A Musician’s Guide To MailChimp

A Musician's Guide To MailChimp MailChimp is one of the more popular options for musicians' email newsletters. It has a free tier and offers a wide range of tools and features for the pro music marketer. Like a number of smart web companies that offer services for broad markets, MailChimp has a guide to using MailChimp for Music. It combines general features musicians might find useful along with some specific to music that were new to me. Mailchimp for Musicians The MailChimp for Music guide focuses on basic MailChimp features of which you should be aware including some especially for musicians. Here are a few worth highlighting: Email-for-Download Campaign Using an integration with CASH Music, you can trade a free download for a new email address. Create An RSS-To-Email Campaign Whenever you post on your blog you can automatically send an email alert to subscribers. Socialize Your Campaign Not only does MailChimp have social features but they also have templates to allow you to generate emails based on ecommerce outlets including iTunes. Share Your Music MailChimp will host your audio files for free downloads. There are more features of interest to musicians though the above are particularly relevant. MailChimp's templates and design options are also quite strong. You can see examples of the wide range of possibilities. MailChimp is the Leader While people often mention MailChimp's 2000 subscriber free tier, that's an offer you can find elsewhere. I'm really most impressed by MailChimp because they have such advanced features as A/B testing and keep adding new ones like drip email campaigns. These are the kinds of features that allow you to fine-tune marketing campaigns and develop closer relationships with fans who are likely to spend more money and see more shows. So that means MailChimp is a solid long-term tool for any musician who wants to grow their business.

Between Art and Business: A Musician As A Startup

Between Art and Business: A Musician As A Startup

By Tommy Darker of Think Beyond The Band.

It all starts with a problem...

I'm Tommy and I'm a musician. I moved to London 10 months ago, knowing nobody. Early days, I didn't want to feel alone, so I started peering with other musicians, asking them about music in London. The most common - not so surprising - answer was inevitable: "I can't figure out how to make a living from my music!", despite London's vastness of opportunities. "Why?", I tended to ask?
Their response — which I didn't see coming: there were so many tools, they just didn't know what to use, many music industry blogs, but they didn't know which one to spend time on, many so-called 'professionals', but no idea who to spend their precious money on.
"Big headache", I thought. They're not the only ones in the world.


Success

What is everybody's goal in life? Success. Everyone's success is different, though. Do you want money? Fame? Legacy? Freedom? It all depends on how you define success. We'll all agree, though, that success doesn't grow on trees, it requires some work to be achieved.
The question is: how do you, as an independent musician, know what kind of work to do to pursue your success path?
It used to be easier, a company would lay down a plan for you and they would have the network to make it happen. Musicians would have to agree with everything the label proposed, because 'they knew best'. Now musicians need to bootstrap that work for themselves and, one step further, ask questions.
"Should I keep doing what labels used to do? Do these practices make sense now, in today's world? Are there more beneficial, cost effective and fun ways of getting my shit done? Is the kind of success I have in mind meaningful?"

Just like the London musicians were asking themselves, how do you silence the noise and lay down a new plan for your music that works for you personally, something that is equally fulfilling and financially rewarding?
Rewind

London, January 2013. A month after many meet-ups with various musicians, I invited everyone to join me in a group discussion with a music business expert. Andrew Dubber came to London one rainy afternoon and talked in front of 18 musicians, under the hashtag #DarkerMusicTalks. The whole thing was bootstrapped in a week: venue, attendees, speaker, website, branding, camera. We talked about Music in the Digital Age, with Andrew proclaiming: "Don't broadcast. It's all about the conversation". (Thanks, Andrew)
I was encouraged, as the musicians gave me great feedback on how to make future sessions better. I saw happy faces: for me, that is a good indication that things go well. Being a naturally optimistic person, I always find reasons to believe in new ideas. I like getting them out there as soon as possible, and then finding clues that they're worth carrying on. I translated those happy faces that night as an indication that there is a need for more interaction between musicians, knowledge and 'knowledge keepers'.
Those happy faces are the reason I created this series of free monthly discussions in London.

Essentially, Darker Music Talks had just started, and it's still the same today: an informal discussion between experts and musicians.
Knowledge

Why do I keep doing this? Because knowledge is a vital asset. It propels ideas forward and helps people be more creative. It opens up the possibilities of this world. It encompasses what musicians need at the moment and empowers them to become the future disruptors. The shape of the music industry — and creativity as we know it — will change from within, not by companies who want to maximize profits through content.
But in order for this to happen, musicians themselves need to see the bigger picture and take action.
They will solve a big problem. The problem is that I see a great disconnection in today's music industry. There are two types of parties involved in 'supplying art' to the world:
1. the companies, marketers and mediators who care about profit, scaling up and see music as 'content' and 'product'.
2. the music creators, who are emotionally attached to their creations, want to make a decent living making art and are afraid to market their art themselves.
Do you see what I see? There's nothing in the middle!
Musicians need to develop their entrepreneurial spirits and skills through knowledge. Since only they know how valuable their art is, they have to be capable of communicating that value to the world at large. If this communication does not happen, the market value will be driven down by companies seeking maximum profits from minimum investment. Music will become content, the people who make it will become an exploited commodity and innovation (the core meaning of art) will cease to exist.
As a fellow musician, this is not the scenario I'd like to see unfold. It's high time we took some action.
Why should we care about the Musicpreneur?

The music industry is meaningless, without musicians benefitting from it, both financially and creatively. We don't want musicians to create 'content' and conform. We need them to know what they do and innovate artistically. And by 'we' I mean 'society', 'other musicians', 'culture', 'the world'.
An industry is supposed to be a system created to streamline value and benefit all parties — the creators, the audience and the middlemen as well — not only the latter. Today's music industry doesn't follow that premise.

The business stakeholders will also find many underlying, long-term benefits. My auspicious prediction is this: since more and more musicians will start becoming their own business, they will also have new, unforeseen needs. Independent individuals or existing organizations will see opportunities and economic incentives to cater those needs with new services or standalone startups, that will then create more jobs and attract capital (the latter is a big pain for musicians at the moment).
Why do I suspect all this will happen? I tend to use this analogy: if you give people a bit of grass and sun, they will have a picnic. In other words, give them the medium and proper circumstances, and they'll figure out the optimal thing to do with them. Musicians have the chance to be that square of grass (and attract the sun back!) to create an as yet non-existent ecosystem that will make a lot of people (and themselves) happy.
But this culture of knowledgeable musicians is not easy to emerge in a mainstream fashion. Some ingrained habits need to be the subject of change, both for musicians and the audience. This will occur gradually, just like it happened with the startup world.
A musician as a startup (or a Musicpreneur, as I call it)? Why not. The framework is there and we've seen how it works.
Discussions

So, is this really another kind of music academy?
No, it's something more simple. It's a series of discussions. Held between musicians and experts, about music-related subjects that would not be addressed in a music academy, at no cost. We learn and discuss entrepreneurship, design, psychology, branding, new media and other topics, and their relationship with music and the industry, using proven experts that graciously share their knowledge.
Up to this point, around 50-70 people join each discussion, promoted through word-of-mouth. Volume is not the goal though; I prefer having meaningful conversations that bring value. The long-term goal is to build the biggest e-library of knowledge for musicians, as well as to spread free knowledge all around the world with similar events in many countries.
There is a strong vision behind the project: to inspire the culture shift towards musicpreneurship.

The discussions follow some brand protocols, but not in a way that dilute the experience of an informal discussion with a knowledgeable person. If you're wondering how it feels like to be part of one, musicians have used words such as 'actionable knowledge', 'inspiration', 'interactivity' and 'in an intimate and informal environment' to describe it. Or just watch one of the filmed sessions.
I praise the importance of revolving these discussions around the academic and exploratory nature of the topics, and avoid creating another series of how-to's that spoonfeed musicians with easy conclusions and memetic behaviour. For some habits to change, actual brainwork needs to be done.
Free Darker Music Talks around the world

My goal is to deliver free, self-contained discussions to musicians by real experts and spread globally, creating a series of independently organized events.
A business model has been set up for the initial stage, so the discussions can distribute value optimally, but also make a profit to become self-sustaining and not rely on third parties that will get in the way. Not having mediators is crucial.
I'm going to travel around the world early next year in order to personally assist with the talks. If you're interested in getting involved as the talks go global and help organize one in your country, join me on 22/11 for this Google Hangout where I will explain more about the plan. Fill this Google Sheet and I will get back to you soon.
You can find me on Facebook, Twitter and my website, I'm ready to listen to anything you might have to say, talking with people is my passion.
You never actually own a piece of knowledge. You merely look after it for the next generation. It's our duty to pass it on.



Agree so much that I started a blog called http://MusicCapitalist.com however what is also needed if for local gov, banks and investors to understand the market potential for USMADEMUSIC.
BTW look for @LabelBookCamp in 2014
Posted by: Nelson | 11/18/2013 at 01:04 PM

Location:Sycamore Dr,Lancaster,United States

The Problems Musicians Face and How To Solve Them, Pt. 5

The Problems Musicians Face and How To Solve Them, Pt. 5

Written by Tommy Darker, originally published in The Musicpreneur.

Travelling the world and chatting with fellow aspiring artists reveals astounding insights about the future of music. Here’s the deal: we think we all face different problems, but the reality reveals the opposite. I will share one of these insights, explaining what it means for the way we work as musicians and how to move in the future.

This is the 5th part. Each part is linked at the end of the post.

PART 5

What constitutes today’s success in the music business.

Ok, hopefully we see how poorly we currently behave and the potential for a better future for musicians. Identifying and outlining a problem is one part, suggesting a solution is another. This is what this Part 5 is all about.

Before we dive in, let’s articulate the main idea of this part, so we can provide a framework of thinking along the way:

There are two main Mediums in the modern music world: Mediatization and Communities. Mediatization represents Storytelling and Communities represent Humans.

The First Medium: Mediatization

There is a fundamental premise about modern music (that separates it from classic/contemporary music). Except for the formalistic idea of ‘the intrinsic value of music’ (that is, the exclusive value for what music IS on its own terms), the main value today lies in the context around music (or, value for what music MEANS OR REPRESENTS), which strengthens the musical experience and listener comprehension.

In modern reality, musicians are connectors, not just songwriters. They’re connecting people around stories and feelings. This is the magic power of a song and what the most successful tunes do: they connect. Humans. Around stories.

No surprise, then, that the main economic driver for the contemporary music industry is based on the story built upon the musical expression. As the French economist, Olivier Bomsel [1], calls it: Mediatization.

Mediatization is storytelling upon the musical expression that adds meaningful value to the music experience.

Without attempting to be conclusive on this, I love the idea of Mediatization as the first of the two Mediums upon which musicians can build success in the music industry. ‘Richer storytelling rewards you with success.’ Sounds like an ideal scenario.

And, in a way, it is. Think for a minute what prompts you to buy something — concert ticket, music itself, merch, anything — from your favorite artist. Is it the fact that they wrote some music? Or the fact that you’ve been reminded about their existence due to a new story that’s been published?

We buy music-related products because of the fusion of three factors:

• We have affection for the artist’s craft. That is, we love their music.
• Something triggers our affection towards them. That is, a story gets published.
• They give us the opportunity to purchase something. That is, they have something available for sale.

This is how the industry has been making money Direct-To-Fan so far.

In short, the business value of any musical activity, such as live performances, selling merch, getting sponsorships etc., is mainly based on the Mediatization potential of the artist.

This is the grand picture of the Medium in the music industry. We don’t sell the music itself, we sell the story around music. As Troy Carter, the ex-manager of Lady Gaga, said: “Music today sells everything but music.”

“Interesting. Tell me more about Mediatization…”, you say. Let me explain, without going too much in depth, with the help of Olivier Bomsel (who actually wrote a book on the subject).

Mediatization shapes the music experience and perception of the value of the song. The economic value in the music industry is based on the mediatization potential. As a natural consequence, mediatization contains the extended social functions of music:

• People connect and communicate because of music, and
• The more people that connect because of this music, the more valuable the music becomes, triggering network effects.

Once mediatization has been built upon the musical expression, it cannot be detached.

It’s obvious that mediatization is a meaningful compliment and cannot exist without the great music it’s built upon.

“I still cannot get my head around it. In practice, how does Mediatization manifest? Gimme examples”, you say.

Sure. With the artist’s branding (it can be myths, symbols, story, persona, colours, logo etc.) and the context around the music (campaigns, triggers, discovery process, marketing, distribution etc.). The tongue logo of The Rolling Stones is contained in mediatization. The numerous times David Bowie reinvented himself, the unconventional ways Trent Reznor releases his music, the personal touch Amanda Palmer brings to interactions with her fans.

The blatant truth is: for the music business, Mediatization is more important than the musical expression itself, but the former cannot exist without the latter.

That is to say, for the music businessman, it’s not enough that you’re a good songwriter. You need to be able to attach a nuanced and original story that can endure the course of time.

Needless to say, this story needs to be communicated properly to the people that would enjoy it.

It would not be an exaggeration if I classified ‘Communication’ as a separate Medium by itself. However, stories and music never communicated (or that don’t endure the course of time) maybe serve little practical purpose. That’s why Mediatization and Communication are inextricably connected — and one could say that Communication is a sub-medium contained in Mediatization. As Andrew Dubber mentions, ‘there are only two types of content of any value online: conversations, and the things about which the conversation takes place.” [2] I’m with you, Andrew.

The last, but probably most important thing to jot down, is that each musical expression deserves its own Mediatization.

As a consequence, in the past the mediatization of music was mainly delivered through CDs (and this was the main economic driver, leading to a universal business model in the ‘record industry’). But now the means of music mediatization can be as diverse as the musical compositions themselves (each artist can find their own unique way to show the story of their songs — not just CD releases — leading to a plethora of business models to use).

In short, each artist’s success could be sought upon a unique business model for their musical expression, based on richer and authentic stories. In the digital world, everything can be copied and replicated digitally (even physical objects — see 3D printing), leading their market value to a race towards zero. What will survive, however, are the intangible experiences we can create. Selling copies of music in plastic discs is not the only way anymore and we have to stop pretending we’re still in the MySpace era.

Hint: knowledge about business models and Mediatization is essential for modern Musicpreneurs. [3]

I repeat once again: each musical expression deserves its own Mediatization.

This simple sentence is responsible for the huge mess in the current music industry. We don’t know which business model to follow, after a long period of capitalizing relentlessly on a handful of established business models.

Anyway. No matter how necessary the first Medium might be, the full picture remains incomplete unless we go to the second Medium that artists will have to build their business upon.

The Second Medium: Communities

As we saw, musicians today are not just music creators, but also connectors: they connect human beings with stories. Mediatization had something to do with stories. The second Medium has to do with humans.

The second Medium is Communities.

Musicians attract people around the music. They evoke the audience’s feelings and awaken their sentiments. This phenomenon has better effects when the audience has gathered in a physical space to enjoy a shared experience (in a live performance or any other experience around music, generated by an artist).

You’ve definitely been in a large-scale live concert, right? Remember the feeling you get when 80.000 people scream the band’s name or dance to their music? Priceless. It’s the vibration and exchange of energy with people tuned in the same frequency. Something that doesn’t happen with other arts except for music.

The power of live music as a shared experience lies in the activation of network effects (the more people that use and/or enjoy an experience/music/product, the more valuable it becomes).

This partially justifies my previous argument that ‘music never communicated maybe serves little practical purpose’.

While elaborating on the fact that network effects are an essential — and actually inherent — part of the Mediatization process, it reminded me of another, obscure word connected to them. This word is not a buzzword or something everyone pays much attention to. Yet, the biggest and most high-valued tech companies today ARE this word. And, not many people seem to have realized this idea’s worth.

What is the word? The word is Platforms.

iTunes is a platform. Facebook is a platform. YouTube is one as well. Pinterest, Flickr, Twitter and — hell — even Uber and AirBnB are platforms.

They connect two (or more) parties around a main object. Facebook connects you with friends and interesting social objects to talk about. Twitter connects around real-time news. iTunes connects musicians with the audience directly. AirBnB connects room-seekers with room-owners. And so on.

Three of their common characteristics?

• The owners of the platform don’t create any of the content, they merely connect the content creators with the content consumers, incentivize/help both parties to keep doing so and make the information of the platform easy to find.
• They let other people build businesses upon their platforms. YouTube gives you a share of their ad revenue. Facebook enables you to make money too, through stores and building an audience. Flickr lets you sell your photos and AirBnB lets you rent your room. Any platform with an API allows you to plug your bit into the platform, giving the opportunity for you, the user, to innovate. This is how Apple’s AppStore or any marketplace works anyway.
• More common than ever, the platform will give away one product or service in order to attract one audience and make money from another(or, finally, both). Free in platforms is not a bad thing — it’s a prerequisite and it’s profitable.

By doing so, platforms build their business model upon other people’s activities and make money. They become the enablers. To simplify this nuanced matter, the more people that use the platform and interact, the more valuable the platform becomes and the more profit it makes. Networks effects in action.

Which made me wonder.

If musicians…

• Are connectors already, connecting human beings around stories and common feelings…
• Give away their main product for free — that is music — and…
• Already enjoy and incentivize user-generated (or fan-generated) content around their art…

…then what keeps them away from being their own successful platform?

The answer is: in practice — absolutely nothing. In theory — just the absence of knowledge on how to build and approach a platform.

Platforms are so powerful in the real world, that a Boston University business professor who studies and speaks about Platform Economics, Marshall Van Alstyne, said that “there is a strong argument that platforms beat products every time.” [4]

Your music (and mine, too) has been a product so far. Created, promoted, sold. Like a shoe in a factory and game in a store.

Nike changed from a shoe manufacturer to an interactive platform for runners — and they won big. The same for Apple, who allowed the game developers to create their own app games and connected them with a global audience through their AppStore, taking advantage of their iPhone devices — Apple won big and were ahead of their time, too.

Now it’s high time that the approach to music shifts: music is a platform upon which a serious business can get built, connecting people around musical expressions and musical experiences.

As Andrew Dubber mentions in his ‘20 Things You Need To Know About Music Online’ essay, “we hear music, we like music and then we buy music”. Since each platform has its own, unique business model, what if we ‘hear music, like music and join the platform about music’, instead?

I’ve been studying and experimenting with these concepts for a while now. I find them highly arousing and exciting. I even quit my well-paid job to follow them and implement them in my art. But let me be clear: both Mediatization and Platforms have a lot of theoretical and practical points backing them, but they’re not easy concepts to master.

Nevertheless, before our main focus was to impress a label’s A&R and do whatever they say — getting a cut for this ‘obedience’. Now our main focus shifts to learning about making richer stories and building communities.

More fun? I think so. And I’m looking forward to it for sure. The future is now.

Further investigation and resources are necessary to explore the present and future of music, so I reckoned it would be useful to provide some links below. They are either already mentioned in the essay or provide additional context to the issues discussed.

[1] Olivier Bomsel on Mediatization
[2] Andrew Dubber — Music In The Digital Age
[3] The Rise Of The Musicpreneur
[4] The Economics Of The Internet Of Things

Tommy Darker is the writing alter ego of an imaginative independent musician and thinker about the future of the music industry. His vision is to simplify scalable concepts and make them work for independent musicians.

He is a writer about the movement of the #Musicpreneur and founder of Darker Music Talks, a global series of discussions between experts and musicians. He and his work have been featured in Berklee, TEDx, Berlin Music Week, Midem, SAE Institute, Hypebot and Topspin Media. Find him on Facebook and Twitter.

This research and essay is proudly patronized by its readers.

WOMEX Celebrates 20th Anniversary Of World Music Industry Gathering In Spain

WOMEX Celebrates 20th Anniversary Of World Music Industry Gathering In Spain

WOMEX is a nomadic world music industry gathering that takes place annually in various locations in Europe. This year WOMEX celebrates its 20th anniversary from October 22 to 26 in Santiago de Compostela, Galicia, Spain.

WOMEX first took place in Berlin in 1994. Now, 20 years later, WOMEX celebrates its anniversary with a well-established 5-day event that includes a conference, trade fair, showcase festival, awards, a dj summit and film screenings.



WOMEX - a short film

An important aspect of WOMEX is the Showcase Festival featuring artists from around the world. You can see all the performers and their nations of origin all the way back to 1994.

WOMEX gathered some thoughts on the anniversary from long-time participants. This tale from Gerd Kespohl, Director, Masala Festival seems a nice mix of art and business:

“I have been at every WOMEX that has taken place, without a break. I remember every year, but the most surprising experience was in Marseille. It was late and many people were dancing in the club-room of the venue. Suddenly I heard the voice of trumpets. I stopped dancing like some other WOMEXicans and we looked to the neighbour venue and enjoyed a Balkan Brass Band. They played in a way I never listened before. It was Fanfare Ciocărlia."

"So I decided to make contact with Helmut from Asphalt Tango and booked the band for our Masala-Festival, which is also 20 years old now. The audience has been so happy, and I booked Fanfare Ciocărlia again and again and they play in our Culture Center "Pavilion" now since more than 14 years. So that's my gratifying story about WOMEX.”

See WOMEX for more on this great gathering.


Location:Sycamore Dr,Lancaster,United States

DoclerMusic Combines Music Concerts and Lessons On New Livestreaming Platform

DoclerMusic Combines Music Concerts and Lessons On New Livestreaming Platform

DoclerMusic is a new livestreaming and fan interaction platform for musicians. The basic service is free for artists and viewers with tipping plus fees for private concerts and lessons. The initial range of interactions supported by DoclerMusic suggest that it has the potential to become a key tool for DIY artists. DoclerMusic officially launched late last month after a summer long beta period so go check them out and tell us what you think!

DoclerMusic looks like a potentially strong tool for indie musicians. The basic entry price of free reduces initial friction with various ways to monetize available including tipping as well as paid private lessons and concerts.



Live Music Streaming With DoclerMusic.com

Here's an infographic showing how DoclerMusic works.

Direct communication between artist and fans is possible, for example, texting is an option. But voice communication is also possible in private concerts and lessons.

I think combining live shows and music lessons is a strong move and creates the potential for DoclerMusic to become an important platform for artist communication with fans.

You can compare DoclerMusic, from their perspective, to other livestreaming options.

My only concern at this stage may seem somewhat small but I think is really important for musicians on the web these days. Profiles do seem to have links to other accounts but they're not live.

In addition, the Artist Terms include:

"Advertising other websites (youtube.com, justintv.com and cobrands, ustream.com, dailymotion.com, metacafe.com, vimeo.com etc.) or services is strictly prohibited, unless expressly allowed by Website Operator in this Services Agreement."

I'm not sure how far that prohibition goes and I understand competitive issues but it's really important that artists have clickable links to whatever site is important to them in their profiles, which will likely include YouTube.


Location:Sycamore Dr,Lancaster,United States

All Ages All Gone As Festivals Add Age Restrictions

All Ages All Gone As Festivals Add Age Restrictions The organizers for the Ultra Music Festival have announced that Miami festival will no longer be an all-ages event. In a news release posted on the festival's website, organizers said that the festival, slated for March 27, 28 and 29 2015, will only allow those aged 18 years and older to attend. The festival had previously been open to all ages since it launched in 1999. Other festivals are reportedly considering similar restrictions. “While we sincerely value the incredible ongoing support from our younger fans, we ultimately believe that Ultra Music Festival is a premium event geared towards adults. This decision has been made to reinforce and promote the safety of all Ultra Music Festival fans and to ensure the overall enjoyment of all future attendees. We are extremely grateful for all the support we have received from our younger fan base to date, and we encourage them to attend the festival once they reach the appropriate age. Until then, our free YouTube stream, ‘ULTRA LIVE’ is available worldwide for everyone, all ages to enjoy and to share in the Ultra experience.” The changes for the festival come in the wake of last year's Ultra, which was plagued by a number of incidents, including the trampling of a 21-year-old security guard was fat after a crowd toppled a chain link fence, leaving the guard with a fractured skull and a broken leg. Another man was found unresponsive in a car after attending the event. The man subsequently died, with the county medical examiner ruling the death an overdose. Earlier this year Miami Mayor Tomas Regalado launched an investigation of the festival and unsuccessfully pushed the city council to deny permits for the festival in 2015. However, festival organizers worked to allay concerns with improved safety measures, including the hiring of Ray Martinez, the recently retired Miami Beach Police Chief as their security director. Following the announced changes, Mayor Regaldo reiterated his objection to the festival taking place in downtown Miami, but according to the Miami Herald, praised organizers for the new age limit. “I think that it’s the best decision they could have ever made,” Regaldo told the Herald. “That was one of the main issues, the concern for minors. And I think it would be a much better festival now.” - via Celebrity Access

8 Ways To Publicize Your Music Career Without Making Music

8 Ways To Publicize Your Music Career Without Making Music

By indie rapper Kosha Dillz (@koshadillz).

I have been seeing some things come about in recent weeks that show me how to increase your level of publicity without having to do anything with music. As always, I try to think outside the box in terms of marketing, so let's try and put our heads together on how we can take our career to the next level without the music. The industry folk like to say it's all about the music…but is it really?

1. Lose 20 - 30 pounds
Not for nothing, but next press release you will have a picture that people will look at and say damn, you're doing great. You look good. When people think you are attractive, this is a great thing

2. Travel for 8 months to a foreign country to get away

During this time you can update your fan base with pictures of beauty and keep people in suspense about when you are coming back. Maybe you'll even tell them you are never coming back. When you do, you'll be a new person with new experiences and totally different material. The band Tennis sailed on a boat for 9 months and wrote an album.

3. Video blog aka Vlog

I recently started street performing and came across a group of guys named Kevin Brueck and Roman Atwood and Vitaly. They all have millions of subscribers from YouTube and inspired me to start blogging. Although I haven't released a ton of material musically, I have created already 20 blogs on my YouTube channel and see a constant increase in fans who subscribe to me. It's still me being creative but not much more than just having fun.

4. Run a Fundraiser

I feel like so many people are concerned with what they can get for releasing good music. In all reality, I think if you get people to come out for a good cause or be passionate about a cause, this will not only be good for what you strive but everyone wins. You use your social influence to encourage your followers to support what you support, and you gain followers from the organization and their friends who don't know about your music. In the end, everyone wins, and great karma is continuously spread

5. Develop a passion and share it with the world

Lots of my friends and fans are into spiritual things even though they might not live in some religious manner. For instance, reading a passage of Torah or maybe commenting on interesting articles about politics, life, education or even books and movies. A artist named K Flay does book reviews, while MegaRan is always commenting on gaming. Athough it has nothing to do with music, all it takes is a showing that you are passionate about something else besides the pursuit of your music career. People want to know you are real, instead of "hey check out my new song."

6. Get off drugs

This has obviously done wonders for your career. In the short span of time Andy Dick was off everything, he skyrocketed on Dancing with the Stars. Obviously it has done wonders for people like Ozzy Osborn and more.

7. Drastic Change of Appearance

I didn't know who Against Me! was until their lead singer had a sex change. Not only will this do wonders for the band, but now reaches out to a whole different group of people based on her new courage to become public with her sex change When Matisyahu shaved his beard, it was the "beard heard around the world." People couldn't stop talking about it. Now there is huge debate on weather these artists are "this" or "that." The end result is that the people are still talking.

8. Collaborate with others

Yesterday I did this video about How to Prank and also did a blog with him and they have over 10 k views already combined. Dennis is a passionate person and now I have lots of FaceTime with his fans.

I know it's working because my YouTube subscriptions are going up and people are watching it. All I did was show up for a friend and help him film his videos.

Well that's about it. I should now use this time to think about the music I should be writing. But look at me. I'm writing an article. I can mix master and record this "article song" with a mere spell check and you guys will now listen to my music//brand when you get around to it. Fact is, if you are reading my article, you are already listening to my music in a way as It has brought you value in the same way.

Drop a comment below in the comment section and let me know what things we should add?

PS.
Oh yeah, check out my latest vlog, of me rapping with Macklemore backstage and my new music video What's Going on Upstairs.

PSS.
If you want to enter my contest as well on my Jammer FM page, you can win a customized rap song for your company if you sign in. Pretty awesome!

Location:Hempland Rd,Mountville,United States

Technical Hitches And Things To Avoid As A Singer-Songwriter

Technical Hitches And Things To Avoid As A Singer-Songwriter

Technical hitches and things to avoid as a singer-songwriter
A Guest Post by Rowen Bridler

This week I was all set to give you a video of my interview with a fitness expert who would convince you all to make sure you exercise, because, quite frankly, as a singer or actor you need to be fit. If only to have the strength to deal with the multitude of ‘personalities’ and ‘difficulties’ you may encounter…

But then YouTube decided it didn’t like my quicktime file which is what I end up with from recording Skype calls. I was so chuffed that I’d worked out how to edit it as well, but to no avail. So I’ll see if I can fix the problem for next time.

However, this gives me the perfect opportunity to tell you about some unrelated other news. I don’t often talk about my own music work as part of the resources on this site. That’s mainly because I want this site to be about how I can help YOU. It’s not meant as a self-promotion vehicle. And I also don’t want to be one of those vocal coaches who make themselves the star and pose with Simon Cowell. (God forbid.) I’m happy to help someone audition for X Factor if that’s what they want to do, but the work we would do towards something like that is not about posing and celebrity hob-nobbing. It’s about the simple techniques you need to hone in on to be clear which parts of a song are causing you trouble and how to fix it, quickly and efficiently. Having looked at a few other vocal teachers’ sites, I got really clear about what makes my teaching different. And it’s that ‘no flashiness’ idea. I re-wrote the blurb on the home page to reflect that, which you can read here.

Similarly, sharing from personal experience, having a career as a singer in today’s music industry isn’t about posing in cool music videos and having the latest keyboard/recording software/sunglasses. The music industry has gone through a lot of changes and it’s become necessary for musicians and singers to utilise the internet like a business owner. You need to clarify what your brand is, who precisely your audience is and what they use your music for. Are you an artist like Lady Gaga who writes for people wanting some great pop tunes to get dressed to before going out and who is the oddity in their peer group and therefore needs that reassurance that it’s ok to be different? Or are your songs about soothing people who are just lying on their bed at home on their own and thinking? Or are your songs about just dancing and having fun? The need to be clear about your brand and not stray from that either musically or in the promotional posts you make on social media has become paramount because these days you cannot be the mysterious artist no-one can get to know, anymore. You have to talk directly to your fans. And in order to do that, you need to know who you’re talking to.

If you post on Facebook about your trip to the hairdresser’s when your fans are 25 year old men who love death metal and Marilyn Manson fashion sense, then you’re mismatching your promo with your music’s audience. And you are better off being really specific about that audience instead of saying, ‘I want to reach out to everyone’ because it’s great if people hate you. Write-off a particular area of potential audience and you re-affirm that the type of fan you really want has come to the right place. I might like Nine Inch Nails’ music too, but I’m definitely not Trent Reznor’s target audience. And that’s ok, because those who are, LOVE him. I just kind of like his songs.

So if you are a 28 year old woman who’s seen a few hard times, is struggling to overcome a severe lack of support and wants to do something outrageously different to what your family, peers and co-workers are doing and who is looking for a Dr. House-like dry humour with which to shake the hardship off and overcome all that stuff, then you might like my songs. And if so, you would do well to sign-up here, because not only will you get a free song for your trouble, but it’s where all the ground-breaking, independent strong woman stuff is going on and you’ll find a home there.

And that’s the end of my one post that mentions my other work quite so blatantly.

Have you had difficulty promoting your own work as a singer-songwriter? Do you often struggle to be clear on who your target audience is and how to best reach out to them? Leave a comment in the box below to tell us how you feel about the music industry and how to successfully sell your music in today’s market.

Rowen Bridler is a singer-songwriter, actress and voice coach. She lives in Prague in the Czech Republic but works with clients all over the globe via Skype. She specialises in coaching actors and singers with an issue with a song or speech that needs fixing, or a performance to prepare for, using simple and systematic techniques to target problem areas quickly. She is currently working on a Danish film,'1864', where she plays Johanna von Bismarck, speaking in German. She has a 'minisongs' series of short 15 second videos of her own songs on Tout, which she releases every Friday. In her spare time, she can be found wearing Cookie Monster t-shirts and pearls and reading old copies of Vogue.

http://www.rowenbridler.com
www.howtosingforyourlife.com

The Top 5 Melody Pitfalls—and How to Avoid Them

The Top 5 Melody Pitfalls—and How to Avoid Them

Written by Jason Blume

Many of the writers whose songs I listen to at my workshops work long and hard on their lyrics, striving to find unique, fresh ways to tell their stories and express their concepts. But they sometimes forget that we’re not writing poems, but songs—and if we hope to create songs that resonate with listeners, our lyrics need to be delivered on the wings of outstanding, memorable melodies.

It’s often easier to identify weaknesses in lyrics than in melodies. While it might be evident that a line of lyric is cliché and needs to incorporate a fresher, more original approach, it might be more challenging to diagnose the reasons why a melody fails to jump out of the proverbial pile or remain seared in the brain.

Following are some of the melody pitfalls I most often encounter—and their remedies.

1. Crafting Melodies That Sound as if They’ve Been Imposed Upon Predictable Chord Changes

Many of the songs by current pop and urban music hit-makers are crafted by creating a music track first. In these instances, a musical “bed” consisting of the keyboards, bass, drums and guitars is composed and produced prior to the melody that the vocalist will sing. A vocal melody is then crafted to work with the chord changes, beats and grooves that have been established.

While this approach to writing is not typical in country music, there are more instances of songs being created for the Nashville market by using this method. In country, Americana, roots and folk music, although a full musical track is not typically created prior to a vocal melody, chord progressions played on an acoustic guitar often precede the melody.

There is no “right” or “wrong” way to write a great melody, and countless successful songs have begun with a chord progression. The problem arises when the vocal melody sounds as if it has been imposed on those chords as an afterthought.

In my workshops, I, too, often critique songs with melodies that sound as if they were created as the result of writers strumming predictable chord progressions on a guitar—then imposing melody that works perfectly fine with those chords. There’s no “rub”—no dissonance. So, you might ask, “What wrong with that?”

There may be nothing “wrong” with these melodies, but “nothing wrong” is a far cry from melodies that are unforgettable, fresh and original. No one walks down the street humming chord changes, guitar licks, drumbeats, grooves or bass lines. While these are all important components of successful songs, they aren’t enough.

Giving more attention to these components than to the melody that sits atop them is analogous to a builder spending the majority of his or her time and energy on a house’s foundation, then haphazardly slapping together the actual home. The foundation is crucial—but not more important than the house. Chord progressions, drum patterns, guitar licks and bass lines need to be paired with fresh, original, can’t-get-them-out-of-your-head melodies and rhythms for the singer to sing.

It can help to assess your melodies by singing them a capella, to be certain they stand up on their own. They should be memorable, easy to sing and should not sound as if notes are missing—or extra notes have been crammed in—to accommodate lyrics.

Remember your melody is critically important to your song’s success. Regardless of how a song is begun, when it’s finished, it needs a vocal melody that compels an artist, publisher, producer or an A&R executive to say “Yes”—and an audience to invite it into their hearts.

2. Settling for Predictable Rhythms in the Vocal Melodies

With the unprecedented amount of music available to listeners, it’s more important than ever to separate our songs from the competition. Songs with melodies that rely on stock, less-than-exceptional rhythms are unlikely to command a listener’s attention.

One of the best ways to elevate songs from “good” to “WOW” is to write vocal melodies that incorporate fresh, hooky rhythms. Taylor Swift is a master of this tool. A listen to the verse and chorus of her GRAMMY-nominated smash, “We Are Never Ever Getting Back Together,” (Taylor Swift/Max Martin/Shellback) reveals the enormous contribution of the rhythms within the vocal melody.

This technique typically includes syncopation—placing the rhythmic accent on a “weak” beat—and it can be heard in countless hits. Some great examples are: Rodney Atkins’ recording of “Take a Back Road,” (Rhett Akins/Luke Laird); Carly Rae Jepsen’s “Call Me Maybe,” (Carly Rae Jepsen/Tavish Crowe); and One Direction’s “What Makes You Beautiful” (Rami; Carl Falk; Savan Kotecha).

Including syncopation and catchy, unique rhythms that push the envelope are among the best tools you can use to help separate your songs from the competition—regardless of your musical genre.

3. Lack of Contrast

A common melodic problem is the failure to clearly differentiate each section of a song (i.e., verse, pre-chorus, chorus or bridge) from other sections. While melodic and rhythmic repetition within a given section can be the proverbial glue that helps melodies stick in the brain, in order to sustain listeners’ attention, ideally, each section should be rhythmically and melodically distinct from the parts of the song that surround it. In simple terms, you don’t want the verses to sound like the chorus, or the bridge to sound like either the verse or chorus.

There should be no doubt when the chorus begins. You can achieve this by choosing from several different tools. One of the most effective ways to announce the arrival of your chorus is to use higher notes. The chorus often includes the highest notes in the song, and in many instances, these notes appear in the first line of the chorus.

Two exceptional examples of choruses that “jump out” are Adele’s “Rolling in the Deep” (Adele/Paul Epworth) and Jason Aldean’s “Fly Over States” (Neil Thrasher and Michael Dulaney).

Another way to be sure each part of a song is distinct from the song’s other components is to vary the rhythms in the vocal melodies from one section to the next. For example, if a pre-chorus is choppy and rhythmic, as a result of including a barrage of short notes (such as eighth notes), the subsequent chorus might benefit from longer notes (such as whole notes). Conversely, a verse that relies heavily on long, held-out notes might be best followed by a chorus that incorporates shorter notes for a more “rhythmic” feel.

While many pop, country and adult contemporary songs include choruses that “lift,” urban and urban-influenced pop songs often differentiate their choruses from their verses with a distinctly different rhythm—as opposed to soaring high notes.

To keep your listeners interested, be sure to vary the range and/or rhythms from one section to the next.

4. Introducing Too Many Melodic Motifs

We tend to remember that which we are exposed to over and over again—and this certainly applies to melodies. If you want your melodies to stick in the brain, repetition, repetition and repetition are the top three ways to achieve this. Your listeners can’t latch onto a melody and remember it if it keeps changing.

When I critique work from developing writers, I sometimes hear songs that establish a melody (for example, a 2-bar motif)—then bring in a new melody, and yet another melody—all within an eight-bar section. But when I analyze successful songs in various genres, I typically find that within any given section of a song (verse, pre-chorus, chorus, bridge) there are rarely more than two distinct melodic concepts.

For an example of a song that incorporates this tool, listen to Norah Jones’ GRAMMY-winning “Don’t Know Why” (Jesse Harris). You’ll notice that the verse is comprised of a 4-bar “call and response” melodic motif. The rhythm established in the first two bars is repeated in the second two bars. This 4-bar melody is heard four times; there is no additional melody introduced in the verse. The bridge also uses this tool by establishing a 4-bar melodic phrase—then repeating it.

Another excellent example of incorporating repetition by limiting the number of melodic ideas within each section can be heard in the chorus of One Direction’s career-breaking song, “What Makes You Beautiful” (Rami; Carl Falk; Savan Kotecha). The chorus is comprised of a 2-bar melodic phrase that is heard three times. It is followed by the 2-bar phrase that accompanies the title. This fourth phrase is a different melody and rhythm—thereby distinguishing the title from the lines surrounding it. This eight-bar melody is then repeated. With the exception of one line, every line of the chorus lyric contains the identical number of syllables, allowing the melody writer to repeat the same rhythm, and almost the same melody.

Listen to your favorite songs and you’ll likely hear the same rhythms and melodies repeated over and over within each section. By incorporating this technique into your work, you can write melodies that listeners can’t forget.

5. Failure to Rewrite Melodies

What’s the chance that the very first melody that pops into your head is such perfection that you couldn’t possibly improve even one note or one chord— even if your entire career were riding on doing so? Our careers are riding on composing songs that include melodies that are not just “good”—but exceptional. Your melodies need to edge out those written by the writers and artists who top the charts— the song crafters who have their fingers on the pulse of the current music scene.

To unearth the very best melodies you’re capable of, challenge yourself to rewrite each verse and chorus at least three times. You might craft alternate melodies by placing emphases on different syllables, words or combinations of words. For example, if your title is “I Know I Can Write a Hit,” you could emphasize the words in boldface (below) by holding them out longer or assigning them higher notes:

I KNOW – I Can Write a Hit
I – KNOW – I Can Write a Hit
I Know I CAN – Write a Hit
I Know I Can WRITE a Hit
I Know I Can WRITE a HIT

Explore different note choices—try ascending or descending notes; try different rhythms within the vocal melody—including long, legato notes and choppier rhythms. You might also see how your melody works at different tempos.

Yet another way to craft alternate melodies is to repeat some of your syllables, words or combinations of words. For example:

I Know—I Know – I Can Write a Hit
Know I Can—I Can—I Can Write a Hit

You might also try using nonsense syllables to create an added melodic hook. For example:

Oh, Oh, Oh, Oh – I Know I Can Write a Hit
I Know EYE—EE-EYE-EE—EYE Can Write a Hit

For good examples of this tool being used in various genres, listen to Feist’s “1234” (Feist/Sally Seltmann), Beyoncé’s “Single Ladies (Put A Ring On It)” (Stewart/Nash/Harrell/Beyoncé) and Jake Owen’s “Barefoot Bluejean Night” (Paslay/Altman/Sawchuk).

You can also try a variety of different chords to accompany your melodies. Sometimes, a new way of harmonizing your melody can be just the ticket it needs to bring it to life.

In some instances, the very first melody that flows from you will indeed capture the magic—but you can’t be certain of that until you’ve tried to make it even stronger. After you’ve explored a variety of melodies you can always go back to your first melody—if that’s the one you prefer.

Remember: If you don’t give the decision-makers and your listeners a reason to choose your songs over the competition—they won’t. Rewrite your melodies until they are distinctive, fresh and instantly memorable. Push the creative envelope while remaining consistent with the genres you’re targeting. Don’t settle for less than your very best. Your career is riding on it.

Jason Blume is the author of 6 Steps to Songwriting Success, This Business of Songwriting, and Inside Songwriting (all publishing by Billboard Books), and he has produced a series of instructional songwriting audio CDs. His songs are on albums that have sold more than 50 million copies, and he is among the few writers to ever have his songs on the pop, R&B, and country charts all at the same time. Jason’s songs have been recorded by diverse artists including Britney Spears, the Backstreet Boys, the Nashville Chamber Orchestra, and country music stars including the Oak Ridge Boys, John Berry (earning a BMI Million-Air Award for exceeding one million airplays), and Collin Raye (6 cuts). He most recently had two top 10 hits in Europe with Dutch star, BYentl, and his songs have been included in top television shows including “Scrubs,” “Friday Night Lights,” “The Guiding Light,” Disney’s “Kim Possible,” and “the Miss America Pageant.”

In addition to developing and teaching the BMI Nashville Songwriters Workshop, Blume has presented master classes at the Liverpool Institute for Performing Arts (founded by Sir Paul McCartney), and in Ireland, Scandinavia, Australia, Canada, Bermuda, Jamaica, and throughout the U.S., in addition to co-leading the Nashville Songwriters Association’s annual song camps. His latest book, This Business of Songwriting, Revised 2nd Edition has just been released and is available at www.jasonblume.com, with e-books available at Amazon.com.

Optical Music Recognition Technology Will Be the Google Books of Music Scores…

Optical Music Recognition Technology Will Be the Google Books of Music Scores…
Monday, March 3, 2014
by Nina Ulloa


How can older music scores become relevant again?

According to Phys.org, Lancaster University is leading a project that could solve that problem. They are developing technology that will be able to read content from images of thousands of musical scores stored online.

These scores are stored as static images, so it’s not very easy to search through them. Furthermore, if a musician needs to alter a piece for their instrument they have to copy the entire score to make changes.

The project in question is called “Optical Music Recognition from Multiple Sources“. It is led by Dr. Alan Marsden.

The optical music recognition technology will operate similarly to Google Books, allowing people to search scores by phrase or note combinations.
Dr. Marsden says:

“Within a year we hope to bring about significant improvements in Optical Music Recognition technology, bringing new life to old scores and giving people with an interest in music new opportunities to interact with these large online music libraries.”
This project is one of 21 “Digital Transformations in the Arts and Humanities” projects being funded by a £4.6 million fund set aside by the Arts and Humanities Research Council.

Location:Sycamore Dr,Lancaster,United States

5 ways to make a good track great

5 ways to make a good track great

Have you ever been in the position where you’ve got a good tune and you’re happy with it, but think it needs that extra something to make it stand out?

Well here are 5 tips for turning that good tune into a great one.
1. Add in FX
Make sure you’ve got enough distance from the track (I like to leave it a day or so before adding the FX on) so you’re not already exhausted from creating the track, then get to work adding in some reverses, sweeps, hits and other one-shots.
They can make dull phrases more interesting, builds more powerful and fans think you’re more awesome. FX are vital for a full, professional sound.
2. Go through inserting fills

When you need something more interesting to make a repetitive section maintain the listener’s attention, fills are the way to go! Drum fills, little melody quirks and the ever-useful “throw a random sample in there and hope for the best” technique all apply; just be sure to make your track fun to listen to!

Don’t be inappropriate though – this goes for public nudity as well as maintaining musical integrity, but if you have a trance song, sometimes it’s good to have a lot of repetition, for example, in order to entrance your listener. Find that balance that suits the style of music you want to make!

3. Remove unnecessary layers

Have you ever found your tracks swimming in pads, arps and keys? I know I’ve been guilty of it in the past – sometimes you need to remove a few layers, no matter how attached you are to them, in order for the remaining layers to shine.
This can result in the wonderful side effect of having a starting point for another song; if a part you really like is removed, take it into a new project and push it in its own direction!

4. Add extra layers of vocals

For those of you playing with words as well as sounds, it’s always adviseable to back up your vocals with double tracks and, more importantly, harmonies. Software like Melodyne Editor is great for this if you’re using vocal samples, since then you don’t need to get the vocalist in to record again!
5. Get some more opinions
There’s nothing like communal music making! Show your tune to a mate, musically inclined or not, and ask them if they thought anything might be an interesting change, or if any sections should be more prominent!
Just make sure they don’t ask for co-writing credits!

- Posted using BlogPress from my iPhone

Location:Sycamore Dr,Lancaster,United States

How To Be Creative On A Limited Video Budget

How To Be Creative On A Limited Video Budget

Kelley James (@yourboykj) is a singer/songwriter whose music is a fascinating collection of acoustic guitars, hip-hop beats, thoughtful lyrics and freestyle flows. His brand new album 'The Pattern Transcending' was released on Oct 1st, 2013.

Being a recording artist in the digital age means you have more resources than ever to share your content and engage your fans. With so many different blogs, music platforms, and social media outlets, it can start to get a little overwhelming, both from the sheer number of options and the other voices threatening to drown you out.
Despite all these avenues, there is one channel that many artists let fall by the wayside: video. At best, most will have a few videos of themselves performing live. On the other end of the spectrum, some have only a vacant YouTube channel, or worse, no video presence at all.
Creating engaging video content may seem like a burden, but I’m willing to bet it’s actually a lot easier than you think. I’ve pulled together a few easy steps every independent artist should take to not only amp up their content, but increase their digital footprint by connecting with the people who matter most - the fans.
1. When creating content, think outside the box.

Everyone is pretty familiar with the two main standbys that most artists will utilize when it comes to creating videos: the video-blog update and, of course, music videos. One is low budget with the potential to be stale and contrived while the other often seems like too big of an investment for artists who are still growing. That’s why it’s very important to think outside the box when it comes to video content. What are your viewers getting from your videos that they can’t get elsewhere? If the answer is “nothing”, they probably won’t be tuning in any time soon. When I’m creating content for my channel, I like to give my fans something they can’t see at a show or buy on iTunes, so I like to do one of my signature freestyles on-the-spot. Other times, I’ll mash up two songs into one streamlined acoustic performance. Once your viewers realize that they’re getting in on something special when they watch your videos, you can bet they’ll be back again next time.
2. More is less.

There’s proof all over the web that a clever idea can be as valuable, if not more, than a bloated budget. A lack of funds can be a blessing more than a curse in that it forces you to think creatively and work with whatever resources are immediately available. In 2012, I released my single “Summertime On My Mind” and wanted to create a unique video to promote it without spending a ton of cash. I was involved in a campaign for Patagonia at the time called “Repair, Reuse, Recycle” which was aimed at promoting cleaner environmental practices and conserving resources, and I saw one that one of the logos was an acoustic guitar with only one string. Inspiration struck. With the goal of showing that you can create something awesome with only simple tools, I rounded up five friends and six guitars - each with only one string. We played the entire song together, one string per person, and over 13,000 views later, I was able to prove that it doesn’t take more than a few buddies and some ingenuity to make something special. Don’t get caught up in trying to copy the music videos you see on TV, because the average major label video usually has a budget somewhere between $200,000-$500,00. Use your brain and remember, more is less.
3. Utilize live-streaming platforms to bring your content to life.

One of the greatest things that technology is doing for artists is tearing down the barriers between us and our audiences. Live-streaming services only continue to get better with time, and they can be a powerful weapon in your social media arsenal. Websites like StageIt can help you easily create streaming content to share with your fanbase. I use StageIt to turn any location with an internet connection into a concert venue by allowing my fans to tune into scheduled performances via webcam. Artists are free to charge whatever they please for access to the show, and can leave a digital “tip jar” open if audience members feel so inclined. This is a great way to let your audience know that they matter and that you’re willing to go above and beyond to provide them with a unique musical experience.
4. Get to know talented filmmakers and videographers.

Everyone dreams of the day when they’ll be getting paid big bucks to do what they love, but as most of us well know, you have to start somewhere. There are as many talented people behind cameras as there are behind guitars and microphones, and it makes sense for us as artists to get to know each other and discover ways we can help each other out. Filmmakers and videographers want their work to get noticed too, and it never hurts to ask to see if there are options for you to work together to promote your respective brands. Some of them may be willing to work with you for free, while others won’t consider it without some promise of payment - either way, it’s only beneficial to get a sense of what your options are. At the very least, you might find yourself inspired by some of the material you find. I constantly draw new musical ideas and vibes from my friend Mike Greene’s video work. Bottom line: you’ll never know until you get out there and do some research, and with the entire internet at your fingertips, you have no excuse to not do it.
At the end of the day, video content is one of many, many tools that can be used to make yourself stand out from the crowd and engage people. The fact that it gets overlooked by a lot of artist should provide you with that much more incentive to take advantage of it in the most resourceful, cost-effective means possible. Being creative with your webcam today means that you might get to be creative behind a big-budget music video tomorrow - so get to work!

3 Crucial Whys & Hows to Get Out of Your Writing Comfort Zone

3 Crucial Whys & Hows to Get Out of Your Writing Comfort Zone

Written by Cliff Goldmacher

One of the many challenges we songwriters face is that we’re tasked not only with creating something from nothing, but our “somethings” need to be unique – and not only compared to what others have written but also compared to what we’ve written before. This is no small feat, and the moment you think you’ve “figured it out” as a songwriter is exactly when you need to leave your creative safe place and shake things up again. To help you along the way, I’ve listed a few “whys” and “hows” to get you out of your songwriting comfort zone.

The Whys

1. You’ll demonstrate your versatility to music industry decision makers.
By showing you’re not afraid to experiment and explore new musical and lyrical territory and be a bit left of center, you’ll show those in the industry - whether publishers, record label execs or music supervisors - that they can consider you and your music for a wide variety of projects. This can be essential when one area dries up and the industry is looking for something new.

2. You’ll broaden your opportunities for collaboration.
Quite simply, the more styles and approaches that you’re comfortable writing in, the more collaborations you’ll be suited for. The flexibility that you’ll develop by not writing the same style of song in the same way will help you step into a variety of co-writing situations. This concept of new and different collaborators is also a fundamental part of the “how” to leave your songwriting comfort zone.

3. You’ll keep yourself - and the people who listen to your songs - from getting bored.
Songwriting is difficult enough, but heaven help you if your motivation to write starts to fade. By challenging yourself with new songwriting approaches, you’ll stay engaged in the process. And, better yet, your core group of listeners and industry contacts will also stay interested in what you’re doing. It’s just as dangerous to have those folks lose interest due to the sameness of your songs as it is for you to lose your motivation.

The Hows

1. Put down your instrument.
We’re often limited in our songwriting by how well or in what style we play an instrument. Work on the melody (and the lyric) without your trusty guitar or piano, and you’ll be amazed at the new places your songwriting will go.

2. Vary your rhyming approach.
A typical songwriting mistake is to use rhymes that are so predictable that the listener knows exactly how the line will end before you get there. Look for unpredictable rhymes, which not only tell a more unique story but surprise the listener when they arrive. You can also deviate from your normal rhyming patterns and make use of internal rhymes to add an interesting touch both lyrically and vocally. Little variations like these can open up brand new areas in your writing with very little effort.

3. Write with new collaborators.
As I discussed earlier, varied collaborations are an excellent way of keeping your songwriting fresh. Even if your idea is unique, going to the same collaborator over and over will most likely result in a similar sounding song, no matter how new the idea. As much as possible, resist the temptation to fall back on the familiar. There’s also the fabulously motiving element of fear. It’s always a little nerve-wracking to go to a new co-write, but it’s that same nervous energy that creates great art!

It’s almost unfair - after you’ve spent all that time learning your craft and honing your songwriting approach to a fine point - to tell you to change it all up again. However, the benefits mentioned above, which come from stepping outside of your comfort zone, will far outweigh the extra work and mental gymnastics required. As I’m fond of reminding myself (when I’m resisting what I know will be good for me), fortune favors the bold.

Good luck!

Bio
Cliff Goldmacher is a songwriter, producer, session musician, engineer, author and owner of recording studios in Nashville, TN and Sonoma, CA. Cliff’s site, http://www.EducatedSongwriter.com, is full of resources for the aspiring songwriter including monthly online webinars. Go to http://www.educatedsongwriter.com/webinar/ for the latest schedule.

Cliff’s company, http://www.NashvilleStudioLive.com, provides songwriters outside of Nashville with virtual access to Nashville’s best session musicians and singers for their songwriting demos.

You can download a FREE sample of Cliff’s eBook “The Songwriter’s Guide To Recording Professional Demos” by going to http://www.EducatedSongwriter.com/ebook.

Facebook: www.facebook.com/EducatedSongwriter

Twitter: @edusongwriter

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The Next BIG Hit: 5 Marketing Tips From Macklemore & Ryan Lewis’ “Thrift Shop”

How to Score the Next BIG Hit: 5 Marketing Tips From Macklemore & Ryan Lewis' "Thrift Shop"
BY: LUKAS CAMENZIND
Written by Lukas Camenzind

With over 7 million copies sold, Macklemore & Ryan Lewis’ “Thrift Shop” is one of the highest selling singles of the past few years.

But WHY was the song such a huge success?

And what can you learn from it if you want to score the NEXT big hit?

Here are 5 key insights:

1. It’s A Single

Did you know Thrift Shop was the 5th in a series of singles released from The Heist?

The first single was “My Oh My” (released December 2010). It completely failed to chart. About a month later came “Wing$” (released January 2011), but it didn’t really catch on either. Then, “Can’t Hold Us” (released August 2011) as the third, and a year later “Same Love” (released July 2012) as the 4th single…

…but it wasn’t until AFTER “Thrift Shop” (released August 2012) blew up in October of 2012, that the previous songs climbed the charts, too.

So what’s the lesson? Release and promote a series of individual songs. And: If it’s not a hit, switch. Don’t keep pushing a song that’s not getting any traction on its own. Keep releasing new songs until one catches on.

2. It’s Different

If you don’t want to drown in the sea of new releases, the first challenge for any (new) artist is: How do you stand out?

The simple answer: Be different.

“Thrift Shop” IS different: It’s an ode to resourcefulness and getting fabulous even when you can’t afford to touch the luxury items that rappers usually talk about.

In fact, it’s the exact OPPOSITE.

The lesson: If you want to get noticed, don’t do what everyone else is doing. Dare to be different. You will alienate some, but connect more with others - and that’s what matters in the end.

3. It’s Fun

As Jonah Berger shows in his book “Contagious: Why Things Catch On”, funny stories are among the most likely to go viral (because humor is a high-arousal, positive emotion, which makes it highly shareable).

And “Thrift Shop” IS a fun song… about a “controversial”, but not-so-serious topic: Whether you are a thrifty-hipster or not, it’s safe to have an opinion and fun to “argue” about it.

So, remember: Even if your music isn’t comical, don’t take yourself too serious. Make sure it’s fun to talk about your music, if you want anyone to share it.

4. It’s an Anthem

Thrift Shop is not just a song - it’s an anthem.

Why? Because the song is a symbol that captures the ACTUAL cultural phenomenon of the cash-strapped hipster (by choice or not), on the hunt for vintage clothes.

Here’s the good news: If you want your song to become an anthem, too, you don’t need to start a whole new movement.

All you need to do is draft behind a trend that’s ALREADY happening within the audience you want to reach.

Write a concept song with a clear and focused message, and you’ll have a better chance of it becoming an huge hit like Thrift Shop.

5. It’s Visual

With “Thrift Shop”, the song’s message doesn’t just come across through the music and lyrics:

The music video (currently at over 430 million views on You Tube!) communicates the song’s concept visually: It’s fun, different and out-there, and captures what the song is all about.

In todays online world (where everyone’s attention span is short), using stunning, extraordinary visuals to go along with your music is crucial.

If you want your next song to be a big hit - or at least more successful than your previous song - don’t skimp on the visuals.

Now tell me this…

Why Do You Think Some Songs Become HUGE Hits? And What Are You Doing To Increase Your Chances Of Scoring The Next One?

Leave a comment and let me know!

Author Bio:

Hi, my name is Luke and I have two passions in life: music and marketing. Have you ever wondered why some artists fail, while others have HUGE success online? If you’re a talented musician, I want to help you reach and engage more fans. To find out why some artists fail while others succeed, download my free report now: http://bit.ly/posteram

How to Score the Next BIG Hit: 5 Marketing Tips From Macklemore & Ryan Lewis' "Thrift Shop"

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