Industry Insider Music Summit 2011

CLICK LINK FOR DRIVING DIRECTIONS TO HOST LOCATION

2011-06-05T23:54:00.001-07:00

http://www1.hilton.com/en_US/hi/hotel/SPTSHHF-Hilton-St-Petersburg-Bayfront-Florida/directions.do

4 MORE DAYS UNTIL HISTORY IS MADE... SEE YOU HERE !!

2011-06-05T23:42:00.000-07:00

Due to the Heavy Volume Of Last Minute Registries. Pre-Registration Is Now Closed!!!!!

This Does NOT Mean The Event Is Sold Out. Just Means You Must Pay At The Door.

Finding Money in the Music Business

2011-06-01T02:05:00.000-07:00

Most independent hip hop artists won’t get rich solely by selling their music. Those days are gone, never to return. Even the biggest names in the industry struggle to make platinum album sales these days. Why? Well, mainly it’s due to file sharing and more importantly, the fact that there is an enormous amount of music out there. So much so that artists now have to give away most of their music for free and pray that listeners will even make the effort to click the play button and listen.

Social networks like Facebook, Myspace and Twitter are filled with artists fighting for that attention. Way too often I just see update or get messages that only read: “New Track” and a link to their music. It’s hard enough to get a stranger to care enough to click on these links. It’s even harder to get them to investigate further to find out more about that artist. Let’s face it, anyone with a computer and a microphone can make an album nowadays…and they are.

Increasing the amount of links you send out won’t create the kind of valuable relationships that will eventually lead to a loyal fanbase. Too many people have been burned by clicking that play button, only to hear bad music. It’s important that you create a bond with others while you’re pushing your music. That’s just how it is right now. One of the best examples of this concept in action is how indie artist, Amanda Palmer, made $19,000 in 10 hours on twitter. Your ability to get a growing number of people to start paying attention to you, creates a value that you can profit from in a number of ways. The biggest of these opportunities being companies who’d pay you to advertise or promote their products.

So what should you be doing? You should be creating the kind of content that makes people want to pass it along to their friends. This is still the most valuable way to spread an idea or message. What does this mean? This means that you either create a blog or make videos. If you don’t do anything else, make a video journal series of your struggle to make it in the music business. That shit could be thoroughly entertaining. Stop doing the same ol shit of…”here’s me in the studio making a hot joint” …or “this is me flashing with my wad of cash”. Keep it real and true with your audience. People can easily notice when they’re being fed some bullshit.

The most important factor in all of this is that you can start expanding on your artistic presence without spending any money. Even hip hop artists on major labels are discovering the value in keeping their fan base tuned in to events that happen in their everyday lives. If you’re not doing it already, you should start. What do you have to lose? If it’s entertaining shit, even I’ll post it. The one thing that you can count on for sure, is that your experiences are uniquely yours and even something as simple as that separates you from all others

The Music Artist’s Survival Kit

2011-06-01T01:59:00.000-07:00

Don’t miss another opportunity to share your music or network with a good contact because you didn’t have your music or info on you. Way too often, I’ve checked my wallet to exchange info with a contact only to say, “Sorry, I don’t have any more business cards.” You can avoid mishaps like these by always having a few things with you. Here is a short list of them.

1. Business Cards: In this day of great technological advancements, this old school way of passing along your info is still the quickest and most effective. It’s a pain in the ass for me to write down your website and for you to tell me that your email address has an underscore in it. Save me the time and just put it all on your business card. Plus, business cards are cheap to purchase. Vistaprint will make you some for free if you’ll just pay for the shipping.

2. Flash Drives: CDs are a hassle for some. Some DJs won’t even play them. So why not cover all bases and buy yourself a flash drive to store your music on? You can put every song you’ve every recorded on them if you want to; videos and pics too. Some stores are almost giving them away. Buy a flash drive and you’ll be helping the environment by cutting down on your unnecessary CD usage. Now won’t that make you feel good?

3. MP3 Players and Mobile Phones: There may come a time when someone may want to hear your music right then and there. Having your music on your phone or mp3 player will always come in handy in these situations. I always carry a connection to speakers cable with me too. This has been great for me on a number of occasions.

4. CDs : In spite of some say, I continue to see CDs play an important role in the careers of independent hip hop artists. Keep a physical copy of your music on you at all times. There isn’t a universal format that has replaced the CD yet. Especially when it comes to cheapness and ease of exchange.

5. Breath Mints: You never know who you’re gonna run into. Don’t have funky ass breath!

The 7 Music Marketing Commandments

2011-06-01T01:55:00.000-07:00

1. Focus on building your audience.

2. Fans are key. An opening slot for the big name, a random appearance at a show for a different demographic, is close to a waste of time.

3. Don’t keep hawking your CD. Sell your music! Acts think if they deliver a CD, they’ve made a dent. No you haven’t, the gatekeepers in media just throw them away, they certainly don’t listen to them. How do you get someone to really check out your music? By making it readily available online!

4. Criticism is irrelevant, only sales figures count. It does not matter what the media says about your music, only the fans.

5. Reviews only matter if they’re in a place your fans read them. Jam band aficionados might check you out (online!) after reading about you in “Relix”, if you’re an indie act, Pitchfork means something, but the review in the paper…who is that for? That’s just a mash note from your publicist, justifying his fee, no music fan gets turned on to music by the newspaper. That’s like advertising drag racing in a sailing magazine, birth control in “Highlights”…huh? As for live concert reviews…they never send a fan to give his take, so why should the review matter? (And if you want to reach the aged audience that still reads the newspaper, you might as well advertise in “AARP”.)

6. Marketing is secondary to music. Old wavers would like to say it’s the reverse, point to Ke$ha and other flavors of the moment, saying they have the power to build stars. That’s an old media circle jerk. Fewer people are paying attention, fewer people are buying the music, almost no one wants to see these acts live and there’s no longevity. This is just the dying gasp of an old system. Yes, there will always be Justin Biebers, teen phenoms, but beneath a very thin veneer of ubiquitous stars there’s a vast wasteland. You’re better off building from the ground up, brick by brick, your goal is to get to the middle, to sustain a career.

7. Publicity makes you happy, makes you think you’re accomplishing something, but unless you reach the core audience, it’s worthless. Believe me, this “Fast Company” piece is not for Carolla’s audience, it’s for his advertisers, potential ones, at best. If you get off on seeing your name in print, if you want to do interviews, go for it. But the odds of dividends are frightening low. Because most people don’t care. And if they do, its not for long. Don’t forget, reality TV is about making fun of those featured. That’s what television is now. Credible acts stay off! Hell, who wants to go on Letterman, be pre-interviewed, tell a funny story from growing up and look like an idiot? It’s about him, not you

Music Push VS. Personality

2011-06-01T01:41:00.001-07:00

Building a fan base takes more than just having good music. People can connect to a great song and not give a shit about the artist who made it. Listeners like to connect to an idea, an experience…a personality. It’s not essential that you use social networks like Twitter and Facebook, but if you’re going to use them, use them to magnify your ideas. Take a look at your Twitter and Facebook timeline. If you’re only pushing links to your music and not providing any useful information or engaging in any entertaining conversation, you’re just wasting time there.

You can find believers! Last week some dude with the charisma of a wet loaf of bread had thousands believing that the world was going to end over the weekend. And the others who didn’t believe it were talking about it. Shock value and controversy can be useful, but when it expires, people will become disinterested if there is a lack of substance. Take full advantage of the one thing you have that no one else in the world has; your individuality.

8 Things That Are Working For Hip Hop Artists

2011-06-01T01:39:00.000-07:00

1. Social Networking

Sites like Twitter, Facebook, and even Youtube, when used correctly, are proving to be the most effective ways to build your fan base and keep them updated. Make it a point to follow other successful artists to see how they are using these tools to their advantage.

2. Creating An Artist Concept
What do you represent? What are you about? The answers to these questions are key to finding a fan base. Whether it’s connecting with avid weed smokers or others who share your political philosophy, being consistent with your message helps attract fans to you because you become a spokesman for their lifestyle. Trying to be everything to everybody never works. And if you haven’t already noticed by now, lyrical skill and banging beats are not a sure winning formula for success. We now live in an era where J.Cole and Lil B can coexist and be successful in hip hop. Just make sure you’re not being boring.

3. Video
Audio is good, visual is better. It stimulates an extra sense. This is a good thing when done well. Fans are more likely to pass around something visually entertaining than something that’s just audio. You don’t need a big budget to create something visually clever and entertaining to accompany your music.

4. Mixtapes
Free mixtapes and EPs are still proving to be effective for artist. These are done best, in my opinion, when the performances are mostly over original beats. Keep in mind that your beats are an important part of establishing your signature sound as well.

5. Frequent Releases
Release music and release it often! People have a short attention span and short-term memory. Keep them engaged. Don’t let them forget about you.

6. Physical Products
Tangible products are still cool. True fans still want to have something physical in their possession. CDs still sell. I’d personally like to see usb flash drives fully replace the CD format. It’s a great way give your fans extra media such as videos, pics, and higher quality files of your music. There are a lot of cool ways you can distribute them too. There are customizable usb wristbands and other cool things you can do with them. Hip hop has been the setting the trends for a long time and I believe that if our community started to collectively support a different and better format for the music, that it would no doubt become the standard for the industry as a whole.

7. Collaborations
We’re now starting to see artists from different sides of track doing more collabs these days. Why? Because they’ve figured out that it’s more productive than beefing and hatin’. You may think that other artist is garbage, but he could have and audience that’s not familiar with your music and one that would most likely become fans of yours if you two did a joint together. Beefs don’t have the shelf life they used to. Hip hop is evolving and there’s more benefit in making allies instead of enemies

8. Live Shows
I always tell artist. When you hit the stage, make sure the audience remembers you afterwards. I don’t care what you do, but leave an impression. Get your performance tight. Most of the time, this is your best opportunity to sell your music and merch. This is the time to make that audience become a believer. Do your homework. Go to Youtube and search for the live shows of other artists. Study how they put it together and work the crowd. Then make the proper adjustments and tweaks to your own show..

MUSIC MADE WITH A MEANING

2011-06-01T01:36:00.000-07:00

We often hear stories about how music has been a vehicle for social change and political expression,

of how it rallied generations of young people and inspired causes and movements that revolutionized
society. From politically controversial folk songs of the fifties and early sixties to the free living music of
the Hippies and the loud, angry sounds of rock and roll that captivated young people across the world.
Listening to music today, you wonder whether music has the same power that it used to have.
There is so much more music being put out today because alternative distribution channels and digital
technology have enabled both established and struggling musicians to get their songs out there, to
people all over the world. With so much more quantity, then comes the issue of quality. Are musicians
still making music that will last for generations? Will today’s music resonate with future generations in
the same way that the sounds of the Beatles, Tupac and Elvis continue to win over young fans? This is
definitely something that any musician or even a fan of music has thought about at one time or another.
Looking at popular music today, the kind of music that captures people’s attention and gets them
talking, it seems that it is less of a form of expression and more of a platform for promoting causes.
For instance, fewer commercially successful artists are using their music to explore social and political
issues. Rather, they tend to use their fame and celebrity status to support certain causes, Diddy for
example lent his weight to the Rock the Vote campaign which encouraged young people to vote in the
election. Pop starlet Jessica Simpson advocates support for Operation Smile while Mary J. Blige has lent
her name to certain charity fashion events. The music itself is less of a driving force for change in the
current climate where fame rules supreme.

This of course does not mean that music with a message is not being made; there are passionate artists
out there who continue to carry the torch of politically awareness and social change. From rock legends
Metallica to hip hop innovators like Lupe Fiasco; there are artists out there that still strive to use music
as a means of expression. They may not make the kind of music that tops charts or gets frequent airplay
on the radio but, they are out there.

In a way the tables have turned, singers with a message used to seek out there audience, today with
so much music is readily available, it is much harder for a singer with a message to find a mainstream
following. The onus is now on us as an audience to be more discerning when it comes to what we listen
to. It is our right and responsibility to seek out music with a message and to support those artists who
strive to keep this spirit alive. It isn’t enough to sit back and listen to what the record companies are
pushing on the airwaves and on TV. Today’s audience needs to realize that good music is out there,
waiting to be uncovered and thanks to the internet; it is just a click away.

In The Era Of Business, Not Rap

2011-06-01T01:31:00.000-07:00

Somewhere in the course of the last decade, rap music became an industry in and of itself. It became this huge, record churning, hit producing machine that puts out not just mere rappers but business men. Heck, moguls even! Today’s successful rappers aren’t just successful artists, they are successful businessmen and the business of hip hop works on the same mechanisms as any other business.
For starters it’s all about the marketing. Success in this industry isn’t just about making good music, more often than not; it’s about really average music with a killer marketing plan. From album leaks to generating some pre launch buzz to special appearances at events to raise the profile and collaborations with other chart toppers; the businessmen and women of hip hop know how to get it done when it comes to plugging and pushing an album.

In this business, success is also inexplicably linked to fame and staying in the spotlight. So, when an album release is around the corner you’ll often hear stories about a breakup, shocking revelations to the tabloids or even a down and out run in with the law, which always grabs the headlines. Many people don’t realise that it’s simply all part and parcel of selling a product, in this case, their music.

The hip hop industry also operates like a business in that it has established a stronghold in a variety of different areas. No successful hip hop artist today just sells music; chances are they’ve got their fingers in a number of pies from fashion to perfumes and more. Hip hop videos sell a certain lifestyle to the fans, one of extravagance, designer clothes and the fanciest everything. The industry then takes it one step further by marketing the products featured in the videos to the audience, just like product placements on television shows.

Success thus, is less dependent on lyrics, a killer beat and street credibility. It’s more about creating a brand name, marketing yourself and making the most out of your name. It seems that in the world of hip hop, the business aspect often outweighs the creative. Successful rappers, the likes of Diddy, Fifty Cent and Lil’ Wayne all have diverse business structures sustained by their brand name, with clothing and jewellery lines, acting careers and more. The rappers that lend their focus solely to the music don’t tend to be as commercially successful, MF Doom and Lupe Fiasco come to mind here.

So in the battle of the smart rapper versus the smart business man, it seems that the businessman is winning by all accounts. Is he also creating better music or just music to supplement his income and empire? Well I suppose that is the real issue facing hip hop today.

There is nothing wrong with making it big on different fronts, there is nothing wrong with empire building and styling oneself as a mogul but, there is something wrong when all of this comes at the expense of the music. So can businessman and rapper co-exist? That my friends, that, is the question

Music Summit Dos and Don’ts

2011-05-20T19:09:00.000-07:00

Music Summit Dos and Don’ts

DO's

1. Before leaving the house - Make sure you have all your Marketing and Necessary promotional material ready to go. ( I would like to give a few things I reccomend - Plenty of business cards with up to date information, including: phone numbers for contact, emails, social networks etc., Your going to need a note pad and a few pens or pencils, post-its for taking notes, numbers and information. (I pre-print sheets with spots for all the info I am trying to collect. OK CD's - I suggest only bringing enough CDs to give to DJ's, Media, A&R's etc. not the other "Artist", They are only gonna take them because you hand them to them. Most "99%" will never listen, so don't waste your product. Make sure the CD has a "Single" and maybe a B-Side track. Not a whole mixtape. Lets face it, Who has time to listen to a whole mixtape from every artist in attendance with a mixtape. Try avoiding anything with another DJ talking or screaming on it, Those are meant for fans, Not DJ's, and other Industry Players. ) *If you have a budget - think outside the box with your marketing tools, examples I have seen at other Music Summits through out the years: Mouse Pads, T-Shirts, Business Card Holders, Stickers for lap-tops, etc, etc... You get the picture.

I suggest Bring a camcorder or voice recorder, so that when you get back home and to work, you can sit down and really listen and read into what the panelist and people are really saying. Keep watching to refresh your mind, and create a game and business plan for your project.

2. Get a schedule - Make your plans before arriving. Who do you want to meet?
Set up appointments well in advance of the Summit. Know what you are coming to accomplish.

3. If you’re in a Group, spread out and cover more ground. Don’t stick together for safety’s sake. Be brave. If each member goes a different way, you’ve greatly increased your odds at meeting the right person at the right time. Chances are you’ll make acquaintance with representatives from music industry companies that will come in handy at some later date. Don’t just hang out with friends: Not saying to be anti-social—just make sure that you’re spending time meeting new people. Perhaps you can ask friends to introduce you to other people in their network. How many times have you seen 6 people from the same company hang out together—doing everything together? Perhaps they’re too shy to reach out. Sit at different tables, attend different sessions—then get back together at night to compare notes.

4. Get sleep and eat healthy. Don’t stumble into the A&R of your favorite label or DJ and come across as a malnourished drunkard.

5. Network, Network, Network - A Summit is a priceless opportunity to make yourself known and to get to know others. You've already set some goals that will get you started. Now be alert to other opportunities. Never underestimate the value of connecting with the "lesser known" participants — it wasn't too many years ago that the keynote speaker was a "lesser known". Remember to listen to what others have to say, but you also have to offer something to the conversation if you want others to remember you. Don't make any commitments that you cannot keep, even though it is easy to get caught up in the high energy of the Summit. We all know that what goes around comes around. So work hard at being helpful to others. Perhaps you can offer a kind word or a lead that might be useful.

Make a FEW strong connections: Don’t be the networking idiot that desperately passes their cards around to as many people as possible—only to find them go in the garbage when nobody is looking. At each conference, try to make one or two strong connections with folks who you see as valuable long-term business partners. It’s okay to meet a lot of people, but if you can focus on a couple key folks—maybe even just ONE good connection, that will make your time worth it. That’s also a sign of respect.

Follow up that same day: That’s the most important tip, yet so few people actually do it. You’re tired at the end of the day, you’ve got emails to respond to, you’ve got to get up early the next morning, yadda, yadda, yadda—the excuses go on and on. Don’t pretend that you’ll get around to it tomorrow. You’ll be even busier the next day, since a whole bunch of new things and follow-up items will now be in your list. Do it that night while things are still fresh in your head.

6. Learn From Every Experience - You will learn much from attending a Summit. There will be wonderful speakers with much to share. You will learn a great deal as you network with colleagues. And there will be some mistakes you make that will also teach you important lessons. Learn from every single experience that you have. Write down the lessons and new information so that you can use what you've learned in the future.

7. Dress Efficiently - Hotels and conference centers are notorious for having great variations in temperature from room to room. So dress in layers that can be removed or added depending on the temperature. Wear clothes and shoes (low heels for women) that are comfortable. You will probably be spending more time on your feet and doing more walking than you usually do at home. Also be sure to wear clothes that have pockets. Designate which pocket will be used to hold your own business cards and which one will be used to receive cards from others — you don't want to hand a prospect someone else's business card.

Don'ts

1. Don’t party too much. Music Summits are a BUSINESS opportunity for you or your brand or label. By all means, have fun. But you won’t be as effective as possible if you’re going on a binge.

2. Don’t get caught without a CD, download card, flier, or business card.

3. Don’t sell yourself short with false humility. When someone asks you who you are, what you sound like, where you’re playing, and why you’re at the Simmit, be BOLD! Take no prisoners. Be proud of your music and the buzz will follow.

NOMINATIONS ARE NOW UP FOR VOTING UNDER NOMINATIONS TAB

2011-04-15T23:46:00.000-07:00

NOW IS YOUR TIME TO VOTE YOUR AWARD WINNERS!
GOOD LUCK TO ALL THAT HAVE BEEN NOMINATED

The Digital Music Aggregator List

2011-04-13T16:48:00.000-07:00

AWAL - (Sheffield/London, UK) – Take 15% cut but doesn’t seem to be a sign up fee. No upload area, good old fashioned mail in signed agreement and CD for encoding. Handling Arctic Monkeys, Sparks, Klaxons and Moby and 100s more. Aimed more at labels as apposed to individual artists. Promotion and licensing services too. Co-owned by ex-Comsat Angel Kevin Bacon (no not that one!). No store listing but iTunes seems to be the biggest focus.

IRIS – (San Fransisco, USA) – Take a 15% cut of sales. Impressively comprehensive list of retailers and mobile music outlets worldwide. Again, another outlet aimed more at label catalogues than DIY artists. Submissions for consideration are initially via an online form. In house marketing arm too.

CD Baby – (Portland, Oregon, USA)- $35 one off sign up fee and take a 9% cut of download revenue. Digital distribution sticks to the ‘big 5′ retailers and some of the ‘second tier’ stores. Can get your CDs into US stores via one stop distributor Super D. Now owned by New Jersey based CD manufacturer Discmakers. @cdbaby

101 Distribution – (Phoenix, Arizona, USA) – Not sure what warrants the high costs here. But there’s a massive $599 sign up fee, then $49.95 a month. 100% payout of all sales. You’re gonna need it with those kind of upfronts! You can Twitter questions why, here: @101Distribution

Nimbit – (Framingham, MA, USA) -$15 per album sign-up fee and they take a 20% cut for getting you on iTunes, eMusic, Rhapsody and CDFreedom . They do the encoding so you mail in your CD and artwork. They have a number of extra services like CD duplication, merchandising, online storefronts, widgets and download cards. @nimbit

IODA – (San Fransisco, USA) – One of the longest established digital music aggregators with an impressive list of distribution partners and services. Again, one of those services that is aimed at labels vs individuals. @iodapromonet

Catapult - (Frisco, Texas, USA) – $25 set-up fee (plus $20 for a barcode) which includes placement on the usual big five stores plus Verizon’s VCast, Tesco Digital and HMV Digital (UK), Puretracks (Canada), Zune and FYE. Full list here. Artist keeps 91% of sales which is inline with CD Baby and means you can expect something like 56c from a 99c download. Like most USA based services (excluding IODA) there’s a lack of niche outlets, with the majority being USA and Canadian mainstream retailers.

ReverbNation – (Durham, NC/New York, USA) - RN looks like it was designed for the MySpace generation with its ADD inspired layout! Nevertheless dig around and there’s a bunch of great services. Digital distribution will cost artists a one off $34.95 sign-up fee and get you on iTunes worldwide, and the rest of the ‘big 5′. 100% of sales goes to the artist. Where RN possibly beats out similar priced outlets like CDBaby and Tunecore is with the additional viral marketing tools. There’s a bunch of free promo tools, widgets, email lists, and a Sonicbids feature beating EPK . @ReverbNation

SongCast – (Cuyahoga Falls, Ohio, USA) – Another relatively new name (to me at least). Songcast offer the basic ‘big 5 ‘ distribution deal for $19.99 signup and $5.99 a month. You keep 100% of sales but with the monthly fee that works out at $91.96 for the first year. Something like triple the fees of other ‘entry level’* distributors like Tunecore, ReverbNation and CDBaby. Oh, they throw in a free barcode. Difficult to see why you’d go here and pay more to get on the same major download platforms though.

KJER – (Brabrand, Denmark) – KJER use the services of IODA to get artists and labels on one of the most comprehensive retail store lists mentioned here (presumably the same list as IODA itself). Their client list seems to be mainly European independent labels though their services extend to clients worldwide and their website invites individual artists to submit material for distribution. Further details on their blog and on the main website FAQ. The lack of information on their website doesn’t fill you with confidence.

Ditto Music -(Birmingham, UK) – Ditto have a massive retail partner list including the usual big 5, all the major dance music stores, mobile music outlets and white label branded stores too. The service seems to be geared towards artists aiming to crack the UK download charts and Ditto claim to have ushered seven unsigned artists into the UK top 40 already. There’s a sliding scale of sign up fees depending on the amount of stores you want to be on, from the basic 25 UK Pounds ($36) package which includes iTunes and Amazon UK but not eMusic, Napster or Rhapsody bizarrely. A total of 70 UK pounds ($103 approx) gets you just about everywhere in Europe, including those ‘illusive’ dance retailers Beatport, Trackitdown, DJDownload, Stompy, XpressBeats and Juno. Artists keep 100% of revenue. There’s an additional 55 UK pounds service to register your release with the chart authorities Catco/PPL. @Dittomusic , MySpace.

RouteNote – (Redruth, UK) – Routenote are another UK based distribution service (and a new service, less than a year old) that’ll get your music on iTunes, Amazon eMusic, Snocap, iMeem and LastFM, though no Rhapsody or Napster. Nothing different here really, though there’s no sign up fee and artist share is 90% of revenue. @routenote

Symphonic Distribution -(Tampa, Florida, USA) Symphonic is aimed squarely at getting dance music artists across the variety of niche electronica and digital dance music retailers worldwide (and as such is of great interest to me!). They service just about all the dance specialists, including Beatport, Juno Download and TrackitDown . They will also get you on iTunes, Rhapsody, eMusic and Amazon with their SymDirect offshoot which seems to be their ‘mainstream outlet’. As far as I can gather. 100% of sales royalties go to the artist and an album signup fee would be $29.99. Promising, I really like the look of these guys. MySpace.

Musicadium – (Brisbane, Australia/Tokyo, Japan)- Australian based digital distribution setup that lets you keep 100% of sales in return for a sign-up fee of $39Aus per album, (about $28US). They seem to be limited to iTunes, eMusic and Amazon MP3 right now though more retailers are promised. Blog. @musicadium

Tunecore – (Brooklyn,New York,USA) – I like Tunecore a lot. I use them, I trust their service and they’re fair to the artist. They’re pretty transparent too with an informative blog, free PDF downloads and multiple Twitter accounts. They service the ubiquitous ‘big 5′ stores as well as smaller retailers and outlets like Lala, Shockhound and Amie St. There’s a $19.98 sign-up charge which is yearly and artists keep all the sales $$$. More FAQs here. I think the common consensus into what would make Tunecore better than it is, is more stores. Recommended for the mainstream retail distribution. @tunecoregary @TuneCore @viva

Feiyr.com – (Traunstein, Germany) – German based digital distributor that is an offshoot of major vinyl distributor Dance All Day. Feiyr supply a massive selection of dance retailers across Europe and also the ‘big 5′ retailers worldwide. Recomended for their wide and specialist coverage. Sign up fee is around 10 Euros and the artist share seems to be variable. Not the best website in the world.

The Orchard – (New York, USA/London, UK) – Another company (like IODA) that seem to have been around forever. Offer a comprehensive list of download stores worldwide and other services like sync licensing, marketing and video distribution. Again, like all the ‘higher end’ distribution services there’s an application process here. Not aimed at artists with one off releases.

10 Reasons a DJ Didnt listen to your music.

2011-02-24T22:00:00.000-08:00

95% of the music a DJ receives is deleted without ever being listened to. Why? Outside of the fact that a DJ gets 100's of records sent to them each week via Email, Myspace, Twitter, Facebook, etc. Its just impossible to listen to every song received and still find time to work. In an effort to increase the amount of material that a DJ listens to we have outlined

“10 Reasons a DJ didn’t listen to your music” in hopes that you will shape up

The List:

1.Twitter >> The first tweet you sent the DJ had a link to your music in it… Try starting out with a “Hello!”

2.You sent a link to your mixtape or album… We recommend sending a single.

3.You just sent 200 other people the exact same message… Make your message personal, And if its on twitter, all those tweets show up on your profile. That will stop people from following you because you look like a spammer and cause followers to unsubscribe because you’re flooding their time-line.

4.You emailed The DJ a CDA File… Learn to rip/import a CD. You can’t just drag the songs off the disc into an email. Label your tracks correctly - Artist name - Track Title. (Not Track 03)

5.You emailed the DJ a WMA file… Which means they have to download them first instead of just being able to preview them in thier browser.

6. You sent the DJ a link where they had to go through different screens of ads and wait before they could download it… Try using Box.net or something similar, so you can also track your plays and downloads. Recipients can immediately preview the music and still have an option to download it.

7.The DJ's have no reason to listen to your music… You sent them your music but you really didn’t give them any reason to check it. Why do you want them to listen to your music? Have a personal message and tell them what you are doing and what you are trying to accomplish with there help.

8. Learn to email properly. Don't just CC’ed your email list to like 500 other people… Thats the reason DJ's boxes are so flooded now. And DJ's dont personally like or appreciate thier email being circulated for any and everybody to have. Setup a Fanbridge account or at least start using the BCC field instead so you aren’t exposing everyone’s email address.

9.Understand DJ's are busy… Some may have every intention on listening to your music but as you know sometimes the day can just get a way from you. By the time has had the free time they forgot all about the link you sent them. This can be easily avoided if you focus on building a relationship instead of sending out songs.

10.You’re more concerned with getting heard than being listened to… You’ve send plenty of songs, emails, videos, etc but have never taken time to follow up to see if it's been listened to or what the DJ might have thought about the record. You’re more concerned with throwing punches than landing them.

Win 8000 Radio Spins from RadioAirplayPros.com

2011-02-14T19:45:00.000-08:00

Is it your network or networth? without both you are nothing!

2011-02-07T20:09:00.000-08:00

As I wake up today and look back at when I first jumped head first in the business, I always grew up painting a different picture of the music business in my head. I grew up listening to the radio and thought those were what the industry named as the best or they wouldn’t be on the radio. But as I learn more and more everyday, it’s about your network and networth. Who you know and how much money you have. I sat around yesterday after talking to a radio promoter, he said there is a fee to promote your record to get it on the radio, ok thats a part of the business I didn’t understand. He is the back door to the stations, the man who can possibly place you on top with money. Or as known as "payola" which is against the "law" but it’s like a secret society of the music business. Let me give you a break down so you understand this the way I see it, and see if you agree. My artist has a "Hit Record" well so does Lil Wayne and Rick Ross, the only difference is your network and networth. Do you know why "the majors" bring a record straight out of the studio and go right on the radio, before it ever hits the streets? Because they have the money to pay certain people in their network which are the key players independents are missing to make it happen to force the record down the consumers throat. The bottom line is – if you want to be sucessful, surround yourself with sucessful people, that’s your network. So that’s why they call it the "music business".

So lets go there for a second - a business is set up to make money or it wouldn’t be a business for long. So a radio station wouldn’t be a radio station if it wasn’t making money. Now, do you think a radio station has 20-60 full time employees on the weekly payroll, 10 wrapped vehicles, marketing money that’s ridiculous, street teams who drive around to events and promote their station and artist, electric for the building, equipment that has to stay up to date, the building lease itself is more a month than we as independents could probally afford. And where does all the money come from? Us, the person wanting to be on the radio. The majors who have the back door connect to go straight from the studio to the station with their single. I’m gonna call it "marketing dollars". They pay too believe it or not, they may trade a show or service or a lesser price but they pay, wow, that’s crazy to me! It’s hard to accept that’s the business. I just figured it out, we are all watching the same game, most of us are sitting in the bleachers in the hot ass sun, when we need to find out how to get in the skybox with free drinks and AC. How do we do that? We either have to have money for our own skybox, or know someone who has one and can invite you up there to mingle. Where you may find your networth while building your network, is this making any sense or am I just ramblin out my brain. We have the artist, microphone, the pro-tools, the computer, but we don’t have the plug for the monitor, so we can't move forward. Just like the streets, if you hang around nickle and dime people, you become a nickle and dime person. But if you know the plug you move from nickle , dime to halfs and bricks, get it? I’m going down to the goodwill and get me a suit, and joining the yacht club. We have all the links to the puzzle except the plug. so the bottom line is without a network with networth we have nothing.

Speaking the truth,
Rick "DirtyBoi" Hayes

Ever Dream Of Meeting 1-on1 with a A&R Rep. From A Major Label?

2011-02-07T19:58:00.000-08:00

Do you ever sit around and think to yourself, I wish I had the chance to sit down with a Major label A&R? Well I think we all have at one point or another in our career. We seem to think we have the ultimate game plan, We all think we know marketing and promotions. The truth of the matter is we don't know as much as we all want to think we really know. We feel like we wake up daily and go hard. (Well some of us) We hear songs on the radio that we feel is not as good as ours. We think we have the right goals to move our career, but most of the artist I meet daily have no clue to how, or to who. We feel like we are giving it our all, but end up falling short. How many days are we going to end up in the same boat we were in yesterday. still chasing that dream... Many rappers want to become artist and many rappers do not even have what it takes to make it. Its just the facts. I have seen and met allot of talented rappers in this industry who end up on the wrong path and lose it all, simply because they didn't take the time to learn the business. I have seen rappers come and go. I have seen rappers getting taking advantage of by all these snakes in the industry selling dreams with their hands out praying on "newbies". I can honestly say some days I wish I would have never choose this career. Every time I feel like I just met another fake person or seen a behind the scene sneak peek of the truth of the business. It makes me angry. But as a good friend tells me daily "welcome to the game homie". I may not keep it all the way 100, but I can say I have never in my life stold, been sneaky, or took any money from anyone in the business except maybe a few dollars for hours and hours worth of work. so actually I lost and gave a gift to help another. Do not be the person that everybody says is bad business, our name is all we have in this world besides faith and a handful of friends. Do not sit around 10 years from now and talk about what you could have been. Do not sit around waiting on a a big deal, become one. I live my life through each artist I meet, because they are chasing the dream I never got to chase. I wish I knew the business like I do today. I wish I had the chance to get up, get out and learn something. I wish I had the chance to Meet 1-on-1 with a major label A&R and show them, hey I'm here, I'm grinding, I'm marketable, I'm business smart, I have and know how too grow and maintain a fan base, I know how to sell myself and my music and merchandise, I know how to make us both money! well you have your chance to do that. and I hope you learn it early and not become a "what could of been". Or at least have it in your heart to help the next man instead of looking down on them. Competition there is none. I will live, breath and sh#t hip hop until the day I die.

Keep Ya Head Up,
Rick "Dirtyboi" Hayes

How to make money in the music industry

2011-01-18T01:48:00.001-08:00

Making money in music has always been hard for some, others make enough to raise families. It really comes down to your commitment to your craft, career choices and your creative drive. Opportunities abound in many American cities. If you don't see them create them! Stop into that hotel that doesn't have entertainment but has a great space for it. The coffee shop or bookstore that has a place to play and a large glass window in front. Talk to local government about events in the community, new and newly conceived by you.

If you want to be a "STAR" and that's what you focus on, the craft can fall behind. The musician who takes every opportunity, even if it's playing on street corners in his or her free time will make a living. If you play an accompanying instrument and sing, you can make opportunity by contacting local businesses and asking "do you need jingles or have you thought about them in your advertising. Treat music as if you are a business professional, no matter what genre you are into. Use your creative mind to find or create every opportunity you can put or mold yourself into. Organize, names, contacts, venues! Log every Idea.

In the end, making money in music is about your willingness to be flexible. Can conduct a choir? Can you play piano for one or more churches in need of music? You don't have to be affiliated with the church in many instances and some pay very handsomely! If you are capable of giving lessons, why not. It only adds to your income and experience.

Even if you are after the big score of a recording contracts. sold out concerts and more, how will you pay for demos and promotional materials? What contacts are you really making? So many musicians before you have given up because their bar band or garage band dreams didn't pan out after years! If you make your destiny by putting your ability as a musician first, your current or building knowledge of music as a business second, making money in music will no longer be a problem. It's not that you will have all you want and nothing is ever easy, nor does it come without hard work. But earning money in music requires that you treat it as a business, be a professional and create you own opportunities. Don't turn one opportunity down because "It's not your thing", or you don't play that stuff. You call yourself a musician? Familiarize yourself with every style of music you can. Give them all a chance. It can only enhance your promising career

How to make money in the music industry

2011-01-18T01:46:00.000-08:00

Every band and solo artist wants to make the big time, but it is often difficult. You are competing against major record labels with major resources, indie record labels that also have the connections and funds for their artists, and thousands of others trying to make a name for themselves.

There are several companies that offer to make the connection' for you if you pay them. This works sometimes, but sometimes it doesn't, and you can end up throwing good money at bad leads. The best way to make money (even though you probably won't make the big time without PERFECT songs and HEAVY touring schedules sorry to break it to you) is through licensing your music. In order to do this, your music needs to be broadcast quality (good enough to hear in the background of radio and tv commercials, playing in the background of a tv show, etc.)

Start to build a catalogue, and start to submit your music to these online companies. All of these are non-exclusive, meaning you don't sell the rights to your song only to them, but you are able to shop them to others, even use all of these to your benefit! I am just doing a quick write-up on each to help direct musicians, you can find out more from their web pages.

1. Audiosparx.com
This company has a large catalogue of independent artists' music and sounds, and once approved, you are in complete control of pricing. It appears that most of the buyers of this music is for online productions, but it is a great way to add some passive income for your music. It is free to join (once approved) and you can upload as much music as you want. Audiosparx takes 50% of the licensing fees it gets for you.

2. PumpAudio.com
This music site is owned by Getty Images, and it provides music for advertising, internet, tv, and film clients. You are not in control of the pricing, but it has some great tools for endusers to use. It is free to join (once approved) and you can upload as much music as you want.

3. CDBaby.com
For $35, CDBaby will take your CD and sell it online, also making digital content available through iTunes, Rhapsody, Napster, etc. They claim to have supplied 150,000 artists with $65 million is sales since 1998, and it is a pretty useful tool to insure that people can purchase downloads of your music.

4. Taxi.com
I think this site is better used for its resources rather than what they are selling, but they offer (by purchasing a subscription) to send you a biweekly list of music industry requests for independent musicians, songs, artists, and tracks. It costs $5 for each submission, where as Taxi listens and decides whether or not to send the song to the person providing the listing. You will get feedback for the submission from whoever listens to your song.

5. Broadjam.com
This site does the same thing basically as Taxi, but you must sign up as a Broadjam artist. From there it costs $5 for each submission, but these go to the source, and is not blocked' by another listener.

Check out all of these sites, and hopefully there is something here for you! Remember, the most important things have great songs, good quality recordings, and learn from your mistakes!

How to make money in the music industry

2011-01-18T01:43:00.000-08:00

If you're getting into music to make money, get out! You're wasting time and energy that you could be investing in something with far better potential for return. Besides, music isn't an industry or a business. The only thing that makes it a business is the fact that there is money involved. You won't find anyone, however, who'll give you any of that money unless you're making some of your own. The music "business" is the business of selling your music to customers for a profit. This is extremely difficult to do, and especially difficult if you have a major record label backing you.

Unfortunately, these days it's also difficult to convince the starry-eyed dream-chaser out there of this rather disappointing truth. After all, if someone on American Idol or Nashville Star can make it, so can I...Right? Not necessarily. It just doesn't work that way. I think Carrie Underwood is a talented singer, for example, but if she would have come to Nashville as a female artist without American Idol, would she have been as successful and sold as many records? Possibly, but not likely. In fact, the chances would have been about one in ten million, statistically speaking. Being "discovered" the old way just doesn't happen anymore. Punch your way across the radio airwaves (the country airwaves that is) and 99% of the singers you'll hear got in the music business because they brought the "business" with them. This is particularly true today. Carrie brought the business with her in an unconventional way, yes. She had a built-in fan base, and RCA (who hasn't broken an act on their own for the better part of a decade) had the good fortune of inheriting a corporation that was in place before Carrie ever met with Joe Galante, RCA's President.

Does this mean the model is biased? Of course, it's the American way. Consider the presidential candidates for the past, oh, two hundred years. Money talks. More importantly, money sings. Interestingly enough, it can make a horrible singer sound better than ever. Thank goodness for Pro-Tools and other wave file editors. Most anyone can be a "singer". Not only that, but thanks to these and other software programs, not to mention those writers who lack the integrity to refuse the possibility of getting a buck and an ego boost, anyone who gets a record deal can be a "songwriter" too. I'll never forget the quote from Kelly Pickler in an issue of a popular music magazine here in Nashville that went something like, "I didn't know I was a songwriter until I got a record deal." I'll clue you in Kelly. A record deal doesn't take the place of years of hard work and time behind the pen. It only attracts the seasoned, big dog writers who tend to collect around newly signed artists like flies to rotten food.

Am I being mean? I don't mean to be. I actually like Kelly's voice and I'm happy for her success. I don't know her personally and I would never wish her ill. Am I bitter? Well, perhaps a bit. But not really as much as what you might infer from the tone. No one can take away the success I've already had as a songwriter, nor can anyone take away the personal satisfaction of finishing a tune I'm proud to have been a part of. I'm writing this for those who might be disillusioned by the "hype" of these contests on television now. The fact is, two years ago the office here in Nashville called for me to "audition" for that year's season of Nashville Star. I kindly refused. Not because I was afraid of losing mind you. I have already beaten the "music business" in all the ways I wanted to when I moved to Nashville-personal ways that allow me to sleep at night. I refused because the only people I want judging my songs and my talent are those who are the most cruel and the most loving-the folks who come to the theaters, the coffee houses, the clubs and the fairs to listen to me play. Most will smile and say they loved it while giving me the thumbs down by not buying my record. But if I'm lucky and I've made them feel enough of something, they'll give me the thumbs up and fork over their hard-earned cash for a song.

In sum, music is not about business. It's about music. If anybody tells you anything different, then he or she is a lucky dog who has lost the passion or sold themselves out for the almighty dollar. I literally turned my U-Haul around on the interstate headed toward Ada, Ohio's Ohio Northern Law School to come to Nashville to write. That's how much I love doing it. I sold my six-figure-salary-job as an environmental lawyer for a song. Stupid? Maybe. But given the chance, I wouldn't do anything different knowing what I know now. I think that counts for something.

To all those real writers/singers and musicians out there (including and especially Carrie and Kelly), keep the faith and hang on.

THE MONEY-GO-ROUND

2011-01-18T01:40:00.000-08:00

note: This is how it worked for years. Now, it is becoming less and less true.

Every singer and band is an entrepreneur. Before they make any big money they have to take a ride on the money-go-round of the music industry.

If you play in a band and your album has just gone platinum, which means it has sold over one million copies, you are in rare company. Less than one percent of the albums released each year reach that mark and only ten percent sell over 100,000 copies.

This means you are rolling in dough- you can buy the big houses and big cars that you always dreamed of, life is non-stop wine, women and song or the rock n roll equivalent, right?

Probably not.
Although, a new band that has just hit it big is now a world-wide business enterprise generating millions of dollars of revenue, the money paid to the band is not going to come as fast as they had always dreamed.

One of rock n roll's biggest myths is that once you hit it big you are showered with money falling from the sky. This may be true for longtime superstars who regularly sell millions of copies of their albums, but more often rock stardom and financial stability are two different things.

There are three main ways for a band to make money- record deals, touring and publishing rights.

RECORD DEALS. Major league recording contracts place the record label's interests ahead of the band's. Labels have in place a staff and system capable of producing, distributing and promoting records. The record labels claim that it costs $2 to make a CD, but marketing costs can run from $3 for a hit and up to $10 for a flop.

Most bands earn a 15 percent royalty, unless you are a superstar that can name your price and can negotiate a little more. The other 85 percent of an album's suggested retail price goes to the record company for its services and, of course, the retail profit.

Before a band sees any of its 15 percent, it has to pay off its debts to the label. Those debts, known as recoupable expenses, are amassed when the label spends money for what most of us would assume is the cost of doing business--like artwork and packaging, tour support and video production. Generally, when a record company signs a band, they give them an advance to record the album and money to live on until the record comes out.

This, also, becomes part of the recoupable expenses that must be paid back before the band starts collecting royalties. The record companies invest over $1 billion a year in new artists.

If enough albums sell and the debt is fully repaid, the band begins to collect its take. If the album sells poorly and the debt isn't repaid, it carries over to the next albumif there is one.

TOURING- Whenever a band plays a show, it is paid a fee and/or percentage of the tickets sold by a club owner or promoter.

There are two ways for a band to tour: with the financial support of its label or without it. Almost every new band asks its label for tour support, it helps when some else picks up the tab for expenses like travel, lodging, food and roadies. Road work with a bus and small crew can easily cost $15,000 a week. But, the tour support increases a band's debt to its label. That's why successful bands begin to tour without the label paying the bills once they can afford to, so they can keep all of the money. If a band is at the point of touring self-sufficiently, it is likely to be making at least enough to cover its expenses on the road. If it's an established act like the Rolling Stones, it could be bringing in as much as $1 million a night though of course, its expenses are going to be much higher than $15,000 a week.

PUBLISHING- Basic United States copyright law protects songwriters by giving them exclusive rights to grant or deny the reproduction, distribution, or performance of their work.

Although, many artists do not write their own songs, many other bands do. For a band than generates its own material, music publishing can be the most profitable part of the business. Songwriters' copyrights and the money generated from them are out of the reach of its label.

The majority of a band's publishing income comes from its mechanical and performance rights. Mechanical rights cover the reproduction of a song on a record. In the standard contract between a band and a label, the label is required by law to pay the composer a fixed rate per song simply for the right to use the composition on commercially sold recordings. The mechanical licensing rate for the U.S. and Canada is 7.1 cents per song, which translates to 71 cents for every copy of an album sold (7.1 cents multiplied by ten, the average number of songs per album).

With the performance rights, a song's copyright covers every time it appears on radio and television. Songwriters register their songs with one of three major performance societies: ASCAP, BMI or SESAC. These societies issue blanket licenses for the performance rights to songs and make payments directly to the song's author four times a year, based on how frequently a song is played live, on radio, or on TV. The bigger the hit, the more it is performed, and the more it generates in revenue for the composer or composers.

Publishing rights are like real estate or any other tangible property: They can be held on to, leased, or sold. By law, every band that writes and performs its own material can lay claim to every dollar those copyrights generate. But if the band is anxious to be paid now rather than waiting for the money to come in over time, it can choose to assign its copyright to a music publisher, a company willing to speculate on its current or future output and offer a cash advance in exchange for a portion of the copyright's value.

Usually, bands sign copublishing deals, in which the publisher offers an advance in exchange for half the publishing income until the advance is paid back and a quarter of the income thereafter. If the publishing income is too small to pay back the advance, the publisher is out of luck, but if there is, the publisher gets a piece of the band's success in perpetuity. Looking at it another way, the band gets a big fat check up front, 50 per cent of all income for a time, and then 75 percent after that. Because there are no guarantees that a song will attain popularity or value, many bands like the cash advance which is money they receive immediately regardless of how their song does and is not subject to repaying the debt they owe to their label.

And if they have a hit? It is a gamble. A publishing deal is like a bet against yourself. You give up twenty-five cents on every dollar in exchange for having money in hand, today.

Taking the gamble has netted bands with a hot record between one and three million dollars.

The greatest lure of a publishing advance is that it is the only thing guaranteed in the music industry. Going on tour, for instance, is always risky, because you never know whether anyone will turn out to see you, or whether you can command enough money to make it worth you while to hit the road. But with radio play and exposure from a hit record you can go from making hundreds to multi-thousands a night.

The recording contract portion of the equation is not quite as straight forward.

A new band's recording contract after all of the complicated accounting of what percentages are paid on what kind of sales will give them approximately $1.15 per copy. So multiplying that by a million if the band's album goes platinum, their royalties would be $1.15 million.

But, before they collect a dime, they must pay back the labels "recoupable expenses. They must first pay back all the money the record label has spent on its most recent record. Plus, they must also pay back any debt left over from any previous album. If the record company releases a single to radio or filmed a video for a song from the record, they could charge them another $400,000 or so. Record executives say they have to spend money to sell more records. In fact, say a record company promoted two singles to radio, helped support eight months of domestic and international touring, and paid nearly $400,000 to record a pair of videos, it's unlikely that the band can recoup its debt with a record that merely goes platinum. If you are lucky enough to be the 1 out 100 albums to reach this level, you still won't make any money on it. Follow up albums have an even lower success rate and even the most successful performers probably only have about three albums before fickle musical tastes change.

At a million and a half, the money may start rolling in, but it still depends on how many singles and videos it takes to get there.

And unfortunately, more singles and videos are necessary evils, so it may still be years before the band sees profits from the sales of big seller. If the band then hits the road with constant touring in the best-case scenario, that promotion should lead to exposure that drives up album sales and creates radio play, thereby creating mechanical and performance royalties far greater than what would be necessary to repay its advance to the record company. The worst-case scenario is that the next pair of singles fails to maintain the buzz and the band heads into its next record still in debt.

For example, the group, Nelson, had a multi-platinum selling album in the early 90s. Hairbands and power ballads dropped off the musical map almost overnight when Nirvana, Pearl Jam and Grunge took over. Nelson's next album was a flop and left them $2 million in debt to the record company.

With all the risks, and arcane record label accounting methods, a publishing advance could be the only real money a band sees until their hit song resurfaces in a few years on nostalgic compilations, soundtracks and radio programs.

How to make money in the music industry

2011-01-18T01:25:00.000-08:00

If you want to get a record deal, get people to your shows, or sell music like crazy, the answer isn't some kind of "magic pill" website that you post your music on, blindly sending out a bunch of demos, or anything to do with having good music...although good music certainly helps - the answer is to develop a "mindset" that naturally attracts people to what you're doing as well as an understanding of how the music business game is played.

As you develop as a person, your music career will develop with you. Sounds crazy, but it's true...and I've seen it time and time again, with thousands of acts that I've worked with, from garage bands, to the guys selling out arenas. Check out these ten common music business mistakes:

10. Being Too Difficult (or Too Nice)
First of all, let's get this clear... Just because you wrote a few good songs and recorded them, doesn't mean that the world revolves around you. Lots of people write and record good songs, so get in line.

Contrary to what the online rumor mill or media would have you believe, people in the music business are involved because they love music...and they're not making enough to deal with jerks. And they won't deal with jerks. If you're a pain, they're just go to the next guy, who also writes good songs, but has a better attitude.

With that said, don't be too nice. You don't have to say yes to everything. Pick your battles. If there is something you really feel strongly about, don't settle for anything less.

Bottom line: Keep your ego in check and behave with courtesy and respect. At the same time, don't let anyone treat you any less.

9. Trying to Convince People of Anything...
You play music; you're not in the convincing business. Either people get what you're doing or they don't.

So, some reviewer, booking agent or manager doesn't like your new album. Let it go! Don't try to convince him he'll like is better after a second listen. He won't. And the more you press him to give your music another shot, the more he'll remember how annoying you were. This means he'll be far less open to ever listening to you again.

There are a lot of people who won't "hear it" when you approach them. So what? Move on. There are plenty of other people in this business who can help you. Go find the people who do "hear it" and put your energy into building good relationships with them instead.

8. Looking for Industry Approval
There was a time when the "industry" had a lot more pull when it came to breaking an artist, getting them distributed, and everything else. This is a new time, so we're playing with different rules now.

Distribution is easy. Every day, more and more albums are being sold digitally, so you no longer need a label to finance pressing tens of thousands of physical albums (or more) and getting them to record stores.

These days, recording music is easier than ever. You can get a good recording setup for just a few thousand dollars. And if you can't afford recording equipment, there are plenty of people who have some, whom you can hire inexpensively. You are not limited on the number of options for getting something on tape.

But most importantly, once you get this stuff together, you don't need the industry to tell you your music is worthy. The consumers, the people who buy your music, are really the only opinions that matter. And when you have the love of the consumers, the industry will come around.

The thing is, in the music industry, technology has changed faster than mindset. Stop believing you are at the mercy of any record label executive. You're not. Connect directly with your fans-on your terms. The feedback, loyalty and money you receive from them will be far more gratifying than you spending your time beating your head against a wall trying to figure out a way to get an approving nod from a record label.

7. Not Building Strong Relationships with Fans
People aren't stupid. They know that they're being marketed to. They know when you're looking to sell them something. Do they mind? No.

In fact, if you have a good relationship with your fans, they won't mind being marketed to and, if you do it well, they look forward to being marketed to.

However, they have to know you care.
Building relationships with fans take time. You have to show them you care.

Do things like:
* Give them a few free songs to download
* Have message board on your website and build a community there
* Do a "fan appreciation" show
* Record a holiday album that you give out to your fan club.

Show them in special ways that you, not only care, but that you're willing to go the extra mile to show your appreciation. In turn, they will buy your music, travel to see you play, call radio stations on your behalf and promote you all over the Web.

Every day, no matter if you're busy recording, on the road or at home worrying about how you're going to find the money to make your project happen, do something (no matter how small the gesture is) to reach out to your fans.

6. Not "Getting" How the Fan/Artist Relationship Works
You're the leader and your fans do the following. You make the offer, they choose whether or not to accept.

Take charge, record the music, play the shows, print the t-shirts, and let them have the options of buying your album, coming to see you, or getting something to wear.

The average person has enough "leadership" in his day. He's looking for somebody to take control, and let him ride along for a little while. Do it.

5. Laying Everything on the Table...
You're a rockstar. Keep that fantasy. Don't tell people how broke you are, that you're still living with your mother, or anything else that breaks the image of you fans have in their minds.

One of the reasons people like music is because they have the opportunity to live vicariously through the people they are listening to. When you are on stage, they're up there with you. When you're on the road in your tour bus, they're riding shotgun. Don't take that away.

Give them insight into your life and what it's like in your world. However, be selective with the details. Always remember, you're selling music, but you're also selling a persona.

4. Thinking The Key to Success is Musical Talent, Money, or Looks
Yes, if we're talking about pop music, MTV, or the major label system, a certain amount of a contrived "image" probably helps sell records.

Obviously, money helps things. And it's always good if you can sing.
But it's not "image" that gets somebody on MTV, it's marketing. It's not good songs that get people on the radio, it's marketing. And it's not money, although it helps. It's marketing.

You can play well, have money, and look like a model, but if you don't have the marketing to back you up, none of it matters.

You know what? If you do have a good, solid marketing plan in place (and you're using it), everything else doesn't matter so much.

3. Giving Up Power
Keep control as long as you can. Yes, a major label deal will give you opportunity that being on an indie label won't. And a professional manager has connections that you don't.

But when you sign with these guys, you're handing over your career to somebody else. Nobody cares as much about your career than you do. When you and your talent are the most important commodity you have to offer, do not give up your power easily and without a damn good reason.

Your music is worth something. You are worth something. Think of your career as being "virtual real estate" which, if marketed correctly, will pay dividends for years to come. So, treat it like that.

2. Jumping at Every Opportunity
You don't have to say yes to everything. In fact, sometimes, saying no to something can be more beneficial to your career than saying yes.

Why do you say yes to things? Take a look at your standards and make them higher. As an example, just because a club has a PA system doesn't mean that it's worth playing there.

There are some gigs that just aren't worth playing. There are some connections that just aren't worth developing.

When you say yes to something, especially something that takes your time, you're saying no to everything else. Leave yourself open to saying yes to the opportunities that really matter.

Trust your own judgment. If something doesn't feel right and you want to say no, it's ok to say no. At that moment, you may worry you're passing up a great opportunity and will be missing out. The reality is, better opportunities (that are a better fit for you) will come and you will be ready for them.

1. Not Getting Help
You don't know everything. This business has been around for a long time-long before you were involved.

Read books, get advice from people who work in the industry and keep studying every aspect of the industry.

Don't be afraid to ask for help. You can bypass a lot of the problems you're likely to run into simply by asking people who have already been in, and dealt with, the situations you find yourself in.

Remember this:
Time is worth more than money. You can always earn more money, but you have a limited amount of time.

Don't waste your time. If you don't know something, or need specific help, don't be afraid to pay somebody to help you deal with whatever obstacle you face. Don't let anything stop you from having all the knowledge and know-how you need to have the success you aspire to have.

Music Distribution Deals: Know-the-facts-before-signing

2011-01-14T23:07:00.000-08:00

With the escalating progression of music technology in the last decade, mainland CD stores are continuing to decline in popularity, as the trendy demand for digital music downloads continues to crush them further into the archives of history. Claiming more than half of the globes music buying audiences, Digital Music Distribution is the predominant method of music marketing the world provides us now.

More and more artists are appearing on the scene with highly polished albums, mostly produced entirely under their own steam. They have become resource ful singular empires, holding sole rights and authenticity as unconstrained producers and marketing agents of their own products. The artists are ready to take the world by storm by hooking themselves up with one of the many distribution businesses currently available.

But as an independent artist, what are you really signing up to in a distribution deal?

many digital distributors provide artists the opportunity to have their music available on many of the popular and esteemed music selling outfits; Apple iTunes being one of the the majority popular playgrounds for current music consumers. But whilst they can promise to get your music on the right path, how is it going to be found amongst the billion other artists competing for sales? Consider that the majority central stream artists have many more dollars poured into their advertising and marketing person a’s than the unsigned artist can ever afford. Major acts are funded by major pockets ensuring the perfect opportunity of sales.

One answer to this is that many unsigned artists feel that by simply having their music made available alongside mainstream artists is a elevate to their credibility, affording them and their music a much higher distinction. It’s certain that a nice deal can grant your music a triumphant victory if you manage to populate vintage music selling web site s. Your only subsequent aim is to actually make sales on them. Otherwise what’s the purpose following all?

Deals, terms and conditions change from business to business, so it is worth looking around and researching which kind of distribution method is right for you. There are many worthy deals, and probably just as many scams, circulating the information highway.

If you’re thinking of accepting a distribution deal, before signing the dotted line it is necessary to ask questions such as:
• Does the deal include any publicity or promotional advantages to the artist?

• Are there any payments I must make, statutory, collective or alternatively?

• What percentage of royalties will I receive, and how are payments handled?

• can I be provide d with an estimation of how profitable your distributive methods are?

• What are my rights in terminating the contract?

• Am I solely responsible for tax declarations on my net income?

Other things you must check before signing are the ‘exclusivity’ terms. These can greatly inhibit your freedom. Does a deal involve licensing your music digitally (via like red Web formats) or does the deal additionally include physical sales? Some are highly exclusive in nature whilst others give you rights to continue with marketing your music via other channels.

Bear in mind that many reputable and authorised distributors, such as CD Baby for one, won’t allow an performer to exploit other distribution channels, as the two events run the risk of putting your music on the exact same web site s. A hassle major stores and distributors can do in the absence of, and an understandable clause too.

You must read the terms of an agreement in full. It’s absolutely essential that you fully understand what’s expected from you as well as what’s being provide ed!

Here is a cautionary example:

A music distribution web site currently provides a deal for both digital and physical music sales, (the terms of agreement are publicly available for download on the web site ).

The web site appears to charge $99.99 as a one off payment. Upon checking their terms of agreement however, it states:

“After one year of promotion, we may archive, remove and/or su spend your Works from the Service in the absence of terminating this Agreement.”

What then If the agreement is still in place but your work is no longer made available on their web site?
“You can pay an annual fee, which is to be determined, to insure that your Materials are not archived, but displayed and provide ed for sale following the first year of Service.”

So if you refuse to pay this annual fee, the web site still holds all rights to license and sell your music as expressed in the agreement you already signed!

This is not necessarily wrong but is it what you want? Always check the small print and read any agreement thoroughly. As a general rule be wary of web sites that ask you to pay for distributing your music. On the basis that a web site ’s marketing strategies were fruitful, and they believed that your music is nice enough to reap a profit, why would they be asking you to pay them in advance? Suffice to say that not all web sites that request payment from an performer deliver an unsatisfactory service. Speak to other artists whose music is being distributed and see how the deal is working for them. If something doesn’t sound quite right in any deal, double check with the distributor. If you still receive an insufficient response, you can always seek a legal opinion. But if you’re really in doubt, perhaps you’re better off in the absence of !

If you’re marketing your music through a label they ought to be sufficiently taking care of your interests. A reputable label with ensure that all terms in a distribution set ting are obvious and fair to all events involved. Being part of an honest label is usually a nice way to relieve yourself from some of the finer pressures attached to direct schemes. They will of course additionally expect a cut of the profits but will usually have a nice degree of interest in maintaining their own artists’ affairs in an appropriate manner. If the performer is happy the label thrives upon its nice reputation, and its integrity towards its artists.

Despite the odds, sales margins have better for thousands of unsigned artist s, simply because of the greater variety of marketing mediums available. You can not only market your music yourself, but allow others to do it for you. The more places your music is available the higher your opportunitys are of achieving sales. But as with any enterprise, money and prof it is the primary goal, and and so you ought to continue with caution before handing your personal work over to anyone.

There are many reputable distributors, who promise to do the job and actually deliver what they stated. But, as with everything in life, there are those that you would rather not be involved with. So research as many as possible, and ask as many questions as you see fit. After all, a year is a long time to get stuck in a deal you later realized doesn’t quite work for you! Not only would a bad deal cause you much frustration in its limitations, but can additionally undermine your confidence in participating in future marketing opportunities.

How to Network in the Music Industry: Successful Business Networking Tips, Basics & Career Advice

2010-12-09T21:13:00.000-08:00

What is networking about? As the saying goes, "It is not what you know or do, it is who you know." While technology is a reliable tool for artists to spread the word about their music, the most effective medium to get music publicized, heard, distributed or artist booked is through people. DIY (do it yourself) musicians can become successful, but the odds are stacked up against them because being an expert in everything is literally impossible. Writing great songs is a challenging task as it is. Focus on your strengths and delegate everything else to others whose strengths are your weaknesses.

The objective for artists looking to become successful is to delegate tasks to individuals who are experts in those fields. Finding who these people are can be accomplished through networking. You can start with family, friends and then reach out beyond that. This will ensure that you increase your odds for being at the right place and the right time. Sitting at home doing nothing will not get anyone anywhere, however great of an artist one is.

As your network grows, problems become easier to tackle because you can identify people that can effectively solve with those issues. Before you network, it is recommended that you do your homework and figure out the areas where you have weaknesses in and then finding the appropriate network and resources that can help you turn those weaknesses into strengths. It is critical that the networking relationship is a reciprocal one and the individuals you are networking with are appreciated and respected. Successful networking is linking together people who can help each other out through trust and relationship building.

Things to keep in mind:

1. Networking is about being genuine and authentic

2. Figure out what you are trying to accomplish so that you can select who can be a suitable candidate to help you get what you are looking for. Focus on quality contacts as opposed to quantity.

3. Have plenty of professianal looking business cards to give out and be visible. Do not be shy.

4. Make a positive first impression. Make a powerful impression by asking them what they do before talking about what you do. Make them feel comfortable talking to you. Embrace all people, not just the right people. Who knows, they might be the next Bill Gates. Everyone demands respect and a second chance.

5. Ask questions that are discussion-friendly. Questions relating to "who, what, where, when, and how" can be more effective than ones that can be answered with a mere "yes or no." This form of questioning opens up the discussion and shows listeners that you are interested in them and makes you more memorable. Questions such as "How did you get started in your business?" , "What do you enjoy most about what you do?" and "How can I know if someone I am speaking with would be a good prospect for you?" can be impactful.

6. Honor people's time and pay attention when people are talking to you.

7. Become an expert in your field so that others can turn to you for input, suggestions and ideas. make it easy for them to reach you.

8. Have a clear perspective about why you do what you do, what you represent and seperates you from the crowd.

9. Learn how to pitch in 3 or less sentences. Keep the pitch under 30 seconds.

10. Make small talk, establish common bonds and schmooze. Offer your help.

11. Follow up quickly with the people you connected with and thank them for their time. Make sure you let them know that you you found their input valuable and would love to extend the conversations further and keep them in the loop about what you are doing.

12. Be a matchmaker. Introduce and help others connect with each other. This is a skill influential and powerful people have.

Artists looking to find people to fill positions that require unique skillsets can reach out to individuals including:

1. Managers
2. Attorneys
3. Accountants
4. Booking Agents
5. Publicists
6. Photographers
7. Producers
8. Recording Engineers
9. Distributors
10. Video Crew & Editors
11. Web Designers
12. Webmasters
13. Online Marketer (SEO, SMO)
14. Graphic Artists

Musicians can also target people that can help create new opportunities for them as well as introduce their music to a new audience. These people include:

1. Music Journalists
2. Radio Hosts & DJs
3. Bloggers
4. Music Website Owners
5. Podcasters
6. Booking Agents
7. Concert Promoters
8. Venue Owners
9. Video Game Designers
10. Music Directors
11. Film & TV Scouts for Music
12. Companies & Brands
13. Other Artists/Musicians/Bands
14. Your SuperFans

Networking is all about ongoing relationship building. Build relationships that last and always strive for growth and volunteering your time and resources to others with great need. Online networking can be very valuable as well. Finding communities online with similar interests is the name of the game. Interaction, communication and sharing is what the web is all about. Reach out and touch everyone and your network will expand significantly. Become the ultimate connector.

Social Media: A Lesson in Self-Defense for Musicians

2010-12-09T21:05:00.000-08:00

Social media has become a massive part of our culture. In fact, it has changed our culture. It's changed the way we do business, how we talk to each other and how we entertain ourselves. It's also changed how music fans experience music and how they experience the artists behind the music. So if you are an artist promoting your music on the Internet and you're not already plugged into a social media outlet or two, it's time to jump in. If you're not connected, you are quickly becoming disconnected with what's going on around you, socially speaking.
Your Fans Expect You to be Part of Their World

The explosive popularity of social media tools like Facebook and Twitter demand that you, as an artist, become more immediately accessible to your fans. It's not enough to have a web site or even a MySpace page anymore. Your fans want to know you, they want to follow you and they want to interact with you. They want to chat with you personally, comment on your music and see what you're doing right now. Your fans expect you to be part of their daily "friend-checking" routine. Your life is interesting to them. Your life is entertainment to them. Your life is a reality show and you didn't even know it! And if you ask me, it's all getting just a bit creepy.

On one hand, the level of personal interaction social media encourages is a good thing. When it comes to Internet marketing, developing relationships with your fans is a key element. It always has been. But now, as you get more involved with social media and start posting your "status update" several times a day for the world to see, things begin to get personal, perhaps a little bit too personal. How do you cope with this?

Setting Some Boundaries

Having been active in the social media world for a while now, I've discovered the importance of setting boundaries for what I do and do not post for the world at large to read. I have learned that if you cross these boundaries, there can be social consequences. Have you ever really thought about how the words you post come across to your fan base? What you post can drastically change your reader's opinion about you, in both good and bad ways. While a fan might be thrilled to find you on Twitter or Facebook at first, after following your posts for a while they may actually become bored with you, disappointed in you, turned off by you or even angry at you.

Social interaction with your fans is a good thing... to a point. But it would be wise to give yourself a few rules to go by; rules to help protect you not only from yourself (you can be your own worst enemy), but also those who follow you that may or may not have your best interests in mind.

Consider this a lesson in social media self-defense. Here we go:

1) Measure Your Words Carefully. And Then Measure Again. Think twice about every word you're about to post before you actually post. When you first get involved in social networking, the most natural thing do to is to just "be yourself" and post your true feelings, thoughts and opinions about everything under the sun. This can be a two-edged sword when it comes to how your fans perceive you. Your fans like your music because they relate to it somehow and as a result on some level they think they know and understand you. But the truth is, they don't know you at all. That means that with every word, thought or opinion you post there is the potential to taint someone's image of who you are. Always measure how your words match up with your public image. If you write beautiful love songs, but your posts are filled with cynical ramblings, crass language and sexual innuendo, how does that affect your fans image of you? Destroy your fans image of you and you will cost yourself future sales. So, before you post your opinions on this or that, always make sure what you post is truly how you want to represent yourself to your fans. This means you should…

2) Be Wary of Discussing Politics, Religion and Controversial Subjects. That is, unless those very things define who you are as an artist. If your music is political by nature, you can be political in your commentary. If your music is not political, and you spout off in a negative, cynical way about politics or the leadership of your country, you'll likely put off some of your fans who may respond as if you are attacking them personally. The same is true about religion. If your faith in God defines you and your music, then by all means be that person of faith. Don't hold back. But if your music isn't defined by your faith, just know that if you start praising the Lord in your posts you might put off some of your fans. Politics and religion are potentially divisive topics, as are abortion, gay-rights, immigration and even extreme environmentalism. Being controversial can be good for publicity, but when you're trying to develop relationships with your fans, going on and on about your political, social or religious views can be the very thing that turns them against you. Be very careful not to use your status update as your own personal soapbox to preach from, unless you feel so strongly about those things that you don't care if you lose fans and sales over it. It may be that you don't care if you lose fans over expressing your opinions, and if you don't, then go for it. Be who you want to be. Your strong opinions will likely appeal to a few like-minded thinkers. Just be aware of what you post, how it might come across, and whether you're OK with how it effects others' perceptions of you. The question I always ask myself before posting something potentially controversial is; "does what I'm about to write define me as an artist and a person? or am I just venting?" My politics, for example, has nothing to do with my music. So I keep my thoughts on politics to myself, generally speaking. I am not defined by my politics. I am defined by my faith in God, however, so I, personally, have no problem praising the Lord in my status updates. I just do it tastefully. Not every post I write says "Hallelujah," but I'm also not afraid to thank God publicly for a beautiful day. It's all about balance, and being watchful of your public persona.

SUGGESTION: When it comes to politics, especially, I understand how hard it can be to restrain yourself from venting your political frustrations in your status update. If you find you simply can't restrain yourself, let me suggest you create another outlet specifically for your political rants. Perhaps a Twitter account specifically set up to let you express your political views, one that doesn't have your name on it. Then you can have the satisfaction of expressing your opinions to the world at large without destroying your relationships with fans of your music that have an opposing viewpoint.

3) Stay Positive. Don't Worry. Be Happy. Listen, no one likes a complainer. Don't use your status update to tell the world how lousy you feel, how stressed out you are, how hard life is, how unfair you've been treated, how misunderstood you are or how much you hate your job. People tire of whiners quickly. Do you enjoy listening to people complain? Neither does anyone else. Complaining is the fastest way to lose friends and followers (in real life too). Whatever you do, when you post a status update, be positive and encouraging to others. Present your life as good, blessed and happy, even if it isn't at every single moment. If you are a joyful person, people will be drawn to you. When you post, do so with a smile, and you'll make your reader smile. Smiling is good.

4) Be Interesting. Be Inspiring. If you're going to update your status to tell the world what you're up to, find ways to make your posts exciting to read, even if it's just the way you phrase something. Don't post an update that says… "checking e-mail" or "watching tv" or "just chillin'" Blah. Who cares? Be creative. Be imaginative. Be specific. Make every post count and mean something. If the post you're about to write isn't something you'd care about if someone else wrote it, then why bother writing it yourself? Make sure that, from your readers' perspective, you lead a very interesting life. If you don't feel like your life is very interesting, then do something about it. Don't just sit there staring at the TV. Make your life interesting. It's in your power to do so. Then talk about it in happy, positive ways. Make your life sound like the "dream life." Your fans don't expect you to be dull. Life is too short to be dull. Don't be dull!

5) Watch Your Back. Guess what? Not everyone who follows you is a "fan." Did you know that people might follow you who don't care about you or your music? It's true! It's easy to forget this sometimes. You just happily post away assuming everyone loves you and thinks you're terrific. But you never know who's following you, and not everyone who follows you is friendly toward you. People who are curious about how you do business might follow you. You ex-girlfriend with a grudge, stalker boyfriend or an overzealous fan might follow you. People looking for ways to tear you down might follow you. People who want to test your integrity might follow you. People who are looking for good ideas might follow you. People who want to copy what you're doing might follow you. Always be aware that people might be following you who don't have your best interests in mind. So don't be giving away all those family/trade/business secrets and don't be too revealing about yourself. Don't give your enemies ammunition to use against you.

6) Keep Your Private Moments Private. Doing something cool and fun with your family? Use social media to tell people about it after the fact, not before. Don't post a status update saying… "Taking my kids bowling at Lois Lanes in a few minutes. Should be fun!" That will just invite curious fans to come down and join you. Might be OK. Might be weird. Instead, wait until you've finished your fun family outing and then post a message about the great fun you had earlier in the evening. There are, of course, times when you want your fans and followers to meet up with you somewhere; when you're playing a show, or just a special meet and greet with fans, for example. But keep your private moments private.

7) Don't Ignore Your Fans. Respond With Enthusiasm. When you start posting frequently, fans and others will respond with comments of their own. Respond back, acknowledge them and be positive, enthusiastic and encouraging. If folks respond to your comments and you repeatedly ignore them, some are bound to take it personally. Always engage your fans. If they comment on a song or an album of yours, thank them and let them know you appreciate it. Tell your fan their comment made your day and in doing so you'll make their day. Just think - every day you can chat with dozens of total strangers, encouraging them to share your music with their friends and family. Do you realize the power of this? If a hundred people are following you, that's a hundred people you can ask, via your status update, to spread the word about your music. With social networking, you always have a crowd at your fingertips. Work the crowd.

Social media is a great thing, and a fantastic way to stay in touch with your fans on a day to day basis. But words are powerful, lasting, and shape people's perceptions of who you are. So always be watchful of how you present yourself in writing. Think twice before you post, stay positive, be enthusiastic and avoid being negative or boring.

16 Timeless Music Business Self-Promotion Tips

2010-12-09T20:55:00.000-08:00

The following tips are essential, life-long suggestions, for any and all musicians to remember as they establish and/or maintain their music careers.

1. Stop sending unsolicited demo recordings to record labels, and instead concentrate on building your own music name and reputation by creating longterm relationships with your growing fanbase. They are your ticket to success.

2. Take the time to learn what the professionals in the music business do for a living. What are their job titles, who do they report to, and what do they do everyday when they go to work? The contacts you make in the music industry can make or break your career because your potential success is directly linked to any possible growing success of the industry people who are climbing their own ladders to success. The music business is built on the "buddy system." Everyone is attached to everyone else in this industry. As you go, so go your business contacts.

3. Before contacting any music business professional have 1(one) prepared question for them that will not make you look or sound like an ignorant person. i.e. Do not ask them how to become a atar, or how to get a recording contract. No one has the time to answer such sweeping and naive questions.

4. Create two contact lists: One for professional people you actually have as a business contact. Another contact list made up of all your fans. Keep both lists updated and using common sense, reach out to both contract groups only when you have something very important to ask of them and/or to share with them.

5. Prepare a short 30 second description of your music. Memorize it and use it every time you are asked "What kind of music do you make?" Don't go on and on describing your music... your statement should clearly describe your genre or style of music quickly and in compelling language that will perk up the person's ears and find yourself with an interested and potentially valuable new contact ready to support you.

6. If you have trouble defining your music style, try this exercise... define the word "originality" and note that within that word is another word... "origin." Perhaps this will help you focus on what makes your music unique. Never say your music is "unique," explain HOW it is unique. This exercise will help you write your 30 second statement.

7. Remember this always: People in the music industry who's job it is to find and support new acts don't know what they are looking for...BUT...they will recognize it when they hear it.

8. Find a concise "Image" and follow it everywhere. This is important because the first impression to someone unfamiliar with your sound is a VISUAL experience most of the time. i.e. Your Logo design used to spell your name, the title of your CD, or the design of your website, merchandise etc. is crucial to attracting industry and music fans. Image IS everything in show business, and in case you didn't realize it, music is part of good 'ol show business. Research your favorite acts and study their image.

9. People only respond to music they can personally relate to. What is it in your songs and compostions that has inspired your current fanbase and will grow to attract more fans and industry support? Think hard on this point. It is a true key to any possible success. Music contains emotions, so what emotions do your songs deliver to a listener?

10. Does your music sound too much like another artist or band's music? This is the biggest complaint from music business professionals... too much music today sounds like retreads of already successful artists. And, your fans are sensitive to this issue too. There is way too much :redundant-sounding" music out there today.

11. When you perform live does your stage pressence reflect the image conveyed in your songs? Are you well prepared, well rehearsed, and do the songs in your live set flow into each other in an exciting and well balanced way?

12. It can never be said enough. Great songs, Great compositions are the basis of all potential success, but "grunt work," everyday down-in-the-trecnches boring work, like updating your blog and website, keeping your websie and social networking pages updated and staying in touch with your fans regularly are tough jobs. Only you can tackle these jobs and other jobs like putting up flyers for shows (on and offline), updating your press materials, looking for gigs, rehearsing... all these tasks require your commitment to carry them out without complaining. Remember, only YOU can care the most...it's YOUR music, YOUR career that we are dealing with here.

13. There is no such thing as an "overnight sensation." Behind every act referred to in this way are countless hours of hard work and dedication that got that person or act to be able to take advantage of the breaks they got, and remember too that the breaks you are looking for should be more than "a record deal" or a "production deal." Look out for the ever increasing demand for uses of your songs online, in films, TV shows and ads... the list goes on. But you have to work consistently for these breaks to happen.

14. Home recording is as common today as home cooking use to be, but don't get trapped in the rut of staying at home and working on your computer or home recording setup. GET OUT regularly and show up at clubs and other concert venues on a regular basis. There is that old saying "They only come out at night"... well that's very true when it comes to music business personnel as well as music fans. So, get out there and socialize IN -PERSON wherever you might live.

15. As your fanbase grows create more and more merchandise to sell online and at your live shows. Be sure your LOGO is on every piece of merchandise you sell. (back to that statement-"Image is everything.")

16. This last tip may be the most important of all. Conduct your business from your heart. Yes, the music industry rarely operates from that place, but don't worry about the industry, concern yourself with your SELF... be righteous. Be upstanding. Be a professional in everything you do. If you do that, believe me you will stand out from from the crowd