Do you need a professional studio to make awesome recordings? The short answer is no…the long answer is yes. Wearing a snappy looking cap and walking next to a stewardess doesn’t make you a pilot, just like owning a pro tools rig doesn’t make you an engineer/producer. A whole new generation is embracing the high end headphone market and what once seemed like a lost art is coming back…the ability to tell the difference between shit recordings and amazing ones.
If you are an EDM artist dealing solely with bleeps and bloops and pre designed synthesis…your ability to engineer is largely enhanced by the pre designed sounds you are creating with. If, on the other hand you are a live band…look out because there is an art form to miking drums and guitars, horns and vocals. There are phase relationships, EQ issues, rattles and hums that all are dealt with by a great engineer/producer. There is a wealth of high end gear that can and does make a huge difference sonically.
You spend all your energy crafting songs that come from an emotional place deep inside. You spend days, weeks and months fine tuning every last bit of the writing. Work extra shifts to afford that awesome amp or drum set. Then you call your mate Steve whose father was kind enough to take him to Sam Ash and buy him a Pro Tools LE system…and you put your newborn creation and all your hopes and dreams into the hands of an absolute hack.
So yes you can do it yourself and there are a few very talented people who have made brilliant recordings all on their own. That being said…if this really is your passion, your one shot…find a great facility with all the bells and whistles and more importantly a brilliant staff…you will never regret it and your fans will notice the difference. They are now listening on $300 headphones…not $5 ear buds.
Shameless plug: Bieler Bros. Studios is just such a place, that is why Dashboard Confessional, Skindred, Butch Walker, Don Gilmore, JLO, Justin Bieber, Kuk Harrel and every major label have made that choice….that and the fact that we are clearly the most charming and handsome of all the choices. Click above and check it out.
Are you a sonic leader or a follower? Are you just jumping on the bandwagon and trying to fit in? Or are you trying to create the trend? EVERYONE is influenced by previous heroes the question is are you taking what you have assimilated and moving it forward, really pushing the limits? Or are you just a rehashing what you think is popular? There is a fine line between being a cover band and simply sounding exactly like other bands and that line is razor thin. Hey you are making music and that is truly something to be respected. BUT if your goal is to walk amongst the few musical immortals and have your music and art mean something to people on a large scale…. you simply can’t be one of the sheep you need to be the shepherd.
You really need to remember the world is not conspiring against you and your art. The world is just more concerned with its problems than it is with yours. How does your music, your art or your pitch help and or benefit the:
The Music Supervisor
The Late Night TV Show
The Record Label
The Video Game Company
Answer that first and you are ahead of 99% of your competition.
From Music Industry Blog
Self-styled digital Robin Hood Kim Dotcom’s highly effective PR machine successfully secured him vast media coverage this week for the launch of his new locker service Mega, which as the Register’s Andrew Orlowski correctly points out, isn’t actually anything particularly new or innovative. But in some ways that doesn’t even matter. Kim Dotcom matters most to media companies now because he is a focal point of anti-media-establishment sentiment. He’s the plucky start up taking on the fat cats of the media industry. Except of course that he’s done a pretty impressive job of establishing himself as an fat cat too as this and this reveal. Ironically Kim Dotcom has made his money using the same assets as the media fat cats: i.e. music, movies and TV shows. The difference being that Kim Dotcom doesn’t finance the creation of the content. But Dotcom’s supporters are willing to turn a blind eye to his play boy ways because it is all done while sticking a proverbial finger up at the old guard
Conitnue reading the article on Music Industry Blog
BY LOUIS MARINO | Fast Company
What do Lady Gaga and direct-to-consumer marketing have in common? The answer is a lot.
Building communities all starts with finding a common thread that brings people together. Experiences help define or typify what a community is all about. A community can be extremely close knit, yet very different when looked at on an individual level. But the commonality is that every community has a soul, and to tap into its soul in a meaningful way unlocks all its secrets.
Before joining experiential marketing agency MKTG INC as their Executive Creative Director two years ago, I worked extensively in the music industry. There, I learned an awful lot about musicians. No, not their hard-living lifestyles and jaw-dropping spending habits. I’m talking about their incredible sense of community and loyalty.
I worked for five years at Island DefJam, a label that has a wide-ranging artist roster covering everything from hip-hop to R&B to country. You might think that a rapper from Brooklyn wouldn’t have much reason (or desire) to connect with a country crooner out of Arkansas. But as it turned out, the opposite was true–I soon saw that they were actually a very tightknit community. No matter their genre or origins, these musicians unfailingly came out to support each other, watch each other’s performances, hang out backstage, share ideas, and make music together. It was clear that they truly loved and respected each other. That steady support and genuine respect formed the basis of their community. As do all communities, they shared common interests and a like-mindedness that was real and authentic.
read the rest of the article here
[Image: Flickr user violet.blue]
Infographics by Nathan Yau
Top 10 Tips For Composers Entering The World of Music For TV
Written by Tim Rabjohns & Fridel for Music For TV Masterclass – July 25th 2012
1) When compiling a showreel we think it is very important that you create one which has sound to picture, and not just audio only. Also try to and be clear if something is a demo or a real job. We also think it’s a good idea to use Vimeo as it is more professional, and used by most people in the media industry.. You can also back this up with compositions on Soundcloud (or similar)
2) Follow up. Although it may sound like the basic thing in the world – when contacting Music production companies – don’t just send one email with no follow up Over the years we have received so many emails from hopeful composers, who never get beyond the first contact. It’s always good to call companies and find out what they are looking for and to try and develop a relationship with people.
3) If possible go and work for the kind of company you want to get work from eg advertising agency or production company. It may mean not starting in music straight away, but it will give you a good customer base to start with. This is something that will reap many rewards in the following years.
continue reading the list here
Your friends are not true fans
By Chris Robley
Look, your parents and your partner and your neighbors are not going to tell you that your music sucks. Neither will your co-workers, your church friends, or the people you play rugby with on Wednesdays. Your cousins, your counselor, your drinking-buddies, your favorite barista — nope, can’t trust them either. They lie to you. They tell you you’re magnificent because they care about your feelings — or at the very least they have to see you on a regular basis and don’t want to have to deal with you pouting all the time.
Some folks even go so far as to lie about purchasing your music.
We see it from time to time at CD Baby: Johnny X calls up saying his friend Bob bought the new Johnny X album, and he wants to know why that sale isn’t showing up in his accounting section yet. Well, unfortunately it’s because the CD is still on our shelves and Bob was politely trying to wriggle around the issue that he hates Johnny’s music. So he fibbed rather than say, “Stop bugging me, man! I don’t wanna buy your CD already. I’ve sat through your last 3 shows; what more do you want from me?”
Your friends are not your fans. Beyond their initial support of your musical endeavors (coming out to your early shows, liking you on Facebook, etc.) you cannot rely on them to sustain your career — or to give you the kind of unfettered feedback that will help you analyze your weaknesses, identify your strengths, and craft a better sound, song, or show!
continue reading the article at CD BABY