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Wednesday, May 30, 2007

THE RISE OF THE INDIE BANDS

"Spider-Man 3" will be one of the biggest movies of 2007. But the producers of the megasequel, which grossed nearly $250 million domestically in the first 10 days of its release, didn't rely on mainstream rock acts Nickelback or Evanescence to give their story its musical underpinnings.

Snow Patrol's "Signal Fire" is the soundtrack's lead single, but after that mainstream entry is a heady slate of indie rock's finest: the Walkmen, the Yeah Yeah Yeahs, the Oohlas, Black Mountain, Wolfmother, Rogue Wave, Coconut Records, Sounds Under Radio and the Flaming Lips. This soundtrack's mainstream nod to rock that is independent in nature furthers a trend music fans have noticed more and more the past five years.

The revolution known as indie rock - a subgenre emphasizing individual creative interests over commercial viability - has landed squarely in the mainstream. Bands that used to rock warehouse tours, playing to crowds of 20 or 30 people throughout the Midwest, are now in major films, primetime broadcast and cable television shows, and commercials for McDonald's, Dell and Nissan.

Keep reading article here.


[Resource http://origin.denverpost.com/healthcare/ci_5920752]




Saturday, May 26, 2007

WHO PAYS FOR THE RECORDING COSTS?

There are no real rules about who should pay for recording costs. If you’re an unsigned band who goes into the studio to record an album with your own money and you get signed to a record label who releases that album, then those costs stay with the band. The label does not have to pay you back the money you spent on recording the album, although that expense you have taken on can be considered when you’re negotiating an advance with the record label. If you get signed to a label on the strength of demo and the label wants you to record an album for them to release, often the label will pay for at least a portion of this recording. However, a smaller indie label that simply doesn’t have money to spend on recording costs might say, “well, you record an album, and we’ll release it,” leaving those costs up to the band.


If the label pays for the recording of an album, they have a right to withhold earnings from the band until they recoup all of the costs they have put into the album. Also, if the label pays for the recording, they generally have more of a say in how the album sounds. The extent to which the label exercises this right varies from label to label.


If you sign a multi album deal with a record label, make sure the contract clearly states who is responsible for the recording cost of each album (and if you sign a multi album deal, ideally the label will take on the bulk of the recording costs).


Suggested Reading

Send a Demo to a Label

How to Record a Demo

Create a Promo Package


[Resource http://musicians.about.com/od/beingamusician/f/recordingcosts.htm]




Wednesday, May 23, 2007

FINDITT MUSIC NEWS

Music News Now Part of Finditt News Menu


Monroe, Ga. 5/21/2007 8:05 PM GMT (FINDITT - Top Story)


Musicians, record labels, recording studios, music industry executives, concert venue owners, music agents and music reps. can now place their news and press releases under the Music heading in Finditt News and TransWorldNews.com.


The new heading will be designated for those news and press releases that deal directly with the music business and the artists and musicians that make up the industry.
Independent artists can take advantage of press releases to create exposure and awareness surrounding their music. Announcing tour dates or an album release through a press release can brings attention from not only current fans but new listeners as well.


Record labels looking for global marketing of music can feature new music news from breakout artists, up and coming musicians and established musicians. Press releases announcing new albums, singles, chart positions and more can serve to educate fans and aid in promoting each artist.


Music agents and music reps. can feature news surrounding new artists that they are representing or announce musicians that they are currently looking to represent in the Finditt News music section.


To distribute your Music News through Finditt and TransWorldNews simply create your account at: http://www.transworldnews.com/

[Resource http://www.transworldnews.com/NewsStory.aspx?storyid=16520&ret=Default.aspx]



WHY INDIE ARTISTS SHOULD PODCAST

Independent artists have long struggled to gain recognition and attract an audience. Without the backing of a major label it can be very difficult for independent artists to obtain radio play time, that is, until now. Podcasting a revolutionary new medium, has opened new distribution channels for independent artists. Podcasting is the process of distributing audio files using the RSS format and has become very popular with the younger generations.

With the use of technology, independent artists have a unique opportunity available, using technology they can significantly expand the exposure of their music.

Why should a musician podcast?


[Resource http://www.bestsyndication.com/?q=052107_podcasting-for-musicians-and-artists.htm]




Tuesday, May 22, 2007

INDIE DOWNLOAD CARDS

Many independent artists make most of their revenue at merchandise tables after they play a live show. Audiences connect with a band or song, and are most likely to pay for music during the post-gig buzz. As bands are moving from CDs to digital downloads, they need something to hook potential customers when they can, instead of asking them to download later. Which is a challenge DiscRevolt aims to solve. The start-up describes its download cards as a cross between a gift card, a backstage pass and a baseball trading card. They're designed to be collectible items, attachable to lanyards or backpacks or rear-view mirrors. The fact that artists design their own artwork, and often make cards in limited runs, adds to the appeal.

Visit DiscRevolt for more information.

[Resource http://www.springwise.com/weekly/2007-05-16.htm]



Monday, May 21, 2007

VIRTUAL CONCERTS

Mobile phone downloads, music store kiosks, "Second Life" avatars.

"Such scenarios are right around the corner. In this rapidly evolving technological world, the music industry is seemingly willing to try anything to find new ways to stop the fiscal hemorrhage caused by downloading.

And we mean anything. We talked with label executives, managers, booking agents, artists and future forecasters about what the next big revolutions in music might be (not all of them are quoted in this story). And the one thing almost everyone agreed upon is that you will be able to consume music just about anywhere and any way you want."

[Resource http://www.mtv.com/news/articles/1559685/20070515/id_0.jhtml]


Saturday, May 19, 2007

FINDITT MUSIC

Finditt Music has recently launched its campaign to attract independent musicians, solo artists, bands from across the world, record labels and music distributors to the site so that they may upload their music for digital download sales.

For musicians and bands, Finditt Music is an added resource to distribute your music to your fans. By uploading tracks on Finditt Music you have the opportunity to distribute your music without having to mail cds or pay start up fees.

Read more here.

[Resource http://www.transworldnews.com/NewsStory.aspx?storyid=16169&ret=Default.aspx]



Friday, May 18, 2007

APPLE GETS A COMPETITOR

Sooner or later this was bound to happen. Apple is getting a competitor in the digital download world.

The Seattle based Amazon.com is will be selling millions of tracks copyright free. Songs will be able to be played on iPods or any other music player and burn them onto CD's an unlimited amount of times.


[Resource http://www.latimes.com/business/la-fi-amazon17may17,1,5699316.story?track=crosspromo&coll=la-headlines-business&ctrack=1&cset=true]


Thursday, May 17, 2007

THE FUTURE OF SUBSCRIPTION BASED MUSIC

We are yet to see if a subscription based model will be the future of music sales.

This article "Why Subscription Based Music is the Future" presents some compelling reasons for subscription based music.


[Resource http://www.listikal.com/why-subscription-based-music-is-the-future]


Wednesday, May 16, 2007

DEFINING AN AUSTRALIAN SOUND

Ever wondered what defines music as an "Australian Sound"?

Here's an article you may find interesting.

[Resource http://www.culture.gov.au/articles/music/]



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SEX DRUGS AND BLOGS

A goal to be a full time musician without the help of a record label and write and record one song a week.

Click here to read about Jonathan Coulton and how he transformed his dream into 500,000 song downloads and a comfortable living.


[Resource http://www.nytimes.com/2007/05/13/magazine/13audience-t.html?_r=1&ref=magazine&oref=slogin]


Tuesday, May 15, 2007

HOW TO GET SOLD ON iTUNES

As an independent artist, you'll probably be very familiar with the fact that digital downloading is huge -- and you're probably wondering how to get your cut of the action! And it's not just illegal downloading taking a huge bite out of traditional sales -- legal downloading services such as iTunes, eMusic, Napster, and Rhapsody have created a huge opportunity for major and independent labels alike: the ability to sell your music to a large, diverse market, with little to no overhead costs.

At around $1 per song, $10 per album, these services represent a great way to get your music distributed to the masses. However, as an independent artist, getting your music digitally distributed on the big services may seem like an impossible task -- until now!

Digital, Traditional, or Both?While it may be tempting to go the all-digital route and avoid the printing costs of a CD, it's also important to understand that the market is still there for CD sales, especially independent musicians.

Despite the numbers looking great, there's only an estimated 10% of the music-buying public taking advantage of paid digital downloads.

You'll still want to consider retaining the option to sell CDs -- especially at your shows! Most artists see CD sales at their merch tables, even if they're not doing so great in local CD stores. Before making a decision on which way to go exclusively, consider the benefits of doing both, especially if you have a budget to do so.

Getting Your Release Ready - Mastering & ArtworkAs an independent artist, you'll need to make sure your release is up to commercial standards before releasing it digitally. By now, I'm sure you're familiar with the process of mastering -- evening out the dynamics and maximizing the volume of your recording. Make sure that, whether you're doing the mastering yourself or hiring an engineer to do it for you, that your final product sounds it's best. Remember, you'll be on an even playing field (well, almost) to the big, major-label acts when you're being digitally distributed, so make your release stand out as best you can. You'll also need to make sure you have complete artwork to submit, along with the complete track credits. The major players won't post your music without artwork -- it doesn't have to be the best, but something catchy certainly helps!

Obtain a UPC Code In order to sell your music in any online store, not just iTunes, you'll need a UPC code assigned to your release. There's a few options, and they're all about the same price if you know where to look (and contrary to popular belief, you don't have to pay the $750 fee that's standard if you're getting your own UPC, unless you want to register a UPC as your own company). One option is going through your CD duplication company. For a small fee (between $20 and $50), you'll be assigned a unique UPC code for your product, which you can use on both your regular CD and your digitally distributed version. Just ask them, if they haven't offered it already. Another option is the great service CD Baby. They're an online store that's a major player in the digital distribution market, as well (more about that later). They'll assign you a unique UPC for $20. You can also do a Google search for "UPC Code", and you'll get some great results -- don't pay more than $50, though!

Find a Distributor Unless your independent label (or you) are a major player, then you won't be able to deal directly with Apple. Unfortunately, but understandably due to the volume of interest, iTunes requires that you as an artist partner with an established distributor. This works to your benefit when you compare the selling and bargaining power you as one of the many independent artists would have! This offers them the ability to work only with high-volume sellers, who'll be committed to the level of content quality they strive for. Of course, the downside here is that is that it'll cost you a little more in sales revenue, due to the fact you'll have to help pay a minimal overhead for the other companies involved.

The number one thing to look out for in a digital distributing partner is a non-exclusive licensing agreement. Make sure that you will continue to own all rights to your own music. Don't sign anything -- and if in doubt, take it up with an experienced entertainment lawyer -- if you feel you may sign your rights away to your material, which goes without saying. You'll also want to make sure that the pay cut is fair -- the average payout is around 60 cents per song download, and most digital distribution services will take a 9-10% cut of that. Still, when compared to the overhead of printing and distributing an actual CD copy, you're coming out ahead!

One of the best distributors, as mentioned above, is CD Baby. They've partnered with not only iTunes, but many of the other major players in the digital market. They'll set up to sell your CD -- digital only, or, if you have real copies, on their online store, as well -- for $35 per album. There's some setup work, but it's all easily done. They handle the digital encoding of your material for you, to make sure that your music stays in the proper format at the highest quality.

Another great option is a company called TuneCore. TuneCore offers similar features to CD Baby, although they only deal in digital distribution, not traditional sales as well. Their pricing model is quite different, and allows you to choose which services you'd like to distribute to. For every release, they charge a 99 cent fee per store you choose to release to, including iTunes Japan, eMusic, and many others, aside from traditional United States iTunes distribution. They also charge a yearly maintenance fee of $9.98, and 99 cents per song. For a 12-song album, that means roughly $25 in fees to distribute to the major players. They also don't make any claim to your material, just distribute it. They offer free UPC code generation, and can hook you up with a good artwork person if you don't have cover art already made.And remember, promote your digital downloads! Add links to your webpage, press kit, and add iTunes logos to your promo material. Make sure your fans know where to download your music!

For more related articles click here.

[Resource http://homerecording.about.com/od/duplicatingdistributing/a/Get_On_iTunes.htm]


Monday, May 14, 2007

HIT SONGWRITING TIPS

Here's a podcast all about songwriting. Click on this link.

Topics covered: Advice to developing songwriters, the art and craft of songwriting, strategies for writing hooks and melodies, a 7-step process to writing hit songs, and much more.


[Resource http://www.grahamenglish.net/blog/graham-english/hit-songwriting-tips-podcast-05-20-07/]




Sunday, May 13, 2007

5 PILLARS OF YOUTH CULTURE

If you are trying to market your music to a "youth" culture, here's an article I came across from the Canadian Marketing Association that could help you market your music better to GenY and GenM (Millenials).

This article covers the 5 Pillars of youth culture:

Entertainment
Fashion
Technology
Sports
Music

[Resource http://www.canadianmarketingblog.com/archives/2007/05/understanding_youth.html

Friday, May 11, 2007

STEADY GROWTH FOR MUSIC INDUSTRY

While CD sales will continue to decline sharply, the music industry as a whole is healthy, and growth in many other areas will more than make up for the shortfall. That's great news for marketers.

The growth will come from online and mobile music, the live concert industry and the licensing of music for public performance, commercials, TV shows, films and video games, according to eMarketer's report Global Music: Tuning in to New Opportunities.

Live tours were once used as marketing vehicles to promote recordings, but today that model is being flipped on its head as increasing numbers of top-tier and mid-level acts earn more income from concerts than from CD sales.

Read more here.

[Resource http://www.sys-con.com/read/372641.htm]


Thursday, May 10, 2007

CROWDSOURCING

To succeed as a recording artist or band these days it is essential to promote your music online. But breaking your way into the recording industry is far from easy. Luckily there is a service that helps you to do just that by tapping into the phenomenon of crowdsourcing.

Sellaband taps into the crowdsourcing model by turning the fans and listeners of bands into their product evangelists, asking them to invest in a band or artist they take a shine to, and take the word to the streets.

Browsing the Sellaband website listeners are asked to invest $10 or more towards the $50,000 needed for the band to record and distribute their music. They are also encouraged to spread the word to their friends and online contacts, to propel their chosen artists towards their recording opportunity.

But what's in it for them?

Well, besides the warm fuzzy feeling of helping talented musicians achieve their dream and the limited edition CD of the final recording there is a perhaps even more interesting opportunity to make some money on the side. Every single investor, or 'believer' that backs a successful band will take home a small cut of the profits made by them.

For the recording artists themselves, not only do they get to record and distribute their music with professional recording industry support and guidance, they also get to take a 50% cut of all ad-revenues made from the free downloads of their music.

Read all about it here



[Resource http://www.masternewmedia.org/audio_&_music_publishing/music-promotion/record-promote-finance-your-music-with-sellaband-20070507.htm]


Wednesday, May 09, 2007

GOOD NEWS FOR BRISBANE ARTISTS

THE Queensland Government is advertising in leading US music magazine Billboard singing Brisbane's praises as a music capital.

The May 5 issue of Billboard features the ad inviting readers to the Big Sound Music Industry Summit to be held in Brisbane in October. The magazine already has named Brisbane as a musical hot spot to watch this year, Queensland Premier Peter Beattie said.

Click here to read the article in full.

[Resource http://www.news.com.au/dailytelegraph/story/0,22049,21681283-5001028,00.html?from=public_rss]


Tuesday, May 08, 2007

WANTED: NEW LIVE ORIGINAL MUSIC

Brisbane, QUEENSLAND

New Showcase Opportunity for emerging singer-songwriters and bands

NEW LIVE ORIGINAL MUSIC @ GREENBANK RSL

THE LAUNCH OF BASS ONE 11th June 2007

An exciting new weekly event, BASS ONE, is being launched on Monday June 11 th by Greenbank RSL in partnership with Ellaways Music, Underwood, starting at 7.00pm
The weekly event will showcase new singer songwriters, music artists and bands from ages 13
– 30 year olds (but not exclusively), performing their own original new songs.

Often, young people don’t get the opportunity to perform their music publicly. Now, through a
new initiative at the Greenbank RSL, and Ellaways Music, Underwood, local youth have that
chance to be heard in front of an enthusiastic audience. Each artist, or band, will be given 15
minutes to perform on stage at Greenbank RSL. Then bi-monthly, starting in August, five acts
will perform on stage at the Ellaways Underwood Auditorium in concert on a Friday night.

“We really believe it is a youth initiative that is long overdue in this area. People can come
from anywhere to participate – and audiences are encouraged to come out and hear the new
music from young (and not so young) artists and bands. This really is an initiative designed to
nurture emerging talent from our local area.” states Melanie Cowell, Greenbank RSL
Advertising and Entertainment Manager.

“We will also be offering mentoring and development workshops to participants to help them
better understand the changes and developments in the current music industry,” adds Greg
Dodge, Event Producer, Ellaways Music.

This unique collaboration will enable new music to be developed in an area that has already
had strong international success.

“Any style of music is being accepted, our biggest aim is to just help local talent break into the
industry. Don’t be shy, if you have any questions, please don’t hesitate to contact any of the
BASS ONE team members, as we are here to help promote YOU,” adds Jess Baartz, BASS
ONE Event Organiser.

To get involved in BASS ONE, send one or two original songs (MAXIMUM 5 MINUTES) on
DVD or via Myspace Video/Google Video or similar. We prefer a visual – no CD’s of music
only. If unable to supply, please fill out an enrolment form and we will arrange for a live
audition.

For enrolment forms – contact Jess or Mel on 3380 0200, or email
bassone@greenbankrsl.com.au
For further information visit: www.myspace.com/bassonejm
For publicity enquiries – greg@ellaways.com.au
BASS ONE OVERVIEW

Where is it? Greenbank RSL, 54 Anzac Ave, Browns Plains Ph: 3800 7746
When is it? Weekly – starts 11th June 2007 (Launch night with special guests) at 7pm
BASS ONE will run from 6.30pm – 10pm every Monday night at Greenbank RSL.
Ages? We are looking for young singer-songwriters and bands aged between 13 – 30 (but not exclusive)
Starting in August (dates TBC), Ellaways Music, Underwood, will feature five new original artists and bands on stage.
Regular workshops, industry mentoring and networking will be offered at a small cost to participants.
Annually, a festival of new music will be hosted at Greenbank RSL with headlining artists.(Dates TBC)


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Monday, May 07, 2007

HOW TO WIN A RECORDING CONTRACT

Imagine yourself standing in front of over 20,000 fans in a sold-out venue where all you can hear is cheering. Now that’s the life.

That is, the life of a very select group of musicians who happen to have overwhelmingly successful careers. All of that may seem almost impossible, and there are plenty of people who go on for years without any segue into the major music industry.

There are still dozens of major record labels, however, that have signed with countless artists. By following some guidelines, you could be that much closer to winning over a label and landing a record deal because, as you know, life’s short, and it’s better to win.

Some might say there’s a routine process to go through in order to get a recording contract. According to Steve Richer, a lifestyle correspondent for AskMen.com, recording a demo is the smartest move you can make.

In addition, getting a manager and befriending virtually anyone in the industry, from deejays to promoters, will only benefit you. As a musician, your job is to entertain; the marketing side will be up to the others.

After finding representation, contacting labels and sending out press kits that contain the demo, photos and an artists’ resume is the next vital step.

“This is your most important marketing tool … [so] it must be clear, concise and provide an idea of your band at a glance,” Richer said. “Your manager or entertainment lawyer should send the package. A&R [Artist and Repertoire] executives will be much more receptive than if it’s sent by the artist himself. Otherwise, chances are your press kit will end up in the recycling bin.”

On the other hand, some artists feel that there is no specific process that can guarantee a record deal. Jon McLaughlin, an artist who has a contract with Island Records and recently performed at the Crocodile Cafe in downtown Seattle, is just one of many who believe that theory.

“As cliché as it is, good music is good music,” McLaughlin said. “There are exceptions to every rule, but for the most part when someone really has something special to offer, it comes through,”

The whole idea of getting a recording contract can be both scary and exciting, but the key here is to be patient. McLaughlin has been making music for over 20 years, has had a recording contract for two of those years, and is just now releasing his debut album Indiana, due out tomorrow.

His advice for those aspiring to break into the music industry is this: “Practice as much as you can and worry less about which shirt to wear.”

Reach columnist Sheena Nguyen at features@thedaily.washington.edu

[Resource http://thedaily.washington.edu/article/2007/4/30/howToWinARecordingContract]


Sunday, May 06, 2007

THE NEW INDIE REVOLUTION

If you haven't heard of London band The Crimea, you soon might. Why? After being dropped from Warner Music, they are trying out a marketing experiment that could soon see other indie bands follow suit.

The Crimea's second full length CD "Secrets of the Witching Hour" is available in full as a free download from their website http://www.thecrimea.net/. The idea is to reach as many people as possible, increase their fan base and maximise their ability to tour, sell merchandise and gain licensing deals.

At the time of this post, The Crimea had had nearly 13,500 downloads of their 2nd full length CD. That's a lot of potential new fans!

[Resource http://undercover.com.au/News-Story.aspx?id=2018]


Tuesday, May 01, 2007