Music Career Killers!

This post is excerpted from Music Career Killers! 20 Things That May Be Holding You Back In Your Music Career and How To Fight Back!, a white paper released by Music Marketing Classroom.com. Reprinted with permission.

Every hour of every day, there’s a talented musician somewhere on the planet who makes the decision to put their artistic side on the back burner in favor of a more stable career. Although they vow they will pursue music in their spare time, just this simple mindset shift could mean that writing songs and playing gigs will always take a back seat to almost everything else in life.

In a way, it hurts too much to do music when you make this decision because it reminds you of all the dreams you had and gives you the feeling of being a failure. Even the most committed musicians can be ground down to nothing after years of playing empty shows and sending out hundreds of demos with no reply. But once you start to recognize the common mistakes you’re making, you will be able to avoid them and get on with the real work of consistently creating music that your fans will appreciate.

Music Career Killer #1: Not working on your music every day

You can spend your whole life learning music marketing and still fail if you don’t have great music to promote, but you can suck at marketing and still do well if your music is on point. The ideal, though, is to find that perfect balance between marketing and music creation. Commit to working on your music skills for an hour a day, and do your marketing in any additional time that you can spare. It can help to make this into a little game, so every once in a while go back three months in time on your YouTube channel and see the kinds of songs you were writing then. Over that time period, you can really start to notice an improvement if you work on your music and songwriting daily.

Music Career Killer #4: Not selling anything

So many musicians drop the ball at this stage: they produce great music, but then feel bad and don’t ask people to take the next step to buy something. Or they do try and sell, but because they don’t feel comfortable, they get nervous and do a poor job of it. So if you don’t currently have anything for sale on your website, then don’t do anything else until you do. It can be as simple as a $5 per month subscription to get a song of the week delivered to their inbox.

Music Career Killer #8: Not taking at least one marketing action everyday

I’ve mentioned the importance of daily progress with your music, but just as important is the power of doing one thing per day that will get your music out into the world and in front of a targeted, interested fan. See, music marketing is like trying to push a car with your bare hands. At first it seems like it won’t budge, but then you start to get a little movement and before you know it, you’re going at a steady and predictable pace. Once in a while, you’ll come across a hill where you can sit back and let things roll, all you have to do is steer. But if you just start to push for five seconds then stop for a few days, then come back and try again for five minutes, you will never build up enough momentum and it will never get easy.

via Music Career Killers!.

YouTube Shares Ad Revenue With Musicians, But Does It Add Up? | Indie-Music.com

YouTube is well-known for videos, but a recent Nielsen study revealed 64 percent of teens and young adults go to it to listen to and discover music. The free website, which is owned by Google, has set up advertising deals to help musicians get compensated. But it’s not clear how they’re getting paid — or how much.

It’s a safe bet that many of San Francisco State University’s 25,000 students are music fans. Zachariah Bargouti says if there’s an Internet connection — even on the subway — there’s YouTube.

“It even works under the Transbay Tube,” he says, talking about the portion of the BART that runs underneath San Francisco Bay. “I still have 3G and I can usually listen to something on YouTube.”

That’s why Bargouti says he doesn’t really buy music anymore. Neither does Arianna Caramat. “I stopped with the downloading of artists on iTunes,” she says. “I just find that it’s easier — more convenient — to, like, listen to online radio.”

via YouTube Shares Ad Revenue With Musicians, But Does It Add Up? | Indie-Music.com.

Our Newest Mic Acquisition The Wunder Audio CM 67

The Wunder CM67 is a modern recreation of the famed Neumann U67 from the 1960s. A tube mic, employing the KK67 capsule and an odd filter network dictated by German broadcast requirements of the time, the U67 has been notoriously difficult to replicate in modern times. While there are boundless U47, C12, and 251 replicas, there are remarkably few U67 type despite the well deserved popularity of this mic. Moreover, over the years some have modded their U67 to remove the filters claiming a “purer” signal path. If buying a vintage unit, it’s hard to know what you’re getting.

Enter Mike Castoro and Wunder Audio. Mike is well known for his recreations of vintage mics including the C12, U49, and U47. I have owned a Wunder CM7 (U47) for many years and adore it. When Wunder announced that they were going to reproduce the U67 (a fav of mine), I was eager to try it out. We arranged to shoot out several potential new mics as well as the CM7 we own.

The CM67 was everything we expected: lush, extended highs, tight, extended lows, and a present but not exaggerated midrange. Clarity and mild warmth for miles! Having used numerous Neumann U67 over the years, my reaction was a broad smile and a “hello old friend”. This mic trounced all the others in our shootout with the exception of the CM7 (which really is a different beast altogether).

Comparing the CM67 and CM7, the CM7 is rounder, more low and high mid-forward, less tight and extended in the bass, less extended and silky in the highs. Sort of CM67 plus CM7 equals flat, but not really. Besides, who wants flat? I prefer tasty, and that exactly what you get with these mics.

Thoughts on Thanks Giving

Dear Friends,

A friend of mine recently sent me an email that got me to thinking. Aside from that being dangerous, I thought I’d share some of my thoughts on this season with you.

First, I hope that you are well. And you family and all those who are dear to you. Health and well being are the most important.

Thanksgiving and the ensuing holidays are important times; often overlooked by the gluttony and commercialism superimposed. Someone on Facebook posted that only in America (which surely isn’t true) would people beat each other up while shopping just the day after the holiday about being thankful for all you’ve got. Nonetheless, I think it bears stopping to think about all we do have and should not take from granted. I’ll start…

I’m grateful for my adoring, gorgeous, supportive wife – my other half, to be sure. I’m truly blessed by my astounding daughter who teaches me daily and keeps me on my toes. My entire extended family is well, happy, and relatively sane.

I have the world’s most rewarding career. Perhaps not financially, but very few get to spend their time making music or art, and I am cognizant of this blessing as I walking into my amazing studio every day. I am grateful for the wonderful artists and staff with whom I get to work.

This past year I’ve built a new house, as you may know. It has been a wonderful, if periodically frustrating, experience. I am continually reminded how lucky I am to have had this experience, and now live in such a uniquely personal space. Housing, next to family and health, is a blessing with which not to be trifled!

I’m very grateful for the country I live in. We’ve certainly had a contentious last few months, and while I know that many of you share my point of view, others do not, and I’m glad we can disagree peacefully. I’m hopeful that this country can heal its divides, prioritize its people, and rise to it’s birthright as an example to all nations. Only then can we help bring peace to the rest of the world.

In thinking about T-day and the spirit of being thankful, I think it keeps us humble, creative, and caring. Please take a little time to share your own thoughts on Thanksgiving.

Hugs,

JT

How To: Collect Live Performance Royalties | Indie-Music.com

For songwriters and bands performing their own material, there’s an opportunity to earn additional royalties from live performances. All three US Performance Rights Organizations (PROs) can pay royalties from live performances at bars, clubs, restaurants and other music venues.

In order to collect these royalties, each PRO requires writers to alert them of live performances. Below is the best way for writers affiliated with ASCAP, BMI or SESAC to maximise their live performance royalties.

ASCAP OnStage

You can receive royalties when your music is performed live at venues of all sizes throughout the US. You need to provide the basic details of the performance and which of your songs were performed and you’ll receive an OnStage payment with your normal ASCAP distribution.

OnStage is available 24/7 via your Member Access account for convenience and flexibility. Coming in November: OnStage will be available via ASCAP Mobile

More info: ASCAP OnStage – http://www.ascap.com/members/onstage

BMI Live

To sign up for BMI Live, songwriters should log into the BMI Live section of bmi.com and register their set lists, with the date and venue where they performed. They will then be eligible for quarterly royalty payments for the public performance of their original songs and compositions.

For Apple iPhone, iPad and iPod Touch users, BMI Live can be accessed from the BMI Mobile app, while Android users will find BMI Live on the BMI Mobile website. BMI Live’s mobile platforms offer all the same services that are available online via laptop and desktop computers.

More info: BMI Live – http://www.bmi.com/special/bmi_live

SESAC

Register your sets via your publishing account on SESAC Affiliate Services. Once you’ve logged in, complete live performance forms for any live gigs.

You’re able to create a set list (e.g. Fall Tour 2011) and copy / paste it into each venue. You’ll need each venue’s address, date of show, venue capacity, if there was a music charge and the list of songs to submit.

More info: SESAC Live Performance Royalties – http://www.sesac.com/WritersPublishers/HowWePay/LivePerformances.aspx

Original Source: http://blog.songtrust.com/how-to-2/collect-live-performance-royalties/

via How To: Collect Live Performance Royalties | Indie-Music.com.

Jimmy Jam wants you to Give Fans the Credit – Good Idea

 

Dear Friend:

As a fellow music lover, you probably like to know everything about your favorite songs.  I’ve always been inspired by the people behind the scenes: songwriters, musicians, producers and engineers.  The credits in liner notes are how I first learned about who made my favorite music, so you could say I became a producer because of credits.

Today, I love the portability and accessibility of my digital music players.  But digital players don’t show the credits — and music fans like you and me are missing out.

That’s why I’ve become an Ambassador for “Give Fans the Credit,” a new campaign by the people at The Recording Academy to put more information in the hands of the fans.  You can help by joining with me and adding your voice to the campaign.

Sign the petition today at http://www.givefansthecredit.com, share it with your friends, and help us tell the music services that true fans want to know who created the music we love.

Sincerely,

Jimmy Jam

Our mailing address is:

The Recording Academy

3030 Olympic Blvd.

Santa Monica, CA 90404

Manage your e-mail preferences by clicking here.

via .

Using Google Plus To Build A Global Music Audience and Community

Heather Fay is a Connecticut-based singer/songwriter who has gained recognition for being one of the first musicians to use the “Hangouts On Air” platform on Google+ (AKA Google Plus) to build a global audience for her music. In addition to performing Hangout concerts for her nearly 200,000 followers, she hosts a series of open-mic Google Hangouts, which enable her to build an ever-growing network of musicians from around the world. Heather also plays shows in CT and New York City at venues including Rockwood Music Hall and the Living Room.

What have your experiences been with marketing and promotion? It sounds like a majority of your music marketing strategy has been online based.

Social media and online platforms really lend themselves beautifully to someone who is a mother aside from being an artist. I’m not 20-years old and I can’t jump into a van with my band and tour the country for months on end to build an audience. Being a mom and a wife, I’m at a different stage in my life than a lot of musicians who are just coming into their own.

I started by working with MySpace and submitting to internet radio and doing some things with Facebook. I really am not great at Twitter, but I’ve been working on it. And there has definitely been an audience in these places, but it wasn’t until I started using Google+ that it really felt like the right timing, right people and the right phase in my career. That has been the platform for me, especially because of the Hangouts. The Hangouts allow me to play a show face to face.

via Using Google Plus To Build A Global Music Audience and Community.