Create A Buzz: If You Build It They Will Come!

Building a music career is hard work. Every day, month and year you repeat the same grind: build the band, write the songs, record the songs, rehearse the songs, perform the songs, promote the band, advertise the band, solicit industry, publicize to the press, build the website, create the message boards, forums, and chat rooms, assemble the street team…it goes on and on until you think your head will surely explode from the mountains of menial tasks that face you, the unsigned artist, each day.

Still, after putting in all of that work a band will hit dry spells, slow times and glass ceilings. Some days, your already slow move forward, seems to retard even further. Sometimes it feels as though you’ve peaked and will never advance. There are even days you want to blow off all of this tedious monotony, get a job in the electronics department at Target, and call it a day!

But even as your face is smushed up against the glass ceiling of a never-changing cycle of music business grunt work, hope is just over the horizon. See, there is something that you never stopped to think about all the while you were chasing the elusive brass ring of music stardom…all of this time, you were in control. If opportunities have stopped coming your way, then make your own. If you want to be a rockstar, develop a situation you can star in and rock. You have the power and the ability to be anything and everything you have ever wanted to be if you learn to simply create your own buzz.

The following are a few tips that may help you to get started creating your own buzz in order to push past the obstacles and keeping moving down the Yellow Brick Road of musical superstardom:

1.) Create Your Own Gigs---Tired of whining that you never get the gigs you want? You know: good clubs, weekend shows, prime slots, longer sets, decent pay, good bands on the bill, press attending, industry confirming and most importantly, your band headlining. It’s ridiculous to waste time complaining, when you could be booking, planning, promoting and playing your dreams gigs right now. Sure it will be a lot of time invested and it may mean putting smaller gigs on hold for awhile in order to promote one giant show, but the payoffs will inevitably outweigh the work…and the best part is, it’s all about you. You are the promoter. You are the stars of the night. You pick the date, the times, the bands. You invite the press and the industry. Within a month or two, you could be playing the types of gigs you have always wanted, and all the while getting press, making money, collecting names for your mailing list and building hype for your band that even the stodgiest industry can take notice of.

2.) Join The Ranks Of The Press And/Or The Industry---You know what they say…if you can’t beat them, join them. If you want to get industry or press to notice you and your band, what better way than to become a member of the industry or press. Pick up a gig writing for a local magazine and review your friends’ bands and the shows you promote. Intern at a record label and meet friends in the industry to invite to your gigs. Start a management/promotion company and book your band and your friends’ bands to become better acquainted with clubs and their booking agents. You’ll find it will be much easier to deal with industry people when they consider you more of a peer and not just another band asking for help.

3.) Numbers, Numbers, Numbers---It may sound ridiculous but in the entertainment industry (as in any business), your perceived worth is tracked by your numbers. Web posters, gig patrons and listeners of your music all translate to numbers and the big ones impress fans and industry alike. If you want club bookers, managers, magazine editors and A&R to notice you then make sure your numbers are up. Web hits, fan group members, online community friends and people on your personal mailing list all add up to your bankability as a band so keep driving those numbers up and watch the doors swing open wide for you.

4.) Teach, Volunteer, Take Classes, Join Groups---If you want to meet new people, gain different opportunities, and find fresh ways to obtain your goals, then get out where people are doing what you seek and mingle. If you play and instrument, start teaching and get to know the bands of your students. If you see big events happening in your town, volunteer to work them and get to know the management, talent and audience alike. Take classes and join music organizations not only to learn but to network. There is a whole world of entertainment people out there. Get to know some of them and make those folks a part of your band’s promotional circle.

By following these tips and others soon you will find that your band is enjoying the opportunities and buzz you were only dreaming of before. Best of all, you’re now in charge of your own career and musical destiny; creating profitable situations for yourself. You are playing good shows and coming home with money in your pocket. You are selling your own product to pay for band expenses. You are filling your press kit with reviews, interviews and mentions of your band. You are meeting people and building your mailing list. You are establishing your reputation as an important member of the artistic community. No longer waiting to be thrown a chance by some industry member, you have taken command of your musical destiny and cast yourself as the star of your own show. Now, don’t you feel better?

About Author:
Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 1,000 affiliates to more than 126 million listeners. Her musicians’ assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area, where she resides. For more info: http://www.sheena-metal.com.

Recording Vocals in the Recording Studio - 10 Tips to Success

1 Get into the right mind-set.
Sounds obvious right? If you’re going to rap the biggest club banger the west coast has ever heard, make sure you’re amped up and ready - not five minutes outta bed. Singing an R&B love song? I’m not suggesting you be “ready for action” but at least be relaxed.

2 Know your lyrics.
If you know your lyrics well, then your song delivery will be far more confident. If you’re not sure what words are coming up, it affects every other part of your performance. You’ll also annoy the engineer when he/she has to cue up the 10th take because you forgot the next line, and then has to edit out your page turn..

3 Sing cool, not correct.
This one deserves a little more explanation. Modern studio technology can re-tune your voice if you sing out of key, and tighten your timing up. So instead of trying to sing or rap technically perfect, try to convey the right emotions and “feel” in your performance. No matter how good the studio is, no technology can compensate for an unemotional vocal delivery.

4 Get a good headphone mix.
This point is more obvious. Before you start singing, take some time with the engineer to get a good headphone mix. You should concentrate on the balance between your voice and the backing music, and the overall volume. Every artist has different requirements. Find out what works for you. The engineer will expect to work with you on this, and can help you get the mix you need. If you find you’re singing too quietly, turn the headphone volume up. Too loud? Turn it down.

5 Be decisive: Let the engineer and producer know what you want.
From a producers viewpoint, nothing is worse than working with an artist who seems to be under performing, and on closer investigation is trying to use a headphone mix with one ear working, but is too polite to complain. If something is wrong, say so. But be polite. Don’t do the following..

6 Don’t be a Diva (or male equivalent)
Ok, so you’re paying for the studio time, so you get to call the shots. That’s only fair. But be nice! After all, you want the producer and engineer on your side. If you annoy them, they may not be inclined to make the effort on your behalf. They certainly won’t go the extra distance to make you sound better, and who knows what they’re saying about you behind the sound-proof glass..

7 The Crew/Friends stay at home.
Maybe a little controversial? Unless you can honestly say members of your crew contribute to the creative process, I wouldn’t advise having any more people than necessary in the studio. They will prove a distraction - even if it’s a good distraction. After all, you’re there to work, and they’ll be plenty of time later to enjoy your new track..in your car system whilst taking in a cruise perhaps.

8 Need a break? Take it.
You’ve been laying down takes for the last hour, and your voice is beginning to strain. Take a break. There’s no point in carrying on, only to find out later your voice “sounds like a sand grinder on those takes..” Trust me, you’ll be doing the producer and engineer a favour. Also, be aware of “tired ears.” After listening to the same bit of music for so long, your ears will begin to play tricks on you, and you’ll “hear” things which aren’t there. So take a break!

9 Drink plenty of fluids.
Again, sounds obvious. Your voice is an instrument, and needs TLC. Take plenty of liquid into the studio - but no dairy (milkshakes etc) It’s not good for your vocal chords. Try water..not beer.

10 Don’t be nervous.
Ok, this one’s pretty lame as far as points go, but it’s all too easy to walk into the studio, see that single microphone all alone in the big live room behind the glass, with all those people looking at you…. you get the picture. Remember, everyone is on your side and wants the best from the recording.

Above all..enjoy!

About Author:
Al Fraser is the producer and manger for SmoothBeatsOnly.com, a website supplying R&B Beats and Instrumentals to up-and-coming artists and record labels. Al also runs the SmoothBeatsOnly Blog, which features recording and promotion advice for R&B singers and artists looking to move forward in the music industry.

To listen to beats and instrumentals, go to http://www.smoothbeatsonly.com

Visit the SmoothBeats Blog here: http://www.smoothbeatsonly.com/blog

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

Five Basic Ways To Market Your Music Online

Many people have argued that there are no great piano composers in the modern world. They say that this art died fifty to one hundred years ago. Here are the facts - there are still many unbelievable piano composers in the modern world today. However, whilst one cannot argue with their creative skills, they lack basic modern marketing skills. And the world is missing out on this distinguished talent.

The most affordable and convenient way to market your music today is through the internet. It is used by billions every single year. So why do many piano players fail to market their music online? Why do they go down the traditional route of taking it to a publisher?

Marketing Method Number One - Creating Your Own Website with A List

If you make the decision to market your music online, it is almost criminal to do so without a website. Your website must be where you send all of your prospective customers. Your website must contain details on how to purchase your music, both online and offline. I would also recommend having a 'sample' piece of music for clientèle to listen to for free and to be able to download the score.

When you are building your website, you must include a list. What is a list? A list is a collection of email addresses of potential customers. Your list should be kept abreast on new pieces of music that you are creating. Also they should receive occasional incentives to remain on your list, eg. a free song or a discount.

It is much easier to sell to people that know and trust you then to sell to a complete stranger. But so many people in all facets of marketing spend more time on getting more customers than selling to previous customers. Do not make this same mistake. By investing no more than $ US200 per year, you could and should have a major increase in sales.

Marketing Method Number Two - Piano Radio Stations

Piano radio stations are a great way to market your music online. There are numerous radio stations on the World Wide Web that specialize in all sorts of areas, and piano is no exception. Whilst I could only speculate costs, you might be able to get your music played for free, or even better, you might be entitled to royalties from that particular radio station.

The main difference between radio piano stations and normal piano stations is that online users are able to click on a link that will take them directly to your site. So make sure that the music that you submit to radio stations are some of your best pieces of work and fit the mould of the station.

Marketing Method Number Three - Submitting Your Scores To Directories

There are numerous cases where piano composers only market their actual music and neglect to market their sheet music. This is such a silly thing to do. If a piano player likes listening to your music, then naturally they would want to learn to play it. Web sites like Free Piano Sheet Music would be more than willing to put your compositions onto their web site for free. Also you would get valuable links from your sheet music to your website.

Marketing Method Number Four - You Tube

This is the new way to market your music online. You Tube has simply taken the world by storm, not only from a viewers perspective but from a marketing perspective also. Similar to video clips that you see on MTV you are able to create your own video of your music. It does not have to be a complicated task. The easiest way to do it is to record yourself at the piano playing the score and this would be enough. However if you have a theme to your music i.e. the ocean, then you would cut to shot of the beach, i.e. waves crashing on the rocks. Whatever you decide your video clip to be, make sure you put a visible URL at the end of your video as credits, so the viewer can take action to buy your music.

Marketing Method Number Five - Piano Forums

Forums are an old and popular way to marketing your music, and it still works today. Not only can you specifically market your music in the forum, you can also market your music by just posting messages about anything related to the piano. For example, if there is a discussion about what is the best brand of piano, and you post your comments, you can put a link at the bottom of your post to your website. So not only do you market your music, you also marketing to the right group of people, piano players!

In conclusion these are much more effective methods of marketing your music then taking it to a publisher. Not only do you have much more control of your music, it is also much cheaper.

The world deserves to hear your music.

About Author:
Chris Carlin is the founder of the new resource for piano players, Free Piano Sheet Music. If you wish to submit Your compositions to Free Piano Sheet Music, click here, or send an email to: contactus@free-piano-sheet-music.net

Band Promotion for Musicians - Band Stickers - Internet - Distribution

Bands fail all the time. They fail, not through a lack of talent or because of a mutual decision to pursue other interests, but because of a lack of interest, band recognition and a small fan base. This lack of interest has absolutely nothing to do with the band's musical or vocal abilities; rather, it is due to a lack of promotion. Without promotion and advertising to generate interest in the band, it will fail. This begs the question, how does a band promote itself? Is there a single method of promotion that will work, or must it be a multifaceted marketing plan? Promotion is the most important aspect of becoming successful in the music industry. To accurately promote a band, a comprehensive promotion plan must be created. This plan will encompass many different aspects of advertising and promotion and each one plays a critical role in the success or failure of the band. Without a comprehensive promotion plan, a band cannot expect to garner the kind of fame and recognition necessary to be offered a large contract through by a top music industry label. Without promotion, the only fans you will gain are those who actually get to hear the band play, with no means of gaining a larger audience.

A comprehensive promotion plan will cover many different areas:

It will permit fans to hear a band's music without actually having to present at a concert event. This can be achieved through two distinct methods. Creating a music cd that can be distributed free of charge is a great way to build a fan base. Members of the band can be given an allotment to distribute through their everyday lives. Custom stickers can be placed within the jewel case, allowing fans to promote the band on their own. You can also create music MP3's and host them on the Internet for free download. Both of these methods will allow prospective fans to listen to the band's music in a comfortable setting without having to go to a show.

Use the Internet. The Internet is an incredible promotional tool if properly used. Almost every band has a presence on social networking websites such as MySpace and FaceBook. You can use these to host your free MP3's, let fans request more information and band stickers and bumper stickers. Stickers and bumper stickers can be custom made to meet a band's particular needs through custom sticker printing.

Playing any venue that will book the band, from free shows at a local bar to annual Battle of the Bands competitions held in many cities. The more venues played, the great the number of people that are able to listen to the band's music and see experience their stage show. This allows bands to dramatically increase the amount of buzz generated about the band and boost name recognition in the public.

Possibly the single best promotional tool at a bands disposal are custom printed band stickers. These are an incredibly popular way for people to display their interests, causes, political statements and more. Through custom made stickers and bumper stickers, bands can use their original artwork, graphics, logos or designs that they may want to use. They are created through custom sticker printing and can be found many places on the Internet. Most fans are more than happy to put stickers of their favorite bands on their notebooks, backpacks, in their cars, on bulletin boards and anywhere else they can think of. This allows a vast number of others to see the band's name, artwork and logo designs, increasing name recognition by a large amount.

A comprehensive promotional plan encompasses all this and more. Each aspect listed here dramatically increases the fame and name recognition of a band and contributes to growing the band's fame and fan base. In short, the more people that are aware of a band's presence, the more people are able to listen to and appreciate the band's music and attend concerts. Fans are what the music industry is all about, in the end, and the more fans a band has, the greater the chances that the band will be signed by a music label.

About Author:
StickerGiant was founded in 2000 by an unknown mad scientist named John Fischer and world renowned illustrator Mike Brooks. Since then John has made sure that StickerGiant works to source and sell ALL stickers that represent a myriad of views, Freedom of Expression through Stickers is our motto. Think of StickerGiant as a non-partisan clearing house for the 1st Amendment. We don't write the stickers here, we just provide a place for others to express themselves. Remember, Diversity is what makes America Great!

In case you are wondering, the StickerGiant community consists of Liberals, Conservatives, Jewish, Christian, Muslim, and Atheist. We are a slice of the American pulse and we like it that way. So, stand up for who you are and pick out a sticker that represents who you are. Say it with stickers!

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

Why Is Audio Mastering Important?

If you have read my last article, “What does an audio engineer do when mastering music?” (*see Artistopia Blog post November 9, 2007), you already know what is involved in the professional mastering process. To re-cap what that article said to all who haven’t read it, the mastering process adds polish to your songs and makes them sonically cohesive. A lot of albums are recorded and then thrown on a disc, sans mastering. While this works fine, by no means do I recommend it. There are a few reasons why I wouldn’t recommend doing this.

1. Mastering adds a professional, commercial sound to your songs or album. All of your favorite albums and bands you hear on the radio have had their audio mastered by a professional mastering engineer before it was sent to CD manufacturing facility. This makes sure that you hear all the CD recordings low-end bass, mid-range, and highs crisply.

2. Audio mastering allows another set of ears to evaluate your audio. Having another skilled audio technician listen to you recording is always a plus. They can bring a fresh perspective and ideas to your album production. Your recording and mixing engineers spent hours and hours listening to your music, someone who was not present and has a skilled ear can point out and help better the quality of your finished project.

Audio mastering is a vital step in the recording and CD manufacturing process. This article should help you understand why professional mastering is a step you should not leave out of your next recording project. All commercially released audio CDs utilize the CD mastering process, and you should do the same.

About Author:
Jason Cole and DiskFaktory Mastering offer great services and information regarding audio engineering and CD mastering. Get the professional mastering information you are seeking now by visiting http://diskfaktory-mastering.com/evaluation.htm

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

Master Quality Demos That Sizzle!

As a former talent booking agent with the William Morris Agency and founder of ReelMusician.com, I can tell you that reviewing demos can be both a curse and a blessing. Even as demos pile up on the desks in A&R offices and music industry professionals office floors as well, I can almost guarantee that the vast majority of demos 1) wont have a chance, 2) don't get listened to, at least by the major A&R folks and not through a pres-screening process utilizing college interns, and 3) it might not even be the music itself, but the packaging and marketing colors, etc that are used for the artist press kit that result in the artist contract denial. What makes for a master quality demo? What makes for a master quality demo that will get listened to? These are great questions and I can tell you that a host of folks will have all kinds of ideas and suggestions; I will consider some gut level thinking and ideas that I have mentally compiled through the years that Ive always felt would be an asset not only musically, but from a marketing perspective as well. Hopefully there will be some nugget of truth that you can capitalize on to further your music career and song demos.

As we begin to look at master quality demos and what makes them up, what are your goals and ambitions? The reason I am asking this is because not only does it help to mentally prepare you and help you set goals for your career, but it also helps set the blueprint for where and what your demo ought to be sounding and looking like. There is a big difference in submitting your demo to A&R folks and to the club owner trying to gain playing gigs. But regardless of where you are submitting your demo, you have to exude a professionalism and character of not only your music, but in the credibility of the act as well. That last statement is critical. If your act is perceived as credible with the ball rolling and with some key elements in place, you are much more likely to be 1) reviewed by the actual A&R director and 2) any enthusiasm might snowball down the halls of the record company ultimately landing you a record deal.

But lets get back to your demo. At ReelMusician.com we compile demos for songwriters and for jingle singers trying to break into the jingle singing market and I can tell you from experience, that its difficult to create a master quality demo when the song itself is not master quality song demo material. So be honest about any material you are recording. Is this top 10 if given the chance, or is this a filler, b side song? Yes, you can take a fair song and make it listenable to with a great production, but it still reasons that a fair or b side song cut is still a fair or b side song. You look back through the years at songs that held your attention and were almost mesmerizing and this is before the onslaught of incredible and affordable recording gear. These songs were just plain great songs even without the slickest of todays recording abilities.

As you record, don't rely on a bunch of recording tricks or padding type effects that detract and try to uphold an otherwise fair song. Many individuals with a lot more authority can speak about effects, etc than I, but I will say that less is more, and you ought to be concerned about the quality of the song and production utilizing all effects that are needed and not just effects thrown in there without reason or cause.

Who are using for players on your demos? Obviously if you are a band you are recording your whole group, but if you are a solo act or a writer creating master demos, then consider a couple of options. If money is not an object, then go for the whole rhythm section and keyboard pads, etc. One thing that you need to know and understand is that it is better to use fewer players who are just incredible, than to have the full rhythm section with less experienced players or players that just cant support your song. I remember years back when I was first starting out before all of our TV and radio credits, that for the sake of having a full sound I compromised the overall production for players, while more affordable, not as seasoned and consequently my productions were not as strong until I learned that valuable lesson. And even today, I will choose to use a first string guitar or piano player in lieu of a full rhythm section on projects if thats what the song and production call for. Always get the best musicians It always pays. These players oftentimes have ideas and broaden your production and bring incredible artistical elements that you wouldn't have thought of - Which leads me to my next point.

Keyboards are incredible and there is a vast array of sounds and pads that can be used to create all kinds of emotional tones in your music, but don't get caught in the, I have a keyboard, mic and computer syndrome. Your music will suffer. You want the creativity of other players. They bring the musical magic that most of us, quite honestly, aren't creative enough to capture, but with their experience, and talent, they are able to deliver not only incredible rips, but a professionalism your demo might not never otherwise of had. Utilize the best players possible whenever you can. I can tell you that our demos at ReelMusician.com sound incredible because of our effort in obtaining the best players Get the best!

With a few moments left, lets look at some important final notes and ideas. Don't get discouraged after recording a song you thought would turn out differently. You know, without sounding clich, productions and songs do getter with time and practice. Always look at money spent on demos as schooling. Where would you go to learn the lessons you just learned? From a textbook, of course not. Keep at it; be honest about your writing and productions. Continue to learn from great writers and producers. Listen to great classical writers as well and broaden your next pop ballad string arrangement. Don't be afraid to try new ideas. Get the best players in an affordable, yet quality studio, and hopefully you'll start recording the next top ten hit!

About Author:
Mr Gauger is a former talent booking agent with the William Morris Agency and founder of http://www.ReelMusician.com. You may contact the author at tgauger@reelmusician.com. Free e-books The Jingle Singers Guide, and Secrets To Great Song Demos, may be downloaded at http://www.ReelMusician.com.

Article Source: ArticleHub

How To Make A Winning Press Kit

Before I start talking about what to include in a press kit, I want you to stop and think about something. I want you to put yourself into the shoes of an A&R scout or any other industry person. Just for a moment, try to imagine how many press kits these people receive. Just keep that in your mind.

Now, let’s pretend you are that A&R scout. Imagine yourself standing over your desk with stacks of press kits. You finally have 10 minutes to grab a press kit, look through it and listen to a song or two. Are you still imagining this? Ok, select a press kit. Go ahead and envision yourself doing this. Which press kit did you grab? Was it the one with the big, obnoxious writing? Or was it the one with the cool band name? Wait, was it that envelope with all those stickers on it is screaming to be opened. Which press kit do you think that A&R scout would’ve grabbed?

Always remember how many press kits these industry people receive. When you put yours together, think of ways that yours will stand out. It needs to draw attention to itself. It can stand out because of its professional appearance, its off-the-wall presentation, well organized appearance or from the envelope it came in. It’s up to you to come up with a press kit that gets chosen.

But before you get too wacky, remember that you are trying to work with the label, booking agent or manager. Be eye-catching but you also have to be professional. These people need to make you money, but they also need to make themselves money. Make sure they see personality, professionalism and marketability.

Ok, let’s go over what you need in your press kit.

1. Cover Letter – This should go out with every press kit. You should address the letter to the person you’re sending it to. It should contain no more than 2 paragraphs, explaining why you are sending the press kit. Is it to get signed, get a review, get a booking agent or get radio play? Let the person know your intent and give a few reasons why you think they would want to work with you. Again, keep it short and to the point.

Also, if you have a manger, he/she should be the one who writes the cover letter. They should date and sign the letter, as well. Make sure it contains their contact information.

The letter should be attached to the outside of your kit with a paper clip. It should be on the front of the folder that contains the items of your press kit.

2. Bio – This is one of the most important parts of your press kit. The bio (biography) needs to contain information that makes someone interested in listening to your music and interested in working with your band.

To me, the first paragraph is the most important part of the bio. It needs to intrigue the reader. It needs to capture the reader’s interest. Make them want to read more.

Make sure the person reading the bio knows what your band sounds like. I always find it helpful to include well-known bands that you sound similar too. This usually will help label the genre of music you play. There are a million genres of music out there so listing a few bands that you sound like helps the reader.

List the band members, their ages and what they do in the band. Briefly explain how the band came together. If the members were in more popular bands, list those.

Try to express the band’s uniqueness. That can be in the form of your live show, lyrical content, look, sound, online marketing or whatever else. There are a million bands that sound like this or that but what makes your band different?

Tell the reader what projects are coming up and what you’ve done in the past. Briefly talk about your bands accomplishments.

A rule of thumb that I always believed in was that you always want to make your band seem bigger than they are without lying. Most of the claims you make in your press kit can easily be looked up. If you claim you’ve sold 5,000 CDs but you have no tour history and you’ve only sold 20 CDs online (SmartPunk, InterPunk, iTunes), then something doesn’t add up. Hype up your band but make sure you have the facts to back it up.

Include quotes from industry people. That includes your manager, booking agent or producer. Incorporate the quotes with the topic of the paragraph. Don’t get carried away but a few quotes from the people that work with you will show you have contacts and that people want to work with you.

3. Photo – Always include an 8X10 photo of your band. You can use a color or black & white picture. If you are sending it to a newspaper, always include a black & white picture, just in case they want to print the picture.

Also, make sure the picture represents your band. If you are an indie rock band, you don’t want to be wearing all black. If you’re a metal band, you don’t want to be holding flowers, wearing polo shirts. This is your first (and sometimes, last) impression to make on the person looking at your press kit. First impressions mean a lot.

4. The Demo – Most sources tell you to include a demo with no more than three songs on it. Well, if you have a pressed CD, go ahead and send it. But most people reading your press kit won’t have time to listen to the full CD or search for your best songs.

I would also include a three song CD-R of your most marketable songs. This is a quick reference CD. If they like what they hear, they can easily access the pressed CD to hear more. If you’re low on CDs or your budget, you can just send the three-song demo. But, I recommend sending the pressed CD.

If you have an EP, there is no need to include a CD-R. Just use a white label and stick it to the CD itself. And then list your three suggested songs. Again, most industry people are short on time. This is your chance to tell them what songs are your most marketable. But make sure that first song is your most marketable song.

Make sure you put your contact information on the demo! I can’t tell you how many bands forget that. You have to realize that your CD will end up on a desk, mixed with other demos. Label everything.

Make sure your songs are professionally recorded. If they are just garage demos, then your band isn’t ready to send out press kits.

You want to have your three most marketable songs on your demo. One big tip for selecting your three best songs is to have your friends/fans give you a list of their favorite three songs. Bands are HORRIBLE at selecting their most marketable songs. The fans are the ones that will buy your material, anyway, not you. Fans are usually the best A&R scouts. They know what they want. After all, they are your fans because of your music.

Make sure that first song grabs the listener’s attention within seconds. No one has time to listen to a 30-second intro. So many bands make that mistake.

Another thing that helps with saving time is to take the plastic off your CD. The people that review press kits have limited time. Save them time by having your CD open and ready to go. I LOVE that.

5. Fact Sheet - This is a new addition to the modern press kits. The fact sheet gives the reader a quick reference to your bands accomplishments. It includes tours, album sales, big shows, festivals and radio play (internet, college, FM). Bullet points should be used. Don’t lie about your information. Also, laminate the fact sheet to make it stand out.

The fact sheet is optional and should only be used if you’re an experienced band. Otherwise, the empty space will make your band look green.

6. Press – Include any press (newspaper, magazine, internet) that your band has received. But include no more than 3 press clippings. Always include the whole article. Also, make sure the articles are copied with high resolution so they are easy to read. If you have more than three press clippings, include the ones from the biggest publications and the most recent. If it takes more than one piece of paper, staple the press sheets together.

If you have limited press coverage, include CD reviews in your press kit. Any press is good press.

7. Organization – You don’t want the person that opens your press kit to see a jumbled mess of papers and pictures. You don’t want them to wrinkled, either. You want everything to look professional.

The easiest way to do that is presenting your press kit in glossy pocket folders. Don’t buy the cheap, flimsy ones. I think the price difference is about .30 cents for the cheap to more sturdy ones. It’s worth it.

8. Presentation – If you have a band color scheme (such as your album cover), try to make your press kit go with that. It’s easy to buy a folder that matches your album artwork. You can even create a header for the pages of your press kit that matches.

Be creative. Make your press kit stick out. First impressions can help (or kill) your band.

Keep everything organized, as well. If you have to staple pages with the same theme, do it. For example, the copies of your press clippings should be stapled together.

9. Proofread – Make sure you re-read your press kit several times. Have your friends and other band members re-read your press kit. Look for grammatical errors. No, this isn’t an English test but you do want to look professional.

10. Label Everything – Believe me when I say that once your press kit is opened, it’ll never be put back together again. You may have your CD in the person’s CD player with the bio on the floor and the press photo on the desk. Put your band’s name, contact info (email, phone number) and website on everything. I can’t tell you how many blank CD-R’s that I have on my desk, right now. I have no clue what band they came from.

11. Envelope – This could be the single most important thing about your press kit. Do you know why? It’s the first thing the potential industry person will see. Go back to the first few paragraphs. Do you think the A&R guy will pick a manila envelope when there are a hundred on his desk? Or will he pick that one envelope that sticks out amongst the rest? I think you know the answer.

Just use a little creativity. Don’t go overboard but be creative. I know a band that spray painted their press kit, hot pink. Now, that did cause the paint to rub off when you touched it but it did make the press kit stand out.

You can use stickers, markers, colors or whatever else you can think of to stand out.

12. General Information – Sending your press kit out without contacting the label/person is usually a waste of money. Now, I’m not saying that the person won’t eventually get to your press kit. But I would estimate that about 85% of all press kits never get opened.

Make sure you follow each label’s press kit submission policies. Most indie labels have their submission policies on their website. You can go to our links section to get a link to the major indie labels.

I understand that it’s hard to get an email contact with A&R scouts. A simple google search can reveal several of them. Don’t hesitate to email the label and ask for an A&R contact and/or permission to send your press kit. Once you establish contact with someone at the label (or magazine, newspaper, etc.), the person will most likely look for your press kit. Also, most major labels don’t even accept unsolicited press kits.

After about 2 to 3 weeks of sending out your press kit, do a follow-up call/email. Be patient and courteous. Take any constructive criticisms you get in stride and use it to improve your band. But don’t take anything personal. There have been many, many huge bands that were passed up by several A&R scouts. It’s just one persons marketing opinion. Just because I don’t see potential in a band doesn’t mean there is someone higher up in the chain that does. Don’t give up!

About Author:
Tim Towner - I've been in the music business for almost 6 years. I've toured, managed, tour managed and do A&R scouting for labels and other industry people. http://www.thedailychorus.com

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

Getting More Gigs - It's All In The Planning

The idea of "promoting" or "selling" your band instead of using an agent can strike fear into the hearts of many musicians. Somehow we feel it's not right to have to get out there and push ourselves - but self promotion can work.

When people ask about the best way to tackle gig-getting I always stress the importance of planning and organizing. Get these wrong, or don't do them and you're wasting your time. Whether you're a seasoned performer who wants more work or someone who's never performed in public, you need to do this groundwork before you can really make things happen.

Any successful salesperson, before they talk to one potential customer, will work out and understand exactly what's different about their "product" versus the competition. This is exactly what you should do before you try to promote your band.

1. Work out what's different about your band

* Search Google for "Manchester thrash metal bands" or whatever is relevant to you. Explore the band websites you find. They'll tell you what the other band consider unique about themselves. Many list song titles and mp3 clips which can be useful in understanding their musical direction and the band's ability versus your own.

* Make sure your band keeps their eyes and ears open for bar and club notice boards while out and about. Check the entertainment section of the local papers and the music press for ads and reviews and study the notice boards at the musical instrument stores you visit.

* Try to go and watch the other bands you find. Check the venues you want to play and the quality level you'll need to reach. Watching your competition live will give you ideas on the way to sell your band.

* Don't be put off if your competition seems "too good". They will have weaknesses if you keep looking. Perhaps they weren't good at relaxing the audience with some chat in between numbers? Or maybe, despite their technical ability, their material was all too similar?

* Compare the various parts of your band with what you've learned of others.

List down the basic features of your band:

- Numbers of people in the band - Instruments played - Band and individual members musical history - Ages - Where you're based - Where (if anywhere) you've played before - Type of material.

Be honest, if you're balding and have a beer gut list that down.

* Ask yourselves: "What are the best and worst features of our band/act?" If you've played live you should have some useful audience comments to draw on here. If not, let friends watch you rehearse and ask them for honest feedback on what you do and how you could be improve.

* Use this information to answer the question: What sets us apart from other bands of the same type? Ideally you should be able to condense your response into a one liner. For example:

"A wide range of pop and rock covers with great audience interaction"

* If you don't find anything distinctive enough, look at each of your weaknesses and decide how you could overcome them. Could your introverted singer be helped by a more sociable band mate contributing some one-liners with the audience between songs? Should the narrow appeal of your original metal material be widened by including a couple of rock covers?

2. Draw up a long list of potential venues

The more people who see you play the more chance you have of getting booked somewhere else. Like many things in selling it's a numbers game Aim for at least 50 venues to target.

* Start by using the "Gigs" sections of the other band's websites you looked at and those other venues you found while checking out the competition.

* If you have a local hotel which is part of a well-known chain it can add credibility to your band's "CV". Hotels can be quiet at weekends when the usual business people aren't around. Could a live band help them bring additional drinkers into their otherwise empty bar? You can also get yourselves on the "wedding entertainment list" for couples who have their bashes at the venue.

* Festivals and fairs can help generate initial exposure and if you have kids at school (or you know someone who does) get the local PTA on your list.

* Private functions & parties will naturally come your way as a direct result of playing other gigs (pubs, clubs etc)

3. Agree your gig-getting goals

* Agree how many gigs a month you all want. If you don't, and have to cancel bookings due to other commitments it's embarrassing for you and it will make you seem unreliable.

* Set goals for the numbers of venues you'll approach each week and stick to this. You'll get plenty of "Thanks but no thanks" for every time someone hires you, but the euphoria of each "Yes" will drive you on.

* Create a year-to-view calendar with a copy for each band member. Circulate via Email as soon as it's updated with another booking. Keep it with you at all times and in front of you as part of your tool-kit when you're on the phone to venues. Once you become active getting your name around, venues will call you to see whether you're available on certain nights. Some will have you on a reserve list and be calling when another act let's them down for a particular date. At this point the venue manager goes down his list calling each of those bands on his "reserve" until he finds one who's available. Its first come first served in those circumstances.

* You shouldn't have to go out for next to nothing but in the beginning you will need to build a track record and gain exposure. You could offer a reduced "Trial price" to reluctant venues on the understanding that this will be reviewed (upwards) for further gigs. Until you're built up some valuable gigging experience, a reputation and a following, think of early gigs as a means to an end. Something to get you in front of as many people as possible.

* Keep accurate and detailed record of your gig-getting efforts. Every conversation you have with potential venues and follow-up actions needed. Let your professional attitude feel like a breath of fresh air to the busy manager used to having to deal with disorganized amateurs or faceless agents.

About Author:
Gareth Bird is an active semi-pro musician who gigs regularly at venues like the Hard Rock Café. He has his own Sales & Marketing business advising a number of leading UK companies and is the author of Gig-Getter: How to get more gigs than you can play. Gareth writes for Bass Guitar Magazine about getting gigs and has been featured in a number of other magazines for musicians. http://www.gig-getter.co.uk

Article Source: http://www.goarticles.com

Say "Oops" And Get On With It!

I once taught piano to a woman who was, in many ways, an outstanding student: talented, intelligent, hard-working. At first, she impressed me as someone who had everything going for her. Then, as the pieces got harder (when mistakes become inevitable) a very different person would emerge.

It would typically go something like this: She would start to play the piece I had assigned her and everything would be fine. But the instant she struck one wrong note she would let out a gasp that sounded as though someone had just landed a serious punch to her midsection.

"What's wrong?" I asked her the first time it happened, thinking I should call 911.

"Didn't you hear? I made a mistake!"

Then she would continue on, so distressed that her rendition was now "flawed" that the one mistake would snowball into ten more. Nothing I told her about mistakes being a necessary part of learning ever seemed to help. In time, I came to realize that, despite all her musical gifts, this woman never, ever seemed to enjoy her music. She was too busy being fearful for mistakes to come, bitter over those that already had.

True, most musicians do not begrudge their every wrong note to quite this extent. But many do focus too much of their attention on mistakes and attach too much importance to them. Our over-concern robs us of enjoying ourselves when we play, distracts us from appreciating that which we really did play well, and distracts us from playing the rest of the piece as well as we could.

Try this: The next time you play something wrong, just say "oops" and get on with it. Don't curse, don't hit yourself or chastise yourself. Don't blame yourself or the poor lighting or some mechanical problem with your instrument. Just say "oops," forgive yourself, fix the problem, and forget about it. Some may respond, "What? Forget about my mistakes? That sounds like a cop out to me. How will I ever improve?"

Actually, saying "oops" is the best thing you can do if you want to improve. For one thing, I did not say we shouldn't address our mistakes. By all means fix them. But don't punish yourself for making them. Furthermore, the more you continue to focus on your human imperfections the more distracted you will become by them, and the more mistakes you will make. Instead, just fix and forget.

Playing music is a complex process that calls upon our skill, experience, coordination, knowledge, timing, reading, creativity, and more. It interconnects our eyes, ears, muscles, breath, brain, and soul. Distraction, apprehension, regret, and lowered self-confidence over a few mistakes, or even more than a few, are the last things we need. If you learn to belittle your mistakes to the point of feeling nonchalant about them, you will make far fewer of them - and you will enjoy yourself a whole lot more.

About Author:
Musician, author, and educator, for over 25 years, Stan Munslow holds a BM from Berklee College of Music. His new e-book, "Getting Good, Getting Great: What the Best Players Know" reveals 88 secrets of greatness from the world's top musicians. This collection of wisdom, practical tips, inspiration, and musician's life-smarts is for all musicians, no matter what instrument and style of music you play, or what level you're at. Read why Grammy-winning songwriter Bill Harley says, "Enough to keep you playing and growing for a long, long time."

To learn more, just send a blank email with "GGGG Info" in the subject box to: themusicspa@verizon.net

Visit Stan Munslow's web-site for musicians "with success on the brain": http://www.musictipsonline.com

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

What Software Should I Use to Create My CD or DVD Artwork?

After recording your album, having it mastered and pressed, you head over to your disc duplication facility’s website to place your order. Reading up on the ordering process you notice that you have the option to have artwork printed on the disc face, and can also have tray card and insert artwork printed. This is a great idea, as it allows you to give your project a more professional look and feel. You can either hire a print designer, who will hopefully already know all of the proceeding information. Or you can have a go at it yourself, utilizing one of the many different graphics creation programs available. If you are choosing to create your own artwork, read on.

There are many different programs out there that can be used to create print artwork. One of the more popular programs is Adobe Illustrator. Adobe Illustrator is a vector based drawing program, available for both PC and Macintosh computers. You could also use, CorelDRAW, Paint Shop Pro, or even Adobe Photoshop. I will go into a little bit more detail about what the differences are between some of these programs later on in this article, and why some of them are better suited for print design. Here is a list of 3 terms you should be familiar with before starting your artwork project.

1. Raster Graphics
Raster graphics are also known as bitmap graphics. This form of graphics image is a data file or structure representing a generally rectangular grid of pixels, or blocks of color, on a computer monitor, or other display device. Think of a raster images as a checkers board, with each square (pixel) on the board displaying a different color. This collection of colored dots (pixels), in turn form the full picture. The quality of a raster image is determined by the total number of pixels (resolution), and the amount of information in each pixel. Raster graphics are practical for photographs and photo-realistic images because of the way that they display images. Pretty much all photos you will find on the internet, and all photos you take with your digital camera will be raster images. You may want to use photographs for your CD or DVD’s artwork, but you must mind a few certain things:

A. DPI
I will go into this a bit further in the “DPI” section of this article. In a nutshell, any photograph that you would like to use for print must be 300 DPI (dots per inch) or higher. DPI refers to the density of pixel information in a photograph.

B. Color Mode
There are two basic modes of color: RGB and CMYK. All you need to know really is that all print artwork must be created as a CMYK document, as this refers to the colors of ink that a printer uses to recreate your artwork. If you create your artwork as an RGB document, the printed document will most likely shift in color. For more info on this, please refer to my last article. What do you need to start a CD duplication project?

2. Vector Graphics
Also known as geometric modeling, this form of graphic uses geometrical primitives such as points, curves, and lines to represent images. Instead of displaying blocks of color to represent a photo vector images rely on set points to determine the outline of an object, using mathematical formulas to determine the curve of the lines between said set points. Vector graphics are ideal for simple or composite drawings that do not need to achieve photo-realism. I suggest that you used vector objects for all of your artwork’s areas that are not photos.

3. DPI
Dots per inch, (DPI) is the number of individual dots of ink a printer can produce within a one-inch space. This translates as, the higher the DPI, the sharper the image. Although, most commercial printers will tell you that anything over 300DPI would be considered “print-quality”. I recommend that you make sure that your artwork is at least 300DPI, with 600DPI being the optimal setting for your artwork.

After all this technical mumbo-jumbo, you’re probably scratching your head, still unsure of what program to use to create your artwork. The truth is you can use pretty much any graphics program to create your artwork, providing that you correctly set the DPI and color mode of your document. Personally, I usually use a combination of Adobe Photoshop & Illustrator to do all of my print artwork. I edit all bitmap images in Photoshop and create all of my vector content in Illustrator, combining the two in Illustrator. My advice is now that you have the basic background knowledge, experiment to figure out what works best for you!

About Author:
Jason Cole and DiskFaktory offer great tips and information regarding CD Duplication. Get info about DVD Duplication as well by visiting Our Tips & Tutorials page

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

A Guide To Finding CD DVD Replication and Packaging

We have come a long way from the time when only professionals could replicate CDs and DVDs. With the advent of blank media and the technology to duplicate it or burn it, almost anyone can now make their own CD. The ability to place digital media on a disc has changed how we both use and view this type of media today. It has taken only a few years for CDs to take over the spot once exclusively held by cassettes. Video and music cassettes are becoming dinosaurs before our very eyes. In time, our children may even view them like we used to view vinyl records and 8-tracks!

But where do you find CD and DVD replication and packaging services? Any large city worth it’s salt will have these types of duplication services. It is also very easy to find companies on the Internet that do this kind of business, and in fact, specialize in it. The world of CD and DVD duplication is wide open with many options for businesses and individuals.

For companies that simply need many CDs or DVDs replicated, there is a thriving market for duplication towers that don’t need a PC to be operated. They are the perfect choice for a business that needs to copy a lot of media without all the fuss and expense. Any good computer or large electronics store should have this type of hardware, and if not, should be able to point you in the right direction.

If you are in the music or video business and want to replicate your CD or DVD for sale to the public, some very good companies that oversee the entire process, from replication to artworks and graphics on the CD to creative packaging options are common. They specialize in helping those in the entertainment industry. They provide the technology needed for this service. Instead of burning the CD or DVD, they use a more permanent “glass press” method. They also have the creativeness to make the CD a custom design with mass appeal. They also help with the packaging so that it stands out from the rest.

Perhaps the advent of all these businesses that replicate and package CDs and DVDs mean that just about anyone can now produce their work and have it copied for friends and family or on a much larger scale. This is a great way for independent musicians and others to have an outlet for their work so that it will be heard and seen. It can have a professional look that will impress people to give it a listen or look-see. For people who are serious about their career in the entertainment business, this could not be better, and the good news is that you don’t have to look far to find a company that will do the job right.

About Author:
Bob Hett offers simple and concise information for those interested in CD and DVD duplication. Get the answers that you are seeking at http://www.cdduplicationcenter.info

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

A&R Reps and Record Deals

Oh, everyone seems to be chasing that elusive record deal or are at least trying to figure out how to get signed. Unfortunately, there is no one way to get a record deal. The good news is that if you are truly talented and you work hard then you may eventually get some kind of deal. A lot of people would say that when it comes to how to get signed, timing is everything. Being at the right place at the right time is crucial, it doesn't always seal the deal.

One surefire way to get noticed is to attract the attention of the notorious A&R people. It's a fact that all labels have A&R departments. They are the scouts of the music industry and they are always looking for bands or artists to invest in. Once you have impressed the ever-so sought after A&R man, then they become your liaison meaning they basically oversee everything from songs, to monetary allocation to touring. But when it comes down to it, these are the guys you need on your side.

But that was jumping ahead just a bit. A&R guys usually have some form of mental checklist when they are scouting bands and it probably goes something like this:

1. How strong are this band's songs?

2. How is the live performance?

3. Do you fit into the genre they are scoping out?

4. Do you have that style and appeal?

5. How is the audience responding to you?

6. Most importantly, will your music sell?

Your line of attack when approaching A&R needs to be planned out and to the point. Give or play your demo and invite them to a gig. Make sure that demo is impeccable because more than likely they are only going to listen to a very tiny portion of it. If they liked it, then they just might show up at the performance. Keep in mind that this gig needs to be an impressive one. Make sure you have a fan base there and a good vibe going with the crowd. This is crucial because you not only want to sound good, you want the crowd to be into you as well.

No matter who you are if you are wanting to know how to get signed or how to get a record deal then take to heart the tips offered above. A&R reps are not the only way to score a record deal but they are most definitely one way and it is a way worth trying more than once. There are tons of labels out there and even more A&R reps so get to work and the first place to start is with an awesome demo!

About Author:
Ty Cohen is the owner of Platinum Millennium publishing, a former record label owner & national music industry seminar speaker/panelist. Author/creator of best-selling music biz books, courses, audio products & "How to" resources that helped 1000s. Go to http://www.EZRecordDeal.com for more info on how to get signed, how to get a record deal, record deal.

Article Source: http://www.articlesbase.com

Audio Effects – Reverb & Delay

Audio effects, we all know what they are, sort of. They are used to manipulate audio in ways that are not available with traditional playing and recording techniques. If you’re like me, and enjoy dabbling in audio production, you’re probably familiar with all the basic effects. Reverb is one of them, and probably the most easy to explain; it adds space to your audio. Delay on the other hand, is a little bit more difficult to explain. Again, if you’re like me, you want to fully understand how these effects work, so that when you go to use them you know them inside and out. Today’s article we will be discussing reverb and delay, how they work and why they work the way they do.

Reverb

Sound produced in an enclosed space, reflects off of surfaces and blends together, creating reverberation (reverb for short). So, basically, reverb is the reflection of sound waves from a solid surface to our ears. It is most easily identified when the sounds stops, but you continue to hear the reflections as they decrease in amplitude. Large rooms or chambers are some of the best producers of natural reverb. There are a few different types of electronic reverberation mechanisms that produce reverb artificially. There types are:

1. Plate reverberators – This type of reverb uses large metal plates suspended by strings, which are in turn inside of damped cases to manufacture the effect. Transducers are used to apply a signal to the plates, and electronic pickups are then used to convert the plate’s vibrations to an electric signal.

2. Spring reverberators – These reverberators are similar to plate reverberators, except instead of using plates, springs are used instead. Spring reverberators are often integrated in instrument amplifiers, and are considered to be the most artificial sounding reverb types.

3. DSP reverberators – DSP reverb units use signal processing algorithms to create the reverb effect, using long delays, envelope shaping, and other processes. This type of reverb is the most widely used and the most flexible form of reverb.

4. Chamber reverberators – This is the most “natural” form of reverb, but can also be made artificially. Chamber reverb is basically a room with solid walls, a loudspeaker at one end, and microphones at one end. The audio is played through the loudspeaker, bounced off of the walls, and then recorded by the microphones.

Delay

The basic delay effect records an input signal, and then plays it back after a set period of time. The first wave of delay used reel-to-reel magnetic recording systems and tape loops to produce the effect.

1. Analog Delay – This was the first type of delay employed in the audio engineering field. One type of analog delay unit used magnetic tape as the recording and playback medium. Motors would guide the tape through the device, with different mechanisms modifying the effect’s parameters. The tape used in this type of delay would break down after a while, so the tape would have to be replaced from time to time to maintain fidelity of the audio. Other types of analog delay used magnetic drums, or spinning magnetic discs instead of tape as a storage medium for the audio information. The main advantage to these types was the increased durability of the storage medium.

2. Digital Delay – This type of delay unit became popular in the late 1970’s. But, at the time, were only available in the form of an expensive rack mounted unit. The BOSS DD-2 changed that in 1984, as it was now available in the form of an affordable foot pedal. Digital delay works by sampling the piece of audio being processed, recording the bit to a storage buffer, and then playing back the bit of audio based on the parameters set by the person using the unit. There are many different types of digital delay units that offer different digital signal processing options, so I can’t really expound on anything in that area. But in my opinion, digital delay effects units seem to be the most powerful and flexible of the two types. Many guitar players use this effect, although some people believe that digital delay sounds a bit artificial compared to its analog counterpart.

This is the first part in my continuing series on audio effects. I’ll be covering some of the more standard effects first, like today’s subjects, and then move on to the more advanced effects later on. I hope that this shed some light on the subject, making your next foray into audio recording or editing a little easier and more fun.

About Author:
Jason Cole and DiskFaktory Mastering offer great professional mastering services and information regarding audio engineering and CD mastering in California. Get the professional mastering information you are seeking now by visiting http://diskfaktory-mastering.com/evaluation.htm

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

Article Series – Music Creation: How To Write A Hit Song

Writing a hit song can be a daunting project for the new songwriter. Assuming that he has mastered the initial technique of composing a lyric, melody, or both, there are still a few points that he should be acquainted with before he is ready to present his song to the publishers. Among the questions that may be in his mind are: "When starting a song, shall I begin with the lyric or with the melody?" "If I can only write lyrics, or if I can only write the melody, where shall I find a collaborator?"

Very few songwriters, including the professionals, are capable of writing both lyrics and melody. As a general rule, the songwriter may either have a special talent for writing lyrics, or be a natural composer. It is only on rare occasions that one comes across a songwriter who combines both talents and is able to do both jobs equally well.

The new songwriter who believes that he has a flair for both words and music should make a serious attempt at honest evaluation to determine whether or not he has more talent in one field than in another. If he finds that this is true, he should, of course, specialize in the particular field in which he shows the most ability.

There is no set rule for starting a song. This depends entirely upon the individual's work habits, the source of initial inspiration, and many other factors. In writing the lyric, it is quite common to start from the title, or from an idea offering a new slant on the treatment of a familiar subject.

The original idea may come from any number of sources. For instance, the following true story is often cited to show how a good title may be inspired. Some years ago when Rodgers and Hart were in Paris, they were riding with a girl in one of the famous pre-war French taxi-cabs. Suddenly the taxi skidded and headed straight for an oncoming car, swerving just in time to avoid a head-on collision.

As the three passengers picked themselves up from the floor of the cab, the girl caught her breath and said, "Oh, my heart stood still!" Rodgers looked at her thoughtfully for a moment and then said to his partner, "There, my friend, is a swell title for a song." When My Heart Stood Still finally appeared in "The Connecticut Yankee," it became an overnight hit.

With very few exceptions, the average successful song is the result of collaboration between two, three, or even more, lyricists and composers. Occasionally we will come across an Irving Berlin or a Cole Porter who is equally adept at words and notes, but this is the exception rather than the rule. The old saying, "Two heads are better than one" can be applied particularly to the field of popular songwriting.

Some composers and lyricists prefer to "shop around" for collaborators, feeling that their songs might become stereotyped if they team up steadily with any individual. However, Tin Pan Alley has made "the song-writing team" famous and some of the best-known songs are the result of this type of collaboration. Some of the well-known teams are: Harold Adamson-Jimmy McHugh, Richard Rodgers-Lorenz Hart (since Hart's untimely death, Rodgers has been teaming up with Oscar Hammerstein II). Some of the old-timers were: Leo Robin-Ralph Rainger, Harry Warren-Al Dubin, and Mack Gordon-Harry Revel.

There are quite a few factors, in addition to natural ability, that are required for a successful songwriting team. The two songwriters must not only be able to "click" perfectly on lyric and music ideas but they must be able to get along with each other temperamentally. Quite a few songwriting teams have "blown up" because, even though they were able to turn out a steady stream of hit numbers, they could not get along with each other as individuals.

Considering the above points in writing a hit song, although not exhaustive, will be a very good start for any beginner songwriter. The most important thing, though, is once started, keep going!

About Author:
Jimmy Cox - Long Lost Manuscript Resurfaces With The Underground Secrets On How To Write A Hit Song And Collect All The Royalties! FREE online Ebook http://www.howtowriteahitsong.net/

Article Source: http://www.goarticles.com

Article Series – Music Creation: 2 For 1: Putting Your Music To Video

DIY Music Video – Do It Yourself!
With the falling price of digital video cameras and the rise of PC video editing software, producing your own music video is definitely something most every musician can afford to do these days. All you need is a DV (Digital Video) camera, DV tapes, a location to shoot at, a PC, editing software (ala Adobe Premiere), and well, a band! Here’s some info and tips regarding the important pieces of equipment you’ll need.

1. Camera – You’ll be better off buying a DV (Digital Video) camera, they’re best for digital editing, later on. Decent DV cameras go for anything between $400 and $1200, and the tapes are around $8 a piece. One camera that I have used personally is the Canon GL2 MiniDV Digital Camcorder. I had nothing but good experiences with this camera. There are preset settings for the novice user, and at the same time it was very fine tuneable, for the experts out there. Make sure that your camera will shoot in progressive scan mode. Progressive scan is a particular method for displaying images, in which the lines of each frame are drawn in sequence. This will reduce the amount of flickering and increases resolution of the video you are recording. Most cameras come with microphones attached to them, but you probably don’t want to use the audio that will be recorded by the on-board mic as it will be pretty low quality. I suggest picking up a minidisc recorder, run all your instruments into a mixer that is plugged into said mindisc recorder.

2. Shooting – You can shoot your video anywhere, and hopefully you will take advantage of that fact! When editing your video, you will be telling a story. So varied locations would be excellent. If you can, storyboard your video out before you begin scouting locations or shooting. It makes thing 1,000,000 times easier, trust me. One other thing I would recommend would be to make sure that you have adequate lighting. Normal indoor lighting is not picked up by the camera the same way your eye picks it up. I would suggest picking up a book about the basics of video lighting, if you can. But if that is not a possibility, remember one thing, more is better.

3. Editing – You’re going to need to pull your video footage off of your camera onto your computer. Most DV cameras come with a USB cord which will allow you to do just that. You can use the proprietary software that comes with your computer to do that, or you can buy editing software which will do the same thing. Most PCs that have Window XP installed come with Windows Movie Maker. This is a great program for beginners, it allows you to pull footage off of your camera, and then edit said footage. But it doesn’t come with very many editing features. So the more advanced editors might want to plunk down some cash and buy Adobe Premiere, which is a super flexible video editing program with a very steep learning curve. The advanced Mac users out there might want to check out Final Cut Pro.

Now that you have your edited footage, you’ll want to output it onto tape or disc. The easiest thing to do is to burn it to DVD, which most editing programs will have a feature to do this. Once you have your video on DVD, the possibilities are limitless! I hope this article helped understand that music videos are now not just for the pros, anyone can do it yourself!

About Author:
Jason Cole and DiskFaktory Jams offer free MP3 downloads and music lyrics. Get the information you are seeking now by visiting DFJams.com.

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

How to Create Your Own Music Video
Once an actual song has been written, played and recorded, the video should be the easy part in comparison. Music video’s are just a short film which can involve shots of the singer constructed together to either form a short story about the song, or give a person something entertaining to watch while listening to the music.

Generally they are just used as a marketing device to promote either the band/singer or the song involved. Most songs are only a few minutes long, so creating footage for it shouldn’t be too difficult or challenging in comparison to a two-hour documentary about Big Foot.

Music video’s can be created with a variety of media from animation, live footage or even abstract. If you are considering making one, it should be the medium that you are most comfortable with.

Animation might be easier, but only if you have the programs and know how to use them. Without having to worry about lighting, cameras and people, animation is probably the easiest route to do, as the only real person involved, once you have the song, is the animator. You can decide what you want and have full control over how you want it to look.

In production, getting the right equipment is going to cost a person. However, there are some places, with a bit of research, where you could probably loan the right tools necessary. Standard equipment would include camera, sound and lighting equipment.

Having sound equipment might seem a bit strange, as you are probably going to just play the song over the video. However, if the movie is going to be story based, think how odd it will be for people to be walking without hearing their shoes tap on the ground. There are a lot of general noises that a person wouldn’t think were there until they are not.

A location for the shoot can also be problematic if it is a public scene. In some parts of the world, you would need to get permits for a film to be shot. Especially if shooting the film will cause a roadblock or be disruptive to the general public.

The angle of the camera needs to be taken into consideration, as well as how to get the angle. An overhead shot, will have to be taken from a point of height, so a ladder or access to a second story of a building would help. To capture footage of a person walking is easier done if the camera is on some type of wheel device. This makes the camera movement smooth, instead of if being moved up and down with the person who holding the camera, while walking backwards.

Although the music video, once completed, might only be a few minutes long, the general idea when taking footage is an hour worth of footage for a minute’s worth of video. Editing is also something that people new, to the industry of film, always forget about. But it is the editing that probably is the most important aspect.

It is here where if any special effects need to be created, are made. Colour, lighting and effects are all done in this step. Decisions on how to go from one shot to another needs to be considered, as well as any text that needs to be used.

There is no real way of making a simple music video. This is only the technical side of things that need to be taken into consideration, but they are just the basics. Any singers or actors starring in the movie need to consider their positions, their movements as well as what they are wearing.

The whole process needs to be thought out from beginning to end. Although music videos can be created without spending too much, just remember that once the video has been made, the real job of promoting the song begins.

About Author:
Celeste Yates is a reviewer for popular UK Music Video portal, Vidzone where you can download free music videos.

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

Article Series – Music Creation: Artist Managers and Booking Agents

As a former talent booking agent with the William Morris Agency, I am always amazed at either the scope and talent of an artist’s business team or the why and how an artist exists within the mediocre framework which they are operating from. And believe me, I’ve seen plenty of both. It would seem that many managers fall into these positions, like in many fields, not out of genuine talent or know-how, but by mere presence alone – They were friends of the artist or a brother to one of the members of the act and so forth. If a manager, important at every turn of an artist’s career, is so important, than what exactly is it that makes up a good manager or booking agent?

Most everyone thinks of contacts. No doubt that contacts are important in this business. The thinking is – “Just as long as they act like they know what they are doing and talk a big game dropping some names along the way,” than they must “know” what they are doing and they can get the job done – Or can they?

Many a talented and well-known manager today got into the field, yes, because they knew an individual in the act, but the big difference in their particular operating style, is that they had drive and authenticity and still do today. They got the job done, and still do, because they were approachable, authentic, and had the vision to see the end result. Many a manager today just drools all over the potential end result without the authenticity and approachability that is needed to maintain crucial and vital career lifelines along the way. Artist career pathways are much like a product off the grocery store shelves – There’s a product life expectancy, and the marketing exec’s and everyone else know this. Same in the music industry with a few exceptions as there are in any business.

While we’re addressing artist management, have you ever asked yourself the question – “What makes up a good artist manager? or Who can truly get the job done for me?” Another way to say it is, “I want a record deal with some industry success and who can take me there?” While obviously not guaranteed, and any authentic and honest manager will tell you this, that not every deserving and incredibly talented individual or act makes it – And we’re not talking to the top, but even to the small break or single CD release. This hit or miss approach has frustrated many a well-intentioned artist along the way.

Let’s take a closer look at what is helpful and what might give you some clues to what a potential manager looks like and what he or she can and should be doing to get the job done.

As already mentioned, some immediate traits that you should recognize when talking with potential artist managers are authentic, honest, approachable, creative, thinking of your absolute best and not their interests, qualities. And these qualities ought to exude from who they are and not a put-on, or faked front. Great managers never promise, but deliver. Don’t over-hype, but convey your act in such a way that labels, booking agents and others in the industry just “Have to be involved in the project.” The bearer of the news commands respect and a listening too, because they are at a minimum seen as an individual with scruples, morals and with solid belief in the act. Great managers deliver on what they perceive as genuine and alleged talent and not a musical whim or fleeting musical industry fad. So if you are to find a great manager you to will have to be honest, approachable, think from their perspective of how difficult their job is and appreciate that, and deliver your artist pitch with a non “artsy fartsy” mentality. You’d be surprised at how many “What’s up dude” artists are out there. You want a professional manager than you’d better come across as a professional and well-intentioned act.

Let’s talk a moment about booking agents and the qualities that you will be looking for. I have written an article, The Talent Agent Inside, that you might find interesting and can be found at www.reelmusician.com/reelmusician_026.htm. While that article addresses your own ability to book your act and take up your cause, I will finish the remainder of this article on finding and securing the “right” booking agent for representation. The talent agent like the artist manager is not always easy to spot or find. Many a booking agent will sell you a bag of goods on what they can do and then really never get around to doing it. Your artist manager, if you have one, will be working on this as well, but you should be talking, making phone calls, and emailing potential agents and individuals who can steer you in the right direction.

In short, you need to find an agent who really believes in your act, who can either book you into appropriate venues as a solo act, or book you as an opening act for headliners. Yes, I’m sure you already knew that, but let’s go a step further. Finding these agents is not an easy task. As an agent do you really want to spend your time, your dollar on the phone and mailing out press kits on no-name acts with little in return? You look at all of the acts out there who want to be booked, but don’t want to help out with any costs associated with the basic costs of doing business as a “baby act.” It’s just expected that, especially with the smaller booking agencies, that the agencies will absorb the costs. That being the case, agents and mangers have to deeply protect who they represent and who they pump valuable time and resources into – Somewhere along the way there has to be something or someone who pays the phone, postage, etc.

Try to look at your securing an agent from that perspective and your insight will greatly increase along with your ability to secure an agent. Volumes more could be written on this subject, but for the sake of time, and from the reality that you’ve got more to start working with, with just the last paragraph alone to get you moving, that we will leave it here and pick up in a future article. Just be aware of not only the “big” talkers in the industry, but the individuals who are working hard, but need something to work with as well. Understanding their issues and frustrations will go a long ways in your ability to secure a manger or booking agent. A good talent agent is worth their weight in gold. Before you set off looking for an agent, put yourself in their shoes and ask yourself, how am I going to make money with this act? How much of my time and energy is going to be purged with little to no financial results? Figuring out an angle whereby you can help the agent out will not only tell them that you care, but that you’re on the ball and that you won’t have your hand out the entire time. You do your part and in time someone will come along and take the necessary risk on your talent.

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