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Articles - Music Business Articles
rack gear 5th January 2012 10:26 PM
Digital Music News - Two-Thirds of All Albums Purchased In the US Are Still CDs...

this is a funny response to CD's still accounting for two thirds of album sales.... uhmm Jeff... maybe check the trades before posting...
http://blog.tunecore.com/2012/01/spe...letter01_05_12

but then again, CNN says this...
Digital music sales top physical sales - Jan. 5, 2012

Nothing like End Of Year/New Year competing stats!
mindseye 5th January 2012 04:28 PM
Quote:
US music sales increased in 2011



US music sales increased last year for the first time since 2004, according to figures released by Nielsen Soundscan.
BBC News - US music sales up for first time since 2004
The Press Desk 4th January 2012 11:43 PM
Quote:
Sync Licensing & Working With Brands - The Association of Independent Music



If you want to get your tracks on TV shows, adverts, films and video games, or if you want to work with brands to leverage the profile of your artists and generate revenue, this event will look in depth at exactly how these areas of business work.
AIM’s annual sync licensing master class is to return to London on 24th January 2012, and looks set to be a sell-out event, with almost 200 independent label managers, artists and music industry figures booked to attend. The last few tickets are now available via Sync Licensing & Working With Brands - The Association of Independent Music.

With a host of top industry figures from the worlds of TV, film, advertising and games lined up to speak, AIM’s third ‘Sync Licensing & Working With Brands’ conference will provide unrivalled insight into this increasingly important revenue stream, and excellent networking opportunities. Delegates will also have the opportunity to have their tracks listened to by the music supervisors and sync industry experts speaking on the evening.

The event will open with a presentation from music, entertainment and lifestyle marketing agency FRUKT Communications. Sharing their experience in bringing music and brands together, the presentation will detail how independent labels and artists can seek out and make a success of brand partnerships, driving revenue and fan engagement.

A panel discussion on synchronisation licensing will follow the presentation, exploring how to get independent music on TV, adverts, film and video games.

Panelists confirmed include:

Amelia Hartley, Endemol (Head of Music)
Nick Nash, A&G Sync (Head of Sync, UK & International)
Vicki Williams, Vertigo Films
Kle Savidge, Independent Music Supervisor, film (An Education, Run Fatboy Run)
Dave Philpot, Sync Inc / Skint Records
Sergio Pimentel, Nimrod Productions (Music Licensing Director)

The panel, chaired by Simon Goffe of Brownswood Recordings, will then take part in a listening session, with 10 tracks played and discussed from those submitted by audience members. Panelists will consider the sync suitability of the tracks and offer general advice to the labels on syncing the tracks. The evening will end with networking drinks, giving attendees the chance to meet the speakers.

The event will be held from 6-10pm on 24th January 2012 at Deloitte LLP theatre
2 New Street Square, London, EC4A 3BZ

Tickets for this event are now available from Sync Licensing & Working With Brands - The Association of Independent Music.

The event is open to non-members. Places are highly restricted.

Tickets are £21 (inc VAT) for AIM members, £54 (inc VAT) for non-members. Refreshments are included in the ticket price.

MPG members can take advantage of a 20% discount - details here
dickyrader 27th December 2011 07:42 PM
Quote:
| Welcome To The Music Business Registry |



The Music Business Registry
I am looking at contacting some publishers so I can send some of my demos out to. I'm finding it really hard to get the right contact info for these people. I found two sites with what they call "Music Business Directories." I like the one over at | Welcome To The Music Business Registry | called the Music Publisher Registry. It looks like a great piece of information. I was wondering if anyone has had any experience using this or have purchased it before. It is currently $75. Wanted to know if it is worth the money. Thanks
rack gear 27th December 2011 05:33 PM
Quote:
New MySpace "Unleashes World's Largest (100% FREE) Online Music Library" - hypebot



As reported yesterday, MySpace has finally begun its makeover with an emphasis on music and the launch of a new player that combines free listening, discovery and sharing with personalized radio and Facebook integration The company says beta testing showed the new player driving engagement beyond the 1 hour mark to more than 20 songs and resulting in a 10% lift in average music streams per person. Under a headline that must have been written by new MySpace owner Specific Media's ad department - "Myspace Unleashes World's Largest Online Music Library to Fans Everywhere with New Music Player" - the...
New MySpace "Unleashes World's Largest (100% FREE) Online Music Library" - hypebot

http://www.myspace.com/music/songs/a...s/most-popular

interesting...
scarlettslaney 18th December 2011 01:08 PM
Please could you take 30 seconds of your time to complete my survey?

Revenue Streams for Artists and Bands in Today's File-Sharing Music Industry Survey

Its for my dissertation to establish whether file-sharing is having a positive or negative effect on the music industry.

Thank you xx
thecastleremains 18th December 2011 12:06 PM
Ok, I’m trying to get my head around this...... take a deep breath lol

(a) I’m registered with PRS only.

(b) I sell my music on various small independent retailers which say on their website, they take 8% off the retail price per track, as they give it to MCPS (because this retailer has obviously got a license with MCPS)

(c) I then read here Joint Online Licence (JOL)

(d) So, of this 8% that’s deducted per track, PRS will get 25%, and MCPS gets 75%


My very simple question is……..... "What happens to the 75% if you dont have a publisher, and your not registered with MCPS?


The reason why i'm asking this on here, is because I posed this question to PRSforMusic, by phone and email, but no-one there knows the answer, keeps avoiding the question, or just plain 'wont answer me

It's got me paranoid, into thinking there's some kind of deviance. Any new retailer offering downloads is, at some point, approached by MCPS at some point, and MCPS will tell them something like “If you join us, we promise to give 8% of the download to PRsforMusic members, and we only keep 12% commission”.

But this is misleading. MCPS will probably be keeping that 75% "if your not a member of MCPS", which they don’t tell any PRS member about. I myself have phoned up PRSforMusic numerous times with questions about joining MCPS, but every-time I ask questions, the staff try and persuade me 'not' to join, as they say it's not worth it tutttutt

So, I guess…… if this is true? then the best course of action, is to join both PRS ‘and’ MCPS, to make sure your getting all of that 8% (minus their 12% commission)

Hope someone, with more knowledge on PRS and MCPS, can provide clarity on the 8% situation, as every single penny counts when you’re a struggling musician
rack gear 15th December 2011 05:38 PM
Digital Music News - Black Keys: "For a Band That Makes a Living Selling Music, Streaming Isn't Feasible..."

insightful comments from the black keys... this isn't that "record labels don't know how to adapt and evolve" its that the economics are simply unfair and unsustainable.
Don Hills 14th December 2011 01:50 AM
Quote:
New music service courts tech-averse listeners | Stuff.co.nz



A simple new online music service will launch across Europe and North America this week aimed at the millions who like music but struggle with the technology to find and listen to it.
New music service courts tech-averse listeners | Stuff.co.nz

https://rara.com
Charlie Zann 12th December 2011 12:31 AM
What do you think guys? It's exciting. But does it really work for everyone? Or just established artists?



This is an extract of a Trent Reznor video interview.

interviewer : What advice do you have for up and coming bands who choose the internet for distribution over traditional channels?

T.Reznor: “Try to identify what you are trying to do and how do you see yourself. If you see yourself as an american idol-esque mainstream artist, you’ll need a record label to pull that off. You’ll need their bank account, marketing power and permutation into the market. I would do what I did before (in the 90?s). Find the right way to appeal to those entities and groom yourself to be like what they want. If you want to do something unique and innovative, and you don’t sound like what’s on the radio and you don’t want to be the pussycat dolls, then you don’t want to be part of a major label. What they want to do is getting a revenue off you, and that is going to be put first, not your vision.”

other extract:

T.Reznor: “The huge barrier of distribution which used to be physical distribution is almost gone. Everybody is a broadcaster, blogger or publicist. The greatest thing about the Internet is that everybody is their own distributor. The advise I can give you is, make the best thing you can and present it. Have a website and cool videos, because they virally spread wherever.”

interviewer : Can you make money on itunes?

T.Reznor: Not that I’ve seen personally. No.


So, is this model adequate for everyone? Not for newbies I guess.


source : trademarkpeople
petermichael 11th December 2011 07:16 AM
Quote:




I happen to think that the Billboard top song, album and artist all going this year to Adele is a good thing. An artist who clearly has gotten where she is without tabloid writ or mass naughty sex appeal (not taking away from how lovely she is). I am pleased with this, and although I don't see it as irrefutable proof that the music industry is healing, I see it as a sign of hope.

Please correct as appropriate.
skythemusic 2nd December 2011 08:17 PM
Quote:
On Why Jazz Isn’t Cool Anymore | Nicholas Payton



Jazz died in 1959. There maybe cool individuals who say they play Jazz, but ain’t shit cool about Jazz as a whole. Jazz died when cool stopped being hip. Jazz was a limited idea to begin with. Jazz is a … Continue reading →
On Why Jazz Isn’t Cool Anymore . . . . | Nicholas Payton




I found this interesting....
new resolution 30th November 2011 07:32 AM
Quote:
Update Your Browser | Facebook



Facebook is a social utility that connects people with friends and others who work, study and live around them. People use Facebook to keep up with friends, upload an unlimited number of photos, post links and videos, and learn more about the people they meet.
Hey hey...I've played in bands for several years now & I'm recording and writing on my own at the moment. I figured I'd post a link to some demos & see if anyone would be interested in co-writing and/or have any input/feedback on getting into the publishing game. Any help would be appreciated, thanks & hope everyone is doing awesome!

https://www.facebook.com/pages/new-r...p_178091127385

- Don Ross
Solar 17th November 2011 04:54 PM
Quote:
Google Play for Artists: Sell your original music



Go direct to fans and distribute your own albums through Google Play. Build your store page, set your retail prices, sell your original songs.
Here go fellas!

Google Music for Artists – Google

http://music.google.com

It's available NOW. Create your artist Account & Share/Sell your music
JustinMac 16th November 2011 03:47 PM
Quote:




Hey guys,

My band Waverland landed a placement on a nationally televised commercial for GM Buick, where our instrumental played for the entire 60 seconds of the commercial. It actually aired during the final four this year and people said they see it all the time on ESPN since then... check it out below:

Buick "What Matters" | Luxury Sport Sedan | Commercial - YouTube

My question is... does anyone have any idea about the royalties for something like this, and what to expect? We got a nice "lease" down payment for the song, and they said we will also collect royalties for each play, but it was released back in April and we haven't seen anything come our way yet (it does shows up on our ASCAP however) and we have no idea how much to expect... we plan on spending some cash for another CD soon, so if anyone has an idea then I'd really appreciate any estimates on what other people have received for something that sounds similar.

Thanks!

Justin-

Waverland | Facebook
sventvkg 13th November 2011 09:32 PM
Quote:
Why Universal Music Sued Its Insurer Over a $14.4 Million Payment to Musicians (Analysis) - Hollywood Reporter



We wonder if anybody will ever remake Double Indemnity, except this time featuring a record label that purchases an insurance policy that pays off handsomely should a songwriter be murdered on royalty issues. This one's got potential. Check out a lawsuit filed this week by Universal Music Group against one of its insurers.
Why Universal Music Sued Its Insurer Over a $14.4 Million Payment to Musicians (Analysis) - Hollywood Reporter

In the age of disclosure and the internet there's no getting away with your criminality anymore. This is why labels are hated. Plain and simple.
rack gear 12th November 2011 12:56 AM
Quote:
Google Music launching without Sony and Warner | Media Maverick - CNET News



Google Music lines up Universal Music Group, the largest record company, for new download store. But it hasn't obtained agreements from Sony and Warner. Read this blog post by Greg Sandoval on Media Maverick.
Google Music launching without Sony and Warner | Media Maverick - CNET News
rack gear 11th November 2011 05:19 PM
Digital Music News - SOLD: Citigroup Unloads Both EMI Units; $4.1 Billion...

EMI Records and Catalog to UMG

EMI Publishing and Catalog to SONY/ATV

Three Major Labels...
soulstudios 10th November 2011 10:07 PM
Quote:
CD-format to be abandoned by major labels by the end of 2012 - Industrial Music free links at SIDE-LINE.COM



Industrial Music news : You read it well. The major labels plan to abandon the CD-format by the end of 2012 (or even earlier) and replace it with download/stream only releases via iTunes and related music services. Full details on this Industrial Music news item after the jump.
CD-format to be abandoned by major labels by the end of 2012 - Industrial Music Facebook news at SIDE-LINE.COM

See update at end.
terryhart 7th November 2011 08:48 PM
Quote:
Fingertips essay: The "Social Music" Fallacy | Fingertips Music



I was listening to an album on Spotify the other day when I heard an ad between tracks that was promoting Spotify itself, focused on how social the service
Provocative article from Fingertipsmusic:

Fingertips essay: The "Social Music" Fallacy | Fingertips Music

Quote:
Music is made to be shared? No, it isn’t. Unless you happen to run a large, international social media company. In which case, everything is made to be shared. As the old saying goes: To a man with a hammer, everything looks like a nail.

Don Hills 6th November 2011 10:24 PM
Quote:
BBM Music is here for BlackBerry smartphones! «Inside BlackBerry - The Official BlackBerry Blog



BBM Music is finally here, available in Canada and the United States!
Stream / download up to 50 tracks to your Blackberry, share with your friends, and stream / download their tracks too...

BBM Music is here for BlackBerry smartphones!
Boba FET 5th November 2011 08:55 PM
Quote:
This seems to be worth a look:

TuneCore - Get Your Unpaid Songwriter Money
rack gear 2nd November 2011 06:53 PM
Digital Music News - Then, This: Coldplay Just Sold 447,000 Albums In the US...

Coldplay denies streaming sites access to it's new album, sells more records. In Hollywood this is called "Windowing" a release by giving transactional outlets priority over subscriptions and other lower ROI models.
tomlee 28th October 2011 12:07 PM
Quote:
When bands fall off cliffs | Music | The Guardian



You sell a couple million albums. You're adored. Then 90% of your fanbase deserts you – and your record label isn't far behind. Rob Fitzpatrick investigates band collapse syndrome
When bands fall off cliffs | Music | The Guardian

Quote:
In March 2005, Kaiser Chiefs released their first album, Employment. It had been preceded by a single, Oh My God, which had reached No 6 and was, in 2007, covered by Mark Ronson and Lily Allen on Ronson's debut album, Version. NME ranked it the 36th "greatest indie anthem ever", a decision that had presumably at one point not sounded quite so much like damning with the very faintest of praise. Another single, I Predict a Riot, followed the album's release and soon became the band's anthem. They won an Ivor Novello award for best album in 2006, and three Brit awards the same year (for best British band, best rock act and best new artist). To date, Employment has sold 2m copies. Its follow-up, Yours Truly, Angry Mob, was released in February 2007 and included their No 1 hit Ruby. That album sold 800,000, a 55% drop in sales. A further 18 months on, the band released their third album, Off With Their Heads, which has, to date, sold 200,000 copies, a 75% drop from album two and a 90% drop from album one. Album four, The Future Is Medieval, debuted on the band's website this summer. On its physical release it reached No 10, and stayed on the chart for just five weeks.

"It's odd to think of 800,000 sales, or even 200,000, as failure," says one industry insider who asked to remain anonymous, "but Kaiser Chiefs' sales numbers marked them out as a band in a downward spiral, and that's very, very hard to get out of. As with everything else in life, people like to support success." If success has many parents, failure is an orphan.

Take another case. Duffy's debut album, 2008's Rockferry, sold 2.2m copies in the UK, but it wasn't only her spectacularly misjudged advert for Diet Coke in 2009 that meant the follow-up, 2010's Endlessly, shed 90% of her audience to sell only 200,000 copies.

"Duffy is an interesting case," a music industry lawyer says, "because her story applies to a lot of artists. Buoyed by success, they immediately think, 'Why am I giving 6% of record royalties, a third of my publishing and a 20% management commission to other people? I am a genius! I will do it myself!' [Duffy parted company with her manager, Rough Trade's Jeanette Lee, and with Bernard Butler who produced Rockferry, and co-wrote and played on much of it] And then make a bad record without any guidance from professionals. And then they wonder why it's all gone wrong."

And go wrong it does. Glasvegas debuted with an album that went platinum in the UK – the award for selling more than 300,000 copies. NME said the band would define the end of the decade. Bono called It's My Own Cheating Heart That Makes Me Cry "one of the best songs I've ever heard". Despite the praise, their follow-up, Euphoric Heartbreak, an album NME gave nine out of 10 stars (which means it is, in that magazine's opinion, one of the very best albums of 2011), has sold just 30,000 since it came out this April, a fall of 90%. Columbia Records dropped them within weeks of its release.

In October 2007, when MGMT arrived with their debut album, Oracular Spectacular, they made enough of an impact to sell half a million copies in the UK alone. Their Wikipedia page trumpets that the band's follow-up, 2010's Congratulations, sold 66,000 copies in its first week ("the best sales week ever for the group"). What the site doesn't mention is that in the 18 months since, the album has only sold another 11,000 copies. And then there's the indie-rave band Klaxons, winner of the Mercury prize, who shifted 350,000 copies of 2007's Myths of the Near Future, but have sold just 30,000 of album two, Surfing the Void, meaning 92% of their fanbase have decided that, on reflection, they only really need one Klaxons record.

What does it feel like to experience that level of desertion? What does it feel like when the phone stops ringing? None of the bands I've mentioned above would discuss it, understandably enough: admitting a failure is tantamount in the eyes of the music industry to condemning yourself for ever.

"Well, I'll tell you precisely what it feels like," says one major label A&R man. "It feels shit. But the second album by every single band I've ever signed has flopped miserably, and no one really understands why. When you sign a band, everyone at the label is very excited, but as soon as it starts going wrong every bastard runs to the hills and the A&R man is the only one left." Sometimes, the bands are the last ones to realise. Earlier this year, the Hoosiers told Film&Music how pleased they had been at first when their comeback single, after two years away, reached No 11 in the charts. Until they noticed the reaction at their record company: "We were 11 in the mid-weeks, and pushing on No 10," said their drummer, Al Sharland, and "there was a lot of tension in the record company, with people going, 'Oh, if it's a 10 it's easier to promote as a success.' It's all bollocks, really, and it shouldn't make any difference. But it does, apparently."

But do the labels feel as bad as the bands?

"Not really," the A&R man says. "The truth is, labels don't give a shit about the next record; they only want to squeeze the pips out of this one – although this is a complex industry, so sometimes it works the other way. When Paolo Nutini took his last album into [his label] Warners, I know for a fact that everyone went, 'Oh my God …', thinking it was a bloody disaster. But it sold like ****."

"A flop can be a rite of passage," says Tony Wadsworth, who was chairman and CEO of EMI Music from 1998 to 2008. "The curse of album two nearly finished Blur, but it ended up putting lead in their pencil. Modern Life Is Rubbish marked a huge drop in sales. They had invented this new world, and it took until Parklife for people to understand what they were doing. Sometimes you can edge too far ahead of your audience, and then you have to hope you don't lose them."

But what if you do lose 90% of them? "Then you assess what it is you're doing," Wadsworth says. "You regroup and start hustling again, but it's crucial that you believe in your own creative processes. Don't put all your best songs on the first album; Dylan and the Beatles always held stuff back. And don't scare people off. Every one of Coldplay's albums has sold more than the last – that's very unusual. They always progressed, but always kept an essence of who they were in the new songs they wrote. That meant radio always supported them, which is crucial."

"Radio is still it," agrees Feargal Sharkey, the former Undertones singer who now heads UK Music, an umbrella organisation representing the UK's commercial music industry. "If you have no support from radio, you're finished. You can recover from this situation, but you're aware the next big thing is always more exciting than last week's big thing."

Singer-songwriter David Gray was the opposite of the next big thing when he released his White Ladder album in 2000. Gray's fourth record was expected to sell in similarly modest proportions to the previous three. But a groundswell started by the second single, Babylon, eventually drove sales over the 7m mark.

"What helped me is that I'd been making music for a while when the success came," he says over the phone from Italy, where he is on holiday with his family. "I could handle it better. But the period after the success is always very difficult. If Radio 1 or Radio 2 don't playlist your record, it has a profound impact on your sales. When the BBC decided to play Babylon, all hell broke loose, but if you don't keep that up then you end up back in the Borderline – and when you've got used to the Hammersmith Apollo, that can be very depressing."

What did that journey upwards through success feel like?

"Oh, it's amazingly exhilarating," he says with a laugh. "But success like that blows your compass completely, it's so heavy, so all-enveloping. You do begin to think that perhaps you are God's gift. I spent three years touring White Ladder, but when the festivals and the champagne and the private planes suddenly stop, when reality kicks in again, the shock is numbing."

More recently, Gray cheerfully admits, his sales figures have "drastically reduced". Where once he might sell 1m copies, he'll now sell 200,000. His latest album (the live set Lost and Found) was digitally released for its first week exclusively through Groupon. The deal-of-the-day site emailed a link to half a million subscribers – "We have a very similar demographic, apparently" – and there was around a 1.5% take up.

"That's between 5,000 and 10,000 copies sold," he says. "Is that a success or a miserable failure? I've been working a lot in America over the last few years and it's extremely hard work selling any records at all. The figures have become pitifully small. The industry is on its knees."

Gray is undoubtedly right, but the industry's insatiable desire for greatness remains. Leonard Cohen's son Adam has had more record deals than most. His first, with Sony in 1998, included a $300,000 (£190,000) publishing advance and was signed off by a bigwig who claimed not to know who Cohen Jr was a few days later. His excellent new record, Like a Man, is out on Cooking Vinyl in the UK and EMI in North America, a label he's previously been dropped by.

"Last night I had my record release party," he says on the phone from Toronto. "And all the same people, all the same executives, came out in support again, like none of it had ever happened. But remember: record companies can be callous and nefarious beasts."

Wadsworth, now happily out of the game, has some final advice for everyone. "At some point, everyone stops selling records. Unfortunately, some bands get to that point a lot quicker than others."

rack gear 27th October 2011 07:53 PM
and for good reason, expect more to do the same...

Coldplay Refuses to License Its Latest Album to Spotify... - Digital Music News

major bands with artists approvals should be requiring substantial advances, just like Netflix is now having to pay advances for major movies.
Empressto 27th October 2011 12:26 PM
Quote:




This is a new song Empressto-Take 03[Original mix] - YouTube

What do you think?
XHipHop 27th October 2011 12:28 AM


Guys, time to stand up for our rights!

PROTECT IP Act Breaks the Internet


chrisso 26th October 2011 08:58 AM
Quote:
YouTube boosted by music videos



Video-sharing website YouTube is now the third most popular in the UK behind Google and Facebook.
Thanks largely to music:
BBC - Newsbeat - YouTube boosted by music videos to pull behind Facebook

Music apparently has 'no value' and no one cares about music anymore?
Wlouch 24th October 2011 11:32 AM
Sorry, not a spambot but I am sure that is what a spambot would say.

I have made a quick 4 question survey to gather a little information on a few things for my business plan, if you get a second to fill this in it will take minutes and I would be eternally grateful.

Recording Studio Survey

Cheers everyone
Blu Mar Ten 15th October 2011 03:35 AM
Quote:
"King Crimson Can't Get Their Music Off of Grooveshark. So They cc'd Digital Music News... "
King Crimson Can't Get Their Music Off of Grooveshark. So They cc'd Digital Music News... - Digital Music News

read the stream of pissed off artists in the comments. fascinating stuff
rack gear 28th September 2011 02:34 AM
Quote:
Zoe Keating



Zoe Keating One-woman cello orchestra Into The Trees, released 01 July 2010 1. Forest 2. Escape Artist 3. Optimist 4. The Path 5. Lost 6. Hello Night 7. Don't Worry 8. Seven League Boots 9. The Last Bird 10. Flying & Flocking 11. Optimist (live)
and interesting editorial from Avant cellist Zoe Keating on HypeBot

Zoe Keating On Spotify, Fairness To Indie Artists & Music's Niche Economy - hypebot

and an interesting stat:

Quote:
HOW ZOE KEATING MAKES MONEY SELLING MUSIC
  • 65% of her income was music sales
  • Of those music sales, 75% were digital.
  • Of those digital music sales 55% were from iTunes.
  • Streaming royalties and SoundExchange combined, made up 0.25% of her annual income.

Lights 26th September 2011 09:06 PM
Quote:
BandSoup



BandSoup is an ever-flowing new music system that directly connects artists and listers. It's fast, easy, and free.
Hey guys:

I received an unsolicited email today from a website called BandSoup:

Quote:
Hello,

My name is Ryan and I work for a site called BandSoup and I really dig your music! We would love to have more of it on our site.

BandSoup is an "open" and free streaming service for bands and solo artists of any genre. We are currently working on a new version of the site (set to release very soon!) after receiving a government grant, but are looking for great bands to upload their music. We also have a blog where we write articles/artist spotlights on bands that upload music on our site.

I recently found Control and your EP and love what I heard! It would be great to see and hear your music on our website (there is no limit on how much you can share). Uploading and getting coverage on our social media sites/blog reaches out to thousands of indie music fans. Once you upload, we share it on our facebook and twitter pages and bands we especially like get further blog coverage. If you have any videos, free downloads, or upcoming album releases, we would like to cover that on our blog as well.

To upload: http://www.bandsoup.com and then click on where it says "create account". It's quick & easy and you only need an e-mail to sign up (your email is not shared or given to anyone). All artists retain their rights. All songs are made available to stream. As soon as you upload a song, it will be featured on the front of the site in the center of the bowl.

**FYI: We had to put up an unfinished beta version of the site, so there are a few things not complete, but will be completed as we complete our government grant proposal, etc. Please keep checking back with us because the final product will be released soon! We appreciate you being apart of our humble beginnings.


Thank you and keep up the great music!
Ryan

Blog: http://blog.bandsoup.com
Site: http://www.bandsoup.com
Twitter: http://www.twitter.com/bandsoup
Tumblr: http://bandsoup.tumblr.com
I've never heard of this site before and I'm wondeing if anyone has had experiences good/bad with them. I'm already on Pandora, Facebook, Bandcamp... but any promotion is good promotion I guess so I figured I'd at least do due dilligence.
Joram 26th September 2011 10:10 AM
Quote:
Gearslutz.com - View Profile: Gie-Sound



Gie-Sound is Gear addict at Gearslutz.com. View Gie-Sound's profile.
Lorrainville - You may never know what happiness is

About a year ago Dutch music producer Guido Aalbers played the online game "Make your own albumcover" (also known as "Wikipedia names your band"). The result was posted on Facebook. Within a few hours there were so many enthousiast replies from musicians, arrangers, songwriters and other artists that Guido decided to make the album.

After three weeks more than 80 new songs were contributed, some written by newcomers other by multiplatinum artists/songwriters. 14 songs were selected, of which 12 will be on the album, and 3 singers were chosen to perform the songs.

More info at the gearslutz good news subforum:
http://www.gearslutz.com/board/good-...ml#post7067545
chrisso 23rd September 2011 03:59 AM
Music and creative content in general is still front and center when the giants of the web are selling their new ideas.
I'm amazed some people insist music has no value, music is not a big selling point for new software and gadgets.

Quote:
The latest changes at Facebook include a new class of "open graph'' applications that will let people discover and share music, movies, books and other news as well as seemingly lightweight experiences like bicycle rides.
"I am excited about what the latest wave of music companies is doing with the open graph,'' Zuckerberg said.
Software apps made by more than a dozen developers, including Spotify, will let Facebook members share, discover and listen to music, he added.
"It's a big day for everyone who loves music,'' Spotify chief executive Daniel Ek said after joining Zuckerberg on stage.
Facebook announces an overhaul of user profiles at f8 developers' conference | The Australian
SDB_12 20th September 2011 08:38 PM
Quote:
Hello world. My name is Seth, I'm 26 years old, and I'm a singer songwriter, musician, and mixer/engineer. I've always played in bands, but as of a few years ago I've been focusing more on songwriting and going solo. I followed my dream, went to school for audio production and graduated with a 4 year degree, and since then have mainly freelanced out of my home studio the past few years.

Over a year ago I started a debut full length album, tracked some drums, acoustic guitar, and vocals, and then got busy with other projects for clients and haven't had the chance to revisit my record...until now. I finished up my latest project over the weekend, and am now coming back to my personal album and am super stoked! I'm not someone who is looking to get famous, or get signed, or rich...etc. I'm a guy who LOVES music with all my heart, and I want to do what I love as much as possible. At this point in my life, I feel I'm mature enough to put myself out there and see what happens.

For some time, I've thought it would be really cool to start a thread documenting this album, and everything that comes along with it including promotion, writing of parts, production, mixing, etc. etc. I wasn't sure if it would really be of interest to people, and would like some input and feedback as to how I can make it cool and interesting. I figured I would include audio clips, and video clips of the process.

But, what I'm also looking for are suggestions and feedback on PRODUCTION! I thought it would be really neat to post clips of songs as they develop, and get input as far as writing of parts, and the production of the album as a whole. I want to basically start a PRODUCERS thread. I'm not asking people to play parts for me or work for free, just for some helpful tips. I play all of the instruments and sing myself, and when doing this it's easy to get so narrowed in on a song that you can't hear the big picture. I'd love for people to chime in and give suggestions as to a certain instrument that may enhance things, or a certain part you may be hearing or think would sound good. Anything that may help me think outside of the song a bit. I may even hire a few outside musicians to help at some point with strings, piano, etc. Time will tell.

So, a brief background up to this point for the album. I tracked drums, main acoustic guitar, vocals, and a few electric guitar parts in my old studio which was a converted 2 car garage. This was all done over the past year or so. I then took a break, we moved into a smaller place, and I'm picking back up trying to finish. If people are interested in this, I'll give more details soon as to the actual recording of those parts, and then pick up from here out with videos and sound clips of the process.

After the album is done, I will mix, get it mastered, and promote. My personal goal is to just get my music out to anyone who will listen, book more shows, and have fun. I'm giving myself the next year to really take a shot at making music a bigger part of my life, whether it's professionally, or just for fun and my own personal pleasure.

My official website is almost complete, which I'll post in the next few weeks. For now, I did an acoustic demo awhile back, which you can hear at www.reverbnation.com/sethbrand. Some of those songs will be completely redone with a full production for this album. I also have a youtube channel at sethbrand12's Channel - YouTube

Is this, or could this be interesting to anyone?

Thanks,

Seth
rack gear 18th September 2011 10:05 PM
Quote:
Study: Music Fans Prefer Ownership vs. Streaming - hypebot



In a new research study concluded by eMusic, and administered by Insight Research Group, 92% of music fans are concluded to prefer they own their music rather than stream it – citing unlimited playback and file security as key determining factors. However, steaming music was found to be an important gateway to music purchases. The study found that 71% of consumers use streaming to discover and listen to new music in order to gauge whether it’ll be worth purchasing. However, only 13% of the general population chooses to pay for music steaming services, while 20% of more dedicated music consumers...
Study: Music Fans Prefer Ownership vs. Streaming - hypebot

which is also why Spotify is not a solution against piracy...
The Press Desk 17th September 2011 03:03 PM
Quote:
Steve Gordon Law - YouTube

[img]//i1.ytimg.com/i/86q86XtrN206zOh2gDJt9g/1.jpg?v=88d896[/img]

Share your videos with friends, family and the world
Hal Leonard Publishes The Future of the Music Business

Third Edition: How to succeed with the new digital technologies by Steve Gordon

Hal Leonard Books, the musician’s best source of books on the music business, audio technology, instrument history, and more, has published The Future of the Music Business ($29.99) by Steve Gordon. This Third Edition is a practical guide for artists and entrepreneurs on how to succeed in the music business with the new digital technologies.

New technologies are revolutionizing the music business. While these changes may be smashing traditional business models and creating havoc among the major record companies, they are also providing new opportunities for unsigned artists, independent labels, and music business entrepreneurs.

The Future of the Music Business provides a legal and business road map for success in today's music business by setting forth a comprehensive summary of the rules pertaining to the traditional music business, including music licensing, as well as the laws governing online distribution of music and video.

The book provides practical tips for:

• Selling music online
• Using blogs and social networks
• Developing an online record company
• Creating an Internet radio station
• Opening an online music store
• Raising money for recording projects online
• Creating a hit song in the Digital Age
• Taking advantage of wireless technologies, and much more

This revised third edition is the most up-to-date and thorough examination of current trends, and offers special sections on:

• What to do if someone steals your song
• Protecting the name of your band or label
• How to find and get a music lawyer to shop your music
• How to land a deal with an indie, or a major label

The accompanying DVD includes a comprehensive lecture, “How to Succeed in Today's Music Business,” delivered by the author at the Tisch School of the Arts at NYU.

A video trailer for The Future of the Music Business can be viewed here: stevegordonlaw's Channel - YouTube
XHipHop 17th September 2011 07:05 AM
Quote:
Interscope Records Office Used By Major Cocaine Operation, Feds Say - hypebot



For almost two years, the offices of Interscope Records have been used as a drop off and pickup point for road cases alternately filled with kilos of cocaine and more than $1 million in cash, according to documents filed by federal prosecutors. James Rosemond (aka "Jimmy Henchmen&quot, the manager of Interscope artist The Game, has been indicted on 18 felony charges based on 65 pages of records from RockIt Cargo and statements from former associates who admitted their roles on the operation. In an interview yesterday with Hot97's Angie Martinez in LA, rapper The Game spoke about Rosemond's arrest: "Jimmy...
Interscope Records Office Used By Major Cocaine Operation, Feds Say - hypebot
Cgbravo 15th September 2011 08:42 PM
Quote:
Copyright songs, books and more with MySpark online copyright registration



copyright registration, online copyright service
Copyright songs, books and more with MySpark online copyright registration

Just looking into them and was wondering if anyone had any experience and how official or legit is it?

I've copyrighted with .gov but just curious if anyone has used this service and is it $85 per work?! anyways just post your thoughts..
Space Station 12th September 2011 04:39 PM
The copyright term for performers and record companies has been extended from 50 to 70 years.

PPL : Copyright term successfully extended
terryhart 26th August 2011 11:10 PM
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Amazon Said to Strike Licensing Deal With Sony - NYTimes.com



After months of talks, Amazon is said to have signed a licensing deal with Sony for its "cloud" streaming service.
Amazon Said to Strike Licensing Deal With Sony - NYTimes.com

Quote:
Amazon surprised the music industry in March when it introduced a limited “cloud” streaming service without special licenses from record companies.

The move drew a rare public rebuke from Sony, but behind the scenes Amazon began negotiating with the labels for the licenses it would need to compete with iCloud, the more extensive service from Apple that is expected to begin this fall.

Now, after months of talks, Amazon recently signed its first such deal. The label? Sony, according to two people briefed on the negotiations, who spoke anonymously because the talks were private. Terms of the deal were not known.

infiniteloop 17th August 2011 12:33 PM
Quote:
Stars step up war on music leaks



While virtually all albums are leaked online in advance, Jay-Z and Kanye West managed to keep theirs under wraps. How did they do it, and can other stars beat the leaks?
News on how to protect a finished album from leaks
BBC News - Stars step up war on music leaks
Empty Planet 16th August 2011 02:03 PM
A word to the wise....

This has been a tip from Jules in the "video vault" for a couple of years now, but I haven't seen any threads mentioning it and it's really worth knowing. A way useful web resource for those wanting to educate themselves on various aspects of the music biz, as well as a huge number of related topics, is a site called ArtistsHouseMusic.

Tons of great videos from all kinds of cats, lots of entertainment lawyers, production people, management people, it's really very cool. A few hours there and my head is buzzing like I've just spent the day doing seminars at AES.

It doesn't look like it has any kind of revenue stream itself, and a little digging mentions support by something called the Herb Albert Foundation. So if you see Herb Albert walking around anywhere -- I think he's been seen in Honolulu and LA lately -- say thanks. Knowledge is power. The site is really an incredible gift.

Thanks, Herb.

Cheers.


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