Wednesday, August 31, 2011

Hip Hop Beats and Instrumentals - Is It Better To Make Them Yourself?

At first glance it might seem that being a producer/rapper might be better because you could just save money on beats or make whatever type of beat you want for yourself BUT that's only one side of the coin.

You might think it's better to have an extra slash after your name (Rapper/Producer) but before you take on a whole new craft here's a few things you might want to think about. For starters, do you even know what it takes to make a whole beat. Well let me supply you with a list, that you might be interested in:

First you would have to find beat making software, buy a midi controller and download some good sounds.

Then you would have to learn how to use the beat making software, how to program drums, create melodies, create chord progressions, create bass lines, find out what sounds go together, find good samples, chop samples, layer drums, create new sounds, how different tempo structures work, how to create intros, how to create chorus sections, how to create a bridge, how to arrange a beat, how every instrument should sound when creating melodies with the instrument and this is just some of what you'll have to learn.

So you could see that if you wanted to go down the path of producer/rapper, you would be wasting your time and just putting your dreams of rap stardom on hold. The little time you already spend on being a rapper would be split in half and then instead of ending up a great rapper your destined to be an average rapper with below average beats.

Look at it this way, it's been discovered that it takes an average person about 3,000 hours of study and practice to become a top AMATEUR at their craft. So that would be an hour a day for about 8 years. Also for the same average person to become world-class, it would take them 10,000 hours of study and practice.

So my advice is to pick one thing (like rapping or singing) and MASTER it, then if later on you want to try mastering something new (producing) THEN you can do that. But for now focus on perfecting at what your good at. I would suggest paying someone else to do what your not so good at. This lets you focus on doing your thing.

So if you don't want to do all the work that I mentioned earlier and want to deal with someone who's already perfected how to do all that, then I suggest buying beats from professional producers. For info on how to buy hip hop beats and instrumentals check out http://www.howtobuybeats.com/


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Music in Film - The Top 3 Ways Music Publishers Can Increase Future Synchronization Revenue

The following is a quote that I personally heard from a highly regarded television Music Supervisor at the last conference I attended: "I have hired an intern just to empty my inbox once a day of MP3s sent to me, because they're crashing my system." That's the reality music publishers are facing. There are major problems where the rubber meets the road in music licensing.

Digital technology has spawned a music revolution that ushered in an era of freedom for every artist to create without being judged. The creators present their music exactly the way they want it heard and with a click of the mouse, soar over the heads of the music industry directly into the film industry. You might be visualizing doves in a blue sky making graceful landings, but that couldn't be further from the truth. It's more like bugs hitting a windshield...thousands of bugs. Full on access is backfiring! Legions of underdeveloped artists and songwriters who are not ready to be licensed are choking off the many who are, making it increasingly difficult for the serious publisher with serious songwriters to be heard. Even the major music publishers with a back catalogue of hits are finding it hard to make their way through the glut.

Traditional methods of pitching music cannot continue as the sole way publishers secure synchronization. All Music Publishers must consider a new synchronization model that directly invests in the end user and establishes an in-house environment for their copyrights and songwriters.

The first change is to create and fund Co-Publishing Companies with Filmmakers. Multi-National Music Publishers should buy as many film scores as they can get their hands on. Some of the majors already administer music for major film companies, but they do not benefit from all the additional revenue that can come from those relationships.

If you're a smaller publisher, allocate monies out of your A&R budget and invest in film scores. If you're signing five new writers a year--sign three writers and two filmmakers instead. Those two filmmakers will give your writers and catalogue primary access to their films. Show the filmmaker how to make money owning their underscore and you will see some of their licensing budget heading toward your songs. Investing in a film score that has its own promotion money is a shared risk. Investing only in songwriters is 100% the publishers risk. That songwriter has to write the hit, get it recorded by a top artist and hope the record company can make it successful. Not that easy to do these days. For those of you who may think I'm anti-songwriter. Not a chance. I am pro-songwriter all the way. These ideas are to help the songwriter and songs by creating opportunity. What good is it to have five great songwriters and no opportunity? Signing fewer writers may even help you sign better ones!

The second change is to offer Music Supervision services as a publisher. Build it or buy it and then focus primarily on independent film, which in my view is the last open market. A global market! Hollywood is investing in films all around the world as affordable film technology enables all filmmakers to tell their stories. It makes sense to have in house supervision services in your U.S and European offices.

The third change is to make the Back Catalogue of your most popular writers affordable. So much focus is given to the hits and so little is given to the hit-makers back catalogue. Make the unknown songs from the known artist accessible to independent film. I have found that most artists' favorite songs are not the hits. They are more than willing to discuss pricing scenarios that help move their most cherished songs into the film world. The phone will ring for the big hits. The radio is promoting them every day. Spend a little time promoting the lesser-known songs and pricing them fairly. Be creative and don't be afraid to innovate. Identify the foreign countries where your artist and songs may be very popular and market them, with your affiliate, to the film industry in that country. You will see a new revenue stream coming from filmmakers who never thought it was possible to have a song by a big artist.

Technology has changed music publishing forever. We have to change with it. The songs and songwriters are counting on us.

David Polemeni is a music publisher specializing in film and television music. His previous position was SVP of Film and Television for S1 Songs America, LLC representing the catalogues of Sheryl Crow, John Denver, Evanescence, Lifehouse and Billy Strayhorn. His current focus is on creating and financing music publishing companies for filmmakers and building new synchronization divisions for multi national music publishers.

http://www.davidpolemeni.com/


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Indie Music Promotion: Email List + Google Traffic = More Music Sales

Indie music promotion strategies are the same as the music promotion techniques used by major artists. The main difference, however, is that indie musicians do not have as much financial resources at their disposal as the major record labels do.

As an indie artist, you may not get your music advertised to millions via the various forms of offline media, such as in a TV, radio or magazine. You might not even be able to afford to be able to create your own CDs to sell at gigs. But the good news is that no-matter how limited your resources, you can still reach a large audience and make good money using indie music promotion strategies on the Internet.

Whether an indie musician or an artist with a major label behind you, the primary aim of the online music marketing techniques is the same: to develop a relationship with fans to help make sales. When you have developed a relationship with people, it is then much easier to make sales from them.

OK, so let's look at how indie musicians can promote their music on the Internet by using search engine traffic and an email list.

The Email List

The email list is the best way to make sales of your music. Now, when I say "sell your music", this does not have to be CDs that are sent through the post - this can simply be MP3 files that are downloaded.

The email list is such a powerful resource to use in order to make money from your music. It is especially important for indie musicians who do not have all the promotional resources in the world at their disposal.

The email list is so powerful because the people that have joined your email list have an interest in your music - otherwise they would not have signed up! Even with a small list of subscribers, you can make good sales if you handle your email list correctly.

The email list should be used to develop a relationship with your fans. You should be encouraging discussions of music in general with them, asking their thoughts, giving them cool members-only gifts and special offers, and announcing general news in the music world that is likely to interest them. When you have developed a relationship with the readers of your email list and have gained their trust, then they will be so much more likely to buy your music and merchandise when you promote this to them.

Many bands just use the email list as a way of sending out the monthly newsletter. A monthly newsletter is very important (and you should have one), but I think the contact with your fans should be more frequent than the just monthly newsletter. The communication does not always have to be about promoting something. Just sending out general emails to discuss interesting topics is a great way to develop a rapport.

OK, great, "but how exactly do I build my email list if no-one knows about my band in the first place?!" I hear you ask.

Fear not, we will get on to this. But it is important for you to first understand that you should have a means to capture the email addresses of your fans before you start an indie music marketing campaign.

So presuming you have your own website with an email opt-in box in the sidebar, we can now get down to business with getting people to your website. This will be done by using search engine traffic.

Search Engine Traffic

Having your website rank highly on Google for certain keywords can do wonders for your exposure. The good news for musicians is that it does not cost any money to get a high Google ranking and it can be relatively easy to achieve high rankings for certain keywords.

I am sure if you type in your band or musician name into Google, your website will already appear on the first page if you already have a http://www.yourbandname.com domain or social networking page that is. This is great, people who already know that your band exists can now click through to your website and learn more.

But what if people don't know that you exist yet?

It can be very powerful to have your band website appear on the front page of Google for a wide range of search terms other than just your band name.

You should try to get your website ranked highly for more generic terms such as the genre of your music, the geographical area of your band, the type of gigs you perform etc. This way people who are trying to find a new artist in a certain part of the world can find you with a generic search such as "New Jersey Punk Band' or 'Rock Music Gigs in Ontario'.

For certain keywords on the Internet, it can be very hard to rank for them. But music related keywords are much easier to rank for because they are not directly related to selling a certain product. Also, most musicians are not aware of the Internet based indie music marketing techniques that can be used to help them to rank highly on Google.

For example, it would be hard to rank highly on Google for terms related to buying an iPhone as many businesses are in competition for these terms, but competition for music related terms are going to have much less competition.

Think of as many relevant keywords as possible that people could type into Google in order to help them stumble across your band. Then you can try to make your band website (or separate blog posts on your website) rank on the first page of Google for as many of these keywords as possible.

You may find it impossible to rank for very generic terms such as 'indie band' or 'rock music', but more specific terms such as 'indie band Pittsburgh' or 'wedding band Cambridge' or 'singer-songwriter similar to Nelly Furtado' will be more achievable.

In order to rank highly for a certain keyword term you need to have this keyword phrase appear a few times (or at least once) in the text of your website and you also need to have other websites on the Internet linking to your website using your keyword as the anchor text link.

The anchor text is the keyword you wish to rank for, and appears as a link that is highlighted in blue and underlined on a webpage. If many other web pages around the Internet link to your website with this keyword, then Google will rank your band or musician website highly for that term.

The link to your website from another website on the Internet is known as a backlink. The more backlinks you have, the higher your website will rank.

Then as you get more and more traffic to your band website from Google, you will start to build you email list, develop a relationship with more fans, and make more sales.

The author is an internet marketer whom teaches musicians how to promote themselves online. Learn more about how to apply online music marketing techniques to promote your band, visit the Band WordPress Theme website.


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Tuesday, August 30, 2011

Music Publicity Campaign - What to Expect From Your Music Publicist

A traditional Indie Music Publicity Campaign, if done correctly, can do a lot to boost your career and new record release. Some of the initiatives your indie music publicist may employ on your behalf include but are not necessarily limited to CD submissions to their media relationships soliciting reviews, features, and interviews. A good music publicity company will also write and distribute press releases announcing the new CD release with some details about it. The publicist will then distribute the music press release to various media outlets for publication. In some situations, if the artist is looking for national exposure your publicist may recommend distributing the press release via a national wire distribution service. This can generate national awareness for your project if the press release is properly targeted to the correct music journalists and media outlets.

Depending upon the level of service you choose to engage with your music publicist, he or she may also personally represent you to the media - Scheduling and organizing media appearances, interviews and so on. This is usually not part of a standard music publicity campaign, but can be a part of it if your particular publicist engages in this element of music promotion.

PR tour support is another way that your publicist can help promote your career. If the publicity firm does tour pr support this can be helpful but is generally a separate part of most publicity campaigns. Usually this may be reserved for higher profile, better known artists. Essentially your music publicist will engage in advance tour support which can consist of a variety of things from writing and distributing press releases in the venue related city in which you will be performing in, to outreach advertising placement, all the way up to physically advancing the show with an in-person visit to the city and venue.

Overall, your publicist's job is to gain meaningful media coverage and represent you to the media in the promotion of you as an artist and your record releases. Again, an effective music publicity firm can do wonders for your career if everything is done strategically and carefully. Hiring a good publicist can be tricky. Your best bet is to thoroughly interview them up-front making certain that all of your questions and concerns are adequately addressed. A publicist fees can vary depending on the level by which they represent you and the cost of a standard campaign is usually paid upfront or in two payments. A publicist who basically signs on for the long haul and represents you in all cases is usually put on a monthly retainer.

Just make sure to do your due-diligence when hiring a publicist then sit back - create the music, and hopefully watch your career skyrocket.

©2011 Ken Cavalier All Rights Reserved Worldwide

Ken Cavalier is a music publicist and music marketing professional. He is the founder of the Allure Media Entertainment Group, Inc, a fast growing entertainment public relations firm with offices in New York and Philadelphia. He is a voting member of the Recording Academy (grammy.com) among other distinguished music industry organizations. His passion for helping independent artists achieve their career goals is the driving force in his life. His PR firm is available to discuss various music publicity campaigns with artists in need of this valuable music promotion service. For more details on his services and to contact Ken directly visit http://www.musicpublicist.net/


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Do I Really Need A Record Deal?

It's always been the number one objective of many an aspiring artist to get a record deal. For most bands and solo performers anything less would be unthinkable. After all, what's the point of being in the music industry in the first place if you're not going to secure a license or deal culminating in the sale of records? Getting that label to sign your product is the thing that will change your life and trigger the real launch to your career as a recording artist - isn't it?

The very notion of securing that first record contract may be a conditioning, instilled upon every musician and vocalist from the time he/she first performed in public or strummed a guitar - arguably a conditioning as vital as the life blood coursing through our veins, or getting a driving license. Without it, you're not going to go far. If that is your thinking, you may be in for a shock - a big shock. The prestige of being signed to a record label, and the credibility it carries, may be about to change big time.

If you were to ask me, "is getting a record deal as important today as in the past?" I would answer "yes," but the real question should be, "what can record companies offer in today's markets?" In the days of the physical labels, it seemed to be more "what could artists offer to record companies?" How often did these creative souls (and often their managers) struggle just to get the attention of a&r personnel's interest - assuming they could get a meeting set up at the record company in the first place? If the artist was extremely fortunate, some of the talent scouts, and a&r, would come out and see them perform live. Even then, getting a record deal was still for many, a remote possibility. Many were left "hanging by a thread" while the labels, wanting to hear ever more material, seemed "paralyzed" from making a decision - leaving the artists and their managers in a state of "limbo" while they waited for an answer. It's also a fair point to make that not every artist has great or even good product - okay some being pretty appalling!

Here's the point: the contrast from the old physical approach of trying to get a record deal - to how the new digital labels are bending over backwards to secure your business and your product - (just look at some of the dazzling web sites). Just register, log in submit your product, and you're in! And with that comes danger: faced with so many outlets on the super highway, or should I say, the world's largest global jungle, you have to be more vigilant than ever. The truth is much, if not all the services offered by a record label, can now be done by yourself or, say, your manager. Simply by setting up your own digital label you can then easily distribute, market, outsource and sub license at will. In the last year alone, we have seen changes in the music industry many of the so called experts and strategists would not even have contemplated in the last decade. I believe this is just the tip of the iceberg, in what is going to be available to artists, songwriters, producers and anyone else with ambition and drive in the next five years alone.

Dennis R. Sinnott is a music consultant and author with 41 years experience in the entertainment industry. Formerly Head Of Copyright at EMI Music Group in London, and managing director of Christel Music Ltd, he is now a full time consultant offering help and advice to Songwriters, Recording Artists and Professional Organizations in the Music Industry. You can visit his site, at: http://www.christelmusic.com/


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Monday, August 29, 2011

Marketing Yourself As an Artist

The music industry is not what it used to be. There are so many artists out there now that it can get a little frustrating trying to stand out as an individual. But all hope is not lost because today there are many different ways to market yourself as an independent artist. Making yourself stand out is important if you want to reach a certain level of success in the music industry. Here are a few tips on how to get out there on your own.

The internet is probably one of the best platforms to start marketing yourself. You can literally reach out to millions of people around the world. Online promotion is one of many great ways to make your presence known worldwide. Your goal as an independent artist is to find different ways to build relationships with people and other artists on a large scale without the help of a major record label. You can do this by joining several social media websites such as YouTube, Facebook, and Twitter. Use these websites to promote your music, stay in contact with your supporters, build relationships, and much more. The opportunities are endless. Remember to stay patient when first joining these type of sites because things will most likely start off slow. But as long as you stay active, you will eventually start to see changes.

Rap forums and communities such as Soundclick, Reverb Nation, and Real Rap Talk are great for networking and establishing relationships with other artists and even producers. You can also use these forums to generate feedback from other people. Although constructive criticism is not needed for some artists, it can still be helpful in some cases.

Another important thing to remember is DO NOT spam other peoples' pages. Even though it may seem like an easy and quick way to get yourself out there, spamming will get you nowhere. It will actually do more damage to your reputation because a lot people find spam to be very annoying and unprofessional.

Even though the internet is a great tool for marketing yourself, don't use it as the only way to promote your music. If you live in a city that has a good local scene, then you should try to get involved with it much as you can. Attend concerts/performances, album release parties, and other social gatherings as often as possible so that you can network with others. While attending these events always have professional looking CDs, fliers, and/or business cards in hand. You never know who you will run into at these types of events. Getting involved in community service is another great way to build up your reputation. But don't just do it for the sole purpose of getting your music out. Do it because you actually care. Giving back should be a very important part of any artists' career.

I hope that I was able to help you see a few ways to get things going on your own. These are just some of the ways that you can market your own music. Always take the time out to find more ways and new strategies to promote yourself. You should never get too comfortable. I wish you the best of luck in your music career and all your future endeavors.

For quality rap beats, visit http://www.c4beatz.com/.


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Getting Gigs As a Professional Band

Everyone has dreamed at some point of being in a band. But playing Wembley Stadium to 1000s of screaming fans and travelling around in chauffeur driven limousines unfortunately isn't the reality of your average professional band.

Every successful band is treated as a 'business model'.

The internet is usually the place that every band starts, using social websites such as Facebook, Twitter and most recently, Linked In are increasingly accommodating to bands & Musicians. It is often free for bands to join, upload MP3s, videos, gig dates and biographies. By doing this you are keeping your fans up to date with what your band is up to and reaching a wider audience.

Websites such as Bandcamp have also cropped up in recent years. These sites allow users to design a profile, which they can upload songs and artwork to. In addition to this users are able to keep track of fans email addresses, which can be downloaded to an Excel document, making it easy to send newsletters to your all important fans! To top it all off Bandcamp only takes a small commission from its users sales, meaning it is a cost effective way of getting your music out there. For this reason it has become a bands best friend.

Musician Directory websites are also very popular, although it is often very difficult to be found as potential customers have to sift through a never-ending list of mediocre bands in order to find the diamond in the rough. There are often hundreds of profiles so make sure that you include as much information as possible in order to make your profile stand out from the rest! Adding videos of your band playing is a great start to show people what to expect from a live show (assuming the videos are good quality!). It's also a good idea to get people to write a review of your gig on your profile page. The more great reviews, the more gigs!

Busking isn't something everyone has tried. However, it's undoubtedly a great way of making some money and promoting your talent. Contemporary and function bands have taken to the streets countless times in order to entertain the masses. If you're any good you're bound to be offered a gig somewhere, if not at least you'll make some money!

Another option is to offer yourself as an acoustic act as well as a full band to accommodate everyone's needs. Being a Jack of all trades' isn't a bad thing in music.

Last, but definitely not least are house bands. House bands regularly play in a venue 2-3 times a week and become very popular with the locals usually having a standard repertoire of 20-30 songs. This exposure results in the bands receiving more bookings from their ever-growing audience. The practice doesn't do any harm either!


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Country Music Fans

"Did you guys ride all the way up here from Nashville in that bus?" a fan at Stepping Stone Ranch in Escoheag, Rhode Island asked when the bus pulled up to the stage to unload. Or how about this one: "Gee, Stonewall, you're one of my biggest fans!" Or: "The next time you see Johnny Cash, would you give him this song I wrote?"

Country Music fans. They supply the money that keeps the entertainment chain, which starts when a songwriter writes a hit for a star to record and ends when a picker spends his last five bucks on a 6-pack and a hot dog at a Mapco Express on the way home from a gig, running smoothly. They dress funny and ask dumb questions and still want the Greatest Hits on 8-track, but ya gotta love 'em, because Ernest Tubb said so.

They come around to the motel, or the truck stop, or the theater, or the club, and want to meet the star. "Hey, tell Faron I was in boot camp with him at Ft. Bragg." "Faron wasn't at Ft. Bragg." "Yeah, he was. We used to get drunk together." Greasy sweaty guys who look like they just changed out the transmission in their '72 Monte Carlo come tottering up to the bus sucking on a Lone Star: "Tell Alan that Billy Bob's here. I'm his cousin. I gave him his first git-tar." Girls want to know what motel y'all are staying at, including room numbers. If they can't connect with the star, they'll settle for the front man, any other singer, any band member, the road manager, or the bus driver, usually in that order. The motherly types bring baskets of fried chicken around for you and, if you look like you're under thirty, want to know what your parents think about you traveling around the country with a bunch of hairy-legged country musicians. The fatherly types eye you suspiciously if you get too near their womenfolk.

Local musicians come out to see you. Sometimes they bring a bottle of cheap whiskey to share with you and then want you to autograph their guitar and introduce them to the star. The older ones have stories about the time they cut a record in Nashville or played with Red Foley or some other dead singer who can't substantiate their claim, and the younger ones want to know if they should move to Nashville. They think we all drive Cadillacs around from studio to studio down here and party with Tanya Tucker and Travis Tritt in World Famous Printer's Alley. Hee! Haw! Tell 'em to come on down! Fans want to know what it's like on the road. (Do you guys live in that bus, or do you check into a motel sometimes?) They want to know what the star is really like. (Does he get that drunk all the time?)

Pickers ask if you're getting tired of playing the same old show. "How long you been with Faron, eighteen years? How many times you played 'Hello Walls'?" "Three thousand five hundred and forty six and a half times." "How ya get a half a time?" "There's been lots of half a times."

Fans get to be old friends when they come out again and again to see their favorite singers, and it's nice to have friends out there on the road. They might loan you their car for a pizza run, or help out loading equipment or selling T-shirts and tapes, and even help you drag your star to his stateroom in the back of the bus when he's passed out on the floor blocking the beer cooler. Fans you met on the road show up in Nashville and get you out of bed at the crack of noon, and you have to show them Dolly's house, or where Ernest Tubb is buried, or where Randy Travis used to wash dishes, and then you have to get them in backstage at the Grand 'Ol Opry and then show them the exciting Nashville nightlife. You never thought they'd really call; shoot, you tell everyone to call.

A scary thought, all the fans you ever met coming for a visit. Imagine a horde of camera-toting, autograph-hunting, laminated K-Mart straw hat-wearing, cheap plastic souvenir-buying, Reba and Garth-ogling country music fans descending on Nashville to turn left from the right lanes and complain about the heat and the humidity. Gee, sounds like it ought to be an annual event......

But fans have been instrumental (pun intended) in the development of country music into a big time salable commodity and have elevated it from its lowly beginnings, in the hills and hollers of the Southeast and the dusty plains of Texas and Oklahoma, to the corporate boardrooms of big record companies in New York and Los Angeles so it could be bastardized, sanitized, commercialized, and packaged and sold like Tide to housewives who wouldn't know a pitchfork from a pitch pipe, but who long to be on the Chattahoochee with Alan Jackson and who really believe that they can look like Lorrie Morgan with enough aerobics and the right haircut.

If it weren't for the country music fans, there would be unsold stacks of "Your Cheatin' Heart" on 78RPM warping in somebody's attic down on what would have been Music Row, and Reba McIntyre would be back in Oklahoma taking first place in hog calling contests. If you're in the music business, remember that you work for the fans. They've helped create a huge industry in which you can toil. They pay your salary, such as it may be, and you owe them a good show when they buy a ticket and come out to see you. Smile and act like you're having the best time of your life, like you haven't played these songs three thousand five hundred and forty six and a half times and haven't heard these jokes before, and maybe they'll buy you a beer and ask for your autograph.

Cal Sharp
Writer/Steel Guitar Player
http://steelguitarmadness.com/


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Sunday, August 28, 2011

Matching Biorhythm to the Mood of the Moment

Have you ever wondered why some music feels so right, and it just grabs you, while other types of music turn you off and completely rub you the wrong way? Well there is a little secret in the music industry, and it's something that the recording industry does each and every year, they take the top songs, and record the number of beats per second, cadence, and rhythm and they store it in a safe. Do you know why this information is so important?

Well, I would submit to you that there are certain types of rhythm, acoustics, and cadence which correspond to the human biosystem, and they actually affect the human body at the cellular level. After all, the biorhythms of the human body are very specific. For instance a heartbeat falls within a range, and that is a known medical fact. The range of your heartbeat is different from that of another animal species such as dogs, as they have a much larger range (heart and pulse). Then there are brainwaves, and we know about the alpha, beta, delta, and theta brainwaves - plugging into these brainwaves can change your mood, and even how you are thinking, and as a musician you can use that to evoke emotion in your listeners - it works.

Did you know Rap Music is right around the Delta and Theta Brainwave frequency? It's true, and there are numerous songs, and music which similarly works into this biological function. Now the artists who are producing the music may not even realize what they're doing or why it works, but they know their fans love it, so they produce more and more - each time making money. There is a very good book I'd like to recommend that you read titled; "This Is Your Brain on Music" - and I think after you read that book you will have a better understanding as to what I'm talking about.

Let me give you a for instance of a couple of good songs which seem to really affect people at a personal and biological level. The first one is by Alda Nova "Life Is Just a Fantasy" and it starts out with the roaring sirens and helicopter noise, but it's very close to a human heart rate, one that's operating at a higher level as if on adrenaline. Van Halen also has a song called "Jump" - and it has a similar beat, and both of those songs were hit songs for a reason, because they tapped into the human biorhythms. If you want to make it in the music industry, you need to be thinking here. Indeed I hope you will please consider all this.

Lance Winslow is the Founder of the Online Think Tank, a diverse group of achievers, experts, innovators, entrepreneurs, thinkers, futurists, academics, dreamers, leaders, and general all around brilliant minds. Lance Winslow hopes you've enjoyed today's discussion and topic. http://www.worldthinktank.net/ - Have an important subject to discuss, contact Lance Winslow.


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Best Home Recording Software? The Good News About All The Choices

If you're new to home recording and are trying to decide which software to buy, it can be difficult to make the right decision. Asking what the best recording software is may seem like a great place to start but there are some things you need to ask yourself first. As there are so many different software packages out there, some optimized for a narrow or specific purpose, each having its own pros and cons, any one of them could be considered "the best" at a different element of the recording process. You see now why it is so hard a question to answer?

Break It Down For Me

There are three main functions which are necessary when recording and producing your audio. The first process is tracking which is basically getting your sounds recorded. The second process is mixing where your different types of audio (vocals, instruments etc.) are merged together from multiple tracks. The third process is editing, which often overlaps and combines with the mixing process. Basically, as you mix your file you may need to edit it simultaneously and so the two processes can become one. However, when you have completed your final mix you will need to begin the edit on your final product to make it "ready-for-prime-time." Confusingly, this editing process is sometimes given the entirely different name of mastering.

Some producers suggest you need a separate program for each of these processes although this is entirely up to you. As with so many things, it depends on your specific needs. There are many well-known programs including Adobe Audition, Pro Tools, Audacity and Cubase, that offer the whole package, though many users would combine one, two or more of these packages to create their final, polished track. It is often recommended that you use one program to track and mix your audio, to gain a multifaceted, fully mixed track, and then switch to another software program for your editing (and mastering) process. If you only want to record single-track vocals or voice tracks, you may be able to skip the complicated multi-track recording software altogether and just opt for a good audio editing program.

In 2011, pretty much anyone with a computer has the opportunity to compete with the big recording studios and produce studio standard audio. These are some of the most popular and highly recommended full recording packages. All of these packages will complete all of the processes involved in recording but each has its own best features:

Pro Tools - the industry standard program for recording and mixing audio

Cubase - innovative technology, started out as mainly a MIDI program, excellent for multi-track recording

Adobe Audition - Though it started out as a pretty advanced and good-quality editing software, which is still the definite specialty, it now does a creditable job as all tasks

Cakewalk Sonar - a stable reliable all-rounder

Sound Forge - a stalwart in the audio editing world

Audacity - good quality free recording software, though as the price suggests, it is pretty limited in its quality and flexibility - amazing for a free program though, and perfect for someone not needing complexity or multiple tracks of music.

Reaper - fantastic multi track audio and MIDI recording, a great choice for tracking and mixing. Definitely needs to be complimented with an editing program.

Here are a few recommendations based on need:

For simply producing good audio for voice-overs, perhaps just for video narrations, podcasts, etc. you can actually get by with just Audacity. As your need for better functionality or flexibility and speed of workflow increases, start checking out the paid programs that "do it all."
For simple multi-track functionality like adding program music or sound effects in the background, it is conceivable that the free Audacity could meet your needs, so give it a try. My personal preference for this would be to use Reaper (priced at only $49 until you start making serious money with it - see the article "Why Reaper Rocks as a DAW" at the Home Brew Audio website.
For anything to do with producing multi-track music, say for songwriter demos, recording songs or full music CDs, start with Reaper + Adobe Audition (or some other good quality editor like Sound Forge). If you plan to collaborate with other musicians who record elsewhere, consider Pro Tools for its ubiquity.

Some of these packages can be tested out via free trials and demo copies. I highly when you are deciding which to choose to make sure you get a good combination to meet your recording needs.

There is a large a range of software programs available for audio recording and production depending on your needs. So before you shell out big bucks for an expensive package, think about what you genuinely need from your recording software. You'll be bound to find a package which fits your needs and ultimately it's up to you to make that decision.

Learn to record and produce professional sounding audio from home. With fun and short video tutorials we'll show you how to start with a $0-$5 budget, and then how to improve your studio for a few dollars at a time as your knowledge and confidence increase. If you would like to start doing home recording on computer in the next hour, visit us here: Home Recording Software


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Saturday, August 27, 2011

Want to Record Better Music - Wear a Magnet On Your Head

The other day, I was talking to a musician down at the local Starbucks, and he said that he had signed with a "B" rated music label, and he would be producing his first CD and he would go into the recording studio within a few weeks. I asked if he was nervous, and he said a little bit, but he was using a trick that he learned from a friend of his. Apparently there have been research studies from major neurologists at a top university that when the skull is in a magnetic fields the blood in the brain flows better.

He explained it to me this way; the magnetic field helps align the molecules allowing the blood to flow faster, which simulates a blood thinning event. Therefore you get better blood flow when your head is in a magnetic field, and it temporarily gives you clearer thinking than you'd normally expect. I asked him if he thought it worked or if he'd tried it yet. Indeed he told me he had, but he only noted a slight difference, but he didn't feel lightheaded or anything like that.

He did admit that he was able to give perfect timing while recording with the magnet which he was wearing underneath the headset. As the coordinator for a think tank which happens to operate online this does not surprise me, but it is interesting nevertheless for those in the music industry who want to get a slight boost in brain capacity during recordings. Apparently this trick works, and if you'd ever tried it in the past now you know why.

There was a recent research paper online which mentioned the potential use for magnetic fields in one of the neurology journals, suggesting that it had potential benefits for stroke victims or those with major blood clots and heart/blood flow challenges. Who knows maybe musicians and the music industry can learn something from academic medical researchers after all, and those musicians will be able to perform better without using illegal drugs to do it?

Do I personally recommend using this method when recording? I'm not sure I would take the risk, because I don't know enough about it, but it appears to me that if you were to check with a researcher or neurologist they might explain the process a little better to you, and that you could make up your own mind based on the information they give. The only reason I mentioned it in this article is because I thought it was fascinating, and it is something I'd never heard before. Indeed I hope you will please consider this, research it on your own, and come to your own conclusion.

Lance Winslow is a retired Founder of a Nationwide Franchise Chain, and now runs the Online Think Tank. Lance Winslow believes writing 23,500 articles by mid-day on June 23, 2011 is going to be difficult because all the letters on his keyboard are now worn off..


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Marketing Your Music Is Key To Your Success In The Music Business

What's So Different About the Music Business?

The music business isn't very different from the retail stores you buy your gear from. The minute you open your mind to this reality... the easier it's going to be for you to market your music more effectively.

So why is that? What is it that keeps your local music store operational for 20 years or more? What are they doing to succeed that you're not? More importantly... how can you start applying some of their success techniques to your music business?

Let's face it. The music business is probably one of the most difficult industry's to find any kind of success in. I mean, you've got to gig and travel and then there's your online presence with social networking and updating your website regularly. So when do you have time to think about marketing?

Therein lies the problem.

Most musicians that I consult with, simply aren't thinking about marketing their music at all. Can you believe it? Do you think the music store in town would survive without some type of marketing system in place? I think not... and if you're thinking that all those packages you sent out to everyone on that list or that bible book you just bought is going to score you some new business... guess again.

The reality is that in order for you to succeed in this business you need to be out in the "real world" building a loyal following of new fans. At the same time, you need to be in touch with your existing fan base on a regular basis to ensure they're happy with you. Yes... happy with you.

The Build It and They Will Come Approach Doesn't Work

If you're like most bands and musicians nowadays, you're assuming that the fans who came out to your gig last week are naturally going to show up to your next gig just because you email blast them. You did get their email address the last time they came out to your show right?

It's unfortunate, but this is the mentality that a lot of bands are walking around with and it's this same apathetic approach to dealing with your fans (customers) that's losing you a ton of money. So why do I say that?

Be a Giver. Your Music Fans Love It When You Share

Well let's look at it like this... let's say that rockin' band you went out to see last week offered you a freebie just because you showed up to see them play. Maybe they gave you a digital card for a few free song downloads or heck, maybe they splurged a little and handed you a free CD when you gave them your email address.

And let's say that a few days after their show, they sent you an email telling you how great they thought you were for showing up to their gig and that as a thank you, they were offering you insiders access to the VIP section of their band website where you could log in and see some of their cool videos they shot as they recorded their last album.

Now if that isn't cool enough... what if they offered you a signed poster and their latest album free, if you came out to their next gig... but this time you brought a friend with you?

Wow! That's customer service. And that's follow up at it's best!

Sure you might lose a little money by giving away some of your music, and the cost of CD's isn't something to scoff at nowadays, but what if that fan thought you were so cool, they brought 3 new fans instead of just the one. What would that mean to your FUTURE sales?

This is how the retail music stores do it. They entice you back to their store with seminars, music clinics, coupons and cool stuff that you're into. They build a long-term relationship with you. This is what you need to start thinking about when you communicate with your fans. This is where the real money comes from. The relationship.

Loyalty Pays The Bills

Loyal fans who love you so much they rave about all the cool stuff you do for them and bring their friends out with them to see you. And when they do... don't drop the ball. Start the process all over again with your new fan and watch your music business grow in some big ways.

When you get these techniques down into a system, you'll be on your way to being a music marketing machine but if this isn't enough for you and you want even more ideas on how you can outshine most of today's indie musicians, head on over to Mass Music Marketing and hear it from over 8 music business experts as they tell it like it is and leave no marketing stones unturned. It's like being a fly on the wall as they reveal their closely guarded secrets on what they, as music industry insiders, think it takes to succeed in today's new music business.


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You Could Make More Money Writing and Playing Commercial Jingles

Indeed, I must say I applaud all the garage startup bands of all the teenagers across this great nation who'd like to break into the music industry. As an entrepreneur it makes me smile, as I see they are serious, and they all have big dreams of becoming big-name musicians or rock stars. It is that energy, and way of thinking that makes America great.

Of course just like every little league baseball player will not grow up to be a major league baseball player, some of them will. Statistically yes, the odds are stacked against them, but you can't tell that to a group of teenagers who are pursuing their dream, and we all know you have to believe to achieve. Still, many of these young guitarists, drummers, and vocalists don't realize that they could actually make more money, and have a much better chance for success writing, playing, and producing commercial jingles for corporations.

In fact, the way it stands now with all the small businesses operating online, and all the multimedia content online, every business, big and small needs a commercial jingle to go along with their marketing and branding. They all need professionally done YouTube videos to put onto their website because we live in the information age and people wish to be entertained, and the businesses which can deliver that, will be pleased to see the consumers and customers responding with purchases - especially this new generation.

Interestingly enough, I was at Starbucks last year and I talked to a couple of teenagers who were sitting outside with their guitars and they had a small band, and I told them that they should write commercial jingles and go selling business to business offering to record something trendy and cool for each company owner. I later saw them a few weeks ago, well, at least two of the members of that band, and I guess there'd been some changeover so there were new people involved now, but those two thanked me for the advice, and had actually made a few thousand dollars writing jingles for local companies in our area.

Now then, with that money they were able to buy better equipment, recording studio time, and some electronics; synthesizing equipment to help with their future music projects. Okay so, they are still working on cutting a second CD and signing with a second level music label, and I'm sure that day will come because these kids are serious.

However, they also know they need to make money in the meantime, and they know there are lots of companies that need commercial jingles, until they can totally break into the big time and/or can perhaps sell a commercial jingle to a major corporation for some real money. Indeed, it is my sincere hope you will please consider all this and think on it. Don't ever give up on your dream, but consider other ways to make money while chasing it. Please think on this.

Lance Winslow is the Founder of the Online Think Tank, a diverse group of achievers, experts, innovators, entrepreneurs, thinkers, futurists, academics, dreamers, leaders, and general all around brilliant minds. Lance Winslow hopes you've enjoyed today's discussion and topic. http://www.worldthinktank.net/ - Have an important subject to discuss, contact Lance Winslow.


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Friday, August 26, 2011

Cons Against Signing A Rap Record Deal

Hey whats good... I want to talk to you about record deals.

A lot of my friends are trying to get signed to major labels. I tell them do not do it because I feel in this day and age that is one of the worst things you can do for your music career. The independent movement is popping right now, you can now make tens of thousands and even millions digitally through iTunes or on your own website. In Today's Industry more and more independent music artists than ever are living off of their music and living their dreams.

First ask yourself what is a Record Label? Its basically two things: it is a loan company and a marketing company. They provide you with a loan and they market you to the world. A major label will most likely give you a 360 Deal which means they own rights to your masters, almost all the income made off record sales, shows, and merchandise.

Here is an example of how the shadyness goes down

Lets say an artist goes gold (certified gold = 500,000 units)

Record labels are giving the artist around 13 percent of album sales. So going gold would equal $480,000. Looks like you caking right? Wrong

Lets say the record label invested $100,000 in marketing and promotion now you are down to 380,000.

Now take another 70,000 (For an advance and studio time) now you are down $310,000. Note half of that $310,000 goes into reserve for 2-4 years.

And on top of that 20 percent goes the manager.

So the artist really gets $19,333 for going gold. (That's a raw deal!)

And 2-4 years later if they recouped they get another $63,000. And if you don't recoup you are in debt and the money will be paid back on the second or third album.

Also major labels "shelf" artists who do not want to put out that garbage we hear on the radio. The only music that is selling on a mainstream level is cookie cutter party/dance records. These songs don't have positive intention behind the music its just B.S. put out to make some money. And unless your willing to sacrifice your creative ideas to make those songs you probably wont even get signed in the first place.

All in all you do NOT need the major labels. They take advantage of you and force you to put out the kind of music they say so. What you need is you need a support team, this includes a manager, entertainment lawyer, and an agent. Get a nice promo budget and good music and you can live off music with no problem.


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When U2 Comes to Town

It's incredible to see the media go in to free fall when the U2 show comes to town. As an exercise in how to promote your show no one does it better and no one will ever do it better. It's close to an invasion, no matter what may be going on in the world, U2 becomes the number one news story. In a day when record (CD) sales are at an all time low and touring is the only way you can hope to trigger off what meagre sales are out there, they literally command centre stage.The public may not have fallen in love with their latest CD but wild horses wouldn't keep them away from the live show.

No matter what anyone says about U2, whether it's the new album, the carbon emissions debate over the tour, or anything else for that matter the one thing you can't ignore is the experience almost every single person who attends the show takes home. For them it's worth every penny. U2 bring a happiness that a lot of other bands don't and for that audience it's the best night of their lives. Paul McGuinness has been quoted as saying they don't break even until the back end of the US tour so you cannot argue about their desire to give people an experience second to none.

I don't think the tour will have a significant effect on their record sales either and I'm sure they know that better than anyone. Their motivation comes from their desire to give something back to the people who have stuck with them forever. It's letting them experience something unique, something completely different to anything. Add to that the perfect host for corporate entertainment, a U2 show remains the place to be seen.

But what could they do next, where can they go? Personally I think it'll be stripped right down and the four guys will take their songs to the masses. U2 have reached such a level now that being the 'hottest ticket' in town allows them to do anything. They've earned it. They haven't earned it because of a gigantic claw and a production of epidemic proportion, they earned it from 30 plus years on the road. They've earned it from playing every tiny club that wanted to book them to every fan who wanted to see them. They've earned it from signing every autograph for every one of those fans who believed in them enough to give them a chance to do this. They posed for every picture with every fan no matter how exhausted they were. For many years they played to under a hundred people and treated every one of them to a concert of a lifetime. They stepped out front to meet and greet the fans for as long as it was safe to do so. And through it all they stuck at it. They paid their dues.

U2, David Bowie, Bob Dylan, Bruce or Led Zeppelin don't have to prove anything to me or anyone else. They earned it. It's called a work ethic and it's blood, sweat and tears. It's called taking chances and making mistakes and it's called entertainment. It isn't about any one tour, it's about understanding why you came in to this business and giving people something to cherish. The experience, the opportunity to take their hard earned cash and spend it how they want to. And if that is on two hours of a thrill of a lifetime who are we to judge? When an act get this big let's not lose site of the fact that they are still meant to entertain. It's what they do and it's what they should always do.


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Thursday, August 25, 2011

What Now for the Music Biz?

The record industry needs to find something that will save it from itself. They need to find the solution to the problem now that the problem is global and has spiraled out of control. With the economy taking such an unprecedented pounding you wouldn't lay money on the music business bouncing back anytime soon. Mutiny, the mass exodus of bands wanting to find their own solutions to the problem will inspire little confidence in an industry where artists once looked to for their mentors.

Music industry people like Chris Blackwell, Ahmet Ertegun, Herb Alpert, Michael Lippman and Paul McGuinness still retain their industry crowns and their success is deserving. In their own domain they have successfully managed every part of the process and gained the respect of their artists but where do the others turn to for guidance? These people keep their own houses in order but where do they turn to for the support they once had? Labels believed in their artists and would do everything they could to support them both financially and creatively. They would inspire one another.

Where are the people who were once so enthusiastic about the music they couldn't wait to spread the word? They needed to make money but it was always the music that drove them primarily. When I first started in the music business in 1974 my immediate boss Ray Cooper was first and foremost a fan, it was why he wanted to work in the music business. And he's still a fan today. Back then we'd spend as much time discussing the music on other record labels as we did our own. It was just the same at Island later on, there didn't seem to be anyone there who wasn't there for the right reasons.

Once this was an industry abundant with adventurous, creative people. People with a passion and a love of music and intent on developing careers. Now it's an industry scared of risk, frightened by mistake and ridden with failure. They were convinced they could survive any threat the internet posed and while other industries learned to adapt they continued with an air of invincibility.

We can hope for change but it will take time. it will take a whole new business model and it will need people with vision. It's not about the lawyers and the accountants number crunching. It's about a need for creative people at labels understanding the artist and working to help them grow. It's about collaboration.


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Getting The Most Out Of Your Band Website

If you're an experienced music promoter, you know how powerful a strong web presence can be. For those that aren't experienced at promoting, there are certain elements every band website must have in order to get the most out of every visit. Read on to find out how each of these elements can impact your web presence:

Home Page: This is your main page. You don't want to waste this prime real estate by placing mundane or non interesting items on it. The goal with your home page is to draw the viewer deeper into some of your other pages. This can be done by putting some interesting "hooks" in an attention getting way such as "Party of the century coming your way! Check out our calendar for more information on this event you cannot miss!" You can also place small news clips from your page dedicated to news about your band. Of course, on the news page, you would draw the reader to your event schedule or page where you want them to buy your music. You will also want to place booking information here. Don't just put down an email address and call it good. You need all your information since each viewer is comfortable contacting you in a different way. If you're concerned about your address, get a post office box.

Event Schedule: This should be an organized and updated list of all your shows. Stick to a list format rather than a calendar since you will want to put small "hooks" under each event that allows the reader to think the event is going to be worth attending. Don't forget the location, address, and cover charge.

Band Info: You will want to put a short history of your band and a bio of each one of the members on this page including attractive photos. You can also place testimonials and achievements on this page. Your viewers want to know you've been involved with some surprisingly big shows and have shared the stage with some possibly well known artists. There are also "hooks" you can place here as well, for instance if your guitarist is very good at a certain style of riff, you may want to reference a song download that features that member doing something exceedingly well.

Samples: This page, which could be integrated into your home page, needs to have some or all of your work. You will also need to provide the user a way of downloading each song so you can maximize music sales.

There are also several other pages you could consider adding such as an online store to buy music and merchandise, a contact page for those who just want to inquire about your work or booking, and a photo gallery. As far as band art and other items go, you can integrate this throughout your entire site. Another very important element is having a band blog. This should be updated a minimum of every week to keep readers coming back to your site for entertainment value.

For more helpful tips on the music industry and music knowledge, visit http://www.phoenixarticles.com/. You can also visit http://www.phoenixparkproductions.com/ for additional resources for artists.

Jason Cook, Phoenix Park Productions - Music Promotion, Management, and Booking


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Buy Rap Beats - Are They Safe To Buy Online?

If you got to this article your probably wondering how legit is it to buy beats online?

Is it really a safe option for me?

Well actually it's no different than buying beats offline, actually some people might say it's safer.

Let me explain, let's say if in the real world (offline) you give a producer some money for a beat and he says he'll give you the beat later and you don't end up ever getting it, there's not much you can (legally) do there.

Unless you hire an attorney for that, there's no company in between you two that's making sure everyone gets what they want and the process goes smoothly. Also, if your just making a name for yourself you most likely aren't dealing with lawyers quite yet.

This is where buying beats online can actually be safer and easier. I say this because as long as the producer has some sort of 3rd party shopping cart to handle the beat purchase then you'll have a company that has your back and will do everything in their power to make sure you get what you paid for.

This is simply because most 3rd party shopping carts (such as PayPal and Google Checkout) have to keep the consumers happy or not word will get around and people will look for other companies to do business with.

With PayPal you have their "PayPal Purchase Protection" which allows you to not have to pay if you don't receive your beat. So PayPal has the power to suspend the money from the producer's account if you didn't receive the beat.

Also, with Google Checkout they have similar protection through their "fraud protection policy". So you can actually see that you'll be BETTER off doing business online when your buying beats for your album.

Another important thing when your using these 3rd party solutions you don't have to worry about your credit card information being stolen or being seen by the producer. To make sure your credit card info never gets revealed just follow this easy quick tip.

EASY QUICK TIP TO PROTECT YOUR CREDIT CARD INFO

Look up at the top left on your Internet browser when your on a page where you have to enter your card info and look for a https:// instead of http://, which means that they have a secure site with an SSL certificate.

Now if you come across a site that doesn't use a 3rd party shopping cart then I would stay on my toes and make sure your super safe when it comes time to buy your beats. You can do some additional research on the producer's website to look for testimonials, reviews, comments and see if other people are safely doing business with them.

If you just happen to be looking to buy rap beats from a producer with serious fire that also happens to be a PayPal verified member then visit http://www.howtobuybeats.com/listen-to-rap-beats.


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Wednesday, August 24, 2011

Boutique Amp Maker Alexander Dumble

Alexander Dumble (formerly Howard Dumble until he legally changed his name) makes the most sought after boutique amplifiers in the world. Every amplifier is personally hand-built to order and the waiting list can take several years. And Dumble does not build them for just anyone -- his criteria for accepting a customer's order remains as much of a mystery as the 'secret' components which he conceals with black epoxy on his circuit boards.

With his 'one amplifier per customer' policy, the sheer scarcity of Dumble amplifiers in existence only adds to their overall mystique. A pre-owned Dumble, if you can find one on the market, goes for several times its original price, well above five figures.

Dumble started modifying and building amplifiers out of his backyard workshop, all the while making a living as a touring guitarist and studio musician.

In 1965, as an 18-year old, he was commissioned by Semie Moseley to build 10 Mosrite amplifiers for The Ventures who were among the very first guitar endorsees with their own signature model equipment. The Ventures did not cotton to his amps which they felt were 'a little too rock n' roll' for their kind of music but they offered young Howard a business proposition nonetheless. Dumble declined and went back to playing guitar to pay his bills.

In 1969 he built his Explosion model amp which was later improved and re-voiced to become the Overdrive Special. Ironically, the basic Dumble design is based around the Fender Deluxe circuit but modified to achieve much higher gain, more harmonic complexity at the top-end and more low-end on the bass.

Other models in the Dumble range include the Steel String Singer, the Dumbleland, 25-watt Hotel Hog, 50-watt Dumbleman, a 450-watt bass amp dubbed the Winterland, the modular rack-mounted Phoenix and the Dumbleator - the latter being a device to interface his amplifiers with effects, much like an effects loop.
Over the last 10 years or so, several Dumble amplifier owners have allowed their amplifiers to be 'de-gooped' of the black epoxy Dumble used to conceal his component values and copies of his circuit design have floated around the internet. As a result some amplifier companies have emerged with their own Dumble clones. Some have taken it further with their own variations on the design. But many who have played through a real Dumble amplifier testify that certain tonal ingredients were missing from these clones.

If you happen to come across a Dumble amp, ask if you can plug in and try it out. You'll never know when, or if, you'll ever see another one. And you owe it to yourself to experience what all the hype is about. I'm still waiting on that opportunity myself.

Clinton Carnegie is a music educator, jazz-rock guitarist and recording artist. He has two fusion guitar instrumental albums to his name, Say What You Mean and Santiago. His music blog can be found at http://www.theguitarcolumn.com/


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Mobile Marketing Can Level the Playing Field in the Music Industry

Some people who dare to dream or aspire to be great balk when I present the idea of Mobile Marketing to them. My question is why? Why wouldn't someone want a more rounded approach to marketing themselves? The idea is to get your name out there to as many people as possible. I like to use the term, covering all your bases. In this case it would be utilizing all the media tools available for you to use. If you are not using all of them to some degree, you are missing out on building a larger and more adoring fan base.

One question that I often get asked is, Why would I want to pay for a service like Text Marketing when Facebook and Twitter are free? You can't beat free advertising right? Well, Mobile Marketing is not designed to compete with Facebook and Twitter. It is a tool to be used in addition to them. It's a tool to be integrated into a complete marketing program designed to maximize your exposure to the greatest amount of people possible. That's how you become a star. That's how you make sure people are talking about you. Once they're talking about you and thinking about you, your goal is to make sure they never stop!

Let me add that contrary to what many believe, not everyone is crazy, active, or savvy about Facebook or Twitter. You have to literally reach out to the others. Market and build your empire and they will come.

Text Message marketing is not just for the big record labels, or the big time artist management teams. Text marketing is not expensive to the aspiring artist either. All major superstars incorporate Mobile Marketing, Twitter, and Facebook. Some additional examples of marketing tools are Radio advertising, Print ads like in Newspapers, or magazines, even Flyers and I'm telling you, all the superstars are using each of these marketing and advertising tools more or less in an overall approach to keep their names fresh on the minds of their fans. I'm telling you, it is wise to incorporate some form of each tool into an overall marketing campaign.

Personalities like Rihanna, and Beyonce use it. Many rock bands use text marketing with great success too. The main point I want to make here are that each of these artists use an overall marketing approach and you can do it to. Of course they do it on another level but remember, a snowball doesn't automatically start out large when it begins to roll. It becomes bigger and bigger as it's moving along and as you grow in popularity, you will also be advancing to another level as you're moving along. Got it?

For some eye popping statistics on Mobile Marketing and ideas on how Mobile Marketing can be integrated into a complete Marketing campaign visit my blog http://www.mobile4boom.blogspot.com/


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Tuesday, August 23, 2011

Females In Hip Hop

Artists such as Wu Tang Clan and Tupac Shakur brought international attention challenging militants to fight, thinkers to think, and DJ's to turn the party out. Rumors would say that the female artist surfaced during the course of hip hop's history. But the truth is the female artist arrived on the scene in the late seventies along with other male rappers. Lady B was one of the first female rap artists to record an album. When we talk about accomplishments, for a female hip hop artists to record a whole album not only proved to the world that she had skills, but potential to survive in a male dominated genre. Later on, other female rap artists would surface from the underground such as, Salt n' Pepper, The Real Roxanne, Roxanne Shantae, Queen Latifah, MC Lyte (first to get a major record deal), Lil' Kim, Foxy Brown, Lauryn Hill, etc... Although only a few surfaced from the underground, there are countless amounts of female talent that never made it into the big leagues. The question today is where is the variety pack? What happened to the female selection of hip hop CD's within the local music stores, or DJ booths? When a girl desires to hear what a female has to say about a woman's worth how can they find an album in which they can relate to?

Every female in the world has their own story. All women are not single or even desire to lead a single life. In fact according to statistics, 69.3% of American women have been married, divorced, widowed, or separated. 30.7% have never been married. With statistics rating so low, for single women it is amazing how most music is geared around those who lead a single and promiscuous lifestyle. When choosing a female hip hop artist that can relate to the real issues of life, record labels have failed us. There are countless amounts of men that do promote mental growth, knowledge, education, and understanding such as Common, Mos Def, 9th Wonder, and so forth. But today's female artist seems to be more materialistic and immature mentally. That's not to say that there are not a countless amount of men within the genre that are negative. But the fact is that there is a huge variety of men dominating the game on both sides, but few women are heard throughout the industry that promotes positivity through their lyrical content.

Hip Hop has become a league that's almost equivalent to the law firms and medical fields during the 50's and 60's when females within those industries were nothing more than litigation secretaries and nurses who by the way did most of the real work. The music industry in the US does not teach young ladies of the future anything about surviving life. They are being taught that it's ok to lower their standards in order to get ahead. Women are steadily promoted as booty shaking backup dancers, bitches, hoes, and materialistic self sufficient yet uneducated girls? Where is the realness in the industry that claims to keep it real? Although Rolling Stones Magazine crowns Nicki Minaj as the Queen of Hip Hop, it would be hard to prove that she is not due to the lack of competition. There are not enough female voices within the industry to even get the best results for the Best Female Rapper category during mainstream award ceremonies. When the majority talks about female rappers, we can only take a look back in times past to those that reigned well before this generation. If the female voice is going to survive within the world of hip hop, then they will have to present new faces that have never been heard or seen before. In times past, there were plenty of females who surfaced from underground. Of course, that was before capitalists and venture seekers got involved.

The fall of the Female Rapper

Most female artists in the late 90's were often portrayed by males as a promiscuous gangstress that would do anything to protect the man who disrespected her continuously by calling her names publicly such as bitches and hoes. Although a decade has past, not much has changed since that era. The female that is presented to the public today does not have a backbone of their own, and is often degraded by men and presented as modern day concubines.

Today, activists could compare the modern day mainstream female hip hop movement to Saartje Baartman. For those that do not know the history of Saartje Baartman, she was a slave from South Africa that was idolized because of the size of her buttocks. They were so amazed by her appearance that they offered to pay her as a dancer. If she went along with this plan, she would be able to raise money for the poor tribe in which she belonged. Instead they deceived her and used her for their own selfish agenda.

According to former South African President Mbeki,"What followed was five years of exhibitions in museums and at fashionable parties, her spectacular buttocks and breasts bare, French and British men and women clustering around her, mocking her at the same time that her body made them uncomfortable with their own desire. Her days were punctuated by rape and scientific examinations."

This is something that young black girls should be mindful of when conducting such behavior. Although the story of Saartje Baartman has been broadcast through stage plays, spoken word performances, blogs, and books, apparently it has failed to make its way inside the homes of urban women in America. According to African American history, black girls in times past have been blamed for rapes, abusive relationships, and accused of being weak willed and materialistic. When the popular culture promotes this type of image to masses of people, they give the world that same impression of urban women. That can be insulting not only to the average black female but her daughters as well. People perish continuously for the lack of knowledge. When they are not informed of the things that happened within their own history, they lose sight of their own cultural identity, and as an end result, they allow themselves to be used in a way that Saartje Baartman was used. Hip Hop labels, promoters, producers, managers, and so forth (black or white) feed young women false information on what it takes to make it as a female rapper. Their whole goal is to accomplish their own personal agenda. At the end of the day, when the industry is done using her, she is pushed to the side as if she is nobody as she watches mainstream producers and so forth gimmick her through someone else. (Lil Kim vs. Nicki Minaj) Even more than that, they monopolize from their so called beef. What's more disturbing about it is that even black people, some which are educated continue to promote this image because they see it as a step towards success for themselves and the African American Community. But how does this affect the black community? In the year of 2010, there were 434,758 live births from parents ranging between the ages of 15-19 years old. That's 41.5 live births per 1000 with African Americans having the highest rate according to the US Census Bureau. 63% of the teen population within the United States suffered an STD for the year 2010. African-American adolescents 13 - 19 accounted for 1,919 AIDS cases alone. (Respect Your Mind, Protect Your Body) Hip Hop Magazines, blogs, and so forth go out of their way to promote negative images of black girls because that's what's hot within the popular culture. Speaking out against things that affects the black community has become an act of hating and doing wrong has become the history of the African American culture according to the stereotypes that are often promoted through mainstream media. More than a few black men lead other cultures to think that it is ok to disrespect the average black girl in this manner. When others speak on it, racism is the levee that holds the propaganda in place which further gives political parties the motivation to mock blacks such as the President of the United States through stereotypes promoted in mainstream media. According to Eric Bolling of Fox News, Obama chills in the white hizzouze with thugs while popping forties.

Until the female rapper comes to the realization of how they are demoralized by mainstreamers, they will never develop a community like the males within the hip hop genre. Education is the key to surviving life. We would like to see the average female rapper not only become successful on the hip hop charts of America, but successful in all that they do in life. It is important for black women to stand up and speak out loud against those that market the negative images of themselves. Females need to create a movement letting the world know that they are much more than what is seen on television. All the way from Dj's, Break dancers to emceeing, women have proved themselves in times past to be just as talented as any male. But who will support the strong females of today? Who will support the talent that everyone claims does not exist, but has a large community underground?

There should be someone who can talk to the girl with low self-esteem as she is a part of this world too. There should be someone who can council the poor at heart through their music, or open the blinded eye. To teach each is what rap intended. It was not created just to rock a party, and for those who say so, I would question their passion and knowledge of not only hip hop, but life in general.

What does it take to succeed as a female rapper in today's industry? Lyrical skills no longer matter. In order to make it within the world of hip hop in times past you would have to have real talent. Now if a female artist puts on an outfit that promotes sexuality auto tune can make up in the areas where she lacks creativity. Lyricism no longer counts in a world that corporate America has taken over. It solely depends on how well you can dress or how much money you've made from your glorious hustling lifestyle. It seems as if women are no longer able to think consciously aloud. All black women are not uneducated, and many have decent paying jobs, college educations and live a positive lifestyle with her husband and kids. The big question is why do U.S. corporations continue to spread propaganda in hip hop/rap music throughout the face of the earth keeping urban youth subjected to an old crack epidemic lifestyle.

Simone Walker
Word Life Production
http://www.wordlifeproduction.com/

Word Life Production promotes cultural awareness within urban communities. We promote social change, social political justice, community empowerment, economic development, and diversity. Our mission is to teach members through our network how to establish themselves as an artist by providing them with resources, education, and encouragement with hopes that they will continue to work towards their goals. We also feature a host of unsigned talent that has already established themselves as Independent artists. We educate in areas such as small business management, communication, college success, and cultural awareness. To get involved please visit our social networking site at: http://www.wordlifeproduction.spruz.com/


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Digital Live Mixer Helps You To Achieve A Quality Mix

A mixer is a device that helps to achieve a quality mix, a good sounding sonic image, by maintaining balance, position, effect and equalization of its different audio channels. Professionally, an audio mixer takes the names; sound board, mixing desk or just mixer. A digital mixer can be used to mix either analog or digital signals though different types of mixers are customized for these signals. Any person can skillfully improve his or her music,of multiple tracks, through a few lessons on basics of mixers. The modified signals from the mixer are put together to produce output signals hence good music. Basically there exist three kinds of mixers: Analog mixers, digital mixer or digital live mixers and hybrid analog mixers.

A digital live mixer has an inbuilt mixing console; a black window like Ms Dos but with mixing features that has varied applications including sound reinforcement systems, studio recording, public address systems, radio and TV broadcasting and film post-production. By using a digital mixer, signals from two separate microphones used by vocalists can simultaneously be heard through a single set of speakers with maximum clarity. The mixer sends signals directly to an amplifier during a live performance before it is propelled to the speakers.But the amplifier can be avoided if the digital mixer is connected to powered speakers.

A digital mixer contains both analog and digital signal paths. This means that it can convert analog signals to digital signals and vice versa; thus it can take in signals from both digital and analog sources. As soon as analog waveforms enter the digital mixer, the signals are converted to digital data. The inbuilt processors and effects of the mixer begin to digitally work on the digital data then it converts the data back to analog waveforms before outputting. Recent analog mixers have USB or Fire-wire interfaces that enable output of analog signals. Additionally, the master output can be converted to digital to get audio to your computer.

Digital live mixers or digital mixers are durable with switch-mode power supply, noise-free audio output and very low power consumption. Digital live mixers can serve as pure analog mixers and pure power amplifiers with outstanding sound quality in all live public performances. It is an unmatched entertainment tool that has already found its way into music and video studios. This mixer can easily execute at high speeds without compromising on quality. It promises to revolutionize your entertainment business.


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Monday, August 22, 2011

Women Who Rock at The Rock and Roll Hall of Fame and Museum

The latest exhibit at the Rock and Roll Hall of Fame and Museum is a groundbreaking and provocative new exhibit that illustrates the roles women have played in music, both in the past and present. The Women Who Rock: Vision, Passion, Power exhibit showcases how women have been the driving force behind the change and creation of popular music over the years. The interactive show presents more than 70 artists and fills two entire floors of the museum, highlighting the flashpoints, the firsts, the best - and occasionally the lesser-known women - who helped move rock music and its culture forward.

Move through the eras of rock and roll from the 1920's when the first female jazz musicians and country music artists began recording and breaking the mold as equality for women grew. Travel through musical time as Joni Mitchell, Aretha Franklin, Deborah Harry and Madonna change the way we rock. The exhibit features artifacts, video and listening stations to learn more about the women in the music industry. And also offers a recording booth where visitors can film a short story or moment of inspiration in their lives that have been influenced by these musical muses.

The Rock and Roll Hall of Fame and Museum is a nonprofit organization created to educate visitors, fans and scholars about the history and continuing significance of music. It offers a world-class museum that collects, preserves, exhibits and interprets the art form through its library and archives, as well as its educational program. The museum is in downtown Cleveland, Ohio in the heart of America's mid-west, where the city has a little something for every rocker.

The museum brings over 400,000 visitors to the Cleveland area and the surrounding city welcomes visitors year-round. The city boasts some of Ohio's best restaurants and shopping as well as the Great Lake Erie for summer fun. But the museum is a shining attraction for visitors across the globe. Some Cleveland hotels have even created packages specifically for guests of the museum that creates an exciting stay based on Rock and Roll.

History couldn't be more exhilarating than what's in the Rock and Roll Hall of Fame and Museum and the influence of Women Who Rock can be felt in every rock song today. Come see how these women paved the way for today's rock stars and check out the entire museum for the history of rock.

The Crowne Plaza Cleveland - City Center http://www.hotelsdowntowncleveland.com/specials-packages/ is only two blocks from the Rock and Roll Hall of Fame and Museum and offers a Rock Hall package featuring two free tickets to the museum.


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Effective Music Videos for Any Budget

Music video Production

Music video production companies have had to lower their prices to be able to compete with the lower profit margins the music industry is now facing. But is that a bad thing?

Well, people still need and want music videos, TV channels still play them and since the exponential growth in video streaming there is an even bigger audience for them.

We all understand by now the problems the music industry are facing with illegal downloads and the loss of physical sales, which has caused a price cut across the entire industry. Companies are now looking to reduce costs wherever possible and music videos are just one of those areas. The issue from this is that the companies still require the same production standard and level of quality that they are used to seeing. What this means is that the production company needs to get creative. Here are a few tips on how to do this:

1. Pre Production; It is vital to spend time on the pre production, creating the treatment, storyboarding the shots, designing the lighting set up etc. If you can't afford a storyboard artist, then try using some storyboard software, most of them have trials so that you can decide which is the best for you. If you can't afford that then a notepad always works. One important area of the pre production is location scouting. Make sure that you spend time finding the perfect location, on a limited budget this could take a lot longer but will make all the difference to the final edit.

2. Production; Choose your equipment wisely. Music videos are interesting as they don't conform to any particular set model or format, they can literally be whatever you can dream up. first look at your equipment, what camera are you going to use? I realise that a lot of people still go on about it must be shot on the RED camera. It really doesn't have to be. The camera is just a tool and it depends on how you use it. A great HD alternative nowadays is to shoot on a DSLR, which are very reasonably priced and allows you to hire a range of lenses without having to spend a fortune. Look at your lighting, what can you afford, if you only have a couple of red heads for example work out in pre production the most effective way of using them to achieve the lighting design that you want.

3. Post Production; This is key to getting that big budget look. I would suggest you take a couple of shots from different scenes and play around with different digital grading techniques that will enhance the image of your music video.

Once you have done this put your offline edit together, and once you are happy that the shots and the pace match your track create your online edit and your away.

By utilising reasonably priced equipment, post production software and spending time on the treatment that is feasible for your budget, there is no reason why you can't compete with the top priced music videos, and create something which is creatively unique at a high quality standard.

Dynomite productions are a video and animation production company, creating work for public sector, private sector and broadcast clients.


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Sunday, August 21, 2011

Song Copyright - What Is and Isn't Protected

Copyright law has been in existence for many years to assist and safeguard the creators of such things as artwork, literary works, photographs/images and songs. Being a songwriter you will need to know exactly how music copyright law works and ways in which you are able to make use of it to safeguard your music. This article will let you know exactly what is and isn't protected underneath music copyright law.

Before we begin I just need to emphasize to you that I 'm definitely not a music attorney! The tips I provide come from my own personal knowledge, experience and info I've obtained throughout my songwriting years. And for that reason it is always wise to consult with a specialist music attorney with regard to serious issues!

Music Copyright laws -- What On Earth Is Protected?

So what is protected under music copyright law In the event you possess the copyright. This is what can be done with your songs.

Reproduction Privileges: The copyright owner has the right to reproduce lyrics or music.

The Distribution Rights: The legal right to distribute the music or lyrics possibly for free of charge, for virtually no profit, or for profit.

Performance: The legal right to perform the songs in public areas.

Play In Public Areas: You are able to play your music in public places by means of Compact Disc, Mp3 and so on.

Derivative: The legal right to produce a by-product by using the original piece of music for us in public areas in all forms, i.e. employ a different arrangement, using different musicians etc.

Music Copyright laws -- What Exactly Is Not Protected?

This is a list of things that are not protected under copyright law so you will never have to worry about copyright infringement under these areas.

Titles or Short Sentences: Imagine if somebody might have copyrighted the words "Happy Christmas", "I Love You" or even "Home" as a song title?

Chord Progressions: There exists only so many chords, therefore only a multitude of chord combos which can be created from all of them, hence, in the event you could possibly copyright a chord progression then we would certainly run out of progressions for brand new songs extremely fast.

Concepts/Ideas: 'Girl falls for boy', 'boy misses girl', 'sexual attraction', 'no money' just how frequently have you noticed all these ideas being made use of in songs?

Rhythmic Patterns: Even though you can certainly copyright specific recordings of rhythms you are most definitely unable to copyright the particular rhythmic patterns.

If you found this songwriting article interesting and would like to learn some more tips and techniques then why not check out my website Free Songwriting Tips.

Craig S.

http://www.world-of-songwriting.com/

Professional Songwriter & Musician.


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The Golden Era for Rock Shows

I don't miss going to gigs. I spent the best part of 25 years either with bands I was working with or choosing to go and see others in the time I had off. And looking back I saw pretty much everyone I wanted to.

Now here's the difference, I actually saw them. I wasn't just there. Today you can re mortgage your house and get yourself a ticket somewhere up in the Gods to 'see' a band. It's not the same, something is happening on stage and to prove you haven't been ripped off they'll show the performance on a couple of screens. You may as well buy the DVD.

I feel very lucky though that everyone who ever meant anything to me I'd seen in a concert hall of less than two thousand. Bob Dylan, Neil Young, Led Zeppelin, Pink Floyd, Bruce Springsteen...the list goes ever on. I saw Bruce earlier this year courtesy of my ex who very kindly bought me a ticket to the Tampa show. A huge amount of money to be seated up several tiers and I couldn't help being taken back to the Manchester show when he was touring around 'The River.' I'd bought the the two front rows of the circle and re sold them to my friends at Granada TV. I knew the ticket agency so I got them to reserve some seats and then it just grew and grew and grew!

Needless to say the show was incredible but what made it so good was you could experience the energy close up, feel the sweat from his brow, watch every facial expressions, absorb the interaction with his band. You could see it all, sound and vision all rolled in to one. It felt like he was there performing just for you. Bruce isn't the only one who misses those days, he'll still turn up and jam at a small venue with someone he likes, he needs the buzz he gets from seeing the whites of people's eyes. His show has been tailored to arenas for a couple of decades now because he has become so huge, and even though he's used to it I bet he yearns back to that golden era when performances were so much more intimate. It was so personal.

With bands like REM, U2 it was even better as I watched them grow up playing clubs and performing to a handful of people. While the price of success means a greater demand for more people who want to see you, I can't help but wonder that for so many concert goers today it's all they have. Stadia tours nowadays are the norm.


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