Write Songs Like The Pros With This Powerful And Proven Technique

For many years, professional/top writers (writers in general...and not just songwriters) have been using a powerful and proven technique that separates them from beginners.

And now, I'd like to share this secret technique with you.

If you consistently apply the following 3 steps, you'll notice a big improvement in your songwriting:

1. Gather as much information about your song idea as possible.

Once you've come up with an idea for your song, write down (or type) all related information.

For example:

* Song Type (ex. love song, inspirational song, up-tempo, etc.)
* Song's Title
* Your objective (what you wish to accomplish with the song)
* The message you are trying to bring across to your listeners
* Emotion you are trying to evoke in your listeners
* ...and so on

2. Command your "subconscious mind" to help you with your objective.

With the information you have in front of you, give your subconscious mind a direct command.

For example:
If you're a lyricist, just before you start reading what's in front of you, say something like:
"Subconscious mind, create powerful lyrics
with the information I'm about to read.
Work on it 24 hours a day...even as I sleep."
(If you're given a melody to write lyrics to, say the following just before listening to the melody: "Subconscious mind, create powerful lyrics for the melody I'm about to listen to. Work on it 24 hours a day...even as I sleep.")

If you're a lyricist/composer, just before you start reading what's before you, say something like:
"Subconscious mind, create a powerful song
with the information I'm about to read.
Work on it 24 hours a day...even as I sleep."
(With that last command, you're basically instructing your subconscious mind to come up with both the lyrics and melody...the "perfect marriage" of both.)

Now, if you happen to be a composer, you could also benefit from this technique.

Just place the finished lyrics in front of you and say something like:
"Subconscious mind, create a powerful melody
for the lyrics I'm about to read. Work
on it 24 hours a day...even as I sleep."
(If you simply want to create a beautiful melody from scratch, just apply Steps 1 to 3. Of course, in Step 1, some of the information mentioned...ex. song's title or message you are trying to bring across...are not completely necessary. However, as a rule, the more information you have, the better. What's important is that your subconscious mind has enough information to work with...and it knows exactly what you are trying to accomplish.)

(Note: You're free to create your own version of the above commands. Also, you can give the commands either aloud or silently in your head.)

It's even a good idea to apply this step before going to sleep, whenever possible.

3. Let it go. Think or do something else...anything else.
In other words, "trust" your subconscious mind to deliver...by getting out of its way.

This is a crucial step. In fact, this is the key to this technique's effectiveness. Without honestly applying this step, you will not get the positive results you're after.

What you do is you simply "allow" your subconscious mind to carry out your instructions... without questioning it... without interfering in any way.

In other words, you take your mind off the song by taking a short break...or even a nap. Or you sleep on it...and work on it the next day (the truth is, some writers take days or weeks off before actually writing). Basically, you want to give your subconscious mind enough time to work on what you've instructed it to do. (Many creative people call this the "incubation" phase of the creative process.)

When you do this, you'll notice that when you sit down to actually start writing, thoughts or ideas come to you more naturally...and in a more organized way. You'll notice a better flow to your writing overall. (This is because your subconscious mind has done a lot of the work for you...in the background...while you were busy doing other things...or while you were sleeping.)

(If you're a composer, melodic or musical ideas will naturally come to you...and sometimes it will happen when you least expect it. That's why it's a good idea to always have a tape recorder or digital voice recorder handy...so you can sing the melody and record it.)

And what's the end result of applying the above 3 steps (after all the editing)?

A powerfully moving song.

About Author:
Ron Balagot is a songwriter/musician/writer. Through articles like this, he hopes to help aspiring songwriters attain their songwriting goals. He can be reached at balagot.ron@gmail.com.

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

Article Author Series: Kevin Sinclair - Why Do Musicians Practice?

A Musician who does not practice cannot really call themselves a musician. Anyone who loves their instrument and wants to make it part of their life should crave time to further master their art. Sometimes, musicians go through a period of non-practice for a number of reasons, but in general, they have passion and look forward to any opportunity to play music.

A musician can always rehearse, prepare, repeat, refine, sharpen and improve constantly towards further precision and ease, aiming for a flawless and faultless performance every time. They should be able to play their instrument as effortlessly as they can blink or breath and constant, regular practice is the only way to achieve this.

Just because you know how to read music and can work out how to play songs with ease does not mean you do not have to put in time and effort. If you are serious about wanting music to be a part of your life, you will have to learn all you can and continue to improve indefinitely.

Musicians who refuse to practice seem arrogant and conceited and often fall behind everyone else in ability and technique. Lack of discipline is a very unattractive quality in a musician and other professionals only give credit to those who work at developing their talent.

Part of practicing is usually being creative and coming up with new material. If you don't give yourself the time to practice and perfect your instrument, you will never be inspired to master a new tune or write more lyrics. If you are part of a band for example, you don't want to be the only one who never writes new material or contributes to the group. And you want other band members to see noticeable improvements in your abilities so they will respect and trust you. It also isn't enough to write music, you need to practice and perfect it so every time you perform you are faultless.

Many people are blessed with natural musical abilities. This does not mean there still isn't more to be learned about technique and training that has been developed through the ages. Singing is a great example of this and is a musical art form that has been fine-tuned by many exceptional singers from history. Techniques to train the voice and extend the abilities of the vocal chords have been tried and tested and if you don't know them, you are going to be less than you could be.

Singing lessons go further into teaching you tongue techniques, pronunciation practices and posture positions that can improve your sound and success to no end. Those who believe there natural ability is enough to get by in life more often than not fail and look back with regret.

Someone who really wants to make a career out of music could succeed through their actions, not their words. Talking about music and even listening to it all the time is not going to get you anywhere. You have to practice, practice, practice and then practice some more! If you aren't doing this, you aren't serious.

You need to seek out anyone who can give you advice or lessons to further your knowledge and add to your technique. Do not fall into the trap of thinking you know everything just because you have had a few compliments over the years. To truly make it in any part of the music industry, you have to learn from the professionals. Don't be stubborn and be willing to let go of old habits and learn some new and better ones.

It could be something as simple as your posture. You may play guitar so intently, you have never even realized that some of the positions you hold your body in are making things harder for you. A professional can point this out and give you homework you can practice to change your old habits. Singers especially need to know all about posture and how to hold their neck, jaw and tongue. Breathing is very important and practice and warm-ups are vital to success.

If you love your instrument, but are finding it difficult to practice, there are some things you can do about it. You may be lacking motivation or have possibly reached the peak of what you are able to do by yourself. You should look at getting together with others who play appropriate instruments and have jam sessions. This is a free for all group music practice where you play anything and everything, resulting in inspiration and a fresh lease on your musical life.

Introduce some visualizations or meditation practice into your everyday schedule, where you picture yourself achieving your desired outcome from your music. Make a list of the steps you need to take to get there. If you have reached a point where you are uninspired, go and get lessons. You will be bound to learn many new things you can practice and introduce into your writing. If none of these things seem to work for you, then you need to look at whether you really have a love and passion for the instrument you have learned. It could be time to consider trying something new.

Musicians practice for many reasons, but if you don't have a natural desire to spend the time doing it, there is no point in dreaming. If you are a musician but you spend little or no time going over what you know, learning new things and writing new songs, you should look seriously at whether the instrument is right for you. If it is just a case of going through a motivation drought, take some steps to get the spark back and have faith it will pass. Be patient on your musical pathway and know that, if you put in the hard work and stay positive, you will be rewarded.

About Author:
Kevin Sinclair is the publisher and editor of musicianhome.com, a site that provides information and articles for musicians at all stages of their development.

Article Source: New Ezine Articles

Article Author Series: Kevin Sinclair - Tips For Home Music Production

With the advent of digital technology, musicians can mix their own music at home. A plethora of computer programs gives you the tools that you need to make professional sounding mixes from at your desk. Curious about how to best do your own home music production? Here's some information that will help.

Tools For Home Music Production

In order to produce music at home, you'll need to have a high quality computer. Older machines are fine for Internet use or word processing, but music mixing puts some significant demands on many systems. Make sure that your computer has plenty of available memory, so that it doesn't slow down or crash in the middle of production.

You'll also need to have the right software. Exactly what you require will depend on the type of production you want, and the use of the end product. There are a lot of options available, including some quality free programs available through the GPL. However, as with many other things, you may find you get what you pay for with free software. For many people, it's a good springboard, but they'll end up buying a high end professional product later. Experiment with various programs and see what works best for you.

A CD or DVD burner that can reliably produce quality, playable discs is important if you want to distribute your music in that form. If you're planning to do distribution online, you may not need this. However, you'll find that many people still prefer having a tangible disc that they can own.

Having good speakers is a must. If your computer speakers are tinny, too quiet, or full of distortions, you'll find it impossible to get good playback, or to tell what's wrong.

Of course, you'll also need music files. This means either creating your music on the computer using a program suited to that, or recording what you play in digital form, using a recorder capable of this.

Making Your Music Sound Right

Listen carefully as you work on your files. If something sounds "off," you'll need to work to correct it. Listen to commercial recordings that you like, and analyze what's going on in them to figure out the kind of mixes you like. Watch the levels carefully for clipping, and be sure that recording occurs at a constant, even level. If you have the right recording software, you'll be able to monitor and support your levels from within. However, other software won't allow you to adjust the input levels at all, and others will expect you to have a sound card that can do so.

EQ is a popular effect, to the point of being over used. It can be used to enhance a mix and make it more attractive over all. However, if the mix itself isn't any good, no amount of EQ will hide that fact. Remember that when using EQ to equalize portions of your mix, the general advice is that you should cut, rather than boost. Most people will want to boost the weaker portions of the mix. However, that can lead to overboosting. Cutting the parts that are too strong is the better choice.

If you do boost, remember that boosting also increases the amount of noise, which can "dirty" your mix. Also, keep an eye on the output meter as you work. Boosting EQ increases the gain, which makes it easy to accidentally clip output, creating distortion. Listen to all tracks that you've worked on in relation to the other tracks to make sure that they match in feel.

Compression is useful is you want to even out variations in volume and control sound attack. Fast attacks accentuate the body of a given sound. Slow attacks increase definition. The areas that benefit the most from compression are the bass, vocals, and kick drums. However, some other areas might do well with it as well. Be sure to listen to all tracks with and without compression to figure out what will work the best.

Pay attention to settings on the compressor. They can significantly affect the results that come out in the end. Compression can also raise background noise, just like boosting EQ, and can accentuate "s" sounds in vocals. You may need to use what's called a "de-esser" after using compression, if there's too much sibilance.

About Author:
Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development.

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

Article Author Series: Kevin Sinclair - How To Write A Song

Have you ever had the dream of writing a song that one day you or a big star will sing? Or it may be that you want to write a piece of music for an orchestra to play. Have you already written a few songs but have not gotten any response or good feedback yet? Well, instead of giving up, just keep trying and with a push in the right direction, you may gain the confidence to and know how to actually succeed.

Knowing Which Technique Suits You

You may ask yourself “is writing music easy or hard?” Well basically, the answer is that it can be as easy or as hard as the person makes it for himself or herself.

If you are stuck and are wondering what will come first - the music or the words - then experiment. There is no correct answer on whether you should work on the music or the words first. It is basically all down to the individual and what he or she prefers. A good tip is that you should try them both out, just to see what works best for you. It could be that the music will inspire you enough to write song lyrics to go with it, so what ever works, then do that. It may even change from song to song. Some lyrics might come before the music and some music might come before the lyrics.

Prepare and Improvise!

If you are writing a piece of music, you will need to definitely prepare each part carefully to get the right flow and technique down to a tee. Break it down starting with the verse first and then afterwards the chorus. If you are stuck for ideas, try listening to other songs for inspiration. You could then think of ways to improve on these songs that will inspire you to write better music yourself. It is best to try to learn from the mistakes of others to perfect your own techniques.

The key to writing good music is the ability to improvise. If you try to learn all of the different techniques and chord changes, it will help you to develop and give you more confidence to produce good quality music. Just sit down and start playing a few chords. If they go together, write them down and then try and find the next chord that goes perfectly with the ones you just played. Eventually you will find that you have created the perfect music for your song.

Know Your Taste and Stick With it!

One obvious tip that many people forget to follow when writing music is to stick to music that you are interested in. For example, if you are interested in rock music and you hate ballads, there is absolutely no point sitting down and trying to write a ballad! It will not flow, you will end up becoming extremely frustrated and you will not want to carry on writing it.

So, if you are interested in rock music, collect some of your favorite rock songs together and listen to them while jotting down bits in the songs that you like. Do you want your lyrics to rhyme? A lot of songs do tend to have rhyming lyrics because they tend to stick in people’s heads better. However, there really are no rules with that, so do not worry too much about it.

Practice, Practice, Practice!

Anyone in the music business will tell you that practice makes perfect and this is the case for you. You shouldn’t give up when the going gets tough. Just keep practicing and you will get there in the end. You will notice your skills will improve over time, giving you the confidence to succeed.

So why not try to write music today and show the world your song writing skills. The main thing to remember is that writing music takes time. You cannot expect to write a really good song overnight. It literally takes good songwriters months, if not years to prepare an album and write all of their own material. The key thing is to be patient!

About Author:
Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development.

Article Source: http://ezinearticles.com

Article Author Series: Kevin Sinclair - Steps To Find Singing Gigs

For a singer to survive there will need to be a booking for several gigs, you need an audience to offer your heartfelt songs too. To survive in the field of music, you must have successful gigs. Every singer lives and breathes gigs; it is an essential aspect of following the path that leads to stardom.

So how do you find singing gigs? You need to simply follow these steps and let your imagination run free.

- Find an agent. Once you prove your talent you will taken in. Agents find gigs for you. Then you simply practice your singing and live life, while managing your schedule.

- Look through the advertisements in such places as newspapers, magazines and newsletters that relate to music. You should find listing for such places like a music lounge or bar. You will also be able to find television and radio announcements online. If you do the research, you will find opportunities to make the most of your talents.

- Advertise yourself. There is nothing wrong with singing your own song, so to speak. Singing skills are sell able. Remember to include your contact information on all your promotional material, since there is no telling who may be interested in hiring you.

- To be successful in the entertainment field, you must be active. Affiliate yourself with others, by joining music and singing associations and groups. There you will have the opportunity to meet others who can help you now as well as in the future.

- Package yourself and your talent. Build an official you website, to sell yourself and your talent and other comparable means of advertising your talent. For instance, you could record a sample song to provide to a variety of recording companies, as audition material.

- Bring together all your potential contacts. When you have the option to change from one music label to another, take the chance if it sounds good, while putting those companies that hold auditions on a regularly. Be sure to check out any entertainment establishment such as hotels, since they also employ singers.

If you have the talent, you only need one regular big gig to uphold you. Before you know it, people will be searching to find you, rather than you finding them. Practice your singing and relax - the best singing gig for you may soon be found in one of these steps to finding a singing gig.

About Author:
Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development.

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

Article Author Series: Kevin Sinclair - How To Market Your Music Online

As a musician you know that marketing your work is extremely important if you want people to purchase your work. One particularly good way of marketing your music is through the Internet, though many musicians are left confused as to where they should start. So just how do you market music online, what are the best ways to go about it and why exactly should you market your music online?

Why Market Music Online?

While many musicians have found the Internet to be extremely helpful when it comes to marketing their work, others are left wondering what exactly the benefits would be. After all, surely you want to target the people in your area and marketing to people that you can actually see is surely better than marketing to virtual people? Well, not necessarily! All you really want to do is encourage people to buy your music, so it doesn't really matter where they live, just as long as they like it.

The fact is, by marketing your music online, you are getting your music noticed by a lot more people than you would through marketing offline. There are literally millions of people who use the Internet daily. Some are in your own area, but you also manage to market your music to a much wider audience too. This means that more people from around the world are likely to purchase the music that you have made and you will become much more widely recognized because of it.

Marketing online gives you a much larger chance of becoming a successful musician than marketing offline. So if you have not yet considered it, then now is the time!

Tips on Image and Relationships

As with every other type of business, if you want to market to the right type of people then your image is everything. You need to be able to create a web presence that shows potential clients exactly what you and your music is about. The best way to go about doing this is creating your own website.

Creating a website allows you to link potential customers to your website whenever you post on forums, or whenever you create a web presence elsewhere such as on MySpace, etc. It is basically a space where potential customers get to see what you are all about and as first impressions are everything, you need to be able to leave a good image of both you and your music on your website.

So how exactly do you do this? Well, think about what type of music you are making. Is it Indie/Rock/Pop/Country music? The type of music you are making will reflect entirely on the image you want to give out. So if you are creating Country music, you will want to have a country theme to your website, not something with a modern and retro type style. Think about it, if you were visiting a musician's website that created Rap music, you wouldn't expect to see a Country theme on it would you? So create a website that reflects your theme and that is the first step to marketing both you and your website.

Using Blogs, Podcasts and MySpace

If you really want to draw in a lot of potential customers, then blogs, podcasts and websites such as MySpace and YouTube are certainly the way to go.

Blogs are great because you get to add a voice to your music. Allowing you to link back to your website, people will get an idea of the type of music you make, who you are and what is new with your music. People love getting to know musicians before trying out their songs and so if you do create a blog, it will draw in a lot of new customers for you. Another advantage to a blog is that if you use the right keywords, you can get it recognized by search engines and therefore more people will discover your music. It is by far one of the best methods of online marketing.

Podcasts are also very popular and you can create your own quickly and easily by visiting MySpace and selecting "MySpace Music". Literally millions of people use MySpace and they are constantly looking at new music on there. So if you want to get recognized fairly quickly, creating a profile and releasing your music on there is definitely a good idea.

Using websites such as the ones mentioned above, you can easily market your music online. YouTube is another website that allows you to record yourself or whatever you like and millions of people will view your video. So get recording, place your songs online, set up a website and start blogging and you should end up with potentially thousands of new customers!

About Author:
Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development.

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

Article Author Series: Kevin Sinclair - Guitar Care And Maintenance Tips

Every good guitarist will want to take care of their guitar in order to keep it in the best condition. A large part of caring for your guitar is by cleaning it on a regular basis. And as a guitarist, it is your solemn duty to ensure that your guitar it maintained to the best of conditions, in order for it to deliver a quality sound. No matter whether you are a professional guitarist or a beginner, it is essential to undertake the care and maintenance of your guitar.

Your guitar will become dirty with sweat and dust just by playing it. Using a soft cloth is the best way to clean it. Special cloths can be purchased in music stores, or you can simply use an old t-shirt, providing that it is 100% cotton. It is imperative however, that if the t-shirt contains a logo, you firstly remove it, as this can cause damage by scratching the surface of your guitar.

If the surface of your guitar is French polished or lacquered, then cleaning items such as paper towels must be avoided at all times, as these will also cause scratches. If you feel that it is necessary to clean your guitar with paper towels, then it is advised to purchase non-woven shop towels which are available on a roll. These do cost a little more, but they will not scratch your guitar.

You will find that dust accumulates under the strings. Therefore particular attention should be paid to this area of your guitar. Do not be hesitant in inserting a cloth behind the strings and giving it a good rub, at the same time as you are wiping the entire body of your guitar. If you pay close attention to cleaning the strings of your guitar, then their life will be extended. In addition to a normal cleaning routine, it is advised that after every jam session with your guitar, you give the strings a good wipe by holding them firmly through a cloth and rubbing the cloth up and down their length. This will remove any dust, grease from your fingers, perspiration build-up, and skin cells etc.

If you find that you are having difficulty in removing finger prints on your guitar, then you can blow a gentle breath, just as you would with spectacles, to create a little moisture. You will then find that by rubbing your guitar vigorously that the finger prints will be removed. It is also possible to use a slightly moistened soft cloth and a small amount of mild detergent. However, do not overdo it. It is essential that you avoid at all times, getting moisture into the small spaces on the guitar surface. However you choose to remove finger prints from your guitar, it is advised to rub it well afterwards with a soft dry cloth. It is also recommended to change to a clean cloth on a regular basis, to avoid rubbing the dirt from an old cloth back on to the guitar.

There are also various types of commercial guitar cleaners available to purchase, most of which are good products. When purchasing such products, it is essential that you primarily read all instructions on the bottle carefully, and use a water-based product for water-soluble dirt. There are creamy polishes available on the market, but they do have a tendency to be slightly abrasive. Therefore, if your guitar has a matte finish, then it is recommended not to use a cream product.

If your guitar should have a sticky residue from tape or stickers on it, then this will need to be removed by using mineral spirits. It is also possible to use lighter fluid, which is otherwise known as naphtha. Neither of these products will cause any harm to the finish of your guitar. However, you will need to remove the solvent with a damp cloth to buff your guitar clean after removing tape or stickers. Ensure that you are careful when cleaning sticky residue off your guitar, as you do not want to spread it around the rest of the guitar.

The fingerboard of a guitar, along with the strings and the fret wire are subject to acidity in the player's hands. Therefore it is advised to completely remove the strings and rub up and down the fingerboard with a piece of extra fine grade steel wool. When rubbing the frets, it is essential that you take care not to catch the ends of them with the steel wool. The steel wool does not need to be wet before undertaking this process. It is after a few motions that the frets should be shiny. Obviously this depends on how dirty the fingerboard initially is. If the surface of the fingerboard is not cracked or damaged, then you can apply a little lemon oil to prevent the wood from cracking, which is caused by temperature and humidity.

About Author:
Kevin Sinclair is the publisher and editor of MusicianHome.com, a site that provides information and articles for musicians at all stages of their development.

Article Source: http://EzineArticles.com/

Working With A Soundman

A soundman can make or break your act at any live gigs that your band is playing. With a good engineer your band will sound polished with a great even mix of instruments and vocals. A bad engineer on the other hand, can make even a great band sound horrible. A harsh mix with blazing guitars and low vocal levels can leave your audience thinking that your band stinks. All of those countless hours of writing your songs and rehearsing get rudely flushed in the toilet!

Finding a Good Engineer
Check with other bands in your area and ask who they use to run their sound. Go out and listen to those engineers and ask yourself some questions about what you are hearing. Are all of the instruments an even level in the mix? Can you hear the lead vocals? How about the backup vocals? Are mics feeding back while the band is performing? How does the engineer use reverb and effects? Are they being overused? Is the engineer paying attention to the band pushing up lead guitar levels when appropriate? If the engineer doesn't do these things properly for other bands, most definitely he will mix and treat your band the exact same way. Another way to find a good engineer is to call recording studios in your hometown. They may have an recording engineer that also does live sound. Thirdly is to check your local music magazines for soundmen that are advertising for work.

Do They Have The Gear?
Check if the engineer you are thinking of hiring has the proper gear for the types of shows that you plan on playing with your band. Does he need a full blown PA set up or does he just need a good board, small fronts, monitors, effects and power amps? Know what you want before going into the deal. If the engineer doesn't own a PA ask if he has a working relationship with a sound company that he can rent the needed gear from. If they don't have any connections you may be overpaying for PA rental.

Are They Reliable?
The best soundman in the world won't do you any good if they are not on time and be where they need to be. I have had many dealings with great soundmen that just didn't have their act together.

Hiring a soundman should be a careful decision. Take your time and check all of your options before you make any decisions. Remember you are in control of your own destiny when it comes to your musical career.

About Author:
Steve Veloudos is the owner of http://www.zebramusic.com Steve is devoted to helping musicians and bands further their careers in the music industry. Stop by his web site and subscribe to the free Musicians Tip Sheet. The Tip Sheet includes industry contacts, and many other items designed to advance a musicians musical career. Subscribe to the newsletter by going to: http://www.zebramusic.com

Article Source: http://EzineArticles.com/

How To Get The Attention Of Record Company A&R - 6 Clear Steps

Step 1: Record a collection of tracks. Properly
Contrary to what some people may think, few people are going to notice your abilities as an artist by listening to a rough demo. Either hire some studio time, enter into an agreement with an up-and-coming producer, or buy some studio gear. Gear is not expensive nowadays, and $800 should get you up and running.

Haven't got the money? Save up for a while. There are thousands of artists doing the same thing - why not you? An A&R person wants to listen to a polished product. Represent yourself.

Step 2: Get some decent promo photographs made
Myspace site got a picture of you taken with a web cam? Using your phone to shoot pictures? Not good enough, sorry guys. You're going to need some great photos of yourself, airbrushed, the works. It's the first thing an A&R person sees, I've found it has a huge bearing on whether your music get listened to or not.

Sounds harsh? I think so too, but that's the way it is, so make your photos count. You can get great results with a digital camera, and some free photo software. It need not be expensive.

Step 3: Get a proper website
This is a big one, and possibly one of the most important things you can do. Everyone has a Myspace site, but to set yourself out from the crowd, I've found a proper website with domain (eg: www.youonline.com) is the way to go.

Web hosting is extremely cheap nowadays, and web development software is free, so there's no cost barriers to getting this done. Your website must display three things clearly.

1. Your music. Try to have a track start playing when the site is opened.
2. Your photos.
3. Contact information. This is make or break. Make it clear and obvious.

So why the website? Why not stick to Myspace? Well, I've found that A&R people usually have a million things going on at once. Their offices look like a war zone for the most part. They won't be searching the web for sites - instead, they may have received a tip-off or recommendation about you.

Your website will be looked at in passing, so you don't want to cloud the A&R persons attention with a glaring, comment ridden Myspace page. Secondly, everyone has a Myspace page. My brothers cat has a Myspace page...

So set yourself apart from all the other players. But keep the Myspace page as well. It's good for everyone to see you have thousands of friends and fans too.

Step 4: Play out
Now you've got your package together, start playing to audiences. Anywhere you think industry types may be. And it's not just A&R people you're after. Promoters, managers...all these people may see you perform. If you're good, word will get passed around quickly enough, and opportunities will present themselves. Which leads me onto..

Step 5: Attract the attention of a music attorney
Want to know who are the most under-rated, yet important people in the music industry? The music attorney. These people know everyone...A&R execs, managers, the works. If you manage to meet one (and it's easier than you think..) doors will open for you, especially if the attorney becomes involved with you on a professional level.

Step 6: Go to industry days and events
Here's a story. Whilst I was promoting an artist, there was a music event on in town: A gathering of music equipment manufacturers, open to the general public. In the small print of the flyer, a "demo session" was advertised as part of the music event, giving folks the opportunity to take their demo CD's along for the critique of music professionals.

So I went to the demo session, armed with a CD thinking they'd be a huge demand for this, and that there was only a small chance my CD would get listened to. I was wrong. There were about 6 people there, including me.

So whilst downstairs, in the main hall, thousands of up-and-coming artists were playing with the new toys from instrument companies, I was upstairs with the attention of attorneys, managers and A&R men, all to myself. Can you believe this? It's true.

The moral of this point? Keep your eyes and ears open for every chance you get.

Conclusion
Hopefully, this has given you some ideas on how to get the attention of A&R folks. So what happened when the A&R guy from Sony came to my house? Well, he wasn't impressed when he found out my artist didn't write her own material..but that's a tale for another day!

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

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Your Big Break

In an industry where only a fraction of the talent finds success, it's not hard to see that there's more to making it than making good music. It can take years to get a record deal, even if you're good. So many musicians make the mistake of putting all their stock into outdated marketing strategies and dead-end demos. They end up blending in with the rest; their demos and their press kits end up in the trash. There's no reason to wait for a suit to tell you it's your time. The music industry is moving out of the traditional brick and mortar and into the digital realm; indie artists are finding more and more ways to get there music out of their garages and into your iPod. Emerging artists looking for play time will get their name out there not by sending out hundreds of demos, but by getting their face and name on the web, getting their music played for the people who will listen, and building up a following. Record companies can't ignore a well established fan base.

When you're starting out, forget fame for a second, and get down the basics:

1. Know your stuff. Think of your favorite artists: before all the fans, before the CDs, before the Rolex watches and the autographs, they were all just musicians, and they knew how to play. If you're truly committed to making it in the music industry, then be committed to the music first. Practice and master your craft. This is the most practical, common, yet important advice you'll ever get. If you want to make a lasting impact and develop a steady, long term career, not only should you take the time to develop your own unique sound, but you should know and play your instrument well. Whether it's your voice or your guitar, you should be the best at what you do. Only hard work and commitment will get you there.

2. Play and Get Played. If your only audience is your immediate family or your roommate, you're not going anywhere. The key to building a fan base is to play your music and get your music played. Bars, coffee houses, high schools, YMCA's, local fairs - if there's a venue, do everything you can to get up on that stage. If you've followed my advice above and you have a dose of natural talent, this shouldn't be a problem. Above all else, make sure that anybody and everybody that might want to hear you play always knows when and where your gigs are. (See #3) The best advertisement is word-of-mouth. Talk about it, tell everyone, create the hype and get your friends and family to do the same.

Secondly, get your music out there so people can listen to it. Your chances of hearing yourself on the FM radio right off the bat are slim; but put yourself on the internet, and your chances of getting air time skyrocket. Internet radio is the fastest growing medium for music. Record your songs and put the mp3's on the net; no one can resist a free download. Once it's on their player, your chances of getting heard will grow exponentially. Music sharing is often portrayed in such a negative light, and this may be the case for established artists and their labels, but for new artists it has the opposite effect. That's where Blue Beam Radio enters the picture.

3. Be Available. Nine times out of ten, the first thing I do when I hear a new artist is visit their website. Even if it's a single page, find yourself a piece of digital real-estate and put a face and a look with the name. Forget telling people where you've played or what you've done. Instead, tell them about the story your lyrics tell, how you connect with the music and why you play. Listeners are more interested in what the music means and what it can do for them than anything else. Make sure to include a list of upcoming events, samples of your music, etc. Blue Beam Radio is designed to help you in this department. Not only can you create a band page and upload your music for free, but you increase your chances of getting heard and known. If you make it into the top ten and stay there through October 1st, you've got yourself a gig in New York.

Ultimately, it comes down to whether you've got the talent and the appeal; after that, it's what you choose to do with it. Blue Beam Radio can help you get the air time and exposure you need to get your music out there and make your big break. It's your chance, be heard.

About Author:
Nathan Hallford is a freelance writer for Blue Beam Radio http://www.bluebeamradio.com. He is a professional in his field, knows the in's and outs of the music industry and more than anything loves music.

Blue Beam Radio is an online music service/internet radio station which is organizing a music event in the later part of 2006. They will be the only music website in history to throw a concert for their musicians.

Article Source: http://www.articles-hub.com

Getting Real About Going Independent

Once upon a time, not too long ago, most music artists wanted a record deal. Being an independent artist was more of an ambition than a phenomenon. While Ani DiFranco, a non-commercial music artist and the poster child of independence, garnered attention and respect from her peers, she didn't exactly serve as a catalyst to the independent movement.

Then a highly publicized feud between Prince and Warner Bros. erupted in which he likened his contractual obligations and restrictions to that of a "slave," caught the media's attention and truly galvanized the movement.

More recently acts such as Radiohead, Nine Inch Nails, and Madonna have left the homes of major labels and taken-up residency in the independent hotel. Will it be a permanent one? That remains to be seen, but one things for certain: rooms are filling up fast.

It's apparent that being independent has become a right of passage; a badge of honor and valor that's proudly displayed for other music artists to identify with and applaud...a blueprint for greater autonomy, creativity, and financial dividends. But what does being an independent artist really mean?

In short, it means being a business person and an entrepreneur. That's the one little (and often overlooked) aspect of "going independent" that I never hear artists discuss, and it's the one major issue I have with industry professionals who promote being independent as more of a lifestyle, than a career choice.

Most artists are creative, emotional, right-brained people. Those are the intrinsic qualities that make them what they are. Those are also the qualities that make it difficult for them to function and thrive as business people who are required to engage in left-brained activities. But at every conference I attend, and every panel discussion that I witness, there is no mention of the necessity to think and behave like an entrepreneur while being an independent artist. It never comes up.

Why is that?

It's because for artists, the choice to "go independent" is often an emotional decision, not a business decision. It's not really a choice that they make, but rather one that is made for them when they are unsuccessful in landing the elusive and rarely obtained record deal. They are not responding to the scarcity of recording contracts, they are reacting to the frustrations that stem from not getting one. This frustration either becomes the fire that fuels their motivation to prove their worth, or the wet blanket that extinguishes their dreams, and validates someone else's opinion about their lack of commercial value.

They also don't mention that the most successful independent artists either came from, or have affiliation with, a major label.

By overemphasizing the creative freedoms and bigger paydays that await independent artists, focus is diverted from the monumental task of marketing and promoting music as a business person and entrepreneur. It's tantamount to telling people that they should just leave their jobs and work for themselves. That's unrealistic and downright ridiculous - especially without having the fundamental knowledge of what being self-employed entails. How many self-employed people do you know? Cut that number in half and that's how many successful independent artists there are.

Make no mistake about it; being an independent artist is the equivalent to being self-employed.

While everyone can recognize the fringe benefits such as freedom and flexibility that the self-employed enjoy, there are a myriad of challenges that they are constantly faced with in order to survive and succeed. Funding, legalities, taxes, overhead expenses, operational costs, accounting procedures, and attending to endless administrative details are functions of their everyday life. They also have marketing costs, but unlike music artists, they don't sell products that can be obtained for free.

So what does it take to succeed independently?

Ironically, operating like a major label. Go figure. The independent movement reminds me of teenagers who don't know what running a household requires, involves, or entails because their parents handle that responsibility. It's not until they have to run their own households that they are forced to learn how to do it own their own. The same holds true of the independent artist who attempt to run their own labels: they discover how expensive it is, and how much work it takes.

If you are going to get real about going independent and being successful at it (i.e. profitable), be aware that it can't be something that you just do on the weekends; it's a huge business decision that impacts your world both professionally and personally. It requires the same level of preparation, organization and commitment that being a prosperous business person entails. Establishing your success and maintaining it will be one of the hardest things you can do in your life, and one of the most rewarding.

About Author:
Gian Fiero is an Independent A&R Specialist who facilitates the commercial use of music and talent in the media, entertainment, and music industries. He currently represents Grammy nominated music producer Cori Jacobs (Beyonce, Pussycat Dolls, Lauryn Hill, Teedra Moses, Brooke Valentine, George Clinton, Hope) and Chris Carter (Backstreet Boys, Jasmine Trias), in addition to being an adjunct professor of music industry studies at San Francisco State University.

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Hot Artist & Band Press, Promo Kits!

Who’s been signed this time, was a common question and theme at William Morris Agency while I was there as an agent. While the agency was always on the lookout, of course with the major heavy weight record labels, knowing which artist would ultimately get the deal was not always an “in the bag” known quantity. As one of the younger up and coming agents, I often learned many valuable lessons from some of the most seasoned and quite honestly almost intimidating agents, not because of personality conflicts, but because of their breadth of both knowledge and weight within the industry. One of the most valuable lessons that I learned from these agents was all things being equal, image and their press kits were as much a part of the deal signing as the actual music performed by the acts. If that’s one of the keys, especially in the beginning phases of a “baby act” trying to break in to the music industry, then why do we see such half hearted attempts and mediocre press kits and promo material out there? I don’t know if I can answer those questions, but I will certainly try to help you gain some insight into what a quality crafted press and promo kit ought to look like.

You would think that with the age of the computer and with very affordable software that press kits would get better. “Flashy” perhaps, but the actual depth of the material being offered into today’s press kits is usually the same with very little emphasis on the needed verbiage and elements and filled with the same old clichés of where they grew up, this that and the other. It’s got to be more than that if you want to grab the attention of music industry professionals. At ReelMusician.com we are bombarded by this type of press kit day in and day out, knowing that some of these acts are fairly credible, but without the right image and marketing materials, that being their press kits, that they probably won’t make it. So what does make for a solid press kit? Let’s look at some ideas and concepts.

First off, understand that most individuals, good writers or not, aren’t cut out to write press kits. Like marketing, there is a special niche of writers who know what moves, sells, and what ultimately delivers in the final analysis. You might be a great writer emulating other press kits or material that you’ve gathered, but you have got to know what, where and when, when you are creating such marketing pieces. At ReelMusician.com, we understand that while each act and group is unique, that there are marketing differences with each and every bio and press kit that we write and produce.

As you begin to create your press kit, you will want to have a note pad and you will be jotting down ideas on probably a number of pages. On your first page you will be noting exactly what you want to accomplish with this press kit. Are you going for a record deal, or are you an older act that doesn’t necessarily care about the record deal, but would like to obtain more booking dates and so you will craft your press kit around club owners, venues, and booking agents, etc. You need to figure out exactly who and where this press kit will be going.

Your next step will be to write down exactly what you will be including in your press kit and why. Why are you going to include certain elements? They very well may be needed, but why? This will help not only make concrete what you already are more or less thinking, but it will also give you an advantage when you begin writing to create goals for why you are including what. There has always got to be a driving reason behind your press kit. It is not a slap it against the wall and stick mentality, it is a very well thought out marketing arm, aimed at your desired goals. Therefore, it begs your attention to implement specific marketing principles with a very well thought out marketing plan.

Now that you’ve decided what main categories of items that you will be including in your press kit, you are ready to write down short descriptive items under each category that you will expand upon when you are writing. This may take you awhile. But take the time and think through what you should include. Be imaginative. Some ideas can look bigger than life when written well. Those just starting out, it’s not as easy to do as those who have been in the business awhile simply because of experience and lack of realistic, music career oriented material. That’s why it’s almost that more crucial at the beginning stages of your career to have these professionally written so that your marketing isn’t as limited as it might seem otherwise. You have got to put more than where you grew up and musical influences. There has got to at least have the appearance of more experience and weight in your marketing which is done through carefully, crafted and targeted writing.

When you have finished with your initial ideas, you are now ready to sit at the computer and start writing your press kit. I couldn’t possibly address every issue or your own writing style here, but do understand that there are marketing words to use, that words do have meaning, and that you want to ultimately demand a call to respond in some way. You want the reader to be saying, “Sign this act now,” or “Maybe we can call them to open for so and so.” That’s what is needed. Not just a, “these acts influenced my writing” – that won’t get it. You have got to be writing for a call to action. Marketers on the web with any experience at all are writing for a call to action – usually for you to purchase something. So keep this in mind. Please don’t hesitate to email or call us with any questions. We’d love to know how you are doing and answer any questions you might have.

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 Singer’s Guide,” and “Secrets To Great Song Demos,” may be downloaded at http://www.ReelMusician.com

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Communicate Professionalism to the World

Are you bound and determined to promote professionalism to the world at any cost? Are you a struggling artist who just wants to be taken seriously? Or are you a start-up record label who is getting close to exhausting all their resources? No matter whom you are or what you are trying to accomplish in the music business, you need to exude professionalism in every aspect. You need to be prepared and determined to protect every aspect of your career.

The best and only way to protect yourself in the music industry is to put everything in writing. Music business contracts are crucial steps in letting people know you are serious. Unfortunately, business is business. No matter who you are dealing with, you are going to need music business contracts and that is a fact!

Everyone wants to be taken seriously when it comes to their music, performance, company, whatever! The best way to do this is by using recording contracts or music contracts in every aspect of your career. Never accept a handshake or someone's word even if you consider them a friend. As I said before, business is business. And you business needs to be protecting yourself.

A true professional knows that nothing is final until it is in writing. If you want to truly communicate professionalism in the music industry then music business contracts are vital. Anytime you are dealing with money or property, you have to be clear in your terms and expectations. You must clarify these things through the use of music contracts.

You don't have to be a lawyer or pay one big fees to acquire music business contracts. But everyone's roles and expectations do need to clearly be spelled out in black and white and signed. You need a collection of updated, concise contracts that can be used in any and every situation. A true professional, who wants to be taken seriously, must obtain these things. There is really no way around it. Even if you don't honestly always know what you are talking about, people have to believe that you do in order for you to be taken seriously.

Whether you are an indie musician who plays all the roles or a record company music contracts are a necessity. Avoid being taken advantage of and avoid being viewed as naive. Don't let the industry eat you alive. Get involved with your success and do this by putting everything in writing! Then and only then will you be viewed as a serious professional.

Article Author:
Ty Cohen, the music industry's most recognizable voice! Ty is the C.E.O of Platinum Millennium Publishing and Platinum Millennium Records as well as owner of: http://www.MusicContractsOnline.com and http://www.MusicBusinesSuccess.com 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.MusicBusinesSuccess.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! Contact him at http://www.MusicBusinesSuccess.com

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What Is Producing?

I deal with a lot of bands who simply aren't sure what producing is. Some have no idea what it can do to their songs. Some are under the impression that some guy (who also owns a strip club) who has a limo and pony tail is going to call them "baby" and turn them into New Kids on the Block with guitars.

While this sort of thing might exist, I don't think these sort of producers stick around very long. I could be wrong. The way I see it, a producer is just regular music dude who is working with you to make your songs the best they can be. I'm guessing that everyone has a different idea of what a producer is and I think that stems from the idea that a producer does different things in each situation. One band may have songs that are good but lack an extra push. Another band may just need to be excited in the recording process.

I'm convinced of 2 things.

A Producer does not necessarily have to be a great musician

A Producer does not necessarily have to be a great songwriter.

To me, all a producer has to do is help people who are good at the two things above do those two things better. This could be everything from playing blindfolded, to intentionally ruining a song just to see how the band puts it back together.

I think a producer's job is to challenge the song. Take the song, tear it apart, push it, pull it, twist, it and see what happens. What happens if we do the most obviously wrong thing to this bridge? Try it. See. Record it live and see. Did it work? Does it sound like crap? Maybe it does sound like crap, but listen to how the chorus sounds now. Hmm. Now the chorus is bigger. Let's play something less crapty on the bridge but with the same feel. Ahh.

I get excited just pretending that I'm producing a record right now. I find it so exciting to get all the creative juices going with a whole band with the band and I all working together democratically and pushing them to make their songs better. If the band doesn't like a direction, no problem. We go a different direction.

About Author:
Brandon Drury has run www.echoechostudios.com for years and is developing a large recording site at http://www.recordingreview.com.

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

Podcasting – What Is It And How Can You Benefit From It?

Traditional radio is slowly becoming obsolete as technology in modern times grows in leaps and bounds. We last discussed internet radio, which is basically audio files streamed over the internet to whomever chooses to listen to it. And in this article we’ll be discussing podcasting. Which is very similar to internet radio, yet has its differences. Basically it is an updated version of streaming internet radio, and then some.

What is podcasting?
A podcast is a multimedia file that is distributed by subscription over the Internet using different syndication feeds. Podcasting is an automatic mechanism whereby multimedia computer files are transferred from a server to a client, which pulls down XML files containing the Internet addresses of the media files. In general, these files contain audio or video, but also could be images, text, PDF, or any file type. You can playback these files on mobile devices such as iPods, and personal computers. These podcast subscriptions can be both paid and unpaid, allowing the podcasters (author of the podcast) to be compensated. One of the big differences between podcasting and internet radio, is that with podcasting you have the ability to download the podcast automatically using software capable of reading feed formats such as RSS or Atom. The feed is a list of the URLs by which episodes of the show may be accessed. This list is usually published in RSS format, which provides other information, such as publish date, titles, and accompanying text descriptions of the series and each of its episodes. Standard podcasts consist of a feed from one author. More recently multiple authors have been able to contribute episodes to a single podcast feed using concepts such as public podcasting and social podcasting.

How do I create a podcast?
The process of creating your podcast is almost identical to the process of creating content for an internet radio station. If you haven’t read my article titled “Setting Up Your Own Internet Radio Station”, I suggest that you go back and read that for a primer on what gear you’ll need to create your final podcast (most likely) MP3 file. When you do have your final content in hand, you’ll need to submit it to different podcast listing sites. One very visible podcast site you should look into is Yahoo podcasts, and also check out this massive list of podcasting site links. http://www.podcasting-tools.com/submit-podcasts.htm

This is a simple description of what a podcast is, and very basic directions on how to record and distribute your own cast. With the popularity of iPods and other portable media players, podcasting seems to be the next step in the evolution of standard radio. With the large amount of people utilizing this media outlet, it stands to be something that has yet to display its full potential of use and usability. If you have something to say, say it via podcast.

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

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Guerrilla Marketing

Guerrilla Marketing is the use of unconventional marketing techniques intended to get maximum results from minimal resources, which let's face it; most indie musicians have minimal resources. Today, guerrilla marketing is a non-traditional, low-cost, and highly effective marketing endeavor, which when used properly can reap many rewards for the diligent user.

So what can you do to use guerrilla marketing to help further your music career? The first piece of advice I can give you is to think outside the box. Don't do what everyone else is doing. Here area few ideas to get you started:

• Use podcasts to broadcast your music, helping to expose your music to a lot of people who may have never heard it before. Make sure that you plug your website and where they can purchase your products.

• Why not go to your local library and see if they will allow you to do a free concert there in exchange for a percentage of your sales of product after your show. Libraries are in dire need of funds.

• Another easy and free way to get your name out there and seen is to write reviews on every product your own, have used, read or heard. Then post the reviews on places like amazon.com and barnesandnoble.com. Make sure to put a small two or three sentence bio at the end of each review that has the name of any CD projects you have done. You can't post your URL there; they will delete your bio. When you post your reviews, put your vanity email address inside your "real name." While those sites won't allow you to post your URL, if your URL is part of your "real name," they don't say a word. Check out amazon.com and look for one of my reviews. This is what you will see: "Jaci Rae - The Rae of Hope. raeofhope@jacirae.com." (Don't use a real email address or you will end up with a lot of spam. That is my website, but the email address if fake.) Why is this an important step? Because people will read your reviews and you get your name out there. Most consumers are Internet savvy and if they are interested in you, will check you out.

These are just a few ideas. A very important part of the guerrilla marketing process is the business side. In order for all of the ideas you come up with to benefit you, you have to be registered with the correct places so that when your hard work begins to paying off, other people know it as well. Here is a list of some of the places you must register:

Broadcast Data Systems
attn: (find out who is in charge at that time)
Los Angeles
6255 Sunset Blvd., 19th Fl
Hollywood, CA 90028
323-817-1506
323-817-1511
http://www.bdsonline.com/

and

SoundScan
http://www.soundscan.com/
Retail 914-684-5505
retail@soundscan.com
Venue 914-684-5506
Fax 914-686-1556
venue@soundscan.com

I list more ideas as well as places to register your music that will be crucial to your music success in, The Indie Guide to Music, Marketing and Money and its companion The Indie Guide to Contact Information. There are a lot of Guerrilla Marketing techniques I am sure you can come up with yourself. If you want different results and what you have been trying in the past always turns out the same, then you must do something different! Guerrilla marketing is what you need to do differently. Go after your audience with fervor and diligence, but think outside the box to get the results you desire and the exposure for your music that you need. Wishing you the greatest of successes!

About Author:
Jaci Rae is a #1 Best Selling author of The Indie Guide to Music, Marketing and Money and Winning Points with the Woman in Your Life One Touchdown at a Time. Tune in for "The Jaci Rae Show" heard live around the world every Thursday: Click on the weekly show link

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Training For Music Industry Jobs

The music industry is undoubtedly one of the 'sexiest' fields in which to work, according to a recent survey by the editors of Time magazine. There are music industry jobs that require nearly any skill set that you can bring to the job, and the training required varies with each of the music industry jobs that may interest you. Here are some general guidelines for finding work in music industry jobs.

Love Music.

It's not a prerequisite for music industry jobs, but loving music of any kind is a definite step in the right direction. While loving music may not be important in a record company accountant's position, it's practically required for anyone who works with artists or in promotion.

Check the qualifications for the job.

In general, most jobs in the music industry require at least a two year college degree - with the exception of performers who can get by without a degree if they have talent. Expect that the more involved the job, the higher your level of education and/or experience will need to be. A record promoter may need to demonstrate networking skills or developed contacts in the local music scene, for instance, and a contracts lawyer will obviously require a law degree. Music teachers working for the schools will need to have a teaching license as well as the demonstrated ability to play an instrument.

The best training is on the job training.

For positions like band manager, road work, publicists and promoters, the best training is through an internship or through your own work promoting and/or managing a band on your own. Some publicists and promoters come to the job from their own fanzines, or have developed a network of contacts in radio and advertising through their college or teen year extracurricular activities.

A degree in music is respected in many music industry jobs.

Colleges that specialize in music education like the Berklee School for the Performing Arts offer training in many different aspects of the music industry. You can study music and performance law, accounting for the music industry, and business management for music companies as well as composition, performance and other music-specific jobs.

Join the band.

One of the best training grounds for a career in orchestral music is your school or college band. If you're already beyond the school years, take advantage of county and city music societies to both train your ear and keep in the practice of playing with others.

Music ministry jobs often require special certifications.

If you have a calling to a job in music ministry, you'll find that many churches and synagogues require that their full time music minister have pastoral training as well as musical training. The American Guild of Organists and the National Council of Pastoral Musicians offer professional certifications at a number of levels.

Music therapists require a bachelor's degree in music therapy from one of the approved universities that teach music therapy.

In addition to regular studies, the bachelors in music therapy requires 1200 hours of clinical practice.

The requirements for training for music industry jobs are varied, but this is a brief overview of the training required for some of the major careers in the music industry.

About Author:
Rita Henry is a contributing editor for Jobs In Music, the leading job and resource site for the Music Industry. Interested in receiving only the hottest Music job listings weekly for free? To learn more visit Jobs In Music.

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How to Prepare for Your Recording Session

Recording is a time-intensive experience, and problems that arise often seem magnified. No one wants to wait for an hour while the guitar player runs to Guitar Center for new strings. So, to keep things going smoothly and efficiently, here are some things to do in preparation:

1. Practice! You'd be surprised how many bands come into the studio obviously unprepared. If you can't play through the song without making mistakes, then you're not ready to record yet. Take the time to practice the songs you want to track thoroughly. This isn't to say that you can't be creative in the studio, but it's a lot cheaper to be creative on your own time.

2. Make sure your songs are finished. Going into the studio hoping to finish lyrics or parts on the spot is a recipe for dissatisfaction. You may be inspired by the pressure, but you'll inevitably listen back to it later on and think that you could have sang it better, or that you don't especially like this line or that phrase.

3. Record yourselves. It's very useful to record your practice using a simple tape recorder. The finished product won't sound very good, but you'll be able to hear if you're off time, or off key. It may also make you aware that some parts of your song are dragging, or that other parts could be extended or more developed.

4. Get your gear in shape. Don't show up for a session that you're paying for with gear that doesn't work, cables that cut out, batteries that are going dead, or blown speakers. If you're afraid that your gear is less than perfect, make some calls. You engineer can point you to some people in town that rent gear on a day-by-day basis, or to other musicians who might be willing to loan an amp or cabinet for a day or two. It makes a difference!

5. Tune your instrument. Drummers should put on new heads about 1 week before the session. The snare head should be replaced immediately before the session, and if you're doing more than one or two songs, consider bringing extra snare heads. Nothing sounds as good on tape as a fresh snare head. Guitarists should put a new set of strings on a few days before the session. Bring extra strings, as you probably will break one or two. Bass players can replace their strings, although new bass strings can be a bit overly metallic. I recommend changing bass strings a week or two before the session.

6. Let people know you're busy! You don't want to be called in to work half-way through your session. Everyone involved needs to clear their schedules. Nothing creates more tension in a session than someone wanting to blow out early so they can hit some party. Also, if you're recording at your home, make sure your family knows about it. Take phones off the hook, recording will require some degree of quiet. If you're working at your practice space, make sure the neighbors know that you'll need some quiet, if there are other bands at your facility, ask them for their schedules, and work out a time when they won't be playing in the next room.

7. Have a plan. It's always better to have fewer songs to finish, and to know precisely which songs you're trying to get done. Often, once a session gets rolling, it's easy to just go ahead and track some of the other songs you have. While this isn't terrible, in my experience these tracks are usually discarded, as they haven't been thoroughly practiced, and may not even be complete.

9. Develop a vision. I like to come see a band before I record them, just to get a feel for their sound, and develop my vision for the session. If you envision your record sounding like the latest MTV hit, you may be frustrated and disappointed. Your band is unique, and my goal as an engineer is to find what's best about your band and accent that. Your record may not sound like anything that's come before, and trying to cram it into a pre-existing notion of a "good recording" doesn't do it justice. The Pixies didn't sound like anything that came before them, nor does Modest Mouse, or the Beatles, for that matter.

8. Relax! Recording is fun, and there's really no pressure. Just be prepared, and you'll have a smooth, enjoyable session with a great product at the end!

About Author:
John McKay

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Music Contracts 101 Part Two: More Basics

Once again, music business contracts and recording contracts can be intimidating to all of those involved. Maybe you are starting your own label or are a new manager in the music industry, whatever your situation, you must grasp the basics involved in music contracts.

Our last article include some starter concepts to include in your contracts. Here are a few more to consider before getting anyone's John Hancock.

1. Will you have the right to sell the artist's merchandise on their premises? For the artist, this is usually their decision and at smaller venues, this should be a no-brainer. But, if you happen to be scheduling a performance at a larger venue, there may need to be some prior agreements made.

Some larger sites have specific rules for selling on their premises. For instance, they may want a percentage or they may have their own people sell these items.

2. OK, on to some more basics. In your music contracts you may have to include terms for meals, transportation and/or accommodations. This will often vary from performance to performance but it is something that must be defined. Will it be a corporate gig, a college show, a public venue or a private venue? Is the gig located out of town?

Things such as guest lists, number of guest passes and even dressing rooms have to be defined. Keep your artists informed and comfortable by defining this in their music contracts.

3. Who will produce the show and provide sound? You don't want to sound test and/or quality to be ruined by improper planning. Will the performer provide the sound and production aspect, will you or will the venue?

4. Good music business contracts cover the areas of permits, taxes and licenses that are involved in the performance and the venue. Remember, different place require a variety of these above mentioned items. Be informed and know what is required where.

5. Will you include a clause known as Acts of God? What are the terms if there is uncontrollable weather or if the artist gets sick? Sometimes one doesn't consider these common things but protect you and the party involved be defining these items in music contracts.

6. Royalties and licensing are huge in recording contracts. Make sure all your I's are dotted and your T's are crossed in this area. Suing is huge in the music industry so make sure all of the parties have the proper licensing and permission for all music performed and recorded.

7. Lastly, do you have any strict requirements for the artist or band? Remember, all gigs and venues are different. These requirements can vary from dress, to announcements to language or to eating. Either way, you need to clearly define what is expected from each artist in each venue.

This article and its predecessor clearly defines what needs to be included in all music business contracts. Your contracts will vary from person to person so make sure you revise each template you own for all your music contracts. Artists and venues vary and so will your recording contracts and music business contracts!

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.musiccontracts101.com for more info on music contacts, recording contracts & music business contracts.

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