and syncs them together recreating the event. The syncing is so exact, that viewers are able to switch views and camera angles enabling the viewer to see the concert from different perspectives.
Are you a musician looking for gigs near you? Come to www.MusicianMe.com and search a large directory of gigs that are lined up. Connect with other musicians and with employers!
When I record drum or percussion tracks for clients, 9 times out of 10 I’m sending the RAW wav files straight from Pro Tools. Of course, my goal is to always get the best sounds that I can possibly get in the studio and at the source. However, mixing and processing the drum kit is inevitable.
In general, mixing audio is a personal art form. Everything from the style of music to the instruments chosen will determine how the mixing session will go. Because the drums are typically recorded first, it makes sense to mix the drum tracks within the context of the remaining instruments later verses starting with a processed drum mix. Of course, there are no rules here. This is just what I have found to be the most effective way to work.
That being said, I get a lot of questions from clients asking for my advice on mixing the drum kit. My only goal when mixing drums is to attempt to highlight the sounds as I hear them in the studio. Meaning, my approach is simple:
Get rid of what’s not necessary and keep what is. I know, really deep stuff right?
Justin Bieber, Mr Blobby and David Hasselhoff head the list of least favourite Christmas songs. We’d rather hear Slade, Wham or Paul McCartney
Britain’s shoppers feel they are being bombarded by the same Christmas music again and again on the High Street. This comes as a study reveals the songs people most and least want to hear while out buying Christmas presents.
Immedia Plc, which provides music solutions to retailers, carried out research among UK consumers to find out what they liked listening to the most and the least at Christmas.
The results show that the festive classic ‘Merry Christmas Everybody’ by Slade remains the favourite song to put Britain’s shoppers in the holiday spirit. Meanwhile, Mr Blobby’s Christmas in Blobbyland is the one song that people don’t want to hear, with Justin Bieber’s ‘Mistletoe’ and David Hasselhoff’s ‘Stille Nacht’ not far behind.
Crucially however, while shoppers enjoy hearing ‘Merry Christmas Everybody’, they don’t want to hear it over and over again as they go from store to store. Over two-thirds (68%) of shoppers polled by Immedia felt that the music they hear in shops over Christmas is too repetitive.
According to Immedia’s survey, the list of favourite Christmas tunes is dominated by songs from previous decades. The top ten includes:
Entertainment Attorney Dina LaPolt Educates Artists and Professionals On How to Navigate Business and Legal Aspects of Music Industry
Dina LaPolt, renowned Los Angeles-based attorney, who is The National Association of Record Industry Professionals’ 2011 Top Music Business Attorney, is once again bringing her expertise and experience to UCLA Extension with her popular “Legal and Practical Aspects of the Music Business” class for its tenth consecutive winter term. LaPolt’s ability to break down into simple terms the complex legal concepts surrounding the various ways in which rights are exploited and monetized makes this course an essential for all artists, songwriters, managers, lawyers, accountants, executives, producers, publishers and other entertainment industry professionals.
Some of the most important issues covered by the course involve the growth of ancillary revenue streams for artists that are not even related to music but which have become important brand-building tools for music artists, such as sponsorships/endorsements, opportunities in television, book publishing, and creative forms of merchandising. Licensing music for film, television and video games still create significant opportunities but licensing these rights have become very complicated due to the corporate mergers of the record and publishing companies. To most, these subjects can be overwhelming but one of the main assets those taking this class will walk away with is a firm grasp of how to navigate one’s way through these minefields in order to have a complete understanding of today’s music business. LaPolt, her firm’s associates, and a stable of specific guest lecturers will also discuss other areas as well such as issues that arise in the recording studio, recording and publishing agreements, as well as fans, brands, social networks, and cultural communities as they affect music, copyrights, and merchandising in a global music market.
Anti-piracy specialists Audiolock.NET, who provide robust and cost effective watermarking and anti-piracy solutions to the music industry, have announced details of a new deal with the world’s leading dance music label, Defected Records.
The deal will see Defected running their secure watermarked promo delivery and management through the platform with Audiolock also taking care of the scanning and DMCA takedown on illegal links found online once the tracks are released via their powerful automated anti-piracy system.
Anna Wall, Promotions Manager at Defected says…. “AudioLock.NET’s watermarking, scanning and takedown platform makes it easy to manage all our promo campaigns securely and effectively allowing us to concentrate on promoting our music”
Ben Rush, CEO of Audiolock.NET says…..”We’re thrilled that such an iconic label has adopted our forward thinking approach to anti-piracy and we look forward to helping protect their content and supporting their ongoing fight against the music pirates”
In addition, Audiolock.NET have also unveiled a new updated version 2.0 of the platform with a host of new functionality and features. They are inviting new users to test drive their automated scanning and takedown system for free here
As a mastering engineer one of the most common issues with a music mix is the bass levels. Commonly there is not enough bass, far too much bass or uneven response throughout the lower musical octaves. There can be a number of causes for bass level problems.
1)Inappropriate positioning of monitors/speakers in mix room.
2)Lack of acoustic treatment to deal with low frequency energy.
3)Speaker size inadequate to produce full range audio.
4)Low listening volume.
Ideally your loudspeakers should not be positioned in the corners this produces what is known as “bass tip up” or the proximity effect. It means that low frequency sound waves are reflected and appear in phase at the monitoring position. This means you get a bass boost at the listening spot. This can fool the mixer to believe there is more bass present than there is. I suggest trying to keep speakers 1 meter away from walls where it is practical to do so.
A bit of light-hearted fun as the festive season hots up and the New Year fast approaches.
Imagine you are thinking about your year over a nice cup of coffee or a beer in the quiet corner of a bar. Tick the statements that accurately describe your thoughts (statements use ‘we’ and ‘our’ - if you’re a solo artist think ‘I’ and ‘my’). Be honest with yourself.
o Over the year we generally only found new fans around gigs.
o We haven’t got round to sorting out own web page.
o We don’t have a fan email list yet.
o If you look at the sites we use, it’s not very easy to get what we are about.
o We spent a lot in the studio this year and feel disappointed with sales.
o We tell our friends about our gigs but we’re not very good at communicating with our fans to create long lasting loyal relationships. In fact, if we’re totally honest, we’re not sure who our fans are.
o We’re not very good at listening to anyone, particularly our fans (and also each other).
o We do have a tendency to put our music out there and hope for the best.
o We have a vague idea of where we want to get to.
o We haven’t tried anything new this year so we are getting the same results.
o Quite honestly, we don’t work well as a team; solo artist: I don’t stand up for my vision.
All/most ticked – You feel despondent and hopeless. Nothing seems to work. You seem to be going nowhere fast. Everything is a struggle. Fans have not been at the top of your priority list. You want someone to discover you and do all the work for you so you can just be left alone to make music. But you know the music industry has changed and you feel left behind and frustrated. You feel like you’re always banging your head against a brick wall. You know you can do better.
Should you really go through the trouble of setting up a press kit, finding good music blogs, and submitting your music for a (Possibly negative) review? The answer is a big, giant … maybe. It all depends on the kind of music promotion you’re seeking. So many artists will spend untold hours blindly sending EPKs out to hundreds of music blogs thinking that the resulting publicity will cause their popularity and career to skyrocket. It’s a bit naive. (Some might call it stupid) The reality is that the vast majority of music reviewing websites have a dedicated, but extremely small readership. Most of the traffic to these sites comes from other musicians looking to promote their own music, and other music industry professionals. Simply sending all your music out will not by itself do much to benefit you, even if you are reviewed by several blogs.
CDR Knowledge sessions are a series of experiential learning events that bring together tools that are used with the people that make them.
This session explores the world of music creation and development from a mobile perspective
Here we are in the land of “Best music apps for Facebook”, “2011’s Best Music Start-Ups”, “Creating a Powerhouse Website”, and so on and so on; yet there are so many artists still aimlessly drifting around as if we are still in the 90s. Please someone tell me what is going on here? Does it not make sense to think that what you’re doing does not make sense anymore? Today there are artists still fighting to get a record deal, yet they haven’t sold a single song, no strong online or offline presence, mundane social media activity, no knowledge of the available technology and programs, but in 2011 they want a record deal. It’s a joke. We have to get to a place where we’re serious about the industry that we chose to sustain and in return it sustains us. You can’t expect fans to make the transition in supporting a non-major label driven music industry, if you haven’t made a transition yourself.
Perfect Pitch Piano is an app that teaches you to play piano by ear.