Professional Studio Tips: Laying Down Studio Tracks Like a Pro

Today I would like to talk about a very powerful studio tracking technique, that isn’t well known, but if properly executed, will make you sound as tight as if the band was playing together.

What I am referring to is a guide track. A guide track can be thought of as the template of the song. Usually it is performed by the rhythm guitar—sometimes the keyboards, and all subsequent tracks follow this musical tour guide. The vocals should be on the guide track as well.

The easiest way to begin a guide track is simply to play and sing along using a single microphone. If you only have a few tracks (4 to 8) always leave your guide track as your last track. There are a few things that should be noted about the guide track. First you should always start the guide track with a count. Even if a single instrument will begin the song in production. A count gives all musicians that are waiting for their point to begin the starting gun for the song.

The guide track can be quickly laid down. There is no need to reach for sonic perfection on this track since it will eventually be deleted. It’s more important that the track keep the rhythm, tempo, and dynamics of the song on task. If you drift tempo on the guide track, all subsequent tracks will follow suit.

The guide track gives you the unique ability to give direction to the players waiting down the line. For example if there is a pause, or a blank spot in the song, COUNT aloud until the music starts. All players in the queue will hit that re-start point with ease and precision. You can also give verbal directions such as “play more dynamically here”, “the song slows down here”, or “there is a key change coming up”. Also if the guide track is played and sung with feeling, the future players will respond to that as well.

Once the guide track is done, begin laying the foundations of the music—that is the rhythm, bass, and drums. All other instruments, vocals, and “sweetening” sits on top of this foundation. When the foundation is complete, begin your overdubs. This will be solos, musical hooks, and sounds that will give the song interest.

Record your vocals last. At this point, it is a matter of personal preference if you want to take down the guide track to record your vocals. Some singers do not want the distraction of the chatter that sometimes goes with a guide track. Other times the count will still be necessary because the vocals begin with or before the music.

A good guide track gives everyone who follows a well-lit pathway. It cues and gives direction, it establishes the tempo, and the attitude of the song. When you are riding atop a guide track, it is easy to hang onto the handles.

Gary "g-man" Wesselhoff is an acoustic blues writer/performer working the Chicago Metro area. You can contact him at: gman@gmanblues.com

Please Visit his site: http://www.gmanblues.com

Small Bands And How The Internet Helps Them

The Internet has revolutionized every aspect of the world from finance to music. A few years ago small bands played in garages, family functions, and cafes. They cut discs and sent them to music giants in the hope they will be noticed.

The Internet has revolutionized every aspect of the world from fiancé to music. A few years ago small bands played in garages, family functions, and cafes. They cut discs and sent them to music giants in the hope they will be noticed.

The World Wide Web and MP3 music has brought about many changes in the fortunes of small bands. The distribution system and marketing options changed. New media formats and many personal websites sprang up and the reach of music became world wide. Gone were small town boundaries or traveling on the road to spread awareness. The click of a mouse increased popularity.

However it is not all about success after the initial boom, several music sites and bands went bust. What every band with a dream of golden discs must do is:

• Weigh their options carefully and make the time to do a complete study of their options.
• Create a fool proof marketing plan.
• If in doubt consult marketing professionals with expertise in the music industry.

To promote your creativity online you must:

• Not expect any financial returns to start with. You need to popularize your music by giving it away. Put MP3s and videos on your website. When a person downloads a song and listens he may like it and play it time and again. Such a person is the one likely to listen to your next song.

• Ensure that your music is traceable—if a person has your song on their IPod then they will only be able to trace you if the artist/band name as well as web address are available.

• You must categorize the music correctly. Decide whether it should be placed under rock, pop, folk, or electronica.

• Locate popular music distribution sites and use these to promote your music. Most people who are looking for new music and have a good listening ear visit these sites.

• To eternalize your band you must set up your own website, purchase a domain name, park it with a reliable host, and optimize it so that it ranks high in search engines. Read about how to construct a successful web site and how to promote it successfully.

• Build an interactive web site with stories, reviews, and other music related news. Make the site interesting so that visitors are tempted to browse and listen to your music.

• Arrange to have reviews of your music and where it is available posted on community sites and blogs. Host a music forum and submit press releases to well established press release sites.

• Once you have established a small presence think about ways to generate funds. You could sell the music or offer subscriptions. Alternately, the downloads of music could be free but generate money from other channels like advertisements, pay per click and so on. Or host a music related commerce site selling iPODs, Xboxes, accessories and so on. The business aspect will have to be worked out carefully.

Make sure people know that your band accepts gigs. In case you like writing lyrics or jingles for small business promotions you must advertise this aspect of your creativity. The world can be yours if you are adventurous.

About the Author
Chris Young is a freelance writer for http://www.1888Music.com, the premier website to find free mp3 downloads, mp3 albums, music videos, top downloads, new songs, mp3 archive and more. He also freelances for the premier Restaurants site http://www.1888Restaurants.com

The Role Of CD Mastering Engineers

If a recording artist has any hopes of their songs being played on the radio, it is vital that their rough mix is mastered well. Often the best way to do this is to hire a CD mastering engineer. Professional CD mastering engineers can make a decent mix sound good and a good mix sound amazing. There are several things that CD mastering engineers do. Engineers work with the artist to decide what order the songs will appear on the CD, and they equalize the volume of the different instruments in each song and across the whole CD. CD mastering engineers can also add more definition and clarity to the instruments on a song. They then adjust the intros and ends of songs, choosing length of time between songs and adding crossfades or other effects if need be.

The order in which songs appear on a CD can greatly affect the way the CD progresses when played. If similar sounding songs are placed consecutively on a CD it can suggest shortcomings in the songwriting or make listeners believe the artist has a limited range. Also, some CDs can tell a narrative if sequenced correctly. Ultimately, it is up to the CD mastering engineers to work with the recording artists and choose the song order on the CD.

It is important that the instruments within a song and the songs on the CD are at an appropriate volume level. Within a particular song, the different elements must be mixed appropriately in order for the song to sound good. The mastering engineer can give clarity and definition to the different instruments in a song. The engineer also has the task of assuring that volume levels across all of the songs are similar, to help the CD sound more cohesive while still leaving room for dynamics.

CD mastering engineers also determine how much time there should be between songs on the CD. They fade and crossfade the intros and endings of songs to make them flow better.

CD mastering engineers have the task of making a rough mix of a CD ready for public consumption by adjusting audio levels and pacing the tracks in a way that brings out the best in the material.


About the Author:
by Thomas Morva
CD Mastering provides detailed information on CD mastering engineers, facilities, and software, as well as online and free CD mastering. For more information go to http://www.e-cdmastering.com and/or visit our affiliate site at http://www.original-content.net.

My Monday Mustard - Who's Selling Out?

PLAYBACK:stl - SEE THE LIGHT - Who's Selling Out?

My Monday Mustard

- One person’s opinion on what cuts the music mustard

That phrase “selling out” just simply makes me cringe. It’s a judgment that has been laid out on some music artists, singers, songwriters and bands over the years that rubs me the wrong way.

Jeff York’s article, “Who's Selling Out?”, sheds some light on his personal change of mind over time to be happy for the success of a band or artist – however they got it.

My opinion is that artist or band makes a decision at the time that they feel is right for THEM. Food on the table, rent, equipment, a stepping stone to something else, who knows why they do it, but it was their decision to make for a change.

Yes, at least they are getting some (perhaps needed) exposure for their music and getting paid for it. Maybe later when they are more in a position of calling the shots they can go back to their music roots (if possible) and make the statements that they originally intended to make. They may or may not have lost a core of fans, or maybe they will generate a whole new list. Longevity is tough enough in the business of music.

I say whatever floats your boat, live and let live, freedom to be and do as you wish. If I don’t care for the new change of direction from a band, it’s my right to change the station, CD, or channel. Of course, my music tastes will probably have changed by that time too and might just love it.

Vanessa
-Artistopia Guest Author

Artistopia’s guest authors opinions are their own and may or may not reflect the opinion of the web site owners and are provided as commentary to what may or may not be relevant on subjects pertaining to music, the music industry and the Internet.

How To Succeed In The Music Business. Part 2

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

How To Succeed In The Music Business. Part 1

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

Formulating Your Best Music Promotion Plan

A lot of people who subscribe to my Buzz Factor e-zine, read my books, and attend my workshops tell me that once they shift into a brainstorming mode, the self-promotion ideas come faster than Billy Joel behind the wheel of a Mazarotti. My first piece of advice regarding this fantastic state of mind is:

Buy a notebook or journal and capture these thoughts by writing them down. Don't expect to remember everything later. That rarely works. Grab ideas while they're hot.

If you're driving when inspiration strikes, carefully pull over and scribble down your thoughts on a gas receipt, fast food bag, or whatever is handy. If you're in a bar or restaurant, use a napkin. If you're in the shower ... well, be creative and find a way to record those great ideas.

So Many Ideas, So Little Time

Once you have a master list of earth-shattering, career-boosting concepts, things don't get any easier. Now you probably feel as if you have so many options, you don't know where to start. Most music people get so flustered at this point, they do nothing. Or they do a little bit of everything all at once and spread themselves too thin, with nothing to show for all their hard work.

Well, I believe in keeping things simple. Don't overwhelm yourself. For starters, before you jump into any new grand schemes, there are two basic things you should do every week, if not every day, no matter what else you may be working on:

1) Write, record and perform great music. This is no secret. The most creative promotion ideas in the world will do nothing to help mediocre music. So work on your music-making craft constantly. All it takes is one killer song to light a fire that will sustain an entire career.

2) The second thing you should do almost every day is to take steps to connect with and attract more fans. Don't get sidetracked with technicalities and industry connections and stuff that doesn't matter. Keep a constant focus on fans.

Creating Your Music Plan

Now, what about those specific big ideas you have for getting exposure, selling CDs, etc.? Get out a calendar that covers the next 12 months, and start writing down your best ideas and the times of the year they would work best.

Think this through and move things around on the calendar until you've got one or two great ideas listed for each month. Doing this will give you a promotional roadmap so you know the best ways to spend your time and energy every month. Your efforts will be more focused this way and more likely to generate results.

Don't just wing it and leave things to chance. This is your career and livelihood at stake here. Set priorities. Create an action plan. You can always tweak and alter the plan as you go. But having one in the first place gives you a starting point and a direction ... and a reason to get busy and start promoting your music now.

So formulate a plan -- your ideal plan -- then ... get out there and promote yourself!

Bob Baker is the author of "Guerrilla Music Marketing Handbook," "Unleash the Artist Within" and "Branding Yourself Online." He also publishes TheBuzzFactor.com, a web site and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob's e-zine by visiting http://TheBuzzFactor.com today.

In The Music Business...

Living in Nashville, I meet a lot of people who are "in the music business."

But 99% of them are not really in the music business. It's not because they're not making a living at it...lots of people have other ways of paying the bills. In fact, like my friend who owns a gas station yet doesn't make his living selling gas, many "full-time musicians" are doing the same thing with t-shirts, licensing deals, and other income streams rather than music.

Forget those people though... I want to talk about the people, regardless of how they make their living, who only claim to be "in the music business." I want to talk about the folks who talk big and dress the part, but just pretend to be doing this for real.

As many of you guys know, I'm a big fan of yoga. I've been practicing for seven years and do it daily for at least an hour. And not only that, I subscribe to a couple of yoga magazines, I take workshops, I've got all the props here, I've got a shelf full of books, and all the other things you'd expect somebody who is interested in yoga would have.

So I find it amazing that people who are "in the music business" aren't doing something similar.

Before I locked the doors on my music business consulting program, the first thing I'd do when a new client would come though is send them a box via UPS which contained several of my music business books, hours of recorded conference calls, seminars on CD, and a lot more information on the business to really give them a jumpstart on things. All in all, it was probably $800 worth of stuff.

During this time, I had a moneyback guarantee. If you'd work with me for six months and what I told you to do didn't help you to sell more music, get more people to your shows, and make more money, you'd simply send everything back and I'd give you back not only everything you'd paid to me, I'd also throw in a check for an extra $50.00 just to say thanks for giving me the opportunity to work with you.

While I was doing this, I only had two people (out of hundreds) return their stuff to me. And both of those packages, contained the books, the conference calls, the seminars, and whatever else I'd thrown in...still in the shinkwrap.

Now, I supposed I could have called these people up and said, "You guys have to actually open my stuff and use it for it to work." But the truth is, I've seen enough folks like this to know you can't do anything to help them if they're not going to help themselves.

Don't move the lazy. It's one of my 14 Qualities of Successful Musicians, Songwriters, and Music Business Professionals. And it's why most bands never get the attention they think they want.

If you're "in the music business," wouldn't it make sense that you'd want to read up on everything that the music business involves? If you don't, you might want to think about how bad you really want this.


About the Author:

David Hooper is the founder of Kathode Ray Music, an artist development organization specializing in promotion and marketing of independent musicians and bands. Visit http://WWW.JOBS-IN-THE-MUSIC-INDUSTRY.COM for more tips and hints for musicians, bands, and songwriters.

Music Contracts the Easy Way

Were you aware that you don't have to be a lawyer to write or create your own music business contracts? As a musician, it is understandable that you may not fully understand the business side of the music industry and that is all right. Even if you are starting your own record label, this is not at all uncommon. Luckily, there are solutions for those people who cannot afford hundreds, even thousands of dollars, just to have lawyers write all of their recording contracts. This is in addition to solutions for people who have no idea how to write music contracts.

Whether you own a record label or are working on getting signed to one, you have come to the right place. Legal fees are entirely too expensive, especially if you are just starting out. I mean, you can always write your lawyer an I.O.U. or have your lawyer recover their fees when you start generating profits. But who wants to do this? It is like giving away your money! And giving it away just to have some music contracts written for hundreds of dollars, when you could go about this using a much cheaper method. It doesn't make sense.

Using the services of a lawyer when handling music business contracts could amount to thousands of dollars. Do you have the money to deal with that? Most people starting out in the music business do not. You now have the option of purchasing hundreds of pre-written music contracts and recording contracts online. This is a fantastic route to take because it will save you a ton of money in the long run.

The types of music contracts that you may need are for your Record Company, Management Team, Recording Artist, Agents, Producers, Songwriters and Publishers, just to name a few. Purchasing iron-clad, industry standard pre-written music contracts and recording contracts is the best way to go if you want to save money but protect your company or your career at the same time.

You are in complete control of your career or business in the music industry. Stay that way! Don't throw away thousands of dollars on lawyer's fees for something that you can take care of yourself. By purchasing a wide variety of standard music business contracts, you will be on your way to saving money on legal fees and handling your business the way you want it handled. Don't pass up the opportunity to save hard-earned money and put it to better use.

Author Resource: Ty Cohen is the former owner of an independent label, owner of Platinum Millennium Pub. & music industry seminar speaker/panelist. Also the author & creator of 40 + best-selling "How to" resources, that have helped 1000s find their way in the music biz. Visit http://www.order-yours-now.com for more info on online music promotion, music promotion resources and independent music promotion.

Add Zing To Your Music At Recording Studios

Music - often called the soul of life and gateway to eternal bliss, is transformed completely with all that high-tech, well-equipped and hip recording studio, giving a new meaning to the whole concept of good music. The beautiful and catchy numbers we love and appreciate today are a result of endless and painstaking efforts in these studios and are well supported by the most modern and ultra tech recording studio equipment. It also adds that extra zing and pep to the simple songs and mundane music. So those who are initiated into music and want to make a beginning, it is a good idea to straight away make a booking in a recording studio. You can make the best use of all the studio equipment lying there to give your voice and music that extra vim and verve and make it sound more professional. Remember, even the most professional singers make use of these equipments to add support to their velvety voice and if you are just a kid of the block, it is all the more important for you to make best use of the services offered by recording studios.

Whether you are planning to cut your private album, create a profile for work or simply want to indulge in a hobby, recording studios will come to your rescue. With their services, even ordinary bathroom singers would sound like stars and stars, well, like super stars. Of course you need to have that basic thing called talent to survive and grow in this highly competitive field, but what a recording studio can do for you is to add quality, depth and balance to your voice. A variety of recording studio equipment plays its part in this. This studio equipment is mainly used for making, recording and mixing music in an ambient and classy manner.

The basic recording equipments include consoles, which may be solid state logic or newer mixing ones, multi tracks, monitors, hard disks system, patch-bays, cables and accessories, adapters and speakers, lighting equipments, synthesizers and samplers all working in tandem to make your voice crispier and sexier. Most modern studios are equipped with this equipment. As costs of recording and cutting a CD for private album are plummeting nowadays, you too can join the party at a very nominal cost.

The other alternative for you is to convert your pad into a home recording studio if you are more serious and want to have more than just a little fun. Of course there are some basic tidbits you need to remember while making a dream studio at home.

First and foremost, you need to plan and budget your expenditure well in advance as choices are plenty, and options unlimited. Decide whether you want to go for new equipment or a pre-owned one, which are also available at reasonable costs.

Some of the basic requirements of home recording studios are keyboards, synthesizers, patch-bays, adapters, at least 2 sets of speakers, computer monitors, mikes and lighting equipments. It is a good idea to make sure that you have your music keyboard and computer key board near each other to have perfect harmony. You also need to put in place a bass trap and sound absorbers to diffuse the irritating and uneven bass frequencies and to add to the acoustics of your studio.

Remember- what a recording studio can do is to package and polish and shape and sharpen your voice and make you more confident and comfortable with your singing abilities. So don’t worry about the audience reaction any more – go ahead and Sing!

By Sarika Kabra
The author loves music. Learn about the free music software available today. You can learn new music terms here. Here is some valuable information on music production software.

My Monday Mustard: Music Freedom and The Right to MY Music Space

- One person’s opinion on what cuts the music mustard

Musical freedom and creativity are our right, right? This music Web site gives me a free Web page so it’s MY page, yes? I can do want I want to with my page! As a music artist, I can show the world who I am, what I do, what I believe in, what I think is funny, hilarious pictures of our band, what I think music should be, what I want to tell the world!

That being said, let’s take a look at the flip side.

In my web travels, I pay particular attention to music profiles. Freedom of expression is certainly our right, yes. But not all Web sites are created equal for the musician, singer, songwriter or band that has a destiny in the music business set as a goal. These talented artists should not assume that they all are either.

With the music business utilizing the Net in an increasing realization that the music talent they need and feed off of are found there, they are not hopping on a plane and going to a club to check out a band they were told about (which does still happen) as much as they once did. A music rep can search the Web and get to the music talent they need for a project far faster and cost effectively.

With no limits set to the number of videos, images and even content on many sites like Myspace, what’s an A&R rep to do? They want to find and discover good music – easily, quickly and conveniently.

Music artists being the creative persons that they are, want to express themselves and illustrate it using all viable means – with many artists adding every available tool known to man, on their web page(s), from their own videos, to other YouTube videos, to cool code they find - HTML, CSS, backgrounds, images, drawings, plugins, the kitchen sink, well, you get the idea. Throwing the kitchen sink, bathtub and toilet onto a Web page (just because you can) slows down a web page from loading, thus making the viewer wait. Does anyone like to wait for a page to load? Think about this…would a very busy music business rep wait?

The music business is still a business, run by very busy people with limited time, who have tons of demos piling up on their desks (and desktops) daily. Many of these demos are tossed into the round file for various reasons. And with the Internet offering them resources to check out press kits, demos, profiles, the round file is a click AWAY (from you!) and out of a slow loading page. When a web page takes more than a few seconds to load, you’ve lost their interest. When they can’t find the info they need on a band, you are bending their patience. “Click”, and they are on to the next page.

Here comes Artistopia with a solution. A professional presentation of the artist TO the industry. Interesting concept and different? Yes. By adding your band and artist information to the site in a methodical manner, Artistopia takes that data and organizes it so that music business personnel as well as fans go straight to the juice of who you are - emphasis on straight to the music business mind in a manner that makes it easy for them to navigate.

And yes, some limitations are set, because to be organized means putting the data in the format the technology of Artistopia can interpret to reflect that band or artist’s information in a professional manner. A site without direction(s) can lead to chaos.

Artistopia just introduced a new profile overview page with music to the forefront for the artist. In the Pro Indie Member profiles, artists are given HTML Space. It’s a limited area to add what they will – and it's recommended to use it for something that promotes THEM, which is always the smart thing to do. Already a few artists have taken that real estate and added very cool code! Go Artistopians!

The FREE Indie plan offers tremendous tools and opportunities to the music artists to get their best presentation as well. Artistopia is what the music bands, songwriters, musicians AND music industry NEED today. Organization of the music presentation in this ever increasing music chaos on the Web is what Artistopia is about.

Music Is Life - we love it, in all its forms, functions – and especially those that create it into the emotion that it is.

Vanessa
-Artistopia Guest Author

Artistopia’s guest authors opinions are their own and may or may not reflect the opinion of the web site owners and are provided as commentary to what may or may not be relevant on subjects pertaining to music, the music industry and the Internet.

Making Your Own Music: Songwriting Basics

Whether you are a teenager or are well into your golden years, it is never too late to explore your creative side, especially if you are interested in music. Songwriting is an excellent way to express your thoughts and feelings and to communicate them to your friends and family, even if you have no aspirations of musical fame or fortune. If you are interested in selling or performing your songs, however, you should be aware that it is a hard road and that very few songwriters achieve great fame or fortune, and especially not instantly. Nonetheless, if you have realistic expectations, you will find that writing music is a worthwhile experience whether it is a hobby or a profession.

People write songs in many different ways. Some writers compose the music first, while others first write the words. For some, the words and the melody come to them at the same time, while others write the melodies first and write the words last. No matter what order you are comfortable with, you will eventually have to decide what the song is about. There are a variety of different types of songs ranging from songs that tell fictional stories to songs that communicate deep personal feelings.

If you decide to write a story song, a good first exercise is to write about a news story or about something you’ve read in the newspaper. That way you can use your first song to hone your word choosing skills without the pressure of coming up with your own story. However, if you already have an idea for a story to tell, you can write it out in poem form and try to make appropriate rhymes and structures that help communicate what happens in the song.

Because music is so expressive, many songwriters use their compositions to express how they feel, whether it be about a person or a situation or even geographic location. Writing these types of songs can be highly personal, so every person does it differently. When you have a strong feeling about something, write it down in a notebook and come back to it later. You might think of a good line that expresses an emotion really well, and if you remember it you might be able to build an entire song around it. Having quiet time to think is always helpful when you are trying to write a song.

Writing the actual music for a song can be done in many different ways depending on your musical prowess and your focus. If you write mostly to communicate words, then a few well-chosen guitar chords might be all of the accompaniment you need. However, if you a instrumental virtuoso, your approach to writing music will be quite different. Many people think of a musical idea and play it over and over again until they think of a melody. Often times, songwriters will construct whole pieces, melody and all, without even knowing what the song is going to be about. Once the melody is complete, the writer will sit down and think about lyrics that fit the feeling behind the music and will go from there.

Once you have put together your words and music, you might feel the need to perform your new song. It is always a good idea to play for friends and family first before trying to play to a crowd. When you feel comfortable enough playing your song, you should consider visiting an open mic night at a local coffeehouse or bar. At open mic nights, songwriters can play one or more of their songs to an appreciative and attentive audience. Performers can discuss their craft with other writers, making it a fun way to learn more about the writing process.


About the Author:

Undoubtedly, Sintilia Miecevole has the site http://www.fjpmusic.com to help you not only with your songwriting skills, but help with getting your writing to the decision makers in the music business...and you don't have to be able to write music either. To connect with songwriters all over the planet and for ideas visit http://www.fjpmusic.com

Why Artist Development Makes A Difference

By The Artistopia Staff

Artist development in the music industry has evolved over time, leaving most of the early progress to the artist themselves. For the most part, the days are gone when a record label developed up and coming talent. The question continuously arises for those young artists, “where do I start”? With the advent of the Internet, the possibilities are mind boggling.

Many artists put in their mission statement, simply that they want a record deal, thinking that is all they need to succeed for career in music. Most don’t have a clue what it takes to get that deal, let alone maintain that career.

Artist development is a huge area overlooked by far too many artists and bands. Let’s explore the question, “What is artist development”?

A record label A&R rep once “discovered” fresh new faces in clubs, bars or word of mouth and would then support them, cultivate their creativeness, build up their fan base, and guide their direction with the intent of turning them into superstars. All of this of course, was with the intent of selling those 45’s, LPs, cassette’s and CDs. Gradually, many labels moved more into product development, which meant they are focused more on the immediacy of sales of the latest CD (product) released, and not bringing the artist up to that point. And more often than not, naive artists were at the labels mercy.

In this Internet age, it is more the artist or band themselves that must build the quality sound that is ready as a commercially viable product. On top of that, they need to have an already established fan base, basic music business skills, perhaps even the early music sales of a well produced CD. Labels are looking for pre-packaged, very talented musicians that are already showing their value.

A music career is a charted path to follow. Artist development involves all the issues surrounding and arising from that charted path, and crosses into knowledge of product development – the ultimate sale of the music.

Checklist on what artist and product development necessitate:

* Exceptional vocals, musicianship and/or songwriting skills
* Continued education and enhancement of musical skills
* Quality and reliable equipment
* Performance ability
* Image creation and maintenance
* Plan of action, goal setting
* Exceptional promotion materials, including photographs, press releases and artwork
* Business management skills
* Marketing, publicity, and promotion knowledge, online and offline
* Professional management
* Basic knowledge of recording, producing, engineering, and mastering
* Basic knowledge of manufacturing, distribution, and sales online, brick and mortar and air-play
* Good choices in members, staff and advisors
* Physical and mental preparedness
* Basic knowledge of finances, accounting
* Law and legal issues: publishing, copyrighting, trademarks, and an attorney
* Alternative career options – even athletes need to have other options!

Tending to all areas of your music career may make the difference between a one hit wonder and longevity in this business. It’s been said, “If you think this is a piece of cake, you better go bake one.” The music business, again, is a business. Businesses need to make money. That's worth repeating - the music business is a BUSINESS. Take the time to find out all you can about each of these steps in your journey.

That being said, an up and coming artist must begin somewhere…and if a career in the music business is the goal, then any naiveté must be addressed immediately! Knowledge is power. Power gives you leverage. And who knows...that entrepreneurial artist may just find they don't need that particular record deal after all.

This article is free for republishing with inclusion of the following "Author Bio" information in it's entirety:

Author Bio:
Artistopia - The Ultimate Artist Development Resource is an artist development service and community on the web providing indie and unsigned music artists, songwriters and bands all the tools needed for music business collaboration and networking.

Music Business Success: 5 Top Tips Of Successful Musicians

Incorporate these skills into your strategy for success and you’ll move forward quicker than you ever dreamed!

1. Hustle: generally, people who make it big have one thing in common—they are dissatisfied with the status quo. They will not take what is “common” or “expected” and let that define their lives—they move past it and excel. You must work hard and hustle.

2. Character: someone coined the phrase, “character is what you do in the dark.” In other words, when no one is looking, will you behave differently than if someone was looking? If not, then you have character. If you are attacked, be tough—not hard. Don’t be a pushover, but be compassionate, gentle, and flexible—especially on procedure (not principle).

3. Risk Taking: this isn’t gambling, it’s a willingness to be bold, hearty, and to push forward. People who refuse to take risks are definitely going to lose. If you refuse a new promotion because you’re not confident of your skills, you will likely be passed over when a different chance arrives.

Don’t be afraid of rejection, just take it as part of life and you’ll find there’s nothing to be afraid of—especially in the word “no.” “No” is just another opportunity to find a way around an obstacle and to use creative problem-solving skills.

4. Time Management: we all know that one minute has 60 seconds and that one hour has 60 minutes. One day has 24 hours, and one year has 365 days. But one year also has 525,600 minutes. We don’t think about a year in such small increments, but maybe we should. We waste minutes as if they’ll always be around, and the fact is that time wasted is time we can never get back. We might miss a deal or promotion of a lifetime by wasting just a few minutes.

Proper time management is essential as you climb to success. Continue to break goals down in to manageable chunks—do that with relation to your day and the time you’ve been given. You’ll accomplish far more this way and you won’t regret using your time wisely.

5. Master Non-Verbal Communication: it is said that our body language and facial expressions do much more communicating than our words will ever do. When the words that you speak don’t match the expressions on your face or the stance of your body, you confuse the listener and muddle your message.

Be aware that when you try to “multi-task,” you often end up short-changing something, and the last thing you want is to short-change people. Don’t try to do too much at once—your willingness to do this tells people they aren’t important, even if you’re expressing your appreciation of their work and effort. Be aware of what message your body is sending off!


About the Author:

David Hooper is the founder of Kathode Ray Music, an artist development organization specializing in promotion and marketing of independent musicians and bands. Visit http://www.indiemusician.com/ for daily music business news and marketing advice.

Who Else Wants To Sky Rocket Their CD Sales, Fan Base And Indie Music Career?

If YOU Answered YES, Then Start An Online Newsletter…It’s Easy, Here’s How!

I’ve always praised the benefits of using a newsletter to promote your music, but this article give a bit more detail into how to go about it.

First, there are tons of different providers out there that can send out your email newsletter. Some are expensive while other like cafepress.com allow you to make one free if you sell products through them. Although this isn’t EVERYTHING you could do it is a good starting place.

Define the letter – is it going to be strictly about your band or other acts in your genre? You might be able to pick up other readers/listeners who weren’t aware of your music, but know other acts if you go broader.

Develop a schedule. Are you going to do it daily, weekly, monthly? Whatever you choose does not matter. The most important part is to stick to it, once people get to reading and enjoying your newsletter, they’ll expect to receive it on time, all the time.

How much content will it contain?
Are you going to have one page or six pages? Try to make the content the same size each issue.

K.I.S.S – Yet again, keep it simple stupid. That means staying on topic and writing in a tone that is both understandable and friendly.

Ask for reader feedback. Perhaps someone might have an idea for a new feature or they may have a hot news tip. Always answer your reader’s requests and emails regardless of if you use their idea or not.

Keep copy short and in the active voice. Avoid passive words if you can and give your articles some kick. You’re writing for people, not Harvard educators so keep your tone to one that people will enjoy looking at each week.

Extra set of eyes. Always have an extra set of eyes look over everything you send out. Even with our newsletter and sites, www.MusicIndustrySuccess.com , www.Order-Yours-Now.com and www.TheIndustryYellowPages.com we always have someone look the pages over for typos, spelling, grammar, etc. You want to inform people, but you also want to come off as intelligent when you do it.

A newsletter is not a difficult feat, in fact you can easily get started in an afternoon. If you lack the time and skills then hire someone to do the task or see that your manager and/or promoter informs your followers of all the news they need to know.


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!

Defining The True Artist

Defining The True Artist - Do You Have What It Takes? by Chris Standring

"The real communicating artists seek unique expression. They are not interested anymore in sounding like their heroes, they are searching constantly, developing and refining their own unique voice."

There are musicians who are more than comfortable remaining anonymous. You know, happy to hide behind their guitars or keyboards and be sidemen to the stars of today or tomorrow. Then there are those that have grandiose aspirations of stardom, adoration and limelight. And then there are those who have a driving desire and need to say something original artistically, to express themselves and to communicate that expression to an audience, be it a small niche market or wider demographic.

Those falling into the first category can make a living, albeit fairly modest as a general rule. Those falling into the second category often live in a little bit of a dream world and, depending on their tenacity and 'smart' skills, usually end up disappointed because the focus is set on the destination rather than the journey. The third category usually reap the rewards of the second category gaining all the success and limelight, but as a result of focusing on their art rather than the shallow and flighty end of the musician's world. These are usually the most fascinating people too, because they generally have a little mystery about them and because they actually possess what most entertainers really want; sincere and dedicated talent!

But there are also those that are in the early stages of artistic development who are still learning their craft, and open to influences. Possibly they will become great artists in the future, possibly not. It will be a question of choices and consequences, and doors opened and opportunities taken advantage of - or not. Life certainly will take you places.

But for those that do have aspirations of artistry and expression, then I firmly believe you must have qualities that others do not have. As an artist I believe one must stand out from the heard in order to be heard. It is so easy to make a record these days. One no longer needs to have the luxury of a recording contract in order to stand on a pedestal and say "I am an artist - buy my record!" With home studios costing one 16th of the price they did ten years ago and with software programs that do it all, you can churn out albums by the dozen if you put your mind to it. And many do.

However, just because you can, why would you? - is my question. Just for fun? OK, valid I suppose. But Isn't it better to spend that time and energy searching relentlessly for something unique and different? God knows record companies are releasing enough crap by the hour, even signed artists are now under the impression they have got something to offer. Maybe they have, but for the most part I don't think so (as public reaction and their soundscans will attest!)

Perhaps I am being extremely unfair, but I think too many artists do not realize that they have a responsibility to say something profoundly unique, certainly if they expect any kind of career longevity. We live in a world where musicians spend their lives emulating their heroes; singers spend their lives emulating Aretha Franklin, Janis Joplin, Stevie Wonder, Frank Sinatra and so on. Rock guitarists spend their lives emulating Jimi Hendrix, Jimmy Paige, Jeff Beck and Eddie Van Halen. Jazz guitarists are proud emulators of Pat Metheny, John Scofield and Wes Montgomery. Saxophone players worship Charlie Parker, John Coltrane and Michael Brecker. And so on...

Before I go on I have to say that emulating heroes is absolutely imperative in your formative years as musicians. You simply MUST listen to the greats, past and present. One has to have a strong grounding and musical knowledge and one simply cannot get there without listening. However, way too many 'artists' cannot get passed this stage. They need to have peer approval, have to know that other respected musicians around them recognize them and applaud their abilities. Often all this takes place subconsciously.

This 'peer approval' is a stage of development that is also important. Every musician goes through it at some point. It is absolutely natural, but I firmly believe that to become a great artist, you have to move beyond that stage and look inward. I always liken it those wedding band singers, who despite having an honorable and justifiable (and in some cases envious) career, they are all too often the 'performing monkeys'. They are often fine vocalists but at the end of the day they are seeking approval and applause and not communicating or expressing anything artistic. They certainly know how to entertain but do they know how to intrigue? It's a huge gap. Nothing remotely subtle about it as far as I am concerned.

The real communicating artists seek unique expression. They are not interested anymore in sounding like their heroes. They have moved past that, now searching constantly, developing and refining their own unique voice. Look at any of the true giants of yesterday and today. Yes you can hear their references, but they also have their own strong identity. At some point during their development something bigger than them took over. The chances are they knew it at the time and took advantage of it and made an extra effort to really hone that uniqueness.

Finding that unique inner voice might not be as easy for some. I think it starts by recognizing your technical weaknesses. It is often those weaknesses that ultimately end up becoming your artistic strengths. Let's face it, if you were able to play the guitar technically perfect, at all speeds, meticulously so every note that came out was totally clean and audible, would this be ultimately interesting to an audience? Yes it might be very clever and impressive, but for how long could you listen to an album where every phrase felt like you were having your teeth drilled!!?

Wes Montgomery played with his thumb because he kept dropping his pick, ultimately enabling him to become the greatest and most influential jazz guitarist of all time. BB King has about three licks in his entire blues repertoire. Does anyone NOT know BB King when they hear him? Thelonius Monk refused to conform to traditional piano techniques and musical ideas. He simply HAD to play music the way he heard it in his head. He made such a bold musical statement during his time that he is emulated the world over and revered by the greatest musicians living today.

Technical shortcomings can be the very essence of your unique artistry. Now, should those shortcomings get in the way of what you need to say musically then those weaknesses might need to be turned around so they don't restrict what you hear in your head.

Remember, the true artist simply communicates from within. All other extraneous thoughts, influences and distractions need to fall by the wayside. The minute a lick or a phrase that your hero played or sung (and made famous) ends up on your record - watch out! You might be in trouble. Absolutely steal from your heroes, but just remember that real artistry is about what YOU have to say, not what your heroes have already said before, and have possibly said better.

Push yourself to the max and search for that truly unique quality within. After all, that next great talent we are all so desperately waiting for might just be you!

Chris Standring is a contemporary jazz recording artist who performs throughout the USA and Europe regularly. He has enjoyed much radio airplay with several albums, opening up a busy touring schedule. His music appears on many compilation CDs also. For more info on Chris' popular home study jazz guitar course go to http://www.PlayJazzGuitar.com

Visit him on the web at http://www.chrisstandring.com

article source: EzineArticles.com

Who's Managing Your Manager?

If you are a music artist that has a need for someone to: filter communications between you and third parties that have expressed a professional interest in your services as an artist, or the use of your music; negotiate contracts and offers of employment; schedule and coordinate your professional activities; direct and interface with the various members of your support team; and provide counsel pertaining to the most advantageous or strategic career moves to make, then you need a competent professional manager.

If you don’t have such business affairs pending, then you don’t really need a manager. Many music artists cling to the false notion that their manager will help them get gigs or a record deal. While those notions are not entirely true, they are not entirely untrue either. Some managers will (illegally and unknowingly) book gigs for their acts in an effort to become immediately and actively involved.

Some ambitious mangers may even take on music artists before they have any real business affairs to manage, and pursue a record deal for them with the intent of generating activities and income that warrant their involvement. This is not the norm, so consider yourself very lucky if it does happen to you. Managers get paid a commission on the income that you make, so if you are making nothing, then what do you think they will be paid? This is what managers refer to as a “non-commissionable” client - which is what you are until you generate revenue.

While every professional started out with no experience at one time or another, you must be aware of the exploitive and predatory nature of the music industry. Personal managers who do not fully understand the dynamics of the music business can not efficiently help navigate you through the illogical maze of industry operations that make success so elusive.

If you happen to find an inexperienced manager (or if one finds you) that you trust and feel will be dedicated to helping you achieve success, then work with them; but accept and understand the following: a) there is truly no substitute for experience, b) their experience may come at your expense and c) if they ever feel overwhelmed or unsure, they can - and should - consult with an entertainment attorney.

Before you get a record deal or have a myriad of activities to handle, your inexperienced manager will be very eager to execute whatever business related tasks you have for them. But if you do get a record deal and are suddenly thrust into the cryptic and methodical music business game where the players are savvy, seasoned veterans who know the finer points and strategies of deal making, you will find that your attorney will provide much needed guidance to your inexperienced manager, and a reason for you to relax.

With a lack of experience, your personal manager will rely heavily on his/her communication, follow-through, and people skills. They should also do whatever they can to learn more about the music industry. If by chance you find that you are telling them what to say to people, or what to do and how to do it, then you have a problem that begets the question: Who’s managing your manager?

If you harbor any doubts or suspicions about your manager’s competence (or in this case motivation and potential) you should end the relationship as quickly as possible. In the end, you would much rather be an artist whose inexperienced manager is gaining confidence and experience as a result of being managed by an attorney, than an artist who is managing their manager.

© Copyright 2007 All Rights Reserved.

Article Source: http://EzineArticles.com/?expert=Gian_Fiero

Artistopia Affiliate Program - Music Webmasters Earn Revenue

Music Businesses and Webmasters:

Artistopia is a well-respected and top competing website for independent (indie) and unsigned music on the Internet providing a web home to thousands of bands, musicians, singers and songwriters the world over. The site provides a professional presentation of the artist to the music industry with 2 membership plan registrations - a free and a paid registration. You can earn a commission as a pay per action every time a visitor from your site becomes a new member of the Artistopia community. The more that member upgrades their membership, the more revenue you can generate.



Becoming an Affiliate partner is easy and it comes at absolutely no cost to you. You are supplied with all kinds of banner ads in a variety of sizes and shapes that will link visitors from your site to our site. You can monitor your stats with your personal affiliate console in real-time, complete with referral links, email nudges, activity reports, and learn to earn more with our marketing tips. International applications are accepted also, with sites obviously geared toward the music services, products and information needed for indie music artists and unsigned bands garnering you the best income.

Artistopia provides the struggling indie and undiscovered music community a platform for collaborating and networking with fellow musicians and the music business. Some of the outstanding resource tools offered to enhance their music careers are a complete bio profile, MP3 music discography, event and gig calendar, class ads, webcast inclusion, personal newsletter builder, press kit builder, press releases, fan base tracking, photo gallery, and personal message boards as well as marketing tips, online lessons, industry news, and personal email.

Benefits and Tools of the Affiliate Program:
- Comprehensive Activity Reports
- Attractive Banner Collateral
- Marketing Tips On What Works
- Low Balance Payouts Of $50
- Email Nudges to Increase Earnings
- All Registration Payouts (Free or Paid)
- 45-Day Cookie Backed By IP Validation
- Marketing Strategy Freedom (Good Faith)
- International Applications Accepted

Payouts are monthly when earnings have accumulated $50 USD or greater in referral funds. In the USA, payment can be received by bank check or PayPal, while International partners are by PayPal only.

Music Businesses and Webmasters: begin today at Artistopia - Indie Music Heaven http://www.artistopia.com/Affiliates

Affiliate FAQs are located at Affiliate Info/Help Center Affiliate FAQs

We welcome you to partner with us and look forward to working with you
Get on the right path for your music career today!