As I mentioned in my prior blog, be creative with your money. Invest in the right things to build your music business and those right investments will reward you!
In addition to the first 6 tips I gave you, here are 7 more tips on being creative with your music money:
7. Take advantage of FREE advertising. Network on all the free social networking sites such as MySpace, Facebook, Youtube, ReverbNation, Ilike, TheSingersRoom, etc. Google social networking sites to find new ones, which are popping up every day.
8. Get your own website! Though you can advertise on the various social networking sites for free, I would highly recommend that you get your own websites. Getting your own website means you can design it however you like. You won't be restricted as you are on other sites. You can advertise your music to your heart's content. Fans of your music will know where to go to find you. You can post pictures, do blogs, put up videos, get email addresses, get detailed information about your sites' traffic so you can see who your music is appealing to, etc. Besides, you can always post links on your MySpace page and Facebook page, for example on your website. Plus, websites are only $7 a year!
9. Ways to get your music out: In my last blog, I mentioned burning CDs or using jump drives as 2 means to get your music out. You can also email your music. It is free and practical. Say an A & R person wants a sample of your music, you can simply send that person a email with your songs on it without waiting to send it through the mail. Plus you have proof you sent it. Most DJs will tell you that they prefer that you email them your music.
10. Buy business cards. Be smart with your money and buy them in bulk. But make sure that your business cards are quality! I can't tell you the number of business cards that I've seen that are in such poor quality. And whether you believe it or not, your business card is a representation of you. If your business card looks cheap, then people won't take you OR your music seriously! Plus you want your business card to be sturdy enough to withstand being in someone else's pocket or purse. Does it mean you have to spend a lot of money on cards? No, you can go to vistaprint.com to get some free business cards online.
11. Build a relationship with a graphic artist, refer business to that graphic artist, and negotiate your price to get a unique brand, logo, etc.
12. Invest in attending and/or participating in music conferences, seminars and showcases. But be smart with your money, first purchase the Truth Book about Record Pools & Music Conferences, Talent Shows, and Open Mics from JaWar and read JaWar's blogs at http://atlantashowcase.blogspot.com/ and http://mymusicconnection.blogspot.com/ on how to effectively attend a music conference so that you won't waste your money and time at one of those events. To get the book, click here to view more details
13. Invest in video equipment, which serves to visually promote your music. You can now buy a 30G hard drive camcorder for under $400! And in most cases that camera also comes with other functions such as an Mp3 player, a camera, a voice recorder, etc. Google camcorders to see which ones best fit your budget.
14. Invest in a team - an attorney, manager, and/or consultant who will all assist in you in not making costly mistakes related to trademarks, copyrights, establishing your business, negotiating your publishing contracts, signing contracts and deals (especially with the new "360 deal" being offered to artists). While hiring a family member or friend as a manager may be cheaper, make sure that person has the skills to go with you to EVERY level of your success. Monica, Usher, and some other famous people made the right decision in hiring a family member but that family member has shown demonstrated success in making that celebrity successful.
Friday, February 29, 2008
Tuesday, February 26, 2008
Bryan-Michael Cox at PatchWerk Music University IV
I was so excited when I heard that Bryan-Michael Cox (or B. Cox) was going to be a panelist at Patchwerk's Music University IV! I'm such a fan of B. Cox's music. Since I consider myself a student of music and the music industry, I thought maybe going to Patchwerk's Music University IV just to hear B. Cox would be well worth the money for attending. Was I right?
I'll tell you in a minute. . .
B. Cox was on the Artist & Producers panel at Patchwerk's Music University IV along with Little Drumma Boy (Drum Squad) and L.T. Moe (Trey Songz, Bobby V). All three producers talked about:
1) insider tips on getting a good music publishing deal,
2) believing in your music regardless of what level you are on,
3) the power of networking - see my prior blog to see how I was convinced about networking
4) the advantages of having a manager working for you
5) having a game plan when you enter the music business
6) knowing and being honest about where you are in terms of your development
7) the power of music internships and understudying;
8) about the advantages of joining SESAC, BMI or ASCAP; and
9) how building your brand and making hits increases your earning potential.
Plus, again we got all of these producers' contact information!
So was going to see B. Cox worth my time and money? Let me answer it this way: If you are a songwriter or a producer trying to break into the music industry as such, whenever some of the superproducers such as B. Cox, J. Que from the Clutch, and others are participating as a panelist, GO! It will be well worth the money. Look for them at a music conference or seminar near you. If you wanna know about upcoming music conferences nationwide, check out JaWar's blog at atlantashowcase.blogspot.com or at http://mymusicconnection.blogspot.com/
Thedy B, Attorney/Songwriter
Hits A Million, LLC
Friday, February 22, 2008
The Record Deal v. Endorsement Deal
In my blogs, I have been discussing having distribution creativity in the music business, creativity in making money in the music business, creative uses of your music money, and PatchWerk's Music University IV's artist management panel's discussion of all of that. I said that the artist management panel at the PatchWerk's Music University IV said that artists and managers need to look now for endorsement deals in addition to record deals. Why is this important to songwriters? Because songwriters and their managers need to not just look to pitch songs to artists who have record deals but we also need to pitch songs to artists with endorsement deals. So here's a great video on endorsement deals v. record deals:
Enjoy!
Thedy B, Attorney/Songwriter,
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
Enjoy!
Thedy B, Attorney/Songwriter,
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
Thursday, February 21, 2008
The Artist Management/Panel at Patchwerk's Music University IV
As I mentioned in my previous post, I attended Patchwerk's Music University IV on February 18, 2008. Representing the artist management panel at that event was Coach K (Rocko), Melinda Dancil (Monica's first cousin and longtime manager) and Snake (Czar Entertainment). This panel was great! Here's some of the highlights:
1. Manager's must be on top of their contracts! They talked about a music manager's role and responsibilities in 2008, noting that the change in the music business has required them to ensure that their artist's contracts include digital downloading and ringtones. (Does yours?)
2. Managers and Artists must now be indie record labels! They also said that the change in the music industry has also forced music managers to be even more creative from a business perspective. Snake suggested managers to look for merchandising opportunities, endorsement deals, etc. as additional streams of potential income for recording artists. He mentioned as an example the deal that The Game, a hip hop artist, was able to garner. (I'll be putting up a video on record deals v. endorsement deals soon so stay tuned!).
3. Get a team! Snake also suggested artists and managers have a team of managers. Using a team will help you collaboratively find creative business solutions to enhance an artist's career and create other streams of income. Having a team is essential now since artists are essentially being forced to be their own record label now. So instead of simply knowing a few things about the music business, managers are forced to know much more to keep their artists ahead of the ever-changing music game like technology. I think as songwriters, we should make sure that whomever manages us also knows more than we do or at least has access to other people who do.
5. You need money! They all agreed that artists needed money to make money. However, they all said that it's more important that an artist is creative with their money since it only takes 10 large purchases to go from 10 million dollars to broke. So invest in your music business wisely. I love that advice! It so struck a nerve with me that I'm doing a separate blog on it.
6. Managers help plan an artist, not book them! They also noted that management is there to provide structure and a plan to the artist, not to be an artist's booking agent. So if you're an artist waiting for your manager to get shows for you, you may be waiting a long time. Get a booking agent.
7. Build your reputation as an manager! From a manager's perspective, they indicated that while they still look for new talent, their representation in the ,music business precedes them so artists also come to them looking for management. So they suggested managers build a great reputation, one in which you are said to have a great work ethic and character with great relationships that can make things happen for artists.
8. Build your network and then build some more! They said managers need to create and build relationships with every person involved in the music business including labels, radio personnel, promoters, studios, street teams, even fans. They suggested artists to stay humble and speak to everybody in order to network because you never know who knows who. They also said that with the frequent changes in the music business, managers also need to stay on top of their Rolodex! Make sure that your managers' contacts are current since the music business is downsizing and streamlining and redefining the business all the time!
9. Fame has a price! Melinda discussed the ups and downs of fame, noting that once an artist allows media into their personal life, the media is there forever, even when the artist no longer wants the media there. They cited Britney Spears as an example.
10. Hit record v. Hit artist, prefer a hit artist! Every single manager said to be a hit artist, you must have a hit record. But to stay a hit artist, you must BE a hit artist. Again, to stay a hit artist, you must BE a hit artist. Hit artists will have more than one hit record. You must know how to pick hit songs (read my blogs on song selection for recording artists for help)! You as an artist must be brandable. Managers must be able to see your careers go well beyond a ringtone deal (though ringtone deals are great). Managers are looking for both: hit records and hit artists.
11. Commercial radio only has 15 slots available! Let's face it: most radio is commercial radio! These managers said commercial radio is essentially an advertising company that plays music! Because commercial radio is funded by advertising, there are only so many slots left for music. And with such a limited space, that means that your song has to be a hit for radio to want to play it!
12. Be adaptable! Change is inevitable! There are industry changes constantly happening. There are changes in technology. There are changes in marketing strategies. Managers have to adapt! Some of the managers felt that mix tapes are old ways of advertising. Some felt that mix tapes should still be used but that you'd be doing your artist a disservice if you didn't also advertise online, or also have a video. So the message in that is do your research!
Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
1. Manager's must be on top of their contracts! They talked about a music manager's role and responsibilities in 2008, noting that the change in the music business has required them to ensure that their artist's contracts include digital downloading and ringtones. (Does yours?)
2. Managers and Artists must now be indie record labels! They also said that the change in the music industry has also forced music managers to be even more creative from a business perspective. Snake suggested managers to look for merchandising opportunities, endorsement deals, etc. as additional streams of potential income for recording artists. He mentioned as an example the deal that The Game, a hip hop artist, was able to garner. (I'll be putting up a video on record deals v. endorsement deals soon so stay tuned!).
3. Get a team! Snake also suggested artists and managers have a team of managers. Using a team will help you collaboratively find creative business solutions to enhance an artist's career and create other streams of income. Having a team is essential now since artists are essentially being forced to be their own record label now. So instead of simply knowing a few things about the music business, managers are forced to know much more to keep their artists ahead of the ever-changing music game like technology. I think as songwriters, we should make sure that whomever manages us also knows more than we do or at least has access to other people who do.
4. You must have the winning combination to be successful in the music biz! All three managers stated that to be successful in the music business, artists must have an excellent work ethic, a will to win, talent, patience, money, your own style (even your own fashion sense), and a passion for your music. Cute won't always equal success anymore. You must stand out in a crowd and with the invent of MySpace and Youtube, and other artist sites, you as an artist must really stand out in a crowd! Some of the "non-singers" who wind up on TV on American Idol's first week of auditions know they need to stand out fashion wise so you will see some of the most outlandish outfits but... they do get their 5-minutes of fame though so mission accomplished!
5. You need money! They all agreed that artists needed money to make money. However, they all said that it's more important that an artist is creative with their money since it only takes 10 large purchases to go from 10 million dollars to broke. So invest in your music business wisely. I love that advice! It so struck a nerve with me that I'm doing a separate blog on it.
6. Managers help plan an artist, not book them! They also noted that management is there to provide structure and a plan to the artist, not to be an artist's booking agent. So if you're an artist waiting for your manager to get shows for you, you may be waiting a long time. Get a booking agent.
7. Build your reputation as an manager! From a manager's perspective, they indicated that while they still look for new talent, their representation in the ,music business precedes them so artists also come to them looking for management. So they suggested managers build a great reputation, one in which you are said to have a great work ethic and character with great relationships that can make things happen for artists.
8. Build your network and then build some more! They said managers need to create and build relationships with every person involved in the music business including labels, radio personnel, promoters, studios, street teams, even fans. They suggested artists to stay humble and speak to everybody in order to network because you never know who knows who. They also said that with the frequent changes in the music business, managers also need to stay on top of their Rolodex! Make sure that your managers' contacts are current since the music business is downsizing and streamlining and redefining the business all the time!
9. Fame has a price! Melinda discussed the ups and downs of fame, noting that once an artist allows media into their personal life, the media is there forever, even when the artist no longer wants the media there. They cited Britney Spears as an example.
10. Hit record v. Hit artist, prefer a hit artist! Every single manager said to be a hit artist, you must have a hit record. But to stay a hit artist, you must BE a hit artist. Again, to stay a hit artist, you must BE a hit artist. Hit artists will have more than one hit record. You must know how to pick hit songs (read my blogs on song selection for recording artists for help)! You as an artist must be brandable. Managers must be able to see your careers go well beyond a ringtone deal (though ringtone deals are great). Managers are looking for both: hit records and hit artists.
11. Commercial radio only has 15 slots available! Let's face it: most radio is commercial radio! These managers said commercial radio is essentially an advertising company that plays music! Because commercial radio is funded by advertising, there are only so many slots left for music. And with such a limited space, that means that your song has to be a hit for radio to want to play it!
12. Be adaptable! Change is inevitable! There are industry changes constantly happening. There are changes in technology. There are changes in marketing strategies. Managers have to adapt! Some of the managers felt that mix tapes are old ways of advertising. Some felt that mix tapes should still be used but that you'd be doing your artist a disservice if you didn't also advertise online, or also have a video. So the message in that is do your research!
Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
PatchWerks' Music University IV gets a B+
In my February 15, 2008 blog, I said that networking, i.e. building relationships, is key to success in the music business. So I decided to share with you my experience at a recent event I attended. Patchwerk's Music University IV was held on February 17, 2008 at Patchwerk's Studio located in Atlanta, GA. Initially, I was reluctant to sign up because I'm always budgeting my time and money and this event was an all-day affair and the cost was $75. That was a lot to me at first considering I've been to other music conferences such as the Atlantis Music Conference, where, with a discount, I paid only $50 for a 3 1/2 day conference. But still I considered going because at Patchwerk's Music University, they promised an intimate environment of networking and I thought that was cool and different. But when I got Patchwerk's email newsletter letting me know that Bryan-Michael Cox had agreed to be a panelist, I immediately signed up to attend. I'm a big fan of Bryan-Michael Cox's music. And he, along with the other panelists, and the event itself did not disappoint me. It was truly worth the money and time and after attending, I probably would have paid more because of the information.
For this blog, I'll just give you the skeletal details of the event, and my rating of the event overall and then discuss each panel separately since there was too much great information given for one blog. So here is goes:
The event started with continental breakfast/networking. The attendees were then escorted into the studio where the seminar was being held. Each attendee was given a pen, a large notepad, and a syllabus in true "university/classroom" style. (Nice marketing). They had an abundance of staff on board to direct the attendees and the panelists. The room where we were was packed. But as promise, it was an intimate environment. There was essentially four panels that had two to four panelists: 1) artist management panel; 2) a producer's panel; 3) a DJ panel; and 4) a "boss" panel, which essentially was a music exec panel. I will discuss some of these panels in a different blog post. But here's what I liked and didn't like about this seminar.
My overall assessment: B+
1. Good: We were given very short breaks in between the panels. This helped keep everything on schedule. It helped the time go fast. Not so good: We were not given the opportunity to really talk to the panelists afterwards, which was disappointing since I thought that would be included in the definition of an "intimate" environment. That's the main reason why I'm rating them with a B+ instead of an A.
2. Great: One great thing Patchwerk did was pass around designated bags so that each attendee could put their promo materials in them and those bags were then given to the panelists.
3. Excellent: Each attendee was given the direct contact information for every panelist!!!!!
4. Good: they chose four really good topics. Not so good: I think they should have had one more panel on marketing and promotions.
5. Good: they had set questions that they asked the panelists. Great: they permitted attendees to ask questions and when they saw that each panel generated a lot of questions, they allowed more time for attendees to ask questions.
6. Great: the quality of the panelists was great! They had Jason Geter (CEO of Grand Hustle Entertainment), Kawan "KP" Prather (CEO of Ghet-O-Vision Entertainment, former VP of A & R at Sony BMG urband music), Orlando McGhee, DJ Don Cannon, DJ Nabs, Producer Lt-Moe, Bryan-Michael Cox, Producer Little Drummer Boy, Coach K, Snake, and Melinda Dancil. Wished: there was one more female in the group so that that female could also discuss the music business from a female perspective but that's just me (:-).
7. Great: they provided both breakfast and lunch. Lunch was served after the panels which was good because it kept us in the flow. Not so good: we couldn't eat or drink anywhere except one designated "cafeteria" area so if you got thirsty in the middle of a panel, you'd have to leave the room and miss out. But I'm sure the no eating or drinking rule is to protect their studio from damage which is understandable.
8. Great: The size of the seminar in terms of the number of attendees was great. Again, it was packed but still everyone there was able to give each other their business cards and really see everyone there and talk.
9. Great: the information given was timely and useable.
10. Great: there were people there to assist you if you had questions. Also the studio manager introduced himself personally to the entire group. He also provided information about the studio itself.
11. Great: Patchwerk Studio is beautifully decorated and has two studios. I love to see all the gold and platinum albums on the walls. Everything was of course neat and clean and conducive to having a great recording experience. The manager even allowed us to go into private areas to assist with bathroom crowd control. The people, from the receptionist to the interns to the manager, were all accessible, personable, friendly and helpful. It made for a good experience. Not so good: they were only permitting people to enter into the studio at first in groups. I don't know what the reason was for that (perhaps crowd control but I'm glad that that rule was abandoned when I got there).
12. Good: again the price was cool, considering the quality of the panelists, the food, the networking opportunity, the number of panels, the length of the event, and most importantly, the actual information given. I'm so big on attending a music conference where you feel like you learned more than you knew going. I'm sure that the price kept the size of the attendees "intimate" so perhaps they accomplished their goal by having a higher price.
13. Good: the length of the panels, the length of the event, and the length of the breaks were all good. It started at 9:30 a.m. and ended roughly at 3:00 or 3:30.
14. Good: location was good and the studio is centrally located and easy to get to.
15. Good: they also gave out surveys so that they could get feedback. I also liked the added touch of giving every attendee a syllabus, a note pad and pen in true "classroom, i.e. university style."
Again, so as you can see, I had a great time. I'm glad I went and invested my time and money by going. And yes, I'd go again if they had the same event assuming the quality stayed the same. So congrats Patchwerk on a great job!
If you don't know about Patchwerk (and that is how you spell it), you can google it for more info. I'm also on Patchwerk's network so you can search for me on that site as well if you are looking for a songwriter. Thanks for reading!
Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
For this blog, I'll just give you the skeletal details of the event, and my rating of the event overall and then discuss each panel separately since there was too much great information given for one blog. So here is goes:
The event started with continental breakfast/networking. The attendees were then escorted into the studio where the seminar was being held. Each attendee was given a pen, a large notepad, and a syllabus in true "university/classroom" style. (Nice marketing). They had an abundance of staff on board to direct the attendees and the panelists. The room where we were was packed. But as promise, it was an intimate environment. There was essentially four panels that had two to four panelists: 1) artist management panel; 2) a producer's panel; 3) a DJ panel; and 4) a "boss" panel, which essentially was a music exec panel. I will discuss some of these panels in a different blog post. But here's what I liked and didn't like about this seminar.
My overall assessment: B+
1. Good: We were given very short breaks in between the panels. This helped keep everything on schedule. It helped the time go fast. Not so good: We were not given the opportunity to really talk to the panelists afterwards, which was disappointing since I thought that would be included in the definition of an "intimate" environment. That's the main reason why I'm rating them with a B+ instead of an A.
2. Great: One great thing Patchwerk did was pass around designated bags so that each attendee could put their promo materials in them and those bags were then given to the panelists.
3. Excellent: Each attendee was given the direct contact information for every panelist!!!!!
4. Good: they chose four really good topics. Not so good: I think they should have had one more panel on marketing and promotions.
5. Good: they had set questions that they asked the panelists. Great: they permitted attendees to ask questions and when they saw that each panel generated a lot of questions, they allowed more time for attendees to ask questions.
6. Great: the quality of the panelists was great! They had Jason Geter (CEO of Grand Hustle Entertainment), Kawan "KP" Prather (CEO of Ghet-O-Vision Entertainment, former VP of A & R at Sony BMG urband music), Orlando McGhee, DJ Don Cannon, DJ Nabs, Producer Lt-Moe, Bryan-Michael Cox, Producer Little Drummer Boy, Coach K, Snake, and Melinda Dancil. Wished: there was one more female in the group so that that female could also discuss the music business from a female perspective but that's just me (:-).
7. Great: they provided both breakfast and lunch. Lunch was served after the panels which was good because it kept us in the flow. Not so good: we couldn't eat or drink anywhere except one designated "cafeteria" area so if you got thirsty in the middle of a panel, you'd have to leave the room and miss out. But I'm sure the no eating or drinking rule is to protect their studio from damage which is understandable.
8. Great: The size of the seminar in terms of the number of attendees was great. Again, it was packed but still everyone there was able to give each other their business cards and really see everyone there and talk.
9. Great: the information given was timely and useable.
10. Great: there were people there to assist you if you had questions. Also the studio manager introduced himself personally to the entire group. He also provided information about the studio itself.
11. Great: Patchwerk Studio is beautifully decorated and has two studios. I love to see all the gold and platinum albums on the walls. Everything was of course neat and clean and conducive to having a great recording experience. The manager even allowed us to go into private areas to assist with bathroom crowd control. The people, from the receptionist to the interns to the manager, were all accessible, personable, friendly and helpful. It made for a good experience. Not so good: they were only permitting people to enter into the studio at first in groups. I don't know what the reason was for that (perhaps crowd control but I'm glad that that rule was abandoned when I got there).
12. Good: again the price was cool, considering the quality of the panelists, the food, the networking opportunity, the number of panels, the length of the event, and most importantly, the actual information given. I'm so big on attending a music conference where you feel like you learned more than you knew going. I'm sure that the price kept the size of the attendees "intimate" so perhaps they accomplished their goal by having a higher price.
13. Good: the length of the panels, the length of the event, and the length of the breaks were all good. It started at 9:30 a.m. and ended roughly at 3:00 or 3:30.
14. Good: location was good and the studio is centrally located and easy to get to.
15. Good: they also gave out surveys so that they could get feedback. I also liked the added touch of giving every attendee a syllabus, a note pad and pen in true "classroom, i.e. university style."
Again, so as you can see, I had a great time. I'm glad I went and invested my time and money by going. And yes, I'd go again if they had the same event assuming the quality stayed the same. So congrats Patchwerk on a great job!
If you don't know about Patchwerk (and that is how you spell it), you can google it for more info. I'm also on Patchwerk's network so you can search for me on that site as well if you are looking for a songwriter. Thanks for reading!
Thedy B, Attorney/Songwriter
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
Wednesday, February 20, 2008
Creative Uses of Your Music Money
As I mentioned in my last blog, when I attended Patchwerk Studio's Music University IV, Coach K, Snake, and Melinda Dancil all stated that artists and artist managers need to be creative with their money. In other words, artists and we as songwriters must be smart with our money. You might not have agreed with me that paying $75 for people to attend Patchwerk's Music University IV was relatively expensive for a one-day conference. Some of you may not have even hesitated to spend the money. That's great. But I've decided to be more conservative, i.e. smart or creative, with my time and money. And I heard this said also from DJ Tony Neal at the Southeastern Music Awards in January 2008. At that event, he cautioned the indie artists about looking better than the major label artists who have deals, especially when the indie artists aren't working and do not have a deal but have wrapped vans, bling, designer clothes, and other expensive items to promote themselves. In other words, make sure you are getting your money legally, first! Then next stay within your budget and use your money for things that are really going to enhance and further your career. So some things just simply aren't worth my money.
Here's 6 tips on how to be creative with your music money (more will follow in future blogs):
1. Instead of continuously buying studio time, consider investing in a home recording studio. You can go to outlet stores, Guitar Center, and other music gear retail stores and buy music recording software (such as Pro Tools, Logic, Cake Walk, Fruity Loops, Nuendo, etc.) and equipment (mics, cords, headphones, speakers, mixer, and compressor) for approximately $2,500 - $3,500 depending upon the brand of the equipment.
2. Instead of buying cheap music equipment, be smart with your money: invest in quality equipment.
3. Want quality recordings? Invest in plug-ins. Invest in yourself to learn to use it or build a relationship with a studio engineer or a place that will mix and master your records.
4. If you a ghost songwriter and you have an okay voice and you pay to have other singers sing your songs for you, consider investing in a vocal coach instead. Yes, they can charge on average $25/hr to $100/hr. But again, you will recoup that money over time when you don't have to wait for an artist to fit your demo work into their time, when you don't have to pay anyone else to sing your songs, when you can sing the song exactly how you want it sung without having to spend time with vocal production having to teach the song to someone else, and when you save time.
5. If you press up a lot of CDs, it may be smart to purchase a CD/DVD burner instead of continuously using a CD duplication service.
6. Even smarter, purchase jump drives to store your music and to pass out to people. It holds more music than a CD/DVD. It won't skip and you won't have problems with scratches. However, because jump drives are so small, I do recommend buying something like a key chain or lanyard (if your jump drives doesn't come with one) to help you and whoever you give the jump drive to, to keep up with your jump drive.
Thedy B, Attoprney/Songwriter
Hits A Million, LLC
http://myspace.com/hitsamillionllc
http://hitsamillion.ning.com/
Here's 6 tips on how to be creative with your music money (more will follow in future blogs):
1. Instead of continuously buying studio time, consider investing in a home recording studio. You can go to outlet stores, Guitar Center, and other music gear retail stores and buy music recording software (such as Pro Tools, Logic, Cake Walk, Fruity Loops, Nuendo, etc.) and equipment (mics, cords, headphones, speakers, mixer, and compressor) for approximately $2,500 - $3,500 depending upon the brand of the equipment.
2. Instead of buying cheap music equipment, be smart with your money: invest in quality equipment.
3. Want quality recordings? Invest in plug-ins. Invest in yourself to learn to use it or build a relationship with a studio engineer or a place that will mix and master your records.
4. If you a ghost songwriter and you have an okay voice and you pay to have other singers sing your songs for you, consider investing in a vocal coach instead. Yes, they can charge on average $25/hr to $100/hr. But again, you will recoup that money over time when you don't have to wait for an artist to fit your demo work into their time, when you don't have to pay anyone else to sing your songs, when you can sing the song exactly how you want it sung without having to spend time with vocal production having to teach the song to someone else, and when you save time.
5. If you press up a lot of CDs, it may be smart to purchase a CD/DVD burner instead of continuously using a CD duplication service.
6. Even smarter, purchase jump drives to store your music and to pass out to people. It holds more music than a CD/DVD. It won't skip and you won't have problems with scratches. However, because jump drives are so small, I do recommend buying something like a key chain or lanyard (if your jump drives doesn't come with one) to help you and whoever you give the jump drive to, to keep up with your jump drive.
Thedy B, Attoprney/Songwriter
Hits A Million, LLC
http://myspace.com/hitsamillionllc
http://hitsamillion.ning.com/
Tuesday, February 19, 2008
Encouragement for Songwriters
I believe that it was at the Southern Entertainment Awards where I recently heard two panelists say that the music industry is a discouraging one. Songwriters are sometimes constantly told no. Your songs may be rejected. You may have worked hard to get your songs written and recorded only to find that you've run out of money. You hear various reports that different organizations are trying to force artists, songwriters, and songwriter's organizations to reduce the royalty rate. You hear that record sales are plummeting. You may have even been told that you don't have the skills to write a hit. Your manager, lawyer or industry connection may not be returning your calls and emails as fast as you would like, or may not believe you are quite there yet. Whatever the case may be, one thing is true: You have to encourage yourself and keep it moving!!!!
Somewhere from deep inside you, know that you have been given the skills, talent, the resources, the idea, the concepts and the gumption to be a hitmaking songwriter! If your songs need improving, then learn as much as you can about songwriting but keep on writing. Practice makes perfect. And if you think about how many other people who are now very successful were once rejected, it will help you continue your journey on becoming a hit songwriter.
Here's what I call the Hall of Prior Rejects:
Michael Jordan was cut from his high school team.
Anika Baker was rejected by Arista's executives who refused to renew Chapter 8's record deal while Anita Baker was a part of the group.
Ivan Basso's former team released him because they felt he would never win anything. Now the Italian rider is challenging for the Tour de France title alongside five-time winner Lance Armstrong.
Jennifer Lopez was rejected twice before she got her first regular high-profile job as a "Fly Girl" dancer on the television comedy program In Living Color in 1990.
Bobby Valentino was rejected by American Idol and later, his debut album went gold.
Jesus was rejected.
So don't give up just because of rejection or news of bad reports, succeed anyway and as Porsche Foxx from V-103 would say make your haters your motivators!
Somewhere from deep inside you, know that you have been given the skills, talent, the resources, the idea, the concepts and the gumption to be a hitmaking songwriter! If your songs need improving, then learn as much as you can about songwriting but keep on writing. Practice makes perfect. And if you think about how many other people who are now very successful were once rejected, it will help you continue your journey on becoming a hit songwriter.
Here's what I call the Hall of Prior Rejects:
Michael Jordan was cut from his high school team.
Anika Baker was rejected by Arista's executives who refused to renew Chapter 8's record deal while Anita Baker was a part of the group.
Ivan Basso's former team released him because they felt he would never win anything. Now the Italian rider is challenging for the Tour de France title alongside five-time winner Lance Armstrong.
Jennifer Lopez was rejected twice before she got her first regular high-profile job as a "Fly Girl" dancer on the television comedy program In Living Color in 1990.
Bobby Valentino was rejected by American Idol and later, his debut album went gold.
Jesus was rejected.
So don't give up just because of rejection or news of bad reports, succeed anyway and as Porsche Foxx from V-103 would say make your haters your motivators!
Monday, February 18, 2008
Melody first or lyrics first?
Okay, I admit we all as a songwriters have a preference of how we write songs. Some songwriters start with the lyrics first and some songwriters start with the melody first. Well, I have in the past typically started writing my songs with the lyrics. That's why I bought a lot of songwriting books on lyrics (which I will discuss in a later blog).
But recently, I was working on three songs at the same time and I noticed that while I thought the lyrics were good, I couldn't remember the melody for one song. The other song, I had a good melody but the melody was too low for a female unless of course, you're Toni Braxton. While I would love to write a song for Toni Braxton, I want my songs to appeal to more than one singer. So realistically, because the melody was low, the song would only appeal to a male artist. The problem was I thought the lyrics were better suited for a female. The last song was just alright: the lyrics were good but the melody just went nowhere. So I scrapped all three songs and started over. And it wasn't hard to start over because the melodies were not memorable, pretty, or engaging.
And it made me remember something I heard in an audio book on songwriting and that is, when you come up with a melody, come up with additional ones and then pick the best. Perhaps you as a songwriter think that the first melody that comes to you is THE melody you have to use. I know now from these three songs to test my melody and that I can reWRITE my melody. Besides songWRITING is just that, writing. So just like you can erase something you wrote, you can erase a melody and start over with a fresh one.
How do you know if you need to rewrite your melody? Test your melodies for:
1. Memorability - Do you find yourself humming the melody? Can you remember it? Sometimes you can't tell if your melody is memorable yourself because you know the melody from playing it several times so sing it for someone and ask them to repeat it.
2. Movement - does your melody move? Your melody should be memorable but not to the point that it's boring. So make it move. Try changing some of your notes. Or trying changing the rhythm. And since if writing a contrasting rhythm sounds better. In other words, if the accompaniment is slow, try writing a faster melody to see if that adds some spice to your song. Or trying going up or down a note. Use the method that works best for you.
3. Parity between vocal range and lyrics - Does the lyrics match the melody you wrote? If your melody is low and thus, better suited for a male singer, does the lyrics sound like words a man would use? And vice versa for writing for a female singer. If the melody and lyrics match the targeted singer, there is parity. If it does not, then rewrite either your lyrics or your melody.
While I hate that I had to rewrite these songs because an A & R person is waiting to hear them, I'd rather rewrite them now, knowing that I can write a hit, than to rush and submit what would only be an okay song. So it's okay to rewrite. I like challenging myself!
But recently, I was working on three songs at the same time and I noticed that while I thought the lyrics were good, I couldn't remember the melody for one song. The other song, I had a good melody but the melody was too low for a female unless of course, you're Toni Braxton. While I would love to write a song for Toni Braxton, I want my songs to appeal to more than one singer. So realistically, because the melody was low, the song would only appeal to a male artist. The problem was I thought the lyrics were better suited for a female. The last song was just alright: the lyrics were good but the melody just went nowhere. So I scrapped all three songs and started over. And it wasn't hard to start over because the melodies were not memorable, pretty, or engaging.
And it made me remember something I heard in an audio book on songwriting and that is, when you come up with a melody, come up with additional ones and then pick the best. Perhaps you as a songwriter think that the first melody that comes to you is THE melody you have to use. I know now from these three songs to test my melody and that I can reWRITE my melody. Besides songWRITING is just that, writing. So just like you can erase something you wrote, you can erase a melody and start over with a fresh one.
How do you know if you need to rewrite your melody? Test your melodies for:
1. Memorability - Do you find yourself humming the melody? Can you remember it? Sometimes you can't tell if your melody is memorable yourself because you know the melody from playing it several times so sing it for someone and ask them to repeat it.
2. Movement - does your melody move? Your melody should be memorable but not to the point that it's boring. So make it move. Try changing some of your notes. Or trying changing the rhythm. And since if writing a contrasting rhythm sounds better. In other words, if the accompaniment is slow, try writing a faster melody to see if that adds some spice to your song. Or trying going up or down a note. Use the method that works best for you.
3. Parity between vocal range and lyrics - Does the lyrics match the melody you wrote? If your melody is low and thus, better suited for a male singer, does the lyrics sound like words a man would use? And vice versa for writing for a female singer. If the melody and lyrics match the targeted singer, there is parity. If it does not, then rewrite either your lyrics or your melody.
While I hate that I had to rewrite these songs because an A & R person is waiting to hear them, I'd rather rewrite them now, knowing that I can write a hit, than to rush and submit what would only be an okay song. So it's okay to rewrite. I like challenging myself!
Friday, February 15, 2008
Get out of the studio!
As I said in a prior blog, success in the songwriting business is based on many things but one of the most important things besides writing a hit is networking. You CANNOT succeed in this business without networking. The music business is about who you know. People sometimes get mad because certain songs get played on the radio. Those who get mad often feel the song they wrote is much better than the songs that are on the radio. But those people who were able to get their songs on the radio may know more about networking than the person complaining. Just to show you how networking is working for me, here's just one example.
I met JaWar, author of the Music Industry Connection book series, Cappriccieo Scates, an associate director for SESAC, and Dr. William Ashbourne, a professor at Alabama State University and an entertainment lawyer, at the Atlantis Music Conference in August 2007. I started building a relationship with these three great guys. Since then and through these three individuals, I've met other prominent people in the industry and this is how.
JaWar told me about Tempo Tuesdays at the Atlanta SESAC office so I started regularly attending that event and meeting people. I also purchased JaWar's book, the Atlanta Music Industry Connection book (which I highly recommend) and later read his music industry blogs. From that, I learned about additional networking opportunities, such as music conferences, seminars, showcases, etc. Then I decided to get out the studio more and go to some of these events he'd mentioned. It was through going to these different events that I met people and from continuously going to different events, people in the industry saw (and see) my passion, zeal, and seriousness about my craft. I just recently attended the Southeastern Entertainment Awards (SEA) in Tunica, MS and there I learned about getting songs played on the radio.
After returning home, I contacted Cappriccieo from SESAC and told him about what I learned and how I'd like to learn more about that subject. Tempo Tuesday occurs every second and fourth Tuesday of the month and during this event, Cappriccieo invites different music industry guests to help songwriters learn more about the music business, finances, real estate, whatever he feels would benefit the whole person. So because of our discussion, this time he invited a radio DJ to the next Tempo Tuesday to discuss getting songs played on the radio. Those at Tempo Tuesday that night met an AM radio DJ who is looking for new music. Had I not gotten out of my studio and stopped my songwriting for an hour, I would have never met this radio DJ. I would never know he's looking for music. I would not know the format in which he prefers artists to submit their material to him. I wouldn't know what types of songs he is NOT looking for. I wouldn't know the format of his show or that he changes it up often unless, of course, I listen to his show. He and I also exchanged numbers and he called me the same night. We have been in communication since then. I anticipate that not long from now, my new songs, like one of my other songs which was played on the number #1 gospel radio show in Seattle, WA, will also be on the radio. I've never been to Seattle but that didn't keep my networking efforts on some of my social networking sites from causing someone to take notice and put my music on that station.
These stories aren't to name drop or brag but just to remind artists and songwriters to get out the studio sometimes and just meet people. In fact, nowadays, you can network from the comfort of your home thanks to the Internet and social networking sites. Looking for some sites? I have a few social networking sites that you can join and meet some of the people I've met so join me at myspace.com/hitsamillionllc and hitsamillion.ning.com. Bottom line: network, network, network! You'll never know what may transpire from just meeting a few people!
Thedy B, Attorney/Songwriter,
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
thedyb.magnify.net
I met JaWar, author of the Music Industry Connection book series, Cappriccieo Scates, an associate director for SESAC, and Dr. William Ashbourne, a professor at Alabama State University and an entertainment lawyer, at the Atlantis Music Conference in August 2007. I started building a relationship with these three great guys. Since then and through these three individuals, I've met other prominent people in the industry and this is how.
JaWar told me about Tempo Tuesdays at the Atlanta SESAC office so I started regularly attending that event and meeting people. I also purchased JaWar's book, the Atlanta Music Industry Connection book (which I highly recommend) and later read his music industry blogs. From that, I learned about additional networking opportunities, such as music conferences, seminars, showcases, etc. Then I decided to get out the studio more and go to some of these events he'd mentioned. It was through going to these different events that I met people and from continuously going to different events, people in the industry saw (and see) my passion, zeal, and seriousness about my craft. I just recently attended the Southeastern Entertainment Awards (SEA) in Tunica, MS and there I learned about getting songs played on the radio.
After returning home, I contacted Cappriccieo from SESAC and told him about what I learned and how I'd like to learn more about that subject. Tempo Tuesday occurs every second and fourth Tuesday of the month and during this event, Cappriccieo invites different music industry guests to help songwriters learn more about the music business, finances, real estate, whatever he feels would benefit the whole person. So because of our discussion, this time he invited a radio DJ to the next Tempo Tuesday to discuss getting songs played on the radio. Those at Tempo Tuesday that night met an AM radio DJ who is looking for new music. Had I not gotten out of my studio and stopped my songwriting for an hour, I would have never met this radio DJ. I would never know he's looking for music. I would not know the format in which he prefers artists to submit their material to him. I wouldn't know what types of songs he is NOT looking for. I wouldn't know the format of his show or that he changes it up often unless, of course, I listen to his show. He and I also exchanged numbers and he called me the same night. We have been in communication since then. I anticipate that not long from now, my new songs, like one of my other songs which was played on the number #1 gospel radio show in Seattle, WA, will also be on the radio. I've never been to Seattle but that didn't keep my networking efforts on some of my social networking sites from causing someone to take notice and put my music on that station.
These stories aren't to name drop or brag but just to remind artists and songwriters to get out the studio sometimes and just meet people. In fact, nowadays, you can network from the comfort of your home thanks to the Internet and social networking sites. Looking for some sites? I have a few social networking sites that you can join and meet some of the people I've met so join me at myspace.com/hitsamillionllc and hitsamillion.ning.com. Bottom line: network, network, network! You'll never know what may transpire from just meeting a few people!
Thedy B, Attorney/Songwriter,
Hits A Million, LLC
myspace.com/hitsamillionllc
hitsamillion.ning.com
thedyb.magnify.net
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