Sofia Talvik's Tour Advice. Distribution. Synchronization sites. Contracts. The Indie Venue Bible: Music Venue Resource. Fourteen Things To Avoid When Putting Out YOUR OWN CD. Fourteen Things To Avoid When Putting OutYOUR OWN CD Releasing your own CD can be a fulfilling and rewarding experience, but along the way most people usually make mistakes...costly mistakes...that have the potential to ruin what could have been a perfectly worthwhile project.
After listening to and evaluating thousands upon thousands of CDs, we came up with a list of the most commonly made mistakes folks make when putting out their own compact discs. While simulating a needle dropping onto a vinyl record might have been inventive and clever once upon a time, it is now simply annoying. A word of advice. Don't do it. Your friends' opinions matter the least, and no matter what they say you will always end up being deceived. Putting "hidden tracks" on a CD so that they startle the listener by popping up at odd, unpredictable moments is just plain rude.
It's not shocking. Face it. Though it may be hard to believe, more is not always better. Don't waste the time and money. License your songs to TV, Film and other Artists - Smashsongs. License your songs to TV, Film and other Artists - Major Publishing Deals.
Tip sheets and song plugging. Publishing how to videos. How to get a press release. Home - The Association of Independent Music. Self Publishing and Free Distribution for Books, CD, DVD. The Musicians Atlas - Make, Market, Sell Your Music More Successfully. RESOURCES - ISRC - Home Page. Music Publishing 101. An interview with Eric Beall, author of Making Music Make Money, An Insider’s Guide to Becoming Your Own Music Publisher, author of the Berkleemusic online course Music Publishing 101, and former VP of Creative for Sony/ATV Music.
Interview by Michael King Eric Beall has a long history in the music publishing business. Starting out as a songwriter, Eric has worked in many different capacities within music publishing, including Vice President of Creative for Sony/ATV Music in New York. There he oversaw a staff of leading writers and producers such as Billy Mann, Steve Diamond, Teron Beal, Walter Afanasieff, John Mayer, and many others.
Prior to joining Sony, he was the Creative Director for Zomba Music Publishing, where he signed and developed top writers like KNS Productions, Riprock & and Alex G. Interview with Eric Beall: Artists House: How can a songwriter catch the attention of a publisher? Artists House: How has the Internet affected the music publishing business? Untitled Document. Royalty Recovery Work. Casualties of the Music Business Royalty Recovery Work (Finding Out Where The Bodies Are Buried) (c)2000 Lynne Robin Green (worldwide rights reserved) Some things in life may happen that are really painful to talk about -so people tend to put it aside and they just don't talk about it at all.
Sometimes they may not talk about it to anyone - for many many years.. Like a deep dark secret, people tend not to admit their mistakes to anyone. Their frailty. PUBLISHER'S HALL OF SHAME - Lynne Robin Green / Li'l Hank's Guide For Songwriters. PUBLISHER'S HALL OF SHAME RULES YOU DONT BREAK (that may help you get a break!)
-by Lynne Robin Green (© 1998 by Lynne Robin Green. PUBLISHER'S HALL OF SHAME - Lynne Robin Green / Li'l Hank's Guide For Songwriters. Although it has been said over and over that nobody can predict a HIT or put the formula into stone as to what makes a song a HIT SONG, we can still judge it by our own learned intuition and our mental check list of all of the elements that we look for --(that are necessary for a good song "to become a great song aka' a potential commercial radio hit").
Firstly does the key lie in the TITLE? Is the title indicative of creating intrigue or curiosity as to what the song is about? Such as "I Almost Cut My Hair" or "Love Is The Perfect Imperfection".. If its not in the title itself --does the first line of the song grab your interest and lead you right into the story? Is it set in first person conversational form starting with "I".... We look for the song to have an unforgettable and catchy melody and a hook line and lyric that catches you and holds you waiting for the next verse in anticipation of hearing how the (song/story) turns out. Download Music Business Contracts. PRACTICE SAFE SONGWRITING. PRACTICE SAFE SONGWRITING !
(or Thou Shalt Cover Thyself -The Paper Trail) ©2002 Lynne Robin Green Worldwide rights reserved by the author Well this month's issue brings us the message of the importance of covering everything you do in the music business on paper . Crash Course. In the past seventeen years that I have been in the Music Publishing and Licensing field I have continually found there that is an intense need to try to help educate Artist's and Songwriter's on music publishing basics in order to help teach them firsthand -how this business works --SO that THEY are better prepared to understand the who,what, when where and why of contracts,licenses and royalties and the inner mechanisms of what drives the income wheels in music.
I have found that although there are many knowledgeable books on this subject--some are still very hard to comprehend (for the layman)-due to complex detailed use of the music legal terms and a lack of a simple explanation of the basic inner language. In this months new column I have decided to provide a sample excerpt from my own published textbook -that I use in teaching the Music Publishing Administration Workshop--entitled--'Everything You Should Know About Publishing- But Were Afraid To Ask'. 4. 6. 12. 15. 16. 18. 19. 21.
Contract.pdf (application/pdf Object) Everything You Want To KNow About Music Publishing, But Were Afraid To Ask. Publishing advice, tips and important stuff you need to know by Lynne Robin Green. Be sure to read these past columns from Lynne Robin Green.
They're like a gift from heaven: Music Connection Profile -Lynne Robin Green Meet the person behind the articles!