Tracks/Album now available for download at Apple iTunes
Tips Before Signing a Recording or Songwriting Deal
The Secrets of Correctly Stringing Your Guitar
Who Else Wants to Sky Rocket Their CD Sales, Fan base and Indie Music Career?
Free, Legal Music Online
By Daniel Punch
Almost everyone has heard about the massive crack down on Internet music piracy that has been occurring over the past few years. Napster was taken down (although it has now returned as a pay service), other file sharing programs now require users to pay for a license and the RIAA and other similar organizations are doing their best to hunt down copyright offenders and put an end to their crime sprees. The consumers on the other hand argue that their actions hurt nobody, that there is no damage done to anyone by their not buying an album. Furthermore, they claim, MP3s allow them to sample a CD before purchasing it, thus actually helping sales.
I'm not here to argue the pros and cons. Basically it's not worth it, as neither side of the argument will ever see the opposition's point of view. What I'd like to do is take a look at the completely free and legal alternative to 'stealing' music. Those wonderfully talented musicians who are willing to put their creations online to download for free, solely for the joy of spreading their creations to the masses.
Free music is surprisingly easy to come by, even music by famous bands. Sometimes it needs to be 'streamed' from the Internet, meaning that you can only listen to a song while you're online, but with the ever-growing popularity of broadband Internet this is really no longer a problem. Sites such as MP3.com and purevolume.com provide free music by almost any band you can think of, although there is a large amount of it that has to be streamed and not downloaded. A search for 'free legal MP3 downloads' will reveal a huge number of pages to visit.
For something specific, try visiting the artist's website, or the site of their record label. These will often offer a few sample tracks to download for free. It's not quite as convenient as having access to every song that you want, but it's not a bad alternative.
But how about we forget about the mainstream for just a while and move towards the alternative? Towards the hopefuls, the talented bands that have yet to be 'noticed'. There are a huge number of these smaller bands out there that are sticking their stuff online for any and all to listen to, just so that they can be heard. These can be easier to find, because most MP3 sites will be filled with these smaller acts. A great place to start is http://www.garageband.com/ or the aforementioned http://purevolume.com
The great thing about smaller bands is that you can often find bands that come from your local area and then go and see them play live. Being able to see a favourite band live more than once a year (or lifetime) without expending huge amounts of money and time is pretty cool. Many music search engines will let you search for bands of a particular genre in a particular area, which makes it all quite easy.
A fairly major contributor to the online music scene is the remixer. These people take other tunes and redo them, often in a techno style because one person can do this competently. Chief among the tunes selected to be remixed are those old ditties that used to play through the simplest of sound chips on now aging consoles: the video game theme songs. People now go and grab the main tune line from an old favourite and fill it out, making real the work our imaginations used to do for us to turn the single tone melodies into orchestral masterpieces. A few good places to start are http://remix.kwed.org and http://remix.overclocked.org as well as a personal favourite band http://machinaesupremacy.com
I hope this has given you something to think about. It's not hard to come across illegal MP3 rips, in fact it's often hard to avoid them, but if you give the free music scene a look you may find something completely different and new that will really do it for you. With web hosts already being penalized hugely for illegal content being stored on their servers (having an entire server taken down because of one inconsiderate user is damaging and irritating beyond belief) and moves being made to charge ISPs for the content being accessed by their users, it makes more sense than ever to get out there and grab yourself an awesomely original and completely legal music collection.
Daniel Punch
http://www.m6.net
Daniel Punch is a University student gathering a large music collection to keep himself going during those long nights of 'study' (also known as 'playing video games')
Article Source: http://EzineArticles.com/
“Who Else Wants to Get Screwed When Signing a Recording or Songwriting Deal?!?!”
By Ty Cohen
You’ve got your recording (or songwriting) contract in hand and everything’s coming up roses, right? You get your check, finally, but it’s not quite what you expected. If you sign not knowing what’s owed you then you might be shorted some well-deserved income. So make sure that anything you sign contains a statement to the following areas (preferably in your favor):
Performing Rights – this means you get a chunk of the change when your songs are played over the radio, television, Internet and at some public venues like concerts and such. And who keeps tabs on this? Check out ASCAP-http://www.ascap.com/index.html, SESAC– http://www.sesac.com/home.asp and BMI– http://www.bmi.com.
Mechanical Rights – This is the most commonly known. It includes anything physical such as tapes, CDs, etc. The Harry Fox Agency is nearly 80 years old and for artists with 2500 or less recordings they can learn more at http://www.songfile.com/ regarding small licensing.
Print Rights – Exactly that – anything in print like lyrics or sheet music.
Foreign Rights – Again, anything that deals with foreign publishing and licensing.
Synchronization Rights – Ever heard a Garth Brooks or Rolling Stone song in a movie or television show? That’s synchronization and it can mean big bucks although some artists overlook this very important right when signing.
If you fail to have some or all of these areas covered when signing a contract it can mean the loss of big money for you. If you can afford it hire only the best entertainment attorney to handle your contracts. A good attorney can be expensive, especially if he has to do all the legwork but you can save time and money by looking into products such as the 101 Music Business Contracts software at http://www.MusicContracts101.com . This easy to use, contracts creation software features over 100, professionally drafted, music business contracts and agreements. As with any contract you sign – be it a house loan or a recording contract – it’s best to have an attorney look the documents over before doing a final signing. However, a great money saver is arming yourself with knowledge, like 101 Music Business Contracts, before you ever set foot in a law firm.
This article was written by Ty Cohen, the music industry's most recognizable voice! Ty is the C.E.O of Platinum Millennium Publishing, Platinum Millennium Records as well as owner of http://www.MusicContracts101.com and http://www.MusicIndustrySuccess.com
Article Source: http://EzineArticles.com/
The Irish Harp
By Susanna Duffy
The harp that once through Tara's halls the soul of music shed, now hangs as mute on Tara's walls, as if that soul were fled. So sleeps the pride of former days, so glory's thrill is o'er, and hearts that once beat high for praise, now feel that pulse no more
To tell the history of the Irish harp is to tell the history of the Irish people. This ancient folk instrument with its beautiful, delicate sound is played today despite being ignored, derided and proscribed for centuries. Harpers, who in earlier days would have been hanged for their art, now flourish throughout the world, as do the Irish themselves
Legend tell us the first harp was owned by Dagda, a chief among the Tuatha De Danaan. At one time during a war with the Fomorians, the gods of cold and darkness, his harp was stolen but later recovered by Lugh and Ogma. When it was returned it had aquired two secret names and the ability to call forth summer and winter. From then on, when Dagda played, he could produce a melody so poignant, it would make his audience weep, he could play an air so jubilant it would make everyone smile, or bring forth a sound so tranquil, it would lull all who listened to sleep. So thus did the harp became the dispenser of Sorrow, Gladness and Rest.
Harps are played throughout much of the world. From ancient artworks, epic tales and poetry, we learn of harps in Babylonia and Mesopotamia. We see them in the tomb of Pharaoh Ramses III , votive carvings from Iraq and sculptures of ancient Greece. From Africa, which has more than 100 harp traditions, the instrument travelled north to Spain and soon spread throughout Europe. Strung with sinew, silk or wire, harps vary in size, structure and decoration according to the physical and technological environments of their origins. African harps have been made from wood and gourd covered with cowhide, the Burmese sang auk has an arched soundbox similar to the Turkish ceng while European harps feature a triangular frame, There is one feature that all harps share: the strings run vertical (rather than parallel) to the sound box.
Griffith of Wales employed harpists in his court at the end of the 11th century and the monk-historian Geraldus Cambrensis admired the great skill of the Irish harpers and remarked that some even considered the Scots to be better players. For Irish and Scottish harpers commonly visited each other’s countries to study, to learn and exchange tunes and their music was admired throughout Europe. Another twelfth century archivist, John of Salisbury, wrote that " ... had it not been for the Irish harp, there would have been no music at all on the Crusades."
These harps were quite different from the large pedal harps we see in modern symphony orchestras. They were much smaller, originally held on the harper's lap, leaning against the left shoulder, had no pedals, and usually were carved in one piece from bog wood. The Trinity College Harp and Queen Mary's Harp are the oldest surviving Celtic harps and both date from the 15th or 16th centuries and illustrate the similarity between the Irish and Scottish harps. A distinguishing characteristic of these Gaelic harps was that they were wire-strung, rather than gut strung. The word "harp" has its roots in the Anglo-Saxon, Old German and Old Norse words which mean "to pluck." In Gaelic they were known first as cruit and later as clarsach or cláirseach.
The harp isn't peculiar to Ireland but subsequently became its national emblem. (Nowadays you can even see it on the Guiness label) Harpers were highly trained professionals who performed for the nobility and enjoyed political power - so much so that during the 16th century, Queen Elizabeth I issued a proclamation to hang Irish harpists and destroy their instruments to prevent insurrection.
Sadly, while this oldest emblem of Ireland is still with us today most of the ancient airs and melodies it once produced are long gone, but younger harpers are taking up the challenge to reawaken the pride of former days.
Susanna Duffy is a Civil Celebrant, grief counsellor and mythologist. She creates ceremonies and Rites of Passage for individual and civic functions, and specialises in Croning and other celebrations for women. http://celebrant.yarralink.com
Article Source: http://EzineArticles.com/
The Secrets of Correctly Stringing Your Guitar
By Thomas Freeland
Why do you care about stringing your guitar you may ask. Well the reason is simple. It will make you sound better because if your guitar is properly strung, you will get longer natural sustain.
This is something that no fx pedal can reproduce, clean natural sustain. Of course after you have this sustain you can play with it all you want with your fx pedals.
Many guitarist make the same mistake when stringing a guitar, they don't wind enough of the string onto the tuning peg or they wind too much.
Why is this seemingly simple thing so important? Because the greater the angle between the nut (the top part of the guitar) and the tuning peg, the better the sustaining qualities of the string. Simply put, it makes you sound better. And your strings will not go out of tune as fast. Of course you can always wind too much as well, and then the strings will tend to slip out of tune easier. You want to have just the right amount.
Here is how to string your guitar.
Step 1 - Take all the strings out of the package and lay them out from the thickest to the thinnest. When you go to buy strings, always try and get the same gauge, as changing the gauge could mean problems with intonation, and may require truss rod adjustments.
Step 2 - Turn the tuning peg until the hole is in line with the neck.
Step 3 - Starting with the thickest string - The low "e", thread the string through the bridge (bottom part of the guitar). Each guitar has different ways to do this, but it is usually very easy to see where the strings go.
Step 4 - Next thread the string through the hole in the tuning peg until it is tight. Now back the string up about 3 inches so that it loosens.
Step 5 - Grab the loose part of the string with one hand and with the other start turning the tuning peg. As you turn the peg, hold the string tightly away from the guitar to insure that it wraps tightly, with no slack. This will stop the string from going out of tune as you're playing. When the string is getting tight against the fretboard, You can let go and continue to slowly turn the peg a little bit more and then top.
Step 6 - Make sure as you turn the peg that the string is winding downward, and don't let it flip over itself. Your goal is tog et about 2 1/2 to 3 full winds on each string.
Step 7 - Repeat the process with all other strings, but decrease the amount of slack a little bit each time.
All the best,
Tom Freeland
PlayGuitar.com
This is just one of the hundreds of guitar tips that you will get for free simply by becoming a member of PlayGuitar.com's Guitar Tips. Go to http://www.playguitar.com/guitartips/ and fill out your info. You will be on your way to becoming a better player.
Article Source: http://EzineArticles.com/
Music Licensing
By Steve Veloudos
Music licensing can be a very confusing subject. My intent with this article is to give you enough details on what music licensing is and what are your rights to use music in advertising and / or video productions.
A few months ago I was contacted by a company that was celebrating 20 years in business. They wanted to put together a radio commercial that highlighted their celebration. Their request was to use Kool and the Gangs song Celebration in their radio spot. I explained to them in order to do this they would have to obtain a licensing which would cost them quite a bit of money. This was not an option for them due to their limited budget and ultimately they told me that they “went another direction” with their advertising.
If I had agreed to use this song without obtaining a licensing I would have put both of our companies at risk. It was not worth the risk just to make a sale. Beware that there are unscrupulous production companies that will do this type of illegal activity so the best protection you have is knowledge.
The copyright law protects writers of music by giving them exclusive right to their music. Once a piece of music is under copyright protection it is illegal to use it without getting permission to the owner of the copyright.
There are actually two types of copyrights in the
<?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />
The second form of copyright is the actual recording itself. This is denoted by a P with a circle around it. This protection covers the performance of the song caught on tape or digital media and released on CD or other media. Many times a record or production company will own this performance right.
If you want to use a song in a production, you need obtain a Master Use license from the owner of the copyright and a Synchronization license (often called a sync license) from the owner of the performance of the song.
The fees for synchronization licenses vary greatly. Low-end TV usage (music is playing from car radio in a scene) can cost up to $2,000. In a film, the fee may be as high as $10,000. A popular song is worth more, possibly $3,000 for TV and $25,000 for film. A song used as the theme song for a film might get $50,000 to $75,000. Commercials can get even more money. Fees for a popular song can range from $25,000 to $500,000 plus per year. The typical range for a well-known song is $75,000 to $200,000 for a one year national usage in the
I think you will agree with me that that is allot of money and usually way over budget for many video and radio productions.
To get around these outrageous fees, music production companies sell buyout music. When you purchase a buyout CD you do not need to obtain a licensing to use the music. You can use the music hassle free and at a much lower cost.
Buyout music or royalty-free, as it applies to my products, means that for your one-time purchase price, you can legally use the music in your productions for life of ownership. All copyrights of the music remain with Zebra Music LLC. My jingle licensing agreement allows a protected area of 200 miles. By doing this no other companies in a local market will have the same jingle.
Many other production companies offer a similar buy out music licensing. I would advise you to read the licensing agreements with other production companies and ask questions if you have concerns.
Network broadcast and international broadcast of buyout production music is cleared through a performance organization (like BMI or ASCAP). The revenue that these songs produce when they are aired is paid directly from broadcast station licensing, NOT from you as a producer. These performance organizations then in turn pay each artist based on the amount their song or songs were aired on the radio or TV.
I hope this article has cleared up any confusion or questions that you have had about copyright and music licensing.
***************************************
Steve Veloudos owns and operates Zebra Music
LLC. It’s a one stop shop for jingles, radio production, custom music, library music, and sound design. Visit Steve’s web site and get free monthly music that you can use for your productions.
http://www.zebramusic.com
<?xml:namespace prefix = st1 ns =
"urn:schemas-microsoft-com:office:smarttags" />
480-540-7768
***************************************
Article Source: http://EzineArticles.com/
Who Else Wants to Sky Rocket Their CD Sales, Fan base and Indie Music Career?
By Ty Cohen
If YOU Answered YES, Then Start An Online Newsletter…It’s Easy, Here’s How!
I’ve always praised the benefits of using a newsletter to promote your music, but this article give a bit more detail into how to go about it.
First, there are tons of different providers out there that can send out your email newsletter. Some are expensive while other like cafepress.com allow you to make one free if you sell products through them. Although this isn’t EVERYTHING you could do it is a good starting place.
Define the letter – is it going to be strictly about your band or other acts in your genre? You might be able to pick up other readers/listeners who weren’t aware of your music, but know other acts if you go broader.
Develop a schedule. Are you going to do it daily, weekly, monthly? Whatever you choose does not matter. The most important part is to stick to it, once people get to reading and enjoying your newsletter, they’ll expect to receive it on time, all the time.
How much content will it contain?
Are you going to have one page or six pages? Try to make the content the same size each issue.
K.I.S.S – Yet again, keep it simple stupid. That means staying on topic and writing in a tone that is both understandable and friendly.
Ask for reader feedback. Perhaps someone might have an idea for a new feature or they may have a hot news tip. Always answer your reader’s requests and emails regardless of if you use their idea or not.
Keep copy short and in the active voice. Avoid passive words if you can and give your articles some kick. You’re writing for people, not Harvard educators so keep your tone to one that people will enjoy looking at each week.
Extra set of eyes. Always have an extra set of eyes look over everything you send out. Even with our newsletter and sites, www.MusicIndustrySuccess.com , www.Order-Yours-Now.com and www.TheIndustryYellowPages.com we always have someone look the pages over for typos, spelling, grammar, etc. You want to inform people, but you also want to come off as intelligent when you do it.
A newsletter is not a difficult feat, in fact you can easily get started in an afternoon. If you lack the time and skills then hire someone to do the task or see that your manager and/or promoter informs your followers of all the news they need to know.
This article was written by Ty Cohen, the music industry's most recognizable voice!
Ty is the C.E.O of Platinum Millennium Publishing, Platinum Millennium Records as well as owner of http://www.MusicContracts101.com and http://www.MusicIndustrySuccess.com .
Some of his work includes: books, directories, mini-courses and software programs including the titles: "How to Make a Fortune in the Music Industry by Doing it Yourself" and "How to Make $500,000.00 "or More" A Year in the Music Industry by Doing it Yourself".
Article Source: http://EzineArticles.com/