Sometimes it's just good to get away to chill with the family for a while. Those emails will be there when you get back..
Think about it...
Saturday, July 25, 2009
Thoughts on co-writing from tunecore.com
To Co-Write or Not to Co-Write? Part I
By Wayne Cohen
Wayne Cohen is a veteran multi-platinum selling ASCAP hit songwriter, producer, educator, and owner of publishing/production company Stand Up Songs. He also teaches individual and group songwriting tutoring sessions at his NYC Stand Up Studio and via Skype.
Part I: To Co-Write or Not to Co-Write, that is the question...
...Whether it is nobler to toil by one’s self, or share your gift with another writer, thereby potentially exponentially expanding your songwriting and song networking potential. Well, the good news is that you can do both, which I like to do for several reasons.
I like to write by myself so that I feel I can really explore every aspect of an idea, so I won’t get lazy, and obviously, because it can be twice as lucrative if you write a hit alone.
But maybe you come up with a million melodies and no lyrics, or you have lyric ideas but no melodies, or maybe you’ve got a million melody and lyric ideas and can’t organize them enough to pull together a coherent song easily, or you’re a visionary producer/track writer/multi-instrumentalist but you need help with lyrics and or melodies; maybe you’re all of these and you just want a break from yourself. Have no fear, co-writing can be good for you. At worst, it might be a good way to get out of your own face for a while.
So I co-write, because it can be invigorating and create surprising results, and there are some obvious advantages: it expands your network for pitching, and expands your mind about the kinds of songs you can write. For me the beautiful thing about co-writing is that I don’t have to be all the people in the band I’m not (the female singer, the drummer, the amazing guitarist, etc.), and still can come up with something to be proud of – something I could never have predicted, or that either of us might have written, without a collaborator.
These days co-writing can come in several forms:
I like to write by myself so that I feel I can really explore every aspect of an idea, so I won’t get lazy, and obviously, because it can be twice as lucrative if you write a hit alone.
But maybe you come up with a million melodies and no lyrics, or you have lyric ideas but no melodies, or maybe you’ve got a million melody and lyric ideas and can’t organize them enough to pull together a coherent song easily, or you’re a visionary producer/track writer/multi-instrumentalist but you need help with lyrics and or melodies; maybe you’re all of these and you just want a break from yourself. Have no fear, co-writing can be good for you. At worst, it might be a good way to get out of your own face for a while.
So I co-write, because it can be invigorating and create surprising results, and there are some obvious advantages: it expands your network for pitching, and expands your mind about the kinds of songs you can write. For me the beautiful thing about co-writing is that I don’t have to be all the people in the band I’m not (the female singer, the drummer, the amazing guitarist, etc.), and still can come up with something to be proud of – something I could never have predicted, or that either of us might have written, without a collaborator.
These days co-writing can come in several forms:
- Melodist meets lyricist
- Melodist meets lyricist meets track writer
- Melodist/lyricist meets track writer
With who and how to co-write:
I’ve always found it wise to collaborate with people who complement what my strengths. As much fun as it could be to be in the room writing with someone who does what I do, I find it’s more productive if you work with someone who does NOT do what you do (although I have written great songs with people who share my same strenghts and weaknesses, so go figure). The greatest thing about co-writing for me is that you generally can never predict what will come out of the experience.
An effective co-write requires mutual trust and respect between collaborators. To foster 'singing the same song’ with my collaborators, after years of co-writing, I’ve found it useful to develop some simple ground rules which I call the COLLABORATOR’S CODE. Much of this is unspoken, but I find things go much better, and faster, if I have this in the back of my mind while working with a partner. Here in part one I’ll give you a preview of the code, and in part two I will delve into more code detail, and examine options for how to demo a co-written song...
I’ve always found it wise to collaborate with people who complement what my strengths. As much fun as it could be to be in the room writing with someone who does what I do, I find it’s more productive if you work with someone who does NOT do what you do (although I have written great songs with people who share my same strenghts and weaknesses, so go figure). The greatest thing about co-writing for me is that you generally can never predict what will come out of the experience.
An effective co-write requires mutual trust and respect between collaborators. To foster 'singing the same song’ with my collaborators, after years of co-writing, I’ve found it useful to develop some simple ground rules which I call the COLLABORATOR’S CODE. Much of this is unspoken, but I find things go much better, and faster, if I have this in the back of my mind while working with a partner. Here in part one I’ll give you a preview of the code, and in part two I will delve into more code detail, and examine options for how to demo a co-written song...
Tuesday, July 14, 2009
What is publishing?
The commercial exploitation of songs through the issuance of mechanical licenses,synchronization licenses,performance rights licenses, print licenses as well as other licenses authorizing various uses of songs.
Definition excerpt taken from Know it All-A Quick and Easy Guide to Music Industry Lingo.
Order your copy today @ www.artisticsoulentertainment.com for only $5!
Definition excerpt taken from Know it All-A Quick and Easy Guide to Music Industry Lingo.
Order your copy today @ www.artisticsoulentertainment.com for only $5!
Friday, July 10, 2009
BP ARTIST DEVELOPMENT WEEKEND HITS DAYTON, OHIO AUG 21-22!
Artistic Soul Entertainment presents..The Beyond Potential Artist Development Weekend Aug 21-22 in Dayton, Ohio, for more info on how to register and where it will be hosted visit www.gobeyondpotential.com today!
Thursday, July 9, 2009
Who do you love?
1 John 2:15-17 (Amplified Bible)
15Do not love or cherish the world or the things that are in the world. If anyone loves the world, love for the Father is not in him.
16For all that is in the world--the lust of the flesh [craving for sensual gratification] and the lust of the eyes [greedy longings of the mind] and the pride of life [assurance in one's own resources or in the stability of earthly things]--these do not come from the Father but are from the world [itself].
17And the world passes away and disappears, and with it the forbidden cravings (the passionate desires, the lust) of it; but he who does the will of God and carries out His purposes in his life abides (remains) forever.
Tuesday, July 7, 2009
Defining a Publicist
From Tunecore.com
Publicists are experts you hire to promote your band and music to media and press outlets. It's their job to get writers and editors to listen to your music, learn who and what you are and (hopefully) have them write about you. Remember, a publicist can not guarantee reviews or coverage. The best you should expect is that they can get a writer or editor to learn about you, listen to your music and provide them reasons as to why they won't write about it.
Publicist will send you reports. Depending on the publicist, these reports will be provided to you each week, every two weeks or every month and will list all the activity, comments and results regarding your project in the press world. As things get updated, the report should reflect any additions or changes. If you are paying for the clipping service (a third-party service that scours all print publications for mention of your band), the publicist should also provide you copies of any all press.
A publicist will usually charge you a monthly fee and request a minimum number of months to work on your "project." Fees can range widely but tend to fall between $750 and $5,000 a month. Most publicists require a minimum commitment of three months, as they need time to properly set up and promote your album. Some publicists might be willing to charge you a flat one time fee, called "Life Of Project," rather than a monthly fee. Life Of Project fees can also range widely but tend to fall between $1,000 and $4,000.
In addition to these fees, most publicists also charge you expenses, which can vary a bit from publicist to publicist but tend to include:
- Cost of their local phone charges
- Cost of their long distance charges
- Internet connection fees
- Photocopying
- Mailings and postage
- Travel
- Third-party services that scour all print publications for mention of your band (called "clipping services")
- Messenger charges
- ...and more
Expenses can run anywhere from $150 to $1,000 a month, depending on the level of activity.
TIP: Most of the time, a publicist will be working on more than one artist or project. Be prepared to "work" your publicist to get them to "work" others.
Friday, July 3, 2009
Indie Survey: Friends, Live Shows Big Influencers
Indie Survey: Friends, Live Shows Big Influencers
June 08, 2009 - Indies
By Glenn Peoples, Nashville
Four out of five independent music store customers cite a recommendation of a friend as being an important factor in a purchase, according to a survey conducted by the Association of Independent Music Stores (AIMS). The online survey queried 1,067 consumers from AIMS stores around the country about the spending habits, concert-going frequency and relationship with the stores. Seeing a live performance was also cited by 80% of those surveyed. Only 39% cited radio as being important in their purchase decisions while newspapers and television were cited by 16% and 15%, respectively.
More than three in five respondents said they visit an independent music store more than once a month. While they may be avid music buyers, 63% of those surveyed say they go to a concert either once a month or less often than once a month. Respondents most often go to medium-sized clubs (85%) and small clubs (76%). Less than 20% of respondents said they go to arena and amphitheater shows.
iTunes was by far the most popular digital store named by respondents, with 85% saying they have purchased music there. Amazon.com's MP3 store was second with 23% and eMusic was third at 14%. Insound got 6% of respondents and Lala and Rhapsody both got 5%. But most of the independent store customers surveyed - 65% of them - said they spend 10% or less of their total music spending at digital stores. Only 11% spend half or more of their total music spending at digital stores.
Seventy percent of respondents said they use YouTube, 62% use MySpace, 46% listen to Pandora and 32% have used Last.fm. Imeem came in at 7%, Playlist at 5% and both Qtrax and Spiral Frog (which had not yet gone under) claimed to be used by 0% of respondents (or so few of them that the figure was zero when rounded down).
Of those who read blogs or music Web sites, 78% said they have read Pitchfork while 44% cited RollingStone.com and 38% cited Stereogum. Other popular music blogs were Brooklyn Vegan (28%), My Old Kentucky Blog (23%) and Largehearted Boy (14%).
June 08, 2009 - Indies
By Glenn Peoples, Nashville
Four out of five independent music store customers cite a recommendation of a friend as being an important factor in a purchase, according to a survey conducted by the Association of Independent Music Stores (AIMS). The online survey queried 1,067 consumers from AIMS stores around the country about the spending habits, concert-going frequency and relationship with the stores. Seeing a live performance was also cited by 80% of those surveyed. Only 39% cited radio as being important in their purchase decisions while newspapers and television were cited by 16% and 15%, respectively.
More than three in five respondents said they visit an independent music store more than once a month. While they may be avid music buyers, 63% of those surveyed say they go to a concert either once a month or less often than once a month. Respondents most often go to medium-sized clubs (85%) and small clubs (76%). Less than 20% of respondents said they go to arena and amphitheater shows.
iTunes was by far the most popular digital store named by respondents, with 85% saying they have purchased music there. Amazon.com's MP3 store was second with 23% and eMusic was third at 14%. Insound got 6% of respondents and Lala and Rhapsody both got 5%. But most of the independent store customers surveyed - 65% of them - said they spend 10% or less of their total music spending at digital stores. Only 11% spend half or more of their total music spending at digital stores.
Seventy percent of respondents said they use YouTube, 62% use MySpace, 46% listen to Pandora and 32% have used Last.fm. Imeem came in at 7%, Playlist at 5% and both Qtrax and Spiral Frog (which had not yet gone under) claimed to be used by 0% of respondents (or so few of them that the figure was zero when rounded down).
Of those who read blogs or music Web sites, 78% said they have read Pitchfork while 44% cited RollingStone.com and 38% cited Stereogum. Other popular music blogs were Brooklyn Vegan (28%), My Old Kentucky Blog (23%) and Largehearted Boy (14%).
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