There are loads of sites, tools, and online guides available for people like you who might want to tweak their vinyl records without losing any of their original quality or texture.
You don’t need to be a professional music producer to mix and refine high quality vinyl records—or any audio files that you feel like working on. So, how do you merge classic vinyl audio content with the digital mastery of modern tools? We explore the various answers below.
Using Software Tools To Sample, Remix, And Master Vinyl Records Online
Ah, internet. You have done many things for your dedicated users, both good and bad. But one of the best is the high level of accessibility it offers to various creative digital resources across the web.
The online world is crammed with digital resources and software programs designed to help people hone their creative skills, be they audial, visual, or otherwise. But today, we’re focusing purely on audio mixing—and more specifically, vinyl audio mixing, remixing, and mastery online.
Thanks to the post-2000s vinyl popularity resurgence, more people than ever are seeking methods of mastery for this unique type of audio online. Fortunately, the options are extensive, and most of them can be accessed without spending too much money.
Here are four you can choose from:
LANDR is one of the highest-rated music editing platforms in the world, and many of its tools accommodate cutting-edge vinyl mastery techniques.
Merging artist collaboration with AI software, LANDR offers users an incredible library of mixing tools that allow for both digital and analog audio editing. In addition to software tools, LANDR also offers one-on-one sessions with mastery experts and producers who can help you with refining your sound.
Priced at just $11.99 per month, this high-functioning, super-serious vinyl mixing platform can have you sampling, remixing, and mastering in no time.
If you are a newcomer to the vinyl mastery and editing scene, BandLab can offer you a gentle entry into the world of broad-spectrum sound editing and production. With ample tools set in a sub-platform called “the studio,” you can mix, sample, edit, master, and add effects to a wide range of music files.
Something that makes BandLab really popular is its emphasis on community engagement. You can meet other amateur and experienced vinyl and digital music lovers through the site, which gives it a collaborative, engaging feel. And the best part? It’s free!
Aspiring music producers seeking swift turnarounds and sensitive approaches to vinyl editing can benefit from mastering via CloudBounce. Simple yet sophisticated, this tool offers a lot of automation options that make editing a fast and easy-to-navigate process.
They also have a flexible pricing structure – you can either pay per track that you edit or sample ($10.90) or pay a monthly subscription fee of $21.90 for full access to their vinyl and digital audio editing services.
If you are looking for a simple and accessible vinyl editing tool, eMastered is a great place to start. Offering human expertise and the power of AI algorithms, this tool provides a lot of control over various sonic parameters, which is imperative to vinyl mixing on digital platforms.
A big perk of using eMastered is that you can upload a reference track for the algorithm to use as a guideline for certain sound designs or rhythms you are aiming for. eMastered costs just $9.75 per month if you sign up for a year-long subscription.
Tips For Sampling, Remixing, And Mastering Vinyl Audio Files Online
When it comes to editing vinyl records online, you may find yourself needing to take a different route than you would with editing purely digital records.
For instance, because vinyl records have a much more limited soundstage than their digital counterparts, adjustments to the volume, lathe, and general sound experience often need to be made. Here are some tips for mixing music that’s radio-ready:
Why Is Mastering For Vinyl So Important?
The quality of any audio file is extremely important if you want the record to last. A mastered vinyl record means a much more pleasurable listening experience and a longer shelf life, which is important if you are putting your music on the market. Plus, it demonstrates professional skill as a music producer, no matter how experienced or inexperienced you may be.
As such, finding reliable and efficient ways to sample, remix, and master your vinyl records is crucial for building a reputation as a great music producer and audiophile.
Conclusion
Fine-tuning your vinyl record’s audio online is essential for any music producer or editor who wants the best-quality outcome for their project. By learning how to use vinyl-friendly music editing software and picking up some basic tips, you can create a truly harmonious result that has longevity. All it takes is time and practice, and before long, you’ll have a result that you’ll be proud to share.
]]>Vinyl records are prone to collecting dust, dirt, fingerprints, and other contaminants that can affect their sound quality and performance. These particles can get trapped in the grooves of the record, causing pops, clicks, crackles, and skips when you play them. They can also damage the stylus (the needle that reads the record) and the record itself, reducing their lifespan and value.
Cleaning your vinyl records regularly can prevent these problems and keep your records sounding great for years to come. A clean record will have less surface noise, more clarity, and more dynamic range. It will also protect your stylus from wear and tear, and your record from scratches and warps.
Before we get into the best ways to clean vinyl records, let’s talk about what you should avoid. Some common mistakes and misconceptions can actually harm your records more than help them. Here are some things you should never do when cleaning vinyl records:
One of the simplest and most effective ways to clean vinyl records is by hand, using a few basic tools and a bit of patience. Here’s how to do it:
If you have a large collection of vinyl records or you want to save some time and effort, you may want to invest in a vinyl record cleaning machine. These machines are designed to automate the cleaning process and provide a deeper and more thorough cleaning than by hand. There are different types of machines available, such as:
The exact steps for using a vinyl record cleaning machine may vary depending on the model and the type, so always follow the manufacturer’s instructions carefully. Generally, you will need to:
Cleaning your vinyl records is only one part of keeping them in good shape. You also need to take care of them before, during, and after playing them. Here are some tips on how to take care of your vinyl records:
Vinyl records are a great way to enjoy music, but they require some TLC to keep them sounding their best. By following these tips and tricks, you can clean your vinyl records safely and effectively, and extend their life and value. Whether you choose to clean your records by hand or with a machine, remember to use the right tools and methods, and avoid anything that can harm your records. And don’t forget to take care of your records before, during, and after playing them, and store them properly. With a little bit of effort, you can keep your vinyl collection in prime condition and enjoy your music for years to come.
]]>Taylor Swift - 1989 (Taylor's Version):
Taylor Swift's "1989" holds a special place in the hearts of pop enthusiasts, and the release of the re-recorded "Taylor's Version" brings a fresh wave of nostalgia and admiration. With hits like "Shake It Off" and "Blank Space," this album showcases Swift's evolution as a pop powerhouse, filled with catchy melodies and insightful lyrics. The vinyl rendition of "1989 (Taylor's Version)" captures the essence of Swift's growth as an artist and allows fans to rediscover the magic that made this album a defining moment in her career.
Pink Floyd - The Dark Side of the Moon:
Pink Floyd's "The Dark Side of the Moon" is a legendary masterpiece that has stood the test of time. As one of the most iconic albums in the history of rock music, it continues to captivate audiences with its ethereal blend of progressive rock and psychedelic elements. The vinyl version of this album offers an immersive experience, allowing listeners to fully absorb the intricate instrumentation and thought-provoking lyrics that explore themes of human existence, time, and madness. With its timeless appeal, "The Dark Side of the Moon" on vinyl remains a must-have for any music aficionado's collection.
Kacey Musgraves - Golden Hour:
Kacey Musgraves' "Golden Hour" is a captivating blend of country and pop, showcasing her signature songwriting prowess and heartfelt storytelling. The vinyl edition of this album serves as a testament to Musgraves' artistry, delivering a rich and warm sound that accentuates the album's dreamy and introspective atmosphere. With tracks like "Slow Burn" and "Rainbow," "Golden Hour" on vinyl offers a sublime listening experience that transcends genres, inviting listeners to immerse themselves in Musgraves' introspective journey of love, self-discovery, and optimism.
Slipknot's "All Hope Is Gone" remains a cornerstone of modern heavy metal, reflecting the band's raw energy and intense musical craftsmanship. The vinyl release of this album brings forth the full force of Slipknot's ferocious sound, highlighted by relentless guitar riffs, thunderous percussion, and Corey Taylor's visceral vocals. With tracks like "Psychosocial" and "Dead Memories," "All Hope Is Gone" on vinyl delivers a visceral listening experience that showcases the band's ability to harness chaos and aggression into a coherent and powerful musical statement.
]]>The Cost of New Vinyl Records
Production Costs
The process of producing vinyl records is intricate and involves several expenses. These costs include mastering, plating, pressing, printing, and packaging. High-quality materials and skilled labor are necessary for creating records that deliver exceptional sound quality and aesthetics. Funky Moose Records takes pride in offering new vinyl records that meet the highest production standards, ensuring that you get the most value for your money.
Limited Editions and Special Releases
Many new vinyl records are released in limited quantities or as special editions, making them highly sought after by collectors. These releases often come with exclusive artwork, coloured vinyl, or bonus content, which can significantly impact their price. Funky Moose Records frequently offers exclusive limited editions, so keep an eye on our website for unique additions to your collection.
Artist and Genre
The popularity of the artist and the genre of music also play a significant role in determining the price of new vinyl records. Iconic artists and genres with a dedicated fan base tend to command higher prices. At Funky Moose Records, we stock a diverse selection of new records spanning various genres, ensuring there's something for every music lover.
Record Condition
When you purchase new vinyl records, you can expect them to be in pristine condition. However, minor imperfections can occur during manufacturing or shipping. At Funky Moose Records, we take great care in handling and packaging your records to minimize the risk of damage. In the rare event that you receive a damaged record, we offer a hassle-free return and replacement policy.
Shipping Costs
Shipping costs are a consideration when purchasing new vinyl records, especially if you're ordering from a distant location. Funky Moose Records aims to provide transparent pricing, including any associated shipping costs, so you can make informed purchasing decisions.
Album Features
Some new vinyl records come with added features, like lyric sheets, posters, or download codes for digital versions of the album. These extras can justify a higher price tag, as they enhance the overall value of the record.
Supply and Demand of Used Vinyl Records
While new vinyl records are a popular choice for music enthusiasts, used vinyl records also hold a special place in the hearts of collectors. The supply and demand dynamics of used records can significantly impact their prices.
Rarity and Condition
Just like with new records, the rarity and condition of used vinyl records play a pivotal role in determining their value. First pressings, limited releases, and records in excellent condition are highly sought after and can command premium prices.
Collectible Artists and Albums
Certain artists and albums have achieved legendary status, making their used records highly collectible. Iconic albums from the past, especially those in good condition with original artwork and inserts, can be valuable additions to your collection.
Genre and Trends
The popularity of specific music genres and trends can influence the demand for used vinyl records. As certain genres experience resurgences or trends evolve, the prices of related records may fluctuate accordingly.
Grading and Authentication
The condition of a used vinyl record is typically graded to provide buyers with a clear understanding of its quality. Records are assessed based on factors like vinyl condition, sleeve condition, and the presence of any defects. Accurate grading and authentication are crucial when purchasing used records to ensure you get what you pay for.
Marketplaces and Record Stores
The availability of used records can vary depending on the region and the presence of record stores and online marketplaces. Funky Moose Records offers a selection of used vinyl records, giving you access to a curated collection of pre-loved gems.
Pricing Transparency
Funky Moose Records is committed to providing transparent pricing for both new and used records. We believe that knowing the fair value of a record ensures a positive buying experience for our customers.
Conclusion
In the world of vinyl records, the cost of new records is influenced by various factors, including production costs, artist popularity, album features, and shipping costs. Funky Moose Records offers a wide range of new vinyl records, catering to diverse tastes and preferences while maintaining fair and transparent pricing.
Used vinyl records, on the other hand, have their own unique dynamics driven by rarity, condition, and market demand. Collectors often cherish the historical and nostalgic value of used records, making them an exciting addition to any music library.
Whether you're a new collector looking to start your vinyl journey or a seasoned enthusiast seeking that elusive gem, Funky Moose Records is your destination for quality records at competitive prices. Explore our collection today and experience the joy of vinyl music.
]]>
While AI is convenient, it also decreases employment opportunities. It is already affecting several service industries. What about the music industry?
People can use AI tools to generate music. It’s already hard to make money off music. Do we need robots further infringing on our space?
Well, worried musicians, I’m pretty sure that AI will never replace musicians. But it may have some impact on the music industry. And yes, I will elaborate.
There are a variety of AI music-making platforms, and they all work differently. But generally, you can input information such as the genre of music you’d like to create, the mood of the music, and the instruments you would like to include. The platform will then generate a variety of songs. You can choose the one you prefer.
If you access premier services, you will get more customization tools. You can feed the tool notes and keywords to get the sound you are after.
Right now, AI is not impressive based on the content it creates. The songs sound generic. But the funny thing is, it learns. It will get better as time goes by. Are you scared yet?
AI may be a threat to some musicians. But it can also be a blessing.
Have you ever dealt with writer’s block? Go to an AI program, enter your settings, and see what you find. You won’t want to use the actual song. But you can use it to inspire you to write your music.
There are several AI music-generating platforms available. Here are a few you can choose from.
Most of these services are free but also offer premium subscriptions.
The music that AI creates is not high quality. No one is likely to listen to a record of this stuff, much less buy a ticket to see it in concert.
But it may have an impact on some people in the music industry. Here are some of the professionals it may negatively affect.
Non-relational music is for background purposes. Examples include music that’s used as a background for YouTube videos, music, and corporate videos.
Once upon a time, people who produced these videos and films had to search music libraries to find the perfect song and pay artists for their services. Now, they can simply go to an AI site, enter the correct data, and get a song in seconds.
AI music may also be used in elevators, grocery stores, and even dance clubs. Musicians who once used platforms like Artlist to make money off background music may see reduced profitability thanks to AI.
Machine-generated music also poses a threat to studio musicians. Session musicians are hired to play on recordings. Their high skill level allows them to play music perfectly in just a few takes.
Now artists can program machines to create music that replicates these tracks. While the music tends to sound machine-like, it can work in some genres, like hip-hop and disco. And the quality of AI-generated music will likely get better in time.
AI can be used to mix and master music. It may not eliminate the need for engineering. Rather, it will work as a second set of ears for artists. In doing so, it may replace professional services.
Artificial intelligence may replace music teachers. It can come up with customized lessons that educate students. Some tools can even create jam sessions and interactive courses.
Most musicians see AI as a threat. But it can also help musicians and other industry members in the following ways.
We previously discussed musicians using AI platforms for inspiration. But you can get even more specific in your songwriting needs.
As technology develops, you may be able to feed AI platforms your music. Doing so will help the platform get familiar with your sound and genre.
Once the system has your information, it will generate songs that sound like yours. It’s up to you to decide which aspects of the music you want to use and which you should discard. But overall, it may help you get more ideas for your music and generate better songs.
AI won’t be great for people who write music for background purposes. But it will benefit artists interested in breaking boundaries and defining new genres.
AI can separate music into various components, also called stems. Every track of music is a stem.
Musicians and people who buy music can use this technology to use individual pieces of music for their purposes. For example, they can separate a vocal from a song and use it as an acapella piece for a movie or commercial. Rappers often use this technology to include samples in their songs.
Some people don’t like sampling music, but it increases money-making opportunities. It also makes it easier for musicians to collaborate.
Songwriters can use AI to pitch music to other artists, music supervisors, and more.
A songwriter may not have the means to get their song fully recorded by skilled musicians. They can use AI to show interested parties how their song would sound if it were recorded by great musicians and vocalists. The recording can be used to generate interest and income.
Skilled vocalists can create voice samples that musicians can purchase through AI platforms. They will earn a percentage off each purchase. It can help musicians earn additional income.
AI can scan massive music libraries to detect copyright infringement. YouTube often uses it to ensure account holders can’t profit off other people’s music. It ensures artists get paid for their work.
AI creates analytic reports of artist’s music. It provides them with information such as who is listening to their music, what countries are listening, and other demographics and trends. Artists can use this information to create effective marketing strategies and even to change their musical direction.
AI can be integrated into live performances to make them sound and look better. Artists can use AI tools to play backing tracks and add instrumentation that could not otherwise be duplicated. Many musicians frown on backing tracks, but they can save money that may have been spent on hiring additional musicians and taking them on tour.
Musicians can also use AI to create visuals that make their performance captivating.
Vinyl is awesome, but old records and other forms of music media can wear down over time. AI can use algorithms to recreate old music and upgrade its sound. It can also remove noise on existing tracks. And because the music does not have a physical format, it will be preserved in the system.
The Great 78 Project specializes in restoring and preserving 78 formats. It partners with the Internet Archive to digitize vintage vinyl.
AI collects marketing analytics so you can determine what’s working and what isn’t. It helps musicians improve their marketing strategies.
Musicians have an opportunity to learn from AI platforms. Educational tools can create tailored lessons that help artists increase their music knowledge. Jam sessions and interactive courses are available.
AI helps listeners create curated playlists. It considers the fan’s listening history. It develops suggested songs it thinks the listener may like.
It also pulls up playlists the listener may enjoy based on their musical tastes. It can increase exposure for artists.
People make money from music they own the rights to. They copyright their music so it can be sold. They collect profits in the form of direct sales and royalties.
There are currently no copyright laws protecting AI music. Some countries are considering creating AI copyright laws, but currently, none exist.
So, can you make money off AI music? There are ways to do so, but you must get creative. Here are a few ideas.
Monetizing Through YouTube: You can use AI music as a backing track for a YouTube video. Add AI-generated and non-AI-generated images. Create AI playlists. If your video gets enough views, you can earn income from your channel.
Sell AI Music Through Stock Websites: You can post AI music on digital platforms like Bandcamp, Amazon Music, and iTunes. If someone purchases your music, you will earn a percentage. You can also post AI music on a site like AudioJungle. You can post music clips, songs, and sound effects. People have the option of buying your music. The offers you get will vary depending on the demand, genre, and quality.
Sell AI Music to People and Companies: If you become an expert in AI music creation, you may be able to sell your music to others. You can sell it to businesses that want to use it as background for their videos and commercials. Podcasters may be interested in using your music in their intros. You may also license your music which is similar to copyrighting it. If your music is licensed, you will make money every time it’s used.
The growing AI-generated music movement is raising questions concerning copyright infringements.
Recently, a new song many thought was created by Drake and the Weeknd hit streaming platforms. It spread like wildfire among fans.
However, it was soon discovered that the song was created by TikTok user Ghostwriter 997 with AI. So can the creator be sued for copyright infringement?
The video that featured the music was eventually removed from Spotify, TikTok, and other online platforms due to complaints by the artists’ record label, Universal Music Group. However, the AI creator was not fined or penalized.
The incident poses questions regarding how similar matters will be handled in the future.
Did Ghostwriter infringe on the artists’ copyrights? And, is the music eligible for its copyright?
Currently, the answer to both these questions is no. However, laws may be developed to determine how similar situations will be handled in the future. Legal parties are weighing in.
Here are some questions and answers that offer insight into the matter.
Under current law, you cannot copyright AI music. Only music created by a human can be copyrighted. However, one can argue that a human is involved in AI music creation. Laws could change with that consideration in mind.
Copyright law prohibits people from creating derivative work of an artist’s music. So if someone creates music that sounds like the artist, would that be considered derivative?
The answer is no because it’s not illegal to copy another artist’s musical style. However, it could be derivative if elements of another song appear in an AI piece.
The case details were not made public, so it’s unclear what arguments were presented to get the song taken down. It’s likely the lawyers’ requests fell under the Digital Millennium Copyright Act (DMCA) which protects online content.
They may have argued that the song violated the DMCA because it used the producer tag Metro Boomin. He worked with those artists in the past.
They can also argue that the AI artist produced the song by feeding it Drake and Weeknd songs. Copying the songs to feed them to the system could be considered an act of infringement.
But the strongest argument they could make was one that has nothing to do with copyright laws. It claims musical impersonation which violates the right of publicity under state law.
AI artists can use several defenses to protect themselves from legal consequences if it comes down to it. They could say that they were protected by fair use which weighs against copyright infringement. They could also claim their First Amendment rights.
In a more general sense, they can simply state that they weren’t copying Drake or the Weeknd’s work.
Legal experts say it’s unlikely that changes will be made to copyright laws due to the growing AI movement thanks to complications with international treaties. But if a change does come, factors must be considered, such as whether AI can be an author, whether copying for AI purposes is fair use, and whether creating work in the style of an existing artist would be considered derivative.
AI music brings its share of benefits and disadvantages to the music industry. Musical performance artists are likely to benefit from it. It will help them enhance their songwriting skills and live shows, and it will never replace the emotional ties between fans and artists.
On the downside, it can reduce opportunities for non-relational musicians, such as people who create songs for movies, commercials, and similar uses. How will it affect you moving forward?
]]>If you are old like me, you may recall what press kits once were. They were simply copies of the press your band received. They would include copies of articles written about your band in magazines.
Now the term press kit has taken on a new meaning. It offers a comprehensive view of your band. It may include:
It should show the elements of your website on one web page.
Your EPK can be a free-standing webpage, or it can be included on your website. Platforms like Wix and Squarespace give users the option to include an EPK in their websites. They are ideal for people who do not have significant web design skills. They will walk you through the process.
If you want your EPK to look impressive, and you don’t have web design skills, you may ask a graphic designer to design your EPK along with your website, or as a separate entity.
Your EPK should provide a snapshot view of your band. Determine the elements that represent your band best. Don’t overdo it.
Let’s go into more detail about what should be included.
Your EPK should be updated regularly as should everything your EPK links to.
An EPK can be used whenever you submit your band for any reason. You can send it to promoters, radio stations, booking agencies, managers, and record labels. You can also include it in festival applications.
If the relationship is casual, a link to your music and social media may suffice. But if you are trying to impress a potential manager, record label, etc., an EPK is recommended.
Your EPK is not only used to promote you. It is also used to share assets like tech info, logos, pictures, and more. They may be included in your EPK as well.
Like every piece of media you use to market your band, your EPK must represent you. Here are some elements to consider.
Logo: Your logo should be featured on the top of your EPK and on every piece of marketing you hand out.
Colors: Your band may have colors that you like to use on your marketing materials. Incorporate them into your EPK background with the images and fonts you use.
Fonts: Use fonts that represent your band image. Make sure they are readable.
Make it Scannable: Your EPK should be easy to read. People want to get an idea of what your band is like in a minimal amount of time. If your EPK has blocks of long text, consider shortening it or making it collapsible. You should also surround your images and text blocks with plenty of blank space to avoid a jumbled and confusing aesthetic.
It Makes It Easy to Market Yourself: An EPK is an easy way to market yourself. Just send someone a link and they have everything they need to know about your band.
It Makes You Look Professional: An EPK shows that you are taking your band to the next level. It is a professional way to represent yourself.
It Gives You Insight About Your Band: Once you start creating your EPK, you’ll get a better understanding of what your band is about and the best way to represent it. It will help you develop your brand identity and your future marketing materials.
Better Press Opportunities: An EPK makes it easy for the press to write up your band. Without an EPK, they may google your band and find scattered bits of information all over the internet. An EPK will give them everything they need in one place. They will be more likely to write you up and produce a concise and factual article.
EPKs are given to different professionals who require them for various reasons. For example, a potential manager or record label will want general information about your band. A promoter may need your logo and tech requirements. A press member will want photos to use in their pieces.
You will meet their needs by producing different press kits for different professionals. Add tech specs for promoters and venues, pictures for the press, and so on. In doing so, you will give everyone what they need and save them from browsing through content to find things.
Bandzoogle is an ideal platform for building EPKs. It provides a visual design editor that allows you to add and rearrange text and media to create a stylish press kit. It comes with a music player, image gallery, contact form, text bio, press quotes, embedded video, gig calendar, social media links, and file download links. It offers a 30-day free trial.
Haulix doesn’t provide EPK services. Rather it creates a web page with song tracks, photos, videos, and PDF attachments. You can import your contacts and send them invitations so they can view your page and be alerted of updates. You can also track your engagement to determine what’s working and what isn’t. So, it’s a glamorized EPK with hosting.
Sonicbids provides tools that you can use to connect your social media profiles, create a calendar, and add press mentions, and music. It offers free and paid services.
ReverbNation is a music-sharing platform that has added EPK-building features. It allows you to create a page that includes high-quality photos, unlimited songs, stats of your fan demographics, embedded video links, song play and download options, private songs that are not publicly released, press quotes, and a list of upcoming and past events.
Wix:
Wix is a popular website-building platform with both free and paid options. When you create your website, it will take you through the options of pages to include. One of those will be your EPK. You can customize it to your taste and add things like a bio, contact info, photos, music, videos, press, social media, tour dates, and your tech rider.
Fiverr does not provide tools for you to make your own EPK. But you can browse for freelancers that will make you an inexpensive one.
Adobe provides several editable press kit templates as well as blank template options. It also includes stock photos you can use in your EPK.
Mill Media provides design tools and hosting for your EPK website. It will allow you to embed videos, display testimonials, add links to your music, attract inbound, social media traffic, include photo galleries, build a contact list, advertise concerts, and include ticket-buying links.
EPK Builder: EPK Builder offers both free and paid packages. Their free package includes hosting, MP3s, a hero image, mobile integration, social media integration and stats, an advanced image editor, and a contact form. The Pro package offers all the basic features as well as a YouTube or Vimeo video, five additional fonts, and the ability to change fonts and colors.
You can take your EPK in any direction design-wise. And once you add elements like pictures and logos, it will shape up to show a good representation of your brand. But here are some suggestions that will get you headed in the right direction and ensure your kit represents your genre.
Electropop: As a sultry genre, electropop artists may choose soothing colors for their EPK, like soft purples and greens. Electropop tends to focus on the pop artist, so add pictures with each element, as well as a gallery. Use soft, flowing fonts to complete the look.
Indie Folk: Indie folk artists should incorporate natural elements into their EPKs to represent the earthy feel of their music. They may use a background such as a sunset or a river. The elements should stand out with an equally soft aesthetic.
Garage Rock: Garage bands should home in on the retro vibe. They may tone things down with sultry, fuzzy pictures and elements. Or they may incorporate bright psychedelics into their EPK. It depends on the band’s style and tone.
Metal: Metal bands often add evil, dark images to their marketing materials. A black background is a good start. A live photo will also make a terrific background.
Rap: Rap stars tend to be high-energy and show off a lot of bling. Bring that into your press kit with a great live shot. Add elements that make it pop.
Classical/Professional Musician: If you are representing yourself as a classical or professional musician, keep your press kit looking clean and upscale. Add a few choice pictures. You may not have original music to showcase, but you can include tracks you have played on and videos of shows you have performed at.
Blues: Blues bands have a mellow vibe. A blues EPK will have a soothing background, ideally blue, and a picture of the band playing live. Tracks and videos should be added as well.
How Much Does It Cost to Make an EPK?
Many EPK services are free. However, if you want to get yours done professionally, you will generally spend between $195 and $795.
Should an EPK Be in the First or Third Person?
To maintain the utmost professionality, your press kit should be written in the 3rd person, i.e., it should say he/she/they rather than I or we.
Do I Need an EPK?
If your band is just starting, you won’t get asked for an EPK often. In many cases, you can get away with social media pages, music links, and/or a website. However, you will find the occasional submission form that asks for an EPK, and it’s always good to be prepared.
Once you grow your following, you will be asked for an EPK more often. Press, venues, and promoters will want them so they can access your tech specs, media, and more.
But no matter what level your band is at, it’s always advisable to have an EPK. It will make you look more professional. And you will be prepared when you hit the next level of stardom.
What is the Difference Between an EPK and a Press Kit?
EPKs are available in digital format whereas press kits are not. Back in the day, the term ‘press kit’ was used to refer to pieces of media only. Now it includes a bio, links, and the other elements previously mentioned.
Can an EPK Replace a Website?
Yes, an EPK can replace a website. Some artists prefer it. It’s less expensive to create and it provides people with an overall view of the band in one convenient place.
An EPK is an excellent representation of your band. The guidelines in this article provide you with all you need to get started. Good luck creating marketing material that makes your band stand out from the rest.
]]>This article will discuss musical limitations that exist throughout the world.
The Iranian Revolution of 1979 brought a complete ban on music on TV and radio. The Revolution implemented a theocratic government led by officials who are regarded as divine. Iran is solely led by religion.
In addition to music, The Revolution also banned female dancing and singing. Officials stated that music made the mind idle and senseless.
There is an underground music scene in the country. Iranian musician Mehdi Rajabian is a primary advocate. The 33-year-old runs a production company called Bargmusic. He has been arrested three times for producing music in Iran, most recently in 2020. He went on a hunger strike, so the guards were forced to release him.
Rajabian makes music about peace, freedom, and human rights using traditional instruments. He knows he can be arrested at any time, but he won’t stay silent.
Music is legal in China, but many laws regulate what people can listen to. The country is known to ban songs that support Tibetan independence or that are anti-China. Examples include Guns N’ Roses’ Chinese Democracy, Legacy by the Pet Shop Boys, and various Chinese artists that have taken a stance against the government. Other well-known artists that have been banned include Lady Gaga, Maroon 5, Oasis, Kraftwerk, and Bjork.
In 2021, the country introduced new legislation to ban songs containing illegal content in karaoke bars. The songs included in this category are those that:
Music is legal in Russia. However, the country has several laws in place regarding human rights that have allowed officials to shut down concerts and arrest performers that are violating these rules.
For example, the 2010 Protection of Children from Information Harmful to Their Health and Development law bans the dissemination of information and images about suicide, drug use, and other controversial subject matter among children.
The 2013, Law #135, aka the “gay propaganda ban”, prohibits promoting “the denial of traditional family values” and “non-traditional sexual relations” to children.
Russia’s administrative code prohibits the dissemination of information containing obscenities as well as those that encourage the consumption of alcohol or illicit substances by children.
The country has taken advantage of these laws and used them as excuses to cancel concerts in acts of censorship that violate freedom of expression. 36 concerts were canceled between October and December of 2018 due to official intervention. Most targeted artists represented hip-hop, rap, punk, and electronic genres.
Officials reportedly contact venues in advance and tell them they will be closed if the concert isn’t canceled. In addition to citing law violations, they also use pretexts like bomb scares and sanitation violations.
The government has been questioned about concert cancellations and has agreed that they are not the answer. Rather than shutting down the venues, they feel artists should be ‘guided in the right direction’. However, musicians continue to be targeted and things have gotten worse since the Ukraine war.
Putin is on the watch for any musicians who speak out against Russia’s efforts in the war. His stance is making it difficult for artists to enjoy freedom of expression. Many have taken to performing outside the country to keep their careers going.
Saudi Arabia is known for its conservative musical past. But officials are trying to make the country more accepting of modern music to boost its economy.
Music in Saudi Arabia had been banned and policed for four decades. The mautawa, or vice police, would patrol the streets and arrest people for not being in the mosque for prayers, for dressing improperly, and for being in mixed groups of men and women. They would also shut down private concerts, raid music lessons, and confiscate musical instruments and equipment.
Before then, Saudi had a rich cultural scene. But in 1979 local extremists seized the Grand Mosque of Mecca taking hostages and accusing the House of Saudi of straying from its Islamic roots by inviting Western Culture. After a deadly two-week siege, the Royal family decided to shift to the right figuring that its ultraconservative views could battle Iran’s religious interpretations.
Culture, arts, music, and cinema were among the first of the country’s sacrifices.
But more recently, Crown Prince Mohammed bin Salman launched creative efforts to transform the county and its economy. Part of his plan is to create an entertainment industry, introduce art and music in schools, and nurture homegrown talent. While there are many critics in the country, the consensus states that change is inevitable.
You may think that Korea is a haven for music. After all, it is the birthplace of K-pop. But consider the marked difference between North and South Korea.
North Korea has been almost completely closed off to the world, including its neighbors in South Korea, for decades. Foreign materials, like movies and books, are banned with only a few exceptions. Those found with contraband materials can face severe punishment.
While restrictions have been softening over the years, they were reinforced more recently. Officials feel that “struggle in the field of ideology and culture is a war without gunfire”. They allow singing and dancing, but only if it fits “the needs of the times and the national sentiment of our people and flourish our style and culture”.
North Korea was once a thriving economy, but thanks to its isolation, its people live in poverty. Meanwhile, South Korea is one of the most successful economies in the world. Counterintuitively, this dichotomy makes North Korea even more reluctant to conform to its neighbor lest they should ‘admit defeat’.
In December 2020, the country passed a new law to prevent the spread of content not approved by government sensors. In January 2021, a North Korean propaganda website accused a K-pop record label of “slave-like exploitation”.
It’s unclear why North Korean leader Kim Jong Un has renewed his aggressive stance against modern music and culture. It may be due to economic hardships and border closures. It’s impossible to say when the tides will shift again.
South Korea is known to be much more open to music than its neighbors to the north. But the country imposes various regulations restricting the importation of cultural works from other countries. Their stance is likely due to the tense relations between Japan and South Korea following the end of Japanese rule in 1945.
The ban ended in 2000 and gradually eased over time. However, the three largest South Korean television networks, KBS, MBC, and SBS, have all banned music videos from their stations at some point due to offensive content. Additionally, the Supreme Court of South Korea made a 2010 ruling making it illegal for citizens to possess music that praises North Korea.
Afghanistan always had restrictions on who was permitted to play music in the country, where music could be played, and musical content. But music was banned completely during the reign of the Taliban from 1996 to 2001.
During that time, Western technology and art were prohibited. Instruments were destroyed, celebrations were banned, and the only thing played on the radio were chants glorifying the Taliban. The only instrument exempt from the ban was a Middle Eastern frame drum also known as the Daireh or Daf.
The Taliban lost their reign in 2001 and the Afghani people enjoyed music once more. However, they came back into power in 2021. People are once again subject to harsh censorship rules and laws that restrict human rights.
Most people don’t see Australia as a country that limits human rights. But the Australian Recording Industry Association (AMRA) has a tight rein on what people can and can’t listen to.
The organization uses a three-tier rating system to rate music with controversial content. It considers factors like drug use, violence, coarse language, and sexual themes. Level 1 refers to songs with ‘moderate impact”, Level 2 is for “strong impact” and Level 3 is for “high impact”.
The AMRA does not allow people under 18 to purchase albums that are rated at level 3. They ban the distribution of material that exceeds Level 3. They do not allow imported music that is described as offensive.
Officials have acted against people that violate their laws. In 2003, copies of an album by the hardcore band Intense Hammer Rage were seized at customs and each band member was fined $500 AUD for violating customs laws. The album was considered offensive due to its explicit lyrics and artwork.
The United States is often considered the ultimate democracy. But there have been several attempts to restrict the music that’s distributed throughout the country. Most notable were the efforts of the Parents Music Resource Center (PMRC) which was founded by Tipper Gore in 1985.
The PMRC proposed to adopt a rating system to rate albums with questionable content. The organization also pushed for lyrics to be printed on albums’ back covers so they could be reviewed by parents before they were handed off to their children. Several musicians fought the PMRC in court and their proposals were ultimately opposed by the Recording Industry Association.
However, the PMRC saw one small victory. The RIAA began including a standard Parental Advisory label on albums they felt deserving. Some argue that the label could make the album more appealing to kids. But some retailers, like Walmart, refuse to stock albums that contain such a label.
Beyond that, censorship in America is typically on a case-by-case basis. For example, MTV has refused to play certain videos because of their content. Or they may play questionable videos during off-peak hours only.
Canada Is known for its diverse musical styles. But all content broadcast on Canadian radio and television is regulated by the Canadian Broadcast Standards Council (CBSC). While not overly protective, it can prohibit music that features undue coarse language and sexually explicit content.
One of the more notable censorship issues involved Marc Knopfler’s use of the word “faggot” in the song “Money for Nothing”. Knopfler had substituted the word in live performances acknowledging its bad taste. However, the CBSC was ultimately overruled as it was found that the term was used in a satirical manner.
Malaysia is a Muslim-majority country and prohibits radio stations from playing songs that are “offensive to public feeling” or “violate good taste and decency”. Lady Gaga’s “Born This Way” was pulled from radio stations because it referenced homosexual acts which are illegal in the country. Despacito, a group featuring Puerto Rican singer Luis Fonsi and Puerto Rican singer and rapper Daddy Yankee, is also banned due to “un-Islamic lyrics”.
Concerts in the county are also subject to censorship standards. Avril Lavigne was instructed not to wear revealing clothing, jump, or “include negative elements” during her 2008 concert in Kuala Lumpur. Adam Lambert was forced to make changes to his 2010 concert to ensure he did not promote gay culture.
The British Broadcasting Channel (BBC) has been known to censor and restrict the songs played on UK radio and television. It previously targeted Jack Lawrence and Richard Myers’ “Hold My Hand” for its religious references and “I’ll Be Home for Christmas” due to concerns that it might negatively impact soldier morale.
It also briefly banned the Kinks’ song “Lola” for surprising reasons. Rather than restricting it from airplay because of homosexual content, the concern regarded the mention of the Coca-Cola company which violated the organization’s anti-product placement rules. Singer Ray Davies rerecorded the song to say “cherry cola” instead, and the song was accepted on the airwaves.
Other songs targeted by the BBC included the Sex Pistols’ “God Save the Queen” for its criticism of the British monarchy, Frankie Goes to Hollywood’s “Relax” for its obscene lyrics, and many ditties that spoke out against Margaret Thatcher. It even banned the Wizard of Oz classic “Ding-Dong the Witch is Dead” which was played so often after Thatcher died that it reached number 2 on the UK Singles Chart.
The South Africa Broadcasting Corporation (SABC) developed a record library where all record companies were forced to submit their lyrics for review before they were approved for public consumption. Banned songs included Pink Floyd’s “We Don’t Need No Education” because it was seen as a negative influence on public opinion. “Cry Freedom” by George Fenton and Jonas Gwanwa was also put on the blacklist due to its association with Nelson Mandela.
In a strange turn of events, a group of Western artists joined to form Artists United Against Apartheid in 1985. They created a hit called “(I Ain’t Gonna Play) Sun City” encouraging artists not to play the popular South African resort that paid musicians handsomely until apartheid was lifted in the country. So instead of South Africa banning artists, artists banned South Africa.
In Vietnam, music was divided into two primary genres: yellow or bolero music, a genre of Latin dance music that is usually love songs, and red music, patriotic music endorsed by North Vietnam’s Communist government. After the Fall of Saigon, yellow music became illegal because its ideals were “not good or healthy”. People found possessing yellow music albums would be arrested and the music would be destroyed. Many artists fled to the United States to sing in exile.
Although yellow music is still technically illegal in the country, the ban has been lifted and there is now a thriving music scene in Vietnam.
75% of the content that appears on radio and television in Zimbabwe is controlled by the government. In 2010, a band called Freshlyground created a video mocking the country’s President Robert Mugabe. The group was banned from Zimbabwe for the next eight years.
There was a change in presidency in 2018 and the group has since been permitted to play in the country.
Music censorship may seem like an outdated concept. But unfortunately, it is still very much alive in many countries. Hopefully, restrictions will be eliminated in the coming years.
]]>Finding bandmates is challenging. You must find someone who fits well in your band musically and aesthetically. The person must be responsible and easy to get along with.
Anyone who has been in a band is familiar with how difficult it is to keep a band together and how hard it is to find the right members. But after a few times (and yes, it will happen more often than you would like), you will find effective methods for finding and maintaining members.
This article will discuss how to find musicians for your band so you can keep pushing forward.
How to Find Musicians
There are various ways to find musicians for your band. Here are a few tried and true strategies.
Create a Flier
The first step is to create a flier letting people know you are looking for band members. You can post the flier on social media, in music stores, coffee houses, and other prime locations. Here are a few things to include on your flier:
Your Band Name: If you are in a somewhat established band, your band name could be a selling point to attract musicians. If you are just starting, think of what you have to offer.
For example, an experienced musician may have connections that make you more attractive. And even if you are a beginner, you should never feel like you don’t have much to offer. You are taking the initiative to gather people and do something new and creative.
The Type of Instrumentalist You're Looking For: You’ll need to state the type of instrumentalist you require. Is it a bass player? A keyboard player? A guitar player? Are you looking for a multi-instrumentalist? Or someone who does backups? This information must be on your flier.
Experience Level: It’s essential to find a musician with an experience level on par with your own. If your music is complex, you will need to find advanced players. If your material is simple, you can widen the playing field.
Age: Today, musicians of all ages are on the scene. Some musicians may not be bothered by playing with people that are a lot older or younger than they are. But others will want to play with people close in age to maintain an image and ensure they are working with people they are on a level with.
Age can be critical if you think your band may attract younger musicians. Remember, musicians that are under 21 can’t play in certain clubs.
Location: It’s essential to include your neighborhood and where you rehearse on your flier. This information will help musicians decide if they can commute to your area to jam.
Availability: Let musicians know how often you rehearse and play and whether you plan to tour.
Other Factors: There may be other factors that you want to specify on your flier. For example, my son’s metal band prefers players that play ‘extended range’ instruments like five-string basses and seven-string guitars.
You can specify that you are looking for players with black hair who like to spit blood on stage. But remember, the more specific you are, the more you disqualify possible candidates.
You can also mention things like ‘must have your equipment/transportation’ and ‘must be drug-free.’ But these things often go without saying. And they can always be worked with if you find the right person (except for the drugs).
With limited space on the flier, you want to eliminate the obvious. Just include what people need to know.
Contact: Don’t forget to add contact information so people know how to reach you. Don’t assume that writing your name will make people think they can look you up on Instagram or another social media platform.
Ask Around
Creating a flier is a necessary part of the musician scouting process. But I’ve had more success asking around.
Ask musician friends if they know people that will fit well with your band. You are more likely to get a personalized response. And if musicians find out about an opening through a friend, they may be more excited about jamming with you.
It’s advisable to ask fellow musicians about potential candidates. Those that have recently been through a band member search may refer people that weren’t right for them but would fit better with your band.
You can also ask at music schools. There may also be music headhunters that provide their services for a fee.
Online
Several online platforms will connect you with musicians. These include BandMix, MusicianFinder, and BandFinder. Some offer premium services. Others will allow you to search for free.
Additionally, there are many musician finder pages on Facebook. Search the right keywords to find pages and groups that connect you with local musicians.
Open Mic/Jam Nights
Attend open mic and jam nights to connect with musicians looking to form a band.
Research Before You Move Forward
So, you’ve posted your ad and are starting to get some responses. Before inviting them for an audition, do some research in advance. Fortunately, social media will help you do your homework.
You can use social media to check out videos of the person playing their instrument. The footage will give you some indication of their stage presence and skill level.
It will also give you an idea of their personality. You can tell if the person is a drama queen or king. You can find out if they have outspoken political viewpoints that may cause conflict in the band. You may even be able to determine if the person has issues with drugs and alcohol.
Social media can help you make up your mind in deciding if you want to move forward.
Conducting the Auditions
More popular bands may be overwhelmed with people wanting to audition. If that’s the case, you can set up a day or a few days and run through your auditions to determine who’s the best candidate for your band.
If you are a lesser-known band, you may get just one or two people to audition per session.
Either way, select a few songs you want the candidate to learn. You can choose your complex songs, easy songs, or the ones you play most often. Don’t overwhelm them. The idea is to determine their competency and whether they fit well in your band.
If you want to test their skills, you can ask them to do something unexpected during the audition. For example, you can ask them to improvise a solo on the spot.
You should also leave some time to interview the candidate during the audition. The Q&A will give you an idea of their availability, attitude, and experience.
What to Look For
There are several points to consider when auditioning members. These include:
Timeliness: Timeliness may not be crucial for every musician, but it is for me. A person who arrives at an audition late will cause future issues. Expect a lifetime of them not showing up on time for rehearsals, gigs, recordings, or more.
If a musician is just a few minutes late, or if they phone to say they are stuck in traffic or got lost on the freeway, that’s understandable. But if they breeze in a half hour after the audition was supposed to start, you may want to consider other options.
Preparation: Preparation is another important factor. The musician must be able to play the necessary songs. Additionally, they should show up with their instrument and whatever they need to play it (i.e., picks, cords, amps, etc.)
Communication: Communication skills will be apparent in the days leading up to the audition. You must communicate with the candidate to set up the audition, find out which songs you’ll be playing, and answer any questions.
It’s critical that the candidate gets back to you promptly and gives you the information you require. Otherwise, you can look at a future of not getting the answers you need when you need them.
Looks: Looks are essential to some musicians. If appearance is critical to you, you must consider factors like how the person dresses, their image, and maybe even their height, weight, and hairstyle.
Personality: You will need to work closely with your bandmate. You must be able to tolerate the people in your band. They don’t have to be your best friend. But if they annoy you, you may engage in band feuds. On the bright side, yours might be the next to hit the gossip mags.
Stage Presence: A person’s looks and personality will contribute to their stage presence. During a rehearsal, you can’t expect to get the full impact of a person’s stage presence, but you can determine factors such as how comfortable they look on their instrument and how well they move.
Availability: You likely wrote something about availability on your flier. But it’s advisable to grill the person face-to-face. Ask the candidate if they are available for gigs and rehearsals. Find out about their schedules to ensure smooth sailing moving forward.
Skill: The candidate must be able to play your songs. Beyond that, skill levels can vary. For example, you may not choose the most skilled person you audition. But you may pick them because you like their look and personality. Additionally, some people may need more help than others learning your songs. You may invest some time to get them up to speed. But if you think they will work out, it will be worthwhile.
Transportation: The right player should have a means of transportation. They must be able to get to and from shows and rehearsals. Giving them lifts will get old fast.
Gear: Gear is another must. The person you choose should have their instrument, amps, and whatever else they need to play live. You can offer to lend gear to the right person if you have it available, but this is another issue that will get more annoying to deal with as time goes on.
Other Bonuses: A musician may be ‘the one’ thanks to the skills they can bring to the table. For example, they may have knowledge or connections in the music industry that can take your band to the next level. They may have a lot of friends that will come to your show. These are just some bonuses to consider.
Red Flags to Look Out For
Several red flags will tell you a band member is not suited for your band. These include:
Unfortunately, some of these problems may not surface until you welcome the members into your band and start playing with them for a while. However, you can do your best to feel them out early by interviewing them and checking their social media.
Introducing a New Band Member
Inducting a new band member can be a selling point for your band. Your audience will want to know all about them. There’s a good chance you will get people out for those first few gigs, for curiosity’s sake. And if they like the new lineup, they will keep coming back.
It’s advisable to start by introducing the new member on social media. You can post a picture or footage of them playing with a brief bio so people can learn a bit about them.
Get a band promo picture taken with your new member. This media is a great way to build excitement about the band and upcoming shows. Advertise what they will bring to the group to capture people’s interest.
How to Deal with Being Down a Band Member
Being down a band member can be challenging. Without certain band members, you can’t play live shows. And without gigs, you lose your visibility.
Additionally, your existing band members could wander off to find other active bands and leave you in the dust.
Fortunately, some strategies will help you keep your head above water while looking for bandmates. These include:
Final Thoughts
Finding band members is not easy, but with the right strategies, you’ll be up and active before you know it. Use social media, fliers, and personal and professional connections to get headed in the right direction. Ensure you’ve found the right people by considering factors that show they will be in it for the long haul.
What do you do to attract musicians into your band?
]]>
If you are a musician with original music, you may consider releasing it on vinyl. There are many pros and cons to mull over before moving forward. This article will tell you what you need to know.
How Much Will It Cost to Release My Music on Vinyl?
One of the biggest downsides of vinyl is the cost. It can set you back anywhere from $2000 to $4000 to get 100-300 copies of your album. Price will vary depending on your artwork, your jackets, and whether you order colored vinyl.
The fact that vinyl is so expensive will make it difficult for you to make a profit. However, people may be willing to pay more since it’s a novelty item. They will also understand that vinyl is pricy hence the high price tag.
If you are wondering if you will see a return on your vinyl investment, consider creating an online survey. Doing so will give you an idea of how many fans will buy your product. It will also generate excitement around the release.
Should I Get Coloured Vinyl?
One thing you must consider is whether you want to spring for coloured vinyl. Coloured vinyl is more expensive than black vinyl, but it generates more excitement and more demand for your product. It will help you create a stunning album.
How Many Vinyl Records Should I Make?
You may be tempted to order just a few vinyl records to try them out and see how they sell. But don’t forget that the more copies you order, the cheaper it will be per unit.
If you order 100 vinyl records, you will have to charge fans around $25 a piece just to break even. Buy more and you can charge less.
You will generally start seeing price breaks around the 200-300 mark. This should be your sweet spot.
What You Need to Know About Test Pressings
If you decide to move forward with your vinyl order, expect to receive a test pressing of your album about a month after you send in your audio and down payment. The pressing plant will send you 5-10 copies of your albums. They will have a block vinyl and a generic sleeve, and they will not be properly labeled.
The object of the test pressing is not to test it for how it looks or how it’s formatted. You are just going to see if it sounds alright.
If you hear something strange on the test pressing, listen to another copy at the same spot. If both copies have the same issues, contact your sales rep. it’s likely to be a problem that needs to be corrected.
Here are some other things to look out for.
Don’t be afraid to contact your sales rep with any questions or concerns you may have. You are paying a lot of money for your album. It must be in perfect condition.
Your vinyl must stand out. There’s a lot of competition in the industry. A great-looking package will make fans reach for your album before the others.
When you are ordering your vinyl, you will find several features on the website that you can pick and choose from to make your album look great. It can get overwhelming. So, which should you be opting for? Here are a few suggestions.
Get Creative with Your Center Labels: The center labels are the labels in the middle of the album. They are usually circular and around 4-5 inches in circumference. You can have fun with it by choosing a rectangular label or playing around with its size.
Keep in mind that the labels also support the record’s puck so a different shape could cause you to encounter some issues which will add cost. But it might be well worth it.
You can also put all the information on one side of the label (such as the songs, artists, etc.) and put artwork on the other side.
Another idea is to make the center label match the sleeve or jacket of the album. Many artists try to get the album to match the jacket, but that’s almost impossible to do. You will have more luck matching the jacket to the label and going with a completely different color vinyl.
Reverse Board Jackets: Reverse board involves printing the artwork on the material that is typically on the inside of the jacket- but in this case, it will be on the outside. Unlike most albums that have a glossy texture, a reverse board jacket will be softer and more muted. It’s a good choice if the technique matches your brand image.
Marketing Stickers: Marketing stickers can be placed on your jacket. They can include a variety of information. They can feature the artist’s bio, they can talk about the music, or they can feature the album’s artwork.
The stickers can also have a bar code or QR code. They will save you from putting the code directly on the design. The code can enable people to sample the record before listening to it.
Marketing stickers can also display a variety of the features mentioned above.
Include a Small Booklet: Artists may consider making a small booklet to insert in their album that contains album lyrics, information about the artist, artwork, and other materials. They can make the booklet themselves or have it printed by a print place. You can have the pressing plant include them in the package if the album is shrink-wrapped. If it’s not shrink-wrapped, you can insert them yourself.
Utilize Test Pressings: Make the most of your test pressings by using them to build excitement around the release. You can give your test pressings to record stores as promos, you can sell them to fans as advanced releases or can sell them after the album comes out. You can also give them out to people who have helped the band.
What You Need to Know About Your Vinyl Design
An attractive vinyl design can make all the difference in getting your album sold. Here are some important things to consider in the design process.
Go for a Design that Conveys the Meaning of the Music
Your cover art will play a huge role in your album’s appearance. Choose art that conveys the mood and meaning of the album. You may consider hiring an artist to design your cover art. If you go this route, hire someone who ‘gets’ the concept of the band.
You may also use band photography. If you choose this direction, hire a professional photographer that you can count on to take nice-looking photos. Use a picture that is eye-catching and captures what the band is all about.
You may even consider getting artwork on the front of the album and a band photo on the back. Many artists have used this combination in the past.
Make Sure the Design Looks Good Before Submitting It
Most pressing plants will have an online tool you can use to upload your artwork to provide a prototype of how you want the album cover to look. They can be challenging to use. Many come with a video tutorial that offers guidelines on the process.
Once your artwork is successfully uploaded, double-check to make sure everything appears as you want it to. Pay attention to details like lines and font sizes and colors. See to it that the proportions and file types are correct.
If there are errors, the pressing plant may catch them, but fixing them will delay the pressing process. It’s best to ensure there are no mistakes before you click submit.
What Information Should Be Included on the Album Cover?
The album cover should feature certain information. Not including it could negatively affect the album’s selling potential. And if you leave out vital information such as who played on the album, wrote the songs, produced the music, and created the artwork, you could be in big trouble.
The front of the album typically includes the names of the artist and the album. Some people skip putting this information on the album spine, but it’s a nice added touch.
The back cover should include the album’s track list and play times. It should also feature licensing and legal information. Catalog numbers are optional.
You may have artwork on the back of the album. Plan your layout to ensure the text and art flow smoothly.
The center label of your album is used to remove moisture during the pressing process. It is then pressed into the record at the same time the grooves are stamped.
The label can include information such as the album and artist name. It can feature artwork, or it can be left blank. What you include on the label is up to you. Just make sure the right side of the label appears on the corresponding album side.
What Paper Options are Best for My Album?
There are a variety of paper options you can choose from for your album cover. These include:
How Do You Ship Vinyl?
Vinyl is not only expensive to buy, but also to ship. It is extremely fragile so you will need to purchase materials to keep it safe while in transport. You must also consider the cost of shipping itself.
Here are the steps you should be following when you’re getting ready to ship vinyl:
How Long Will It Take to Get My Vinyl Records?
Vinyl plants are few and far between. The ones that exist are often backed up for months. Find out how long it will take for you to get your vinyl. That way you can be prepared if you need it for a tour, record release, submission, etc.
Most pressing plants will give you a delivery date of 2-3 months out. This timeframe includes the time it takes for them to make your test pressing and have you approve it. Consider that any delays in giving your approval after receiving the test pressing can hold things up even more.
Should You Press Vinyl?
Vinyl is becoming a more popular medium for music lovers. But is it right for you? There are several factors to consider when deciding to move forward.
What Other Mediums Can I Put My Music Out On?
There are several mediums other than vinyl that you can put your music on. Here are some suggestions.
Digital: Several digital platforms will carry your music. Platforms like TuneCore offer digital distribution. They will distribute your music to different platforms like Amazon, Spotify, iTunes, etc., for a reasonable fee. You will earn money every time someone listens to your tunes.
Streaming platforms are a wise choice because they are very accessible. They will get your music out to various people. However, they also tend not to pay artists very much per play.
CDs: CDS is a common format most bands use. They are relatively cheap to order so you are likely to make a profit. They are also easy to ship or take with you on tour.
Cassette: Cassettes are also seeing a revival. Like CDs, they are easily portable. Like vinyl, they have a fun, vintage appeal.
The amount you pay to get your music on cassette will vary depending on the artwork you order, how many copies you get, and other factors. On average, you’ll spend around $1.25 each. This price point gives you enough of a margin to make some money.
However, there is one major problem with both cassettes and CDs. Many people no longer have the equipment needed to listen to these mediums.
Putting your album out on vinyl is an expensive proposition. But if the demand is there, it could be a great way to market your material. Now that you know all you need to about releasing your music on vinyl, will you be taking this important step forward?
]]>
Here are some pros and cons involved in turning your band into a business.
Bands are lucky if they get $100 to play a night in total. Split that up and it’s $25 each (if you’re in a 4-person band). It’s barely anything.
But if you keep the money, you earn and put it into a bank account, you can start building it. After a while, you will have enough to afford merch, or you can use it to fund a tour.
If your band isn’t a business, the bank account will need to be opened in one person’s name which can cause confusion and bad blood. If you make your band a business, you can open a band bank account under the band’s name which can be put towards band expenses.
You never know what your band might need a business loan for. A new van, a recording, new gear…you name it. If you make your band a business, you can take out a loan under the band name.
However, most lenders won’t approve you for a loan unless you can prove you are earning income. And not many bands can do that!
Tax laws vary from state to state. But if your band is a business, you may be able to get deductions for band expenses. This means you will pay less in taxes. You may even see a return.
When you make your band a business, you will be forced to determine your band member’s status in your band. Are they partners? Are they independent contractors? And what happens if they leave the band?
Turning your band into a business will force you to answer these questions so there will be no confusion later.
Record labels will understand that there is a clear understanding of who owns the rights to the music you create. It minimizes the chance that there will be legal disputes if the band splits up. It also shows that you take your career seriously.
If you set up your business as an LLC, it will offer you protection from legal matters. For example, let’s say you hit a car with your band van.
If the van is covered under your legal assets, and your insurance is under your business name, your business will be responsible for damages. Plaintiffs will never be able to go after your assets.
When you register with a performing rights company like BMI, ASCAP, or SESAC, you are entitled to a 50% royalty every time your song gets used. The other 50% goes to the publisher.
If you are not affiliated with a publisher, you are leaving 50% on the table. If you incorporate as your own publishing company, you will get 100% of the royalties.
(Note, starting your own publishing company will require opening a second entity, but you can simplify the process by starting it as a sole proprietorship. You won’t have the protection of an LLC, but you also won’t be subjected to as much liability as the band will).
If the band breaks up, your business will need to be legally dissolved.
If you own a business, it will be more complicated for you to do your taxes… and it’s likely to be more expensive.
There are several business structures to choose from. Here are some to consider:
Bands are unlikely to have stockholders which makes corporation options unlikely. While sole proprietorships and partnerships may be considered, the protection an LLC offers makes it the best choice.
Setting your company up as an LLC is easy. Here are the steps you will need to take.
Congrats, your business is set up as an LLC! Now here are some other things you need to think about;
If you plan on paying your bandmates, you will need to decide whether they will be employees or independent contractors.
If you decide to treat your bandmates as employees, you will need to pay them a salary. You will also have to match the government's social security and Medicare benefits.
However, you will not have to report that money as income. So, if you made $10,000 as a band and paid your bandmates $8000, you will only need to pay taxes on $2000.
If your bandmates are employees, they must fill out a W4 which will be given to your accountant. The accountant will use the form to determine their net income and calculate payroll taxes. They will get a W2 at the end of the year that they can use to do their annual taxes.
If you decide to treat your bandmates as independent contractors, Uncle Sam will not be involved until later. You will pay them the full amount you owe them without deducting tax.
You also won’t be responsible for matching government benefits. They will be responsible for paying those taxes when tax time comes around. That’s why self-employed people pay so much in taxes.
Independent contractors fill out a W9 and are given 1099 at the end of the year.
It can be hard to keep track of money when you are in a band. For example, say you are playing a gig. You have a crew out there selling merch, maybe working the door. At the end of the night, you get a pile of money stuffed into your hands. It can be hard to figure out what goes to what…especially if you’ve had a few.
But if you’re band is a business, keeping track of money is imperative. If you overreport how much you brought in, you will pay too much in taxes. If you underreport how much you brought in, you will pay too little in taxes and you may be facing penalties later.
Fortunately, there are ways to keep track of how much you’re spending and how much your earning. These include:
It’s important to keep track of your expenses as these can be considered ‘write-offs’. They will reduce the tax amount you pay at the end of the year.
Unfortunately, Uncle Sam doesn’t make this process easy. He’ll want to see proof of what you spent. So, you will need to develop a system to prove your annual expenses. Here are some suggestions.
It’s advisable to enter your expenses into a ledger regularly. It’s a good backup plan if your receipts get lost or become faded.
A CPA may seem like an added expense, but they will help you save money at tax time. They can also provide useful tips for managing your money.
If you have a business, you shouldn’t be doing your taxes on your own anyway.
An LLC operating agreement is a legal agreement between all LLC members. It lists the ownership interest and cover all life events that may occur relevant to the cooperation. It will include things such as:
Here are some other, optional points to include:
Trademarking your brand name is a smart idea whether you decide to become a business or not. It will protect your name so it can’t be used by another band.
Here are the steps you will need to take to trademark your name:
Bands should know how to submit their work for publishing whether they are a business or not.
You will likely be asked to fill out a submission release form. This is likely to be necessary if you are submitting the work yourself and not through an agent. It also be part of the process if you started your own publishing company, and your work is not licensed.
Submission release forms waive your right to sue for copyright infringement and breach of contract. Most companies will ask you to sign a submission release form before they even review your work.
The release form states that you need to be paid market value for your rights. It is not a contract or a promise to buy your music.
Submission release forms are not always used. Here are some other forms you may need to fill out to have your music considered for publication:
Turning your band into a business is a good way to keep your assets protected, set guidelines for your band, and save money on taxes. Now that you know what’s required, you can move forward with the process if you desire. Will you be taking this important step forward?
]]>As someone who recently organized a tour for my son’s band, I feel like a bit of an expert on the subject. But don’t get me wrong, touring is not easy to do. And I’ll say it upfront…without the right backing, you’ll probably lose money.
But if you are looking for a fun time getting your band into some unchartered territories, you are likely to achieve your goals.
Read on to find out the down low on touring for independent musicians and what to expect.
In this section, I’ll review the pros and cons of touring. But keep in mind, this isn’t your average pros and cons list that addresses obvious factors. You must really consider the pros and cons to determine if touring is the right move for your band to make.
Pros:
Cons:
If you are still reading, it means you’ve gone through the cons and you still want to move forward. Congratulations! You must be pretty dedicated to your music.
In this section, we will get into what you need to do to book a tour.
The first thing you will need to do is check everyone’s availability and decide on a date. Here are some things to keep in mind when determining a date:
The next thing you will have to choose is your destination city. This is the city that will be the furthest point on your tour. Here are some things to consider.
Figure out your route to determine what cities you are going to hit along the way. In addition to being on your route, you should also decide on your touring cities based on the following:
All of this is very important. A lack of clubs and a lukewarm music scene could get you locked out of certain cities.
There are several ways to find clubs. Here are a few recommendations.
Social media is likely to be your strongest resource for finding clubs. I’ve had particular luck with Facebook because you can look for groups based on the city and your genre of music. For example, with my son’s band, we would look up ‘Houston Metal’ as that was one of our destination cities and the band’s genre of music.
Once we found those groups, we would look at posts from other bands including fliers that gave us an idea of venues in the area. We would also post in the groups to ask if anyone had a show we could hop on or any club or promoter recommendations.
Instagram is another good resource but it doesn’t have groups and it’s a little harder to find what you are looking for.
A general web search can also get some promising results. But the problem with a web search is, it’s not as accurate as social media. For example, you could come across a club that describes itself as a metal venue because it hosted one metal show ten years ago (or substitute genre here). You could even come to find out that a club that’s described as a music venue is just a bar.
If you have homies that played in the states you are looking to play, ask them how they got the gig. Find out who they talked to as this is valuable information.
Once you find these clubs, I recommend trying to call them before anything. In this day and age, not many people like to pick up the telephone, but I recommend it. The person you speak to will tell you who’s in charge of booking, how to reach them, when to reach them, etc.
Also, I’ve called clubs and gotten a show on the spot which is awesome.
If you are unable to get in touch with someone by phone, which is often the case, you will have to investigate the best way to reach them. A lot of clubs have multiple contacts including various social media accounts, an email, and who knows what else. I recommend trying all of them to see which works best.
Personally, I’m not too fussy about getting guarantees when I’m trying to get a show. I try to get at least $100 out of each venue if asked… and most venues will pay you this much regardless. If you are trying for more than that and you’re not a known band, you probably won’t have much luck. And if you’re touring because you want to make money, you may be in the wrong business!
Once you have all your dates lined up, you’ll need to make arrangements as far as lodging and transportation.
If you want to cut costs on lodging, you can try to hit up clubs, other bands, or friends in the area to see if they are willing to put you up for the night.
Keep in mind that if someone says yes, you’ll probably end up in a ‘party house’ that’s pretty gross. And if you’re the touring band, you are the party. So there will probably be a bunch of people around keeping you up all night.
Another option is to rent hotel rooms. That’s what I did on the last tour and I was able to find a lot of them for under $100. In fact, some were as cheap as $30 a night which isn’t bad, especially if you can share a room and split the cost with your band.
Of course, these hotel rooms were pretty gross but they offered more privacy than a party house. Also, some of them had breakfast which can save you a few bucks.
One mistake we made when booking a hotel room is, we booked a lot of hotels that were far from the venue as the venues were in major cities and we found cheap hotels on the outskirts. However, the additional van mileage and gas it took to get to those hotels made them not worth it.
If you do book hotels that are outside of the major cities you are playing, make sure they are on the way to the next.
But when it comes to expenses, your most major one will be the van.
There are a few ways to go when it comes to your van. Possible options include:
Bands won’t make a lot of money on the road when it comes to guarantees, but you can supplement with merch.
My son’s band is lucky because they hooked up with an artist that makes beautiful artwork that looks terrific on shirts. So we can always sell a few merch items at shows.
However, the shirts are expensive for us to make so we don’t see much of a markup. We do better with patches. We sell them for $3 and it’s almost all profit so it balances out.
The point is, get merch items with decent markups that people will actually want to buy and you may be able to recoup some of your expenses.
This brings me to another point, roadies. I’m not necessarily talking about roadies in the conventional sense as in someone who will schlep your gear. I’m talking about having someone there to split the driving, but most importantly to sell merch and do the door when needed.
If you don’t have a merch person with you, you’re not going to sell as much merch. You’ll be busy playing and trying to get gear on and off stage which will make it difficult for you to stop, pull out shirts, collect money, etc. And you won’t be able to set up a merch table which helps to advertise your items.
That’s why it’s a good idea to have an extra person with you that’s not in the band.
A roadie will also come in handy if you are doing a DIY show that requires you to work the door. This is a good thing because you will most likely be able to keep all the money, provided you booked the show. After all, you are a touring band.
But it will only work if you have someone to collect the money. And if everyone in your party is in the band, you’ll be unable to work the door for the entire show. So it’s not gonna work.
Well, I think I’ve imparted all my wisdom when it comes to booking a tour. So here are a few other tips to keep in mind.
Keep the Car Stocked with Snacks: Keep small snacks in the car that won’t go bad like nuts, dried fruit, and chips (although chips aren’t the healthiest option), as well as bottled water. This will keep everyone from getting hangry. It will also minimize snack stops so you don’t waste time, and it will save you money.
Stay Clean: If you are living on the road with a bunch of musicians, hygiene may not be your main concern. But here’s why it should be:
Pack Wisely: Consider that there will be limited room in the van so you want to pack smart. Try not to overdo it on items you don’t need like books (even though you may get bored) and a lot of clothing. On the other hand, it is wise to pack guitar strings, an extra guitar, and other equipment that will ensure your shows are successful.
The tips in this article will help you plan a tour that will get your name out there. It may not be very lucrative, but with the right strategies, you will have fun and increase your following. I wish you the best of luck in your endeavors.
]]>If we go back in history, we will find various types of formats that have been used to deliver music to the masses. These include vinyl, cassettes, CDs, MP3s (remember those?), and more. This article will review the different formats of music delivery and briefly review their history.
The earliest form of the phonograph was invented and patented by Eduoard-Leon Scott in 1857. He called the device a phonautograph. It recorded sound waves on a glass plate but it was not able to play back the sounds.
The purpose of the phonautograph was to evaluate acoustics rather than playback sounds and music. After its initial development, it was updated to record sounds on lamp-blackened paper. A drum or cylinder was used to hold the paper in place.
The phonautograph eventually inspired Thomas Edison to invent the phonograph in 1877. He based his model on a combination of the phonautograph, the telegraph, and the telephone. His goal was to transcribe messages from the telegraph to a piece of paper tape. The message would then be in a format that allowed the individual to send out the same message repeatedly through the telegraph.
Edison soon realized the phonautograph might have other applications. He used the model to develop a device that would use a needle to record the sounds onto a cylinder covered with tin foil. A second needle would replace the sounds through the phonograph.
The phonograph had its faults and Edison eventually lost interest in the project. However, Alexander Graham Bell took over to make his own updates.
One important improvement Bell made was to stop using tin plates for the recording as they wore out the needle. He replaced the needle with a floating stylus and started using wax instead of tin foil. He called his invention the gramophone.
Things took off from there. Manufacturers figured out how to mass-produce wax cylinders so artists could make their music available in larger quantities. Cylinders were eventually replaced with discs to play back sounds.
Cylinders replaced with discs? Tin foil replaced with wax? It’s clear that vinyl was the next natural progression for the audio industry. It was the ideal alternative to the shellac discs which were quite fragile and noisy.
The first vinyl record was introduced in 1948 by Columbia Records. It was made of a synthetic plastic material called polyvinyl chloride which was much sturdier than its predecessors. Its creation was part of the plastic boom of the early 1900s.
The creation of vinyl also saw the transition of 78 to 33 1/3 speeds. Unlike 78 records, which could only hold five minutes of music per side, 33 1/3 records could hold 15-22 minutes of music per side. Hence the concept of an album.
Eventually, 45’s were also released. Like 78’s they could also hold 5 minutes of music per side. But their small size made them easier to produce. They were the perfect medium for singles, and they became popular with the younger generations.
Vinyl had its day, but the death knell rang in 1979 when the Walkman came out. People preferred it because it presented a form of portable music that they could take with them wherever they went.
Eventually, the CD, iPod, and streaming services hammered more nails in the coffin. But vinyl eventually rose again. Many people prefer it for its distinct warm sound, the ritual that comes with playing albums, and the terrific, large format album artwork.
Walkman’s brought the death knell to vinyl. But it wasn’t the Walkman alone that was responsible. It was also the medium used to play music through a Walkman. That’s right, we’re talking about the cassette tape.
The cassette tape was first developed by the Philips company in 1962 in Belgium. Philips released the invention to Europe at the Berlin Radio Show in 1963. They premiered it in the United States in November of the following year.
The cassette features two small spools inside a plastic cover. The spools wind the magnetic-coated film as it passes from one side to another. The magnetic film is where the audio is stored.
The cassette was revolutionary for a couple of reasons. First, it made it easy to take music with you on the go. It also gave people the ability to record themselves and other music.
Before the cassette tape, the only way to record yourself involved bulky reel-to-reel technology that required training to use. The cassette changed all that. It allowed you to record your own voice and sounds. Or you could make a special mixed tape for your honey.
Cassettes were popular for their recording capabilities, but they really took off when Walkmans were invented. They gave people the ability to listen to music on the go. This meant they no longer had to wait until they got home to pop on their favorite album.
The fact that cassette tapes provided a way for people to listen to music portably dealt a devastating blow to vinyl. And more than that, the recording capabilities nearly killed the music industry. People now had the means to record albums for their friends, so they didn’t have to buy them.
After many unsuccessful attempts were made to tax blank tapes, the DAT (digital audio tape) Bill was introduced in 1989. It restricted the number of tapes consumers could buy preventing them from making excessive recordings.
In 1991 the Audio Home Recording Act was brought into legislation which collected tax from media and record makers and distributed back to labels. This ensured the labels didn’t lose too much money off counterfeit recordings.
Of all the music formats, eight-track tapes are likely to most laughable. Their large size just wreaks of vintage nostalgia. And unlike records, they did not see much of a revival.
Invented in 1964, eight tracks were a collaborative effort brought by RCA Records, Lear Jet Company, and Ampeg Magnetic Tape Company. Bill Lear of the Lear Jet Corporation teamed up with employee Richard Kraus to design the 8-track cartridges. They turned to the musical experts at Ampeg and RCA to bring it to life.
Lear, who was a known manufacturer of private luxury aircrafts always had an interest in audio. He had tried to create an endless loop wire recorder in the 1940s. However, he saw more success with the 8-track.
8-track tapes’ main advantage over the compact cassette was their ability to house 8 parallel soundtracks with four corresponding stereo programs. This enabled them to play a lot of music despite their relatively small size.
8 tracks owe much of their success to the booming automobile industry. Ford was just one of the many automobile manufacturers to offer an 8-track player in their vehicles.
Eventually, 8-track players were introduced for home use. Many people favored them over vinyl as they were more portable.
But, with cassettes being smaller, they won out as a convenient on-the-go option. As a result, 8-tracks eventually became obsolete.
It is rumored that Fleetwood Mac’s Greatest Hits, which was released in November of 1988 by Warner Records, was the last 8-track ever to be put out by a major label.
At this point, you may be saying, the floppy disk? Does that even count as a music format?
Floppy disks are usually seen as a medium for data storage for desktop computers. But during the 80s and 90s, a few artists began releasing music on this unconventional format.
8-inch floppy discs were first released by IBM in 1972. They eventually shrunk in size to 5 ½ inches in 1976 and 3 ½ inches in 1982.
The floppy disk never really hit the mainstream as a music format. The most notable release to come out on floppy disk may be Brian Eno’s Generative Music I which came out on Opal Music.
Other artists also attempted releasing their music on the floppy disk format, but it never really caught on. However, it did open doors for the next hot music format trend…
CDs didn’t hit the mainstream until 1982. But they spent years in development before then.
Their history goes back to 1974. Philips, the same brand that introduced the cassette tape, was working on the CD as a replacement for records and tapes.
Meanwhile, Sony was working on a similar product. They beat Philips to the punch demoing their product in 1976.
Eventually, the two companies came together to release the compact disc in 1982. Sony introduced the first-ever CD player that same year. The CDP-101 Compact Disc cost a whopping $1000.
CDs brought with them a variety of related products including portable CD players, CD-ROM drives, writable CDs, and the 16-bit/44.1kHz which set the benchmark for all audio formats.
The CD represented the best of every format before it. It was portable and recordable like a tape, yet it resembled a mini album. It also provided high-quality music for an affordable price.
CDs were an important music industry development, and they were a go-to format for decades. And you could say they marked the end of physical formats. But when computers became more sophisticated, there was only so much the CD could do to keep up.
Unlike other music formats, CDs didn’t disappear overnight. They are still a go-to for people who enjoy physical music products. They have even seen growth in the used music retail industry over the past few years.
In the context of all music formats, it’s easy to forget about MP3s. Today, this is the file format digital music is sent in, but it was once a primary way to listen to music.
It was originally developed in the early ’80s by Karlheinz Brandenburg. His post-doctoral work at AT&T Labs allowed him to gain insight into using pre-existing codecs to compress music. As an interesting aside, he chose Suzanne Vega’s 1987 hit “Tom’s Diner” as the song to test the MP3.
Although the MP3 was ready to be released in the late ’80s, it didn’t hit the mainstream until 1992. And when Napster came out in 1999, the medium really caught fire.
Napster was a platform that allowed for free peer-to-peer sharing of MP3 files resulting in widespread copyright infringement and outrage from labels and artists alike. As history dictates, it was a short-lived service lasting only 3 years. However, it paved the way for streaming platforms that carry their own share of infringement issues.
We’ve come a long way baby. Looking back at the 1857 phonograph invention, it’s hard to believe that we are now in a high-tech digital music streaming world.
The internet started in 1980 and has been gaining popularity ever since. Offering 24/7 accessibility to, well, everything all the time, developers and entrepreneurs saw an opportunity to provide music to the masses without the need to download files or purchase physical product.
Several inventions furthered the popularity of streaming music. One was the 2007 iPhone. With the capability of playing music, it was the modern answer to the Walkman.
The following year Spotify launched offering a way for people to subscribe to hear their favorite music or listen for free with ads. Many platforms followed in Spotify’s footsteps providing similar ways to enjoy the music you love online.
Streaming remains the most popular music format today. However, there is another music format that is unlikely to uproot it. Rather, it works alongside it. It’s the music NFT.
NFT stands for non-fungible token. It is a unique digital identifier that cannot be copied, substituted, or subdivided. It is recorded in a blockchain that certifies authenticity and ownership.
Essentially, it’s a digital piece of art that can only belong to one person, but it can be sold. It can come in the form of, well just about anything… drawings, music, even your ideas turned into AI. Obviously, music NFTs are NFTs in music forms.
Music NFTs were born due to artists being frustrated over the low payouts of digital platforms. They are taking back control by providing exclusive content to those who want to buy it. Even though the music is likely also available in other formats, NFTs typically come with unique owner experiences.
For example, Kings of Leon released limited edition NFTs that came with golden tickets that provide buyers with access to unique artwork. They also unlock concert tickets and guaranteed four front-row seats to any Kings of Leon concert for a lifetime. The VIP experience includes a personal driver, a concierge at the show, a meet and greet with the band, and exclusive lounge access.
In addition to allowing the artist to make more money, NFTs are sold directly by the band to the buyer so they forge a personal connection.
While CDs, albums, and cassettes are still very much a thing, one may wonder if there will ever be a new physical music format to be released. Perhaps.
Legendary producer T Bone Burnett is currently developing a unique combination of vinyl and CD to create a physical music format called Ionic Originals. He has reportedly been working with Bob Dylan to re-record some of his most iconic songs for the sole purpose of introducing this “new ultra-high-fidelity medium” to the masses.
“An Iconic Original is the pinnacle of recorded sound. It is archival quality. It is future-proof. It is one of one. Not only is an Iconic Original the equivalent of a painting, but it is also a painting. It is lacquer painted onto an aluminum disc with a spiral etched into it by music. This painting, however, has the additional quality of containing music which can be heard by putting a stylus into the spiral and spinning it,” Burnett said in a statement.
Wow, way to sell it.
The exact release date for the Iconic Original is unknown as is any information on what device would be needed to play it.
The music industry has certainly seen its share of music formats. Although we seem to be satisfied with streaming, who knows what the future holds? We can only wait and see.
]]>Statistics show that tickets have gone up about 20% from pre-pandemic prices. Average tickets prices are $108.50, and if you are looking for top seats to see popular acts like Harry Styles, Red Hot Chili Peppers, and Kendrick Lamar, you could be paying more like $500 to $980.
Of course, inflation and the fact that artists lost so much money during the pandemic could be to blame. But there has also been some shifty behavior in the Live Nation Entertainment/Ticketmaster camp. Now that the companies have merged, they seem to be creating a monopoly raising ticket prices at will.
Read on to find out what’s behind it.
The Ticketmaster/Live Nation Merger: What’s It All About
Once upon a time, Live Nation and Ticketmaster were ticket seller companies that competed against each other. Then they decided to merge to form Live Nation Entertainment.
The Department of Justice allowed the merger but were aware of the potential for the new company to increase ticket prices to unreasonable amounts. Therefore, they entered a settlement that would prevent the company from requiring the use of Ticketmaster sales to host a Live Nation concert.
Big surprise, a mere 9 years later, the DOJ discovered that the company had violated those terms. Highlights from their demands to modify the settlement include the following:
“As a result of this conduct, venues through the United States have come to expect that refusing to contract with Ticketmaster will result in the venue receiving fewer Live Nation concerts or none at all. Given the paramount importance of live event revenues to a venue’s bottom line, this is a blow that most venues can ill-afford to risk.
“As a result, many venues are effectively required to contract with Ticketmaster to obtain Live Nation concerts on reasonable terms, limiting the ability of Ticketmaster’s competitors to compete in the primary ticketing market and harming venues that would benefit from increased competition.”
The company heeded warnings and revised its settlement understanding that they would be facing $1 million dollar fines per violation. If violations continue, the organization would also be facing the possibility of having to let Ticketmaster go.
The Taylor Swift Debacle
You might think that the threat of a violation and possible split would have made Live Nation Entertainment behave, but in late 2022 they were back to their old ways. This time, Taylor Swift and her fans were caught in the middle.
It all started at the presale for the Taylor Swift Eras tour, her first since 2018. Apparently, there was such a demand for tickets (2 million sold in one day- the most tickets ever sold in a day for any artist) that the site was overwhelmed. This led to glitches, long wait times and many fans not getting tickets.
However, Ticketmaster downplayed the incident claiming only 15% of fans experienced issues.
The company also claimed that it wasn’t only the immense demand causing problems. They also alleged that they were being overwhelmed by the bots scalpers use to buy as many tickets as they can.
However, there is also the question of whether Ticketmaster purposely shut out buyers. The company is known for not only selling tickets at astronomical fees, but also for profiting off its secondary market website which serves as a platform for price-gouging resellers.
Is the Artist Responsible?
It should be noted that Ticketmaster is not the only entity that may be to blame for inflated ticket prices. Artists can also do their part to keep it under control.
Eric Budish, an economics professor at the University of Chicago and expert on the ticketing industry explains how the artist can “set what you think is a fair price and turn off the resale market.” The way to do this would be to “put names on tickets,” similar to airplane ticketing.
This method of paperless ticketing would have prevented people from reselling their tickets as the ticket would only be good to the person who purchased it. Swift could have opted to do paperless ticketing, but why would she? It would reduce her profits considerably.
Therefore, she allowed the reselling, and in case you’re wondering, yes, she does make a profit off that.
Budish also stated that he doesn’t believe that Ticketmaster was not prepared for the excess traffic generated by the Swift ticket sales. “It’s like you’re in the Super Bowl and you fumble the first snap,” he stated.
While we can argue back and forth over who is responsible for the injustices Swifties had to face, its Live Nation that’s being targeted for compensation. And it’s Ticketmaster that’s filing the suit on behalf of the 26 plaintiffs who tried and failed to score tickets to her concert.
The company is currently looking at possible fines of $2500 for each violation. With 11.6 million people unable to score tickets and another 2.4 million overpaying, damages could easily add up to $29 billion.
Other Incidents
The Taylor Swift incident was far from the only one Live Nation, was involved in. A 2019 report by Billboard magazine showed that artists had been using Live Nation to put their tickets directly on resale websites like StubHub so they could increase sales without being directly associated with the steep cost of scalping.
Surprisingly enough, Metallica, who is known for being ‘all about the fans’, was found to be involved in this type of behavior. A 2017 incident revealed that the band sold tickets directly to resale sites where they were listed at a higher price before they went on sale to the public. They were far from the only band to be involved in such a scheme.
However, since that time, this type of activity has declined considerably as artists are now provided with methods to gain better control over how they make money off ticket sales. For example, many of them offer VIP packages and platinum seating options to increase touring income.
It should also be noted that, back when this happened, Ticketmaster claimed to not be involved in the issue. They pointed a finger at their parent company Live Nation.
However, even back then, Ticketmaster had blood on their hands. In 2018, they were found to be using software called Trade Desk which allows resellers to buy tickets from Ticketmaster and post them instantly to resale websites. This allowed the company to make two profits, once when the tickets are initially bought, and a second time when they are resold.
And while Metallica may stand out for their innovations in the metal industry, they were hardly innovating in their efforts to make money through reseller sites. In 2012, at the height of his fame, Justin Bieber was found to make only 7% of his tickets available to the public for his show at Nashville’s Bridgestone Arena.
While some were reserved for American Express customers and other set aside for fan club members, the Platinum Exchange program and VIP packages, entire blocks were reserved for resale sites. Other artists guilty of similar activity include Keith Urban and, surprise surprise, Taylor Swift.
Pearl Jam vs. Ticketmaster
While there have been many artists willing to play into the Ticketmaster scam and gain from the profits, there is one band that stood its ground fighting the organization to keep prices low- Pearl Jam.
To learn more about the story, let’s step back in time to 1994, an era when fans would have to buy concert tickets either by phone or by purchasing them directly from the venue. I’m sure it comes as no surprise that most purchases happened via telephone.
During that time, Ticketmaster had one major competitor, Ticketron. However, they acquired the company taking them out of the picture.
Once Ticketmaster took over, ticket prices rose astronomically tacking on 30% fees for some concert sales.
That’s when Pearl Jam, along with the Department of Justice, stepped forward stating that Ticketmaster had “virtually absolute monopoly on the distribution of tickets to concerts, and that the company had been indulging in “anti-competitive practices.”
Pearl Jam followed up with a lawsuit, but it never made it off the ground.
Ever since the Pearl Jam incident, Ticketmaster has been paying small fees to venues to secure exclusive contracts for the company as well as payouts to promoters for marketing concerts. Ticketmaster foots the bill for promotion so the concerts hit their guarantees before they happen minimizing the risk that the concert will be cancelled due to a lack of sales.
Ticketmaster could argue that these practices were not anti-competitive but instead a service to the fans. For example, the high ticket fees were tough, but the company was also saving fans the expense and hassle of driving to the venues to buy tickets. The firm also made concerts more likely to happen so fans aren’t left with a worthless ticket.
However, now that everything is internet based, the company’s argument of offering convenience to fans does not hold up as well.
It is at this point in the article (or maybe it was earlier- who knows) when you might be asking, wait a minute, isn’t scalping illegal? It all depends on where you are located.
Most states have some type of law in place that prevents people from charging inflated prices for tickets. For example, in Rhode Island, you can’t resell tickets for more than 10% or $3 more than you paid for it. In Florida, you can’t sell a ticket for over a dollar more than you originally paid for it.
In California, you are allowed to scalp tickets as long as you have written permission from the venue.
So, with all these restrictions in place, you may wonder, how does a platform like Stubhub get away with it? Well, while certain states do not allow or restrict scalping, it is not illegal on a federal level. Therefore, scalping online is A-okay, as long as sellers disclose that they are resellers and are selling tickets higher than face value.
Resellers are asking astronomical prices. But that doesn’t detract from the fact that tickets are expensive in the first place. So why are they so expensive? Here are a few reasons:
Demand: Most concerts are priced based on demand. For instance, with Taylor Swift being a popular artist who hadn’t toured in nearly 4 years, it’s no surprise that fans were willing to pay top dollar to see her. So if you want to see a well-known artist who hasn’t been around in a while, or is maybe doing a farewell tour, be prepared to empty your wallet.
Service Fees: Ever pay for a ticket and then find out that the total is way above what you expected? Thanks Service fees! Service fees may include:
And yes, these fees are put in place by Ticketmaster. So that’s one way they are gouging fans.
Artist Loss of Revenue: Artists just aren’t bringing in the salaries they used to. They are making less off record sales thanks to the low payouts associated with digital platforms. And let’s not forget about all the money they lost during the pandemic.
Increased Production Costs: Ever consider all that goes into a tour? There are the lights, the crew, the costumes… and so much more. As a fan, you’re paying for it. And it’s gotten a lot more expensive due to inflation which ties back to the Ukraine War and supply and demand issues left over from the pandemic.
Inflation: Inflation is causing the price about just about everything to go up. This includes the price of gas, the price of producing merch, the price of stage props…you can bet artists are passing these costs on to the ticket buyers.
Venues Charging Artists to Sell Merch
Another issue to consider is that more and more of today’s venues are charging artists to sell merch. Most venues set up a 20/80 split meaning the artist must pay the venue 20 cents for every dollar of merch they sell.
Some see this as fair… after all the venue is technically renting their space to artists so they can sell merch. Shouldn’t they get a cut?
But on the other hand, artists don’t get a percentage of bar and food sales. If ticket sales and merch sales are split, shouldn’t food and drink sales be split as well?
The bottom line here is, the fact that artists have to give venues a cut of all the merch they sell is not only driving up ticket prices, but also driving up merch prices. I mean, today a tour t-shirt can cost you $50. Yikes!
Artists and venues are teaming up to keep this from happening. In January of 2022, the Featured Artists Coalition announced a new directory highlighting music venues that charge zero commission on merch sales. The idea is to address the “outdated and unfair” practice of charging artists for merch.
As of August of 2022, 400 venues had signed up. But many of the larger ones were conspicuously missing.
Many artists are supporting the cause and it’s hopeful that there are more signups in the coming months.
What About Live Nation Stock?
One would hope that the bad rap Live Nation and Ticketmaster are getting would cause a lack of enthusiasm from investors. Unfortunately, it’s just the opposite.
Wall Street considers Live Nation stock to be undervalued by 50%. However, they are predicting that the stock will make a comeback with a set price market of $105 to $110 by the end of the year.
Bullish analyst Morningstar’s Neil Macher wrote the following in his November 4 report, “Live Nation remains on track to return or even beat its pre-pandemic levels as the firm posted its highest attendance quarter ever. Festival attendance was very strong in the quarter, up 40% versus the same quarter in 2019.”
While inflation may keep some concert goers out of venues, the more passionate ones will be willing to pay top dollar to make up for the many cancelled tours of 2020 and 2021.
However, a new pandemic spike or a deteriorating economy could change these predictions.
Meanwhile, ticket prices remain high. As a fan, there’s not much you can do other than refuse to go see concerts which could mean cutting off your nose to spite your face. Or you could always go with the ‘if you can’t beat ‘em, join ‘em sensibility and invest in Live Nation stocks to (hopefully) get a return on what you pay.
How will you be handling the situation?
]]>This article will provide a few suggestions that are sure to make your vinyl-loving recipient’s holidays jolly and bright.
Record Album Spine Socks
Socks are something everyone can use. A vinyl lover will appreciate their socks even more if they are record album themed. There are socks decorated with album spines that even show the artist names and album titles. Or you can get them socks with a different vinyl album design.
Vinyl Records Throw Blanket
Vinyl records can be incorporated into home décor in a variety of ways. But what’s better on a cold winter’s night than a cozy vinyl themed throw blanket? Featuring an album spine design, the blanket can be thrown over your bed, a couch, a chair, or any other home furnishing. Add a matching throw pillow to complete the set.
Vinyl Christmas Albums
Don't overthink it. There's bound to be a vinyl album your homie would love for the holiday season. Get one from their favorite band that you know they don't already have, or buy one that features a new artist you're sure they will like. You can also purchase collector's items, seasonal albums and more.
Funky Moose has a wide selection of new and used albums ensuring you will find one that's perfect for whoever you are buying for.
Cleaning Supplies
If the person on your gift list is passionate about their vinyl, they are probably also passionate about keeping it in the best shape possible. They will require cleaning supplies to ensure their albums maintain their value and sound their best. Funky Moose carries a wide variety of cleaning supplies including the following:
Sleeves
Sleeves are used to protect records, so they remain in pristine condition. You can buy sleeves of all sizes in packets of 25, 50, or 100.
Gear
Vinyl isn’t only about the albums. It’s about the gear that albums are played on. Gear can make a vinyl lover’s holiday season complete. Here are a few items they will love having in their collection.
Gift Cards
Not sure what the recipient on your list has and doesn’t have? Get them a gift card to a record store or gear shop. They can use it to buy anything they choose. Most gift cards can be bought online and sent via email making them a convenient option.
Vinyl Club Subscriptions
These days, it seems like you can get subscriptions for just about anything. Vinyl is no exception. There are many services you can sign up for that will send you vinyl every month for a low price.
For example, you may consider buying your friend or relative a subscription to Vnyl. The site allows you to order a record for yourself every month. If you are a Trio member, they will send you two additional albums based on your musical tastes. Make your picks quickly to get exclusive editions before other members can swoop them up.
Vinyl Related Clothing Items
Vinyl lovers can show their love of vinyl loud and proud by wearing vinyl-related clothing items. For example, you can purchase them a t-shirt, hoodie, hat, or any other type of accessory from their favorite vinyl shop. And with vinyl lovers also being music lovers, you may also consider buying them clothing with logos of their favorite bands.
Coffee Table Books on Vinyl
There are various coffee table books that are written about vinyl. Many show the most unique vinyl cover art with a brief description of the album. For a stand-out choice, consider the Booze and Vinyl Book. Advertised as “the ultimate listening party guide” it recommends the best drinks to drink while listening to your albums and directions on how to make them. It’s ideal for vinyl listening parties.
Vinyl Related Art
Vinyl lovers will enjoy artwork that features anything vinyl related. For example, you may find artwork that’s made to look like a vinyl record and is designed with lyrics from their favorite songs. You can purchase vinyl made into clocks or an Andy Warhol type print with vinyl record images. What better way for a vinyl enthusiast to decorate their home?
Vinyl Record Mug
A mug is an item anyone can use. It will especially come in handy during the cold winter months when people likes to cuddle up with a cup of tea or hot chocolate. A mug with any type of vinyl album decoration is sure to be a favorite with the vinyl lovers on your list.
Vinyl Household Accessories
If you look around, you will find no shortage of household accessories made out of vinyl records or made to look like vinyl records. You will find vinyl album bowls, key holders, shower curtains, coasters, bottle openers… and the list goes on. The recipient on your list is unlikely to find a better way to decorate their home.
Vinyl Record Stand
A vinyl record stand is used to hold album covers while the record is being played. In addition to keeping the cover safe, it also displays it so you can take in the artwork as you listen. Many have signs that say “now playing’ which creates a party vibe when you are listening with friends.
Vinyl Record Storage Case
Vinyl enthusiasts are likely to have a lot of vinyl. They will need a convenient way to store their records. A storage case is an ideal choice for safely holding overflow from a larger collection. It can also be used to transport records if you are moving.
Storage cases come in a wide variety of sizes and styles. Find one that’s best suited to the recipient’s taste to provide them with a convenient gift they are sure to enjoy.
Cartridge Hardshell Case
Does the vinyl lover on your list have cartridges lying all around their home? A cartridge hardshell case is exactly what they need to keep them safe and secure. Many cases can hold multiple cartridges and they even provide UV protection.
Floating Album Mount
Vinyl lovers may want to mount albums on their walls. They make great décor and serve as terrific fan memorabilia.
But hanging albums in the home can be problematic. Use a frame and it will produce glare that makes the album hard to see. And the album will also be stuck there until you open the frame and take it out. Mount the album directly on the wall and you could damage it.
The floating album mount offers the ultimate solution. It allows the record to be mounted to the wall via a small magnetic disc. And if the recipient gets bored of looking at the same album, it only takes seconds for them to change it out with another.
Audio Interface for Record Archiving
Vinyl lovers often want to create digital copies of their records. It backs up the sound and saves the record from being played repeatedly which can wear it down. And if something happens to the vinyl, the listener will still have the music to listen to.
Vinyl is often duplicated digitally with a USB turntable. However, can degrade the sound of the record, especially if you are not using a higher end model.
A dedicated audio interface is a recommended solution as it enables high-quality connectivity with your computer for superior sounding results. It makes a great gift for vinyl fans looking to back up their collection. With a bit of research, you will find options that are easy to use and fit your budget.
Vinyl Record Journal
A pocket-sized journal is the ideal item for taking down notes, keeping track of tasks, and remembering ideas. If you’re crafty, you can make one from album covers that have been up-cycled. If you are not crafty, you can buy them pre-made and give them to the vinyl lovers on your list this holiday season.
Vinyl Record Inspired Jewelry
If the vinyl lover on your list enjoys wearing jewelry, they may be happy receiving some vinyl inspired jewelry items. These include necklaces with album cover pendants, bracelets and earrings with album cover charms, album cover rings and more. There are even watches with faces designed to look like albums.
Cut Their Own Vinyl
If the vinyl lover on your list is also a musician, there’s probably nothing that would please them more than having their own music cut on vinyl. There are plenty of pressing plants that provide this service. Just be sure to order way in advance as many of these companies are backed up. Start thinking of placing your order in the fall to ensure its ready for the holiday season.
Vinyl Record-Themed Tote Bag
A tote bag makes a terrific holiday gift. It’s eco-friendly, useful and it’s something everyone needs. An attractive tote with a vinyl-related design will be the perfect thing for your vinyl lover to take with them to the grocery store, the beach, and on other excursions.
Vinyl Tree Ornaments
What better way for a vinyl lover to decorate for the holiday season than with vinyl record tree ornaments? You can buy ornaments that look like vinyl records, ornaments that look like turntables, and more. You can even have them personalized to include the name and/or picture of the recipient.
Vinyl-Themed Onesie
If the person you are buying for has a little one at home, they will get a kick out of dressing it up in a vinyl themed onesie. Make sure the one you buy is properly sized and has room for growth. You must also see to it that it is made of soft, baby-safe materials.
The Flat Record Flattener
When records get warped, it’s a real bummer. Fortunately, the Vinyl Flat Record Flattener can fix all that. It un-warps flattened records in 1-2 hours without a heat source. It can be used on any size record. It has received high customer ratings since it first came out in 2011.
Record Bag
Earlier, we discussed tote bags that featured vinyl-inspired designs. But here we are talking about bags that were actually designed to carry records. It’s an ideal gift for deejays or anyone else who carries records around often.
Different record bags have different features including varying strap positions, waterproof shells, wheels, and more. Some will even split in half so deejays can rest records inside the open bag after they’ve been spun.
Turntable Dust Cover
A turntable dust cover will keep your turntable from gathering dust, so your phonograph and records stay clean. They will protect the turntable from spills, scratches, and more. The dust cover you purchase should well-constructed and made of a durable material to ensure it offers optimal protection and withstands the test of time.
RCA Cables
A true vinyl aficionado will understand the importance of high-quality cables. You can have the best turntable and the best speakers, but if they are not connected with good cables, the system won’t sound its best. For optimal results, find cables with sturdy shielding that’s especially made for turntable use.
Vinyl Inspired Lunchbox
A lunchbox is the perfect item for transporting food to work or school. You can’t go wrong when you purchase your vinyl lover a vinyl-inspired lunchbox. You may find one with a vinyl print, or you may set your sights on one that looks exactly like a phonograph table.
Vinyl Record Collector Skateboard
If the vinyl lover on your list is also enthusiastic about skateboarding, they will certainly enjoy a skateboard with a vinyl record-themed design. The skateboard can feature record spines, it can be made to look like a record album, or it can have a record print on it. It will represent two of your recipient's favorite things in the world.
Old School Vinyl Flash Drive
Modern technology may not be the thing your vinyl lover is most passionate about. But he or she will certainly warm up to it with a vinyl-themed flash drive.
You can get them a flash drive with a fun vinyl record design on its case. It will make it that much more fun for them to back up their information. And it is sure to come in handy…even if they don’t want to admit it.
Buying holiday gifts is not always easy. But if you have a vinyl lover on your list, you will have plenty of items to choose from. Which of these will you be purchasing to bring vinyl joy this holiday season?
]]>In the past, NFTs were mostly works of physical art. If a person saw an NFT piece of art they liked, or that they thought might increase in value, they would purchase it. They would have the exclusive rights to their purchase. They also had the option of selling their purchase in the hopes of gaining a profit.
Now NFTs are moving into the world of music. The concept is basically the same, but as opposed to an art NFT that has a visual element only, a music NFT has both a visual and audio element.
This article will discuss music NFTs and how you can use the medium to your advantage.
When it comes to music, rights are very important. When someone owns an NFT, they own the piece of art. So, do they also own its rights?
When it comes to NFTs, different rules apply depending on the stipulations worked out by the artist and the owner. Typically, a smart contract is put in place that includes rules about what the collector can and can’t do after they purchase the work.
Most creators will limit rights so the buyers can only “use, copy, and display” the NFT. However, they cannot use it for commercial purposes.
If there are no guidelines in place regarding the purchaser’s rights, the license will default to a personal license. This means the collector can use the item on social media or for personal use in their home. However, they cannot use it to make a profit.
If a commercial license is worked out, the buyer will be able to use the NFT to earn an income, but they will typically have to pay royalties to the artist
The landscape of music NFTs allows fans and artists to create a mutually beneficial relationship, not that different from a record label deal.
If the fan believes in the artist, they can buy their NFT giving them much needed income to further their careers. In return, the fan has an opportunity to make money off the artist by selling their property. In this way, the fan acts as a stakeholder in the artist’s career.
As a bonus, NFT’s don’t include the exploitative elements that are included in many record deals. Artists have the freedom to conduct their careers as they wish. And they also have the benefit of the income they are making off their NFTs.
NFTs are also a good alternative to crowdfunding campaigns. Unlike a crowdfunding campaign where the artist must give something back to donors, the NFT itself, and the possibility of a profit, are their own reward.
NFTs forge a personal connection between the artist and the fan. Unlike a shirt or another type of merch, an NFT is a unique product that only that fan can own. This gives them a sense of exclusivity and of being in the artist’s inner circle.
Many artists enhance that exclusivity by providing the buyer with special perks such as fan club memberships, meet and greets and special promotional items.
I know what you are wondering… what can musicians offer in NFT format? An album? A video? And if NFTs are supposed to be unique, what can you provide that will not be offered to anyone else?
Let’s take a tip from Kings of Leon, one of the first bands to release an album in NFT format.
Their album, “When You See Yourself” was offered as an NFT that could be exchanged for a $50 token. Those that purchased the token would have access to the album package with a vinyl and digital download.
It was made available for a two-week period. After the two-week period was over, no more NFT versions of the album were available.
Those who purchased the NFT could also be eligible to bid on a one of six “golden ticket experiences”. Winners get four front row seats to the show of their choice during each tour for life.
The campaign was highly successful. It generated over $2 million in sales $500,000 of which was donated to the Live Nation’s Crew Nation to support live music crews during the pandemic.
DJ, record producer, music programmer, and record executive Steve Aoki also jumped on the NFT bandwagon with his 2022 creation AoK1VERSE. Users can join by buying an NFT passport which includes two free tickets to his live shows, free merchandise, and access to members only events and performances.
Other artists that have been successful in the NFT space include Snoop Dogg, Eminem, and Nas.
Once you decide what your NFT should be, you are ready to create it and upload it on the blockchain. Here are the steps you will need to take.
Create Your Music and Upload It: Obviously, there are various ways to create and record your music, so you can figure these steps out for yourself. However, it’s important that the files you create are high quality. Otherwise, people may not buy it, or they may be disappointed when they buy it.
Label Your Tracks Correctly: You can use various methods to label your songs. However, organization will be necessary so you can keep track of them on the blockchain.
Include Cover Art: The cover art you include must be at least 600 x 800 pixels in size. Like the music, it’s advisable that the art is high quality… especially considering that NFT buyers tend to have an eye for art. If you are unable to design a nice-looking cover, consider hiring someone that can.
Encode Your Music as an NFT: There are several ways to encode your music, but BitShares Music Blockchain is recommended as it is easy to use at it allows you more creativity. Here are the steps you will need to take:
Next, you will need to find a platform that you want to use for your NFT distribution. There are several out there and we will review them in the upcoming section. But once you’ve found a platform you prefer, you will need to take the following steps.
There are several platforms that you can use to sell your NFT. Here are a few that are recommended.
OpenSea is the largest marketplace for digital assets, and it has a marketplace specifically for music NFTs. It also allows musicians to customize their NFTs so they can make money off secondary sales.
Here are some fast facts about OpenSea:
In addition to functioning as a music streaming and sharing site, Audius is also an NFT marketplace. It offers a streaming service where artists can sell NFTs to generate revenue.
It also allows artists to engage with fans, share original work, and offer exclusive bonuses to collectors. Users can also link their music NFTs on Solana and Ethereum.
Zora describes itself as a “universal media registry protocol”. Artists can use it to publish and monetize their creations. Unlike other crypto sites, it uses a single unique token that can be used by anyone. It can be resold allowing the holder to generate revenue.
It also offers instant cross-platform royalty payments with zero fees. It provides a superior toolkit for NFT creation.
Other features include:
Mintable lets users mint their digital works on the blockchain for free. It is also very easy to use. Features include:
Rarible is one of the oldest and best platforms for the trading of music NFTs. It is owned by its community allowing those who hold the digital RARI token to call the shots. The platform charges 2.5% for every sale and allows artists to make up to 10% in royalties. It also allows users to pay with a debit or credit card.
Other features include:
PlayTreks is an AI analytics platform and NFT marketplace that has been growing in popularity. It provides artists with industry-related data, licensing control, radio airplay analytics, free music distribution, and access to the NFT marketplace.
Artists can take advantage of actionable insights from social media and streaming platforms so they can make better decisions for future releases. They can also get digital proof of ownership for their songs through the platform’s blockchain based NFT marketplace which allows you to mint music so you can convert it to an NFT.
Other benefits include:
Catalog is one of the best NFT marketplaces for launching single edition music NFTs. It is unique in that it allows artists to mint and release the single edition of a music token making it a great place to purchase collectibles.
The platform allows artists to add a record or song to its open music library and set a ‘buy it now’ price. Artists can list their NFTs in a reserve auction offer made by a collector. They can also control their resale prices, keep all the revenue from their first sale, and get a cut of the profits off subsequent sales.
It also serves as a streaming service for users who have bought music off the platform.
The platform is currently invite-only, and it is likely to remain that way until the small team that runs it completes the onboarding process. Artists can fill out a submission form to get on the waitlist.
Other features include:
This platform serves as an NFT marketplace and a streaming site. It allows artists to host events for the tracks they are releasing. Their tracks are assigned unique numbers. Fans can purchase them to show their support. The early tracks benefit fans as they are higher in value.
Sound.xyz stands out as it allows fans to comment on the tracks they endorse. It’s also the first platform to offer artist-owned contracts that allow creators to retain ownership and a chain of custody on their works.
Royal allows artists to retain the rights to their creations and decide how much they want to get in royalties. It puts artists first making it a popular marketplace choice.
It also lets artists offer fans special perks like fan experiences, exclusive tracks and digital art. Artists can also share the control of their tracks with owners and collectors. So, if you’re a collector, you may get a portion of secondary sales.
The site accepts debit and credit cards making it convenient to use. It is invite-only.
Other features include:
Just like any other type of music format, you will need to market heavily to get your NFT noticed. Here are the methods you can use.
Social Media: When it comes to social media, the possibilities are endless as there are so many platforms available. You will have to create materials in accordance with the platform formats and requirements. However, it’s smart to include a link back to your NFT as well as a preview so people will know what to expect when they purchase it.
Online Music Platforms: You can also use music platforms to market your NFT. Soundcloud and Spotify are especially useful. Soundcloud will allow you to create a profile for your NFT and upload your tracks so they can be streamed by Soundcloud listeners. Sign up for Soundcloud Pro or Premium to make money off the listens.
Forums: You can post on forums like Reddit to get the word out about your NFT. In fact, there is a specific forum, r/CryptoMusic, that is designated specifically for this purpose. The community is for people interested in crypto and music, so you are likely to generate some interest with your posts.
Conclusion
Music NFTs are revolutionizing the music industry. Now that you know what’s involved, you can decide if it’s the right move for you to make. We wish you the best of luck in your endeavors.
]]>Once upon a time, vinyl records were a popular way to listen to music. But eventually their popularity waned. They became replaced by newer technology such as the Walkman, the CD, and eventually streaming music.
However, they eventually made a comeback. In fact, some vinyl records are worth a lot of money due to their nostalgia factor. They are many collectors who make good money selling vinyl records.
To meet the demand, there are many companies that buy and sell vinyl. Funky Moose stands out for our rich collection and terrific customer service. We also sell cleaning supplies, accessories, gear, merchandise and more.
Read on to find out why you should sell vinyl records with Funky Moose.
What are Vinyl Records?
Vinyl records are made of a synthetic plastic called polyvinyl chloride which consists of ethylene (crude oil) and chlorine. The material was created as part of the plastic boom in the early 1900’s. It was one of the many synthetic polymers that outperformed wood, stone, and ceramic.
While the materials came out in the 1900’s, the first vinyl record didn’t come out on the market until years later, in 1948. It was introduced by Columbia Records at 33 1/3 rpm speed. The microgroove plastic offered 21 minutes of music per side, an upgrade from the 78 rpm that could only play 5 minutes of music per side.
Less than a year after the 33 1/3 rpm speed was introduced came the 45 rpm. This type of vinyl offered 4-5 minutes of music per side. It was ideal for singles. Unlike 78 rpm, it featured a more compact design.
Vinyl was a popular way to listen to music for some time, but eventually other devices took its place. The first threat to the medium was the Walkman which came out in 1979. It used a cassette tape and allowed people to listen to music on the go.
But the real blow to vinyl happened when CDs came out in 1988. Their compact form made them easy to put in a player and listen to. They marked the death knell to vinyl with its popularity continuing to wane into 1991 when it seemingly drifted into oblivion.
Then, in 2008, the tides turned. Vinyl came back into favor due to its vintage sound, full sized artwork, and its sense of nostalgia. In fact, many vinyl records became collector’s items and are worth a good amount of money.
How are Vinyl Records Made?
Vinyl records are made in a multi-step process as follows:
Are Newer Vinyl Records Bad for the Listener?
Newer vinyl records are not bad for the listener. However, there are common complaints about them being poorly manufactured. Some say that they are not well pressed and cut too hot causing them to make crackly and popping sounds.
Basically, most feel that old vinyl sounds better than new vinyl. However, it depends on the product. While some new vinyl sounds great, other records don’t make the cut.
Which Countries Still Produce Vinyl Records?
There are several countries that still produce vinyl records. They include:
Why are Vinyl Records Becoming Popular Again?
Vinyl records are becoming popular again for a variety of reasons. Here are some to consider:
These attractive features are part of why collectable vinyl records can be bought and sold at just about any record shop.
How Much Do Vinyl Records Cost?
Vinyl records vary in value depending on the artist and the rarity. They can cost as little as 50 cents and as much as $50.
A rare vinyl record will be particularly expensive. For example, Frank Wilson’s ‘Do I Love You?’ sold for $40,000 as it was extremely rare. Elvis Presley’s ‘Good Luck Charm’ can net up to $20,000.
But with all things being equal, vinyl will still be worth more than CDs. For example, if you look up the price of your favorite artist’s album in CD form, you will find it's $5 to $10 less expensive then its vinyl counterpart. Vinyl is generally more expensive due to a lack of pressing plants, supply chain issues, and other factors.
How Do You Attain Vinyl Records?
The best place to buy a vinyl record is at a record store. Most of today’s brick-and-mortar record stores sell vinyl.
However, the record store is not the only game in town when it comes to vinyl buying. You can also purchase vinyl online whether it be through a retailer or through your favorite artist’s website. You can also find it at flea markets and garage sales.
Can You Tell What the Value of a Record is Just by Looking at It?
You can’t be 100% sure what your record is worth just by looking at it. But there are some tell-tale signs to look out for. These include:
If you suspect your record is worth a lot of money based on appearance, you can confirm this by consulting the internet. Sites like Discogs, Popsike and eBay will give you a good idea of what the record is selling for.
What To Look Out for When Buying Vinyl Records
Here are some things to look out for when buying vinyl records:
What Causes the Value of a Vinyl Record to Increase or Decrease?
If you are looking to sell your vinyl records, be aware that there are some factors that can make its value increase or decrease. These include:
Popularity of the Artist: If you buy an album by an artist very few people know and they suddenly take off, you may be looking at vinyl that’s worth more than you expected. On the other hand, if the artist’s popularity starts to wane, your vinyl may be worth less than you thought.
Withdrawn Editions: The edition of your vinyl record may get withdrawn from the market which will increase the value of vinyl records. For example, the record could get pulled from shelves if there is a problem with the album art or if some sort of error was made with the design. If this is the case, your album will soar in value.
Availability on the Market: If you bought an album many years ago that is now hard to find on the market, or if its edition is hard to find on the market, it could be worth a lot of money.
Collectable Vinyl Records I’ve Had in My Collection
When I was a child, my mother gave me all her original Beatles albums. Unfortunately, she let my sister and I play them to death. But if she hadn’t, they would have been worth a considerable amount of money.
An original Beatles album in good condition could be worth $50 - $150. But there are certain factors that could make them even more valuable.
For example, I had the original pressing of Sgt. Pepper’s Lonely Heart Club Band. Mint copies are currently worth between $170 and $185. But there is a 1969 copy that is worth about $340 because it is a mono matrix YEX 637/8, but it plays in stereo.
I also had the album Revolver. This one is valuable as it’s one of The Beatles’ best albums. But a first pressing will be worth even more. You can tell if you have a first pressing if it has the matrix XEX6061-1 on side two, black and yellow labels, and the words “The Gramophone Co. Ltd.” And “Sold in the UK” on the label.
Rubber Soul was another album I had in my collection. Too bad I never checked on the spelling of the song title “Norwegian Wood”. It seems that someone who couldn’t spell typed this one as “Norweigian Wood” on the yellow and black label of side 1. The error was spotted and corrected, but not before a few went to market. If you own an album with the wrong spelling, you have a valuable piece on your hands.
What Shops Will Look for When You Sell Vinyl Records
If you are selling vinyl records, keep in mind that the shop will look for certain characteristics to determine if they will accept your record and how much it’s worth. These include:
First Pressing: A first pressing of a record is typically worth more money. A record buyer will be able to tell whether your album is a first pressing due to the number and letter combinations on the record spine. Original pressings will have a four letter and four number combinations while later pressings will have two letter and five number combinations.
Foreign Pressing: A foreign pressing will be worth more if it’s different from the version collectors are used to or if it’s a limited edition.
Condition: While some amount of wear and tear will be acceptable, buyers generally want an album in good condition if not mint condition.
How To Keep Your Records in Good Condition and Possibly Increase Their Value
It’s important to keep your records in good condition. That way you can get maximum value for them. Here are some helpful tips:
The only way to increase the value of your album is to get it autographed by the artist. This is not an easy feat, but it may be worth it. In addition to adding to your album’s value, you will also get a meet and greet with the artist.
How Could Someone Ruin Their Record So It Loses Value?
Failing to care for your record will make it lose its value. For example, if you store it improperly, throw it around, and touch its surface, you will damage the album and it’s packaging. You can also do what my mother did and give your albums to your young kids to play, hehe!
Conclusion
Selling vinyl records is a great way to earn money. Although the medium waned in popularity for some time, vinyl is back in full force and ready for trading and sales. The value of vinyl records can be affected by many factors such as condition, rarity, and more.
If you are looking to sell vinyl records, Funky Moose is your ultimate destination. Funky Moose is a store created by collectors, for collectors. We buy and sell a wide selection of albums including many rarities.
Funky Moose is the number one destination for selling vinyl records. We will get you great prices for your vinyl and, after viewing our wide selection, we’re sure you will find a few you will want to take back home with you. Visit our website, drop us a line, or come into our location to find out how we can help you get money for your records today.
]]>One thing you may want to do to stand out is start your own record label. The fact that you have a label means you will look impressive to people (they don’t have to know it’s your own label). It will also put you in complete control over your music and how it’s distributed.
Of course, a record label is not only a vanity project. It can also be started by someone who is passionate about music and wants to see artists succeed.
But starting a record label isn’t easy. This article will provide you with the tips you need to make your record label business a success
Pick a Name for the Label
The first step to starting a record label is picking a name. The name should be unique, it should stand out, and it should be a good representation of the music you want to carry.
But most importantly, the name shouldn’t be taken. If the name is taken, you will end up getting a cease-and-desist letter at some point down the line.
You can check for name availability on the following platforms:
If you are planning on selling merchandise with your record company name on it, consider getting the name trademarked.
Decide on a Business Structure
Deciding on a business structure may seem like a lot of bother if you are just intending to work out of your basement, but it will be necessary if you want to open a business bank account or get a business credit card.
An LLC is a good business structure as it will separate your assets from the business’s assets. So, if you end up getting sued by a disgruntled artist, they will only be able to go after your business assets, not your personal assets.
Other types of business structures include:
Sole Proprietorship: This type of business is owned by a single owner. If the owner registers as an LLC, it would no longer be considered a sole proprietorship. Although it does not separate your personal and business assets, it is beneficial in that it gives you complete control over your company.
Partnership: Partnership companies are owned by two or more people. Generally, the main owner will have unlimited liability while the other partners have limited liability. The partners with limited liability will have less control over the business. All owners are subject to self-employment taxes.
Decide on the Music You Want to Carry
Earlier in the article, we discussed how starting a record label is a good way for artists to promote their own music. If you plan on including yourself on your label, you will also want to sign other artists. This will make your label seem more legitimate.
If that’s the route you are going, it’s likely you will want to sign bands that have a similar genre to yours.
If you are staring the label as a business venture, you should work with music genres that you are passionate about. Here are a few other steps that will help you get established:
Create Your Artist Deals and Recording Contracts
The nice thing about indie record labels is, they allow you to be flexible with your terms. So, you can decide exactly what you want to do with your contracts. Here are some things to determine:
Contracts between labels and artists can be very casual, but it’s best to have yours drawn up by a lawyer. That way you can ensure that there will be no legal issues in the future.
Determine How to Get Distribution for Your Artists
The main thing a record label does for a band is get them distribution. Nowadays, digital distribution is easily attained by just about anyone. So, if you are going to offer digital distribution only, you can make your label seem more attractive by covering digital distribution costs and doing extra promotion to help your artists make money.
There are several digital distribution platforms to choose from. They work by having you upload your music. They will then send your music to various streaming sites and platforms, or they may just sell it directly to fans. They will pay you a portion of your earnings and keep a cut.
They may also provide you with an option for selling physical copies of the album.
There are many digital distribution services out there. When considering which is right for your label, you must think about:
Some top platforms to consider are:
There’s also physical distribution which helps your artists get into record stores and sell records.
Finding a distributor takes a little legwork. You will need to look at album liners and find out what companies are distributing them. Smaller companies will be easy to work with while larger companies will require you to get through some heavy red tape.
Once you find a distributor you think you’d like to work with, make your pitch. This will involve discussing your artists and their accomplishments. Things like press clippings, radio playlists they are featured on, tour dates, and press and radio campaign plans will look impressive.
If you don’t have the materials you need to make your artists look impressive, you may want to hold off on getting distribution. If you try to get a deal before you are ready, you will have trouble getting approved and you may damage your reputation for future opportunities
If a distributor gives you the green light, be prepared to seal the deal. You will need to figure out the following:
You must also be aware that there are different types of distributors you can work with. There are indie distributors that work with indie labels, indie distributors that work with larger indie labels and major labels and so on. But the main two categories are clearinghouse distributors and selective distributors.
Clearinghouse Distributors
Clearinghouse distributors will work with just about anyone. They act as the middleman between the record label and the record store.
However, they will only provide your products to the store if the store starts ordering. They will not try to pitch your products. Sales and promotion will be your responsibility.
When you consider this, you may wonder if clearinghouse distributors are worth it at all. The fact is, they come with their share of benefits.
For example, they provide a way of getting your product out making you look more attractive to selective distributors. And because they work on a consignment basis, you don’t have to worry about losing your deal if you miss a release date or have to cancel an album.
Clearinghouse deals are also non-exclusive so you can distribute the album yourself as well if you so choose.
Selective Distributors
As the name suggest, selective distributors are more selective about who they work with. Getting a distribution deal with one of these labels can be as challenging as getting a deal itself.
A selective distributor will work with you closely through the distribution process helping you choose the best release dates and taking care of promo. They will have a team going store to store to try to sell your album.
While selective labels seem ideal, they come with their share of downsides. For example, if you are a small label working with a big distributor, you may not be a priority. Therefore, your releases may not get the attention you want them to get.
Promote Your Music
In addition to promoting your music to record store owners, you will also want to promote it to the masses. This will be beneficial in increasing record sales on and offline
Social media is key. You must continue promoting music by posting and building followers. However, if you really want to reach the masses, you may want to hire a publicist.
A publicist will get your label’s music written up in major publications. They will help your artists reach bigger audiences.
Collect Your Royalties
Hopefully, pretty soon you will start seeing those distribution checks starting to roll in. You may also be making money off your artist performances, public appearances and more. This will depend on the type of deal you have worked out.
What Type of Record Label Do I Want to Start?
Another consideration to make is, what kind of record label you want to start. Options include:
360 Deals
360 deals allow the record label to generate income off, not just the sale of the artist’s music, but everything the artist does. This includes merchandise, public appearances, endorsements, sponsorships and more. Advances are typically worked out, so artists are paid as soon as the deal is signed.
These types of deals are beneficial to the artist in that they show the label is truly invested in them. It tends to get them advanced connections as well. And with multiple revenue streams coming in, the label stands to make more money.
On the downside, these deals are hard to get. There is also more on the line to be lost if the deal fails.
50/50 Deal
A 50/50 deal is also known as a profit split deal. The label and artist will evenly split all the money made off the album. The artist will keep all other forms of revenue they make with their music.
This type of deal may not come with an advanced payment, or the advance payment may be very small.
50/50 deals are good for artists in that they help them get their name out there while allowing them to maintain control of their music. They are less risky for both the artist and the label. They are also flexible so they can easily be renegotiated.
Disadvantages include the fact that the label does not have as much on the line and may not work as hard to promote the artist. Artists also stand to make less money with this type of deal.
EP Deal
With an EP deal the artist must sign a contract with the record label to release a certain amount of music within a certain period of time. The music can be released as a single, LP, or EP. The artist is typically paid an advance against future royalties.
EP deals are good for artists because they allow them to retain control over their music. They provide an advance that helps them cover recording expenses. The label covers production and recording costs and handles marketing and publicity taking the weight of those responsibilities off the artist’s shoulders.
However, labels don’t have as much of an investment in EP deals as compared to other types of deals and may not put as much support behind their artists. They may also provide a low budget towards recordings.
Distribution Deal
As the name suggests, a distribution deal involves the label offering the artist distribution only in return for a percentage of their royalties. The artist will give the label exclusive rights to distribute their music through a set period of time. If the deal goes well, it can provide artists with leverage so they can get better deals in the future.
Distribution deals are good for artists because they help them get their name out there. They also get the support of a record label which may provide them with sound advice.
On the other hand, artists don’t stand to make a lot of money off a distribution deal. And because they don’t take as much of an investment from the label, the label may not work as hard for the artist. Finally, because the deal is exclusive, the label may demand creative changes that the artist doesn’t agree with.
Licensing Deal
Licensing deals are recommended for artists that already have lucrative sales and a large catalogue of music. They allow artists to retain ownership of their music while providing them with exposure. They offer many of the perks of a 360 deal, but they don’t require artists to give up control of their works.
A licensing deal is a wise choice for artists as it allows them to retain ownership of their music while providing them with advances, and promotion. However, you will only make money when your music is sold, and the label will take a cut of your royalties.
Traditional or Standard Record Deal
The traditional record deal involves a contract being signed by the artist and label that sets the terms for how the album will be created, distributed, etc. However, the label itself will not handle the marketing and distribution. Those responsibilities will be passed on to a third-party company.
The deal requires artists to give up some of their creative control and ownership of the music. It is best for those who already have established a following.
Traditional record deals are good for artists because they tend to pay well. The label will also take care of all the relevant expenses.
However, the artist will not retain ownership of the music. The deals may also not be good for less well-known artists as they may not be a label priority.
Starting a record label isn’t easy. It involves getting distribution, working out contracts, promoting artists, and more. But if you are passionate about the music, it can be a great way to earn income.
We wish you the best of luck pursuing this endeavor.
]]>There are a variety of opinions on generating music electronically. Some think it’s great while others think of it as artificial. Some love the sound and others hate it.
One type of electronic tool that’s coming under the gun a lot lately is auto-tune. This is a type of electronic manipulation that adjusts the singer’s voices so it’s in pitch even if it was originally sung out of pitch.
Some think autotune is cheating while others find it to be a useful device. Still others turn up the effect so it’s very prominent in the music. This is a strategy often used by today’s hip hop artists.
Auto-tuning has become very controversial with people weighing in on both sides of the coin. This article will explore the medium and attempt to answer the question, is auto-tuning cheating?
What is Auto-Tune?
Most of us know what auto-tune is in theory, but how exactly does it work?
Auto-tune is a tool that smooths out flat and sharp notes in a singer’s voice. You program it so it knows what key the singer should be singing in. Then it identifies notes that are out of pitch and shifts them, so they are in pitch.
The software was first introduced by Andy Hildebrand in 1997. Hildebrand was a Ph.D. researching digital signal processing while exploring electrical engineering when he came across the autotune concept. He premiered it at a NAMM convention, and it was an instant hit.
The tool was first used as a plug-in for PowerTools but today, it’s used with a variety of digital software. Many find it as commonplace as reverb, compression, and EQ.
Criticism of Auto-Tune
Nobody’s perfect. If you’re having trouble hitting notes in the recording studio, what’s the harm in using autotune? In addition to assisting you in getting a spot-on recording, it also helps out listeners who’d rather not cringe when they hear your vocals.
Well, the main criticism is that the autotune takes something away from the music. Steve Albini who is most famously known for recording Nirvana, called it ‘mind-numbing’ and said it would become cliché soon enough.
Even Jay-Z who comes from the world of hip hop where auto-tune is commonly used said that it was gimmicky and that artists who used it were jumping on a bandwagon. However, it’s unclear whether he was referring to auto-tune in general or the overused type of autotune which sounds more like an effect.
An anonymous recording engineer who worked with the Grammy organization noted that every track today has perfect pitch making it harder to differentiate between songs.
Time Magazine named autotune as one of the “50 Worst Inventions” in a 2010 article. Some have referred to it as Photoshop for the voice.
But is it All Bad?
Sure, autotune has gotten a lot of negative criticism, but not everyone has bad things to say about it. For example, one article puts forth the theory that autotune is no substitute for good singing.
If we look at the recording process, we can see how electronics have long been used to make recordings sound better. Drummer a little off on that fill? Guitarist not hitting that note cleanly enough? Software is available to fix those minor errors.
In fact, if enough software is used, you can make a terrible musician sound like a good musician.
Now let’s look at vocalists. Sure, a vocalist may hit a few wrong notes that require autotune. But if they are just a terrible vocalist, autotune won’t work. So, unlike other types of musicians that can use tools to go from meh to wow, singers will still have to sing well to make autotune work for them.
Auto-tuning also saves musicians money in the studio.
The recording process is expensive. Not every mistake is caught in the studio. Sometimes the producer catches a sharp or flat note during the mixing process.
So what can be done at this point? Bringing the singer back in to rerecord can be costly. A simple autotuned shift in pitch, on the other hand, can be easily performed during the mixing process making the recording sound flawless.
I’m sure most people would not consider this type of correction cheating. In fact, if you were a musician, you would probably be grateful that you have the tool at your disposal.
Another scenario involves the singer spending hours in the studio trying to get a track perfect. With studios charging by the hour, this can rack up a considerable bill. Not to mention the stress and frustration the singer feels that can further hinder the performance.
The solution? Autotune to the rescue once again.
How to Use Autotune So It Doesn’t Sound Overly Artificial
The difference between autotune receiving negative criticism and positive criticism could come down to how it’s used. For example, if you use it to correct a few off-key notes, it’s likely that only an expert will notice it. If you slather your entire recording with it, on the other hand, it may get to be overkill.
If you are using autotune as an effect to make vocals sound robotic, it will be down to a matter of taste.
If you want to use autotune tastefully, you will need to consider the three key settings involved. These include:
Here are some other helpful hints that will make autotune sound more natural:
What Artists Use Autotune?
You might not be surprised to hear that many hip hop artists use autotune. In fact, some use it to the extent that it’s obvious. But the truth is, the tool is used by a variety of artists across a wide range of genres. They include:
What Artists Don’t Use Autotune?
While there are many artists who use autotune, including a few that may surprise you, there are many who refuse to use the tool. These include:
Can Autotune Be Used Live?
If you were reading that last section carefully, you probably saw the bullet points on artists and their use of autotune in live performances. This may have led you to ask the question, can autotune be used live? The answer is yes, it can.
Autotune is typically used live with a foot pedal or rack mount and turned off between songs so the singer can talk to the crowd in their natural voice. It is programmed to stay within a scale or pitch. So, when the singer sings into the microphone, it will morph the vocal, so it isn’t off key.
Just like autotune used in recordings, a fast speed will make the vocal sound more natural while a slow speed will sound more like an effect.
The tool allows singers to improvise vocal lines without having to worry about going off key. This helps them concentrate on their stage presence and not get caught up in their vocals.
Singers may also be singing along to a vocal track in their earpiece. This helps them get as close as possible to the right note so autotune doesn’t have to work too hard to correct their voice.
If their notes are too off-pitch, the autotune will not work. It will only make the vocal sound strange and unnatural.
Autotune can be used in a live setting for many reasons as follows:
However, live autotune also comes with its share of drawbacks as follows:
How Can You Tell if Autotune is Being Used?
Not sure if autotune is being used in a song? Here are some tips that will help you figure out if your favorite, and maybe not so favorite, artists are using the tool.
Is Electronic Music Cheating?
The question of whether autotune is cheating can lead to a bigger issue… is electronic music cheating? After all, if you can produce artificial voice sounds, what about producing artificial sounds to represent a keyboard, guitar, drum, bass, and so on.
Obviously, there are a variety of opinions on the matter. But what you must first consider are all the options available to someone creating music electronically.
For example, some people compose music on a computer which involves writing chord changes, a melody, and lyrics. Even though that person didn’t play the instruments, he or she is still the songwriter. They can always get in musicians to perform the tune at a later date.
This varies from someone who can find tracks on the internet, add effects, rap a few lyrics over it, share it on the web and legally put their name on it. So it’s a fine line.
There are also people that incorporate loops into their music. Again, their integrity as an artist depends on how they use the loops.
If they use the loop as the basis for their song and just add some lyrics and effects, some may consider it cheating. But if they use the loop as a basic track for improvisation or conservatively sample it into their music, it’s a more tasteful way to go.
However, this is just my perspective. Others may have different opinions on the matter, and that’s alright too.
Conclusion
Autotune has made waves in the world of music. Some find it to be a useful tune while others are vehemently against it. Which side of the coin do you weigh in on?
]]>But I’ve grown privy throughout the years. I’ve learned that a lot of bands buy followers. And I realize that this presents a ‘not entirely honest’ reputation for the band.
I’ve also learned how to look for bands that buy followers, and I’m less likely to book them.
However, just because I’m not falling for bands that buy followers, other people in the industry might. There are even some that say that followers are good no matter how they are acquired as they help you get the word out about your music to that many more people.
So should you buy followers? This article will break it down so you can determine if it’s a wise move for your band or project.
How Much Does It Cost to Buy Followers?
The amount you pay for followers will vary depending on the platform and the number of followers you buy.
On average, most services will allow you to buy 1000 Instagram followers for about $10. However, those followers will mainly be bots. This is bad because they won’t engage with you, and they may even alert Instagram that you are buying followers running the risk that the platform may shut down your account.
On the other hand, there are some services that promise to grow your account organically and provide more engagement. These platforms are more expensive with prices as high as over $100 a week. However, they may be worth it as they will get you followers that engage without the spam.
There are also services that allow you to buy Spotify followers. They are a little more expensive costing anywhere from $9 for $100 followers to $149 for 5000. In addition to getting you a bigger following, they will also optimize your account so it is best suited to the Spotify algorithm.
You can also buy followers on Facebook, TikTok, Twitter and the list goes on.
Is Buying Followers a Good Idea?
If you google, “should a musician buy followers?’ on the internet, you will find a majority of articles telling you, no, absolutely not. But one article published on TuneCore states that it’s not a bad idea. Since it expresses an unpopular opinion, let’s start with that one.
The author is of the article holds the opinion that buying followers isn’t a bad thing, especially if you are starting out. They use a metaphor comparing getting followers to getting people to come to a party that no one’s at.
If you go to a party and no one’s there, you’ll want to leave. But if lots of people are at the party, you’ll want to stay.
The same goes for an Instagram account. If someone invites you to like their account and you see they only have one or two followers, it might not seem like the cool thing to do. But if they have thousands of followers, then jump right in.
The article also mentions that buying followers is a business strategy commonly used by countless popstars, record labels and more.
Now let’s look at the reasons why you shouldn’t buy followers. These include the following:
Low Engagement: The biggest problem with buying followers is low engagement. This can be due to a variety of circumstances.
If you go for a cheap service, they are likely to be getting you followers that consist largely of bots and fake accounts. Obviously, these bots aren’t going to like or comment on your posts nor are they every going to become genuine fans of your music.
If you go for a higher end service, they may attract some genuine followers, but without a real interest, they are likely to taper off in time.
They Could Hurt Your Credibility: There are ways to tell if an account buys followers. The low engagement vs. high follower ratio is the perfect example. So if you see an account with thousands of followers that are only getting 20-30 likes on your posts and not a lot of comments, it’s likely they bought their followers.
If someone determines you buy followers, it could hurt your credibility as an artist. As a promoter, I’m way less likely to book a band that buys followers. To me it’s a sign of a lack of confidence and dishonesty. It also tells me that you can’t really pack a venue.
You May Not Get Your Money’s Worth: Some services will try to get you organic traffic by following accounts they think will follow you back. However, the follow-backs aren’t always guaranteed so you might not get your money’s worth. If you do get followed back, it could be by an account that doesn’t have a genuine interest in your music which means they might not engage with you, and they could eventually unfollow you.
It Can Skew Your Performance Metrics: If you are genuinely interested in growing your following, you’ll want to pay attention to your performance metrics. This will tell you what posts are getting the most engagement, when you are getting the most engagement and more.
If you have fake followers, you won’t be able to tell what percentage of your real audience is engaging. Therefore, it’s not a great long-term solution for boosting your marketing strategy.
Instagram and Other Social Media Sites Purge Fake Followers: Instagram and other social media sites have updated their terms to identify and remove inauthentic accounts from their platform. If your following is mainly made up of bots, it will start diminishing over time due to this activity.
You May Get Your Account Taken Down: Buying followers is a violation to the policies of most social media accounts. If you are caught buying followers, they may delete your account.
How to Build a Following
Instead of buying followers, it may be better to devote your time and money to increasing your following naturally. Here are some ways you can do that.
Publish Quality Content: People will be more likely to follow you if you give them something of value. As a musician, you are mainly promoting yourself. So how do you provide value? There are a few ways to do this:
As a musician, there’s no end to what you can post in your reel. You can post a clip of yourself performing, a professional video clip, a behind the scenes look of you are working on band stuff or just you talking about upcoming happenings that involve your music.
Hashtag, Hashtag, Hashtag: Hashtags will also help you build a following.
Hashtags are used on sites like Instagram, Twitter and Tik Tok. In addition to following certain accounts, the users on these sites will also follow certain hashtags. So if you use a hashtag on your account, it will come up in the feed of all the users that follow that hashtag.
Your post will also appear on relevant hashtag pages that can be viewed outside of newsfeeds.
Follow Other People: Another way to grow your following is to follow people that you think might follow you back. The trouble with this tactic is that you run the risk of having them not follow you back and this can disrupt your ratio.
So if you follow 1000 people and 250 people follow you back, that’s great. But the problem is, people will see you follow 1000 people and only 250 follow you back which is not so great. It makes it look like you just followed a bunch of people to get followers instead of getting them organically.
A method that I use is to follow people (maybe not 1000 but start with 100 or so) and let your following build. It’s likely that you will start gaining followers including some you don’t follow back so things will even out a bit. Then start deleting people who are inactive or no longer engage.
After a while, your followers will exceed your following and your account will look more impressive.
Are There Any Good Services to Use for Growing Your Following?
While a lot of follower buying services will get you bot followers, there are some that will help you grow a following in an organic manner. Here are some to consider:
Kicksta (Instagram): Kicksta will look at your account and find other accounts similar to yours that might follow you. Then they will begin engaging these accounts through likes and comments in the hopes they follow you back. The service costs $49 a month and $99 a month for a premium plan that offers more targets and options.
Stormlikes (Spotify and more) Stormlikes will get you Spotify followers and plays from real people. Their follower plan ranges from $2 to $10 while their plays plan ranges from $4 to $40. They don’t reveal how they do what they do, but they come recommended. They also help you grow your following on Facebook, Instagram, Twitch, Soundcloud and Tik Tok.
Twicsy (Tik Tok): Countless musicians have made themselves successful by going viral on Tik Tok. If you want a shot at it, you might try out Twicsy. In addition to helping you gain views and followers, the platform also offers various social media marketing plans. By helping you get views and likes, Twicsy will make your following seem more organic. They also offer a ‘drip feed’ service that allows you to gain followers slowly, so you don’t appear spammy to Tik Tok moderators.
Social Pros (Twitter): Social Pros is a newer service, but it is quickly working its way up the ranks establishing itself as one of the best ones out there. It buys you active Twitter account followers who are instructed to engage with you regularly, so you gain followers and engagements. Social Pros has several affordable plans available.
Social-Viral (Facebook): Social-Viral gets you high quality traffic from authentic sources. They offer plans tailored to small and large accounts. They provide a variety of affordable plans. They are also known to get higher retention rates than their competitors.
UseViral (Twitch): Twitch is more of a gamer site than a music site, but there are many musicians who have launched successful accounts on the platform. If you are looking to grow your Twitch following, UseViral is the way to go. It will help you gain followers, live views, and video views. It also provides follower growing services for YouTube, TikTok and Twitter. It’s affordably priced with packages that start at just $3.
Visibility Reseller (YouTube): This platform provides instant delivery on YouTube views. It also offers packages that will help you get more subscribers. Additionally, it has other packages that help you grow your following on a variety of social media sites including Instagram and Tik Tok which can help with your YouTube following.
Viralyft (Soundcloud): This platform uses marketing plans to grow your listeners and followers organically. It offers low pricing, a variety of packages and a guaranteed number of plays, followers, likes, comments and reposts. It also provides great customers service and a money back guarantee.
Should I Buy Followers on Social Media?
After reading this article, you may still be up in the air about whether to buy followers on social media. Doing so has its share of upsides and downsides. So which path is best for you?
Here are some things to consider when trying to answer this question.
Go For an Honest Service: If you are going to take the follower buying route, use an honest service that will grow your platforms organically. Stay away from those that buy bots and could get you booted off the platform.
Do it in Moderation: Buying followers is a good way to build a following when you’re starting out. It should help you attract other followers. For example, platforms like Instagram will start referring you to people with mutual followers and the more followers you have, the more people will get referred to you.
Once you start racking up followers, you may want to cut back on ‘buy followers’ services. It’s better to get followers organically. And if you don’t really need the service, why pay for it?
See How You Feel About It: There are tons of people who buy followers, but that doesn’t make it the most honest marketing tactic. If you feel like buying followers is cheap and phony, don’t do it. If you feel better about building followers without paying for an outside service, that’s a better route for you to take.
Building followers on social media isn’t easy to do. If you feel like a paid service can give you a leg up, it’s okay to invest, but do so carefully. What route will you be taking when you launch your platforms?
]]>Many artists are frustrated by how little most streaming platforms pay. But if they ban the platforms, they may just be cutting off their nose to spite their face.
With digital platforms being the most popular way for fans to access music, musicians need them for publicity purposes. Refusing to release their music digitally can do more harm than good.
Fortunately, there are steps you can take to bring in more money through digital streaming. It won’t be much, but it will bring in listeners while earning you income. Here are some tips to consider.
People certainly aren’t going to listen to your music unless they know it’s out there. You can build excitement around your music by letting people know about the release a few weeks out. Then they will be looking forward to hearing it. Create fliers with the album artwork and post them on social media to boost interest.
You can also have release parties. These can take the form of live shows, intimate gatherings, and livestreams.
Once the music is out, continue reminding people that they can tune in digitally by posting CTAs with the marketing materials you release. Include links to your music in emails, blog articles and YouTube videos. You can also advertise on social media and Spotify through posts and paid ads.
The more music that you put on streaming platforms, the more likely you are to get listeners.
Many musicians hold back on releasing their music because they don’t think it’s good enough, well recorded enough, new enough, etc. However, artists that have released tracks that they didn’t think were perfect found it to be beneficial in helping them generate a bit of cash and getting their name out there. And most of them haven’t experienced any backlash.
Sure, there may be some songs that are REALLY THAT BAD that you may want to keep to yourself, but if you have any that are meh, you may consider releasing them to gain interest and generate some cash.
If you can get your music on a popular playlist, it will increase your listener base. The best and easiest way to do this is to submit them early on. You can do this through Spotify for Artists and digital distribution platforms like Tunecore. It’s basically as easy as ticking off a button on a form.
However, these playlists will only consider unreleased music so you will need to submit it to them at least 2 weeks before the music goes live.
If you miss your window, you will have to get a bit more creative in trying to get your music on playlists. One way is to search Facebook for playlists so you can contact moderators and submit it that way. Many of the moderators will want you to like the playlist and some even may ask you to stream it every day, but you can only do what’s doable.
You can also make your own playlists and include the music of artists in your social groups hoping they will add you to playlists they might have.
Another idea is to contact local retailers and businesses to find out if they have a playlist. If so, ask them if they will include your music. If they don’t, find out if you can generate a playlist for them and ask to be added.
The streaming service Pandora has recently added a new feature known as AMP that provides additional ways for you to connect with fans.
The first thing you will have to do is get your music accepted on Pandora, and they’re pretty picky. If you don’t get accepted, you’re basically out of luck.
But if you do get accepted, you can set up your profile and start reaching out to fans. You can promote just about anything including shows, merch, music, etc. The platform will also provide insights on who’s listening to your music which will help you create more targeted ads.
If you know how to do sound, you can tap into a great way to get your music out there.
Usually, fans at a venue will want to hear music between band performances. You can use this opportunity to play your music over the PA.
If people hear your music and like it, they may ask you what they are listening to. This gives you an opportunity to let them know where they can find your music. If you have business cards printed with your digital streaming link on them, give them out.
And while playing your music at events you’re doing sound at can get more people listening to music, you don’t want to be too opportunistic. You should only play your music at events that are suited to your genre.
If you are tech savvy, you may consider creating your own app. People can use it to stream your music, find out about your shows and join your email list. It will also boost your credibility.
There are various tools that will assist you in making your own app. Free DIY App Maker is not the best one out there, but as the name suggests, it’s free.
If you are okay with investing a little money for better quality, EVO Band App is recommended. It’s more expensive than the free options, but it’s not as pricey as hiring your own developer.
A release strategy will help make people excited about your music. Earlier we talked about flyering strategy that will boost interest, but this method involves the stages in which you put your music on public platforms.
Start by releasing a single on digital platforms. Wait a month or so and then release your full album on CD only. If fans liked the single, they will be forced to buy the full album on CD as it won’t be available on streaming platforms.
Then wait another six months and release the album streaming.
This strategy will help you collect money through physical sales before you resort to streaming which is lower paying. It also helps you build momentum, so you get more plays overall.
There are tons of online music magazines that are looking for writers. If your writing skills are up to snuff, you can offer to sign on with them as a volunteer writer in return for posting an article about your music with a streaming link included.
Going this route is time consuming, but once the link to your article is in search engines, it will stay there indefinitely continuing to attract people to your music.
When we hear the word blockchain, most of us think of cryptocurrency. But the blockchain can record any financial transaction and it can do so in real time.
Experts are currently working on developing blockchain powered streaming apps. These will benefit the music industry by providing automatic payments that do not take a percentage out as a record label or streaming service would. It will also provide more transparency when it comes to artists knowing where the money they are earning is coming from.
Many people feel blockchain powered streaming apps will fix a broken music industry. Whether that is the case remains to be seen. But artists are recommended to look out for these apps and to submit their music as soon as they’re available.
Streaming platforms outside the U.S. tend to pay more per stream. So, if you release music in different languages, it may get played in higher paying regions
Spotify now offers artists a way to maximize SEO on the platform through Spotify for Artists. You can become more visible by using keywords that describe your music.
You can also use the names of popular artists in your genre as keywords. That way, your band or artist name will pop up when people search for your genre and similar sounding musicians.
Artists can make more money by streaming on higher paying platforms. But which platforms are best? In this section, we will review what’s out there.
Deezer: Deezer may not be the most popular music platform, but it has over 14 million user’s, half of whom are paid subscribers.
The platform has a unique service called, “Pay what you play” so if a subscriber listens to just one artist on the platform, their entire subscription will go to that artist.
The payout from Deezer can vary depending on your location, the type of subscription and who you ask. However, most say you are looking at rates between $0.0064 and $0.0011 per stream.
Amazon: Amazon is one of the most popular music streaming platforms with over 5 million users. They pay artists about $0.004 a stream which is about average. However, Amazon Music Prime offers users lower subscription rates so artists could be making as little as $0.00139.
While Amazon doesn’t offer anything special in terms of their payouts, they do have an Amazon Digital Music Store where artists can sell their releases. Amazon takes 30% of each sale.
Spotify: Spotify has taken a lot of heat for its low payouts. The platform, which has over 200 million active users, pays artists as little as $0.0033 per stream.
This is further diminished as the revenue doesn’t go completely to the artist. The platform takes 30% of the income leaving the artist with a mere 70%.
Things have gotten so bad that advocates for musicians’ rights have launched a Justice at Spotify movement. They are demanding that the platform pay musicians one cent per stream, adopt a user centric payment (similar to the one Deezer uses), be more transparent with revenue streams and end legal battles intending to impoverish artists.
Pandora: Pandora started out as an internet radio station but has since transformed into a digital streaming platform. They pay as little as $0.0013 per play.
This is likely due to their dwindling listener base. The platform has around 55.1 million users down from the 81.5 million users they had in 2016. Their limited listeners may be partially because they only stream in the United States.
Pandora offers paid and unpaid services to subscribers. Those with an unpaid subscription must listen to an ad before every play. Artists are paid with a fixed rate of 45% that comes through performance royalties via Sound Exchange.
Subscribers that pay for the service can listen ad-free, and artists are paid through the subscription money. However, the royalties go to the label and distributor often leaving the artist with less than half of the income. This will vary depending on the type of subscription.
YouTube Music: With YouTube’s popularity, you would expect that the platform would pay artists generously. But when it comes to streaming music, they pay a disappointing $0.008 per stream.
However, they somewhat make up for this by giving artists the opportunity to make money off posting music videos.
Tidal: Tidal is not the most popular music streaming platform, but it offers one of the highest streaming payouts coming in at a whopping $0.013 a stream. It also aims to be more artist friendly by offering a Direct Artist Payout Program and a Fan-Centered Royalties program.
These programs give artists royalties based on their HiFi Plus Tier subscribers. However, there is no exact number to determine how much they will make. It depends on their HiFi Plus Tier subscription revenues.
Streaming payouts should be pretty straightforward. A certain amount is offered per stream. So, if you are getting one cent per stream, you will get ten cents per ten streams, a dollar per a hundred streams and so on.
But as you can see by the rates above, things aren’t always so simple. So, what are the factors that are affecting how much you’re getting paid? Here are a few that come into play.
Free vs. Premium Streams: The type of subscription the user has will affect what you are making. If the user pays for the service, you will be making more money than you would if the user does not pay for the service. The ad revenue will ensure the artist gets paid, but it won’t come anywhere near what they would make if their music were being streamed by a paying customer.
Local Markets: You will also get paid differently depending on where your money is streaming. For example, one month of Spotify is $9.99 in the United States but it’s only $3.99 in a smaller market like Indonesia. The more the customer pays, the more the artist will get paid.
Pay for Play Features: You may also pay more if you sign up for Pay for Play features. For example, Spotify now offers Discovery Mode which puts artists on the top of searches, so they are likely to get more streams. However, the service will only work for you if users like your music. Even if your song comes up on the top of search engines, it can still get ignored.
There is no cost for the Discovery Mode, but Spotify will take a bigger percentage off the money you make, another downside of the service.
The fact that there are so many factors involved in how much you get paid per stream means that many artists are confused when it comes to determining how much they should be making. That’s why so many of them complain about a lack of transparency.
The answer to this question is yes. However, you will have to get a good number of listens to make anything close to a minimum wage salary.
Minimum wage in many parts of the world is $15 per hour making for a yearly income of $31,200. If an artist is earning a $0.003 rate on Spotify, they would need to generate 10,400 streams a year, or 865,000 streams a month to equal that income. And this doesn’t account for any out-of-pocket expenses the artist may incur in terms of marketing.
The streaming economy is so pathetic, it has even gotten backlash from Paul McCartney, one of the richest musicians in the world. With so little coming in from each stream, and with record companies taking the lion’s share, a very small amount ends up trickling into artist’s pockets.
The music streaming industry is not looking great, but hopefully these tips will help you generate the highest income possible. The right type of promotion and listing on specific platforms will allow you to bring in more money. What do you do to boost digital streaming sales?
]]>When you are in a local band, or a marriage, most people won’t know about your fights. But when you take it to a national level, i.e., a famous band or a successful marriage, everyone’s going to hear about it.
In fact, there have been many feuds that have been the talk of the town for years. And they are not only between bandmates. They can be between a musician and someone they work with such as a manager, or it can be between two musicians that seemingly have little to do with one another.
This article will discuss the biggest feuds in music history, so you can get the inside scoop.
You may think it’s convenient to be in a band with your siblings. But blood runs thicker than water, and not always in a good way.
There are several things that may have contributed to the falling out of Ann and Nancy Wilson. The first was a case of assault involving Ann’s husband Dean Welter who was arrested for violent acts towards Nancy’s twins who were 16 at the time. Walter pled guilty to lesser assault charges to avoid jail time.
Next came a tour offer that was turned down. Apparently, Ann wanted to take a new crew of guys on the road that Nancy wasn’t comfortable with. So that never saw the light of day.
Recent reports reveal that Nancy wants to make Heart more of a tribute act while Anne wants to write new material.
In any event, the two maintain that they have a good relationship but are just having professional disagreements. Meanwhile, Nancy has been taking her version of Heart on the road with a new singer, Kimberly Nichole who was a finalist on season 8 of The Voice. Ann continues to work on her solo project.
Paul McCartney and John Lennon were the golden boys of rock n’ roll. Their sweet and somewhat innocent attitude made few want to acknowledge what lurked underneath. But unfortunately, there were issues that eventually led to the band’s demise.
There seems to be no one reason why the four decided to split. They stopped touring in 1966 due to exhaustion and the overpowering roaring of their fans.
Then Brian Epstein, their manager who help manage their money, past away, Lennon decided to bring his in-laws to handle their financials which bred a lot of mistrust.
Many people say Yoko Ono broke up The Beatles. And while she may have given John the strength to leave (yes, he was the first to leave the band), she was likely more a sign of the inevitable.
After the two parted ways, they went on to say disparaging things about each other. Truthfully, John was mostly responsible as he cut down his former partner both via the media and in song lyrics.
Paul fought back in one song but was mostly hurt and confused by Lennon’s actions.
Fortunately, the two made peace before John’s death and had a few good years together. Paul continues to feel the loss of his dear friend.
Kanye West is known for having arguments with just about everyone. Here are a few he has had over the last few years.
Trevor Noah: The Daily Show host caused Kanye’s blood pressure to elevate when he questioned posts the musician had made concerning his former wife, Kim Kardashian, and her new boyfriend Pete Davidson. Kanye responded with an unlikely racial slur. Fortunately, Noah took the high road by posting a statement that expressed concern for West and a hope that he would get help for his mental illness.
Taylor Swift: Kanye’s feud with Taylor Swift is among the most famous. West walked up to the singer while she was accepting a Grammy insisting that Beyonce should have won instead. Although the two were reported to have buried the hatchet, the grudge was renewed when Kanye sang about her in his song ‘Famous’ with the lyrics, “I made that bitch famous.”
Kim Kardashian: It’s no secret that Kanye has been feuding with his ex-wife Kim ever since the two split, and probably well before. He often claims that Kim keeps their daughters from him even though, according to her, he has complete access to them. The feud has spilled over to Kim’s new squeeze, Pete Davidson. West posts pictures of the actor/comedian getting beaten up and even getting decapitated.
Nancy and Ann Wilson aren’t the only siblings in a band to take shots at each other. Liam and Noel Gallagher of Oasis are known for their rocky relationship.
The first incident on public record occurred at the famous Whisky A Go Go. Reportedly, Liam was intoxicated and started insulting the band and threw a tambourine at his brother. He stalked off not to be heard from for several days.
That was followed by a series of incidents including the following:
We could go on but you get the picture. Although there is talk of a reunion, the brothers continue to brawl to this day.
David Lee Roth and Eddie Van Halen
David Lee Roth and Eddie Van Halen’s feud was visible a mile away. The Van Halen brothers were not a fan of Roth’s personality from the start. But they enjoyed his showmanship.
The group managed to keep it together for years, but Roth did not like the direction they were going in when they used synthesizers on the album 1984. In fact, they had Michael McDonald come in and write the lyrics to the song ‘I’ll Wait’ because Roth insisted he couldn’t make lyrics work over the synthesized music.
The band reunited for the album ‘A Different Kind of Truth’ in 2012 but their relationship never really improved.
Eddie passed away with the two continuing to be distant with one another. Roth waited a while before releasing a comment on the guitarist’s death which didn’t say much either way on the relationship.
“My guitar player passed away, Eddie Van Halen. He’s in heaven raisin’ hell. Or he’s in hell consequently in heaven,” the singer said.
The Eagles were a band fraught with controversy. This mainly stemmed from guitarist Don Felder claiming singer/drummer Don Henley and singer/guitarist Glenn Frey were tyrants who wanted legal and financial control of the band.
They also apparently did not want Felder singing. They accepted that he was a good guitarist but did not like his singing style which served to fuel the fire.
Things finally came to a head when the band had a huge fight after a concert. Things got so heated that Frey threatened to kill Felder. This caused the band to break up swearing they would never tour again.
They were often quoted as saying they would not get together unless hell froze over, so when they decided to go out on the road again in 1994, they called the tour, “Hell Freezes Over”.
Unfortunately, the reunion was short-lived, and Felder was finally fired from the band in 2001. This was far from the end of the story.
Felder took revenge by suing the band for wrongful termination and by writing a book called ‘Heaven and Hell: My Life in the Eagles’, wherein he described Frey and Henley as money hungry dictators and tyrants. Henley tried to stop the book from being published, but he was only successful in delaying its premier date.
A documentary of the band was released in which Henley reportedly downplayed the tensions in the band saying, “We’re a lot like brothers. We fight but we’re still a family.”
Unfortunately, the three were unable to mend their relationship before 2016, the year when Glenn Frey died of rheumatoid arthritis, ulcerative colitis, and pneumonia.
Guns N’ Roses are one of the most successful bands in rock n’ roll history, but the band fell apart due to more than just creative differences.
Things may have already been going downhill internally when drummer Steve Adler and rhythm guitarist Izzy Stradlin parted ways with the band. But when Slash left, it was the ultimate death knell, at least at the time.
Fans may not have been shocked by Slash’s departure as there were already rumors swirling about Rose’s unreliable behavior. But apparently, the ultimate reason for the split came about when Slash decided to work with Michael Jackson on the track ‘Dirty Diana’.
People were beginning to talk about Jackson’s history as a child molester. Even though these claims were unproven, they were enough to turn off Rose who stated he was abused as a child.
The singer alleged that he was abused by his father, stepfather and half siblings and had also witnessed his stepfather abusing his mother. He had apparently been attending regressive therapy sessions that made these memories come back powerfully at the time of the collaboration.
However, Slash says it was more than just the Jackson matter that pulled the two apart. They had recently released “The Spaghetti Incident” which flopped. Slash felt this was due to Axl wanting to take over creative control of the band.
Fortunately, the feud is now behind both musicians. Axl reached out to Slash and Slash was happy to put the bad blood behind them. The went on to release some new songs and have told the press they will continue to do so.
Tupac Shakur and Biggie Smalls could have been the best of friends. They were both talented hip hop rappers dedicated to exposing the social issues of racial injustice and life on the streets. But they became more like rivals simply because one came from the East Coast and the other came from the west coast.
Another unfortunate similarity is that both artists ended up dead just as their careers were taking off. Tupac was gunned down on Sept. 7,1996 and Biggie was shot and killed six months later on March 9, 1997. Neither of their murders were solved.
The two weren’t always enemies. Both were born on the east coast. Tupac was the son of a single mother who moved to the west coast to find a safer neighborhood to live in.
Biggie grew up in Brooklyn attending prestigious high schools and rapping and dealing drugs ‘for fun’.
Tupac rose to fame before Biggie. When Biggie came to the west coast, he asked to be introduced to Tupac and the two began hanging out and working together.
It all went south when both rappers were scheduled to work with another rapper, Little Sean (aka Sean ‘Puffy’ Combs) on a recording.
Tupac arrived at the studio after Combs and Biggie and was headed upstairs to meet them when he was gunned down in the lobby and shot five times. He survived the attack but always thought Biggie had something to do with it, a belief that was further instilled after he got some inside info during a stint in jail.
Things got even worse when Tupac got signed to Death Row Records which already had a rivalry with Combs’ Bad Boy Records.
This led to the rappers releasing songs with lyrics made to trigger one another. Biggie put out the song, “Who Shot Ya?” and Tupac followed up with the response track, “Hit ‘Em Up” in which he claimed to have slept with Biggie’s wife, Faith Evans. Evans denied the claim.
After Tupac’s death, Biggie wanted to put the fighting behind him. It’s unclear whether this was a genuine effort or just a way to calm things down and save himself. But if the latter was the case, the effort was not successful.
So was Tupac’s death the end product of a previous failed murder attempt by Biggie? And was Tupac’s eventual murder revenge for Biggie’s death? Unfortunately, these are secrets that both men will take with them to the grave.
Roger Waters (bass and vocals) and David Gilmour (guitar and vocals) are the superpowers behind Pink Floyd. But Waters, who was in the band before Gilmour, was always a bit put off by collaboration. This led to a rift which would cause him to leave the band in 1985.
Waters believed that the band could not continue without him due to a ‘leaving member clause’ and set out to dissolve the band. He was surprised by a push back from Gilmour and drummer Nick Mason and was forced to resign.
He still maintained that breaking up the band was the right thing to do as he felt they were ‘no longer Pink Floyd anymore’ and they weren’t making any money.
Despite their differences, Mason, Gilmour, and Waters have done a few reunion performances that were smashing successes. But no long-term plans emerged.
Pink Floyd continues to play with Gilmour and Mason at the helm. Waters has spoken out about his hurt feelings since he is not permitted access to the band’s social media accounts. He has taken swipes at Gilmore’s wife who runs the accounts, adding further fuel to the fire.
Running hot and cold, he has also made attempts to reconcile the band, with meetings that ended in disaster.
Gilmour and Waters have been at war with each other for close to 40 years with no end in sight.
Musicians are known to make beautiful music with one another. But why can’t we all just get along? I suppose it’s easier said than done.
Which of these still-feuding musicians would you most like to see get over their differences and move on?
]]>A tour will get your name out to the masses and that includes record labels. And when you come back to your hometown, you will have built up even more of a buzz so all your homies will be dying to see you.
But booking a tour isn’t easy, especially if you are a relatively unknown band. So, what can you do to get yourself out there AND make money? Here are a few tips.
Start Planning
It’s important to start planning your tour so you have plenty of time to plan. If you wait until the last minute, many of the clubs you are targeting will be booked.
It’s advisable to start booking about five months out. Sure, some clubs won’t be booking out that far, but you can always circle back to them when you need to fill in dates.
Figure Out a Route and Timeline
Next you will want to figure out a rough route and timeline. Think of how much time you want to spend on the road and how many cities you will want to visit.
If this is your first tour, you may want to make your tour a shorter one, say two weeks or less. You will also want to visit cities close to you starting in your hometown and working your way out. It’s also advisable to hit cities where you have a following or a good scene for your genre of music.
Plan the cities you want to visit trying to stick to a schedule with no more than 6 hours of driving a day, 10 on non-show days. This is ideal, but it’s likely you’ll end up doing longer drives and some backtracking. It happens!
Make a Calendar
Keep your planning organized by making a calendar that you can share with everyone you are going to tour with. Put each venue that you are confirmed or penciled in with on the calendar and change the status as dates get firmed up or canceled. You should also include all contact information such as the name, address, email and phone number of the venue and the person you were speaking to.
Decide Who You are Going to Take with You on Tour
Having a road crew with you on tour can be nice. They can split the driving and help with lugging the gear.
But keep in mind that taking extra people will add to your expenses. They will also take up valuable space in the van. So, if you absolutely need roadies, stick to just one or two.
Finding Venues
Finding venues will be the most challenging part of your tour booking journey. It’s difficult to convince a promoter you never met that you can draw people.
Therefore, it’s best to go the unconventional route. Try getting into rec centers, backyard shows and living rooms. So instead of calling clubs, you’ll want to look for DIY promoters. You can also get friendly with bands in the area to see if there are any shows you can hop on.
And if you are dealing with venues, take some time to research them. For example, if a venue is booking major acts, it’s likely you’re not going to get on a show with them unless you have some serious backing.
You should also look at the nights they are booking. So, if you are looking for a show on a Friday night but you see that they do a hip hop theme on Friday nights, it’s probably going to be a no-go…unless of course, you’re a hip hop band.
When doing venue research, it’s good to check out the club’s website, but you can also refer to Yelp which has great customer reviews. Indie on the Move is another good resource, and it has tons of venue listings.
The Pitch
The next thing you need to do is figure out the best way to contact the venue. Some venues make it very clear as far as how to get in touch. But others may have an email, several social media pages… and the list goes on.
If you are not sure of the best way to get in touch, you should just call the venue. Whoever picks up is likely to be able to tell you how to contact the promoter.
You should also have a pre-made email or message that you are using to send to promoters. The email should be short and to the point.
The subject of the email should have the name of the band and the date you are looking to book. You don’t need to include a bio, just a few social media links should do the trick, or you can send a link to your LinkTree account.
The most important thing to include in the email is the number of people you think you will bring. This is what promoters will pay the most attention to.
Local Openers
Earlier in the article, we talked about networking with local bands to get your gig booked. This might be the best thing you can do.
Local bands can tip you off about shows, but they can also help you create a tour package.
So, if you go to the promoter suggesting a package that includes you and one or more local bands with a strong draw, they will be more likely to take your pitch. They will see that they can have a strong night without having to do a lot of the work.
Payment
As a touring band, you at least want to cut even on your expenses. Most clubs won’t give you a guarantee, but they will give you a cut of the door.
Here’s an idea of what you can expect:
Most clubs will also let you set your own ticket price. It’s best to set a price that’s similar to what most clubs in town are charging. $10 -$12 is a pretty good range. It’s affordable for most people and they may pay a little more as they will understand you’re a touring band that needs to make money.
Promoting
Your tour won’t be successful if you don’t promote it. Start promoting a month or two out so people can save the date.
Nowadays, social media is one of the most effective ways to promote, and luckily, it’s mostly free. But it can a get a little tricky if your following is mostly from your hometown, and you are trying to hit other markets.
A good way to get into other markets is to look for Facebook groups that are specific to the locations you’re touring and the genre of your band. For example, if you’re a metal band from St. Louis, you can search for Facebook groups that are specific to metal fans in St. Louis.
Then share your fliers on those sites a few weeks before the show.
Instagram and other social media can be a bit trickier. But you may be able to hit your target audience by using and searching for the right hashtags.
There are also accounts that specialize in sharing fliers for local shows. If you can find those accounts and get them to share your flier, you’re in business.
Another idea is to send the venue your fliers and ask them to hang them around the club a few weeks before the show.
Food and Lodging
When you’re out on the road, you don’t want to spend a lot of extra money on hotel rooms. So, prepare to do plenty of couch surfing.
It’s advisable to know where you are going to sleep every night before you go out on tour. You don’t want to be scrambling at the last minute, and you certainly won’t want to sleep in the van or on the bus (unless it’s an RV type situation).
Fortunately, lodging shouldn’t be too difficult to come by. There’s always someone who wants to party with the band, right? Just be warned that they will probably keep you up all night!
In any case, you can try to find lodging by hitting up other bands, local fans in the area, and the venue itself. Some venues have green rooms you can sleep in, and, in other cases, the promoter may know of someone that will provide lodging or they may even offer up their own home.
Eating won’t be as much of an issue because it’s not as big of an expense. But some venues have kitchens and will cook for you. The people that put you up may also offer you breakfast or dinner.
Speaking of food, it’s important to manage band expectations. When I went on tour, I tried to stay frugal and eat food bought at 7/11s. But my drummer wanted to eat out potentially blowing the band’s budget and throwing us off schedule.
Let the band know that if they want to have a nice sit-down meal, they must do so at a time that is convenient and the money they spend should be coming out of their pockets. You may also encourage them to bring and buy snacks, so they don’t get hangry when they are on the road.
Make a Tour Budget
To give band members an idea of what they can and can’t afford on tour, it’s advisable to make a tour budget. The budget should include:
It may be impossible to know how much you will make in advance, but if you can estimate, you may be able to manage your band’s expectations.
Merch
Merch will be your main source of income during a tour. Plan to make sure you have all the merch you need including shirts, pins, CDs and whatever else you have available. Taking along a lot of merch can take up space in the van but making an impressive showing will draw attention to what you have to offer.
It’s also advisable to take someone along who can sell merch for you. This isn’t necessary, but if you are bombarded by fans after the show, it can cause you to lose sales. Therefore, it’s best to have a table set up that people can buy from at any time.
If you can’t afford to take someone with you to sell merch, see if you can find someone to help once you get to the venue.
Make an Inventory List
An inventory list is a list of everything that you are taking with you on the tour. Not only will it ensure that you have everything you need when start out, but it will also keep you from losing stuff when you are on the road.
It’s a good idea to check your inventory list before you leave a venue, so you don’t leave anything behind. If you lose valuable equipment, it’s likely you won’t be able to backtrack for it. And it may cause you to be unable to play your next show.
House Shows
House shows can be a great way to make money and get bookings on a tour. People love the intimacy, and you don’t have to deal with the red tape that’s involved with booking a venue.
Of course, you are taking a risk that the show will get shut down, but if you stay discreet you will be in luck.
You will need to convince the homeowner to let you set up the show which will take some doing, but if they can get a portion of the profits, it may be enough to persuade them.
Colleges
Colleges make great tour venues. They pay well and they tend to have a good built-in audience.
The best way to get college shows is through a college booking agent. But if that’s not in your budget, you can call colleges yourself to set up shows. Try to speak to someone on the music committee.
Colleges pay anywhere from $1200 to $1800 a show so if you can get a few college dates on your tour, it will make up for your other expenses. They may also throw in food, lodging and money for gas.
If you are looking to include colleges dates on your tour, get started early. They can be booked as far out as 6 to 18 months in advance.
Know the Lingo
There is certain lingo a promoter may use when booking a show. If you don’t know what the promoter means, you may end up agreeing to something you may not want to agree to. Here are a few terms you should get familiar with.
Confirm Your Shows
If you are booking clubs months in advance, it’s a good idea to confirm your shows before heading out on tour. You may want to check in with the club several times before the tour starts to ensure your date has not been double booked or the club hasn’t closed, etc. Believe me, it’s better to know!
Booking a tour is not easy, but these tips will help you come closer to being successful. We wish you the best of luck on your journey.
]]>
Stage fright is normal for most people and in some ways, it can be a good thing. A little bit of nervous energy will make the performance more exciting. And it means you care about what you’re doing and will be careful not to make a mistake.
But if you are overly anxious, you will be stiff and awkward on stage. You may act withdrawn. What’s worse, if you play an instrument, it could make your hands shake and stiffen up affecting the way you perform.
Fortunately, there are things you can do to minimize stage fright. Here are a few suggestions.
What Causes Stage Fright?
Knowing what causes a condition can minimize its symptoms. Let’s start by talking about the factors that contribute to stage fright. These include:
What Are the Symptoms of Stage Fright?
Stage fright is characterized by the following symptoms:
What to Do to Minimize Stage Fright
Engaging in certain behaviors will limit anxiety when you are on stage. These include the following:
Avoid Caffeine and Sugar: Caffeine and sugar are known for producing symptoms of anxiety like shaking, digestive issues, accelerated heartbeat and more. It’s best to avoid them before a performance.
Practice: Practice is tricky. You want to practice enough that you know your s**t. This will make you feel more confident on stage. But if you over-practice, you can get to the point where you can’t focus on your instrument which can do more harm than good. You might also get to the point where you start focusing on your mistakes which can make you more nervous.
It's hard to find the perfect balance, but it’s safe to say that once you feel confident with the songs, you can scale it back a bit.
And practicing does not just pertain to how you play the songs. It can also include how you move on stage. It may seem silly, but you may want to try standing in front of the mirror and performing your onstage movements. This will help you determine what looks good, so you feel more confident when you’re in front of an audience.
Have Fun: Anxiety and fun typically do not go hand in hand. Instead of letting anxiety eat you up, try letting go. Close your eyes and imagine the audience having a good time. Lose yourself in the music and tell a few jokes. You are sure to start feeling better soon enough.
Stop Obsessing Over What Could Go Wrong: If you obsess over missing a certain note or singing out of tune, it will make things worse. Focus on the positive instead.
Avoid Thoughts of Self Doubt: A positive and confident attitude will minimize feelings of self-doubt.
Practice Controlled Breathing and Mediation: Controlled breathing and meditation reduce stress. It’s a good idea to engage in these techniques at some point before a show. Note that they take a bit of practice to master so you won’t want to just take them out of the hat randomly.
Try them out at home first. Once you have learned how to do them, bring them into your before-performance routine.
Connect with the Audience: Think of the audience as friends and talk to them as you would an old buddy. This will get everyone feeling more relaxed.
Act Natural: Forcing the way you act on stage will add to your anxiety. Be yourself and you will be more at ease.
Eat a Healthy Diet and Get Plenty of Sleep: Mental and physical health go hand in hand. If you eat healthy, get plenty of sleep and engage in recommended lifestyle habits, you will feel less anxious in general, including when you go on stage.
Make Yourself Look Good: This may seem shallow, but when you look good, you feel more confident. And lets’ face it, it’s also beneficial to look good for your audience. You can do this by wearing an outfit that is flattering, styling your hair in a certain way, and wearing makeup if you like cosmetics.
Talk to a Therapist: It may seem extreme, but if you really can’t get a handle on your emotions and you are set on being a musician, you may want to talk to a therapist to come up with ways to control your fears. He or she may address the issue with cognitive behavioral therapy and other therapeutic strategies. They may also refer you to a psychiatrist who will prescribe you anti-anxiety medications that can be taken right before a show or on an ongoing basis.
Don’t Magnify Mistakes: It’s okay to make mistakes. But if you magnify them, you can get yourself into real trouble.
Say you miss a note. Life goes on. But if you focus on it, you could start missing more notes and getting lost in the song. Practicing often along with the right mindset will keep you on track and give you the focus you need to keep going.
Picture Your Worst-Case Scenario: This may sound counterintuitive, but it can be effective.
If you are feeling anxiety coming on, picture the worst thing that can happen. You mess up? The audience walks away? Sure, something like that could happen, but unless it’s a make-or-break gig, life goes on. There will be other shows and plenty of chances to redeem yourself.
Get Over Yourself: if you think about it, being overly focused on your performance is kind of self-centered. For one, it’s likely you’re not the only one up there. You have your whole band to think about.
You should also consider that members of the audience aren’t thinking about you that much. Sure, they may have not been that impressed with your performance (in a worse case scenario) but they have their own lives to reflect on. It’s likely they are not focusing too much on your band and they are likely to forget a less than stellar performance within a few days.
Get Through the First Five Minutes: For many musicians, the first five minutes on stage is the most stressful. After that, they begin to warm up on their instrument and get more comfortable with the audience. If you picture yourself getting through that first five minutes and assure yourself things will get better, they probably will.
Never Apologize for Being Nervous: Most of the time, no one will notice that you are nervous. If you apologize for being nervous, or admit that you are nervous in any way, it will show that you aren’t as confident as you seem. It will draw attention to your flaws and cause the audience to concentrate on them which can take away from their enjoyment of the show.
Don’t Share Your Mistakes: If you are nervous onstage, you will be more likely to make mistakes. The important thing is to never let the audience know you have made a mistake. Similar to apologizing for being nervous, this will draw attention to a flaw that might have otherwise gone unnoticed. It will also make the audience focus on future errors, so they don’t enjoy the show as much.
Be Ready for the Show: If you are running late or think you might forget something, or end up actually forgetting something, it will make you more nervous than you already are. You can keep your cool by preparing everything you need well in advance of the show and double checking to make sure you didn’t leave anything out. It’s also best to arrive early to the gig so you have plenty of time to load in and make sure everything is going according to plan.
Keep Doing It: Stage fright may get the best of you sometimes, and you may even be tempted not to go on. But the more you perform, the more you will get used to playing in front of an audience. Your stage fright will begin to diminish, and you will become a seasoned performer.
How Famous Musicians Deal with Stage Fright
If you deal with stage fright, it may help you to know that you’re not alone. In fact, there are many very famous musicians who deal with anxiety before they go on stage. Here a few that are noteworthy.
Barbra Streisand
Barbra Streisand has been performing for decades so it may surprise you to find out the famous songstress struggles with stage fright, but it’s true.
It seems that Streisand was performing in Central Park back in 1966 when she forgot her lyrics. She was so traumatized by her experience that she didn’t perform again for 27 years. She returned to the stage in 1994, but she never makes an appearance without a teleprompter.
She uses the teleprompter not only to remind her of her lyrics, but to dictate any dialogue she has with the audience. This helps her avoid any awkward moments.
Adele
Adele has sold more records than most artists, but that doesn’t keep her anxiety at bay. She is another star that suffers from stage fright. The stage fright is not caused by any one incident but is generally always with her.
For her, it’s just a matter of getting used to her audience. She says her anxiety generally melts away after her second or third song.
Katy Perry
Katy Perry seems absolutely fearless when she performs on stage, but she has had her share of stage fright experiences. Most of them came about when she was very young and used to do gospel performances for her church. She also mentioned times when she froze when staring at the audience or fell and messed up her choreography.
Perry used to take anti-anxiety medications to calm her down. But now that she’s been performing for so many years, it’s barely an issue.
Rihanna
Rihanna’s fierce stage image comes across loud and clear. You may never guess she is suffering from stage fright, but she is.
Rihanna came from the Barbados and led a hard life before embracing her music career. It may be coming from meager beginnings that makes her less than 100% confident, but she knows that if she wants to succeed, she needs to put her anxiety behind her. Her courageous attitude helps her make it through.
Rod Stewart
Rod Stewart has a career that spans decades. He is known for strutting his stuff across the stage with the utmost confidence. But he was so nervous during his first U.S. performance that he sung the entire score hiding behind speakers.
Ozzy Osbourne
Ozzy Osbourne is known to be a heavy metal madman. He has performed many a wild on-stage antics in his lifetime ranging from picking up his lead guitarist while soloing to biting the heads off bats.
His stage fright was a secret to many, but he admitted his problem in his autobiography, “I Am Ozzie’.
It may be worth it to mention that Ozzy has a long history of doing drugs and alcohol and his habit may have formed in part to deal with his stage fright. This way of rock stars treating onstage anxiety is likely to be common, but it’s not the way to go.
Not only can drugs and alcohol negatively affect your ability to play, but it can also cause health issues, financial issues, troubled relations and more. Suffice it to say, drugs are bad, m’kay?
Luciano Pavarotti
Pavarotti was a great opera singer with a beautiful voice and extensive range. His career spanned decades. He came from a long line of performers and was a glamorous showman as well as a great talent.
But, like the others on the list, Pavarotti also suffered from stage fright. He was in constant fear of hitting the wrong note and was known to mutter to himself that he was walking to his death every time he took the stage.
Eddie Van Halen
Eddie Van Halen was known as a masterful and flashy guitarist. But his shy nature came through. He may be the only person on this list I’m not surprised to find had stage fright.
Unfortunately, like Ozzy Osbourne, Eddie turned to alcohol to manage his anxiety, a strategy he was taught by his father at an early age. He ended up spending a good portion of his life battling addiction.
Steven Osbourne
No relation to Ozzy, Steven Osbourne is a prolific classical music soloist that is very much in demand. He has performed with all the best orchestras in every major city. He openly talks about his stage fright but feels that a healthy dose can do more good than harm.
Carly Simon
Carly Simon was a natural musician. She began performing at the age of 7 and followed that path her entire life.
Unfortunately, Simon was sexually abused at a young age which weighed heavily on her development of stage fright. She often said that she would prefer to have been a backup singer than a lead singer. In fact, she reportedly collapsed before going on stage on various occasions.
So how does Simon manage her stage fright? The singer keeps performances to a minimum and stays away from the spotlight as much as possible.
Stage fright is common, but if it is excessive, it will end up hurting your career. The tips in this article will help you keep it under control so you can move forward with your endeavors. How do you minimize anxiety before you go on stage?
]]>Record Store Day History
Record Store Day is both a special day and an organization. It was established in 2007 to celebrate the 1400 record stores independently owned in the United States and similar stores owned internationally.
The first Record Store Day happened on April 19, 2008. Today there are participating stores on every continent except Antarctica.
The day is meant to celebrate the unique culture of the record store. It calls for owners, artists, fans, and staff to participate. A variety of events are typically held to honor it including performances, parties, cook outs, meet and greets with artists and music releases.
On the first Record Store Day, Metallica spent hours in Rasputin Records in San Francisco meeting and greeting fans. Since then, well known artists have been known to host events at record stores all over the world.
In 2009, Jesse ‘Boots Electric’ Hughes of Eagles of Death Metal proclaimed himself the ambassador of Record Store Day. Since then, many artists have followed in his footsteps by taking the title. They include Dave Grohl, Josh Homme, Ozzy Osbourne, Iggy Pop, Jack White, Metallica, St. Vincent and more.
In the almost 15 years Record Store Day has been hosted, many cities have declared it a national holiday including New York, Los Angeles, Boise, Charleston, Raleigh and Las Vegas.
In 2013, Michael Kurtz, the organization’s co-founder, was made a Chevalier of the Ordre des Artes et des Letters in France for Record Store Day’s contribution to the people and culture of the country. The same year, the organization accepted the Independent Spirit Award from NARM (now the Music Biz Association). In 2015, it was named Marketplace Ally of the Year by A2IM, an organization of independent music labels.
National Record Store Day works with independent and major record labels throughout the year to create contests, promotions and special releases to spotlight the benefits of independently owned record stores. On Black Friday of 2010, Record Store Day teamed up with record stores to provide them with exclusive releases to draw attention to their services on the biggest shopping day of the year. This is a tradition that continues to this day.
In 2016, Record Store Day created the Summer Camp conference which was allows owners and staff to meet and interact with labels, distributors, and others in the industry. In 2017, It became a founding partner in the Making Vinyl conference which brings together companies and individuals dedicated to the vinyl resurgence.
In 2020, Record Store Day was split over three dates which landed in August, September, and October. Although there were no live events due to the pandemic, there were music releases which provided comfort in troubling times.
There are several independently owned brick and mortar record stores that are signed up with Record Store Day. They are privy to the latest releases and events.
Record Store Day’s Free Docuseries Celebrates UK Record Store Owners
One of Record Store Day’s proudest achievements is the release of their docuseries, Behind the Counter. They have teamed up with Classic Album Sundays and Bowers & Wilkins for a 12-part docuseries that explores the 230 independent record stores across the U.K.
The series has included some major players like Bear Tree Records in Sheffield, England, Flashback Records in London, England, Jumbo Records in Leeds, England and Reflex Records in Newcastle, England.
There is also a U.S. equivalent of the series being aired on Classic Album Sundays’ YouTube channel that explores shops like L.A.’s Permanent Records and Indianapolis’ Indy CD & Vinyl.
Record Store Day Releases
Here are some of the releases you can look forward to buying on Record Store Day 2022. They are currently available for preorder on the Record Store Day website.
Is National Record Store Day the Same as National Vinyl Day?
No, National Record is not the same as National Vinyl Day.
For one, whereas Record Store Day is both a date and an organization, National Vinyl Day is just a date. And while Record Store Day celebrates stores that sell vinyl and other music products, National Vinyl Day just celebrates vinyl.
The dates are also different. Record Store Day is celebrated on various days in the spring and on Black Friday while National Vinyl Day has always fallen on August 12.
National Vinyl Day was started by Gary Frieburg of Los Osos, CA. He decided it should fall on August 12 as this was the day when Thomas Edison invented the phonograph back in 1877.
Fun Facts About Record
Both National Record Store Day and National Vinyl Day put the spotlight on the vinyl record. So let’s look at some fun vinyl facts.
The first vinyl record was created by American inventor Emile Berliner in the late 1890’s. The records were readily available to the public in the 1930’s and 40’s but these eras were dominated by radio. Therefore, they didn’t reach a peak in popularity until the 1960’s and 70’s.
Over the years, vinyl records began fall from favor with the general public. People preferred tapes and later CD’s and digital music due to their small size and convenience.
But the 2000’s brought a revival. Vinyl fell back into the public eye because of their attractive illustrations, unique sound and the ritual involved in spinning records.
Here are some other fun facts to consider:
How to Celebrate Record Store Day and National Vinyl Day
There are several events that are held to celebrate Record Store Day, but with the pandemic and other possible factors that can get in the way of you making it to one of these, it’s good to know that you can also celebrate in other ways. Here are some things you can do to honor the holiday in your own special way.
Why is Record Store Day Important?
There are so many reasons why record store day is important. Here are a few to consider.
It Supports Vinyl: Vinyl is special for a lot of reasons. People love the large format, the artwork and the sound it provides. If no one buys vinyl, there would be no reason to produce it and it would be eliminated. That would be quite sad!
Of course, you don’t have to buy vinyl on Record Store Day. You can also buy CD’s and even 8 tracks and cassettes. But the focus is definitely on vinyl.
It Supports Music: There are tons of musicians out there who have made a lot of sacrifices to bring music to the world. Some are very rich, and some are very poor.
But when you buy their album, it keeps them going. It may not be enough to support their families, but it lets them know that there are people out there who care about what they are doing.
Buying music is especially important in pandemic times. Even though things are opening back up, many artists are cancelling tours. This leaves them with less income, so they have to rely on selling records to keep it going.
When you buy a record, you help them keep their career going so they don’t have to start installing flooring or selling shoes (Spinal Tap reference right there).
It Supports Small Businesses: Music has largely gone digital these days putting many stores out of business. For example, Sam Goody and Tower Records (record store chains that were around many years ago for those who don’t know) are long gone, but not forgotten.
The stores that are selling records are mainly mom and pop businesses. Buying from these stores lets you know that most of the money you are spending is going to supporting them directly and not helping run a corporation. It should give you a good feeling when you do your part in patronizing their business.
What Holidays are Related to Record Store Day?
Record Store Day and National Vinyl Day are both quirky holidays that are worth celebrating. Here are a few related ones you may want to pay homage to.
National Record Store Day is a great day for celebrating music, vinyl and small business. You can spend it indoors or outdoors to make the most of the occasion. How will you be paying homage when it rolls around this year?
]]>When you can’t bring people down to shows, it can have negative effects on your career. Promoters don’t like to book bands that don’t draw. If no one’s coming to see you, it means you’re not generating any money at the door or at the bar. And if promoters won’t book you, you won’t get any gigs.
Most local bands thrive on gigs, so this is not the best scenario.
So what can you do to bring people down? Here are a few suggestions.
Why Don’t People Come to See Bands?
I have years of experience begging people to come out and see my band, so I know every excuse in the book, from the lamest to the most legitimate. A lot of them may honestly have something else to do, such as work, or they may have a prior engagement. Others may come up with an explanation like, I’m too tired, or I have to work in the morning (regardless of how early your time slot is).
A lot of the excuse making may lie in the fact that music has lost some of its excitement. At this point, it seems as if everything has been said and done. People have become jaded and don’t have the motivation to come to shows any more.
Many argue that social media may be killing the live music scene. People know they can see footage of your band on YouTube or Instagram. So why should they come down and see you?
Competition is also partially to blame. If you live in a big city, there’s guaranteed to be a lot going on, especially on Saturday nights. If you’re not the hottest ticket in town, your audience could go elsewhere.
How to Get People Down to Your Shows
While we can ruminate for days about why people don’t go to shows, the important thing is figuring out how to get them to come down. Here are a few suggestions.
Get the Word Out
If people don’t know about their show, they certainly aren’t going to come. Here are a few ways you can get the word out about your event.
Make a Flier: The first step is making a flier. The flier should clearly include the who, what and where like the venue, date, time and bands playing. Making an attractive and unique flier will help the event stand out.
Keep in mind that posting the same flier repeatedly could burn people out. Therefore, you might want to make multiple fliers or create a video for the event as it gets closer.
Use Social Media: Social media provides several outlets for advertising gigs. You can post fliers and videos on various platforms. Facebook will let you make an event for your shows.
It’s also advisable to join different groups on Facebook where you can advertise events. Go for groups that are specific to your area to reach a more targeted audience. A week or so before the gig, share the event in various groups to get the word out.
Hand Out and Hang Fliers: In the days before internet, bands used to go out to clubs and give out fliers in person. This is still sometimes done in modern times. Personally, I think it has a nice, old-school touch.
You can also hang fliers to get the word out. If the venue has wall space, hang fliers there. They can also be hung in record stores, coffee shops and other cool gathering spots in your community.
Be Social
I’m sorry to say it, but if you’re not social, the music industry may not be for you. Sure, there are musicians who have made it regardless of anti-social tendencies such as David Bowie and Axl Rose.
But when it comes to success, the more people you know the better. And this will definitely come into play when inviting people down to shows.
And it’s not enough just to know people. You should make efforts to be friendly and socialize. Face it, it’s hard enough inviting people to shows in the first place. (Thank God for texts and messaging. Back in the day you’d actually have to call the person…and hope you could just leave a message).
But imagine messaging someone you haven’t seen in years and writing “hey, you want to come to my show.” The response… “who dis?” It’s best to stay in touch with people that come to shows whether it involves going out to coffee every now and then or saying hi on social media.
The nice thing is, the more people that come to your show, the more people that will come. For example, if your band tends to draw 5-10 people, your gigs may have a nice, intimate vibe.
But if you draw 20 or 30 people, now it’s a scene. People will enjoy going to your shows because they know they will see their friends there. They will have fun socializing with the crowd and they may become regulars.
What’s more, word will start getting out about your band, how good you are (hopefully) and how fun your shows are. This is what it takes to start building up a reputation and it may even get you signed.
Personally Invite People
Earlier in the article, we briefly discussed the pains of personally inviting someone to your show. But believe me, this is a necessary evil.
When people see a flier advertising your show, it’s easy for them to ignore it. They can pretend they didn’t know about the show. They may also feel uncomfortable showing up without a formal invite.
If you invite people personally, they will definitely know about your show. They will also know you want them there so they will feel welcome.
Get on Other Shows
Another way to ensure a good turnout is to work with promoters that have a built-in crowd. In the city where I live, there are certain promoters that do shows that always get people down. If you can get on these shows, there won’t be as much pressure to bring a crowd.
However, if you get placed on this type of show, you always want to do your part by sharing the flier a few times. This will show the promoter that you are willing to help.
Playing a show with a built-in crowd can also help you in the future. It will expose you to people who have never seen you before that may end up coming down to see you when you play other venues.
Fairs and farmer’s markets are terrific for exposing you to a new audience without the pressure of promoting.
Support Other Bands
No one understands the pain involved in getting people down to shows like fellow musicians. If you support other bands, they may just come see your band. It’s a good way to increase your audience.
Put on Your Own Shows
Another option is to promote shows yourself. Find venues in the area that are willing to work with you and ask them if you can take over a night. Then ask bands that bring down a crowd if they’d like to play.
Of course, you’ll want to put yourself on the bill as well.
If the night has a good turn out, you will expose yourself to people who may have come to see the other bands and they may end up becoming a fan of your band as well. Additionally, this is a great way to network with other musicians and build up your base of connections.
As a side note, if you decide to host your own shows, make sure they are well planned out. Choose a venue that people will want to go to that offers a nice atmosphere, convenient parking and drinks. Book bands that you know people will want to see.
Do a Mailing List
A mailing list is a good way to get people down to your shows. And there are several ways to collect one.
The old-fashioned way is to have a pen and paper attached to a clipboard available at your shows so people can sign up. You can leave the paper in a corner of the club and hope people will sign, but a more effective strategy will be to have a roadie go around collecting names.
This method is not the most convenient as you will have to then spend time putting the email addresses into your database to ensure they get notifications about your next gig, but it will yield the most success. After all, it’s likely the people that are signing are from the area. And if they came down to your show and enjoyed the band, they may come to another.
Another option is to have a sign up on the landing page or your website. So when people visit your website, they will encounter a form that asks for their location and contact information.
Reverb Nation also lets you send out notifications to your following about upcoming shows.
The good thing about both methods is that they allow for easy integration with your email system. On the downside, you will end up with a lot of signups from people in areas where you may not be playing. This may be beneficial when you go on tour, but if you’re an independent band, the chances that you’ll be touring in the cities where these people live are slim to none.
Make Your Events an Occasion
Themed events tend to get more people out. For example, a birthday party or record release is likely to get more people out than just a plain old Saturday night.
It will be hard to create a theme every time you play out, but there are ways you can make it work. Think of the time of year and upcoming holidays and use that to your advantage. For example, you may have an end of summer show, a Valentine’s Day show, a winter break show and more.
You can play even more on the theme by getting guests into the act. For example, if you are having a show in June, you can do a rock n’ roll prom theme encouraging everyone to come in ballgowns and suits. If you’re playing near Halloween, ask guests to come in costume.
This will give them something to get excited about.
Give Away Free Stuff
A lot of bands give away free stuff from the stage. If you do giveaways, it may work to your advantage if you include this when you advertise the show. A free t-shirt or CD giveaway may get people excited to come out.
Of course, it will be better if you are doing a mass giveaway. For instance, if the first 100 people in the door get a free shirt, it will be more of an incentive than the possibility of catching a CD from the stage.
On the downside, a mass giveaway will cost the band a lot of money. So you really need to weigh your priorities here.
Be Good
This may go without saying, but if you’re not good, no one is going to want to see you. Okay, maybe your mother and father will come down, but if you really want to build up an audience, you must be proficient on your instrument and entertaining.
A good way to improve is by putting a critical eye on yourself and your band. Is the playing sloppy? Are the vocals on key? If not, this may be why no one is coming to see your band.
In addition to being skilled musicians, you also must put on a show. No one wants to see you just stand there and play your instrument. Okay, well there are some shoegaze bands that have broken through, but in general, people want to be entertained.
You can boost your entertainment value by dressing in eye catching clothing when you perform. Learn how to move around without looking awkward or self-conscious. Talk to the audience so they will feel like part of the act.
Don’t Get Discouraged
Every musician has had experience playing to an empty room. It’s important not to get discouraged. If you decide to give up because you had a few poorly attended shows, you’re probably not cut out for the music industry.
Do Other Marketing Strategies Work?
Let’s face it. There are millions of ways to market your band. Unfortunately, not many of them will work to get people down to your shows.
For instance, you can get press write ups, radio play and more. If done correctly, this could create a buzz for your band and make people want to see you live. For example, if you get a write up in Rolling Stone or radio play on a major station, people might want to check out the hot new band before tickets get too expensive.
But if you’re just hitting up fanzines looking to help the local scenes or sending out your music to radio stations willing to give indie bands airplay, it’s not going to do much in getting people to your shows.
For one, it may not reach your target audience, i.e. the people living in your area who can actually make it out. And the likelihood that one fan who hears your music and lives nearby is actually going to hear about your next show is slim to none.
That’s not to say that you shouldn’t be sending your music out to press and radio stations. Success at any level is good. But if you’re hoping it will help bring people to your show, well, you may be barking up the wrong tree.
What to Do if You Can’t Get People Down to Shows
If you can’t get people down to shows, you don’t have to give up on music. Fortunately, social media has plenty of outlets to share your music.
For example, you can do livestream shows. These are great because people can watch them from the comfort of their own home. You will also expose yourself to a larger audience being that you can reach anyone from anywhere in the world.
You can also record music which can be shared on a variety of platforms including Spotify, Bandcamp, ReverbNation and more.
Videos are also great. They tell a story and are an engaging form of media anyone can enjoy.
However, there is really nothing that takes the place of the live experience. So, if you decide to take your band to a virtual-only format, be prepared to make some sacrifices.
Musicians are faced with a lot of challenges. Getting people down to shows may be the hardest one to overcome. This article provides valuable tips that may prevent you from playing to empty rooms. What promoting strategies do you find most effective?
]]>
Beyond eating the right foods, it’s also important to maintain balance. Eat too much and you’ll be slow and sluggish for the performance. Eat too little and you won’t have the energy you need.
So what should you be eating before you go onstage? This article will provide you with some terrific suggestions.
When you go onstage, you want to eat foods that boost your energy. Here are a few types that are recommended.
Complex carbohydrates are made of sugar molecules that are strung together. They are great for maintaining and boosting energy levels. Examples of complex carbohydrates include:
Foods that are high in protein will provide energy as well. Protein is found in the body and makes up the enzymes that power many of its functions. It can also be eaten in foods and taken in supplemental form.
Foods that are high in protein include:
Musicians should stay away from food that makes them feel slow and sluggish. Fried, greasy foods and those that are high in sugar should be avoided. They should also keep caffeine intake to a minimum.
Even though caffeine and sugar can make you feel energetic, they will eventually cause you to crash so you wear out during your performance.
If you are about to perform in a choir, you need to eat foods that will give you energy and will keep your throat clear. Here is what’s recommended.
Here is what you shouldn’t be eating before a vocal performance:
What to Drink if You Have a Sore Throat Before a Performance
If you have a sore throat before a performance, there are several drinks that will soothe it so you can get through your show. These include:
Marching Bands
Marching bands may look like they’re having fun, and maybe they are, but being in a marching band is hard work. You have to carry your instrument, play in a hot suit and march around. So what’s the secret to keeping up your energy during a marching band performance? Here are a few suggestions.
As a marching band musician, you will want to avoid the following foods:
If you are about to perform with an orchestra, it’s best to eat light and stay away from heavy foods. Eating heavy foods weigh down the diaphragm and can inhibit movement. Here are the things you should be eating before an orchestra performance.
When you get off stage, you are sure to be hungry. Have a healthy snack waiting for you in your dressing room.
Here are some foods orchestra musicians should avoid before a performance.
Now you know what you should be eating before going on stage. But this doesn’t necessarily match what many rock stars eat before a performance. Here are some examples of what your favorite celebrities are snacking on before they make live appearances.
Keith Richards: Keith Richards insists on eating a Shepherd’s pie with an unbroken crust before he goes on stage. He once got to a show to find his pie had been accidentally eaten by the security team and he delayed the concert until he was made a new one.
The Foo Fighters: The Foo Fighters reportedly do shots of Jägermeister while dancing to Michael Jackson’s Off the Wall to get ready for shows. They claim this gives them a David Lee Roth type energy.
Rihanna: The foods in Rihanna’s rider include Oreos and Golden Grahams cereal. She is also said to drink Grey Goose vodka and fruit juice before she takes the stage.
Led Zeppelin: Led Zeppelin may have once consumed large amounts of alcohol before their shows, but today, they prefer a hot cup of tea. Although beer and wine are included in their rider, they reportedly require very little of it.
John Legend: John Legend is doing it right. He asks for water and a rotisserie chicken before his performances
Lorde: Lorde keeps things light before her shows. She enjoys snacking on berries and dried noori. She claims that she gets very nervous before performing and eating more than that would make her throw up.
Pearl Jam: Pearl Jam require a loaf of multigrain bread, a dozen fresh bagels, four bags of chips (potato and tortilla) with guacamole and salsa dip and sodas. They also travel with their own juicer and require the venue to provide ingredients to juice including ginger, ginseng, and carrots. The carrots must be de-stemmed so they go in the juicer easily.
Jennifer Lopez: Jennifer Lopez indulges herself with apple pie and ice cream as well as green seedless grapes. She also demands no tomato, apple or grape juice. This is likely to minimize the likelihood of staining the all-white room she requests.
Bruce Springsteen’s Band: According to reports, Springsteen himself didn’t have many food related demands in his rider. However, his late sax player Clarence Clemons asked for a whole roast chicken to be delivered in the middle of the concert so it was ready to eat before he went to bed. He also requested beluga caviar and Carr’s brand water crackers. Springsteen’s wife, Patti Scialfra, asked for soy milk, green tea and protein and energy supplements.
Lady Gaga: Like Clemons, Gaga also requests an entire roast chicken post show accompanied by dried fruit, a veggie plate with ranch dip, twelve bottles of water at room temperature, Starfish brand tuna and honey.
Rapper Busta Rhymes: Busta Rhymes is simple, He requests a bottle of champagne, a bucket of KFC and a box of condoms.
Roger Daltrey: The Who lead singer asks for six bottles of tonic water, one bottle of vodka, a jar of honey, two packs of throat coat lozenges and vanilla ice cream before his shows.
Pete Townshend: Making things even more complicated for The Who road crew, Pete Townshend has his own set of demands. These include two bottles of orange juice, six cans of Coke, six cocktail glasses and chamomile tea with milk.
Van Halen: Van Halen’s rider was perhaps the most notorious among rock bands.. They were the band that demanded no brown M&Ms. While this may sound super picky, it was supposedly a way for them to determine the level of attention the promoter paid to their requirements. If a brown M& M was found, it could be a sign of other issues with the rider.
Their rider also included herring in sour cream, four cases of Schlitz Malt liquor and eight bottles of wine and liquor, as well as a tube of KY jelly (presumably not for consumption)
Iggy Pop: Iggy Pop is another rock star with a rider that lives in infamy. As a spoof on other rock stars, he created an 18-page rider that is filled with ridiculous demands and hilarious jokes. For instance, he asks for a Bob Hope impersonator, a copy of USA Today “that’s got a story about morbidly obese people” and a “monitor man who speaks good English and is not afraid of death.”
But when it comes to food, Pop is not too picky. He requires a thick vegetarian soup, two enormous pizzas (one four cheese and one hot pepperoni) and baguettes which should specifically come from a specialist boulangerie) as well as ham, chicken, fruit and chocolate.
When it comes to the demands for his own dressing room, Pop gets more elaborate. He asks for a “full bodied Bordeaux type of wine. Probably French. And something we’ve heard of but still can’t pronounce.” He also includes a line about getting “cauliflower/broccoli cut into individual florets and thrown immediately into the garbage.”
While it’s advisable to eat well on the road, and especially before performances, some artists simply don’t have the money to do so. They are dealing with limited budgets and can barely get by as it is. This makes it difficult for them to afford any food at all much less those that are healthy and therefore, often more expensive.
Most bands on the road end up eating fast food or whatever they can find under a heat lamp at a 7-11. This means they end up with items that slow down their system and do little to support energy and immunity in trying times.
Another common issue is one that occurs when musicians finally do find food. They show up at a club after starving and eating junk for days at a time and find that one kindly club owner decided to feed them with tantalizing, possibly nutritious, mouthwatering food. So, what do they do? They pig out.
While these musicians deserve a break, eating this way before going onstage can easily make them sick, especially when combined with nerves and the state of their digestive system on the road. As a result, they end up getting sick on stage. Indeed, there have been plenty of celebrities that have puked and pooped themselves during a performance. Yep, it’s not always drug related.
So what should musicians be doing to keep this from happening? They should be taking healthy snacks on the road with them. Here are some examples of foods that are nutritious and portable.
Musicians don’t have an easy time on tour, especially when it comes to finding healthy things to eat. The tips in this article will help you find the meal items that are right for you, whether you’re in transit or getting ready to go on stage. What do you like to snack on when you’re out on the road?
]]>According to my husband, someone in the audience was heckling my son’s band telling them they sounded too much like rock stars. Obviously, it’s never cool to heckle a band while they are onstage. This s++t isn’t easy.
But I kind of knew where he was coming from. My husband and I had been wanting my son to change up his banter for quite some time. This guy may have hit the nail on the head.
My son isn’t the only one that struggles with his stage banter. I’ve seen a lot of musicians stumble over their words, say the wrong things, mumble shyly between songs, go on too long or not communicate enough. Did I mention that this s**t is tough?
That’s why I decided to write an article about the subject. The following paragraphs will provide suggestions for what you should be saying onstage if you’re in a band.
How to Handle the Talking Onstage
Here are a few tips on how you should be handling the talking situation.
Think About Your Band Image: Every band has an image. Maybe you’re funny, maybe you’re political, maybe you’re ethereal. Whatever your image is, it should come through in the things that you say onstage.
So if you’re trying to create a mystical image, you may want to use poetic language that leaves a bit to the imagination. If you’re funny, joke with the audience. By the way, no matter how serious you are, I think the audience will always enjoy a good joke.
Let the Person with the Best Personality Do the Talking: Let’s face it, the singer may not always be the most charismatic person in the band when it comes to stage banter. There are many singers who make up eloquent lyrics, but when it comes to talking to the audience, they got nothing.
If this is the case with your band, it’s perfectly okay to let someone else do the talking whether it’s the guitarist, bassist or even the drummer. On second thought, maybe not the drummer (just kidding, maybe). But the point is, if there is someone in your band with the gift of gab, let them talk to the audience between songs.
Splitting the Duties: Sometimes, more than one band member talks to the audience. This could be fun, except when two people start talking over each other. Or if one of them says something, then the other one decides to say something, and they end up going on for so long that you end up getting your set cut.
It’s nice to be spontaneous on stage, but if you find that two band members are stepping on each other’s feet when talking to the audience, you may want to decide who should say what when.
Don’t Go on Too Long: It’s good to talk to the audience, but you don’t want to talk so much that you end up not getting to play your full set. It’s best to keep things short and sweet. If you want to take some time to talk to the audience between, say, your second and third song, keep it short between your third and fourth
Plan for Musical Interludes: If you’re talking to the audience between every song, it may start to feel redundant, and you may run out of things to say. Therefore, it’s a good idea to plan musical interludes where the band goes from one song into another. It sounds really cool too.
If your singer really hates to talk to the audience, you could do your entire set using musical interludes and no banter, but this really only works well for psychedelic bands and maybe some others that are very intense. If you’re on the bar band level and you’re playing through your set without talking to the audience, it’s gonna seem pretentious.
Be Prepared: If you are the type of person who freezes up when it comes to talking to the audience, prepare in advance. Think of things you will say between songs beforehand. You can even write them down as you think of them, so you’re never caught without something to say.
What Should I Talk About?
Here are some things you should be including in your stage banter.
Talk About the Song: Every song tells a story. A reliable fall back is to talk about the song you are going to play next. You can talk about what the lyrics mean, why you wrote the song, where you were when you wrote the song and more
Introduce the Band: Introducing the band is another oldie but a goodie. Tell the audience the name of each member and if you can say something cute about them, even better. This always gets a good audience reaction
Tell a Joke: Got any good jokes? Now’s the time to tell the audience.
Talk About Topical Issues??: Okay, now this one’s a slippery slope. Topical issues are cool if you are paying tribute to someone who died recently or discussing a new, hot TV show or something funny that happened in the media. But when it comes to social and political issues, you may want to shut your mouth unless you’re a political band and you’re pretty sure the audience is on your side.
There have been several incidents where musicians ended up doing or saying something onstage that kicked them in the butt in the long run. One incident that comes to mind is when the singer of The Dixie Chicks (now just The Chicks) said she was embarrassed that then President George Bush came from her home state of Texas. That statement pretty much ruined the band’s career (until they made a comeback more recently).
Now you can say that what she did was worth it. And if you’re in a bar band, saying something controversial may just give you the kind of attention you need. Personally, I’d rather stay out of it and just play fun rock n’ roll. For me, David Lee Roth said it best when he said, “You got a message, use Western Union”
Talk About Your Day: Did something funny happen to you earlier in the day? Earlier in the week? If you think it will make the audience smile, tell them about it.
Say What Needs to Be Said: While onstage, you always want to do your shout outs. Here’s what you should include:
What Should You Never Say Onstage
Now you know what you should say on stage. Here are some things you should not say on stage.
Don’t Point Out Mistakes: Never tell the audience that you forgot the lyrics or apologize for messing up a song or anything else bad that may have happened onstage. It’s likely the audience didn’t notice. Pointing it out will only make you look unprofessional.
Don’t Talk About Depressing Things: Everyone writes sad songs but it’s not advisable to talk about how sad they are or even to mention the topic the song is written about onstage. When people are at a concert, they want to have fun. Don’t let your stage banter bring them down
Don’t Insult Your Audience: Your audience may not be reacting the way you want them to and they may even be heckling you. No matter what happens, don’t put them down. Get through your set, thank them and leave the stage. Ignore hecklers the best you can.
Don’t Thank Your Significant Other: Do you know how it feels to be the third wheel when you’re out with your couple friends? That’s how your audience will feel if you thank your significant other onstage. To be on the safe side, thank everyone who is there and tell your gf or bf how you feel later.
Don’t Beg Them to Buy Your Merchandise: It’s a good idea to let the audience know you have merchandise for sale, but don’t beg them to buy it or tell them that you’re broke and really need the money. If the profits off the merch are helping you finance a tour or a recording, you can mention that to them. But don’t tell them about your problems. They won’t want to hear it.
Celebrities Who Have Put Their Foot in Their Mouths Onstage
If you have ever said the wrong thing on stage, be thankful that you’re not as famous as some of these people.
Da Baby: People have been distancing themselves from Da Baby ever since he made homophobic remarks onstage. During his performance for Rolling Loud Miami, he was quoted as saying, “If you didn’t show up today with HIV, AIDS or any of them other deadly sexually transmitted diseases that make you die in two to three weeks put your cellphone lighters up.”
He then said, “Ladies, if your p---y smells like water, put your cellphone lighters up. Fellas, if you ain’t sucking d—k in the parking lot, put your cellphone lighters up.
Have we mentioned that making homophobic and other hateful remarks onstage is a bad idea?
Axl Rose: Axl Rose has been known to be strongly opinionated and he has had several onstage rants that are better off forgotten. One involved Metallica, fellow musicians whom he toured with in the past.
Though once good buddies, Rose decided he was no longer a fan of the band in any way, shape or form. He accused Metallica front man, James Hetfield of being a racist. He also called the entire band overpaid egomaniacs and said they treated their crew terribly.
Putting down other bands is also a bad idea. It makes you look trite and petty.
Morrissey: Morrissey is another musician who is known for his outrageous stage banter. The singer is an activist with extreme opinions and has blamed other celebrities for everything that is wrong with the world.
He was performing at a show in Los Angeles where he is quoted as saying, “The rhinoceros is now more or less extinct and it’s not because of global warming or shrinking habitats. It’s because of Beyonce’s handbags.”
He also put down Jimmy Kimmel and his late-night show because they were planning to interview members of the animal hunting Duck Dynasty cast. He said Kimmel, “found time to jokingly promote gun ownership, hugely amusing for the families at Sandy Hook no doubt,” and claimed that, “Jimmy Kimmel himself has finally revealed his show to have an overwhelming loss of meaning.”
Phil Anselmo: This former Pantera front man has been known for dropping racist remarks. He performed at a tribute concert for the late Pantera guitarist Darrel Dimebag and was said to have returned a Nazi salute to audience members and chanted white power for their benefit.
This is not the only time he promoted white supremacy onstage. He has also written racist lyrics including “no more of the coward Mohammed” and “taking no pity on the Jewish elitists” which are featured in the song “Stealing a Page or Two from the Armed and Radical Pagans”.
Anselmo has since backpedaled on those rants and has made generous donations to human rights organizations. However, many of his fellow musicians adopted a zero-tolerance policy and don’t want anything to do with him.
Leonard Graves Philips of The Dickies: Leonard Graves Phillips is known for engaging in humorous onstage banter, but when the band played the Warped Tour in 2016, he may have taken things too far.
The punk rock veteran singer was making jokes about how he liked teen girls and how he would love to snort Viagra off (the fans) asses and fuck their daughters.
One woman got offended and held up a sign saying, “Teen girls deserve respect, not gross jokes from disgusting old men. Punk shouldn’t be predatory!”
Graves responded saying, “Kiss it bitch. I have fucked farm animals that were prettier than you, you f**king hog.” He then led the audience in a “Blow me” chant and followed up saying, “How does it feel to get shouted away c**t? Can you spell that? You’re a fat f**king c**t.”
Phillips since apologized for his rant saying he let his anger get the better of him. The Warped Tour also released an apologetic statement, but since the performance was the last day of the Dickies’ Warped Tour appearances, (an arrangement worked out before the unfortunate event occurred) the organization did not take any action.
How Important is Stage Banter?
Stage banter is more important for some bands than others. Musicians like who were big on the glam metal scene like David Lee Roth and Paul Stanley are practically known for their banter.
Today, music is a little more low-key and there’s an attitude of ‘less talk, let’s concentrate on the music”. However, it’s always fun to connect and who knows when something you say will make you stand out, whether for better or for worse.
Now that you know more about stage banter, how will you be communicating with the audience the next time you perform live?
]]>In this article, we’re going to go over every step of making an album, from conception to release and beyond.
Pre-Production
Before you ever sit down in the studio, there are dozens of factors to consider and decisions to be made. Some of the most important points include:
Only once the entire process has been carefully planned and budgeted can you begin actual production on the album.
Recording
Recording is a very subjective process, and no two artists have the exact same recording process. However, there is one rule that all artists must follow: Manage your time! You don’t want to spend too long on any one song because you can’t go over budget. On the other hand, you don’t want to rush through the recording process and churn out a sloppy album. Make sure you always go into the studio well-rehearsed and with a clear idea of what tracks you will lay down on any given day. This allows you to maximize the efficiency of your studio time and avoid stressful time crunches.
Additionally, the studio is a great place to start your marketing campaign. Some bands start posting pictures and small video snippets from the studio onto their social media pages. Other bands film entire documentaries following their process through making the album. Either way, “behind the scenes” content is a great way to engage fans and build up hype for the release.
Other than that, just remember to have fun! If you’re stressed out and miserable through the recording process, it will probably bleed through in the recordings. But if you enjoy the process and pour your passion into your songs, your fans will pick up on it and appreciate your energy.
Post-Production
Congratulations! You recorded an album! Unfortunately, the work is far from done. Between mixing, mastering, legal steps, distribution, and marketing, there is still a long road ahead before you can set a release date.
Mixing
In most cases, your first mix won’t be your final mix. If you’re working with an engineer, expect a few back-and-forth exchanges while you get the mix just right. Make sure when you check your mixes, you use a good pair of speakers to do so. Low quality speakers won’t give you an accurate representation of the mix.
Even if you’re happy with the mix, it never hurts to get a second opinion. Many artists will get fellow musicians or even members of their own fan club to listen to the mixes and make suggestions. This can also give you an early idea of audience reactions to each song and help you identify the strongest tracks.
Mastering
Mastering is often misunderstood by musicians, and many believe it is not necessary. However, if you want your music to get placed on the radio, in films, or in any other media, mastering is an absolute necessity. Mastering equalizes the mix across the entire album, eliminates hums and other minor flaws, adds dynamic expansion and compression, and makes various other small changes. While these may all seem minor, mastering is ultimately the difference between a good recording and a professional recording.
The criteria for choosing a mastering house is almost identical to that of finding an engineer. You want to make sure that they have worked with artists in your genre before, they’re available and dependable, and they will ultimately produce a high-quality master.
It’s important to note that the time elapsed between songs is usually determined during the mastering process. Sometimes it’s best to put very short break to keep energy high, while other songs need more room to breathe within the album. It’s ultimately your creative choice, but whatever you choose, choose it before you go into the mastering house.
Legal Matters
Now that all of the recordings are completely finalized, you can begin to legally split the rights. There are two primary rights to divide: the songwriters split, and the rights to the sound recording. The songwriter’s split is unusual because it is divided from a total of 200% The first 100% is lyrical writing, while the 2nd 100% is for contributions to the song’s melody.
The sound recording is a little more straight forward with a simple 100% total. If you have a band, this will usually be an even split between your band members. Studio musicians usually don’t receive rights to the recording, as they simply collect a flat fee upfront. Guest musicians who feature on songs can go either way with a flat fee or a share of recording rights, or sometimes even both. It’s ultimately up to you to negotiate fair terms.
Rights division becomes even more complicated when it comes to sampling. Unless they’re from a royalty free library, all of your samples must be approved by the publisher of the media which they came from. To do so, you must send the song to the publisher and tell them the exact timestamps for when each sampled section starts and ends. Assuming your track is approved, they will either charge you an upfront fee or demand royalties, depending on how prominent the sample is and how successful they expect your track to be.
Cover songs also present a slew of legal issues. You must first obtain permission from the copyright holders and pay a licensing fee to recreate the song. The original artist will likely receive all 200% of the writing credits unless your cover significantly alters the lyrics or melody of the song, in which case you can try to negotiate a share of the songwriting credits. Either way, you still get rights to the sound recording.
It’s important to know that if you plan on printing the lyrics to your cover in the album’s liner notes (or anywhere else), this is an entirely separate right that you must obtain.
Cover Art
They say not to judge a book by the cover, but the same cannot be said about albums. For many listeners, your cover art will be their first impression of your album, and if it fails to capture their attention, they may just skip over your album all together. As such, finding the right cover art is one of the most important steps in the album making process.
The first step is conceptualizing the art. Perhaps your album has a running theme that you would like to express through the art. Maybe you just have an awesome image in your head that doesn’t have much to do with the music. Consider the medium: do you want your cover to be a watercolor painting? A collage? Or maybe you have an idea for a really fun photoshoot to use as the cover.
You should also keep in mind any additional art that you want to commission. Will there be art on the back cover? What about the inside? You can just leave these blank, but filling them in gives your album a more professional presentation. If you are commissioning additional art, will it be a continuation of the front cover art? Or will it be completely independent?
Whatever you decide on, you want to make sure that all of your album’s art represents a similar tone to that of your music so that fans know what they’re getting when they purchase your album.
The next step is finding an artist/photographer to work with. You want to find someone who is well established, dependable, affordable, and is experienced in your chosen medium. While not essential, it helps if they have worked on cover art before, as they will be familiar with the collaborative process of making cover art, as well as the formatting specifications (the art must be a perfect square, usually 10” by 10”).
Once you find your artist/photographer, share your initial concept with them. In most cases, they will have some of their own ideas, and you will probably swap ideas back and forth several times before you land on one shared vision for the final product.
During this conceptualization, it is also important that you consider the size and placement of your band and album’s name. This must be established ahead of time so that the text doesn’t overlap with any important aspects of the cover art and create too much visual noise. Some bands don’t put their name or album title on the cover at all, instead opting to put it on the back side or even in small text on the album’s spine. This leaves more room for the art to shine, but is highly inadvisable from a marketing standpoint, especially if you’re still establishing your name and fanbase.
Digital Distribution
Now that every aspect of the album has been finalized, you’re ready to start preparing your music for distribution. There are two aspects to distribution: physical and digital. Digital distribution involves getting your music placed online. The most popular form of digital distribution is via streaming services like Spotify and Apple Music. To place music on these streaming platforms, you must go through a digital distribution service. Some of the most popular services include TuneCore, CD Baby, and Orchard. Depending on the service, you will either have to pay a small fee or relinquish a percentage of your streaming royalties to the provider. These providers will then upload your music on all their associated streaming platforms and collect your streaming royalties for you. This also results in your song being placed as a “sound” on various social media apps, such as Instagram and Tik Tok. As we’ll discuss later, this is an important tool for marketing.
This entire process should be completed well ahead of the release of your album, as this allows time for you to “pitch” your music to certain streaming services. When your music is pitched it is put up for consideration for placement on the services’ editorial playlists. If you are placed, these playlists can net you hundreds of new listeners.
Streaming services aren’t the only form of digital distribution though. Sites such as Bandcamp, SoundCloud, and Audiomack offer totally free platforms for artists to upload, share, and sell their music. These sites take a percentage of your earnings, but are usually still more profitable than streaming services, as they allow bands to directly sell their music to fans instead of collecting miniscule royalties for each stream.
Physical Distribution
There are multiple mediums for physical distribution, and countless services with which to produce them. CDs are the most popular form of physical distribution, and the cheapest to mass produce. Vinyl records are more expensive to make, but well worth it, as many fans are willing to pay more for the higher sound quality. Plus, vinyl records are often viewed as collectors’ items, which always get fans excited. Some bands also choose to produce cassette tapes, which can also be seen as a collector’s item. However, cassette players are highly uncommon, so if you choose to produce cassette copies of your album, make sure it’s a very limited run.
Once you have your physical product, you need someplace to sell it. There are several online marketplaces from which you can sell your product. Additionally, you can reach out to local record stores and see if they show any interest in selling your album. Finally, assuming you play live concerts, you always want to keep some inventory on hand to sell at your shows.
Marketing
The final step of your journey is to ensure that your album gets in front of people. Thanks to the internet, marketing your music is easier than ever. Advertising can be as simple as posting album-related content on your social media platforms, whether it’s behind the scenes content, snippets of songs, lessons on how to play your songs, etc. Most social media platforms also offer affordable targeted ad campaigns that will get your music in front of the people who are most likely to enjoy it. Additionally, many platforms allow you to add your songs to posts as “sounds”. This means you can take add your songs to anything, such as a popular meme, and just like that, anyone who sees the meme gets turned on to your music.
Even outside of the digital space, you can always find ways to promote your music. Booking interviews, getting airplay, playing shows, collaborating with other musicians, and just about anything else you do as an artist is an opportunity for you to turn people on to your album.
Perhaps the most effective way to promote an album is by releasing tracks as singles. This draws extra attention to the strongest moments of the album and offers people a convenient peek of what they can expect from the full release.
Conclusion
Making an album is a long, arduous process that takes months, if not years, of planning, dedication, and hard work, not to mention a whole lot of talent and a little bit of luck. There is no one right way to make an album, but hopefully with these tips have given you the groundworks for making a successful album that launches your career to the next level.
]]>Over time, equal rights have done a lot to make for equality in various professions, and that includes the music industry. But according to the latest studies, there is still a lack. Read on to find out about the breakthroughs women have made and the barriers they are still facing.
Inclusion in the Recording Studio
The University of Southern California Annenburg Inclusion Initiative has conducted a now annual study called, “Inclusion in the Recording Studio”. It reviews the Hot 100 Year End Billboard charts and 2020 Grammy nominations to see how women fared as far as equality in the music industry.
The latest results came out in 2020 and were based on the 2019-2020 year. Here are some key takeaways.
While numbers were low, there were some improvements from the previous year. Here are some to take note of:
There are efforts being made to draw more focus on women in the music industry. For example, In March 2018, two years after the first USC Annenburg study which took place the year after Lorde was the only woman nominated for record or album of the year, the Recording Industry established the Task Force on Diversity and Inclusion.
Then Grammy President Neil Portnow also came forward to say that women need to “step up” to fix the #GrammySoMale Trend. The Grammy’s also released a report in December 2019 with 18 recommendations as to how to make the organization more inclusive.
Although efforts for inclusiveness seem to be gaining traction, problems still exist. For example, Deborah Dugan, Former Grammy CEO claimed she was ousted from the Grammy organization after reporting sexual harassment, pay disparities and other issues in the Grammy nomination process.
Do Women Need to Step Up?
Neil Portnow’s quote is interesting. Do women need to step up? Could it be that the reason women are not being accounted for in music is because there is just not as much of an interest among the fairer sex?
There could be something to this.
According to an article by Naomi Larsson published in The Guardian, many women are reluctant to join the industry because they are not encouraged to do so as a child. As opposed to boys, girls are rarely asked if they want to play an instrument or join a band.
As they grow older, they may be further discouraged from musical pursuits due to an intimidating music store experience. Girls that browse music stores are often asked if they are shopping for a boyfriend.
Imagine how that may translate if girls come in to buy their first guitar or amp. If they have little knowledge of the equipment, they may feel as if they would be laughed out of the store.
Those that feel that way may consider paying a visit to Fanny’s House of Music. The shop is female owned by Pamela Coe and Leigh Maples who met studying music as the only two women bass players in their class. They aim to provide an inclusive in-store buying experience for both men and women.
The idea of men being more likely musicians as opposed to women dates back to the era of classical music. Back then, women could be seen as being proficient in music, meaning it was okay for them to take on an instrument as a hobby, but men were considered to be experts, capable of launching music as a career.
Of course, there are many women who have forged ahead to launch successful music careers, but even here, they face discrimination which can be disheartening. For example, musician Emmy Lee Ross, also known as Emmy the Great, worked with a manager who told her he wouldn’t be sending her music out to promote her. He would be sending out only her photos.
U.K performer Shay D. reinforces this sentiment saying that she is commonly seen as a novelty act. She is often asked to play by promoters who say they, “Need some female energy,” which immediately let’s her know she is being perceived differently as compared to male performers.”
As a personal aside, I have been in the music industry since the early 90’s. I remember when I was living and performing in New York, there was a club called The Continental Divide (later just the Continental) that launched an all-girl music night (inappropriately) called PMS which, according to the club owners, stood for Punk Music Sundays.
Not only was the idea incredibly sexist, but once girl bands agreed to play PMS nights, which were unfortunately, wildly successful, it became difficult for them to get booked on coveted Saturday nights.
There was a lot of outrage in the community and PMS nights did not last for long.
Does Gender Dictate Instrument and Genre?
It is also interesting that gender comes into play in the instruments people gravitate to and the genre of music they play.
Lindsay Bennet Crowe of the Graduate School of the University of Florida conducted a study titled “Relationships Between Gender and Musical Instrument Selection in Middle School Band Students.” She noted that female students were more likely to gravitate towards feminine instruments like the violin, flute, oboe, harp, clarinet, bassoon and kettledrum. The males were more likely to pick up the tuba, trumpet or drum.
Studies revealed that the instruments the children chose were based on their size and the sound they made. Females favored instruments that were lighter in weight and ‘pretty sounding’ while the males went for heavy, bulky, noisy instruments.
Females were especially reluctant to play the drums, an instrument that is loud and requires violent movement to play.
Her study also looked at younger children. She found that the older the children were, the more likely they were to base their decision on what instrument to play on what they felt was ‘gender appropriate’.
One could take this a step further and determine why it is more acceptable to see women in certain genres of music. For example, women are often featured in orchestras playing classical music.
It is rarer to see women in pop unless they are singing.
Women are even less likely to play punk or heavy metal music. This would require them to sing aggressively and/or play a masculine instrument such as a guitar or drum.
There is no reason why women should be limited when it comes to playing certain instruments or genres of music based on their gender, but the fact that they are more aware of gender coming into play in their decisions as they get older is likely due to stereotypes that have been seemingly set in stone.
As they grow older, they become aware of these stereotypes and are less likely to take steps forward to ‘break the mold’.
Efforts Made to Encourage Women in the Music Industry
Getting women to become more active in the music industry has been an uphill battle, but there are many organizations getting behind the cause.
Most notable may be Women in Music, a nonprofit with a mission to advance awareness of equality and diversity in the music industry through education support and empowerment. They host seminars, workshops, panels, showcases and youth initiatives to support their cause. They have thousands of volunteers working all over the world.
PRS has also been active in raising awareness. They launched Women Make Music in 2011 encouraging female musicians to come forward for music related grants. They were inspired to start the group after finding that just 16% of their grant applications were coming from women.
PRS’s Foundation and Festival Republic is also behind ReBalance, a U.K based program that provides studio time to female bands and promotes female producers and engineers.
Dice, a gigs listing app, is responsible for establishing Girls Music Day in 2016.
Here are some other organizations that support women in music:
She is the Music: This independent global network aims to increase the number of women working in the music industry including musicians, songwriters, producers, engineers and more.
Key Change: Key Change is a movement with a mission of breaking down barriers and fighting for inclusivity of gender minorities in music.
Women in the Mix: Women in the Mix was launched in 2019. It asks that at least two women are considered in the selection process every time an engineer or producer is hired. It also requests that working producers take gender diversity into account when selecting people to mentor.
Gender Amplified: This organization aims to celebrate women in music production by raising their visibility and creating a network to help them get work.
Women Who Made Breakthroughs in the Music Industry
Despite stereotypes and barriers, there have been several women who have broken boundaries in the music industry. Here are a few to pay homage to.
Ella Fitzgerald: Ella Fitzgerald was known as the “First Lady of Song” and she certainly earned her moniker. She won 13 Grammys, recorded over 200 albums and fought relentlessly against the discrimination of black women during the Jim Crow era.
Billie Holiday: Billie Holiday was one of the first black women to sing with an all-white backing band. Her song “Strange Fruit” was an anti-lynching poem written by Abel Meeropol set to music. It eventually earned recognition from the National Endowment for the Arts.
Joan Baez: Joan Baez was one of the few female musicians to perform at Woodstock. She is known for being a champion for civil rights and humanitarian causes.
Tina Turner: Tina Turner was the first black artist to appear on the cover of Rolling Stone magazine. She left an abusive husband to pursue her musical career and eventually earned her title as the Queen of Rock.
Janis Joplin: Janis Joplin only lived to the age of 27 but she certainly made her mark on the world of music showing she could keep up with any man during her time here. She was often referred to as the Queen of Rock n’ Roll.
Patti Smith: Patti Smith was known for having a strong activist voice and a punk rock edge. Her debut album “Horses” made her a New York City legend.
Joan Jett: Joan Jett is a true veteran of the rock n’ roll scene. Starting out at just 15 years old in her band The Runaways, she went on to make a name for herself as a singer and guitar player who could ‘out rock’ any man.
Dolly Parton: Though primarily a country star, there are few genres and musicians who haven’t been touched by Dolly Parton’s wit. She has had the most hits on the Billboard Hot Country Chart as compared to any other artist and she can always be counted on for words of empowerment. She is also one of the first women to build a music empire as evidenced by the Dollywood Theme Park.
Michele Anthony: Michele Anthony was one of the first leading female executives to call the Grammy’s “out of touch”. She criticized the Recording Academy’s executives for a lack of transparency and inclusiveness and wrote a letter calling for new leadership. She is currently the executive vice president of the Universal Music Group.
Bjork: Bjork stands out for her unique sense of style that resonates professionally and personally. She is among the first to bring experimental music into the mainstream. She also won a Cannes best actress award for her appearance in the film, “Dancing in the Dark”.
Sophia Chang: Sophia Chang’s years in the music industry have solidified her reputation as ‘baddest bitch in the room”. She is known for managing members of the Wu Tang Clan and for being outspoken when it comes to diversity and inclusivity.
Cardi B.: Cardi B has been controversial throughout her career and her release of WAP has definitely gotten her some attention. While not everyone approves, it can be argued that the song makes a huge statement for women’s rights.
Fiona Apple: Fiona Apple has made a name for herself as risk taker. She came on the scene in the 1990’s as an anti-popstar with a bold anti-materialism statement. She cited Maya Angelou as an inspiration during a speech at the MTV movie awards. She has kept true to her values and does not rely on big budget music videos to reach her fans. She recently became sober and credits the #MeToo movement for inspiration.
What Can We Do to Foster Gender Equality for Female Musicians?
Women have come a long way in the music industry, but they still have a long way to go. The question now is, what can we do to foster equality for female musicians? Here are some ideas.
Push For Quotas: Pushing for quotas may seem like an unusual practice in the music industry, but it might just work. Let’s say that, like so many other industries, quotas were created to ensure just as many female musicians received airplay as men and just as many ‘girl bands’ were booked on festivals as male acts. Could it work?
Support Organizations That Promote Diversity in Music: Earlier in the article, we listed several organizations that support women in the music industry. Help them reach their goals by donating funds and volunteering if possible.
Work it on a Personal Level: Raise awareness on the issues of inequality in music by reminding people what women want from record labels, radio stations, management companies, awards programs and music venues to anyone who needs to hear it.
There is no saying what the future may bring as far as getting more women to be active in the music industry. The lack of female performers, engineers, producers and songwriters is ingrained through stereotypes. As a result, some are reluctant to step forward while others don’t feel the motivation to do so.
There is no saying what will develop in the future, but it is hopeful that more women will be ‘stepping it up’ so we can see a lot more female faces on stage and in the studio.
]]>If your music is used for anything, say a commercial, you are paid in royalties which are calculated and distributed through the Performance Rights Organization. However, you may not get the money you are due unless you sign up with one of the four major PROs: BMI, ASCAP SESAC, or GMR.
Each organization has its shares of pros and cons. So which one should you go with? Read on to find out.
Understanding PRO
Let’s start by getting a better understanding of how the process works.
Performing Rights Organizations help musicians in the licensing of their work and management of their rights so they can get consistent income from outlets like radio stations, television, video games and more. The payments are called royalties and they are distributed through PROs. Royalties are always split 50/50 between songwriters and publishers (if you haven’t registered with a publisher, you are recognized as your own publisher and you keep 100%).
Any artist can sign up for a PRO service. Once you’re signed up, all you have to do is register all of your original works to start collecting royalties (minus a service fee). It is very important that you keep your account up to date and register every new work you create with your PRO. Artists miss out on money all the time simply because they forgot to register their newest material with their PRO before performing it.
Royalties may be paid for any of the following:
Now you may be wondering, how are these royalties collected and distributed? It’s all done through something called a cue sheet.
A cue sheet is a document that outlines what songs were used, how they were used and who used them. It credits the artist for providing the song. It is filled out by the person or organization that used the song and given to the PRO.
It is important to realize that PROs do NOT collect royalties from private streams, nor do they collect your mechanical royalties for physical or digital sales. They also don’t collect fees from master rights, most internet radio streams, or digital cable music. To collect these royalties, you need to go through your distributors or your record label if you have one.
Broadway and musical plays are something of a grey area. While music from plays can be registered through a PRO, it can only be used in specific scenarios. If the song is used in another dramatic work in a similar context as the original production, it is considered a violation of the production’s “grand rights”, even if the work was properly licensed.
Your PRO will collect performance royalties anytime a cover of your song is performed by another artist.
Choosing a PRO
In North America, there are dozens of PRO organizations, but the four main ones are Broadcast Music Inc., (BMI), American Society of Composers, Authors and Publishers (ASCAP), European Stage Authors and Composers (SESAC), and Global Music Rights.
So which one is right for you? There may be no right or wrong answer to this question as each has its share of advantages and disadvantages. However, they may have features that are better suited to your professional and personal situation.
We will review each so you can make an educated decision on which is the best suited to your needs.
BMI
BMI stands for Broadcast Music Inc. It is the largest PRO in America. It is a nonprofit organization with one of the largest available catalogues including over 17 million musical works, and 1.1 million songwriters, composers and publishers.
The company formed in 1939 to protect the recorded music and performances of artists in the blues, jazz and country genres. Today, it represents artists across a wide variety of musical styles.
It is free for songwriters to join BMI. However, publishers must pay $150 and companies must pay $250. BMI also collects around 12% of the royalties that their catalogue makes. Famous artists on BMI include Lady Gaga, Kendrick Lamar and Taylor Swift.
BMI focuses on bridging the gap between companies that need music and songwriters that fit the genres they are looking for. Although they are based in the United States, they work internationally helping artists market and sell their music overseas. They are also knowledgeable of how music is used in new technologies and will update their services to accommodate the newest apps and streaming services.
Although business owners can license works individually, most businesses purchase a blanket license to gain unlimited access to the entire BMI catalogue. The cost of this license wildly varies based on a few factors, including the size of the business, which songs are used, and what type of business holds the license (bars and venues have to pay more than retail stores). The average license costs anywhere between $250 and $400 annually, but the price can be as high as $2000 for a large business.
ASCAP
ASCAP stands for American Society of Composers, Authors, and Publishers. ASCAP was launched in 1914 as a non-profit organization dedicated to protecting artist’s copyrights for public performance and live broadcasts. ASCAP is the longest running PRO and the 2nd largest with over 10 million and works and 735,000 musicians and publishers.
Unlike BMI, ASCAP charges a $50 dollar application fee for musicians, publishers, and companies alike. ASCAP also collects 12% of the royalties their catalogue makes. ASCAPs top artists include Ariana Grande, Beyoncè, and Stevie Wonder.
ASCAP is unique in that it is owned by its members. Every two years, a group of 12 writers and 12 artists are nominated to join the ASCAP Board of Directors. As a result, ASCAP is focused on combatting the diminishing profitability of music by ensuring fair rights and fair pay for all their members. ASCAP is more reliable when it comes to claiming international royalties for their members, and they pay more money per use to their artists.
ASCAP also offers a blanket license that grants businesses unlimited access to their catalogue. Much like BMI, the price is variable from business to business, but ASCAP’s license consistently costs more. You can use this calculator to figure out how exactly much each license will cost.
Oftentimes, music does not belong to a single PRO, as multiple people from different PROs may have credits on one song. As such, most businesses purchase licensing with both BMI and ASCAP to avoid conflict, meaning the two services receive roughly equal exposure despite their price differences.
SESAC
SESAC is unique from its fellow PROs in many ways. First, it is the only PRO that operates for profit. Additionally, to join SESAC, you must receive an invite from the company itself. As a result, their catalogue is relatively small, with only 30,000 artists and around 1 million songs.
SESAC was founded in 1930 as the Society of European Stage Authors and Composers. At the time the company was dedicated to helping European writers collect royalties in America. They have since expanded to represent American and European artists across a multitude of genres.
The company takes pride in their exclusivity and claims that their small size allows them to focus on each of their artists individually. A few of their celebrity clients include Bob Dylan, Adele, and Mumford & Sons.
Once invited, it is free to join SESAC. SESAC does not publicly disclose the percentage of royalties that they collect for themselves, but due to their smaller size and their status as a for-profit business, the organization is able to pay their artists more than BMI or ASCAP.
SESAC also offers monthly royalty payments, unlike other PROs which payout every 3 months. On the flip side, their blanket license is more expensive than BMI or ASCAP and it covers significantly fewer works, making it the least popular option with businesses.
Perhaps the greatest advantage of joining SESAC is the membership perks. Members of SESAC get a multitude of discounts, including but not limited to:
GMR
Global Music Rights is another invite only PRO. The non-profit was founded in 2013, making it the first PRO established in nearly 75 years. Due to its recent establishment and its exclusivity, only 114 songwriters are registered with GMR, covering 58,000 works.
Like ASCAP, GMR’s primary goal is to keep the music business profitable by ensuring fair pay and fair rights for all their members. Some of their most famous artists include Childish Gambino, Post Malone, and Prince.
Unfortunately, due to their relatively recent establishment and high exclusivity, not much information is publicly available about GMR. It is unclear exactly what percentage of the royalties they keep. However, their small scale means less division of profits, making GMR highest paying PRO on a per-play basis.
Another distinct advantage to GMR’s scale is that they are able to provide all of their members with analytics that show how much they are making in specific locations and markets. This data can be extremely valuable for tour planning and marketing. On the downside, the PRO’s size means less opportunities for you and less exposure for your music.
Which One Do I Choose?
Now that you have the facts, you can decide which PRO is right for you. ASCAP offers higher payouts in the long term than BMI, but if you’re just getting your career off the ground, it’s going to take you a while to earn back that $50 membership fee. BMI offers the most accessible license and the most modernized services, but also provides the lowest payout of any PRO.
SESAC is a different beast entirely. Assuming you receive an invite, they offer the highest royalties of any PRO, on top of their slew of perks and more personal relationship with their clients. However, SESAC licensing is the least popular of the three, meaning your music has less potential to receive exposure in commercials, games, retail stores, etc.
At the moment, GMR is still finding its footing and establishing a catalogue. As such, it’s not a great choice for new artists. However, as the PRO continues to grow, their licensing will become more accessible. With a bit of time, GMR has the potential to grow into the most profitable PRO, so keep your eye out
Changing PRO
If you decide you’re unhappy with the PRO that you chose, you’re not locked in forever. BMI has minimum term of 2 years, while ASCAP gives you a specific window of time each year to cancel your membership (the exact time frame is relative to when you started your account).
SESAC doesn’t publicly disclose their terms for termination, but you can bet that they’re not letting any of their artists go without a fight.
Keep in mind, if you are a non-performing songwriter, PROs won’t do much for you until you’re ready to bring your music to market. As such, you may want to wait to register until you’re ready to cash in, as you never know how each PRO is going to change over time. However, if you are performing, signing up with a PRO provides guaranteed income, and even if you’re only making a few dollars per performance, every little bit counts.
PROs are one of the main sources of revenue for musicians today. That’s why it’s important to consider both your short-term and long-term goals before choosing which PRO to register your works with.
Your choice could lock you out of certain opportunities, or it could cost you hundreds of dollars in potential profits. Hopefully with this information you will be able to choose the PRO that aligns best with your music and your career goals.
]]>