R.S. Records News

The 12 Tip Of Authentic Promotion

2011-06-21T16:27:00.000-07:00

The key to professional success is to show up and serve.

It is necessary to show up, because if you are invisible, your clients will not be able
to find you. It is necessary to serve, because that is how your value is expressed and
received in the world. This means that not only can you not afford to play small, you
cannot do good if you play small. So begin with a commitment to make an
impression every day, an impression that shows people who you are and what you
do.

1. Know Yourself
In order to promote yourself effectively, you must know and be able to articulate
who you are and why you do what you do.

2. Be Yourself
Once you’ve established a sense of who you are, be true to it. By practicing the art of
telling the simple truth about your experience and your work, you will build a
powerful, personal communication style.

3. Do Your Homework
Your homework means studying the opportunities you
have to show up, deciding which to employ in promoting your work, and then
deciding how to follow through.

4. Keep It Simple
Whether you're writing a press release or building a artist fan site, keep it simple. Don't
lose your message in a welter of jargon or JavaScript.

5. Double Check Your Promotional Pieces
Nothing undermines a good impression faster than misspelled words, poor grammar
or incorrect accounting. Since none of us are perfect, the only defense is to check and
recheck our work. Spell check programs help, but will not catch all errors.

6. Mind Your Manners
Cultivate simple good manners. Everyone appreciates a “please” and “thank you.”
Let your frustrations flag opportunities for making fast business friends, if you are
understanding and reasonable when folks make a mistake, they will be doubly
committed to helping you in the future.

7. Listen
Promotion is communication, and communication is a two-way street. Learn to listen
and really hear what others are saying to you. This will keep your promotions vital
and pertinent.

8. Ask Questions
As you develop listening skills, you’ll often want more information. Get in the habit
of asking questions to clarify, investigate, and expand new ideas and territory. The
ability to ask questions is a key factor in transforming your communications from
passive and reactive to assertive and proactive.

9. Set Goals, Make Choices
Set written long and short term goals for your practice. Use these goals as a guide to
making choices.

10. Ask for What You Want
Once you know what you want, ask for it. Ask for help from friends, colleagues,
clients, and family members. Ask magazines to write about you. Ask newspapers to
publish your column or tip sheet. Ask an ideal client to try working with you for a
month. Ask your current clients for feedback and for referrals.

11. Consciously Nurture Relationships
Consciously create an interdependent practice. The independent practitioner is
limited to his/her own financial, imaginative and physical resources. The
interdependent practitioner has access to the funding, vision and resources of a
virtually unlimited community.

12. Don’t Take Yourself Too Seriously
Though it’s important that your do your best to communicate your values and vision,
keep your efforts in perspective. A healthy sense of your own importance will grow
your practice, a healthy sense of humor will help you rebound when you encounter
temporary setbacks.

Difficult To Attract Fans.

2011-05-23T16:54:00.000-07:00

Anyone with a website will know the feeling about attracting more fans, traffic etc..
It's difficult to get started, difficult to make any money to cover the costs, difficult to make it a part-time occupation, difficult to make it your living, and difficult to make a million dollars from it.

It's always difficult!!!

The point however is that getting on in the music industry which is a lot harder than running a website, thats for sure, is based on several factors:

•How good you are at what you do
•How hard working you are
•Who you know
•Self-promotion

If you score well on the first three, then you probably won't need to promote yourself that much, however only very few people become successful without constantly using selfpromotion, and saying, Look at me!
If you're not saying Look at me! as widely and as loudly as you can, you're not promoting yourself as well as you could.

There is a balance.

There are thousands of potential opportunities for promotion. If you slave day and night promoting yourself through as many avenues as possible, what's happening to your real work?
So it's worth giving promotion some serious thought right.

•Are you promoting yourself well enough?

•What percentage of your time do you want to devote to promotion?

•What are your criteria for deciding whether a promotion opportunity is worth spending time on?

Engage Fans.

2011-04-29T17:39:00.000-07:00

There was a time when celebrity musicians were positioned as unreachable idols. Those days are long gone! in today's wired marketplace, musicians have to forge a personal relationship with their audience to keep their fans' interest. And for many, that means creating opportunities for fans to have an inside look into all aspects of an artist's life.

In the current music industry climate, many artists are realizing that they must go further than ever before to be seen as approachable, they must run their organization with almost complete transparency. Fans are far too savvy and options far too many for a musician to appear to be operating in a different universe. Fans demand access at unprecedented levels, so a band must either provide this access or be skilled at creating the illusion of it.

What has caused this shift toward transparency? The simple answer is the Internet. The more complex answer is that the Internet has become so woven into the fabric of our culture as to create a sense of immediate fulfillment and enable complete access to almost anyone, anything and everywhere. Never before have consumers had more choices on how to entertain themselves. The avenues for information are exponentially greater than even 10 years ago. With this has come a massive sense of empowerment in music fans. No longer are they limited to what access or content an artist deems worthy to mete out. The physical technology and the conceptual structure of the Internet have given fans the ability to craft their own online experiences. If one artist is not providing the type of engagement a consumer seeks, the odds are very high that some other comparable artist is. This puts the fan in a position of greater power and influence than ever seen before in the music industry. But this isn't necessarily bad news for artists, labels, mangers, or anyone else in the chain that profits from controlling how people experience their content. Savvy bands that tap into existing and developing technologies can deliver something to their fans that satiates their demand for an insider glimpse, while also keeping control over the band's image.

The digital music space of 2011 looks very similar to the Internet application space in 1999 a sea of new technologies, venture-funded start-ups all hoping that their product will be the killer app to revolutionize the business. Many of these will fail, but a handful will survive and change the way the industry operates. Assembling a core toolbox of these digital engagement assets is a critical step in marketing an artist moving forward. For artists or the team managing their online presence, it is essential to pay attention to available technologies and constantly evaluate what will enhance their fans' interactions with the band.

Add functionality that will connect to your fans: In crafting your digital marketing plan, first ask, does this technology add functionality that will connect to your fans? Many artists fall into the trap of using a digital asset simply because it does something interesting or innovative. When they first came online, a slew of artists adopted video remix contests, but soon found that their fans were not willing to put in the time and effort to create a usable finished product. As people learned the hard way in the late '90s, technology for technology's sake often results in amazing software with no users. If the product being implemented does not encourage repeat use and add something to a fan's experience, it is effectively useless. A great technology used once is barely better than nothing at all.

Technology is not a one size fits all solution: Different technology platforms are geared towards different users. Mobile music marketing rarely makes a dent for older-facing musicians, while many youth-facing pop and hip-hop artists have used phone technology with tremendous results. Shareable widgets often have massive value, but only if the artist's fan base is naturally inclined to spread things they find interesting.

Do not underestimate time commitments: Next, artists must consider how much time they are willing to commit to implementing the chosen technologies. Just as a fan only using something once has little value, there's little value when artists do not follow through in their marketing efforts. In fact, depending on the scale and depth to which fans have been involved, abandoning efforts can have a negative impact on the artist's reputation. For example, if a musician begins using the micro-blogging platform Twitter, builds a large base of followers, gives them a glimpse behind the scenes, then abandons the effort, these fans may not just lose interest but take their disappointment public in the form of message board posts, social network comments, and other inter-fan communication. Often this only has a limited effect, but, given the viral nature of social media, this can damage an artist's brand in the long run. If a long-term digital marketing effort is not sustainable, a more realistic or shorter-term alternative needs to be substituted.

Create a plan for implementation and awareness: Artists must also develop a plan for creating awareness of these digital tools. Without fans eyes and ears, the quality of the product and the plan are irrelevant. Musicians must find a balance between using forward-thinking technology and spending time on core fan-building techniques. The enormous benefit of music technology is that it enables artists to continually give their fans a reason to pay attention. However if a band only has a weak fan base to begin with, their foundation must be strengthened before the value of these digital tools can be realized.

Use all available web properties: An artist must use sites they control, official site, social networks as well as online social media, music portals, blogs etc to maximize the reach of these assets. Without a combined effort on these two avenues, fans miss the communication and the marketing message falls flat. Fortunately, most of the issues outlined here are fully within an artist's control. Once an artist has an understanding of his fan base and the means to reach them, he can begin building a digital marketing strategy, one that will engage, inspire, and create long-term interest.

Audio Compressor.

2011-04-18T17:02:00.000-07:00

Audio Compressor.

There are different types of compressor, here are some basics on a unit.

INPUT: To set the level in.
THRESHOLD: This sets how high the signal must reach before the compressor kicks in.
RATIO: This sets how much compression is applied in ratio to the Db rise in signal level above the Threshold.
ATTACK: This sets how fast the compressor kicks in once the Threshold has been breached.
DECAY: This sets how fast the compressor lets go, once the input signal has dropped back below the threshold.
LINK: Links the two sides for stereo operation.
OUTPUT: Sets the output signal level.

HARD KNEE:
If you use a normal compressor, nothing occurs until the threshold is breached, when that happens the compression cuts in. A RATIO of 4:1 once the threshold is passed, the compressor allows only 1db of signal level, increase at the output, for every 4 db in input signal level rise above the threshold setting. On a Hard Knee compressor, this full amount of compression, set by the Ratio, is applied in full, as soon as the input level rises above the threshold. This is a standard type of compressor.

SOFT KNEE:
Soft Knee compressors work differently, they apply compression gradually as the signal approaches the threshold level. As the input signal gets within lets say 10db of the threshold level, the Soft Knee compressor starts to gently apply compression, but with a very low Ratio, which increases proportionately as the Input level gets nearer the Threshold setting. So that by the time the Input level actually reaches the Threshold level, the compressor is applying its gain reduction at the full level as set by the Ratio. Soft Knee compressors are more subtle, as they don't wait & then suddenly apply the full level of compression at the Threshold breach point, because they apply the compression gradually, they are more subtle in use, and more suitable for compressing whole mixes.

PEAK & RMS:
Compressors will respond differently depending on whether it is monitoring the input signal in either Peak or RMS mode

The PEAK setting makes the compressor crush any signal rising above the threshold, no matter how fast the transient, this is an ideal mode to use for a digital recording. Peak compression however is not very smooth or natural sounding & can produce very un-natural noticeable results, unless you use a low compression ratio. The RMS is a more natural sounding mode, and responds similarly to the human ear, RMS mode do not bother much about quick short peaks that might cut through above the average signal level, even if you set a fast attack time. RMS mode works on a wider average than PEAK mode, allowing some fast transients, but closing down more when continuous loud peaks appear.

SIDE-CHAIN:
Side-Chain provides an alternative input for a different control signal, than that which is going into the main input, or provides the ability to patch into the side-chain something like an EQ unit, so as the compressor responds only, to frequencies boosted by the EQ. This EQ does not effect the actual input signal, only the controls of the unit.

STEREO LINK:
Stereo Link switch on a compressor allows the two sides of the unit to be linked together for processing stereo signals. The Stereo Link control both sides of the unit to work together, based on the average of the two input signals, or whichever is the loudest at any time.

AUTO ATTACK / RELEASE:
Some units include an AUTO mode switch. This switch adjusts the Attack & Release during use to automatically suit the dynamics of the audio that is being processed. This is a good mode to use if you're doing stereo compression on a mix, where there are constantly changing dynamics. Auto mode is also useful for things like acoustic guitars, or bass, which is often difficult to compress without getting pumping effects.

AUDIO LIMITING:
Often we hear compressors referred to as "Limiters". Well limiting, is basically where the unit has a fixed as opposed to ratio based compression which no signal can pass. In order to get this, simply set the compression ratio to Infinity, all the way. This now tells the compressor to let nothing pass, and there you have it, Limiting.

To Use A Correlation Meter

2011-04-06T17:16:00.000-07:00

The correlation meter indicates the degree of similarity between the left and right audio channels.

When the audio in the left and right channels is similar the meter draws towards the right +1. The extreme case is when the left and right channels are exactly the same, in which case the correlation is +1 and the meter would be positioned all the way to the right.

When the left and right channels are different the meter draws towards the left -1. The extreme case here would be for the left and right to be exactly out of phase, in which case the correlation is -1 and the meter would be positioned all the way to the left.

General: Most recordings have phase correlations in the 0 to +1 region. A correlation in the positive region toward +1 will result in good sounding audio. 0 is uncorrelated material and values from 0 to –1 also called anti-correlation can result in phasing and phase cancellation where certain frequencies are reduced or cancel out entirely.
Note: A brief readout towards the left side is not necessarily a problem but could represent a possible mono compatibility issue.

Sample Or Vocal Clearance.

2011-03-24T17:33:00.000-07:00

If you use a © protected sample in your music, you must receive sample clearance before you can release it for sale. Most record labels wont touch a record with uncleared samples (vocals etc), and even if you are going the route of DIY (Do It Yourself) failing to clear the samples you use, leaves you open to considerable legal trouble.

Clearing music samples is something you always should do, if you really want to use it, but it is not always the easiest process in the world. There are two parties you have to deal with, the owner of the master and the publisher. Samples are not subject to licences which in general means that the right owners can deny your use of the sample and you need them both on board to legally use your sample for a release.

But before you can get the sample clearance, you have to complete the entire song, so the record label that owns the master and publisher, can see how you plan to use it. Not only do they simply want to make sure they are all OK with the use, they also want to see how much you use the original recorded sample/vocals etc.

Clearance pricing, the owners and publishers have pretty free reign to charge you what they want. The label/master owner will usually want an advance plus a royalty on all sales. The publisher will want partial ownership of the copyright plus royalties for the songwriter and publishing money. Infact you could be asked to give up more than 50% to the publisher, depending on how you use the original track. Keep in mind that if your song has more than one sample on it, you have to repeat this process for each © protected sample used, even if you think you have manipulated the sample so much that it is no longer identifiable as the original track. It can be a really expensive process, but not nearly as expensive as getting busted for copyright violation though.

Promotion Tips Part II

2011-03-19T17:00:00.000-07:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Remember to visit our prime website: http://www.rsrecords.biz/

Music Promotion Effectively

2011-03-09T18:13:00.000-08:00

Bands need to stop thinking that websites and viral campaigns will get their band to the next level. That way of thinking is ludicrous. Working bands need to be aware that the most important thing you can do is to make personal connections. There are a lot of tools online that can be important and useful for your band: being able to connect with fans through Facebook or Twitter, organize e-mail lists, collect fan data through Reverb Nation, distribute your music. But these tools are best used after you have made an intimate connection with a fan, not before.

You can sign up for all the fan gathering websites you want to do. You can hire marketing teams to blast viral content across the entire internet. It may even get you some buzz, but the real question is, will it get you some fans? There is a big difference. Buzz goes away. Fans don’t! The difference is that fans have formed a relationship to you that goes deeper than music alone. And those relationships have to be built on a small scale.

Music promotion takes time, energy, and a lot of patience. There is no quick guide to success. You have to promote your music and then promote your music some more. "Try out new roads". Important connect and interact with fans!

Who owns the copyright.

2011-03-01T16:19:00.000-08:00

Are melody, songwriting? and music mixing?, two separate things copyright/royalty wise? I'm asking you this because I am a lyricist and what I do is write the lyrics, then have a demo mixed by someone who also adds the vocals, my lyrics to the track. What is copyright/royalty of the person that does the demo, is his contribution songwriting, co-melody writer or music only, co-mixing/arranger? I don't understand the distinctive difference between melody and music. I know if you permanently buy all the rights to a demo mix all rights including copyright/royalties there is no issue. But what happens if the person who mixes the demo doesn't sell you all its rights?

I hope I am understanding this correctly. You write the lyrics and someone else who is composer writes the melody. The composer also makes the demo recording. Then you take the demo to a producer who improves the demo and turns it into a finished track.
It is vital to remember that there are two separate copyrights here, one in the song and the other in the recording. If the song had never been recorded before, then copyright in the song would exist, as long as it is written down. And if someone records your song, from US they can do without your permission, on payment of a standard royalty, if it has already been released previously, then they own the copyright in the recording.

So, up to the point of the demo, you and your composer share ownership of the copyright of the song in usually 50/50 share. The next part is the gray area. It is normally considered to be one of the functions of the producer to improve the song. This could be by rearranging the order of the track sections. Or it could be by suggesting that you rewrite some of the lyrics to fit better. In either of these cases, you and the composer still own the copyright in the song entirely. However, if the producer rewrites some of the lyrics himself, he could be entitled to claim a share of the copyright of the finished song.

Unless it is agreed whether or not this will be the case, then you are storing up a problem for the future if the song becomes successful. You could end up in court deciding the ownership of the copyright, and the lawyers will get most of the money. So you have to get an agreement in writing. Preference would be for the producer not to get any share of the copyright of the song unless a specific further agreement was made.
So if he rewrites one line, then he doesn't get a share. If he rewrites half of the song he can suggest that you give him a co-writing credit. And if you don't agree, then he might not let you use his lyrics, which clearly are his at this stage.

Recording.

There is a separate copyright in the recording and you need to be sure who owns this. You can't assume that you own it simply because you are paying the producer a fee for his time. There may be a clause in the producers standard terms of business, that states that he owns the copyright, or perhaps a share of it. Or the legal system wherever you live might automatically grant the producer copyright, like a photographer keeps copyright in their photos, even though they have been paid to take them. So the producer could be paid a fee for his work, and you have an agreement that states that in return for this fee, the copyright in the recording is yours. Or you could agree a producer royalty, but the copyright would still be yours.

Secret of great songwriting.

2011-02-23T15:28:00.000-08:00

The secret of great songwriting is to write a hundred crappy songs first.

Once you have done that, you know how to write a song so you can concentrate on writing that one really great one. And at this point, you need to write a song that people will truly love.

Get people to play your song. You can do that by getting your song performed by a popular artist. That always works. Or you can become a popular artist yourself or form a band. Hmm, that could be as difficult as writing a great song.

Get people not to turn off your song, skip to the next track or change radio station. You can do that firstly by making sure that the very beginning of your song is interesting and not off-putting. It needs to have a 'what's going to come next' factor about it, like a page of a book that you can't put down.

Make sure that your song has a great hook & theme. The hook is whatever it is about the song that people will love best. It might be the melody of the chorus, the groove or even an interesting sonic effect. Usually it's the melody of the chorus that does the job.

Write a verse that gives the chorus the 'halo effect'. Don't know what the halo effect is? It is the art of managing expectations so that when the listener gets to the good bit, it seems even better. It's like a 60-year old celebrity, you don't expect them to be any good at that age, so when they are half-decent, you think they are brilliant.

A choice .. Either repeat the chorus over and over so it gets stuck in the listener's head. Or... have the chorus just twice, so to hear it again, the listener has to play the song again (or buy it!).

As you write your first truly great song, have in mind that you need to get the listener singing along with the song.
If you've done all the above but nothing more, your song isn't great yet. Next you have to get the listener to get up and dance. Or at least jiggle about a bit. OK, there are some great songs you can't really dance to. But if your song isn't danceable, you had better have a very good reason for it.

This is the tough one. I could say that you have to get the listener to love the song. But love can be fleeting. You need to establish a relationship between the listener and the song that will last their entire lifetime. You can do this by connecting on a deep emotional level. Human beings seem to be hard-wired with emotions. And since you have probably experienced a wide range of them yourself, you are at least in a good place to start from.

You need to get people to get their money out and hand it over! Your self-indulgent, inward-looking, arty-farty brain drool isn't going to make more than pennies. You need to offer something that is so amazing in value that people want your music more than they want anything else in life at that moment. And that feeling of wanting can't be satisfied until they are playing your song over and over.

Last thing... if writing great songs were easy, everyone would be doing it. The great thing is however that anyone can try. Get to work!

Signs Your Track Is Amateur Electronic Productions

2011-02-19T16:39:00.000-08:00

Signs Your Track Is Amateur For Electronic Music Production.

Here is a list of things you should learn to avoid if you want professional sounding tracks.

The most common thing that prevents amateurs from getting a full sound is not filling the box, that is volume, panning, and frequency. The typical dilemma is this, as more sounds are layered together, the audio may start to clip. And so on, you turn the gain down on the each channel of the mixer so it doesn’t clip. But then, it sounds quiet. In order to fix this, you need to learn about compression and mixing. If used properly, compression reduces the variations between one audio channel’s highest and lowest gain levels throughout the track, which allows you to turn the volume up without clipping.

Muddy Sound:
When too many frequencies are overlapping in a mix, the result is muddy. To prevent mud, you must consciously keep in mind what range of frequencies you are adding with each new part. Inevitably, frequencies will overlap, no matter what instruments you choose. For example, two bassy sounds on top of each other will interfere, resulting in weird phasing issues. If you want to use two instruments that use up the same frequency spectrum, you’ll want to carve out the highs on one and carve out the lows on the other with the use of EQ, you will eliminate too many overlapping frequencies and clear up your mix. The end result should be consist of many different parts that all cover different ranges of frequencies, which all add up to a full, clear sound.

Presets:
Using presets, whether it is for beats, basslines, lead synths, or effects, can easily lead to an amateur sounding track. A lot of VST instrument plugins have presets that sound very good on their own, but when thrown together with other presets, they clash. A lot of these presets are full sounding, filling up a lot of low and high end. Unless you carve out the clashing frequencies using EQ, you will get a muffled, muddy sound when throwing presets together. Other producers will hear your tracks and recognize the preset sounds. Now that the internet is such an important tool for electronic musicians, samples found for free online have been popping up in popular electronic music for years now. The best way to overcome this pitfall and to find your own unique style is to record your own sounds and/or create your own presets. At the very least, you can take presets and tweak them for a few minutes to make something new.

Cheap reverb:
If you don’t have enough money to purchase a really high end artificial reverb, just don’t use much reverb. If you do, tone it down so you can’t really notice when it’s there. The key to knowing if you’ve got it right is when your average listener will notice when you take the reverb away, but they won’t notice it when it’s there, because it doesn’t stick out at you. Tracks that are drenched in cheap reverb almost always sound amateur.

Sounds like MIDI:
You know what I’m talking about what I mean when I say don’t use anything that sounds like MIDI. A lot of older sampler units equally cheesy and otherwise unusable sounds. Why use artificial reproductions of a sound that already exists if you can use a synthesizer to create a completely new sound that’s never been heard before.

Overall low volume equal weak sounding:
This is a sign that the track is unmastered, so the least we can do is to boost the loudness of our track with the skillful use of mastering on the final mix of a track.

Looping constantly:
Unless you are producing minimal techno or something, the repetitive overuse of loops in your tracks can lead to a stale, uninteresting track. Another common abuse is taking one sample and using it throughout the track, over, and over, and over again, drum samples of course will be the same samples, I’m referring to something such as when you sample a clip from a movie and then keep playing it throughout your track. If you want to use the same sample over and over, at least transform it or shape it somehow so we get some variation to keep things interesting. Slice it, dice it, pitch it, reverse it, flange it, phase it, variation.

Misuse of compression/EQ:
Compression and EQ, two tools that are used to sculpt sound. EQ seems straightforward enough, but you should always check which frequency you are modifying, and make sure that you aren’t just randomly turning knobs. To avoid this, use a spectral analysis plugin to view which frequencies your track is using. Use it in conjunction with EQ to make sure you can see what you’re doing. However, you should always use your ears to confirm what you’re seeing on the spectral analyzer, so it doesn’t become a crutch. Real pro’s only need to use their ears. Ultimately, it’s up to the producer to decide how much or how little compression to use, but if misused, compression can kill the dynamics of a track or just make it sound really bad. Don’t use a compressor/limiter just for its own sake. Use it when you need to keep a high-dynamics sound under control to prevent clipping, for example.

Abuse Autotune:
Some of you may think this program is the best thing since the birth of bakers. Even though the big studios abuse this program, and it’s easy to see why. It turns an amateur singer into a perfectly tuned singing machine. Anyone can sing now! Then the logic continues, why should I learn to sing if I have autotune?. Then it becomes a crutch, and demonstrates that you are an amateur. I would recommend to use it only in situations where things are really stuck with the vocalist.

Is it illegal to play music on my own website or radio station?

2011-02-14T16:47:00.001-08:00

Many new private web radio stations are born everyday & many djs are using this to show off their skills. But there are always rules to follow.

So the question from a dj who want to play music at his site:

Is it illegal to play music on my own website or radio station, without permission, no download to music just playing it?

Short Answer:
Giving airtime to any music by a recording artist whether it be on the radio, a web stream, or even in a public place requires one to pay a royalty to the artist via a music licensing company that has been certified with that artist. This is another stream of revenue to the artists along with selling CDs and doing concerts. One can be prosecuted for not paying the proper royalties.

Indepth Answer:
To use any piece of music that is in copyright, you must first get permission. The type of permission required depends on how you wish to use the music.
Music can be used in four broad categories under copyright law: Adaptation, Recording, Reproduction, and Public Performance. Depending on where and how someone is going to use a song, there are mechanical rights and synchronization rights that have to be negotiated, and the various parties involved may include the songwriter, publisher, and record company, usually holder of the master rights. You may not be aware that the sound recording copyright symbol is represented by the letter “P” enclosed in a circle. The copyright notice of sound recordings should include the three following elements: the sound recording copyright symbol, the year of first publication of the sound recording, and the name of the owner of copyright in the sound recording, or an abbreviation by which the name can be recognized. If the producer of the sound recording is named on the media labels or containers, and if no other name appears in conjunction with the notice, the producer’s name shall be considered a part of the notice. The following types of music cannot be used for public performance: – Illegal Downloads (from P2P Networks etc.) – Unlicensed Internet Radio Services – Licensed On Demand / Interactive music services. As these are services that let users play specific tracks in an order of their choosing or to create customised ‘radio’ stations playing a range of music / artists they have selected, there is no way to pass royalty fees to the artist.
The following sources of music can be used: – Legally purchased downloads on condition that the usage complies with the Digital Rights Management (DRM) rules accompanying the download. For example, if the download is restricted to being held and played back from a specific PC or MP3 player, the public performance has to be sourced from that PC or MP3 player. If the download rules allow the track to be burnt to a CD that CD can then be used for public performance in the same way as any conventional commercial CD.

For the UK, two organisations grant music licenses. It is usually the case that you will have to obtain music licenses from both organisations and therefore you will have to pay two sets of fees. The first organisation is Phonographic Performance Limited, who enforce performance rights in sound recordings and performances. The second organisation is the Performing Rights Society, who enforce performance rights in music and lyrics. To arrange the permission to get a music license there are several resources on the web that can help to direct you to the copyright owners. You should provide as much information about the music as possible, including the title and writer/s. They will also be able to find out who the copyright owner is for a particular song or musical work. The cost of the music licenses varies depending on the size of the premises in question, the type of premises in question and the nature and extent to which music is used. A license can cost as little as 14 pence per day to play music. The consequences of not having both music licenses is that you will be breaching copyright law. This can lead to a civil action being taken by Phonographic Performance Limited and/or the Performing Rights Society. A successful action against you will be expensive in terms of damages that you may have to pay and the costs of the opposition that you may have to settle.

So to all there want to start up a dj or radio station, private website music etc..
Seek out information and fill out every licence there need to be filled out, before you begin playing music for the public, internet etc..

Important Music Promotion Tips!

2011-02-11T16:33:00.000-08:00

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thanks to Chris Knap of Fourfront media, for sharing all these very important promotional tips.

Label News

2011-02-09T17:03:00.000-08:00

Welcome to R.S. Records / RavenStudioz dk ltd´s Blog.

Forthcoming releases: RavenStudioz, Single "Side By Side" Official release date unknown at this time. RavenStudioz, EP "Why Cant U See" Official release date unknown at this time.The Battle Siren, Single "Total Bliss Featuring Margi Clarke" Official release date: 01/03-2011.

Rumours: A.N.S (Asymmetric Noise Syndrome) are soon ready to please their fans with some more cool music, really something we all should look forward too. More news on this later. -IM Award Nominated RavenStudioz are soon laying the last hand on the licensing deal with singer Marielle on a brand new album project. After very great feedback on the previous album featuring Marielle "Be With Me" all are really looking forward to what they have in store for us on the new album.

News: Our finest dubstep artist Mon:Stereo has launched his own band website, make a visit and give him a hello, right here: www.monstereodub.tk

News: Our new EP format Pro. CD/C are now available for customers, find your favourite artist in the label store section and check it out. We ship world wide. Interested are also able to sneak listen to any new releases by our artists with the "listen before a buy" player, in the store section www.rsrecords.biz

News: EP "Sweet Desire-Featuring Tracey Inkson" by DeFusionUK will be official released the 18th of January 2011. Buy it in our label store!

News: EP "Through The Glass" by Asymmetric Noise Syndrome will be official released the 18th January 2011. Are you into high level industrial techno, then go no further, these guys are the industrial gods, who knows exactly what they are doing! Get it here!

News: Single "Summer Rain" by Leon V will be official released the 18th January 2011. Buy it in our label store!

News: Double Single "Latex & Lasers-Featuring Julia Dowler" by Leon V will hit the market the 18th of January 2011. Get it right here!

News: Single "Dilated Eyes" by The Battle Siren will be official released the 18th January 2011. Are you into the harder edge of club tunes with dragging vibes, then this one will suit you. Get it right here!

Info: All releases will also be up here on this label site in the label store section. So fans are able to buy some music and support the artist that way.

IMPORTANT: Downloadable items can only be ordered by registered customers!(It is free to sign up at our customer login area!)

Until next time, keep it up and turn up the speakers spread all these wonderful vibes all around the world.

R.S. Records / RavenStudioz DK ltd 2006 & Staff at Cloud 9 Mastering Service want to thanks all for the big support world wide, without you listeners, artists, fans, associates & partners all this will never happend. Also a BIG thanks for all received fan-mails, we really love that. Respect to you all!