Showing posts with label music business. Show all posts
Showing posts with label music business. Show all posts
Tuesday, November 21, 2017
Wednesday, July 19, 2017
The Business of Making Music | #13 Types of TV Music
In this video I talk about the three types of music found in television shows....
1. The score
2. "Needle Drops"
3. Source music
4. Theme
5. Bumpers
6. Library Music
Each have their own qualities and requirements.
1. The score
2. "Needle Drops"
3. Source music
4. Theme
5. Bumpers
6. Library Music
Each have their own qualities and requirements.
For example...
The Business of Making Music | #12 Types of Film Music
In this video I talk about the three types of music found in films.
1. The score
2. "Needle Drops"
3. Source music
Each have their own qualities and requirements.
1. The score
2. "Needle Drops"
3. Source music
Each have their own qualities and requirements.
The Business of Making Music | #11 Intro to "Mailbox Money"
There are many sources of revenue for the musician/songwriter/composer.
Performance Royalties - issued in the US through BMI, ASCAP and SESAC, which are usage on radio, TV, restaurants, concerts, stores, internet, streaming.
Mechanical Royalties - from the writers/publishers share of record/CD sales, iTunes sales, Amazon and others.
CCLI income from churches for using worships songs.
If you are playing music or even pretending to play music (sidelining) on a TV show or in a Movie there is something called "Secondary Market Revenue" that is paid based on your percentage of the entire union contract.
Union jingles sessions pay "mailbox money" as reuse every 13 weeks.
Union record sessions will pay again if your name is attached to a song and that recording is used in a TV, commercial or film or other such use.
Performance Royalties - issued in the US through BMI, ASCAP and SESAC, which are usage on radio, TV, restaurants, concerts, stores, internet, streaming.
Mechanical Royalties - from the writers/publishers share of record/CD sales, iTunes sales, Amazon and others.
CCLI income from churches for using worships songs.
If you are playing music or even pretending to play music (sidelining) on a TV show or in a Movie there is something called "Secondary Market Revenue" that is paid based on your percentage of the entire union contract.
Union jingles sessions pay "mailbox money" as reuse every 13 weeks.
Union record sessions will pay again if your name is attached to a song and that recording is used in a TV, commercial or film or other such use.
The Business of Making Music | #9 Guard Your Brand
Here I talk about one of my few regrets in the music business, promoting myself too soon.
The Business of Making Music | #8 Should I Learn To Read Music?
A Modern Method for Guitar Vol. 1
A Modern Method for Guitar Vol. 2
A Modern Method for Guitar Vol. 3
A Modern Method for Guitar Vol. 1, 2, & 3
Melodic Rhythms for Guitar
Reading Studies for Guitar
Advanced Reading Studies for Guitar
Advanced Jazz Conception for Saxophone: 20 Jazz Etudes
Tommy Tedesco - For Guitar Players Only
ALSO be on the hunt for 25 cent Flute, Trumpet, Sax etc. studies at thrift stores.
Metronomes (though you could jut a free app on your phone that does this) -
Seiko Metronome
Korg Metronome
The Business of Making Music | #7 My 5 Reasons To Take A Gig
My five reasons are...
For the money
For the experience
For the connections
For friends
For God (or good causes)
For the money
For the experience
For the connections
For friends
For God (or good causes)
The Business of Making Music | #6 Be Your Own College
Can't afford to go to college? Think you are too old? Don't have the time? Be Your Own College. #1 - Figure out what you need to learn. #2 - Figure out how to learn it. #3 - Learn it. You will probably learn more from #1 and #2 than #3 surprisingly.
The Business of Making Music | #5 Should I Go To Music School?
A very important question. Should you go to music school? Will a degree in music make a career in music more likely? Possibly. If your school is in a major music town like LA, NY, Nashville, Miami or Atlanta it could help you forge long lasting connections.
Monday, July 17, 2017
The Business of Making Music | #4 Living Below Your Means
One way to guarantee a failure of any endeavor is to run out of money. A negative cash flow will eventually catch up with you.
The Business of Making Music | #2 Get In The Game
Here are a list of subjects I hope to cover in this series (adding to it all the time)....
Gigging - be prepared
Writing
Publishing
ASCAP/BMI
Session Work
Music Schools
Record deals
Touring
Writing for TV and film
Cue Sheets
BMI Statements
Library Work
Gear Acquisition
NAMM
Practicing - time management
Keep learning
Learn new instruments
Traits of Artists
Traits of successful musicians
Writing Pop Music
Split Sheets
Cue Sheets
YouTube
Streaming - Spotify, et al.
Social Media - Instagram and Twitter
Joining the Union
Being where the action is
Learning ProTools/Logic
Getting and Keeping Students
Contracting
Be Open to a Different Career in the Business
Be Upwardly Mobile
Home Studios
Making Connections
Getting in the Game
Live Small (below your means)
Producing
Film Sessions vs Record sessions
Powerful People
Don’t Believe Everything
It’s not who you know, it’s who knows you
Take Yourself to College
Here are list of jobs I've done in and related to the business of music (adding to this list all the time too!)...
Working in a Record Store
Working in a Guitar Store
Running Sound at a Nightclub
Teaching Private Lessons
Teaching Clinics
Teaching a Class at USC
Guitar Coaching Actors
Copy Work (doing charts)
Playing Jazz Gigs
Playing Top 40 Gigs
Playing Classical Music at a Restaurant
Playing Weddings (classical guitar)
Playing Rock Gigs
Playing in Cover Bands
Playing in Original Bands
Playing in a Pit Band (for plays/musicals)
Playing in Worship Bands
Leading Worship
Writing Worship Songs
Writing Rock Songs
Writing Classical Songs
Writing Pop Songs
Writing Music for Television
Writing Music for Film
Being a Music Director
Being a Contractor
Playing on Records/CD's
Playing on Movies
Playing on TV Shows
Playing on Jingles
Sidelining in TV Shows (on camera appearances)
Producing Records
Developing Artists
The Business of Making Music | #1 Something to Think About
NEW YOUTUBE SERIES!
Are you struggling trying to make it in music? Maybe you're meant to play a different role. And if you find success in that different role you'll no doubt find it more satisfying going "somewhere" than going "nowhere".
Here is LA Reid's interview on Charlie Rose.
Friday, August 7, 2015
Taking That First Step
The first step in making your dream a reality is to take that "first step."
It sounds obvious and it is. The saying "once begun, half done" applies to some degree. But for the sake of this post I'm going to define the "First Step" as the first BIG step. That step that if not taken your dream would only remain a dream.
In my case it was moving from Indianapolis to Los Angeles to become a session musician. I would be moving away from the safety of the home I grew up in and the security of the abundant work I had as a musician already.
At the time I left Indy, I had about 40 students (20 hours a week) and gig playing in a top-40 band on the weekends. Not to mention I was beginning to get a lot of calls to play with other groups in the area. I should have been satisfied but I wasn't. There was this dream. The dream to rub elbows with Tommy Tedesco, Steve Lukather, Lee Ritenour, Jeff Porcaro and all the other LA musicians that populated the credits of all the albums I bought. I bought some pretty awful records just because one of my favorite SoCal guitarists were listed in the linear notes. Many of these players also played in movies and on TV shows.
I was 15 when I decided that I wanted to be a Los Angeles session musician. A quite random and yet specific desire. Much of my daily rituals were focused on these goal. I developed a varied and rigorous practice regimen of up to 8 hours a day. This was a step, but not the First Step. Predictably my grades suffered. Except in the music classes that my very arts progressive high school offered.
I graduated high school early, missing out on a lot of the senior year fun, so that I could concentrate on my goal. Thinking I was done with school I set out to become somewhat self sufficient. This wasn't happening at this point so I enrolled last minute at Butler University. I majored in…. yes, music. This was same year that I started teaching at Phelan's Music in Carmel and started playing with Malachi, that top-40 band. Both of those jobs grew me as a musician (part of the plan) but made it difficult to continue my college education. So in order to save my mom some money and spend more time practicing I quit Butler after the first year and concentrated on moving to California.
That step was harder than I thought. It was becoming clear that this would be the First Step. It was quite daunting. I didn't have the courage. I kept delaying it 6 months. "I'll go after my birthday in July." "I'll go after Christmas in December." Hmmm, I guess I was expecting some cool gifts. I turned 19. I turned 20. 21 was fast approaching. Would I ever leave? I'd never been West of Illinois, let alone all the way to the Pacific Ocean. No doubt my friends and family doubted I would ever summon the courage to leave the Mid West. I was wondering this myself.
Then I had an epiphany. As my 21st birthday approached I thought I'd take a smaller step first. After turning 21 I would fly to LA and check it out for a week. If I didn't like it I would stay put. It was kind of an out. An excuse. The month after turning 21 I flew to Vegas (it was cheaper), rented a car and drove to Riverside to stay with friends of friends. Every day for a week I drove to LA. To the guitar stores on Hollywood Blvd., and to clubs to hopefully see musicians I "idolized" from afar, and generally just drive around and soak up all things "LA".
I went to the famous Baked Potato. I went to a place called Dantes to see Russell Ferrante, who's group The Yellowjackets I loved. Russell spoke with me for an hour afterwards. He encouraged me to pursue my dreams. I went a club called At My Place in Santa Monica and saw saxophonist Richard Elliot. His guitarist, Carl Verheyen, blew me away. I met him afterwards and set up a lesson while I was in town. He gave me some great tips. I saw Koinonia at The Flying Jib. Saw some inspiring music the whole week I was in Los Angeles. It was an exhausting and humbling week. I flew home.
I did it. I went to LA. I could say "it wasn't for me." I could stay put and continue my career path in the Hoosier state.
But I couldn't. I loved LA. I couldn't see myself anywhere else. That "little" first step gave me the courage to take that big First Step. It was now a forgone conclusion. Less than six months later I was living in Pasadena, where I still live. Yes it was difficult to pack all my earthly possessions in my Gran Prix and drive 2000 miles to a place where I knew not one soul. But I no longer had a choice. It was destiny.
That was my First Step. I've never had to make another so difficult since. A career is generally a series of small decisions, some with little consequence and some with great consequence. But none of it starts without that first step. Looking back I see lots of first steps. From moving to LA, to visiting LA, even something as simple as getting up everyday and putting in the work to grow as a musician.
What was or will be that step for you?
It sounds obvious and it is. The saying "once begun, half done" applies to some degree. But for the sake of this post I'm going to define the "First Step" as the first BIG step. That step that if not taken your dream would only remain a dream.
In my case it was moving from Indianapolis to Los Angeles to become a session musician. I would be moving away from the safety of the home I grew up in and the security of the abundant work I had as a musician already.
At the time I left Indy, I had about 40 students (20 hours a week) and gig playing in a top-40 band on the weekends. Not to mention I was beginning to get a lot of calls to play with other groups in the area. I should have been satisfied but I wasn't. There was this dream. The dream to rub elbows with Tommy Tedesco, Steve Lukather, Lee Ritenour, Jeff Porcaro and all the other LA musicians that populated the credits of all the albums I bought. I bought some pretty awful records just because one of my favorite SoCal guitarists were listed in the linear notes. Many of these players also played in movies and on TV shows.
I was 15 when I decided that I wanted to be a Los Angeles session musician. A quite random and yet specific desire. Much of my daily rituals were focused on these goal. I developed a varied and rigorous practice regimen of up to 8 hours a day. This was a step, but not the First Step. Predictably my grades suffered. Except in the music classes that my very arts progressive high school offered.
I graduated high school early, missing out on a lot of the senior year fun, so that I could concentrate on my goal. Thinking I was done with school I set out to become somewhat self sufficient. This wasn't happening at this point so I enrolled last minute at Butler University. I majored in…. yes, music. This was same year that I started teaching at Phelan's Music in Carmel and started playing with Malachi, that top-40 band. Both of those jobs grew me as a musician (part of the plan) but made it difficult to continue my college education. So in order to save my mom some money and spend more time practicing I quit Butler after the first year and concentrated on moving to California.
That step was harder than I thought. It was becoming clear that this would be the First Step. It was quite daunting. I didn't have the courage. I kept delaying it 6 months. "I'll go after my birthday in July." "I'll go after Christmas in December." Hmmm, I guess I was expecting some cool gifts. I turned 19. I turned 20. 21 was fast approaching. Would I ever leave? I'd never been West of Illinois, let alone all the way to the Pacific Ocean. No doubt my friends and family doubted I would ever summon the courage to leave the Mid West. I was wondering this myself.
Then I had an epiphany. As my 21st birthday approached I thought I'd take a smaller step first. After turning 21 I would fly to LA and check it out for a week. If I didn't like it I would stay put. It was kind of an out. An excuse. The month after turning 21 I flew to Vegas (it was cheaper), rented a car and drove to Riverside to stay with friends of friends. Every day for a week I drove to LA. To the guitar stores on Hollywood Blvd., and to clubs to hopefully see musicians I "idolized" from afar, and generally just drive around and soak up all things "LA".
I went to the famous Baked Potato. I went to a place called Dantes to see Russell Ferrante, who's group The Yellowjackets I loved. Russell spoke with me for an hour afterwards. He encouraged me to pursue my dreams. I went a club called At My Place in Santa Monica and saw saxophonist Richard Elliot. His guitarist, Carl Verheyen, blew me away. I met him afterwards and set up a lesson while I was in town. He gave me some great tips. I saw Koinonia at The Flying Jib. Saw some inspiring music the whole week I was in Los Angeles. It was an exhausting and humbling week. I flew home.
I did it. I went to LA. I could say "it wasn't for me." I could stay put and continue my career path in the Hoosier state.
But I couldn't. I loved LA. I couldn't see myself anywhere else. That "little" first step gave me the courage to take that big First Step. It was now a forgone conclusion. Less than six months later I was living in Pasadena, where I still live. Yes it was difficult to pack all my earthly possessions in my Gran Prix and drive 2000 miles to a place where I knew not one soul. But I no longer had a choice. It was destiny.
That was my First Step. I've never had to make another so difficult since. A career is generally a series of small decisions, some with little consequence and some with great consequence. But none of it starts without that first step. Looking back I see lots of first steps. From moving to LA, to visiting LA, even something as simple as getting up everyday and putting in the work to grow as a musician.
What was or will be that step for you?
Monday, March 4, 2013
All You Need To About The Music Business
Yeah, it's not in this blog, but the title says it's in this book.
It actually is a really good book letting you all the ins and outs of the business. All the ways your music can make you money.
It actually is a really good book letting you all the ins and outs of the business. All the ways your music can make you money.
Friday, September 28, 2012
Stay put...
Want to get hit in paintball? Don't move.
What to get busier in the music business? Also don't move.
OK, first move to where you want to be in the biz.
Love Steve Gadd. Don't mind the cold. Have lot's of savings. Happy to use studio amps and sometime studio guitars. Maybe New York is for you.
Love Jeff Porcaro. Don't want to worry about a heat bill. Have some savings. Prefer to use your own gear. Maybe LA is for you.
Love Floyd Cramer. Don't mind developing a southern accent. Have a savings account. Have country chops. Maybe Nashville is for you.
Other towns that tend attract the best and brightest musicians, artists, writers and producers...
Atlanta - Big urban scene.
Miami - Big Latim Music scene.
Austin - Alt. Country and blues.
Chicago - Blues, rock and urban.
Seattle - Rock and arty.
Detroit - Motown.
Boston - Jazz and rock.
These are all generalities. I only really know anything about the LA scene. Do your own research. Having family and/or connections in your final destination doesn't hurt.
Check out the city or cities. Drive/fly there. You're more likely to make the move if you commit to a visit. Once I turned 21 I flew from Indianapolis to LA and stayed with friends of friends in Riverside. Not very close to LA. The reason I waited until I was 21 was so I could go to all the clubs, like the Baked Potato, and see/meet some amazing musicians. Spent an hour talking to Russell Ferrante, met and took a lesson with Carl Verheyen, saw Abraham Laborial, Richard Elliot, among others.
Find an area that you could live in long term. Visualize maybe marriage and kids. Still want to live there? You can always move, it's not a hard and fast rule, but every time you do it tends to cost you money and connections. Also when you stay put you tend to learn your way around. The shortcuts. The good deals. The best eateries.
Now that you've chosen your new home. Get a number. I originally had a 213 number when I moved to LA. Then it became 818. Then 626. Once cell phones came about I stuck with 626. It's Pasadena, where I am, and many points East. However, if I wanted to get producers, etc to think I was in the Record Capital of the World I could've gone with 213. 818 or 323. That's LA (Hollywood), the Valley and the Westside respectively. So chose your prefix carefully if you chose to change your number at all and then stick with it.
Also pick up a map of your chosen city and put it on your wall. Learn it. I did this before moving. Cities I'd never been to, Burbank, Pasadena, Malibu, Santa Monica, sounded familiar and I knew where they were.
We've been in the same place for 25(!) years and we love the area. Our kids were raised here. It's felt like home for a long time.
What to get busier in the music business? Also don't move.
OK, first move to where you want to be in the biz.
Love Steve Gadd. Don't mind the cold. Have lot's of savings. Happy to use studio amps and sometime studio guitars. Maybe New York is for you.
Love Jeff Porcaro. Don't want to worry about a heat bill. Have some savings. Prefer to use your own gear. Maybe LA is for you.
Love Floyd Cramer. Don't mind developing a southern accent. Have a savings account. Have country chops. Maybe Nashville is for you.
Other towns that tend attract the best and brightest musicians, artists, writers and producers...
Atlanta - Big urban scene.
Miami - Big Latim Music scene.
Austin - Alt. Country and blues.
Chicago - Blues, rock and urban.
Seattle - Rock and arty.
Detroit - Motown.
Boston - Jazz and rock.
These are all generalities. I only really know anything about the LA scene. Do your own research. Having family and/or connections in your final destination doesn't hurt.
Check out the city or cities. Drive/fly there. You're more likely to make the move if you commit to a visit. Once I turned 21 I flew from Indianapolis to LA and stayed with friends of friends in Riverside. Not very close to LA. The reason I waited until I was 21 was so I could go to all the clubs, like the Baked Potato, and see/meet some amazing musicians. Spent an hour talking to Russell Ferrante, met and took a lesson with Carl Verheyen, saw Abraham Laborial, Richard Elliot, among others.
Find an area that you could live in long term. Visualize maybe marriage and kids. Still want to live there? You can always move, it's not a hard and fast rule, but every time you do it tends to cost you money and connections. Also when you stay put you tend to learn your way around. The shortcuts. The good deals. The best eateries.
Now that you've chosen your new home. Get a number. I originally had a 213 number when I moved to LA. Then it became 818. Then 626. Once cell phones came about I stuck with 626. It's Pasadena, where I am, and many points East. However, if I wanted to get producers, etc to think I was in the Record Capital of the World I could've gone with 213. 818 or 323. That's LA (Hollywood), the Valley and the Westside respectively. So chose your prefix carefully if you chose to change your number at all and then stick with it.
Also pick up a map of your chosen city and put it on your wall. Learn it. I did this before moving. Cities I'd never been to, Burbank, Pasadena, Malibu, Santa Monica, sounded familiar and I knew where they were.
We've been in the same place for 25(!) years and we love the area. Our kids were raised here. It's felt like home for a long time.
Tuesday, November 29, 2011
Thursday, October 13, 2011
Cool Site #16 - Record Label Resource
Record Label Resource is, according to their home page, "the best resource on the internet for the independent record label. It doesn't matter if you're just starting a record label or you've been running an indie label for years -- our site offers an incredible wealth of music business information and music industry contacts. We provide free, unlimited access to our extensive music industry database, with information on CD manufacturing, CD mastering, radio promotion, entertainment lawyers, and so much more."
Lots of links and info - Business Essentials, Publicity, Legal, Radio Promotion, Manufacturing, Record Companies, Mastering, Recording, Printing, Touring and Retail Marketing.
Great place to start.
Lots of links and info - Business Essentials, Publicity, Legal, Radio Promotion, Manufacturing, Record Companies, Mastering, Recording, Printing, Touring and Retail Marketing.
Great place to start.
Monday, September 26, 2011
Cool Site #15 - musiclegalforms.com
musiclegalforms.com is a great source for cheap, diy legal forms.
Thinking about starting you're own record label? Managing artists? Publishing songwriters? Don't hire a lawyer (at hundreds per hour) go to musiclegalforms.com.
Some of the categories are General Music Business Contracts, Distribution Contracts, Live Performance Contracts, Recording Contracts, Songwriting/Copyright Contracts, TV/Film Contracts.
All for under $20!
For example - Film Sync Licensing Agreement, Royalty Release Form, Musician Work-For-Hire Agreement, Band Performance Contract Rider, Finders Fee Agreement and dozens of others.
Check it out. I've used it.
Thinking about starting you're own record label? Managing artists? Publishing songwriters? Don't hire a lawyer (at hundreds per hour) go to musiclegalforms.com.
Some of the categories are General Music Business Contracts, Distribution Contracts, Live Performance Contracts, Recording Contracts, Songwriting/Copyright Contracts, TV/Film Contracts.
All for under $20!
For example - Film Sync Licensing Agreement, Royalty Release Form, Musician Work-For-Hire Agreement, Band Performance Contract Rider, Finders Fee Agreement and dozens of others.
Check it out. I've used it.
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