Independent Music Distribution

Say your band has already recorded your album. The mix is right, the songs are in top shape, and the entire band is happy with the results. Your worries are not over yet! Recording an album is your most important step, but it isn’t your last. If you are planning on selling your CD as merchandise, you’ll need to follow all the steps necessary to get your CDs ready to be sold, or as they say in the music industry, “retail ready.” The following article will help you gain a basic understanding of your options as you prepare your CDs for commercial sale.

Mastering your CD

It is absolutely essential to master your music well; this is what separates a home recording from a commercial recording that lands you record deals. Nevertheless, software is becoming cheaper and better, so mastering your project is easier than ever.

Be wary of mastering businesses that charge as little as $20 dollars per song. You might not get what you bargained for unless the mastering business offers references, honest quotes, and a realistic equipment list.

Mastering on your own is another option. Get a software compressor that will give you a professional result without having to tangle with complicated settings. Make your music sound polished and commercial. This is also an essential tip for when you submit your CD to record labels and executives.

Duplicating or Replicating?

First off, the advantage of duplication is that it’s less expensive to do in a short run. It uses CD-R discs very similar to the ones used in home computers. However, be mindful that the printing quality is never as good as the silk-screened artwork of replicated CDs. Duplication costs two to four dollars per disc. This includes the jewel case, shrink wrap, bar code, and printing. However, you must pay more than the wholesale price if your CD count is less than 1,000.

Replication, on the other hand, is for larger orders of one thousand CDs or more. Although this process is more expensive than duplication, it involves the actual manufacture of the discs with material pre-recorded onto these discs. Thus, the cost of replication is not practical on a smaller scale.

Distribution.

As soon as your copies are made through duplication or replication, it’s time to start selling your CDs. You can do this in several ways. You can go the more traditional route and find a distributor, which is a company that sells your CD in exchange for a fee. The other route people are taking is online music distribution. This is where you find music hosting sites through which you can promote and sell your music. If you are going this route, keep in mind that every site is very different. Be sure to do your research about yearly fees, CD sale profit cuts, pay-for-play, or pay-for-d

About Author:
Copyright 2007 Synthetic Rhyme, LLC. All Rights Reserved. http://iezine.com

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

Goal For It!

As the indie and unsigned music artist or band steps into the second quarter of 2008, let's take a moment to remind ourselves of the music career goals we are striving for. Success doesn't happen on desire alone, it is a planned for and diligent process. Keep your eyes on your objectives, stay on top of your marketing plan and network your butts off. - Artistopia

Goal For It! by Kevin Sinclair

What do you wish to achieve in life? What expectations do you have? What are your goals? What would improve your life? How can you make this world a better place to live in? These are all questions which are put to us or we ask of others throughout life to help us focus on our goals for the future.

How many words or phrases can you think of with the same meaning as the word "goal". Aim, objective, intention, end result, deadline, purpose, mission, target, aspiration, dream - the list goes on.

Whichever term you use, planning and achieving goals in life separates humans living worthwhile lives from animals existing purely by instinct.

For many, setting goals is considered to be an outdated process. Rigorous testing of the process of goal setting by researchers Edwin A. Locke and Gary P. Latham has been undertaken and the following conclusions have been arrived at. These findings (as detailed in their book - A Theory of Goal Setting and Task Performance) may help you plan and achieve your own goals for your future.

1. Survival and a happy state of mind are both achieved as a result of goal-directed action.

2. Committing to difficult goals will involve more effort and perseverance and will ultimately produce a more worthwhile achievement.

3. More than one goal can be successfully pursued at any given time.

4. It is essential to have confidence in reaching your goal.

5. Specific and challenging goals encourage you to make more of an effort.

6. You must be committed to your goal in order to achieve it.

7. Feedback is essential so that adjustments in effort can be made.

8. Unrealistic goals lead to less effort and you may give up altogether so always make your intentions realistic.

9. Perseverance and hard work are more likely to lead to eventual achievement.

10. Challenging and specific goals are required to direct a person's knowledge and skills.

"New Year's Resolutions" usually fail, but maybe once in a while you have proved to be determined enough to carry out your resolutions. Looking at the list of essential goal-achievement conditions mentioned above, you will see that on the occasions you have actually achieved your newly set resolutions, or any other goals for that matter, several of these conditions have been adhered to. Not meeting some of Locke and Latham's conditions is probably the reason you have failed to achieve some of your goals in the past.

Use the above as a check list and make sure you goals are realistic and achievable - then Goal For It!!

About Author:
Kevin Sinclair is the publisher and editor of Be Successful News, a site that provides information and articles on how to succeed in your own home or small business.

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

Additional music career goal reading: Music Career Checklist by Greg Dixon

7 Great & Fun Ways To Earn Your Living In The World of Music

There are lots of ways to make a living in the music industry, and very few of them have anything to do with getting on stage and performing, or trying to crack the lineup on American Idol. In fact, most of them reward interpersonal skills and organizational skills more than they reward a strong voice, or the ability to rip the chords on a Fender, or bang out 1/64 beats on a drum kit.

First, a lot of work goes into making a record, from the producer, who tries to shape the band’s vision into a commercially viable product, to the sound mixers, who record each layered track and mix everything on potentiometers and a sound board, to production assistants who do the graphic design on the album cover and the liner notes. In a lot of cases, being "the sound guy" doing the mixing pays better than being the artist in front of the microphone.

Second, working at the record label requires not just a love of music, but all the skills you’d need for an office job. Each record label handles things differently, but a lot of the work comes down to tour bookings, making sure that promotional copy and cover art goes out at the right times, and in general, being on top of organizing things and making sure that everything comes into place. Beyond getting a paycheck, you also get to know that you’re helping bring a lot of talented artists to the listening public.

A third way to make money in the music industry, If you’re organized, but don’t like the idea of being confined to an office gig, look into becoming a roadie. The hours are long, the work is mostly anonymous, and you travel a lot, but you legitimately get to say "I’m with the band!" A lot of theater experience will help here, as will some experience with production work; you’ll need to be able to run sound checks and make the myriad last minute adjustments that every new venue needs before the show can go on. Likewise, for larger acts, there are on-the-road assistants who handle makeup, wardrobe and all the little details so the band members can keep their focus on the act, including rehearsal time and warm-ups.

A fourth way to make a living in the music industry, if you find the idea of working directly with musicians or the recording industry directly, consider getting a job as a disk jockey on a radio station. Most radio stations are constantly looking for on-air talent, and if you’re a college student, you can probably get some experience cut in on the campus radio station. Similarly, being a programming director at a radio station gives you a lot of influence over the kind of music the station plays.

Fifth, consider teaching. If you have musical talent, but aren’t up to booking or running a band, there are other avenues you can work with. The most commonly explored one is as a music teacher. Lots of communities are looking for part time music teachers, and some states will let college students do music programs. Being a music teacher generally requires competence with the piano, and usually some training in running band practice, orchestra practice or choir, though some districts will let you focus on teaching world music classes, or esoteric instruments, particularly as part of a campus outreach program.

If you’re going to teach choir, you’ll need to understand the methodologies of teaching vocal instruction. Proper breathing, proper articulation, and how to direct multi-part harmonies in the standard four sections (bass, tenor, alto, soprano). Again, competence in piano is important, because most high school and junior high music ensembles will be taking their notes from the piano.

Orchestra and band require broader instrument knowledge. Unlike a choir director, you have to understand the principles of the various sections of instruments being run, from woodwinds, to brass, to strings and percussion; this requires enough knowledge to teach a student, but generally lacks the time to become deeply focused or specialized in any single instrument.

Related, but profoundly different from music instruction is pedagogy and musical therapy. Pedagogy is the modern outgrowth of teaching child prodigies about music and nurturing them to the best of their ability. Music therapy is a technique for using music, both listening and participatory, to help subjects heal from psychological and other traumas; both require a lot of expertise not just in musicianship, but in another rigorous academic field as well.

Sixth, if you just enjoy playing your instrument and have some friends who are similarly inclined, don’t forgo the opportunity to form a band and play the music you enjoy. If you’re doing a band, don’t think of it as the road to fame and fortune, look at it as a way to make money doing something you love.

Seventh, another job in the music industry is a music store clerk. Although more music is sold online every passing year, a lot of music consumers are looking for informed opinion and retail help when they browse the stacks and look at music they’d like to try. If you have a love of music and the people skills to inform and recommend and close the sale, being a music store clerk may be the best slot for you!

All of these are options to find a job, a career, even an avocation in the field of music. Many become rewarding, life time long jobs. Even for the people who work in the music field and then move on to something else, their experience working in "the business" gives them a certain cachet at parties and the ability (from time to time) to say "Yeah, I remember them from back when they were unknown."

About Author:
Duane Shinn is the author of the popular free 101-week online e-mail newsletter titled "Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions- Intelligent Piano Lessons For Adults Only! " with over 84,400 current subscribers.

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

One Way to Succeed in the Music Business

One Way to Succeed in the Music Business - Get a Recording Contract by Submitting your Music Demo Tape. When a recording company offers you a contract, you are given the opportunity to record your songs for the entire world to hear, and this quite often proves to be the start of the road to success....

One Way to Succeed in the Music Business
When a recording company offers you a contract, you are given the opportunity to record your songs for the entire world to hear, and this quite often proves to be the start of the road to success.

Music Demo Tape

Initially when you contact management and recording companies, music producers and talent agencies they will ask you to supply them with a tape or CD of your music.

The demo tape you submit will provide the reasons for the record company to be interested in you and give you a recording contract. It not only portrays your image, but also your musical capabilities. After all, the recording company will need to see you have something special to offer them to warrant the money they will be investing in you!

Make Your Music Special

As your music must reach your listeners on an emotional level you should ensure the start of your songs will appeal to your audience. If the beginning holds no interest to the recording companies, they will not hang around long enough to get as far as the chorus and the public are never likely to hear your music at all.

Choose Your Song Carefully

Don't just think you can record any old song, simply because you wrote it yourself. Do your research, and find one of good quality with the potential of encouraging your audience to listen to more of your stuff.

The Role of the Music Producer

The "music producer" helps you to select which songs to record and he makes all of the technical decisions. He knows how to put across your singing talents, and is the one who often turns you dreams into reality.

A good music producer will not only make your demo sound exciting but will also present you as a polished and professional artist in a style which will compliment your particular genre of singing.

How to Choose the Right Music Producer

You should shop around and check out the reputation of the music producers before making a decision about who would be the right one for you. Ask as many questions as you like. Have they had many successes in the past? Have they worked with anyone famous and produced a hit record? Have they received any awards for their music productions? When you meet him or her in person, really listen to what they have to say for themselves. Check out their music reproduction and ask yourself "Am I impressed?"

Are There any Other Options

It is not the end of the world if you cannot get a record deal and this does not indicate you are no good and that you should give up and concentrate on your day job! In this day and age, the World Wide Web has a lot to offer to those looking for a career move and the Internet is even providing a way for budding stars, who previously had a recording contract, to sell their music on line and become recognized with music lovers all over the world.

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: Articles island - Free article submission and free reprint articles

Starting Your Own Cover Band? 3 Things You Should Know

I began playing guitar many years ago while in high school. It wasn't long before I got the itch to play in a band. Back then, putting a band together was fairly simple and straight forward. There was always enough talent to choose from roaming the high school hallways. So it just became a matter of finding the right group of fellows that fit your particular musical taste.

Today, things are way different, especially if you're working a full time job, dealing with a family and still yearning to hit the stage. With life as hectic as it most times is, putting a band together can be a daunting task. Often, it's a bigger job than you at first imagined. Just finding the right members can take up a huge chunk of time. But don't worry too much, it CAN be done.

Four years ago, I was 49 at the time, I began sitting in with a local band. Well, it wasn't long before I wanted more. And the only way to get more playing time was to join a band, or start a band. I settled on the latter, as I felt I would have more artistic control over the sound I wanted. As it turned out, I was right...it did give me control, but it also gave me all the responsibility that went along with running a band. And running a band today is way different that it was when I was in high school. Back then...all you needed were the instruments, some microphones and some amplifiers (talent helped too).

Today, you almost need to be an electrical engineer to perform on stage. I got a crash course in this as I progressed, and there are three main things I learned, that, if you know in advance, can save you some headache down the road.

• Become Familiar with the Art of Mixing

The first thing I learned was that a band lives and dies by its PA system. In order to deliver a quality sound, you not only have to be able to play, you have to be able to use a mixing board. There are many types and styles of mixers, and choosing the right one for your band is just as critical as choosing the right guitar or keyboard you use. My suggestion is to acquaint yourself with as much literature on mixing as you possibly can. Understand how the board works, and what can be done with it. In the long run, this will save you a lot of time. To produce a quality sound from your band, everything must be blended correctly. The bass on top of the lead is just as bad as the vocals being unintelligible. The key is always in the mixing.

There isn't enough space here for me to teach you the intricacies of mixing. But it is something that must be mastered...and if you're the one running the band...it's ultimately your responsibility. Of course, you could always hire a sound man, but in today's market, that will undoubtedly cut into the band's profits. So my advice is...read as much as you can before you choose a mixer, and know how to work it once you have.

• Get the Right Sound

Ok, let's assume you've done the auditions and settled on the right group of musicians for your band. Let's also assume you already laid out your initial song list. So, you begin practicing, trying to make your covers sound exactly like the recording. This isn't necessarily a bad thing, but I've found that you really have to add something to make it fly. What do I mean? Shouldn't what you're playing sound like a reproduction of the band you're covering? Well, yes and no. What I mean is that you have to add your own style to what you're playing. You have to be able to put your heart into the music of someone else. If you don't, no matter how technically well it's played, it comes across flat. You have to be aware that there are certain "signature" sounds to a particular song. But you also have to be aware that you are performing...you're putting on a show. A reproduction of a song, played exactly like heard on the CD is no more exciting to an audience than turning on the radio. You have to be able to grab people and hold them. So...yes...make sure the lead solos to "Amy", or "I Should Have Known Better" are there. But on songs that don't have a "signature lead" experiment. Add your own flair. You can even do this with some "signature" solos.

Think of it this way. When you go to a concert, does the band sound EXACTLY like their recording, or do they add flair and punch to their hits. It's a live performance, and they want to make you, the audience, come alive too. And it's same if you're playing in Joe's Pub. You have to get the audience to become participants, not just listeners.

• Control Your Practice Sessions

I learned very early on that maintaining control over the practice sessions was a vital necessity. There are a few reasons for this. When you first start out, you'll find yourself blasting away at your songs...amps at high volume, mics barely above that. You're intent on copying the artist you're covering. But this has a big price. My suggestion is to turn everything down. Make sure you can hear the vocals and the harmonies. If you don't do this, the vocals can get away from you, and you may not sound quite as good as you think you do. In my experience, I've found that, what truly works wonders for the vocals is turn almost everything off. One out of every five practice sessions, we use acoustic guitars only so that we can hear every note being sung. I can't begin to tell you how much this pulls the harmonies together, so that, when you do plug in again, the whole thing sounds right.

Another aspect relating to control, especially for the leader, is listening. You have to HEAR everything. It's more important to underplay than to overplay, which is all too easy to do. As I stated above, it's good to make the song your own...to add that flair that makes it come alive. The trick is to know what notes NOT to play. Sometimes, as they say...less is more. As the leader, you have to hear everything to know when a song is being overplayed. It sounds simple enough, but if you aren't paying attention, it can happen without you even knowing it.

So, is that it? Is that all you need to know to run a successful cover band. Well...no. Just like a quality diamond, there are many facets to putting together a paying cover band. Many you will learn along the way through trial and error. But if you're aware of the three I've discussed, you'll be in a much better position to bring your band on line and ready for gigs faster.

© 2008 Thomas A. Bradley

About Author:
Thomas A. Bradley - Freelance and ghost writer. He has several active articles in e-zines. He has designed two active websites, written several short stories in fiction and worked for both small and large companies. You may contact him at http://www.bradleywritingservices.com, or at tabradley55@gmail.com

Article Source: http://EzineArticles.com/

How To Pick The Right Musicians For A Band

Ready to start your own band? There are plenty of musicians out there willing to pursue a career in music with you, but how do you choose the right musician? Different musicians contribute different sounds to a band depending on their technical skills, innovations, and music diversity. For example, Metallica would not sound the way they do without James Hetfield, or Dream Theater would definitely not sound the same without the drumming talents of Mike Portnoy.

Here are some tips on how to narrow down your list of potential band members.

1. Determine their level of commitment. You want a musician that is in the same commitment level as the rest of the band. Is the band a full-time thing or are you just jamming on occasions for fun on weekends? Musicians with a high level of commitment are always good but they can discouraged if the rest of the band is lazy and only wants to play at minimal times. Figure out how often the band should get together to play and then find musicians that can commit to that schedule.

2. Technical abilities versus diversity. While technical abilities are important, there should be a good balance between music diversification as well. Anyone can pick up a guitar and shred like Yngwie Malmsteen with proper amount of practice picking the same notes over and over, but not everyone can play with such feel as Jimmi Hendrix.

3. The right musician should enjoy playing the same music style as the rest of the band members.

4. Compatibility with personality. Playing in a band is about having fun and you should be able to get along with all your band members off-stage. Generally speaking, you might get along with people within your age group better, so that might be something to consider when choosing musicians.

5. Open-minded to other music genres. While this may not apply to every band, it might be good to consider if your band ever decides to change its musical direction.

6. Band playing experience. Typically, the more band playing experience the better. There is a difference between self-taught musicians that practice at home by themselves and musicians that learn through others by playing in bands. Musicians with no band experience might have trouble with following songs since they are used to playing at home to album CD's. In addition, if your band ever plans on performing live gigs, inexperienced musicians might have stage freight.

7. Enthusiasm. Does the musician take the band seriously enough to prioritize it? Does the musician contribute to the band musically? Enthusiasm is shown if the they contribute a lot of ideas into the songs and take some extra to practice at home as well. If the musician is always running late to practices, does not contribute and only plays what they're told to play, then chances are he/she is not very committed to the band.

About Author:
Kenny Auyoung: Webmaster @ http://www.getmeaband.com Looking for a band? Search through our directory of musicians to find band members in your local area.

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

Proven Ways To Protect Your Hit Song

Tin pan alley possesses a standard bugaboo for all new songwriters. This is the always-current rumor that publishers, professional songwriters, bandleaders - in fact, anyone and everyone in the music business - is intent upon stealing the ideas of new songwriters. Many new writers are hesitant about sending songs to publishers for this very reason. They are positive that if they allow the song out of their hands before the publishing contract is signed, they will find that the publisher has "copied" the number and stolen their idea. This may seem far-fetched, but it does happen.

The publisher takes every possible precaution before accepting a song for publication to insure that the song is not an infringement upon some other published number. He is usually able to spot an obvious infringement but if it should slip by his notice he knows that it will undoubtedly be picked up by the arrangers on his staff. Sometimes, despite all precautions, the infringement will pass unnoticed and the publisher is faced with an infringement suit. But such instances are extremely rare, particularly when one considers the tremendous number of songs of all types that are published every year.

Both the songwriter and the publisher are protected by law against infringement. Since the main charge in an infringement suit is that one song has been stolen from another, it is plain that both parties must be able to prove when the respective songs were written. The party that can show that his song was created before the other stands a good chance of winning the case. This date of creation can be established by several methods:

1. Take the manuscript before a notary public and have him witness your signature and affix the notary seal to the sheet of music.

2. Put the manuscript in an envelope. Seal the envelope and then mail it to yourself. The post mark will establish the date.

3. Keep the manuscript in the sealed envelope until it should be needed in an infringement case. The envelope should be opened only in court.

4. Secure some reliable and unprejudiced witnesses who can attest to hearing or seeing the number on a particular date.

5. Secure a U. S. Copyright registration.

The last method is, by far, the most satisfactory. Copyright registration simply means that the song has been officially registered as of a certain date, therefore becoming a matter of record.

Although the songwriter is entitled to exclusive rights to his composition, under common law, he must prove, beyond a question of doubt that he had created the song on a particular date. This might be established by the methods suggested above, but these methods are, to a great extent, makeshift, and do not provide definite proof offered by an official copyright card.

Furthermore, if a case is being tried on the basis of common law copyright, minimum damages are not established and must be determined by the court. For these reasons alone, it is preferable to secure an official copyright for the song.

The procedure is quite simple. The songwriter merely has to write to the Registrar of Copyrights, Washington, D. C, and ask for some application cards for unpublished musical compositions. These cards are sent free of charge. One card is required for each song to be copyrighted. The songwriter fills out the card which provides space for the names of lyric writers and composer, residence, name of song, date, etc.

The filled-in card is then returned to "Washington together with a copy of the manuscript and the required fee of one dollar." Within a short time, the songwriter receives an official registration card attesting that the song had been duly registered as of a certain date. This card should be placed away carefully by the songwriter for it provides concrete evidence that his song had been witnessed on a particular date.

If the above procedures are followed, you precious song should be protected from any unscrupulous person intent on stealing your hard work!

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

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

Music Business Success: Increasing Creativity

As you ponder your goal and determine the best course to achieve it, you will need some creative ways of thinking and facing challenges that will arise. The most creative-thinkers out there will encourage you to think outside your box and to consider even the wildest of ideas.

One way to do this is to “Wild Mind Brainstorm.” Wild-Mind is done by having a piece of paper and writing down EVERY idea that occurs to you about the situation you’re facing. Do NOT evaluate your ideas—just write them down. Do NOT consider something “ too silly” or “too dumb” to write down—just write it down!

Evaluate your ideas in a few days, but not when you’re writing them down. Consider these ideas much like a newborn baby. You must cradle that baby and hold it lovingly and help it grow to a responsible adult. The same goes for your new ideas. You might find that one idea you would consider to be the “silliest” turns out to be your key for unlocking the door you’re facing.

Remember the guy who came up with the idea for Post-It Notes? The adhesive was discovered long before they found a use for it—and the person who said, “Let’s make some note pads that are small and can be easily removed,” was laughed at. But now—do you even see ONE office without Post-Its around? I have at least 6 pads of Post-Its in my desk drawer alone. There’s one in the kitchen, and one in the car.

Another way to increase your creativity is to be around others who are creative. Proverbs 27:17 says, “As iron sharpens iron, so people can improve each other.” If you hobnob with those who are known for creativity, it will wear off on you. And you will find new ways of looking at things and thinking about situations, as well.

You can find audio-books and speeches that will stir up your creative juices as well. Professional speakers and those who have “been there, done that” often hit the speaking-circuit and can pump fresh ideas and life in your goal and the ways you attain those goals.

I prefer removing myself from the goal-achieving mode and moving to a truly creative outlet—the arts. You may not consider yourself artsy or think you have any ability in this realm, but it’s worth taking a lump of clay (or Play-Doh) and working with it.

You may find, as I do, that when I’m working on a hobby that I truly love, I free up a portion of my brain that was engaged in my problem-solving. When that happens, I typically find a potential solution to my dilemma. Artistic creativity often sparks other forms of creative-thinking, as it engages a different area of the brain than what we’re used to using. Pick up a paintbrush, a pencil, arrange some flowers, or begin a needlework project. You may find in color and artistry you have a new lease on what you’re doing!

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

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

Your Headshot: Tips for Getting a Compelling Business Portrait

Music career = in the business of music; Professional artist photos = an artist or band that takes their music career seriously and understands the value in this important piece of their image and presentation in the music business. A good headshot or band photo would be included as your primary photo online, as well as in your press kit and press releases. - Artistopia

Whether you are starting a new business or sprucing up your existing enterprise, you will find yourself fielding requests for a headshot. A good headshot is a business essential. It gives you a leg up when it comes to publicity, a professional web presence, or a potential speaking contract. A strong business portrait personalizes your business. People see who you are and are more likely to want to work with you.

In contrast, an unflattering, badly posed or technically inferior headshot can work against you. The subconscious questions that may come up are: Does this person take herself seriously? Is she a consummate professional? Will she give my account the attention it deserves?

Your headshot should showcase you as an accomplished yet accessible professional. Depending on your business, you may want to show a softer side, a no-nonsense attitude, good listening skills, compassion, or a combination of these. And you want to look your best!

It's important to choose a seasoned photographer who will be proficient in lighting, composition, and posing, and who will work with you to understand the nuances of your business and the message you want to send. Here are some questions you might want to ask your photographer before booking:

* How long will the photo shoot last?

* Will I have an opportunity to be photographed with a variety of expressions?

* How do you elicit different moods?

* How many images will be taken?

* How many do I get to keep?

* How are the proofs presented? As digital files? As contact sheets? As prints?

* Will I have the opportunity to have a clothing change for a different look?

* Are the images available in print, as a digital file, or both?

* Will my chosen images be retouched?

* Will I have unlimited use of the images, or will I need to pay more for additional usage?

* Is there a makeup artist or hair stylist available at the studio?

* What is your policy in case I don't like any of the photographs?

Once you have made your appointment, there is still some preparation to do for your session! Here are a few pointers:

1. If you are having your hair cut, do so several days before the shoot so it will have time to settle down.

2. If you wear a suit, be sure the jacket or blouse fits well. This is critical! The camera blatantly shows if seams are straining, or if your shoulders are swimming in extra material. Choose a solid color that is somewhat darker than your natural skin tone. Tweeds or patterns are distracting, and may cause a moiré pattern in a digital file. Come to the session with your clothes clean and pressed.

3. Consider booking a few sessions with an image consultant prior to your photo session. You can get great advice that can have a positive impact on the photo session and your general appearance.

4. Have your makeup professionally done for the shoot, or wear a little more makeup than you normally would. Photographic lighting can wash out your features.

5. During the shoot, imagine you are greeting a favorite client as he or she walks through the door. This exercise keeps you from worrying about how you look and brings out your warmth and accessibility.

Your headshot is part of your brand. Be sure it is sending a message compatible with your professionalism.

About Author:
Gretje Ferguson is a portrait photographer based in Dedham, Massachusetts, where she runs a portrait studio. Her passion for people, the Arts and the human condition has fueled her photographic journey for more than 25 years. She has photographed hundreds of Canadian and U.S. artists and business executives, has been published in more than 50 international magazines, and has shown her work in one-woman exhibitions across Canada and the Eastern United States. Her recent project, Confronting Cancer: Images of Strength and Hope, highlights the strength and optimism shared by many people undergoing cancer treatment. Her portraits of prominent cinematographers have appeared in international full-page color ads for Kodak motion picture film. She was the only media photographer permitted to document the making of the United Nations 50th Anniversary portrait of 186 diplomats. http://www.gfergphoto.com

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

Booking Your Band

You've brought together three or four of the best musicians in town, and they are jamming to your tunes. You have spent days and nights writing and rewriting lyrics, and you have been working hard to perfect your sound. Finally, after many months of practice, you are ready to reap the benefits of your hard work. But how do you begin?

As a new band, the idea of booking your first gig could prove to be a daunting task. However, it doesn't have to be. By following these simple steps, you can turn a seemingly overwhelming process into a productive one.

Making sure that the members of the band are all on the same page is an essential first step in the booking process. Agree on a number of gigs per month that everyone will play. Put together a set of your best songs and make a demo. Your demo should not include full-length songs; a few short snippets of your strongest material will showcase your band's strengths and will sell your band to potential venues with little or no effort. With your demo, include a photo of the band, a short statement about the music or genre that the band plays, and your contact information, including the band's website. Decide what venues you are interested in playing and how much you will charge them for playing, if anything. Getting these details out of the way early will establish good communication among the band members, thus avoiding misunderstandings in the future.

Next, do your research. Scope out the local scene; find out who your competition is, which bands play where, what venues cater to your particular sound, and who your target audience is. Talk to seasoned local acts; oftentimes, your fellow musicians will be your best sources of information. Getting to know your competition, your audience and your local scene will prove to be an indispensable tool when you are selling yourself to club owners and booking agents. Also, be open to anything. Limiting yourself to clubs and bars will hinder your chances of booking your band. Find out about open-mic nights in your area, offer to open for other bands for free and find out about local fairs and festivals where your band can get some exposure.

When you're out and about checking out potential venues, ask for the names of the people responsible for booking bands at that location. Get their contact information and keep track. Use all of your contacts and, when calling them, be brief and to the point. Ask them if they have time to talk, and if not, when it would be a good time to contact them. Ask for permission before submitting your demo. Be persistent, but not pushy, and realize that it will take some time to get that job. Once you do get the gig, be sure to discuss payment, if any, as well as what you will need to bring as opposed to what the venue will provide. Be professional and be honest.

With determination, a little know-how, and some clever self-promotion, you could land that first gig and be on your way to success in no time.

About Author:
Ryan Vinson is the founder of VersusMedia, a marketplace that links independent filmmakers with musicians with the common goal of obtaining music for films. The company has a strong following in the independent film industry, and has assisted over 900 films to date. For more information, visit http://www.versusmedia.com

Article Source: http://EzineArticles.com/

Getting Ready For Recording Studio Work - Drummers Help Guide

Not all of us instinctively possess a good internal clock. The good news is that you can develop excellent time by first, being aware of its importance; second, by evaluating your own playing; and, third, by doing something constructive about it. One way to develop good time is to play along with recordings.

These days there is an overabundance of CDs available to you. Once upon a time, the only drummers who appeared on records were quality players. Now, any Tom, Dick, or Harry can make a CD in a home studio, so you have to be careful in your selection. You want to play along with the best, not the kid next door who has rushing and dragging problems. In Appendix A, you will see a list of professional drummers together with some of their most significant recordings. All of these drummers play with good time, though some of the studio players such as Vinnie Colaiuta, JR Robinson, Hal Blaine, Jeff Porcaro, Jim Keltner, Larry London, and others have a particularly acute sense of time that is worth studying.

Studio musicians most commonly dwell in Los Angeles these days, but New York City, Memphis, and Nashville can all be considered recording capitals of the world. Studio drummers typically work on a whole host of projects ranging from film and TV scores, to jingles for TV advertisements, to backing up famous singers, to standing in for a member of a rock band who has great looks, but doesn't record particularly well. Often studio or session drummers are asked to play with a click track as they record. A click track is the same as a metronome, which you will learn about shortly Studio drummers are constantly under the gun, because, for a music producer, time is money. Session drummers are expected to learn material quickly, play with both rhythmical clarity and accuracy, understand just about any kind of "feel" or style of music, and most of all, play with great time. So, when trying to improve your time, it's a good idea to familiarize yourself with the work of session drummers and to play along with their recordings.

When you play with recordings you will not only improve your sense of time but you will gain a sense of what it's really like to play in a band. You will also gradually learn a repertoire of tunes by playing with CDs and begin, almost through osmosis, to learn about appropriateness in drumming.

Following is a list of issues to think about when playing along with recordings. Ask yourself, what style of music am I playing? What is the main groove being played by the drummer? How would you describe it? Where does the drummer play fills? Do the fills help the music to develop and climax? If so, how? Where does the drummer make shifts in the feel of the tune? This may include dynamics, changing the ride pattern or ride surface, or laying out altogether in a section. Is the drummer playing a lot of notes? In other words, do you detect a lot of activity or is he or she playing with a lot of space? What is the structure of the tune? If it's a Top 40 tune, are there verses, choruses, a bridge or middle eight, a coda? Is the drummer pushing the beat, laying back on the beat, or playing straight down the middle of the beat?

Playing with recordings is a simple procedure. All you need is a Disc man or Walkman, a pair of headphones, and a collection of recordings to pull from. Using headphones that completely cup around your ears is a good idea, because this will minimize the sound of your drums and allow you to focus on the pulse of the recorded music. These kinds of headphones are a little more expensive, but well worth the price.

Be careful not to turn the music up too loud when playing along with recordings. It's better to quiet yourself down. Earphones turned up too loudly can cause hearing damage.

About Author:
Eric Starr - There are a lot of different Drum Samples and Drum Loops widely available everywhere, nevertheless Eric recommends using Drum Triggers for studio work, triggers will minimize the studio time, and will help both the drummer and the engineer to achieve greater results. http://www.drumsoloartist.com

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

What Is A Hit Record Anyway?

In order to be successful in the "old" music business you had to have a radio hit!

In it's heyday, when Radio was still breaking artists, a 3:30 minute track with two verses, three choruses, etc. was the expected standard but today, with the Internet rapidly becoming king...a "cookie-cutter" track isn't always required to capture the listeners attention and make them want to hear it over and over again.

Thankfully, the days of major labels shoving their "corporate" wares down a narrow pipeline for us all to buy like sheep have ended. Now the new game in town is the Internet.

What this is saying is that new aspiring artists don't have to emulate the flavor of the month that's the preferred style by the majors. Their music is no longer subject to securitization and homogenizing by committees or executives afraid for their jobs thus wanting to stay on the safe and sunny side of the street.

Yet, the labels as formatted as they were, did provide for their new talent, a certain level of artist development and direction. Stars were built slowly and methodically much like the old film studio system. Sadly today, those days are long gone.

And, although the Internet has leveled the playing field offering incredible opportunities for expression and creativity, in order for a new recording artist to be successful, to stand out and be heard, their music still must move people on some level and make them "feel" something when they experience it.

It's my belief then, that even though the delivery system has changed, the elements that still make a commercially successful record have not changed and will never do so.

I found in my productions of classic artists like Tracy Chapman, Joe Jackson, Cat Stevens, etc. the first step in making a hit record was not to try to hard to make one. Certainly no-one would ever say that Tracy's "Fast Car" or Joe's "Steppin" Out" fit into any pre-conceived mold. Yet each were unique and powerful in their own way. You see, I have found that some of my biggest hits have not been predictable, stiff, or forced but each of those records as well as others I have produced did share some key elements. So what are those elements?

I have discovered seven of them. They are the same elements you will find yesterday, today or 20 years from now.

Seven Key Elements:

(1) Is the song memorable? Is there some element of it that hits you deep in your soul? Does it contain a lyric, a phrase, a concept that listeners can relate to in their own lives? Does the writer take a risk of looking bad and share something personal with you that you have felt yourself at some time or another?

(2) In a commercial record, there is a structure in place that contains dynamics and sections i.e. a verse or pre-chorus exploding and releasing into a chorus. This creates excitement and differentiates the sections.

(3) Musically there are "hooks" which can be catchy phrases, melodic lines, rhythmic lines, etc., which stick in your head and you find yourself singing.

(4) Does the recording take you somewhere? Does it create a mood, maybe an emotion when you hear it? In fact, does it affect you in any way...make you want to dance, cry, laugh or think etc.

(5) If you hear it between to other records how does it compare? Does it stand up and grab you or fall on it's face? Is it special?

(6) Does it make the hair on your arm stand on end when you hear it the first time or do you feel little flutters in your stomach?

(7) Would you bet your life's savings on it becoming a hit and are you willing will to risk them to back up your belief in the record?

At the end of the day...a hit record takes on a life of it's own. It transcends style or genre. It is timeless and will be as significant today as next year or in 10 years.

It's a great time in music for the musical creator. The last few years have been a major disappoint in regard to breaking new meaningful talent. So in the last two years of this decade, if we are to develop the "Bob Dylan's", "Peter Gabriel's", or "Stings" of tomorrow, it must still be done with recordings that entrance the listener and take them into another place for the few short minutes they spend listening to it.

Copyright (c) 2008 David Kershenbaum

About Author:
Producer and Executive David Kershenbaum has over 75 international gold and platinum albums to his credit. His work has been responsible for creating billions of dollars in sales and has result in numerous Grammies as well as an Academy Award nomination.He is considered by many to be one of the top producers in the world as well as being one of the most respected. Kershenbaum is known for being a true artist development executive. He supervised or produced Janet Jackson, Duran, Duran, Tori Amos, Joe Jackson, Bryan Adams and more www.musicproshollywood.com, www.davidkershenbaum.com, email - david@musicproshollywood.com

Article Source: http://www.article-buzz.com

Acoustics - What Are They?

When you're working on a recording, of course knowing how to use the various pieces of equipment is important, but you also have to know how to use acoustics. The acoustics of any recording are just as important as any other element as you develop your particular sound. If you do this, you also have more capability in recording sounds just as you want them and will be able to determine just how you want to portray the audio sounds you are developing.

Acoustics first starts with utilizing air's vibrations. In some instances, an electronic device is used instead. If the acoustics are natural, the air moves through a particular compartment, such as an instrument or voice. As the air vibrates more, it creates more sound for the instrument or voice. This in turn leads to sound waves, which are recreations of the air's vibration moving through the space it's in.

The air's vibration determines how acoustics respond in a particular space. It also means the simple concept of their vibration that gives you specific ideals as to how you should set a recording studio; the right sounds must be produced for the recording. When you learn how to control acoustics, this is your basis for setting up a recording studio and is the main concept as you control sounds when you are recording them.

When a particular sound is made from an instrument, it utilizes a variety of air levels that it strikes and causes to vibrate. On one level, this becomes a note we hear as it is played. However, the acoustics can take on different characteristics in producing different sounds that are not heard by the human ear.

The first sound produced comes from the environment in which the sound is played. If a room is larger, has higher ceilings and has more space, the sound will bounce against the walls. This causes the sound to move faster, become louder and to resonate. When recording, the walls are deadened and smaller spaces are used, to diminish the reverberations. If echo is included in the sound, the rhythms themselves can begin to sound off.

Acoustics also change sound by resonance. With resonance, the sound's vibration is heard, even when the note itself is no longer being produced. The resonance can continue as long as the air's vibration continues to hit the particular area in question. Most of the time, resonance will be a diminishment of the original sound as the vibration of air continues to decrease. When recording, this resonance is also muffled through the sound proof rooms used so that you can make a clearer sound.

Lastly, acoustic sounds contain overtones. It's true that we only hear one note being played or sung, but this is not the only note in the air. Acoustics create a vibration of sound waves that continue vibrating and resonating at different levels. These different levels become pitches created above the original pitch. There are specific spacings in the pitch. They are not heard necessarily, but they'll still create an effect as the sound hits the ear, when the vibration is moving through the air. This also makes a difference when recording, as the overtones can produce a different effect and can be recorded as a wave file. This in turn may cause differences in peaks and can also change basic sounds heard in the piece itself.

Once we understand these acoustic ideas, we can begin to control them within the recording studio. With a recording studio, particular areas are soundproofed so that the audio becomes a pure wave file. This stops the acoustic sounds from their distortions, such as echoing, muffling, or changing the sound intended.

With recording and acoustics, there are many ways to look at sound waves and how they work. Once you understand this, you can create a recording area more conducive to controlling certain acoustics while others are allowed to resonate.

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/

Selecting a Studio

Which studio do you pick to record at? This is a question that no doubt every musician or band will face at some point in time. This article will give you a few pointers to help pick the studio that is right for you.

Cost/ Availability
You first consideration should be cost and the availability of the studios that you can afford. You should have some sort of budget worked out prior to shopping for a studio. A good rule of thumb is the 10 studio hours per song to record and mix. On the average it will take approximately 10 hours to record and mix each song that you want to record. Choose a studio that you can record your entire project in (Ex 10 Songs x 10Hrs per=100 studio hours, studio a rates are $40 per studio hour, total cost is $4,000). Once you have a few studios identified as possibilities, you need to see which will fit into your time schedule. Say you want to start recording in two weeks however studio a has a six month waiting list, obviously you wont be able to record there unless you wait.

Equipment
The next thing you should consider is equipment. Does studio a have top of the line vintage gear and studio b have mid grade equipment? A little research into studio equipment may be in order if you are not well versed in studio gear.

Listen to CD's
Have the studios make up some demos of other bands that have recorded there. Listen to the CD's on as many different stereos as you can (car, home, friends car ect...). This should give you some idea of how your CD will sound like when it is complete.

Meet the Engineer
Meet the engineer that will be working with you on your project and ask about past experience and get references from other bands that they have worked with. Call the references and ask what was it like working with the engineer. Listen to tapes that were recorded at the studio that you are considering by the engineer that you will be working with. If the studio balks at these requests they may be hiding something so beware!

Mixdown
Automated mixing boards used to be only for the large studio projects with huge budgets. This is no longer the case. If a studio you are considering recording in has an automated mixer it is a big plus and should be considered a very big advantage.

There are many other things to consider when picking a studio however this should give you the basics and a good start, good luck and happy recording!

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

Singers, Bands & the Artist Management Team

As singers and bands compete for the ears of music industry pro’s, hoping to become the next greatest pop icon, mangers and the relationships with their acts have become increasingly important. With the evolution of technology, the internet and fledgling record labels, trying to compete for the next money making act, you can be sure that artist managers have their plates full sifting through myriads of press kits and demos trying to pick the needle out of the haystack.

With each demo that is sent out, artists wait in anticipation of what might become their next step in their artist career pathway. Most of the time, however, the group or singer is met with the, “Thanks for your submission, but no thanks,” letter at the door. What can singers and bands do to increase their odds of developing a relationship with an artist manager? Good question – Let’s look at some ideas and concepts that you can put to work as you try to move your career forward.

As a former talent booking agent with the William Morris Agency and as the owner of www.reelmusician.com, I can tell you that one of the biggest walls that is built between artist managers and acts is a singer or group that is not prepared. They want the representation, but not the responsibility and financial demands that are placed upon them in the initial phase of their careers. They want someone to hold their hand and make it happen for them before they have sunk initial investments whether time, money or emotional investments that being maturity and basic music business knowledge and understanding. With this wall up you can forget it. There’s too much competition out there for a manager to waste their time – Would you? - Of course not and neither will they. Therefore, you make it your first priority to be prepared.

How do you prepare yourself or your band you ask? - Great question. Start with your music. Is your music the same run of the mill sound that’s already out there at countless levels? Does your music or style lend itself to marketing, or can if be differentiated from scores of others already signed to the majors? Be honest here. Quite honestly many individuals or acts have copied the sound of some other act and have not fully matured into developing their own sound. There’s nothing wrong with having musical influences, every act out there will tell you who has captured their musical hearts, but your sound has got to sound like you.

What does your press kit look like that you are sending out? Is it self-produced with fairly good looking pictures, bios, etc, or is it even a step below that? Your press kit has to shine and grab the attention of your music industry pros or you can forget it. Consider having your press kits reviewed and re-worked where necessary. You’re really missing the ball if you don’t have not only a professional looking press kit, but one that is specifically designed to get your act through the obscure doors of the music industry.

What are you doing now that is worthy of representation? Is it a dream or a real concrete musical idea that will grab the hearts of your listeners? Your listeners have to fall in love with your music. All it takes is one individual with a little clout at a record label to fall in love with your music for them to start talking you up in the halls. And with a little clout, nobody wants to be on the wrong side of the aisle on any given project, so therefore, the ball starts to roll. That’s how it usually works and good managers know this.

When you start out looking for a good manager you want to find out as best you can how authentic, honest and obviously go-getters they are. When you start to approach managers, understand that they only have so much time and resources. Da you say. Well put that information into practice. As you approach managers, what can you do to not only make their lives and jobs easier, but to let them know that you are not a “taker.” Do you know how many individuals, on a regular basis, who approach us wanting to be stars, who want us to invest all of our time and resources without offering anything in return? – Countless. Don’t do that. Offer something to your manager. Offer to help pay for the phones, press kits, postage, etc on behalf of your act. Now you’ve got the attention of the manager. He or she now knows that you are not a taker and are a serious contender in the music industry campaign. Never thought about that did you?

When you start to approach managers, your press kits, as previously detailed, need to exude professionalism. You will want to include a logo that has been specifically designed for you or your act. This logo should be remember able and characteristic of the emotional tone you want the act to initially portray and look like. Put this logo on all of your material including websites, pictures, bios, CD’s, etc. Don’t send out press kits without a logo. There is a lot of software out there to help you with logo creation, but if you need further help you may contact us tgauger@reelmusician.com or 615-300-5030 and we can help you with it.

In closing your approaching artist managers with the “We’ve got a great attitude and would like to do our part,” mentality will go along ways. Make sure that the demos you are sending out, are worthy to roll down the halls of the record labels with artist press kits that shine and show detailed experience and marketing knowledge sure to grab the attention of A&R directors. Do your part and hopefully one day an artist manager will do theirs on your behalf.

About Author:
Mr Gauger is a former talent booking agent with the William Morris Agency and jingle singer singing on many commercials including FOX TV, UPN TV Station ID’s, O’Charley’s and many other jingles and records. Mr Gauger is the owner of http://www.ReelMusician.com and can be contacted at tgauger@reelmusician.com or 615-300-5030.

Article Source: http://EzineArticles.com/

Band Mailing Lists

Using a band mailing list can be an effective way of letting your fans know what is happening with your band at minimal cost to you. While you may already be using a mailing list to promote your act, this article should give you some additional ideas of things you can do with your list which will means more exposure for your act.

The Basics
If you are not collecting names and addresses of people that are at your gigs you should start immediately. All you need is a simple sign up sheet with name, address, phone, and email address on it. I recommend making copies and putting them on the tables at the club that you are performing at before you go on stage. Get some type of box and label it with your band name. Have your singer announce from the stage a few times throughout your set that you have a mailing list and to sign up fill out the form on their table and put it in the box. Make sure you have the box located somewhere that people can easily get to and see ( the front door of the club?). Your singer can than say something to the effect put the completed forms in the box located by the front door.

Using Your List
You can immediately start using your list by sending monthly calenders with all of your upcoming gigs. This is very effective because you can promote all of your gigs in that month with only one mailing. Another idea is a newsletter*. This can give fans some inside information about your act that they might not have know about. Some ideas might be background about band members, special parties or gigs. How about a special gig for a band members birthday? I once had a band member that liked to cook he had all kinds of special recipes that we put in the newsletter, sounds weird I know but people liked it! Some other ideas might be, contests or a band crossword puzzle ( you can get software that will output a crossword puzzle with words you supply!). The newsletter is open to your imagination so the sky is the limit. Don't forget to include coupon to order your CD.

Swap Lists With Other Bands
If there are other bands in your hometown that play a similar style of music consider trading your list for theirs. This is a great way to build a large list quickly.

Discount Costs
If you have a few hundred people on your mailing list you can send out your mail using a bulk rate and have quite a cost reduction per piece mailed. I wont get into the details here however you should contact the post office and they will give you all the info you need on bulk mail.

Post Cards
Instead of sending a letter send a post card. The current rate for a post card is much less than a letter and you can shrink a monthly calender down to post card size.

Email
Of course email is becoming more and more popular and the cost of sending to an email list is very low. Definitely use an email list however, I still believe it is worth the time to send out mailings through the regular mail. By doing this it gives your band an advantage to all of the other bands in your area just using email.

Survey Your Fans
Another idea for your list is to survey your fans. You can find out valuable info like: What is your favorite club? What cover tunes do you want to hear? What do you like about our band? What improvements do we need to make? etc... Use a SASE to make it easier to send back your survey sheet. This info can help make your act better and build a stronger following.

Well there you have it, your mailing list can be one of the best ways to promote your act. Good luck and happy mailing!

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/

*Newsletter - use your customizable Artistopia Newsletter builder to create a great ezine!

Putting Your Hit Song Out There

There is a whole process of marketing that needs to be explored if you have gone to the trouble of completing a song which you believe could be a hit. The principal difference between an amateur and professional songwriter is that the professional writer has at least one published song to his credit. It thus follows that if a new songwriter has a song accepted and successfully exploited by a recognized publishing firm, he will encounter little or no difficulty in obtaining serious audition and consideration of his future numbers.

It is the first song, therefore, that presents the greatest stumbling block to the new songwriter. The reasons for are as follows:

1. Of the material submitted to publishers by new songwriters, only a very small percentage has any commercial value. The major percentage of this material is either improperly written, contains direct "steals" from copyrighted songs, or lacks sufficient originality to compare favorably with numbers written by professionals.

2. There is no dearth of song material. Publishers receive a sufficient supply of new numbers to keep their catalogs full and their songplugging staff busy.

3. There is no compulsion, therefore, for the publishers to seek new songwriters. This does not mean that they have shut their doors to new talent. It does mean, however, that this new talent must be particularly outstanding to receive their attention.

4. A certain amount of time, effort and expense must be risked in the publication of any song. The publisher naturally desires to keep this risk as low as possible. If he publishes the work of a successful professional songwriter, he knows that there is a good chance that the song will "click" and that he will come out even or perhaps ahead on the deal.

5. Songs written by professional songwriters are generally much easier to plug than numbers written by unknowns.

Marketing a song - particularly a first song - often requires patience, tact and time. Assuming that the song has real commercial value, there are several ways of gaining a serious audition by the publisher. However, there are certain facts that should be borne in mind when the initial contacting is done.

In the first place, it should be made quite clear that there is no short-cut in marketing a song. The songwriter should have only one goal in mind . . . the ultimate publication of his song by a recognized and reputable music publishing firm.

In what form should the song be when it is submitted to the publisher? This question often perplexes the new songwriter who is undecided whether the number should be printed, hand-written, fully arranged, or fully orchestrated. A hand-written, legible copy is actually all that is required.

If the song is submitted by mail, it is usually advisable to have the number properly arranged or, at least, to have the proper harmonies indicated on the manuscript. The reason for this is that the publisher's piano player will be able to perform the number just as the songwriter had intended it to be played, using the proper harmonies and chord, sequences. It is unnecessary to go to any great expense for a simple piano arrangement.

However, if it should be inconvenient for the songwriter to use a New York arranger, any local music teacher should be able to sketch in the simple harmonies required. A professional piano arrangement costs approximately $25.00 (depending upon the arranger).

If the songwriter is able to contact the publisher personally and is able to perform his own number adequately, there is no necessity to have the number arranged. This also applies if the songwriter brings a friend with him who is able to perform the number.

Piano arrangements are not essential but they do insure that the number will be played just as the songwriter intended. If the number has a strong melody line and does not require any special or complicated accompaniment, a professional piano player will always be able to fill in the proper accompaniment without any difficulty.

All that is required now is determination and luck. Go for it!

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

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

Feature Video:
Music Marketing Seminar - Industry Guide To The Music Business



Marketing 101 for Artists! GREAT! This series is taken directly from private meetings and seminars between Artists and Labels. http://www.sonicwaveintl.com

Booking Tips

This article is about the subject of booking your band. It contains a few helpful tips that you can start using immediately when you are booking your band.

Get Organized
You need to come up with some sort of system to keep track of who you called, what was said, who you sent packages to and who you need to follow up with. I recommend getting a Day runner, they are compact and can help you stay organized by keeping all important information in one place. Inside you can keep detailed notes and reminder notices to follow up on phone calls or anything else that has to be done. At the very least get a calender and a note book and keep good records.

Press Kit
Make sure you kit is the very best it can be before you send it out. If it is sloppy or unorganized that is the way you band will be perceived. Make sure your best song is the first song on your demo.

Don't Lie
Do not lie about your draw. Clubs care about one thing, how many people you can get through the door. If you tell them you can draw 200 and only 50 people show up you have betrayed the trust that the club owner has given you, which will hurt you in future bookings there. If you donÕt have a large draw or you are just starting out tell the club owner that and then ask to open for a band that has a large draw. If you band is good you can get some great exposure to many people which will increase your draw. If you have a mailing list and it is a decent size (qty 500 people). Let the club owner know about it, this may help you booked on a better night or time slot.

Meet The Booker
If you are booking your band into a new venue or if your band is new, go down to the club and meet the person who is doing the booking. I find it is best to do this in the beginning of the week (Mon or Tues) when they are not so busy. You can personally hand over your press kit and you will get more attention that if you just called and dropped your package in the mail.

Put Together A Package
Get together with a few other bands and offer a package to the club owner. This can really work well if you make it different and interesting. An example might be : a few Reggae band got together and threw a Reggae fest. They found someone who makes Reggae jewelry, also a restaurant that brought in barbecues and cooked reggae food and a travel agency set up a booth about Jamaican vacations. Use you imagination and creativity. Put the package together and then go to the club owner and sell the idea to the booker. If you are a standard rock band consider an unplugged night with a few other bands. How about getting together with 10 other bands and have a rock marathon where every band plays one set? Anything you can do to make your show not just another band playing in a club will be much more appealing to the booker and will attract more people to come to the show to check it out.

Well there you have it, I have just started to scratch the surface on the subject of booking you band. I hope this help you and as always, drop me a line and let me know how your band is doing! Good luck and happy bookings.

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

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All About Gibson Guitars - Trivia For Guitar Players

Gibson Guitars are an icon of the guitar industry. Gibson is currently a major player in both the electric guitar and acoustic guitar market. The company was originally named after Orville Gibson who made mandolins in Kalamazoo, Michigan at the end of the 19th century. Gibson used the same method to initially make the big body archtop acoustic guitars.

Gibson