Getting Signed to a Major Label

Getting Signed to a Major Label

Many people think the only way to make a living off music is to get signed to a major label. The advantages of being signed to a major label is better promotion and distribution, but the downside is these services are paid for by your record sales. Even the handful of popular musicians who do get signed to a major label and get a hot single or two find it hard to live off of record sales.

Something you probably didn’t know:

The profit from 500,000 units sold on a major label is equivalent to 8,000 independently.

So if your album goes gold on a major label, the average amount of profit is around $50,000! Of course that doesn’t count shows, sponsors, or publishing, but considering how long it took to get signed, make the album and promote the album, makes living off album sales an unrealistic expectation.

Let me break down what A&R’s look for.

1. A new sound – The key to getting their attention is to stand out from the rest while not straying too far from what is hot right now or what they feel will be hot for several years to come. You need a balance of popular and eclectic style, which will sound new, but within the comfort zone of the sounds of past successful acts.

2. Single-ready – In an era of Itunes, labels know that single sales will generate more money than full album sales with new artists. Keep your song structure simple by having an infectious chorus that you can feel coming. Most popular songs are built around the “verse-chorus-verse-chorus-verse-hook-chorus” formula and make sure you build around that conventional formula.

3. A following – Labels need acts that are ready to put on a good show and already have a good track record with shows. Putting on a good show can make or break an act and labels don’t have time to wait for their artists to find their groove.

4. Youth – Labels want young artists because the most revenue comes from the younger audience. Sex sells and having attractive, young artists is more marketable while giving upside to labels who want longevity. Even though I might be biased due to my musical taste, I think it is safe to say that the Jonas Brothers are the big thing right now because of their image. Their music is nothing special, but they are young and have the “heartthrob” image to capture the young, female audience no matter how good their music is.

Having a strong press-kit is what A&R’s look for when finding artists. A press-kit consists of:

1. Artist Bio – A one-page over-hyped bio with words like “the artist has matchless potential” is pretty much the default format used by most up-and-comers. However, make sure your bio tells your story of how you grew up and started playing music. This shows your accomplishments and your drive to accomplish more.

2. CD Demo – Your three best songs. The first song must be your best song because if it sucks the other two songs won’t make it to the A&R’s ears. If your music has explicit lyrics, including radio versions along with the original versions is a good idea to show them that you are radio-ready. Mastered tracks aren’t essential, but it is recommended because it shows you know what you are doing and you are serious about your craft.

3. Photos – Get some professional photos taken because pictures project your artist image. In reality, some overwhelmed A&R’s won’t even listen to your music if you don’t have the “look” of a star. Yeah it’s a bit shady, but that’s the harsh reality of the industry. Plus having nice pictures show you are serious about what you are doing and are camera-friendly.

Plus, EPK's (Electronic Press Kits) are becoming more popular in a more up-to-date and presentable CD-ROM format.

If you are lucky enough to receive a contract after sending in your demo, make sure you review it thoroughly before you think about signing it! Countless artists have signed contracts that sounded good in the short term, but ended up feeling trapped in the long run. Look for these keywords when reviewing the contract:

1. Advance – This is the budget you get for making the album. Most of the time they want the money back once the product hits the shelves and wasting money on an album that doesn’t sell can get you in debt! This is where stars can afford to buy two Timbaland beats at $250,000 a pop in hopes of going platinum. Having a small advance limits what you can do, but a large advance can encourage more spending than needed. A larger advance creates more potential, but be responsible and use the money wisely.


2. Percentages/Royalties – This is where you find out how much cut you get back from sales. Artists generally receive the least money from record sales and more from shows, guest appearances, and other ventures. Owning your own publishing is huge because if you land a timeless hit, you can still get your money per play even after you are past your prime. (Michael Jackson, The Beatles = MONEY)



3. Promotion/Distribution – This is the most overlooked part of a contract and sometimes it isn’t even included. The main advantages of being on a major label is because they have promotion and distribution and if they don’t do a good job, then why be on a label? Bobby Valentino recently opted out of his Def Jam/Disturbing Tha Peace deal because of the lack of promotion and distribution. Even with a Timbaland-produced first single, the album flopped. Advertisements, guest appearances, and shows weren’t as potent as his last album and the record sales suffered.

Filled with industry jargon and big words, music contracts are often hard to understand and even misleading. Before you sign, make sure you have a lawyer review it. It may cost a pretty penny, but if you are close to signing it is always good to have an expert opinion before you sign your life away.

Negotiating is always an option, if both parties aren’t happy, the deal isn’t truly a “deal.”

BUILDING YOUR OWN STUDIO PT.2

Ok, so now you’re ready to buy your studio and want to make the right choices. Where to go now? Please don’t just buy the coolest looking mic and box and expect it to get you industry sound. Here’s some guidance.

Internal Soundcard

PCI-based, internal soundcard can be installed inside both windows and mac computers while being discreet.

M-Audio Audiophile 2496 - $100
http://www.zzounds.com/item--MDOAP2496


The Audiophile 2496 has become a very popular choice with its high-quality 24-bit/96kHz resolution and because M-Audio has now teamed up with Digidesign to offer an M-Audio version of Pro Tools. Pro Tools M-Powered is a cheaper version of the industry-standard software and buying the Audiophile at $100 is much cheaper than getting a Digidesign M-Box at around $500. At a small size, the Audiophile now packs the punch of larger units of the past.
(Note: to record with a condensor mic, you will need a pre-amplifier.)

Microphone Pre-Amplifiers

This is the most important component when gauging quality. Pre-Amps are what makes your mic sound full and clear

PreSonus Studio Channel Tube Microphone Preamp - $300
http://www.zzounds.com/item--PRSSTUDIOCHANNEL

This is the budget pick for a decent pre-amp. It features a class A vacuum tube which is what you need to look for in pre-amps. The vacuum tube gives natural warmth which vocals and instruments that full, crisp sound. Focusrite also makes good pre-amps, but PreSonus gives more value. This only setback is that the unit doesn’t feature S/PDIF on the stock version, but it has a slot in the back if you want to upgrade to digital. The PreSonus has XLR and 1/4in. analog connections.

Avalon VT-737SP Class A Mic Processor - $2,250
http://www.zzounds.com/item--AVAVT737SP

Avalon is the “big kahuna” brand when it comes to pre-amplifiers. It’s vacuum tube makes industry quality sound easy to achieve. You can plug a regular $100 mic up to this and make it sound like a $2000 Neumann! This pre-amp also has built in compression and EQ for advanced users. Anything coming in from an Avalon sounds full and as warm as you can get. Plus, you can hook up your guitar or other amped instruments and route it back to the mix via S/PDIF for superior quality. If you can afford it, this beast will make you sound pro in no time.

Audio Interfaces:

Audio interfaces are a very popular solution to a home studio since it combines a soundcard with a pre-amplifier. Having two in one makes workflow easier and enhances portability.

USB OPTION: M-Audio Fast Track Pro USB Audio Interface - $200
http://www.zzounds.com/item--MDOFTRACKPRO

This low-budget USB interface has the 24-bit/96kHz quality and the S/PDIF (Digital Audio) inputs and outputs usually featured in more expensive interfaces. S/PDIF is a new technology that is getting more popular due to it’s clean, all-digital sound. The Fast Track Pro is also compatible with “Digidesign Pro Tools M-Powered” which is the poor man’s version of Pro Tools and handles very comparably to the original Pro Tools. Also being powered by USB makes a power cord obsolete and maximizes portability. Now with compatibility with DigiDesign Pro Tools, M-Audio products are turning as many heads as ever.


Firewire Option: Focusrite Saffire - $300
http://www.zzounds.com/item--FOCSAFFIRE

For those of you who have a firewire-ready computer, a firewire interface is the way to go. Firewire is the format of the future because the data stream goes both ways while USB is limited to one-way transfer. The quality is up to 24-bit and a stifling 192kHz which is much more than needed. The Saffire has more inputs and outputs than most musicians need and features Focusrite pre-amps which are known to be the best of the best. The main selling point of the Saffire is the DSP feature which uses non-destructive hardware-based effects. The effects are adjust in the software, but applied in the soundcard itself and can be changed unlike conventional hardware effects. Having controllable hardware effects achieves good sound without taxing your CPU. The Saffire also has S/PDIF and the headphone jacks up front make live monitoring easy in a recording session. This is what I own and it’s the way to go if you are serious about your studio and have a decent budget to work with.

Microphones

The most common miconception about recording is “the better the mic, the better the sound.” I’ve personally heard the difference between a $100 mic and a $1200 mic on the same pre-amp and noticed no increase in clarity or warmth.

Audio Technica AT2020 Studio Microphone - $100
http://www.zzounds.com/item--AUTAT2020

This is the $100 mic that performed comparably to a $1200 Neumann. Both were plugged into the “big kahuna” Avalon and both achieved crisp vocals. Condensor mics perform much better than dynamics and this is the best $100 mic i've heard. The Behringer B-1 is decent also decent. It really depends on the pre-amp and the compression and EQ you put on the vocals.

Neumann TLM103 Studio Microphone - $1200
http://www.zzounds.com/item--NEUTLM103

Like I said, I audibly didn’t hear the difference between this mic and the Audio Technica, but I know that industry vets praise Neumann mics. The Neumann has a better range and gives professional engineers more to work with. I’d advise this mic to only pure professionals who have spacious pockets. I would much rather spend $1000 on a better pre-amp than a mic.


Studio Monitors
Mackie MR8 2-Way Active Studio Monitor (1x8 in.) - $500/pair
http://www.zzounds.com/item--MACMR8



These are the TRUTH! I got these and they give you an accurate picture of what you are mixing. It’s hard to mix on sub-par speakers because it’s hard to tell between a slightly muddy mix and an industry track. After listening to these, everything else sounds muffled! Monitors are always better than headphones especially when mixing bass. Industry vets were drooling over these at the recent audio expo and I got them a bit cheaper at Guitar Center. BTW be careful because these are sooooo loud. I only have them turned up 40% on the back and they can still get me complaints in my apartment complex!

MY STUDIO



MACKIE MR-8'S - $500
AXIOM 49 USB CONTROLLER - $200
STUDIO PROJECTS B-1 CONDENSOR MIC - $200
FOCUSRITE SAFFIRE - $300
WALMART BED FOAM - $10
METAL POP FILTER - $20


FOR MORE GUIDANCE HEAD DOWN TO GUITAR CENTER!!! THEY ARE USUALLY ON-POINT AND THAT'S WHAT THEY ARE THERE FOR!!

BUILDING YOUR OWN STUDIO PT.1

In this guide, I will present easy, low-budget solutions for building your own home-based audio recording studio. Whether you are an amateur looking to record for the first time or you are an experienced musician looking to get your own studio, this guide will explore the components needed to produce professional sound.

Advantages of having your own home recording studio include:

• Saving money on studio time
• Having recording access whenever you want
• Having more control over your music

Like many other technologies of modern times, audio equipment is getting smaller, cheaper and more advanced, faster than ever. In addition, computer software can now handle a lot of the functions which once required big, expensive rack-mounted equipment. With all the advances of today’s audio equipment, amateur musicians can now put together an audio recording setup capable of producing professional sound for a fraction of the price spent on commercial studios.


STAGE 1: PRE-AMPLIFIER/USB/Firewire Audio Interface

Microphone pre-amplifiers are the most crucial component of the studio. The pre-amp is where the 48V phantom power amplifies the mic signal for processing. Without a good pre-amp, a $2000 Neumann mic wouldn’t sound much better than a $100 budget mic. It is not common for the high-budget home studios to invest the bulk of their money on their pre-amps.

Pre-amps tend to have their own “sound” to them and for most uses, a warm sound is what you are looking for. Also, a low-noise pre-amp is desirable because noise is created when the gain (volume) of the signal is increased.

It is hard to find the right pre-amp by studying specifications. Generally the tube-style pre-amps sound the best, but using customer reviews or talking to other musicians is the best bet when choosing a pre-amp.

Audio interfaces are also called external cards because they perform in the same way, except they are connected to the computer with a USB or Firewire cord. In addition, most interfaces have their own built-in pre-amps so you won’t have to buy a pre-amp to pair with your other equipment. The main advantages of having external audio interfaces is the simplicity of combining a soundcard with a pre-amp and its portability.


STAGE 2: MICROPHONES

Microphones: What to Look for…

• Wide Frequency Range (20Hz to 20kHz or higher)
o Basically the wider the range, the better the mic will sound. However, a range higher than 20Hz to 20kHz is not necessary since the range of human hearing is 20Hz to 20kHz.
• High Signal-to-Noise Ratio
o This number measures the amount of signal (vocals, guitars, etc.) to background noise. The higher the ratio, the less noise the microphone will pick up.
• High Maximum SPL (Sound Pressure Level)
o This value represents the highest level of dB (decibels) that the microphone can handle before being distorted. The higher the number, the better sound.
• -10dB Pad
o This feature usually is found as a button on the microphone. This pad eliminates excessive low frequencies caused by the proximity effect. When recording at close proximities, low-pitch frequencies are accentuated making a muddy sound, the same way it sounds when talking too close to a telephone. This feature is useful when working with vocals because it automatically removes some of the extra low frequencies before it is sent out of the microphone.
• Variable Directional Patterns
o This feature allows the user to control which directions you want to emphasize when recording. For most uses, unidirectional is the best setting in the studio because it limits recording to one side of the diaphragm which results in less noise from the backside of the mic. The omnidirectional setting records from all directions and can be used for a recording with a surrounding source.

Microphone Accessories

o Microphone Stand – A sturdy microphone stand is a must when using delicate condensers and the three-legged adjustable model s makes storage easy.

o Pop Filter – A pop filter is simply an attachable screen which is used on vocals to create a barrier between the vocalist and the mic itself. In close proximities, the p- and t- words tend to create pops or knocks as the air from the consonants hit the diaphragm. The pop filter absorbs the air pressure while letting the vocals pass through the porous screen. This cheap investment is a must when recording vocals and the metal models are best since it makes cleaning easier (get rid of that stinky breath!).

o Wall foam – Reflections from the walls in home studios are worse than you expect. Putting foam on the walls to absorb the sound lessens the effects of wall reflections on your work. It is common for the casual musician to not want to foam the whole room or have the budget for a recording booth so simply foaming the corner of a room, a closet or a fold-out wall would make a big difference.

STAGE 3: ADDITIONAL HARDWARE PROCESSORS

At the capture stage of the musical process, many professional studios incorporate other hardware devices to further control the audio before it reaches the computer. These devices include:

o Mixer
o Also called the mixing board, this component can be recognized by sets of knobs, plugs, and sliders. The purpose of the mixer is to control the levels of microphones, speakers, and effects which are applied before reaching the computer.
o Compressor
o This gadget helps normalize audio by boosting low-volume parts of the recording while decreasing high-volume parts. This is useful when recording because it helps ensure that the recording is loud enough while preventing clipping (when a recording is too loud and distorts).
o Equalizer (EQ)
o This component fine tunes specific frequencies of the recording. For example, lowering the high-frequencies can reduce hiss while a low-frequency boost can give a bassy boom to your recording. This function is for more advanced users and the destructive nature of hardware equalizers has made software a lot more manageable for home studios.
o Reverb
o This effect can be placed on recordings to give it the echoey church effect. This is useful when taking a dry recording and making it sound more natural. Once again, this effect is harder to control in hardware setups than it is in software.

Since most of these features are available on recording software, signal processing hardware in home studios is declining due to cost, size and its destructive qualities.

OK, let me back up. For those of you that don’t know what destructive components are, being destructive means that the audio is processed before being saved so the changes are permanent. Let’s say we put a little too much reverb on some vocals while using a reverb box. When the audio is received in the computer, the reverberated track is uniform and the reverb is now included in the single track.

Taking out the small echos after they have been applied is hard and degrades the quality of the recording. The advancement of technology and having the freedom to go back and change effects is the main reason why signal processing is increasingly being done by software instead of hardware.

Many of the pros use hardware signal processors because they take processing strain away from your CPU, but software processors aren't very far behind quality-wise and they are often cheaper.

In the next blog, I will expand this topic by giving recommendations on specific brands and models of studio equipment.

DO-IT-YOURSELF: Advantages and Disadvantages

DO-IT-YOURSELF: Advantages and Disadvantages

For every established rock star, there are thousands of workers in the music industry that put in work some way to get the finished product to the fans. From audio engineer, to graphic designer, to publicity reps, all give support to a project in order give it the best chance to be successful.

It takes money to get the essentials done and the Do-It-Yourself (DIY) is the easiest solution for most indie artists with tight budgets.

Even though the DIY method saves money, settling for less is a mistake that many artists fall for when budgets aren’t there. In order to make the DIY method work, artists must be able to distinguish between what is a good job and what is good for their pockets.

Promotion – On a local level, it is best done by the artist themselves because it allows the fans to connect with the artists on a more personal level.

Performing at shows is generally the most effective way in gaining long-term fans as they get the most complete music experience from your music. Of course promotion from major labels with TV spots and commercials is great, but for indie artists, self-promotion is the most common.

Production – Nowadays, labels often overlook bands that aren’t self-produced because of the rising amount of bands that are self-produced in the digital age. Even if an artist’s production skills aren’t quite what they are looking for, just having experience in production is a plus for A&R’s who are always looking for the total package.

Without the beats, Kanye West would have never got his break with Roc-A-Fella. Another producer-turned-artist is Timbaland who’s vocal talent is sub-par, but made it because his beats are so damn good.

Live instrumentation is a must for rock and r&b and adds another dimension to your music in all genres. Showing the most musical talent possible is a must and making your own beats gives you more control over your music. However, if your production talent isn’t truly up to par with the competition, paying a great producer over a “good enough” producer is still worth every penny.

Mastering – Having a different set of ears to perfect your work is crucial for getting that industry sound. After the multiple recording sessions and mixdowns, indie artists get their audio visuals blurred by hearing the same music over and over. This causes them to miss small details and this is where a specialized mastering engineer works magic. For quality sound, paying for mastering is a standard and should not be skimped on. Find an engineer by reputation of their past works and go from there. (Prices range from $50 per song to $150, but paying a whole album deal from $500 to $1000 can save you money)

Graphic Design – “Don’t read a book by it’s cover” is the philosophy that most fans knowingly or subliminally disobey in choosing music. When an album cover or flyer looks cheap, the artist’s lose credibility. Hiring a specialized graphic designer should be automatic because the work they do is so precise and skilled.

There is a huge difference between knowing what looks good and understanding visual space, typography, color accenting and all the other aspects which graphic designers must take into account. Unless your own quality is good enough to charge others at least $25/hour, you can’t skimp here by doing it yourself; you get what you pay for.
Gauging how good your DIY methods is crucial and this is when feedback and managers come into play. It’s easy for the band to get consensus that a song is a hit, but if the public doesn’t think so, it doesn’t matter.

Getting opinions from people who aren’t afraid to say that you suck is more valuable than the yuppie friends who like everything you throw at them. Use these un-biased and brutally honest opinions to see what you are doing well on your own and what could use help from a professional.

Nice find: Listen to an industry breakdown by Chris Blackwell of Island Records (U2, Bob Marley, etc…)
http://www.artistshousemusic.org/videos/a+forum+with+chris+blackwell+of+island+records+getting+signed+in+todays+music+business

MAINTAINING A FAN-FRIENDLY IMAGE

“Be humble” seems to me to be the most overused anecdote for up-and-coming artists. Of course there is truth behind the staple saying, but being too humble can also limit the power of your image as an artist.

Image can go a long way for some artists in getting more fans. The rockstar, heartthrob, or thug image has overwhelmed the entertainment industry, especially among young fans. Image-heavy artists and bands like New Kids on the Block, N’Sync, and Lil’ Bow Wow had the look of stars, but who really listens to their songs as quality music?

Labels place image highly when looking for the next big artist. Sex sells and having a less-talented bombshell is often more marketable than a plain-looking musical genious.


Prime example: Britney Spears. Her vocals were never a strongpoint, but with cheesy, uniform-sounding songs, she used her image to stay in the spotlight. Of course there are some exceptions, but having a weak image only made it harder for them to gain success.

Without a strong image, artists struggle to build a fanbase. For example, out of all the Bad Boy “Making the Band” artists to come out in 2008, Donnie Klang’s album sold the least at 22,000 copies which was #19 in Billboard. Dannity Kane went #1 on Billboard at 283,000 units sold while Day 26 also went #1 on Billboard at 170,000 units sold.

Why the big drop? Donnie didn’t sell because he was TOO humble. On the show and during his MTV premiere of his video he had no swagger. It’s good sometimes for artists to show fans you are down-to-earth, but you also have to show confidence and have star swagger.

On “Making the Band,” it seemed like Diddy sensed the lack of swag in Donnie’s performance saying that Donnie dances like a stiff white guy and that he should take off his shirt during shows to get the girls’ attention. Day26 was also dropping their first album, but having a strong image came more natural for them.


Another knock on Donnie’s swag level was his uncanny similarities to Justin Timberlake. I’m not saying Donnie intentionally makes similar music and dresses like Justin, but he does come off as a poor man’s JT.

Having a unique style is crucial for reaching star status and starting trends is what real stars do instead of jumping in with the bunch. The latest image icon in the hip-hop world is Lil’ Wayne. It’s ridiculous how many people are emulating his style of sagging, tight jeans, punk rock belts, and even his playful style of rapping.

Wayne started his style and has everyone else following. Wayne is a master of image and shame on you followers!
Where does unique image come from? For artists, the best way to have a strong image is to be yourself. Changing your style when you get into the limelight is a no-no and fans will turn on you if they see things that will cause them to doubt your realness.

Believe it or not, William Hung, the horrible Asian singer from American Idol had an image that America fell in love with. His off-key singing, infectious smile and down-syndrome was uniquely powerful and he received more hype than more talented singers. Even though he lacked the qualities of most stars, his image of realness is what got America’s attention.

How humble? A balance of high self-esteem and humility is needed. You don’t want to come off as “not ready” to be a star, but you also don’t want to come off as too cocky. For every Kanye West, there are a thousand artists who jumped the gun and got cocky before they were in the position which can afford some cockiness.

Being humble, you want to exhibit hunger for success. If fans see that you are working hard, they will respect what you do more.

Your music represents yourself as a person, so don’t feel too restricted to one genre. It’s refreshing for fans to hear something new and it’s definitely a turn off to hear a new artist with an old, regurgitated style.

A balance of setting yourself apart from the rest while also staying within the boundaries of what is popular is crucial for artists in maintaining a strong image.

NETWORKING IS A MUST

NETWORKING IS A MUST

“It’s not what you know, it’s who you know.”
I’m sure you have heard that saying before from a superior about getting a good job and the same principle applies in the music industry. Networking is a must for indie artists because it allows artists to branch out in many ways and also helps keep spending down through the barter system.

Whether you realize it or not, other musicians in your area are competition. Meaning that the more successful musicians there are in a region, the harder it is for up-and-comers to bridge the gap. However, having competition isn’t a completely bad thing either. Here is a list of what artists can do to create benefits by networking with competitors.

1. Barter –

When trying to minimize costs when producing music, many bands choose to adopt a DIY philosophy which keeps all the production in-house which provides all the necessities either free of charge or a lot lower than getting work done elsewhere.

For example, hip-hop artists need beats and many artists save money by making beats themselves. Often this economically friendly approach saves money, but leads to a sacrifice in quality. I have found that the best producers, audio engineers, graphic artists, etc are the ones who can focus on doing what they do best. Recording drums on a $100 condenser mic stationed in a garage for a rock band will never sound as good as the $50 an hour session in a professional studio.

Paying for everything also has flaws especially for indie artists who struggle to make their craft profitable considering the hours spent in the studio. This is why trading in-house services that you are good at to another for their services can benefit both parties. That way your band can spend more time focusing and improving on what they do best while not having to pay for the other services.

2. Collaborate –

Collaborating is very similar to bartering, but is more mutual. For example, a famous collaboration was the Jay-Z and Linkin Park collaboration which fused hip-hop and rock musical styles. Collabs are useful because it not only allows artists to mesh with each other, but attracts artists’ fanbases to each other. The die-hard Linkin Park fans who never really got into Jay-Z by themselves were more likely to give his music a chance after the collab.

On an indie level, the key to collaborating is to focus on getting collabs with artists who are at your level in quality or higher. Collaborating with less known artists has less benefits and usually yields lesser quality music. This is why more successful artists usually charge for collaborations. Charging $1,000 to $10,000 depending on the artist may seem excessive to some, but some artists may actually make their money back by the popularity of the song. For example, paying $10,000 to get T-Pain on a chorus would most likely grant radio play and would boost ITunes sales for customers searching for T-Pain songs.

Networking is beneficial for artists of all levels since it enables them to branch out and minimize costs while attracting fanbases that are unfamiliar with your music.

BOOTLEGGING!!!: THE GOOD, THE BAD, THE UGLY

BOOTLEGGING!!!: THE GOOD, THE BAD, THE UGLY



FREE always looks better than $.99 and that’s why bootlegging has become such an obstacle for musicians trying to make a living in the last decade. Even after shutting down the free version of Napster and several other file-sharing clients, internet bootleggers always find a way to keep the free music circulating.

First, I will break down bootlegging as a process. The first stage where the music can get leaked is straight from the studio. Masters of the song can fall into the wrong hands around the studio and can even get leaked before they even sound good.

First drafts of albums are oftenly called “advances” and can get leaked even before they are mixed or mastered. This is probably the worst possible form of bootlegging since the artists aren’t ready to release the music and capitalize off any of the buzz that the leaked material receives. Major artists are often faced with a dilemma when this happens and can either drop the album sooner than planned or simply just record new material.

For example, Lupe Fiasco’s first album “Food and Liquor” was leaked just after his first single “Kick, Push” dropped and he ended up junking half of the album and recording several new tracks including both of his follow-up singles “I Gotcha” and “Daydreamin.”

The album ending up being a solid hip-hop album in my booked and debuted at #8 on Soundscan. Who knows how successful a premature release of the original “Food and Liquor” would have been, but in Lupe’s case, he sidestepped the bootleggers and dropped a successful album.

The next stage in which bootlegging can occur is the post-master , pre-release stage. The majority of album bootlegging happens at this time where the quality matches the final product sometimes months before the scheduled release. Again, labels have two options to either push up the release date or add more songs, but since they are album-ready quality, acting quickly is even more of a priority.

At this time, the first single should already be out and on ITunes. Singles are the easiest to get a hold of because part of the label’s job is to get the song out as much as possible. Stopping the bootlegging of a commercial single is impossible with CD promos floating all around and getting the single bootlegged can actually help build a buzz for an album. Artist’s don’t mind getting their hit song bootlegged and spread like the flu as long as the fans buy the album.

The last phase at which bootlegging can occur is directly from the CD itself after it has been released. Nearly all commercial releases never make it to this phase because of the demand for the bootleg and the scope of major distribution. Only indie bands with management closely monitoring the release can actually make it to this stage. It usually means that the bigger the anticipation for the album, the sooner the album will get leaked.

Even though it seems that music with a demand will get bootlegged regardless, there are a few ways that artists and labels fight or capitalize on bootlegging:
1. Artists who want to increase exposure can leak their songs or whole album purposely to create a buzz for their release or simply just to get their name out there. Promos are given to DJs and radio stations to give fans the exclusive sneak peaks of the music. The advantage is reaching a wider fanbase.

2. Some labels have released mock bootlegs in the past which contain fake songs or only snippets of the songs. Bootleggers get fooled and share these fake releases which provide a distraction from the actual material. This method is rarely used anymore since bootleggers caught on and label un-official releases as “advances” and label the sure thing as “retail” releases.

3. The most simple and effective way to sell units regardless of bootlegging is to MAKE YOUR ALBUM MORE DESIRABLE THAN OTHERS!! Lately, major labels have been releasing 2-3 singles/videos prior to release after focusing on one single was the standard before bootlegging. This maximizes your ITunes single sales and keeps your name fresh in the fans minds. Plus if you’re first single isn’t as good as expected, you still have more chances to grab fans with your other singles.

In conclusion, bootlegging will happen no matter what, but being careful with your material and being prepared for the leaks is what can minimize the damage of bootlegging on an album’s release.

MAKING MONEY: Digital Distribution and Shows

MAKING MONEY: Digital Distribution and Shows

In the music business, it takes money to make money. Starting out for any independent music artist can be hard and artists almost always invest more money than they make initally. This generally means that the less money you have to invest, the less likely you will be noticed. However, the amount of money isn’t the only factor because the effectiveness of your investments determine how far your money will go. I covered exposure in my last blog and now I will discuss how an artist can capitalize on the exposure and translate it to income.

Prior to the digital music age of ITunes and file-sharing, hard copy album sales (Vinyls, tapes, and CDs) and shows were the most profitable sources of income for independent artists. Now that CDs are becoming a thing of the past and MP3 players are about as common as cell phones, independent artists must adjust to the revolution. The hard copy sales are primarily focused on by elite, major label artists with a hot product and independent artist get the most revenue from digital distribution.

Independent artists have to shell out thousands of bucks for studio sessions, duplication, and promotional materials and at the end of the day, each CD unit usually comes out to around 3-4 bucks if done professionally. Now when the artists take their prized possessions to the local record store or distribution company they can negotiate the selling price. If the store sells it for $9.99 you get around 6 bucks back per copy and if they sell it for $6.99 you get 4 bucks per copy. To get a decent deal, most artists must purchase the minimum of 1,000 copies which is pretty much the standard for most duplication spots. So if all these numbers get confusing, remember that independent artists can only expect to receive around $2-4 per copy sold! So for all the time and money invested in getting the hard copies, it’s hardly worth it for an artist to sell hard copies unless they can sell at least 1,000 units.

So if you honestly feel like you don’t have the following to sell 1,000 units, don’t feel trapped. There are a few ways local artists can make a few bucks to make your time and investments worthwhile. Firstly, ITunes is your BEST FRIEND!! For $35, you can sell your music on Itunes, Rhapsody, etc... through CDBaby. A few album sales and you get your money back, then it’s all profit from there. You can even send in a homemade CD to them and they will still sell it as long as all the material is original. For each 99 cent download, you get around 60 cents and that adds up especially if you have a few singles which stand out from the other tracks on your album. Realistically, most people would rather just buy a few songs that they like instead of the whole album so this gives the audience more options in purchasing and enjoying your music.

Also, if you have a decent amount of exposure from free shows and your reputation for putting on a good show gets around, start charging! Be humble and charge venues reasonable amounts to perform and if you bring a good crowd, they will bring you back! And another tip in getting good venues is to offer a discount if they give you free tickets. That way they get more traffic that buys there drinks and you can get a familiar crowd in the spot to help get your audience crooning. Even simply charging the venue for gas money can be valuable for artists since they can break even while reaching a wider audience.

Even though the hard copy sales are decreasing, ditching hard copies entirely is not a good idea. Making free promotional CDs or cheap demos to pass out to potential buyers is a good option for low budget artists. With that said, digital distribution and shows remain the most profitable for local independent artists. Another way to get money on the side is to branch out and offer services to other artists that they don’t have. This can be a business or bartering system that is called networking, the topic of my next blog.

Exposure – Why is it Important and How to Get it

We hear it all the time, “Hey take a second to listen to my music, I promise it’s good.” And some of us at some time probably felt bad for the artist and shelled out $5 for some unsavory music on a blank CD just to help them out. Artist promotion comes in many forms and a successful promotion plan can help any artist or band separate themselves from the everlasting pool of sub-par musicians.

First off, remember you are an artist everywhere you go. Don’t be ashamed of your work and take advantage of the personal connections you make everyday. Let’s be realistic. Most up-and-coming artists have at least a plan B to lean on if they don’t blow up or get signed. Getting a degree or working a job is a must when trying to make it because it takes money to make money and 99% of underground artists never make it to a truly profitable situation. So when you are at work, at school or even at the gym, make sure you keep flyers or business cards with you to direct the public to your music. Free promo CDs are valuable in giving the public an immediate ear to your work. TV commercials are useful in getting your image out there, but they won’t translate to record sales unless you have the rest of your maketing plan in place. Realistically, most people who get flyers won’t actually follow-up and check out your MySpace, add you and buy your music like a true fan would so giving them a free CD is convenient and effective in getting ears for your tunes. However, make sure that you are reaching your targeted audience with your CD promos because CDs cost the most out of all the promo giveaways.

Now let’s tackle the latest phenomenon: MySpace. Nowadays, major labels don’t take “MySpace famous” artists as serious as they did when Cassie got signed off MySpace because everybody is doing it and some even resort to artificial buzz enhancers. Companies actually sell programs which increase the play count on an artist’s page which give the appearance of a successful artist. In reality, the cheating artists are only cheating themselves. This is because they aren’t getting the feedback and true fan base of a genuine artist who puts in work for his or her plays, comments, and friends. 5,000 fake plays a day and three actual comments per week don’t add up. Also, MySpace prohibits using these programs or putting your player on other pages so the risk of getting your profile deleted isn’t worth it. Also, cheating is bad for an up-and-comer because it clouds his or her perception of their buzz level plus you don’t get the satisfaction of reaching a higher level of MySpace buzz on your own. Posting bulletins, clickable comments and ads on everyone’s page is the best way to relay fans your way on MySpace. Also, updating your page with new and downloadable music every few months is a must to keep your buzz going. Once you reach a respectable level of authentic MySpace stardom, the fans will come to you. MySpace is a powerful tool to reach fans you normally wouldn’t reach by doing shows or passing out flyers and should act as a complement to the rest of your artist promotion.

Finally, in order to maximize your exposure, you must be seen by the fans! Doing free shows and passing out promotional giveaways in person always has a better connection to potential fans than a stack of flyers sitting at the door in your local record store. When people see you acknowledge them they are more likely to give your music a chance. Your goal is to hit fans from every direction because most of the time, a person who bypassed your spiel the first time will take your second approach more seriously. They say, “Ohh yeah, I’ve seen you guys before, ” and subliminally in the back of their mind they are thinking “well maybe they are good since their stuff is everywhere.” Lastly, don’t get tunnel vision and focus on one method of promotion because a balanced system which incorporates them all is the most effective way to maximize your exposure.