Micro Music Biz

$1000 Grand Prize_Get Paid For Your Musical Talent

noreply@blogger.com (Micro Music Biz) — Sun, 30 Dec 2012 17:01:00 +0000

Vet Boi's

TrapStar and DubStepStar Online MixTape Competition

For all you upcoming Artists
(Hip-Hop, Christian Rap, Producers, R&B over TrapBeats, & DubSteppers)

“I will pay you $1000 for your musical talent once you win! Most people will overlook this; so that makes your chances of winning better. If you don't do music, PLEASE, share this link to someone you know who can WIN!!!!

Grand Prize wins $1000, 2nd Place wins a brand new Maschine MK II by Native Instruments (compliments of Vet Boi Music Group), 3rd Place wins brand new Beats by Dre Wireless Headphones (compliments of Vet Boi Music Group)!!!

Good Luck!!!”

For Complete Details Log onto

@riccotweets

vetboiigram

www.vetboimusic.com

WATCH

http://youtu.be/74qyk7m2jA4

Ricco Lumpkins aka the Vet Boi™

VBMG, LLC

Vet Boi™ Goes Reasons 6 (Tutorial)

noreply@blogger.com (Micro Music Biz) — Thu, 22 Mar 2012 09:42:00 +0000

Vet Boi™

Beat Making Using

Propellerhead

Reasons 6

I use a few different Digital Audio Workstations (DAWs) for creative inspiration. I put together these 3 tutorials on utilizing Propellerhead Reasons 6.0. I hope you guys find theme useful.

Ricco Lumpkins aka the Vet Boi™

VBMG, LLC

Part 1 of 3

Part 2 of 3

Part 3 of 3

www.vetboimusicgroup.com

COMING SOON!!!

Vet Boi™ Making a Beat Using Maschine

noreply@blogger.com (Micro Music Biz) — Thu, 08 Mar 2012 09:40:00 +0000

Beat Making Using Native Instruments

Maschine

I grew up playing drums in my father’s church. Once I was exposed to my very first drum machine, I put the sticks down for years. Today, I will, occasionally, pick them up and dust them off. I will play along with my brother. He plays keyboards, piano, and organ. To me, the drum machine was my escape from reality. Despite the limitations of the ROM chips, I remember back in the day learning how to create beats with my old friend and production partner, Willie. He would show me tips and tricks I would have never thought.

Modern music has been utilizing drum machines for many years. The very first drum machine dates back between1930-1932 by Henry Cowell who commissioned Léon Theremin. It was called the Rhythmicon. Some experts will argue the Wurlitzer Sideman from the 1950s was the first (Synthgear).

(Joseph Schillinger and the Rhythmicon)

(Wurlizter Sideman)

Recently, I did a Google search on vintage drum machines. To my surprise, I found many of them I had previously owned. Here are just a few that I found:

Linn LM-1 by Roger Linn (Prince made this famous in the early 80’s)

Oberheim DMX

Alesis Hr-16

Roland RY-30

I know there are plenty of sampler based drum machines, but most of these you had to think outside the box if you wanted extra sounds.

With the evolution of the music industry, technology has also changed. The Maschine brought back feelings of inspiration with the feel of legacy gear but with the freshness of today’s software integration and efficiency. I have included two videos for comparison.

Vet Boi™ Maschine Part 1 of 2

Vet Boi™ Maschine Part 2 of 2

Wurlizter Sideman in Action

Ricco Lumpkins aka the Vet Boi™

VBMG, LLC

Linn, Roger (2012). http://www.rogerlinndesign.com/about.html

Syhtgear.com (2009). Retrieved March 8, 2012 from http://www.synthgear.com/2009/audio-gear/wurlitzer-sideman/

http://ghn.ieee.org/wiki/index.php/Drum_Machines

All Photos Courtesy of

Vintage Synth (2010). Retrieved March 8, 2012 from http://www.vintagesynth.com/yamaha/ry30.php

http://www.vintagesynth.com/misc/hr16.php

Sampling in Ableton: Pitching Without Changing Tempo

noreply@blogger.com (Micro Music Biz) — Sun, 22 Jan 2012 14:58:00 +0000

Sampling
Pitching without Changing Tempo

Photo Used Courtesy of Plat'Num World ProjeX

So, I have been producing pop, hip-hop, dance, and R&B music since the mid 80’s. Professionally, I have been engaged since the mid 90’s. However, last week I sat in as a guest lecturer at the Music Industry Workshop in Chicago. The panel was on making beats in Ableton Live. Normally, my production is completed in Protools, Logic, or Reason, but I got stumped on a basic sampling question on how to sample in Ableton. Well, I am here to dispel that confusion.

Suffice it to say, I rarely use sampling in my production. However, it has been a game changer for the face of popular Hip-Hop music. According to Thorn Holmes, author of “Early Synthesizers and Experiments,” in 1944, composers at the Groupe de Recherchés Musicales at the Office de Radiodiffusion Télévision Française (ORTF), originally created looping and sampling on magnetic wire. The Primary intent was to be utilized for compositional pieces of electronic music. Additionally, Nordwestdeutscher Rundfunk (NWDR) and the Columbia-Princeton Electronic Music Center in New York, contributed to some early findings (Holmes).

Once digital samplers went into full production, Hip-Hop evolved by regurgitating old hits into newer generations via sampling and looping. This opens a totally different issue of copyright infringement-not for this blog post. However, a sample clearance form is in place to rectify those potential disasters. Some of the pioneering sampling manufacturers are Mellotron, Synclavier, Fairlight Instruments, Emu, Akai, Roger Linn, and Roland. In my early days, I used the Asr-10, EPS 16+, Akai MPC 60, Akai MPC 60-II, Roland W-30, Akai S-900, Akai S-950, Akai S-1000, Linn Drum Machine, Emu SP1200, Synclavier, Akai MPC 500, 1000, 2000, 3000, and 4000.

Here is a really great interactive look at a timeline on how music has been recycled: http://jklabs.net/projects/samplinghistory/

Lastly, I did not realize James Brown was the number one sampled artist in history (The-Breaks.com).

Here is a video tutorial I put together specifically for this blog. It demonstrates how to pitch a sample without changing its tempo within a software-based application called Ableton Live versus the external physical hardware samplers:

Ableton Beat Making_Sample and Pitch in Time (Pt 1)

Ableton Beat Making_Sample and Pitch in Time (Pt 2)

Ricco Lumpkins

Reference:

The-Breaks.com http://www.the-breaks.com/stats.php - http://www.the-breaks.com/stats.php

Holmes, Thom (2008). "Early Synthesizers and Experimenters". Electronic and experimental music: technology, music, and culture (3rd ed.). Taylor & Francis.

JK Labs (2004). Retrieved January 22, 2012 from http://jklabs.net/projects/samplinghistory/

Photo Used Courtesy of Plat'Num World ProjeX

Song Used Courtesy of Plat'Num World ProjeX-“Sample and Pitch,” Produced by Ricciano Lumpkins aka the Vet Boi™ for PWPX, LLC and Written by Ricco Lumpkins and Nate Butler, Published by Archives of RachelJames Music (SESAC) © 2000 and 2012, Vocal performance by Olethia Ritchie.

Autotune vs. Melodyne

noreply@blogger.com (Micro Music Biz) — Sun, 08 Jan 2012 13:39:00 +0000

Autotune vs. Melodyne

Has singing Become a lost art?

Artists such as T-Pain, Cher, Lady Gaga, Britney Spears, Black Eyed Peas, Rihanna, Akon, Aphex Twins, Chris Brown, Miley Cyrus, The Dream, Jason Derülo, Jamie Foxx, Jeremih, Ke$ha, Sean Kingston, Avril Lavigne, Lil Wayne, Drake, Madonna, Maroon 5, Nicki Minaj, New Boyz, Owl City, P. Diddy, Daft Punk, Taio Cruz, B.o.B, Jennifer Lopez, Colby O’ Donis, Sugar Land, Justin Timberlake, FAR EAST Movement, LMFAO, Pit Bull, Timbaland, Usher, Rebecca Black, Natasha Bedingfield, Kanye West, Faith Hill, Alice Cooper, Billy Joel, R. Kelley, Rascal Flatts, etc. use Autotune to their advantage (Ason). As you can see, Autotune makes millions of dollars in various genres of music.

Nowadays, there are stories circulating around the music industry that many recording artists can’t sing. Since the invasion of Autotune, many artists have relied solely upon its automatic pitch correction parameters to make superstars. Well, I am here to dispel that myth. There is actually a sister tool, Melodyne by Celemony, which auto corrects artists that can sing but may be slightly off pitch. It is a hidden gem in the industry. However, I have been using both for many years. Each has its own distinct characteristics. Simply put, Autotune the News, are adjunct instruments. One must still be able to manipulate parameters or presets in order to get desired effect. There are also many spoof videos such as the Gregory Brothers Autotune the News, which has penetrated into YouTube’s popular culture with over 385 million hits (Youtube). They definitely understand how to connect with their target audience.

Albeit, the artist must have some form of talent. If one cannot sing at all, it would be very difficult to fix. In fact, Autotune works better on an artist that sings slightly flat. Bottom line, a song has to be catchy before it can become a hit-Love it or hate it. Fact still remains; the song must come before the artist.

Autotune vs. Melodyne Pt. 1

Autotune vs. Melodyne Pt. 2

Gregory Brothers. Autotune the News. http://www.youtube.com/watch?feature=player_embedded&v=hMtZfW2z9dw

Jones, Ason. (January, 2012). Rate Your Music.com Retrieved from http://rateyourmusic.com/list/Thrashisawesome/artists_who_have_used_auto_tune

Mic Courtesy of MXL

Vet Boi™_How to Record Live Horns

noreply@blogger.com (Micro Music Biz) — Wed, 21 Dec 2011 00:54:00 +0000

DJ TOOMP-A Mega Award Winning Producer and Songwriter

noreply@blogger.com (Micro Music Biz) — Mon, 12 Dec 2011 00:33:00 +0000

DJ TOOMP

Grammy-winning, multi-platinum selling producer and songwriter

DJ Toomp is a true friend and colleague of mine. He has been an urban music producer for over two decades. He has helped create, develop, and expand Atlanta's Southern Hip Hop to a worldwide level of recognition (Music Powers). Toomp has appeared in multiple magazine articles, newspapers, blogs, television and radio interviews. I am honored to be able to sit in the same room with him. Plat'Num World ProjeX thanks him for taking the time to do this interview with me from a few years back. In the below videos, Toomp shares his creative force and tips and tricks on production and song writing.

At a very young age of 6, Toomp’s father taught him how to harmonize giving Toomp an early start on dissecting and constructing songs for major productions. Right out of high school, DJ Toomp hit the music scene spinning sounds that resonated in his soul (Music Powers). In 1985, Toomp recorded his first hit record with Raheem the Dream.

According to Cirocco Jones, author of Music Powers.com, Toomp says, "I like to produce artists and for them to come to my studio and just vibe, more than just take a track and put something to it... I'd rather work with an artist so that things don't go wrong along the way (Music Powers)."

Among the impressive list of artists who have benefited from Toomp's talents are Mariah Carey, Jay Z, Kanye West, TI, Ludacris, Young Jeezy, Rick Ross, and many others. Recently named one of the "Best Beatmakers" by Rolling Stone Magazine, Toomp oversees three ventures: Zone Boy Productions, Toompstone Publishing, and NZone Entertainment, and is currently grooming a stable of emerging talented producers, songwriters, and artists (Music Powers).

Toomp humbly adds, "I've done well in this industry...I have these eyes and ears, and I know what it takes to be successful in this business... I want to win."

If DJ Toomp's past and present accomplishments are any signal of his future, the world is truly in store for more great music, hit records, and innovative productions from this multifaceted musical genius (Jones).

DJ TOOMP drops knowledge to upcoming producers (Pt. 1)

Courtesy of archived unseen footage from "Ultimate Producer" by CIU and Vet Boi™

DJ TOOMP drops knowledge to upcoming producers (Pt. 2)

Courtesy of archived unseen footage from "Ultimate Producer" by CIU and Vet Boi™

DJ TOOMP http://www.allmusic.com/artist/aldrin-davis-p330069/credits

Jones, Cirocco. (2011). MusicPowers.com. DJ TOOMPhttp://www.musicpowers.com/djtoomp/

Photo Courtesy of Music Powers.com

Cirocco Jones-Music Industry Mogul and Author

noreply@blogger.com (Micro Music Biz) — Sun, 11 Dec 2011 22:34:00 +0000

1. Please provide a brief history of your contribution to the music industry/business?

Well, I’ve been doing music for a very long time (since the late 80s – 90s).  Like so many others, I started out as a musician, and gradually moved into being a songwriter, producer and engineer.  I’ve done everything from being signed as a recording artist at Geffen Records, to being a staff songwriter at Hush/Orpheus Productions. I’ve done A&R consulting for Motown Records and small indie labels, and I currently work A&R and do consulting for a company called Oceanic Tradewinds.  I am also known for being the author of a book called The Music Powers That Be To Succeed in the Music Industry.  The ‘Music Powers’ book is probably my main contribution to the industry.

2. You are an amazingly talented producer, engineer, and accomplished musician. Which instruments do you play?

1^st of all – thank you!  I am primarily a guitar player first.  I have worked live gigs as a bass player and done many studio sessions on keys, but my main instrument is guitar.

3. I know you have worked with some of the greatest in the business, but what do you consider your highest achievement?

I think my highest achievement has been to help other music people, producers and artists that have gone on to do great things in the industry.  I believe that I have had a positive influence showing other talented people what was possible in the studio; and what being creative, excellent and innovative is about.  I’ve always been told that I am a natural teacher, and that’s cool with me. Maybe that’s why I was put here – to help, teach, and guide others. Some of the people I remember coming around were Alvin Speights, Dallas Austin, Roy Murray, Victor Alexander, DJ Toomp, David Ryan Harris, and many others.  All of these guys have gone on to do great things in the music industry.

4. Being the author of The Music Powers That Be To Succeed in the Music Industry,what was your motivation?

Honestly – I think the biggest motivator was that the book was like a healing for me.  When I was younger, I had no clue of how things worked in the industry as far as the business, and I signed into some pretty bad deals in my early years.  But, as I learned more and more, I started educating myself about the music business part of it.  So, doing the book was like therapy for me – it was a way for me to release a lot built up anxiety from years of both frustration and achievements. These kids really need to know this information because this industry can be really ugly if you don’t know or understand things.

5. You offer so much "game" in the book, when will the next edition be ready mass consumption?

The majority of the new 2^nd Edition book is in the editing stage, but will be ready soon. There’s a lot of new content that has been updated; it’s a different “game” out there now, so you have to define what success really means to you.  There are so many new things – 360 deals, social media, YouTube, etc. It’s about more than selling music – it’s about selling a brand too. You have to think beyond selling a CD or music download. Plus, deals are different; the numbers are different – the money has changed; it’s a different landscape, but some of the fundamental things and how they work are the same; like concerts and touring, people will still come out to a live show. The thing that may be different is that instead of just the artist, promoter, agent, and management breaking bread…now the label may have its hand out for a piece of that revenue stream.

But back to your question, and to answer it – the goal is to have the new 2^nd Edition paperback available for sale at Musicpowers.com by the end of March 2012. Then, the book will be available to most bookstores, retail and e-readers expectantly by late April 2012.

6. Per our phone conversation and in today's status quo, you believe there is still money to be made in the music business; can you explain?

Yes, there’s still money.  People are still going to pay money to be entertained.  History has shown us, whether through a recession or unemployment, people still want to find a way to escape through entertainment.  People still pay good money to go to a concert. And if you have an act that is able to sell merchandise, then that’s another revenue stream.  If you have a great artist with great songs, and they have a fan base, then that act can make money.  I recently consulted on a project for a new artist Ryan Beatty. He just finished his first single, and then simply by announcing to his fans on Twitter and Facebook that his song was now on iTunes, he was able to skyrocket to #56 on the iTunes Pop Charts in less than 24 hrs.  This was done without any radio airplay, no video, and no big-dollar marketing efforts, etc.  And his merchandise sells out at every show he does. So yes, there’s definitely still money to be made.

7. What piece of advice would you give a new artist looking to enter our industry?

I give the same advice to all new artists I come in contact with – Keep God first.

I know that’s not the answer most people expect to hear, but it's what I believe will keep you on the right path.

This is a tough business.  It’s a big business…bigger than you.  You have to be prepared and very good at whatever you do.  It usually takes a lot of sacrifice and discipline to run this race.  So if you have an opportunity to really get something great going with your career, then don’t sleep on your opportunity – Push yourself. But, the advice I give to artists more than anything else I say is to “keep God first”.  Everything else will work out.

8. Your take on technology and the effects of piracy?

I’m pretty much like everyone else. Digital technology has made it easier to get media distributed all over the world.  It has made it possible to collaborate with talent all over the world… that is cool.  But, because of the digital technology being so readily available online, or so easy to make a digital copy of just about anything, it has become impossible to stop the piracy of music, movies, and games.

9. Where is the industry headed in the next five years?

That’s a great question (smiling).

I think you will see more and more TV shows getting involved with the music industry. “American Idol”, “X-Factor”, “The Voice”, etc are all vehicles to launch music careers – record deals, touring, major exposure, management, etc. etc.

It’s hard say what the future is going to bring simply because we don’t know the new technology that is coming.  Who knows?  Maybe it’s an animated moving hologram movie feature that will become the new media to get a music placement on (laughing). It’s definitely a “Brave New World”.  But, one thing that will probably stay the same; people will still love great music, great songs, and great performances.

C. Cirocco Jones – A&R, Consultant, Producer, Author

“The Music Powers That Be…To Succeed In The Music Industry”

www.Musicpowers.com

Legendary Entertainment Attorney Jay B. Ross

noreply@blogger.com (Micro Music Biz) — Sat, 19 Nov 2011 00:42:00 +0000

Music Industry Interview

With

Legendary Entertainment Attorney

Jay B. Ross,

Attorney-at-Law

Being a Grammy Award Winning Producer, Engineer, Songwriter, Publisher, and label owner, I decided to interview Attorney Jay B. Ross for some advice for aspiring music industry entrants. Attorney Ross provided some very insightful principles in which I can apply to my current business model.

Get Ready to take some notes!

Q: Please, can you provide a little background about yourself along with any major cases you have been involved?

A: “My firm is currently suing Corbis and Co. for unlawful use of Rights of Publicity in selling celebrity photos. I have represented James Brown in several cases as well as Shirley Jones, Jerry Butler, Anna Maria Alberghetti, Bonnie Pointer and many others. I have been practicing entertainment law for over forty years.”

Q: Where did you graduate from law school?

A: “University of Illinois Law School”

Q: Legally speaking, what are some of the problems or mistakes do you see new people entering the business encountering (i.e. infringing upon intellectual property)?

A: “The most common mistakes I see people making are:

· Not using a lawyer is the cause of most mistakes,

· not getting a mechanical license when releasing a cover song,

· signing so-called "Standard Contracts" (no such thing),

· not putting escape clauses in service contracts.

· not being loyal to those you can trust,

· not being prepared for the highs and lows of the business,

· doing drugs,

· indiscreet personal affairs and nudity in most cases,

· not getting it in writing,

· not getting receipts for cash business expenditures,

· not keeping up with your business,

· not doing due dilegence when contracting with new people (a lot of sharks in music's waters).

· The worst scam of all is when a production or record company wants to "sign" you up and have you pay for their efforts. Don't confuse this with production situations where you pay someone to do the work and you end up owning the project.”

Q: In the music industry, what are some of the laws you recommend an aspiring artist, producer, or label need to know?

A: “Own and read Passman's ‘Everything You Need to Know About the Music Business’ and Billboard's ‘This Music Business’ by Shemmel and Kraslowski. Reading Billboard Magazine will acquaint you with new laws and trends. Free access to copies of all can be read at the Music Library on the eight floor of the Harold Washington Library.

Q: With someone were trying to setup a production or record company, what essential advice would you recommend?

A: “Use a lawyer and if you can afford it, incorporate.”

Q: If they were to seek investors in today’s market, which information would you advise they have in their business plan?

A: “because of the risk, music investors are the rarest of all investors. If you can show a potential investor that they will be even partially paid back even if the project fails, then you've got a better chance. I do a loan and pay back contract that investors seem to like.”

Q: Do you have any suggested educational platforms (suggested books, websites, blogs, or podcasts)?

A: “as contacts are almost as important as contracts, one must attend conventions. If product is available to license, one must try the MIDEM conference in January in Cannes, France; Almost anybody who is anybody in the music business is in attendance. Billboard conventions are a go for beginners and a place to meet the panelists. I like Tommy Silverman's New Music Conference even though I haven't been a panelist there for a few years. Billboard Magazines have lists of other conventions. When you go, don't be shy. Put your hand out and meet people and take plenty of business cards. If you don't have a business, then have the card read "Your Name Enterprises", Your Name, President. As to books see above. As to the others search the web and you'll find more than you can handle.”

Q: if someone wanted to procure your services, how can they contact you?

A: “Jay B. Ross, Attorney-At-Law,

842 West Grand Avenue

Chicago, Illinois 60642,

Phone (312) 633-9000

Fax(312) 633-9000

Email: music_law@msn.com

Website: http://www.jaybross.com/

Out of state phone number: 888-4JBRoss.

Also, I am a member of Super Lawyers, Leading Lawyers, Avvo (Superb rating) Facebook, Twitter, Hi5, LinkedIn, the Masons, The Variety Club, ZBT Fraternity and my Web site is

JayBRoss.com (J. Ross, email communication, November 16, 2011).”

Reference:

Ross, J. (2011, November 16). Music Industry Interview

With Legendary Entertainment Attorney Jay B. Ross, Attorney-at-Law. Email interview.

Ross, J (2011). Jay B. Ross and Associates, P.C. Retrieved November 18, 2011 FROM http://www.jaybross.com/

The Website Crook

noreply@blogger.com (Micro Music Biz) — Mon, 31 Oct 2011 03:10:00 +0000

Website Crooks:

Rights of Publicity

Intellectual Property (IP)

As a Grammy Award Winning Producer, Engineer, and Songwriter, one day I received a call from a colleague informing me that someone was using my likeness on their website to generate business for his company. I would not have an issue with this, if the person would have simply asked and worked out some type of license agreement from derived income.

The question:

Can I sue someone for using my photo and likeness as a means of exploitation for pecuniary gain on their website?

The answer is YES! A person cannot use your image or likeness without prior written authorization or a granted license for financial gain. According to Brett J. Trout, author of Cyber law: A Legal Arsenal for Online Business, “The right of publicity protects the commercial interest in one’s persona, name, and likeness and, in some jurisdictions, one’s nickname, voice, mannerisms, characterizations, and performing style (Page 78).” According to Attorney Daniel A. Hetzel, “an individual’s Right of Publicity is derived from the First and Fourth Constitutional Laws versus the copyright law. However, it can have implications from copyright and trademark infringement to the extent copyrighted music and trademark logos are utilized. State laws have supplemented this constitutional right.”

I read in the Boston Globe, Michael Jackson’s Estate sued Howard Mann, Vintage Pop Media Group, LLC, alleging “Mann and the site are using Jackson's likeness improperly, including images from the film This Is It and five sketches the singer drew.” The website, Jackson’s Secret Vault, is selling a book written by the singer's mother, Katherine, and has released music attributed to the late pop superstar.

(Courtesy ofJacksonSecretVault.com)

Mann was the person who purchased “Michael Jackson family’s storage vault held at a Federal Bankruptcy Court. The storage unit contained various memorabilia of Michael Jackson. In April 2011, the defendants’ motion to dismiss the case was denied by the United States District Court Central District of California (Case No. 11-00584 DDP (PJWx).” The case is still pending.

Lindsay Lohan’s lawsuit against Pit Bull, Neyo, and Afro Jack is another recent instance of right of publicity. First, let me start by stating; Lindsay definitely has some level of brand equity to her attribution. The song entitled “Give Me Everything” was a 2011 summer smash. Currently, It is still being played on major radio stations and has over 169 million hits on YouTube. Personally, I don’t believe its damaging to her persona. Her pre-existing actions of drinking, partying, drug use, and violating probation take precedence over Pitbull’s recital of her name, “Locked up like Lindsay Lohan.” It’s simply a metaphor. It would be a different situation if the hook of the song were called “Lindsay Lohan.” She may have a case at that point. Pitbull could, actually, change the lyrics to say, “Locked up like Akon,” and he would still have the same hit record. Nevertheless, I can look on both sides of the coin to see validity.

Regarding copyright infringement, many people believe the song entitled “Barbara Streisand” by Duck Sauce is a completely original piece of work.

Night Train, Written by Hallo and Bimmelbahn

Boney M. "Gotta Go Home"
Written by Hallo and Bimmelbahn

However, according to the RIAA, “the use of any part of a song requires a license. So, if you perform, reproduce or distribute clips, you should contact the sound recording copyright owner for a license (RIAA).” Most beatmakers and samplers believe they can use any sample within 0-30 seconds of an original work. Simply, not true. Additional, recent rulings, such at the Napster’s Copyright Infringement Case, have set precedence towards setting injunctions towards copyright violator’s whether they are on Internet or not.

A word of caution to the mashables and samplers, the copyright police are out and collecting on copyright infringers!

References:

BostonGlobe.com. (January, 2011). Michael Jackson’s estate sues over website. Retrieved from http://www.boston.com/ae/music/articles/2011/01/20/michael_jacksons_estate_sues_over_website/

Hetzel, Attorney Dan Hetzel. (October, 2011). Retrieved from http://www.baughdaltonlaw.com/attorneys/dHetzel.php

Jackson, Michael (October, 2011). Michael Jackson’s This Is It. Retrieved from http://www.thisisitmovieondvd.com/

Michael Jacksons Secret Vault. (October, 2011). Retrieved from http://www.jacksonsecretvault.com/

Recording Industry Association of America (April, 2011). Clear Victory fo Recording Industry in Napster Case: Ninthe Circuit Rules in RIAA’a Favor on Every Legal Issue Presented. Retrieved from http://www.riaa.com/newsitem.php?content_selector=newsandviews&news_month_filter=2&news_year_filter=2001&id=EA742466-C6DB-1D28-CF94-411172C649C7&searchterms=sampling%20&terminclude=&termexact=

RoseSpeaks.com (October, 2011). http://www.rosespeaks.com/wp-content/uploads/downloads/2011/04/4-19-2011-Court-Order-Denying-Mann-Motion-Dismiss.pdf

Trout, Brett J. (2007). A Legal Arsenal for Online Business. © Published by World Audience, Inc New York, New York.

Live Music Equals Revenue

noreply@blogger.com (Micro Music Biz) — Mon, 17 Oct 2011 02:35:00 +0000

Live Music Equals Revenue

For the bedroom-recording artist, it’s time to hit the road! As we all know, the economy is still in a down spurt. Since the Millennium, album sales have declined. Digital sales have tapered. Due to piracy, artists have to give their music away for free to acquire a fan. However, there are multiple streams of income-generating avenues to pursuit, but today the suggestion will be that of live shows. More specifically, live music festivals are the key to supplemental income. According to Pollstar.com box office sales reports more than $4 billion in annual domestic ticket sales.

HERE ARE SOME POTENTIAL MUSIC FESTIVALs:

LOLLAPALOOZA

COACHELLA-INDIO, CA

TASTE OF CHICAGO-CHICAGO

Essence Music Festival

BILLBOARD MUSIC CONFERENCE

BONNAROO-MANCHESTER, TN

AFRICAN AMERICAN MUSIC FESTIVAL

ATLANTIS MUSIC CONFERENCE-ATLANTA, GA

SASQUATCH MUSIC FESTIVAL-GEORGE, WA

PITCHFORK MUSIC FESTIVAL

SXSW MUSIC FESTIVAL-AUSTIN, TX

SUMMERFEST-MILWAUKEE, WI

RHYTHM AND SOUL AWARDS-ATLANTA, GA

MULTIFEST-WEST VIRGINIA

JamBase.com

MusicFestivalFinder.com

So how does an artist get on a music festival? Well, to keep it real, an artist must be able to draw people numbers to a show. Yes, this means you must work even harder than trying to sell CDs on the street after a club or online. According to MediaWeSource.com, here are some preliminary steps to getting onto a festival.

Formulate a Press Kit - The first thing your indie act or garage band should do is to get a band press kit together. Band Press Kits and Music Press Kits are an integral part of any musician’s band or a music career. Sometimes they are referred to as media kits or an artist bio. Band Press Kits are used for music promotion, music publicity, booking agents, and band promotion. Once you have your press kit, you'll have a vehicle to start promoting your indie band.

Video- Make sure there is some kind of an online presence via your social media site such as YouTube, Vimeo, Viddler, personal URL or website. Yes, you are going to have to perform on video. Promoters like to see how you sound. Perhaps, uploading a video of a live show would enhance your chances.

Music (MP3s, CDs, or Downloadable cards) - For most gigs, a club owner or party planner will want to hear how your music sounds. So record your indie band Demo CD or Tape. You may want to buy or rent a portable home recording studio such as Protools, Logic, Cubase, Record/Reasons, Nuendo, Ableton, or FL Studio. Make sure your songwriting is of professional quality.

Open Mic Nights - Start off playing open microphone (Mic) nights at local clubs. Not only will this give you a little experience on stage, you'll actually have a built in audience. Many open mic nights are hosted by more established local bands or indie acts. Make valuable contacts for the future with the hosting bands and other local bands playing at the open mic night. Check your local music newspapers, perform an Internet search for open microphone nights in your city, or search music websites to find this information.

Gig for Free - The reality is that you’re not going to get paid when you first start out. Offer to be an opening band for free for a local band you know. Network with bands than you may have met at an open microphone night. E-mail more established indie bands in the area and offer to play an opening gig for them. Many indie bands love opening acts. They don't have to pay you much and they don't have to play as long of a show. Hand out business cards and press kits to any clubs you play. Make sure to follow up with the venue after you have given them your press kit. Call or e-mail to make sure they get back to you. Be persistent. Prospective indie bands and garage bands are constantly approaching booking agents and club owners.

• Promote, Promote, Promote - Now that you've played gigs at open mic nights, start calling clubs and soliciting your Press Kit and Demo. It's a good idea to visit clubs that play your style of music and talk with the booker of the club. Leave them a press kit and demo CD. Give the club booking agent a day or two to listen to your demo. Call back and get some feedback. Ask for the gig or show for your band. Again, be persistent!

Approach Town Fairs, County Festivals, or City Concert Venues - Another way to get exposure is to gig for a large audience at a local fair or festival. Most of these gigs your band would play for free to get exposure. Some festivals do pay bands once they get a following or fan base. Do some research on the Internet to see what local agencies take care of bookings for festivals or town fairs. Give out your band business cards at the show. This is a good promotion tactic. Someone in the audience may want to book your indie music act in the future (MediaWebSource.com).

Final note, please be advised that if you sell your product at an event, the venue will more likely want a percentage of your gross sales in merchandising.

References:

Coachella.com coachella‑music‑festival‑jack‑johnson

Media We Source.com (October, 2011). How to Get Band Gigs

For Your Band, Local Band, or Garage Band

Retrieved from http://mediawebsource.com/howtoget.htm

Pollstar.com. (October, 2011). http://www.pollstar.com/atpDetail.aspx?SearchBy=A

Ring, Julian. (April, 2011). Music Festivals Take Center Stage Events like Coachella, Lollapalooza begin to overshadow the concert market

http://classroomedition.com/cre/articles/voices_ring.html

Artist Management Guru: Johnny Wright

noreply@blogger.com (Micro Music Biz) — Thu, 29 Sep 2011 12:16:00 +0000

Artist Management Guru:

Johnny Wright

When is the best time to get artist management? A colleague of mine, Cirocco Jones, author of Music Powers, asked me that very same question. At the time he was gathering information to be placed in the producer’s chapter of his book. This inquiry can be directed towards artists, producers, actors, dancers, engineers, singers, writers, etc. My response was “when you can no longer do the work yourself, but be sure you are fully ready to represent your craft.”

Once an artist is competent enough to enter the market place, he or she should obtain the best possible management option available to them. This does not mean get your ‘homie’ to represent you; Well, not at least in the major game. He or she can play acting manager until someone of substance presents his or herself. My recommendation is to seek a monolithic manager such as Johnny Wright. Johnny has been a game changer for more than 25 years. I remember back in the mid 80’s when he was on the road with New Edition. I was at one of their shows held at the Metro Centre in Rockford, IL, my hometown. I was just a ‘young buck’ then and in a group called Mission: Play. I remember auditioning for him and Maurice Starr. Needless to say, they passed on us, but no love was lost.

Wrights accomplishments have been akin to that of Colonel Tom Parker, Elvis Presley’s former manager. Wright started in the industry as a radio DJ. He has always had a great ear for talent and great music. He has worn many hats from roadie, to road manager, to production coordinator, all the way to executive. In fact, at one point he represented New Kids on the Block, Back Street Boys, *NSYNC and Brittney Spears as clients. In 2004, I had the pleasure of frequenting his production compound, WEG (Wright Entertainment Group) in Orlando, Florida. The place was magical. It had a beach with a volleyball court, jet skis, swimming pools, hot tubs, game rooms, a bowling alley, a movie theatre, and 3 world-class recording facilities inside. It was a sister compound to his former partner Lou Pearlman’s Transcon studios (Backstreet Boys, *NSYNC, O-Town, Making the Band, Natural, and Aaron Carter). Wright is a classic example of what kind of mentality a great manager should have. One day, Wright’s cousin, Melvin Brown, Vice President of A&R/now co-founder of Konvict Music, informed me Johnny treats his artists like family. He very rarely has any heated dispute with them. He is firm but not unreasonable. He demands much from the artist but is not unrealistic. He pushes their threshold to ensure greatness.

A great manager can only manage those he makes great. These are his assets. Today, Wright is involved in multiple television shows, online Internet talent seeking technologies, operating a full service production company, record label, artist development, and a vast array of multi-platinum selling recording artists. Some of these artist include: Justin Timberlake, Janet Jackson, Sean ‘Diddy’ Combs, Brittney Spears, Backstreet Boys, *NYSYNC, Danity Kane, Aubrey O’Day, Menudo, Aaron Carter, Ciara, The Beach Girl 5, The Jonas Brothers, John O’Shaunesy, Laurie Anne Gibson, 89, Nigels 11, Y6, Isaiah Pittman V, Adrienne Bailon, Jay Sean, Sullee, Mark Russell, Jae Jonas, and Nick Jonas.

References:

Angelfire.com Retrieved from http://www.angelfire.com/boybands/oneinamillion/johnnywrightarticle.html

Wright Entertainment Group. (2011). Retrieved from http://www.wegmusic.com

Closing the Deal An Interview with Viper: “The Mayor of Reggae”

noreply@blogger.com (Micro Music Biz) — Mon, 19 Sep 2011 01:11:00 +0000

Closing the Deal

An Interview with Viper:

“The Mayor of Reggae”

1. Where were you born? Born Davon Dixon, my parents are from Jamaica, but I was born in Baltimore, MD and raised in Brooklyn, NY.

2. How did you get started in the music business? I started doing little neighborhood block parties when I was 15 years old. I used to get paid for featuring on dub plates.

3. Name some of your musical influences? Hmmm, I’d have to say Michael Jackson, Bob Marley, Shabba Ranks, Buju Banton, Luther Vandross, and Freddie Jackson. I am not only an artist but a writer too. I can vibe any type of music.

4. Is it hard for a Reggae artist to stay current in the music industry? Not really, it’s hard when you don’t want to grow. If you adapt with time you can stay relevant. You have to feed yourself in order to eat.

5. You truly have an amazing gift! What do you do to reinvent your self? I challenge myself and listen to competition. I am not scared of risk. You have to stay on top of your game.

6. The music industry is so grimy. One can definitely lose focus. How do you separate yourself from the dirty tricks or tactics of the game? As grimy as the game is, I got love for the music. So, my knowledge falls into place. I keep educating myself. You’re not going to last if you don’t have love for the music-period!

7. You are one of the coolest and most down to earth people. You are so easy to get along with. Everyone loves “V-I-P-E-R!” What keeps you grounded?

My God and family keep me grounded. The ones I love are my family, friends, and fans. Whether it’s one or one million.

8. To be an independent artist, you have major accomplishments. You have worked with many greats such as Sean Kingston, Wayne Wonder, Snoop Dogg, Pitbull, Akon’s Ray Lavender, Lloyd, Vet Boi™, Dallas Austin, Sammie, G-Unit, Kevin Cossom, Bobby Valentino, Mengo Flow, Darlene McCoy, Addis, Lioness, Smilez and SouthStar, etc. What is your secret in closing deals or getting the deal done?

I don’t turn my back on any artist. Whether they have had a hit record or not, I don’t judge. If they are up and coming, I have faith in their talent. One of my gifts is to recognize their talent even when they don’t see their own. I got faith in my music, but I also got faith in theirs. I consider it a gift and blessing to see before it comes to fruition.

9. What suggestions do you give upcoming artists? Stay focused, trust your own opinions. Listen to your own visions. Take good advice from good people surrounding you.

Thank you
V-I-P-E-RRRRR
You have just begun…

http://www.facebook.com/vipedixon

http://monstablokaz.com/2010/06/v-i-p-e-r/

Chicago’s Hidden Treasure: Mary Datcher

noreply@blogger.com (Micro Music Biz) — Mon, 22 Aug 2011 02:01:00 +0000

Chicago’s Hidden Treasure:

Mary Datcher

On the Street Promotions

And

Marketing

Last Thursday, I had the esteemed pleasure of acquiescing an honorary liaison position at Music Industry Workshop (MIW). I am a Grammy Nominated and Award-Winning Producer, Engineer, and Songwriter. MIW sponsored a workshop about street promotions and event planning. The guest speaker of the night was Chicago’s very own, Mary Datcher.

Mary has been crowned the “Queen of Hip Hop Promotions”. Datcher’s speech was exceptionally special to me, because she has sat in promotional meetings with one of my favorite mentors, Russell Simmons. So she had my full attention. The following words best describe her character and abilities.

Principal and founder of On the Street Promotions & Marketing and has 23+ years of experience in the music & entertainment industry. After holding positions at WGCI FM (Chicago), BMG Distribution, UNI Distribution (Universal Music), Def Jam Music, and Georges Music Room. In 1992 she formed On the Street Promotions and Marketing. OTSP specializes in executing field and event marketing programs with its primary focus on the music industry. Within 17 years of the company duration, Ms. Datcher has worked with over 200+ companies, consulting and developing strong street marketing campaigns, producing national and local events, branding lifestyle concepts and music artist development.

In 2000, On the Street Promotions & Marketing created and executed the Chicago DJ Summit conference that targeted over 500 DJs throughout the Midwest. In 2004 she launched the successful Core DJ Retreat thus launching the successful Global Mixx Music Retreat every year in Chicago. Ms. Datcher and her staff has produced several music driven events in the past that have including celebrated industry leaders such as Kanye West, Jaheim, Eve, Chingy, Faith Evans, DJ Tony Touch, KRS-One, Grammy-Award winning artists, Luther Vandross, Common, Naughty By Nature, NBA star Antoine Walker and the list goes on. With the success of working with incredible talent, Ms. Datcher formed a management agency, Renegade Music Management which developed and assisted the careers of up & coming talent from which included popular on-air personality, DJ Pharris of Power 92 Radio, Frayne and Bobby Lewis (sons of Jazz legend, Ramsey Lewis), Bear Who? And R&B entertainer, Terisa Griffin.

Mary Datcher continues to raise the bar of urban marketing concepts to the next level through her unique & diverse knowledge on various campaigns which includes current clients, Roundtable Records, Author Winkk, Byron Stingily, Bear Who?, Cold City Music, My Naked Soul Productions and Better Love Yourself (NFP). Past clients have included, American Family Insurance, Tanqeray, Baileys, Nike, KBA Marketing/Draft Worldwide, Salem (RJ Reynolds), Seagram Americas, K Cider, Target, Cingular Wireless, UBO, Effen Vodka, Frontline Marketing, ICEE Inspirational and DreamWorks. On the Street Promotions & Marketing, Inc. is currently headquartered in Chicago, Illinois. (On the Street).

Datcher has a no nonsense approach in conducting business. The faint of heart may view her as a strict businesswoman. I have the upmost respect and admiration to her delivery.

Datcher enlightened the crowd with topics and tips:

· On branding and promoting a company’s logo via various social network sites such as Facebook, Twitter, Myspace, Imeem, and Reverbnation.

· The importance for an artist and its company to stay current with industry trends.

· The importance of preparation and research.

· Learn how to cross-market the brands (How to produce events and structure the event).

· Learn how to deal with the promoters.

· Understand your base and what your talents are.

· Don’t waste money on someone else’s talent.

· First thing is the date. It should not conflict with any other event or venue. It may work against with you

· Consider the budget. Venue rental fee, what’s included in that fee (whatever their overhead to cover their staff. Need sound. May have to do a la carte. How many people does venue hold? Start negotiating. (Roughly $1000-$1800). What time does venue close? How much is promo, graphic designers, flyers, and posters, stream team (map out a plan on what area to cover). Sponsor will give me $1000. What is the capacity when will you break even or will you catch a lost? Then what kind of event. That is how your marketing strategy will take place. What the market is looking like? Who is doing what? How do you reel in people with something new and fresh? How do you get in people? This is a dog eat dog world. Concert events are a lot bigger than smaller event. You have to know how to do smaller venues.

· Know who your target audience is going to be. (DJ Host, Comedian) Then market to that particular crowd. (Secrets-removed-proprietary information). Don’t shoot your credibility. Have the right market team with similar tactics. You have to know your demographics. If you only did radio, you will go broke. Give incentives to your hottest places (hair salon, barber shops, boutique shops)

· Set aside promos within your budget. Tickets/passes

· There are 4 mistakes that can be made:

a. Timing is very important. (Know the weakest day-Dec 25th or Jan 2nd. Dec 31st is the hottest party day)

b. Inexperience: not your demographic

c. Overpaying for talent (the contract stipulates who is going to paid)

d. Find out if that artist is burnt out in that market.

· You may need to hire an actual consultant who does this for a living. This business is made up on whom you know. Hire for what you only need. Have budget in place before you bring anyone on.

These are just a few topics discussed. It’s one thing to get the information. Another is to actually organize and put into effect. She gave about a week’s worth of information in just a few hours. If you need additional services or information, please procure Ms. Datcher’s services at chicagocollabo@gmail.com.

References:

Music Industry Workshop. (August, 2011). Retrieved from http://www.miworkshop.com/home.html

On the Street Promotions & Marketing. (August, 2011). Retrieved from http://www.onthestreetpromo.com/principal#!__principal

www.platworldprojx.com

Look, Before You Make Money in the Music Business

noreply@blogger.com (Micro Music Biz) — Sun, 07 Aug 2011 22:21:00 +0000

Rhymefest and Vet Boi™:

Grammy Award Winning Artist/Songwriter

Making Money in the Music Business

This past weekend was chocked full of musical activities. Lollapalooza happened, and there was a showcase at the Hard Rock Cafe. However, I had the honor to sit in another music business seminar. This time I was not on the panel as the Grammy Award-Winning Producer, Engineer, or Songwriter, but I was sitting in the crowd listening to perspective. I love to listen to other people’s perspective about the music business. Everyone’s journey is different. A master is always a student of life.

Rhymefest, CHE SMITH, is a Grammy Award Winning Artist and Songwriter. He co-wrote the song “Jesus Walks” by Kanye West. In October 2010, he ran for the Chicago’s 20th ward alderman position but lost to incumbent Willie Cochran by placing 45.4 to Cochran’s 54.6 margin (Glanton). Smith has also made a few television appearances, such as MTV’s Wild Out Wednesdays, Punk’d, TRL, PBS, and Last Call with Carson Daly. Smith blessed the attendees at Music Industry WORKSHOP With his talents and his knowledge.

Rhymefest kept it completely real with his delivery. He held no punches. One of the topics he discussed was the difference of being a major recording artist on J Records to being an independent artist. Smith said, “I was signed as a major recording artist, and I seen how that worked. Then I was also on an independent label and seen how that worked. Neither worked, but now I am doing it my way to make it work.” He took a decent amount of artist and publishing advances when he signed, but knew upfront he was part of a machine, which had other intentions than his album release. In other words, J Records was primarily known for being successful with pop records not rap. Therefore, he capitalized on his opportunity without worrying about recoupment. Additionally, when he was released from his contract he received another advance. FYI: this is not the norm. I’d advise to have an excellent attorney and great relationships in tact in order to accomplish a feat such as this.

When an artist is looking to get signed, they want to get a huge upfront advance. However, one must be conscious before executing that deal, because it could potentially be a 360 deal. Under a 360 deal, the label will make money from all sources of income and can acquire all rights of the songs.

Another crucial point made by Smith was regarding making money in the industry. It can be generated from multiple sources such as merchandising, tours and live performances, synchronization licenses, digital downloads, publishing, and songwriting. Smith is currently working on a full package of distribution, which entails a television show, book, and album.

Glanton, Dahleen (April, 2011). Alderman claims victory against rapper "Rhymefest" Smith. Retrieved from http://newsblogs.chicagotribune.com/clout_st/2011/04/rapper-rhymefest-smith-losing-in-bid-for-alderman.html

Music Industry Workshop. (August, 2011). Retrieved from http://www.miworkshop.com/home.html

Plat'Num World ProjeX. (August, 2011). Retrieved from http://platworldprojx.com/

Steve Jobs: How to live before you die

noreply@blogger.com (Micro Music Biz) — Tue, 26 Jul 2011 07:31:00 +0000

Steve Jobs: How to live before you die

Typically, my blog is on music. So why did I decide to post about Steve Jobs? Steve is a huge inspiration to me. Quite frankly, if it weren’t for Steve and his vision of the Apple computers, music would not be what it is today. Steve is the Godfather of musical content and catalogue within iTunes. Although very much human, he is a deity. The Mac dates back to the first Commodore computer, which has been instrumental in shaping sounds and inspiring musicians around the globe. I learned how to sequence with the Atari Notator (ancestor to Logic) on the Commodore 64.

Today, I am an avid user with programs such as Logic, Protools, Ableton, Reasons, Record, and Garage Band.

At a 2005 commencement speech at Stanford University, Jobs gave three life-altering stories. He began by saying, “You cannot connect the dots looking forward; you can only connect looking backwards.” He dropped out of college to take a calligraphy class. This set precedence for the beautiful typography within Apple’s graphics and Word applications. Other formats followed suit. Jobs believes that even a gut wrenching mistake can and will lead you into your destiny.

Ten years after starting Apple, Jobs got fired from the very same company in which he started. He felt like he was a failure, but realized he still loved what he did. He was free to start over. He pressed on to start the number one animation company in the world, Pixar. Jobs interjected, “You’ve got to find what you love! Keep Looking and don’t settle.”

His last life lesson was regarding death. His doctor informed him that he had pancreatic cancer. He says. “If you live your day as if it was your last, one day you most certainly will be right. Everyday, if you remember that you are going to die while asking yourself do I need to change what I am doing, you will never fear losing anything. Death is the destination we all share. Your time is limited! Don't live someone else’s life (Jobs).”

Jobs, Steve. Filmed in 2005 posted (2009). Steve Jobs: How to live before you die. Retrieved from TED Blog http://www.ted.com/talks/steve_jobs_how_to_live_before_you_die.html

From DEMOS to GRAMMYS

noreply@blogger.com (Micro Music Biz) — Mon, 18 Jul 2011 02:43:00 +0000

NARAS' New Standards

For the last two months, an aspiring alternative artist from the east coast has attempted to contact me about producing her album. She found me on YouTube (riccoutube2). Now that we have that shameless plug out of the way, she played her demo for me.

I listened. I listened. I listened.

The sound was akin to a dying walrus. Normally, I can hear the potential of an artist’s talent. For this particular one, I could not. She asked if I’d be willing to produce, write, record, and mix her album. I respectfully declined. However, I offered her some constructive criticism in a helpful way. I advised that she needed some rigorous vocal training and artist development. I told her she wasn’t quite yet ready for the market place. She was so disturbed at my response; she began to curse me out stating that I did not know what I was speaking. She continued to say that I did not deserve my Grammy, and that she would get one in the next year. I would be sorry.

FYI: As of April 2011, The National Association of Recording Arts and Sciences has completely revamped their selection process and eliminated 31 categories. The academy has listed in addition to the restructuring of Categories, “two rule changes have been established and four Fields have been renamed. It is now expected that each Category shall have at least 40 distinct artist entries, up from 25. If a Category receives between 25 – 39 entries, only three recordings would receive nominations that year. Should there be fewer than 25 entries in a Category that Category would immediately go on hiatus for the current year —no award given — and entries would be screened into the next most logical Category. If a Category receives fewer than 25 entries for three consecutive years, the Category would be discontinued, and submissions would be entered in the next most appropriate Category.

The second rule change is regarding voting. Previously, voting members were allowed to vote in up to nine genre Fields plus the General Field on the first ballot and eight genre Fields plus the General Field on the second ballot, including every category within each chosen Field. Now, on each ballot, voters may vote in up to 20 Categories in the genre Fields plus the four Categories of the General Field — which includes Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist.

Additionally, there are name changes to four Fields: Musical Show is now Musical Theater; the Film/ Television/Other Visual Media Field is now called Music For Visual Media; the Gospel Field has been renamed the Gospel/Contemporary Christian Music Field; and the Dance Field has been renamed the Dance/Electronica Field.

The Awards restructuring proposal was presented by The Recording Academy's Awards & Nominations (A&N) Committee — comprised of elected Academy leaders from across the country representing various genres of the music community — and was voted on and passed by The Academy's Board of Trustees — made up of musicians, producers, engineers, songwriters, and other music professionals. The A&N Committee spent more than a year reviewing, analyzing, and evaluating the GRAMMY Awards process and Categories with great objectivity and fair-mindedness, before presenting its recommendations to the Board of Trustees for ratification. While at times incredibly challenging for each member of the committee to restructure Categories in their own respective genres, the greater purpose of promoting unity within the music community and ensuring that all Fields be treated with parity outweighed natural inclinations to resist change (NARAS).”

Looks like that alternative artist is going to have a heck of a time getting that Grammy after all. I digress.

Grammy.org (April, 2006). The Recording Academy Continues Evolution of Grammy® Awards Process. Retrieved from http://www.grammy.org/recording-academy/press-release/apr-06-2011-914-am

Artist Survival in 15 Steps

noreply@blogger.com (Micro Music Biz) — Fri, 17 Jun 2011 22:00:00 +0000

I attended another music business seminar at Music Industry Workshop, MIW, in Chicago, Illinois. This week’s guest speaker was Randy Chertkow, co-author of Indie Band Survival Guide. Randy led a discussion on marketing and branding, which appears to be one of today’s hottest topics in the business. Not only is Randy an adroit author, he is a gifted jazz musician and IT guy. He discussed successes via his experiences with his band, Beatnik Turtle. Beatnik Turtle has over 500 songs, which has been published via podcasts, television, and radio shows. Beatnik Turtle has been one of the very few bands to be able to release a song a day from their catalogue for a straight year. They have a website dedicated to just that, The Song of the Day.com. I think that idea is just brilliant! There aren’t many artists out there that can do that. In fact, there aren’t many artists out there that want to do that. If you know of any such artists, please place the link in the comments section below.

The precious gems I gathered from Randy were bountiful. Although the Internet is easily accessible via our fingertips, I will outline the prerequisites and essentials to an artist’s survival in 15 steps.

Step 1

The Song/Product:

An artist should establish their identity or brand via their song selections and genre of music.

Step 2

The Producer:

An artist should know when to obtain a competent producer, which can bring the best out of the artist. It doesn’t hurt to have a non-biased professional ear. Sometimes artists become too close to their own material.

Step 3

The Recording/Mix Engineer:

If an artist is a great producer, a good recording/mix engineer can optimize the song’s recording and mix. Even the best producers have their own personal recording/mix engineers who know how to aid and assist the producer’s direction of the song. Please note, this can and, perhaps, should be two different people.

Step 4

The Mastering Engineer:

Mastering is an art in itself. Don’t get a bundle of plug-ins and instantiate a mastering suite plug-in over the master buss and expect that you have mastered your album. It takes years to obtain this status. I implore you, let the masters be the masters. Read the credits of your favorite commercially released songs and utilize that mastering engineer.

Step 5

Manager:

Once an artist is ready for the public, a manager should be procured for consultations. A manager will validate the artist’s worth. Potential clients will take the artist more seriously. It also allows the artist to stay creative and out of heated negotiations.

Step 6

Booking Agent:

The agent books live shows for the artists. This is not the manager’s job, especially in the larger markets or cities. A manager will help with the consulting of the negotiations.

Step 7

Music Attorney:

An entertainment attorney will negotiate, to the best of his ability, any possible deals presented in favor of the artist’s intent.

Step 8

Publicist:

A publicist exploits the artist’s awareness via media and press. An EPK or an electronic press kit should be prepared for this stage.

Step 9

Web Designer/Webmaster:

Facebook, Twitter, and MySpace are assumed denominators. However, a formal web page should be established for additional presence. In fact, all websites should link to one another. There are many free templates out there to use, but a more tailored approach should be considered.

Step 10

Graphic Designer:

Different from a web designer, a graphic artist can create logos, banners, and favicons. The GD will be able to generate vector, jpg, GIFF, TIFF, and rasterized images for different uses. Chertkow emphasized, “All images should be placed in a ‘Branding Tool Box’ for artist’s ease of accessibility and distribution to potential clients.”

Step 11

Photographer:

An artist should have a set of high-resolution photos taken. Image is everything. The graphic designer should be able to enhance and touch up the photos.

Step 12

Video Director/Editor

Mostly every single has a video shot for it. With video distribution channels such as YouTube, Vimeo, and Viddler available, a great video can enhance the positioning of an artist’s brand. A video director and editor are two different positions. Not all directors are good editors and vice-versa. Do your homework!

Step 13

Accountant:

Once an artist begins to make a decent living from his or her art, then an accountant should be sought. Keep in mind, most of us our independent contractors. This means we have to file a 1099-MISC form at the end of the year. A good entertainment accountant will be able to itemize relevant deductions.

Step 14

Marketer:

A marketer is different from the PR. A marketer will be able to position the artist or band in front of their target markets. Research should be conducted to identify which markets are intended. Good marketers will be capable of providing services for SEO and social media publicity.

Step 15

Distribution:

The artist’s product and merchandise should be available for customer’s attainment via digital distribution, websites, live shows, and brick and mortar channels.

Thank you.

Name: Ricciano Lumpkins

Gmail: rlumpkins@platworldprojx.com

Blogger Link: http://micromusicbiz.blogspot.com/

References:

Chertkow, Randy. Indie Guide. Retrieved from http://www.indieguide.com/

Music Industry Workshop. Retrieved from http://www.miworkshop.com/

The Song of the Day. Retrieved from http://thesongoftheday.com/

Independent Record Labels

noreply@blogger.com (Micro Music Biz) — Mon, 06 Jun 2011 00:16:00 +0000

This past Thursday, I sat on a music business panel at the Music Industry Workshop in Chicago, Illinois. MIW hosts weekly panels on various subjects ranging from publishing, royalties, independent versus major labels, distribution, marketing, promotion, production, engineering, commercial and college radio, social networking, accounting for entertainment, and record contracts.

I have sat on many panels as a guest lecturer and observed many others in my day. However, this particular day the guest lecturer was Louis Svitek of Wuli Records.

Wuli Records, distributed by Fontana/Universal Music Distribution, is responsible for discovering last year’s American Idol, Lee DeWyze. As I was discussing SWOT analyses with various students, Svitek entered the room with an aura of equanimity. He walked in with his guitar and computer. He said, “I’m Louis.” I greeted him and asked if was going to play guitar. He said, “No, I’m gonna educated today!”

Just a reiteration, I have been impressed by many, but this guy had something special about him. The topic of discussion for the night was on Independent Record Labels. There is massive information regarding how to start and operate and independent label. However, Svitek presented a very feasible approach to the technique.

Nowadays, major label jobs are gone due to Internet; Major labels have downsized immensely. Independent record labels are the status quo of the business. A student posed a question, “What can I do to quit my day job and primarily start working in the business?” Svitek opened by saying, “Hey guys, just so you know, I still have a part time gig. I run audio at many different venues in the Chicago area. If you really want to be around this stuff find an internship at your place of desire” This is exactly what I preach when I sit on panels, “Please do not quit your day job.” Most people entering the music business want that magic button, which will allow them to quit their day job tomorrow.

The most impressive presentment by Louis was his outline of his marketing plan for depicting the release date. He stressed that the music needed to be good, completed, and first single needed to be selected. Although simple to follow, his marketing plan was very comprehensive. His marketing plan was segmented into different timeline phases (6 weeks, 4 months, and 6 months). Historically, it took two years to break an act. Svitek suggests if no upward activity occurs within 6-8 months of release, consider working another single, revise marketing plan to reach target market, or revisit finances to see if act is worth the continued investment.

Here are some additional highlights from his lecture:

· Before commencement, get consultation from a good entertainment attorney.
· Must have a marketing budget of at least $20-30,000 USD-Do not need all at once.
· Have an EPK (Electronic Press Kit) and One Sheet prepared for artist’s prospective gigs or radio play.
· Procure Eblasting company (His suggestion is to use AlmightyMusic.com) By the way and a little FYI, Don’t ever do a blast on the weekend-Do it on Mondays.
· Get on iTunes= estimated 64% of all digital distribution sales
· Look into obtaining licensing deals for main singles via music supervisors and ad agencies.
· Register with ReverbNation= Wuli Records obtained 7000 followers in two weeks
· If existing artist, NEVER forget your fan base=they will buy upcoming albums
· Use Jango Radio
· Maximize social network tools such as Impressions on Facebook and Twitter (Tweet upcoming events-free promotion)
· Use Google Analytics to aggregate
· Get a good publicist
· Marketing with the Street Team (Posters-Learn & Use QRCodes on all promo material)
· Scanners by SquareUp.com (Take 2.7 percent per transaction) at show.
· Base projections on from a realistic approach. (5000 CDs @ $10=$50k). These are realistic numbers to an investor, but be prepared to give a lot of free goods. Plus an independent can survive from these numbers.
· If searching for an investor, Svitek put 25 business plans together and pitched them to 25 different people, then got 3 bids
· Let the investor make a higher percentage and make his money back.

His closing words were, “You have to take a risk. It’s all a risk. If it’s what you love-do it!

“Do the Research!” Then do it!

Thank you for reading

Ricco Lumpkins

references:

Fontana Distribution (June, 2011). http://www.fontanadistribution.com/

Music Industry Workshop. (June, 2011). Retrieved from http://www.miworkshop.com/.

SquaredUp.com Retrieved from https://squareup.com/

Svitek, Louis (June, 2011). Wuli Records. Retrieved from http://www.wulirecords.com/

What is Music Publishing (Micro Music Biz Version)?

noreply@blogger.com (Micro Music Biz) — Mon, 16 May 2011 00:53:00 +0000

Periodically, I sit on recording engineering, music production, and songwriting panels. It’s inevitable; I get asked this question, “How do you make money in the music business right now?” The answer is not a simple one. I recommend diversifying one’s talents to maintain a viable worthiness to potential clients. Meaning, one should learn how to record, mix, edit, master, produce, sing, play an instrument, operate lights, DJ, become an assistant, or manage. However, to the artist, I suggest learn how to write songs, register the songs with Copyright.gov, and maintain ownership of their copyrights.

Publishing=Pipeline Income. Basically there are four different areas of income from publishing: print, synchronization, mechanical, and performance.

Initially, publishing belongs to the copyright owner such as the songwriter. However, there are circumstances where the songwriter may assign that copyright to a third party such as a publisher, manager, or producer.

Often times song writers will work for bands to help them with lyrics and music to play, but here again, the writer of the song is the owner of it and gets the copyrights to it, and thus the publishing money. One thing to recognize is that copyrights are not the same as sound recordings. Someone can record a song and sell it to another band or company and then that particular company owns that recording, but they would not own the song. The original writer will always maintain the copyright for that particular song. The reason for this is the publishing money is connected to the copyright, so the owner will be the only one making money off of the song itself (Music-Law.com).

Once a songwriter understands the intricate details of copyrights, then he will be able to exploit, position, display, sell, distribute, and perform his song properly. Additionally, if someone wants to remake or sample from a particular copyrighted composition, the new derivative must be cleared and a fee must be paid in order to obtain the rights to perform, play, or sell the new version. There is an alternative to this called Creative Commons, whereby, the copyright holder grants a free license, but attribution must be given to the creator.

Another popular making money angle is sync licensing or synchronization. Sync licensing is a fee paid to the copyright holder to sync a musical composition to film, television, video games, theatrical performances, or musical videos. Once a person gets paid a sync fee, they have just received publishing income.

Performances and mechanicals are two other ways of deriving publishing income. Every time a song is played on the radio, television, and certain non-interactive Internet radio stations, the copyright holder receives publishing income.

Finally, there is one more type of publishing income called print licenses. Some compositions get printed and sold on sheet music. Publishing income is derived from this as well. Basically, there are many ways of generating income for a song. However, if an independent artist/songwriter intend on getting their song heard on a major broadcast level, he may have to sign to a major label of publisher. There are plenty of exceptions to the rule with the advent of Internet technology. Nowadays, there are more independent channels to assist with successful placements.

Ricco Lumpkins aka Vet Boi™

Today's Music Producer

noreply@blogger.com (Micro Music Biz) — Sun, 08 May 2011 10:24:00 +0000

Many people covet becoming a music producer. They see the flashy lights, the paparazzi, the money, the parties, the girls or guys, and the Grammy Awards. They hear names such as Timbaland, Teddy Riley, Prince, T-Bone Burnett, Jimmy Jam and Terry Lewis, Dallas Austin, Polo da Don, David Guetta, Rodney Jerkins, Quincy Jones, Trent Reznor, RedOne, Max Martin, Dr Luke, Dr. Dre, Scott Storch, David Foster, and countless others.

What does it take to become a producer? What are some of the characteristics a producer should entail? First let’s clear the air on what a producer is not. Although a rising job title, a producer is not a beat-maker. There a plenty of misconceptions a beat maker is a producer. This is simply not the case. A beat maker is an integral part to the complete process, but is, in most cases equivalent to a musician, which is a hired hand.

Despite the digital evolution, today’s producer is the same as it has always been. He must be able to deliver records. Long Live Analogue. I digress.

First, there are two types of producers: the executive producer and the record producer. The executive is primarily the business entity, label, or money guy. He has some say of the overall direction and creativity of the project such as Clive Davis. The definition of a record producer is one who delivers a record in a commercially viable form within budget and time constraints. The producer manages budgets, personnel (such as musicians, songwriters, background vocalists, vocal arrangers, engineers, and editors), selects studios, and oversees the creative process until the record is mixed, edited, mastered, and delivered to the label.

The producer does not have to be a full fledge musician, but has to know when to hire the right musician for the job. It would help if the producer knew some musical theory and had some arranging skills. There is nothing worse than an artist singing flat and/or in the wrong key. His job is to bring out the best artist performance. Perhaps, the song is too slow or fast. A producer must have some technical knowledge of the computer equipment and software he uses, whether it is Logic, Protools, Ableton Live, Record Reason, FL Studio, Garage Band, Sonar, Cubase, etc. These formats are known as Digital Audio Workstations (DAWs). Otherwise, he can hire an audio engineer or a technician to assist with his acquisition.

A producer has many characteristics or hats to wear to ensure delivery. He has to be an effective communicator, be able to read one’s emotions, be honest, be firm, be flexible, stage the right recording environment, be an avid listener, influential, have business savvy, and effectively manage time. Nonetheless, he has to be both A and B personalities. He has to deal not only with the creative side but the business as well. Meaning, he has to deal with the clients (investors), managers, attorneys, studios, musicians, A&Rs, and artists. In some cases he may be involved with the marketing, promotions, and radio personnel…

Ricco Lumpkins