Over the next few weeks I will be pushing a series of posts under the title “Push Your Music”. These posts will focus on organising your network, music and image and pushing it into different media streams and avenues to maximise your exposure. These series of posts will cover the following. The Set Up Online Blogs Magazines & Print Media Radio & Online Radio
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.
Entries in Media (11)
Hey readers, I know this might not be best fitting to a music technology blog however I think it is necessary I annoyingly voice my opinions and thoughts on this new manner of passive consumption I have found in the complex of Facebook. Being that I freelance in a media saturated industry I do my best to keep in touch with as much online journalism in the music industry as I can.
From BRASH! - A Music Marketing Blog
Getting involved with your following
When I speak of being engaged, in a Marketing perspective it doesn’t mean to “Put a ring on it”. As we all know, you can be engaged with people by becoming involved whether its in a business aspect or a relationship. As an artist, you should want to have engaging conversations with your fans, interested media outlets, and industry professionals. This will help you to expand your brand and exposure in the industry.
Celebrating the small wins
All artists want to be recognized for their craft/art. And recognition can come in many forms. The main forms of recognition, that artists often go after, generally falls under the categories of awards, high sales, popular media exposure, and other opportunities/offers within the entertainment industry. However, some artists will not get these on large scales. If you find yourself in the latter scenario then don’t hesitate to celebrate the small wins/recognitions. Since the world isn’t making a big deal about it….YOU should make a big deal about it. Get people involved and get them to care about what you’ve accomplished. Hey you worked hard to earn it….why not brag about it?!?!
We’ve all heard of the “Beliebers”, “Barbies”, “Armies”, “Angels”, and “Navies”, if you haven’t, these names represent a musician’s fans/fan club. Have you ever thought about putting a fan club or group together? If not, then maybe you should start. Nothing will get your fans more riled up to come out and support than placing a “brand” on them as well. This will also help you to stand out and continue the awareness for yourself in this industry.
When looking to name the brand of your fans, find something that is creative and that coincides with your image and/or stage name. This will make it easier for media, potential fans, and industry professionals connect you with your fan club/group. Also, look for a logo that is similar to your own (if you have one) to place on merchandise, social media pages, and your website. Start creating the buzz about your group by reaching out to your fans first. Thank them for their support and congratulate them on being the first members of your fan group.
“People gonna talk about you ’til the day you die; and there ain’t nothing you can do about it.” This is one of my favorite Madea movie quotes because this is true. Especially in the entertainment industry where artists are constantly being watched, attacked, and ridiculed for making life’s mistakes or even for things that are blown out of the water by the press. A few artists escape the daily bashing by flying under the radar and keeping a simple private life. While others feed on the bad press to stay relevant and/or capture attention towards their latest project. But is exposure for your music REALLY worth the negative press?
Much like crafting a sound job resume, there are key features within an electronic press kit that are instituted for the best results. Learn the five requirements that every musician must include to create a powerful and effective EPK that will provide numerous booking, broadcasting, and licensing opportunities.
During my last semesters at university I started to work on the relationship between music and technology (you can take a look at my blog about Media & Technologies: http://mediaandtechnologies.blogspot.com/).
My thesis “The Internet as a platform for musicians” (it can be found at: http://www.docstoc.com/docs/document-preview.aspx?doc_id=101233079) focused on how technological innovation have shaped (and still shaping) the music world.
For this work I gathered reading material such as books, magazines, online articles, etc and I had the chance to interview ( mainly by e-mail) musicians from the US, from UK and from Switzerland. There were independent musicians, soundtrack composers & producers, radio show host and other people involved in the music business.
The project is divided in 4 sections:
London, UK. March 17, 2010 – Sounds Digital, the digital music event, is calling out for innovators in the UK and international digital music space to apply to join the Sounds Digital Lab, which offers mentoring, proposition development and international networking with some of the biggest names in music, technology and business.
Get Charlynne Ringtoes Live Chat Video Promo Mp3 Mobile Graphics and More!
Every working system must have standards. Standards are tested examples of behavior, measurements or conditions which allow for an expected result. For example in a hospital environment it is a standard recommended by the CDC for patient care staff to wash their hands before and after patient handling. This reduces the spread of infections and other subsequent factors. Also in film, there are a number of standards. Dolby originally proposed a standard loudness measurement of 85dBSPL at 0VU in the 1970s. It was a unit of measure that allowed dialogue, music and special effects to fall in nicely with audio soundstage of the film. This standard has stood the test of time and is still utilized today.
However, this is not the case for popular music in media. There are no loudness standards in the record business. Which makes the result unexpected for the audio listener. This is one of the reasons the iTunes and iPods are equipped with the "Sound Check" feature. In the 1990s music and media production professionals began to notice the average loudness of CDs increasing at a rapid rate. The use of powerful compressors and limiters enabled mixing and mastering engineers to produce music with an average metering level that was the same as the peak level, typically called "brick wall limiting".
Some believe this was the result of digital recording, which has a much larger signal-to-noise ratio than analog tape recordings. I believe it is a combination of many factors but perhaps the most consequential was the abandonment of the VU meter. The VU meter was an averaging meter and allowed a mixing or mastering engineer to view the overall loudness of a recording with some accuracy. In the digital age we have traded in the VU meter for Peak metering.This shows us the highest point which signal can reach before distortion. And keeping music just under 0dBFS and extremely compressed has become the target for many music producers and engineers alike. In the days of the VU meter the peg and LED would alert the anyone watching far before the digital Peak meters read-off.
The Solution to the Loudness Race
Today, lack of a metering standard in the record business has allowed the audio soundstage of popular music to become boring and monotonous. And the loudness race has developed into a bonafide problem for music listeners, whether they know it or not. Bob Katz of Digital Domain has proposed an integrated approach to metering, monitoring and leveling practices that makes sense. It is called the K-System.
The K-System was developed with the idea that, "the medium is not the message". Therefore, when monitoringwe are considering the musical content and artist expression of the music to determine its overall loudness and not just insensitively crunching numbers to get the loudest result possible. And like the film industry, the K-System is tied to a calibrated monitor gain where the averaging meter's 0 equals 85 dBSPL. And while the metering system does show a linear-decibel reading, with peak values, it has dual characteristics where the VU level is the dominant part of the display.
More can be learned about this system in Mastering Audio: the art and the science 2nd ed.
Hakim Callier (@hakimcallier) is a music producer and audio engineer in Harlem, NY. He is the eldest son of Rick Callier, music producer and arranger for DeBarge, Fred Hammond & Marvin Sapp. Hakim graduated from the Institute of Audio research and studied Information Systems at New York University. He is currently working on music for media productions and freelance engineering sessions. You may contact him at (646) 377-3926 or email@example.com