October 10, 2006
Free Audio CD Mastering Program
Audio CD mastering is final step before going into the cd duplication process. Mastering optimizes your audio, making it sound full through expert use of equalization and compression. It also raises the overall level of your songs to radio and commercial release standards. But how do you know if it's worth spending the money?
One way is by taking advantage of DiscMasters free cd mastering program. They will master one of your songs for free and send you a disc of your original and the mastered version so you can easily hear the difference. It's win/win - you can hear how much mastering will do for your cd, and the engineers can determine which mastering options are best suited to your release. You are under no obligation to go through with the mastering and there is no cost for the test master.
July 13, 2006
Why Colleges Are An Independent Musician's Goldmine
Most musicians, independent or major, understand that the college market is one of their prime markets, if not their leading market for radio airplay and media coverage.
In contrast, however, most musicians do not seem to take complete advantage of this market and "milk it for all it is worth," so to speak.
Most musicians, independent or major, understand that the college market is one of their prime markets, if not their leading market for radio airplay and media coverage.
In contrast, however, most musicians do not seem to take complete advantage of this market and "milk it for all it is worth," so to speak.
As an example, artists send their CDs to college radio stations and newspapers seeking radio airplay, feature interviews and/or music reviews. Even if you get airplay or press coverage, it is, at best, limited and short-lived.
However, since colleges also present the lowest rates for affordable and consistent advertising, musicians should take ongoing advantage of this market's low-cost advertising rates through its various available media outlets.
In fact, many (if not most) musicians can afford to place a simple text line ad in a college newspaper that runs during the entire Fall and Spring school semesters (to economize, be sure to first select the college papers that publish weekly, as opposed to the ones that publish daily. You can always "move up" at a later time).
Doing so will keep your ad in front of college students, whereas, many students may have missed your airplay or press coverage.
Also, most college newspapers will also place your ad (at no additional charge) on their college newspaper websites, which is where many of the students read their school paper.
There's no need to get into an expensive situation by running large display ads that include your photo or CD cover (students can see them when they visit your website, and eliminating the photos and CD cover from your ad piques their interest and causes them to visit your site).
At this point, the idea with the ad is to get the maximum results for the least cost.
You can limit your ad size to three text lines that simply consist of:
* Your band's name
* Your band's genre description
* Your website url
And, since college papers' advertising sections tend to be fairly spacious, there is usually no need to worry that your ad will get "lost" among a glut of other ads (that is, unless a thousand musicians read this particular article and select the same college paper that you do). :-)
The great benefit of the college market is that:
* It is diversified (practically, any genre is accessible)
* It is a HUGE market (The University of Texas alone has approximately 40,000 students during regular sessions)
* It is open-minded (meaning, it is ready and willing to give you a chance, whereby, much of normal society is jaded, cynical and doubting)
* One of the primary products college students spend their money on consistently throughout the year is *MUSIC*
This is a perfect time (October) to get started with setting up a regular advertising schedule with colleges, since students have settled down to a regular session for a few weeks now.
Again, don't simply stop or be cut short of earning a great income from music sales all school year long by only going for college radio airplay or media coverage.
Take advantage of both free media publicity coverage as well as continuing sales through college media ads after the publicity has long disappeared.
And, a peripheral benefit is that, by continuing your ads in the school papers or on the school radio or television station, you should also get some regular gig interest from various campus organizations as well.
By the way...while you're talking to college newspapers, be sure to also check with the college radio and television stations to learn what their ad rates are.
You may be very surprised to learn the positive sales results that you could have already been getting through colleges for some time by maximizing the potential of this market goldmine.
About the author:
Kenny Love is president of MuBiz.com, a multi-service music firm providing radio promotion, media publicity, gig publicity and business services for musicians. Get complete details at http://www.myspace.com/kenlove
Written by: Kenny Love
Posted by Rico | PermalinkFebruary 24, 2006
Do-it-Yourself CD DVD Packaging with Impact - Jewelboxing
Independent musicians and videographers ready for a release are often faced with a dilemma when it comes to producing their final product: duplication or replication.
Replication (pressed disc) runs are more cost effective per unit, they look just like 'major' releases with silkscreened discs and offset printed inserts, but the minimum order is typically 1000 pieces. Duplication (burned discs) can be ordered in much smaller quantities, but you take your chances with the quality of the printing. Frankly speaking as a cd cover designer, laser prints in a standard jewel case will never have the same impact as its factory-fresh counterpart.
So how do you make that all important first impression if 1000 pieces is way too many? If you can burn you own discs, have a good printer and a desire for control (and what artist doesn't?), you should consider the Jewelboxing disc packaging system. It contains their unique cases for cds or dvds, and perforated sheets ready for your printer - no cutting necessary... and no suprises when it comes to the quality of the prints.
The Jewelboxing cases make all the difference - round corners, sturdy feel, modern design lines, quality construction. They really make standard cases feel cheap, flimsy and old fashioned. Since your audience has probably opened their fair share of the old cases, why not hit them with something new they may have never seen before. For DIYers, this is a great way to stand out.
Check out some completed projects using the Jewelboxing system.
cd packaging design jewelboxing
February 20, 2006
Music Biz Academy - Independent Musician Resource
The Music Business Academy aims to teach musicians how to use the Internet to their financial advantage, whether that means using the Net to sell more CDs, 'get the word out,' or simply to make some extra cash. Secondly, they aim to arm musicians with all the information they need to move their music career forward in the 'real' world, with or without a major label record deal.
The founder of the Music Business Academy, Daved Nevue, is a real internet promotions pioneer. He has learned to generate a healthy income for himself that allows him to focus more time on his music.
I highly recommend giving his site a visit.
music promotion independent musician music business
January 30, 2006
5 Sure Fire Ways To Get Radio Play For Your “Independent” Music!
You have to find radio airplay time if you’re going to be heard and we’re not just talking the local college campus. The trick is called promotion. Now that doesn’t mean you just put your press kit in an envelope with a demo and hope they take pity on you. Perhaps you call a station and they give you the standard pitch of, “Send it and if we like it we’ll put you in rotation.” After a few months of never hearing your music, you automatically think you’re not worthy.
First, don’t buy that. You’re one of hundreds, maybe even thousands depending on your city. Your disc will probably end up in the trash or, for more enterprising DJ's, on Ebay in a one-cent CD sale. If you want to be heard and make potential sales, you have to stand out from the crowd, and in this jewel of an article, I’ll show you Five(5) Knock ‘em Dead Ways to Do Just That!:
#1 - Get your CD into the right hands. The intern that’s too busy to getting coffee or typing up a report for the station manager isn’t going to be the one making the airplay decision. So find out who the head honcho is in that department and touch base with them. If the club you’re playing at charges an admission or you have a show coming up offer to send the stations tickets to give away to listeners. Now keep in mind you can’t give the tickets to the staff, since that’s illegal and called payola, but you can offer free giveaway items to your potential audience.
#2 - If you’ve got one station in your pocket, then drop names. Let them know that WABC is playing your music and it’s getting a great response.
#3 - Make genuine friends in the business. If you’ve got a disc jockey that’s got you in rotation and really likes your sound, get to know them. Find out why they enjoy it and see if they’ve gotten any responses from listeners. If they haven’t, ask if perhaps they might Q & A their callers about your music so you get a feel for your target audience. It’s not a bad idea to ask them for a testimonial or quote if they’re well known in your area if you know them personally. People help people. That’s a fact so if you treat your area disc jockeys like a living and breathing human and not dollar signs, that’s a foot in the door. Another good source is club owners. If they play your music and the fans go nuts ask them to say a few words about your sound that you can pass along to prospective stations, but be sure to sit down for a drink with them. Ask them about the picture of him and the woman and two kids behind the Magic Kingdom. Don’t be fake, but be genuinely interested.
#4 - Network. Find out if someone you know (or someone they know) has connections to the music stations. Remember six degrees of separation - you’re only six people away from knowing anyone on the planet and yes that includes station managers, concert promoters and record execs. The trick is it takes a great deal of work and time, but if you’re serious, it’s well worth it.
#5 - Go local, state, national. Don’t think you’re going to skip your local and state stations and be the next Matchbox Twenty. It doesn’t work that way. Start small and then get big.
Making contacts and getting names can be tough, that’s why you should start with a tested and proven music industry resource like The Industry Yellow Pages - Music Industry Contact Directory at http://www.TheIndustryYellowPages.com
The TIYP is helpful and loaded with contacts you can start using immediately without doing all the legwork yourself.
About the Author:
This article was written by Ty Cohen, the music industry's most recognizable voice! Ty is the C.E.O of Platinum Millennium Publishing, Platinum Millennium Records as well as owner of www.MusicContracts101.com and www.MusicIndustrySuccess.com . Some of his work includes: books, directories, mini-courses and software programs including the titles: "How to Make a Fortune in the Music Industry by Doing it Yourself" and "How to Make $500,000.00 "or More" A Year in the Music Industry by Doing it Yourself". For nearly a decade, Ty Cohen's Get Amplified! Newsletter and series of Free Music Industry Success “Mini Courses” has helped over 40,000 independent musicians, singers, rappers, composers, record label owners, producers, managers, agents and others reach their music business goals. Using a unique combination of tested and proven music business success resources, which includes a series of books, directories, software programs, videos, seminars and newsletters, our goal is to educate and empower musical individuals just like you with the tools needed to succeed! To find out more about Ty Cohen, his services, products and how he may be able to help you succeed in the music industry go to http://www.MusicIndustrySuccess.com and sign up for his free limited edition music industry success 10-part “Mini-Course”, it will work wonders for you and best of all, it’s FREE, but EXTREMELY VALUABLE!
independent music independent musician music business
October 30, 2005
How To Succeed In The Music Business. Part 2 by David Wright
So you still wanna be a star? Part 2
Whatever genre of music you're in, you need to define your definition of success. If your definition is 'being a rich and famous superstar', then, well 'good luck'... but if your definition is 'being a creative artist doing what you want to do in life by sharing your music with those who will listen', then you should succeed. And if you've got the bottle to stick to your own sound and style, your own beliefs of how your music should sound, then you've even more chance of success in the long term.
But be warned - flying in the face of convention, of what is current, is always difficult. But trends fade and die - original talent and music does not!
If you've recorded an album yourself then get independent feedback, both musical and technical. Friends and family will always say your music is "great" (and hey, that's fine, you need that support). But, the person who tells you everything you do is great may be good for your ego, but they're of no practical use at all! The harsh reality is that you need good constructive criticism from independent sources who know what they're talking about. Okay, easier said than done, but there are publications like "Sound on Sound", for example, who provide demo reviews.
Another tip is seek out your local recording studio and pay for a studio engineers time (or better still the studio owner if you can), just to listen to your recording. Pick their brains and ask their advice on all aspects of your recording. I did this myself and it was invaluable. You've got to make sure you can relate to the studio engineer and that they can relate to what you're doing. But at the end of the day, you're paying them just to listen and to give you the benefit of their experience. Believe me, many studios will be glad to do this when they realize you're serious about accepting constructive criticism and you're willing to pay the going studio rate for it. But I reiterate, ensure you find someone who has experience and some empathy with the music you're doing.
The reason that this is so important is because often, when starting out doing a first album you wont have the knowledge or equipment to make it sound anything more than a demo. Unfortunately, so many aspiring musicians get so close to their "creation" that they fail to hear that the music isn't as good as they think it is, particularly on the technical side!
It's always good to remember that there are probably tens of thousands of people around the world (maybe millions, who knows?!) doing the same thing you are. There's no shortage of home studios turning out music and no shortage of organizations, particularly on the Internet, telling you how to "Make it Big".
So, the trick is to stand out as being 'different from the rest' while achieving a standard that is 'professional'. How do I define professional? Where someone has taken the time and effort to take the recording beyond a home demo. Okay, I know that may seem a little opaque, but the truth is that it's difficult to define, you just "know".
Music is very subjective - we all hear different things in it, indeed, we all need different things from music to make it acceptable to us, whether as a composer or a listener. There are great musicians who are technically amazing playing various instruments but record music that is devoid of soul or passion and restricted by self imposed musical constraints. Conversely there are musicians with little or no training who can blow your mind with fabulous and inventive music because they are not constrained by formal musical training. It's also worth pointing out that being a competent musician doesn't make for a competent composer of music! And even a competent composer can't necessarily imbue the composition with that special ingredient that make people sit up and take notice.
It's also true to say that a good musician/composer is not necessarily a good studio engineer! This is a fact that in my opinion, is often overlooked. Too many composers think that because they have access to an all singing, all dancing workstation and/or computer, they can turn out a great recording. More often than not, nothing is further from the truth. Composing is a talent, and engineering an album is another, very different talent. Mastering an album is yet another, very different talent. I'm not suggesting an individual cannot do all these things well. Of course they can, with years of experience, and even then, with input from other sources.
Too many times I've sat listening to a demo where the composer is convinced that the music and the recording is "great" when in fact it isn't. The recording and use of sounds is cheesy and naff, but the composer can't hear it because they haven't "stepped outside the box", as I would say. They haven't stood back from the music and really listened to the recording and compared like for like against professional recordings of the genre.
It's a hard lesson to learn, to be self critical of your own creations and sometimes to realize that your creation is actually far from perfect and that sometimes, the best place for the creation is in the bin and that you need to start again on another idea. But this is probably one of the most important lessons to be learned on the musical journey.
It also important to consider this one unpalatable fact. Your album may be great. It may have nice songs, be well recorded etc. etc. but it simply may not be good enough to be anything more than an inde album that sells a few hundred copies. That's Life!
It's a simple fact that record companies will listen to the first 20 seconds of a demo and then switch it off and consign the demo to the bin if it doesn't make an instant impression.
That's not just A/R men either. Some years ago, a major label had so many demos that its A/R department couldn't handle them all so it gave piles of demos to everyone, even the cleaners to sift through. Everyone ended up doing the same thing - if the CD didn't make an instant impression, then it was "on to the next".
Sure, that may seem unfair, but if you're the record label exec trawling thru thousands of demos, how would you do it? Again, I run a small inde label, so I know what it's like.
I'm not suggesting you record your demo to send to a big label. I'm relating the story to hammer home the point that with so many people making music, all thinking theirs is "the best album ever", that you have to be realistic - you probably have more chance of winning the UK lottery and the Euro lottery in the same week than getting a record deal!
But that shouldn't stop you!! Your demo should be well recorded and recorded well enough that you could press it and sell it yourself. In this day and age, that's probably the best way forward. Sure, still send copy to record labels, but also remember that record labels will be looking for a lot, lot more than just the music. They'll be looking for experience, an image, a malleable artist and lots more besides for today's music industry.
Your music should have an identity that stands out from the rest and it should have an emotional presence. Achieving this is very, very difficult and in truth, it cannot be taught or learned. I truly believe music either has that magic ingredient to make the listeners hair stand on end, to perk people interest, or it doesn't. And that comes from the musician - not the production, the engineering, the mastering the record label or anywhere else - it is the defining essence of the artist.
So, what am I trying to tell you here? Well, to summarize, embark on the road of being a musician with passion and belief but accept that the chance of major success thru a record deal is virtually impossible. Understand that you must listen with open ears to what you do and learn to be critical of your music. Make constructive criticism your closest ally through people whose opinion you value and trust. And however hard you think it's going to be to have any measure of success, realize that it will be even harder!
About the author: David Wright is a solo keyboard player and recording artist, composer and producer who founded the electronic music label AD Music in 1989. Also founder member of the electronic band Code Indigo and has released 24 solo and band albums over an 18 year period, with performing and production credits on many more. http://www.admusiconline.com
independent music independent musician music business
October 21, 2005
How To Succeed In The Music Business. Part 1 by David Wright
So you wanna be a star? Part 1
So, you've made the decision! You've finished recording your album and it's the "best" - it deserves to be heard by the world and you're deserving of the adulation afforded to the creation of such a masterpiece! Of course, you know in your own mind that it won't be easy to become a star. After all, everyone says that the music business is difficult'. But hey, you've got what it takes, you've got talent, and this really is a great album - all your friends and family agree - so what can possibly stop you? What indeed...?
Few people outside of the Music Business have any idea just how difficult it is to survive, let alone succeed, in the ever-changing and unforgiving world of entertainment. Being a musician is much, much more than simply writing, recording and performing.
And few people have any idea of what is involved in the recording of a good sounding CD, of the time and effort involved to get that polished sound that every artist who ever produced a demo aspires to create.
Don't be fooled by inane rubbish like Pop Idol or X-factor. Not only do these sort of programs give a totally false impression of the reality of the music industry, but they totally undermine the integrity of it! And just for the record, I don't dispute the obvious talent of some of the participants, but the ends do not justify the means! It is indicative of just how low we have sunk as a society that we are happy to watch and laugh at 'hopefuls' who clearly have no talent at all, make embarrassing fools of themselves because they really think they do have the talent.
Then, when the competition proper really gets going, we can watch the music business do what it does best, that is, chew up and spit out varying degrees of talent live on our screens in the name of TV entertainment!
The programs are designed to maximize TV ratings and to manufacture a "Pop Star" who'll be long forgotten in 10 years time. Of course, they'll say that isn't so, but then, they would, wouldn't they!?
We live in an "Instant Fame" society. Celebs and their lifestyles are thrust in our faces 24/7 and far too many people, particularly but not exclusively the young, think fame can be achieved. They are fed the belief that it's possible to give up the day job and become a star. In reality, it's virtually impossible. For a greater insight into the realities of the Pop world, check out the Simon Cowel book "I don't mean to be rude".
Being a musician, an artist, is a vocation. It's a way of life in which everything and everyone else, absolutely everything and everyone else, take second place. Musicians are selfish - they have to be by definition, and I know because I am one.
It's about "The Journey" (much like life) - the journey of self discovery that starts when you realize that being a musician is what you want to do, continues and evolves as you make music and friends along the road, experiencing the highs and the lows and culminates in the realization that the journey doesn't have an end because you're always seeking to do something new, always forging new ideas - seeking to write 'The perfect song' or 'The perfect album'. But a word of warning, if you're fortunate enough to find success, the pressures and the demands will become greater, they'll not get less!
You can't do it on a "part time" basis and expect to succeed beyond a bit of fun at amateur level (not that there's anything at all wrong with that). So, if you really want to 'succeed', the very thing that you have to accept is... that you probably wont'! And that isn't as crazy as it sounds!
You see, the most important thing in music is simply that you love doing it. It's a way of life that's in your blood, in your soul, and it takes precedence over everything else. And as mentioned earlier, it's about the journey.
Now, I can hear you saying things like; "That's all right for you to say, you're in the music business". Or maybe you're thinking; "Well I have all these attributes, but how do I pay the bills and still make my way as a musician?"
Yes, I am fortunate enough to be involved in music, enjoying moderate success and recognition in a specific music genre. But what I have learned is, that success is relative.
My life and everything in my life revolves around music. But over the years, and particularly in the early days, my private life and finances paid a very heavy price.
Being involved in music is about being in it for the long haul, not the short term - you don't even consider the short term. Ask most musicians and they'll tell you the process is a painful one. When I hear young musicians say they've 'given up everything to be in music', my reply is, that they have no idea what "everything" is!
Being a musician requires many things, many attributes. Selfishness we've already mentioned. Stubbornness is a key factor to - you just have to keep going, then there's dedication, passion and belief. An acceptance that there will be a lot of hard times. You must be prepared to give everything and more, and even then, even with all those things, if you're not 'in the right place at the right time', success can still pass you by.
And thru all this, you keep smiling. You don't question why you're doing what you're doing or the cost of it in broken relationships and heavy debt. You just keep going because music is such a big part of you!
The one remaining prerequisite for a musician is an understanding and supportive partner - without whom you've no chance at all. Reminds me of the old joke: What do you call a musician without a significant and supportive partner? Homeless!
So, finally, what's the difference between a musician and someone who wants to be a musician? It's simple. A musician is someone who gets on with it. They step outside of the box of conventional 9-5 and all that goes with it and live the life and all it entails. They probably won't make it big, but they define their own success and whatever happens, they'll never lose sight of why they're doing what they're doing.
And someone who wants to be a musician, a star? Well, they're unable to do the above!
So, lets go back to the beginning - If you still want to be a musician, a recording artist, then I'll give some hints and advice on demos in part 2.
About the author: David Wright is a solo keyboard player and recording artist, composer and producer who founded the electronic music label AD Music in 1989. Also founder member of the electronic band Code Indigo and has released 24 solo and band albums over an 18 year period, with performing and production credits on many more. http://www.admusiconline.com
independent music independent musician music business
