The Foundations of Singing: What Is Vocal Projection and Why Is It Important?

Projection is an important vocal technique, where you are using varying levels of 'vocal volume' to project your voice while you are singing. This technique will vary according to the emotion needed within the song and conditions of where you are singing, for example; indoors or outdoors or with a microphone or without. Projection is…

Projection is an important vocal technique, where you are using varying levels of 'vocal volume' to project your voice while you are singing. This technique will vary according to the emotion needed within the song and conditions of where you are singing, for example; indoors or outdoors or with a microphone or without.

Projection is a technique that can also contribute to the Light and Shade and the overall dynamics of a song when it is performed and is often not used to its full ability, which can result in the song sounding a little bit lifeless and lack lustre at times !

The 2 techniques, Projection and Light and Shade, go hand in glove when you are singing, as they are both responsible for the same outlet, which is to enable the audience / listener to connect with the vocal performance and fully understand and appreciate the song's meaning and emotion.

I personally believe that a beautiful example of where both projection and Light and Shade have been used perfectly, is Michael Crawford's rendition of Andrew Lloyd Webber's composition of 'The Music of the Night', from the musical Phantom of the Opera. Through this song, as the listener, you are taken on a musical journey expressing the Phantoms deep and mixed emotions of pain, suffering and love and he completely captures you from start to finish and it's deeply down to his amazing use of Light and Shade and Projection that give their song its power!

In order to successfully project your voice, you must use your diaphragm correctly. As breath control is the main support mechanism behind projection and it's technique. It is about knowing and understanding exactly how to inhale, store and release your breath at the right time and only releasing the required amount.

How to use your diaphragm correctly to project your notes successfully:

Step 1 – Inhale, ensuring that you do not raise your shoulders, as this will result in shallow breathing.

Step 2 – Store your inhaled breath in your diaphragm.

Step 3 – Only release as much breath when singing, as is absolutely necessary, to avoid lack of diaphragm support, resulting in weak sounding notes and head rush!

Remember that it is the vocal sound required that determines your technique and a very 'breathy' sounding note can need the same diaphragm support and positioning as a strong high note!

Vocal projection is another technique that highlights the difference between someone who sings and 'a singer'! In addition to this, as with all other vocal techniques, it also helps to make sure that you are looking after you voice properly.

Please go to http://www.hollieyourweddingsinger.co.uk to find out more about where to find my 'Top Tips' and 'Vocal Exercises' Blogs and Articles.

A Short Guide to Getting Signed to a Record Label

A contract from a record label may seem like the hardest thing in the world to attain. In a world full of people seeking an elusive contract, there's got to be some way to achieve fame and fortune. The first thing that's worth noting, and here is where many artists go wrong, is that the…

A contract from a record label may seem like the hardest thing in the world to attain. In a world full of people seeking an elusive contract, there's got to be some way to achieve fame and fortune. The first thing that's worth noting, and here is where many artists go wrong, is that the music industry sees music as a product to be bought and sold: A band has to be not only talented but marketable as well.

With a band's music, there is one absolutely essential element regardless of genre or style – rehearsing. Find time to practice older material and make time to write new material. Make sure everyone in the band knows how to play the material and that they're familiar with the instruments they play. When playing live, everyone should be at the top of their game. Mistakes will happen, but if one minor flub derails an entire song or show, any music industry representative in the audience will take a pass. When it comes to the local music scene, do not be afraid to make friends with other musicians: Attend other band's shows, befriend other acts you play with and make an effort to get to know the promoters, as this will help you get more future shoes, and the all important out of town shows so that you can develop an audience. Having a wide circle of friends and acquaintances may also help the band get introduced to the right people. Any band has to find the right venues to display their talent and learn the places and people to avoid as well, and unfortunately almost every artist will come across a promoter or venue that refuses to pay them, or in some way exploits or lets them down . Fortunately, the majority of promoters and venues are good to work with, and you can cultivate many thinking and mutually beneficial relationships.

Try to get a following and some fans, as a fundamental fan base will help a record label form a positive opinion of your band, and will reassure them that signing you will be a worthy investment. The best way to do this is to play lots of shows in as many places as possible, and give out or sell your music and CDs at these shows. It is also vital that you develop an online presence. Sites like soundcloud.com and bandcamp.com allow you to listen to and download songs , and this makes them a great resource for the unsigned artist, as you can upload your work and grow your fanbase.

Use social media, such as Facebook and Twitter to promote your presence and your CDs and shows, and upload videos to YouTube of your performances, even if they are just a bedroom recording. Try to develop viral videos of you as a band, ideally something clever and unique, or at least a quirky and interesting cover of another song, as these kinds of videos can generate a huge amount of interest.

Do not be afraid of trying to look good, either. There's too many instances of bands that are style over substance, but a record label will not take a chance on a shabby-looking band, except this is some way key to the band's image and music style, for example if you play grunge music . For the most part though, basic hygiene and grooming go a long way. It's safe to say that the music being played is more important, but potential fans and talent scouts will be confused if a band's look does not match the music they play. For instance, how many heavy metal bands wear tuxedos? There's no exact formula, but striking a balance between style and comfort can help any band feel confident on stage.

A good press kit is one of the easiest ways to show a record label everything they need to know about a band and their music. A demo CD, an 8X10 photograph of the performer or band, and a biography (one page) are the basic items needed. Whether recording live, in a studio, or at home is going to cost money, but there are many options. Band photographs can be done professionally or with the help of friends. Thanks to digital photography, professional-looking photos are much easier to come by. For a band biography, a description of what music the band plays and background information on the band is all that is needed. Try to get press reviews of both your live shows and demo from local press and music magazines and include these in your press pack: Hearing glowing reviews of your work can help a record label decide if they are interested in your work.

Your demo CD must follow the convention that is broadly accepted by record labels, with three tracks on it. No more, no less. Start with your strong song, and then try to include two more strong songs, possibly including one sounds a little different to your usual style to showcase the full spectrum of your sound.

When contacting record labels it is worth doing two things before you start. Firstly, ask yourself if your music is appropriate to the record label's repertoire? If you make exploratory jazz, then a pop record label is definitely to consider you. Secondly, make sure you find out if the labels you approach are accepting demos before you submit or send anything to them. If they are not your beautiful demo and press pack will probably find their way straight into the bin, and you'll have wasted time and effort. Have a read of the record label's website, as it may be the case that they offer online submissions or email submissions. For this reason it is useful to create both digital and hard copy versions of your press pack and demo for ease of submission.

A record label depends on individuals referred to as A & R (artist and repertoire) Representatives. These individuals have a great deal of clout in deciding who is signed to a record label. There are many publications that list contact information for these individuals. This requires some research, but to ensure a press kit falls into the right hands, find a label that matches your style of music. Do not be afraid to cultivate multiple options and send out a demo to any record label that fits your style of music. With some persistence, an interested A & R rep may be at an upcoming show. Nothing is guaranteed, but if all these elements are in place, any band stands a better chance of making it in the music business.

How Power Amplifiers Produce Incredible Sound Effects

Everyone must be aware of the basic purpose of using amplifiers which are used to take signal signal and increase their amplitude to drive speakers. A power amplifier is an electronic device that takes electrical signal at input level and later amplifies it to increase power. The power boost can be achieved by merely increasing…

Everyone must be aware of the basic purpose of using amplifiers which are used to take signal signal and increase their amplitude to drive speakers. A power amplifier is an electronic device that takes electrical signal at input level and later amplifies it to increase power. The power boost can be achieved by merely increasing input signal voltage. This power amplifier has always been used to power output source of any stereo speaker, relay or motor.

These get required amplification energy for input signals directly from AC wall outlet where they are linked to. The perfect amplifier is used to take energy from AC outlet and convert it into useful one. However, in reality no amplifier performances efficiently, always some energy from wall outlet gets wasted. This energy is later dissipated in the form of heat which is not considered good for any electronic product. This type of heat dissipation is one of the largest enemies for electronic equipment, so it is very much important to ensure that these gadgets have sufficient provision for air flow exhaust or convection cooling.

Ever wonderred what are the basic components of power amplifiers these are power supply, input stage and output stage. Here power supply converts alternating current from any electrical signal at input outlet into direct current. The power supply is used to send DC signal to input stage which is then transferred to output stage, where actual signal amplification takes place. This output stage is later connected to speaker.

Power amplifier ratings are calculated in terms of watts which gives an idea about approximate maximum power output produced by them.

These are majorly transistor-based amplifiers available in the form of vacuum tubes meant for internal circuitry. These are also generally smaller than other tube-style counterparts and are more efficient and more cost effective.

These come in three different types which are widely used in audio systems depending on the user requirements. The output stage of these power amplifier types depict how the output circuit design is.

• Class A amplifiers do have very low level of distortion. Whereas Class B amp has price much less than any Class A amp and do have an efficient overall operation.

• The class AB amplifiers have the combination features of Class A and Class B. This Class AB is most widely used in home stereo systems.

Proper care should be taken to ensure that the power amplifiers do not exceed the wattage capacity of the attached speakers.

Why Not Learn How To Write Music In 2013?

If you would like to learn how to write music, then you might just want to pursue a course of study as a songwriter. However, you should know that in order to learn to write good music, you will need to be very much aware of how the industry works. You should know what kinds…

If you would like to learn how to write music, then you might just want to pursue a course of study as a songwriter. However, you should know that in order to learn to write good music, you will need to be very much aware of how the industry works. You should know what kinds of words that people like to hear when listening to a song and the select few words that you should avoid.

One of the very first things you will learn when studying how to write music, is what you would like your listener to know. A typical listener will want to know more about the lyrics. They might even be looking for something in their chosen music that is different. Possibly, music which adds a certain dimension to their party or concert. Keep in mind how focusing on certain instruments will change the song dramatically. This can be beneficial or possibly detrimental to the overall song. You will learn when and why you should attempt to do it this way.

Next, you will want to incorporate something real in the lyrics. Possibly something or some event that you have personally gone through in your life. Why? Because people can feel it when the lyrics are very deep and have a story behind them. You might be able to create lyrics that sound catchy. Unfortunately, that is not enough in order to succeed with today's audience. If the lyrics are also deep with a meaning, then you will have stumbled upon the recipe for success!

When studying how to write music, you will also learn that you must avoid writing about a cliche. You will need to learn a lot about melody, about rifts, about all the different instruments, and how they can help you with improving your lyrics and so on.

When you write music, you should be in the state of mind that you are trying to communicate through your song. If that state is happiness for example, then you should also be happy. Being in such a state will make you feel inspired to the point of writing good lyrics. If you want your song to be sad, then try to get yourself in a sad situation.

Now that you know these few tips, if you want to learn how to write music, start doing your homework regarding the schools that can help you to achieve this dream. Technical schools are more than adequate in satisficing this requirement. With just a little bit of schooling, you will be penning songs like all the great music writers of the past.

How The DJ Can Entertain a Mixed Age Group

There are so many occasions where you will need to invite friends and family, and some of whatever maybe a lot older or younger. A great occasion where you will see guests of mixed ages is at a wedding. On these occasions the DJ has in some ways an easier job, as everyone is generally…

There are so many occasions where you will need to invite friends and family, and some of whatever maybe a lot older or younger.

A great occasion where you will see guests of mixed ages is at a wedding. On these occasions the DJ has in some ways an easier job, as everyone is generally in a good mood anyway and normally by the time of the reception is ready to party! From experience the older generation (Nan's & granddad's) tend to get up on the dance floor a bit earlier, and if this is the case the DJ should either take requests or make an intelligent decision and play songs that would they would probably dance to. So, up on the dance floor dancing away you have the older generation, however now 5 people in their twenties want to join in, but they do not like, or know the old 70's song the DJ is playing. Now the DJ has to decide what they're going to play to keep everyone on the dance floor and happy. They could take a risk and change the music to something upfront and new, however there is a risk of the older generation walking off. The safest choice for the DJ is to play a tune which is very popular among all age groups and relatively new, as the older and younger generation will probably know and like it. A classic like Amy Winehouse and Valerie would go down well, as it is a classic, but modern sound which everyone can enjoy. Of course one song only is not going to keep going for long, so the DJ must think of a few more at least until another group of people gets on to the dance floor.

Another occasion where you could see a mixed age group is at a birthday party, and the DJ has a few options to make sure everyone gets there fair share of music and entertainment. The key to successful Birthday party is to ensure the person celebrating their birthday feels important and special and the DJ should focus a good amount of attention on them. They will be excited that the DJ has announced their Birthday to everyone and people will get excited too.

Music is one way to entertain everyone, but for me another equally good way to keep everyone happy and in harmony is to use the microphone, to communicate with the audience and create the best possible atmosphere. Introducing a bride and groom to their first dance will for sure get a cheer from the audience, or saying happy Birthday will get a cheer from the entire audience. This will create atmosphere and the mixed aged audience would probably focus less on what song is one and just enjoy the atmosphere.

Another thing the DJ should do is take requests, announcing this over the microphone to the entire audience. In this case people may not like a particular song that is being played at the time, but they could wait some time for their requested song to be played. Again, allowing more and more people to fill up the dance-floor as the night goes on.

If the DJ has a busy dance floor, they will find it easier to keep it that way, providing the song choices are good and cater for a wider audience. Playing a specific genre could entertain a couple of people on the dance-floor, however others may leave if the song is un-commercial and unknown.

Above all keeping the music commercial, whether it be old or new would normally satisfy any crowd, unless a specific genre has been requested.

Headphone Amplifiers Favorite of Private Listeners

A headphone amplifier is a device that can drive the headset used for private listening. An amplifier is a device that helps to increase the amplitude of sound signal levels. The portable headphone amp constituents of an amplifier with gain or volume that can be adjusted so that sound can be heard at most preferred…

A headphone amplifier is a device that can drive the headset used for private listening. An amplifier is a device that helps to increase the amplitude of sound signal levels. The portable headphone amp constituents of an amplifier with gain or volume that can be adjusted so that sound can be heard at most preferred levels.

The audio listening habits vary from person to person. Some people prefer to listen to music through a speaker system and some prefer to listen in a private environment. The music systems are used depending upon the preference some may be used as an open-air mode of listening, while some are used in a closed-air type of listening. It all depends upon the audience or the listener itself.

People always prefer to use headphones to listen to audio in any noisy environment. There may be some conditions where a person desires to lower other sound to listen to his favorite music collection. Take for example monitoring equipment which is always trusted by various musicians in order to listen to his or her own amplified audio.

The normal amplifiers that we offer do have signal splitting feature which creates a drastic drop in quality due to the technology used. Whereas tube amplifiers are completely different as these tube devices deliver real sound quality. The tubes that we use are very different as they tend to change signal path along of higher distortion and noise than solid state devices.

These headphone amplifiers are used for many reasons at home. Most of the computers used for personal use already have a sound card installed which easily drives headphone directly. Some applications require an additional amplifier meant to be used for headphones. For listening to any audio it requires frequency equalizer that needs additional gain for best results. The home stereo equipment consistors of integrated amplifiers that easily drives headphone. These integrated amplifiers or preamplifiers have been used for microphones.

The music players or DVD players have an inbuilt booster amplifier that is used to drive speaker system which helps headphones to a certain extent. The levels are not high as portable music player is connected to headphone amp to get desired audio. The use of headphone is recommended to listen to news and music or watch movies that maximize audio because of total absence of noise. Sound quality may also be enhanced by improving audio frequency response by using a combination of an audio equalizer and portable headphone amp.

The Do It Yourself Approach to Music

DIY Music The music business has changed drastically over the years and since the 60's band and artists have always relied on getting signed to record labels, management and publishers and many still do today. So what has changed? The Internet has changed everything, with digital mp3 sites popping up in vast numbers every year…

DIY Music
The music business has changed drastically over the years and since the 60's band and artists have always relied on getting signed to record labels, management and publishers and many still do today.

So what has changed?

The Internet has changed everything, with digital mp3 sites popping up in vast numbers every year which allows artists and small digital labels to release and promote their own music, bypassing the big records labels. I still think that the larger record companies are an essential part of an artists career, taking them to the next level. However, most record companies prefer the artist to develop their own career by online promotion with social networking sites, digital distribution, online radio stations, blogs and websites. In fact, there are so many avenues available to the musician, band and artist today.

If you work hard at your own promotion and marketing online and build up a massive fan base over time then you are most likely on the radar of big record companies, publishers and managers, but you will have to firstly make killer music and then do all the online promotion and marketing to build your fan base.

Publishing

As some of you already know my main experience is with dance and electronic music and over the years I have released several underground tracks and have had some success with a few projects. In the 90's I looked after my own publishing which was a task but I managed to learn the routes with the MCPS and PRS as I had a track licensed to a big selling compilation and took the plunge with registering with the collection societies. I would advise you to either find a publisher if you can because there are plenty of forms to fill in although today its all done online when you register your music. It's fairly straightforward but can be time consuming when really you want to be spending time on the creative process. This just adds another task to the ongoing jobs you need to do yourself but if you have time then it pays off as you can keep 100% of your royalties. A good publisher will work for you and chase royalties worldwide from every angle possible but they typically take a percentage. Some companies take 50% and others take 30%. I have managed to find a publishing company that takes 30% leaving me with 70% and they also push your work and pitch your music to TV, film and media so there are many benefits with signing to a publisher.

Digital Distribution

If you want to release your own music then the Internet is the place to search for digital distributors. There are many including CD Baby and Tunecore which are the most popular. If you want to get your music on iTunes worldwide and Amazon, Spotify, Emusic and many more then these companies help you do this at a small price. They only charge you a fee to upload a single or album and you keep all the sales revenue.

Online Radio

Online radio stations are a great way to get your music heard and I have found that Last FM and Jango have some really great ways of promoting your music. I have used Jango recently and found it quite effective but you do need to pay for plays. I would advise for you to go for 1000 credits which is fairly cheap. Their prices are on the website. Your music on Jango will rotate with artists that are similar to yours. You can set this up on the site when you register and upload your music. Listeners can also become a fan of your music and Jango will send you an email stating their name and location. Some fans can leave you an email address which is very handy for building your fan base. You can also send 3 bulk messages to your fans every week from the Jango dashboard which is also a great way of keeping in touch with them. You could offer them free downloads from time to time to keep them hooked. Once you have them worshiping the ground you walk on then they will tell all their friends about your music.

Soundcloud

Soundcloud is also another great website to upload your music for the world to hear. Most big artists are on there. There is a free account but it has a limited upload time and you can not post your music into the many groups that are listed on the site. I advise that you buy one of the premium accounts on offer as you have more upload time and you can post your music to groups which will bring you more listeners. Soundcloud also includes many apps which can be run alongside the site. You can also download a Soundcloud app for the iPad which is great.

Vibedeck

There is one more site that I recommend for artists that want to sell music. Vibedeck is an unbelievable site for artists as it is free. You can upload and sell your music and they will not charge you a penny. They only charge for the additional services which include 60 second previews, branded player etc. you can also embed the code into your website where it enables your fans to purchase your music, donate or download for free, whichever you choose. You must have a PayPal account with Vibedeck as you will not get paid otherwise.

There are plenty more ways to promote and market your music online and there are too many to list here. The sites and methods listed in my article are just a few that I have tried and found effective, so get producing and promoting your way to a profitable and successful career in music.

What Every Music Artist Needs To Know About Crowdfunding

Sometimes referred to as fanfunding, hyper funding, micropatronage, or other such terms, crowdfunding can be defined as the activity of raising money from the public through individual contributions that are facilitated by a fundraising campaign hosted on one or another Internet website. A kindly of third-party fundraising schemes have garnered most of the attention these…

Sometimes referred to as fanfunding, hyper funding, micropatronage, or other such terms, crowdfunding can be defined as the activity of raising money from the public through individual contributions that are facilitated by a fundraising campaign hosted on one or another Internet website. A kindly of third-party fundraising schemes have garnered most of the attention these days, like Kickstarter and Indiegogo, but there are estimated to be over 500 crowdfunding platforms around the world serving individuals and organizations of almost every stripe.

At its root, the crowdfunding concept is very simple. You post your project idea on a website that is set up to accept contributions, spread the word about it any way you can, and hope people become interested enough in it to contribute.

There are several general types of crowdfunding models, but only three that seem at all relevant for the independent artist – the donation model, the investment model, and the micro-rights model.

The donation model runs on the promise that contributors give to a project without expecting any financial return, although some other form of incentive to donate is usually offered (a perk such as a personal letter of thanks from the creator, updates, previews, or whatever ). Indeed, bigger incentives are very often provided to increase larger donations.

This model commonly involves the majority of money flowing from many donors providing relatively small contributions. For the music artist, contributions would usually be towards an audio or video recording project, or a tour, or something the artist needs to acquire in order to pursue their career, such as a piece of equipment. While no two crowdfunding services of this ilk operate in exactly the same way, they typically allow for the project creators to keep all money raised over the lifespan of the campaign, minus a relatively small commission.

The investment model is one in which money is provided in return for a promise of something of equivalent or greater value in return. These can take several forms, the most common being lending arrangements and advance purchases of the item, but may also including a share of ownership.

The micro rights model allows artists with a music product (or tour) in the works to raise money by selling single-purpose rights (a “micro” license) to individuals or organizations willing to promote the item (or upcoming performance) in their locality in return for a share of the income on temporary sale of product (or tickets) that they pre-order. These may be entrepreneurial types who are looking to earn money for themselves, or non-profits wanting to raise funds for their organization or a cause, and they might be inclined to go so far as to actually organize a performance event for the artist.

Currently, the donation model is the most popular approach in crowdfunding, with well over half a billion dollars being raised this way in 2011. For the artist it is a significant innovation, in that it is a true departure from the traditional patronage model of earlier times when it was almost exclusively the wealthy who supported creators of artistic works. The other models are arguably less innovative than adaptive, more or less fitting pre-existing financing concepts into the networking environment of the Websphere.

All sorts of variations on, and even combinations of, the above models exist; and policies, procedures and features vary from site to site. For example, some do not release the funds to you without a designated monetary target is reached, and will refund everyone's money if it is not; others permit you to keep whatever is raised. Some offer both options.

Thus, before committing to a particular site, you should assess both your own particular needs and the merits of the site in order to determine which model, and which of the multitude of third-party platforms out there, is the best fit for you. In this regard, it helps to understand and evaluate such things as the site's track record of success, what other complementary services they may offer, their system's functionality, the artist's obligations, their privacy policy, their protocol and terms of agreement, whether safeguards are in place to protect contributions from misappropriation while under their administration, and so on.

Interestingly, there are artists who have chosen to bypass these crowdfunding “middlemen” altogether and deal directly with the public, relying on their own website, social media, and whatever other means they can to drum up support. In such case, an extra level of trust must form between the artist and potential contributors than would be the case if they were sourcing through an established third-party site. The upside is that there are no responsibilities to pay and you set your own rules of engagement; plus, all the time and effort you spend marketing your project will be drawing people to your website, not that of some third-party. Crowd sourcing this way has worked well well for some acts.

Some people carry the misconception that raising money through crowdfunding sites is pretty well a slam-dunk, similar to the rather naïve “just build it and they will come” attitude some have about their own website. Truth is, you need to have a sound strategy around raising money this way and be diligent about implementing it in order to make it work for you. In this respect, crowdfunding is no different from other methods of fundraising-it takes effort and having something about you or your music that joins.

I have one final thought on this whole subject, which has to do with the potential legal implications of facilitating financial transactions through a third-party crowdfunding site.

Ideally, due diligence should be determined by the artist to ensure that he / she is protected against (and indemnified from) any misrepresentation, negligence, misappropriation of funds, and copyright / patent infringement by the site. For example, consider the possible consequences if a crowdfunding site an artist was using were to be sued by another site over a patent infringement issue. If the defending site were to lose, or a cease and desist order issued by the court, that might put the site out of action for some time and the artist's funding efforts in limbo. It could even jeopardize already contributed funds still held by that site. To my point, at the time of this writing, Kickstarter just happens to be embroiled in a significant legal dispute with ArtistShare over the possible infringement of ArtistShare's crowdfunding patent. It will be interesting to see how that plays out.

© 2013 Graham Way

How to Promote Your Music

HOW TO PROMOTE YOUR MUSIC WITHOUT THE INTERNET PLAN FOR MUSIC PROMOTION Commonly, a good idea to promote music comes in the head at the most inopportune times, such as when reading or in some exotic places. The best piece of advice is to buy a notebook and write down the ideas as they come.…

HOW TO PROMOTE YOUR MUSIC WITHOUT THE INTERNET

PLAN FOR MUSIC PROMOTION

Commonly, a good idea to promote music comes in the head at the most inopportune times, such as when reading or in some exotic places.

The best piece of advice is to buy a notebook and write down the ideas as they come. Do not rely on your memory. It is common that after a while you forget these thoughts.

Many ideas, too little time

Once you have compiled a list of excellent, interesting ideas for the development of your career, think of all possible ways to use them in practice. Most musicians are lost at this point, not knowing where to start, and do not do anything. Or do, but very little, carrying only a small part of what has been coated. Do not overload yourself, try to be consistent. Before you begin to engage in large-scale promotion, remember two main things that need to be performed every day.

1) Write, record, and do good music. It's no secret – the most brilliant and creative promotional ideas and technology advancement can not force people to listen to and buy mediocre music. Therefore permanently hone your compositional and poetic skill. Make at least one really great song which will already be enough to light the fire of your popularity.

2) The second thing you need to do every day – is to take steps towards finding new listeners and gain their attention and sympathy. Try to improve technical skills and find friends in the music industry, do not be distracted from the main thing which is to find new audiences and communicate with old fans of your music. The meaning of your work is in your listeners. The fastest way to spread your music is by word of mouth, so do not forget to keep a good relationship with your fan base.

So formulate a plan … a perfect plan … and … Get out and promote yourself!

HOW AND WHERE TO PROMOTE MUSIC

Let me ask you a question … What should happen to a man, that he becomes a fan of your music? This question has many answers, but above all – this person should listen to your music. That's where people can hear your music: on the radio or on television, the Internet, in the club, a disco, a shop, a friend at home or in the car or … at your concert.Focusing on the latter, because , despite all the technological advances, live musical performance – still one of the most effective ways to find the audience, to sell the CD, and in the end, express yourself as an artist.I would hope that in your promotional marketing plan keep a lot of live shows and perform them with confidence …

But how and what shows are you planning?

The problem is that many musicians are stuck in a rut and no one can see other possibilities for their performances, except those that already exist. For example, most rock bands flock like lemmings in restaurants and night clubs. Most musicians playing acoustic instruments are concentrated in the coffee houses and crowded places. This is fine, but that's where the creativity ends. And then all these musicians have complained that they have few options, and they say that they have now to play. Reconsider your priorities about performing.

And ask yourself the right questions. If you are asking yourself “How do I organize more concerts in clubs”, then you are definitely to see any new opportunities. Put it another way, for example, “How do I bring my music to the maximum number of ideal fans through live performances?” Keep a list of your ideas about finding new fans and exposing your music.

Where can you perform your music in front of more potential fans? If the “night club” is your only answer, think further. How about public festivals, concerts for residents of certain areas of your city, during great discoveries, meetings, car shows, craft fairs, public beaches on sunny days … Keep your music business cards and flyers at hand. You never know when you will meet someone who is interested to your music … or bulletin board on which you can stick a leaflet. Business card allows the other party to remember about you after a while after the conversation, that you should look at your page, or visit the show.

Of course, not every option is right for you, by reason of your music, and opportunities to organize the necessary sound, stage sets and so on. But anything whatever comes to mind on the idea of ​​where to give a concert, you should consider carefully – the ideal features may not be apparent at first glance. It is useful to follow this advice because few musicians in such unusual places. So you will have very little competition in terms of performances, compared to the same clubs that have many musicians lining up at their doorstep for a chance to perform. But always remember to play at every chance you get. This is the easiest way to get your music exposed. Who knows? Maybe a representative of a record label will hear your music at the most unexpected time.

So … expand the capabilities of your live performances, ask yourself questions and you will see many new ways to find millions of fans through concerts.

How to Choose the Best Studio Monitor Speakers

Studio Monitors vs Consumer Speakers – What is the difference? Most if not all consumer sound systems will be fine-tuned so that every detail with be richer and additionally crisper of course this is ideal for the consumers. This may be good for the consumer, however it is not necessarily a perfect situation while planning…

Studio Monitors vs Consumer Speakers – What is the difference?

Most if not all consumer sound systems will be fine-tuned so that every detail with be richer and additionally crisper of course this is ideal for the consumers. This may be good for the consumer, however it is not necessarily a perfect situation while planning to work with the music you produce. Using such speakers one may try to tweak the chosen music to make up just for this when it is not critical and in some cases worsens your end result. It is possibly to take the song in another place and it probably will not really like it. Spending time laboring and getting no where fast. The end goal apart from making your music unbelievable is to always insure that it is “transferable”. This means that when you listen a track it will sound good practice everywhere on any variety of music player from an iPods to a home theater.

This is why studio monitors becomes very important as they try to not alter the audio. In an ideal world they will have a flat frequency responds meaning no changes whateversoever of any frequency. No studio monitor is perfect however they will be considered less adjusted compared to customer devices. In house and also professional studios a like have pair of studio monitors (other-wise referred to as reference monitors / speakers), and in many cases several sets of them so that you can reference material as it is composed and mixed to help with transferability .

How I found the right reference speakers for my home recording studio

You will find a large number of reference speakers how does one pick out the best one suitable for you? I will take you through the process I used when I started deciding. First thing establish the amount of money you are prepared to buy a set of studio monitors. They can range from $ 200 to $ 10,000 if not more. Because of this a financial budget is vital since it is possible to rapidly run out of money.

When I did this I borrowed $ 200- $ 400 for my monitors. In the world of reference speakers this should fall under the inexpensive studio monitor category; but it was realistic for what I can afford. Take into account you need several cables to hook them up to an audio interface. When you do have a spending budget it is time to begin performing a bit of web research. I started out looking online searching for “studio monitors” and “reference monitors”. I invested time on music forms similar to Gearslutz and The Womb to get different people's thoughts. I even asked other engineers and also music college students as well.

How to Create Your Exciting Music Video Production Step by Step

1. The music First off you need the music, it could be from a client, it could be from a friend, it could be yours. The music will inspire your music video production; be it the narrative, visuals, theme, all of the above or something that has nothing to do with the song but still…

1. The music

First off you need the music, it could be from a client, it could be from a friend, it could be yours. The music will inspire your music video production; be it the narrative, visuals, theme, all of the above or something that has nothing to do with the song but still works. With the genre of music you will be aware of conventions; some you may want to follow, others you wont.

Knowing the music inside and out is important; not just to get a feel for it but to know the peaks and troughs of the song which may articulate how it's put together. Additionally I've found the length of the track helps to get an idea of ​​how much work the music video will be; a standard 3 minute song or an epic 6 minute ballad.

2. Getting the ideas

What's the song about? How does it make you feel? How do you want people to feel? There are lots of ways to go about coming up with ideas and to be honest everyone does it differently. Me, I just listen to the music and see where it takes me. The thing about ideas is that they are unique to people's interests and styles so you're always coming from somewhere different to someone else.

The conception of your idea can start with an image, an idea, a scene; to be honest it does not matter because the hardest thing to do is start and to get started all you need is an idea. That idea leads to more ideas that grow and grow until you have your music video production. Now, one of the best things about ideas is that you get to change them, some elements may work better than others while adding more content works better in other scenarios. You have not shot anything yet so the best thing to be is flexible and maybe share your ideas with a friend of similar interests.

3. The production treatment

This is where you have to take what's in your head and put it in someone else's, there are many approaches to music video production but the right one is whichver one gets your point across. It's your idea, your music video, you get it, you're passionate about it but it's important that other people, a client for example, understand it. The main methods of approaching a music video treatment is to focus on: video links with relevant notes for areas of focus, a descriptive outline of the video production, a creative collage of images called a Mood Board or all of the above.

The treatment is also a good way to see how your ideas merge together and gives people the opportunity change things that do not work as well as others because once the treatment is green lit that is what you will shoot (although there is always space for innovation if it benefits the production).

4. Pre-production

You know what you need to shoot your music video production; now you need to figure out how to put it together. Crew, cast, dancers, props, locations. What do you need and do not need. Me? I stick with a crew I've worked with before, makes a much smoother shoot. Dates and availability plus the delivery date play a major part here as you may have to make some compromises in order to get the best result on time. If your favorite DOP is not available but the artist can only shoot on that day then you'll just have to find another.

Planning, planning and more planning. The better you plan for your shoot which includes call sheets, shot lists, shoot schedules and any other useful information the smoother your shoot day will be.

How to Mic Drums

I love mixing live sound, tracking in a recording studio, and I love to make happy music. What is happy music? Well in my opinion making music happy is making music sound great! One of the most difficult things for inexperienced audio engineers and music producers to do is get a great drum sound. Drum…

I love mixing live sound, tracking in a recording studio, and I love to make happy music. What is happy music? Well in my opinion making music happy is making music sound great!

One of the most difficult things for inexperienced audio engineers and music producers to do is get a great drum sound. Drum kits can be very tough to deal with just simply due to how many mics are needed, how many moving parts they have, and how frustrating drummer personalities can be.

Believe it or not, microphone placement is the single most important aspect of the getting a great drum sound regardless of the equipment you have at your disposal. Drums, microphones, preamps, eq's, compressors, and speakers can only sound as good as they are made. However the largest variable in the entire chain is the placement of the microphone. Microphones are input transducers but they are also the first equalizer in the audio signal path.

Do not believe me? Take a look at the eq curve on your favorite microphone! If you put a microphone in front of a kick drum that has a + 5dB boost from 100hz to 300hz you just eq'd the kick drum. If you put a microphone on a snare drum that has a -3dB cut from 600hz to 700hz you just eq'd your snare drum. It's important to understand how each microphone you put on the drum kit will perform as well as how it will add or take away the frequency content of the drum, which is exactly what an equalizer does.

Microphone placement on a kick drum will change based on whether or not you're in a recording studio or in a live sound setting. If you're in a recording studio it's highly recommended to take off the drum head on the resonant side of the drum. If it's a live sound environment you'll probably only get a hole cut in the front of the drum and sometimes maybe you will not even have that. If the head is off or if you have a hole in the front head make sure that the front of the microphone is pointing directly at the center of the batter head where the kick drum pedal affects the head itself. This way the microphone will have a better chance of picking up the attack of the drum.

In the same way when you begin setting up the mics on the other drums on the kit, start with pointing the mics at the center of the drum. This is a great place to start as it's probably where the stick is going to impact the drum most frequently. It's important to remember that the microphone is going to change how the drum sounds based on the placement of the mic. Do not start eq'ing the drum before you considering changing the placement of the mic. As you change the mic placement you will change the eq of the drum as the microphone is in a way, an eq.

Another very important principle to remember is that with microphone placement a small move with a microphone means moving the mic an inch, not inches. This is also important to remember when considering trying to reject unwanted noise from other drums on the kit.

Bleed through is when a microphone picks up unwanted noise from surrounding instruments. Understanding the principles of microphone polar patterns is critical when considering mic placement on any instrument, especially on a drum kit. Dynamic microphones are typically used in the close proximity placement of the mics on the drums themselves and condenser microphones are used when placing overhead microphones. The dynamic mics should have at least a cardiard pattern but a hyper cardiod pattern could be better rejecting unwanted noise. Microphones with a cardiod polar pattern reject unwanted noise best from the rear. So if you are mic'ing the snare drum it's important to put the rear of the mic pointing towards the hihat. That way the microphone will reject the sound of the hihat more effectively.

In the same way you put the snare mic in a place that will allow rejecting the hihat from the head of the snare mic, it's important to do the same type of placement with the rack tom and floor tom microphones. Placing the microphone at the top of the drum will allow you to focus the head of the mic at the center of the drum as well as have the rear of the mic facing the other cymbals set up around the drum kit.

Close mic placement on drums can sometimes be frustrating depending on how the drummer sets up the kit. Many drummers will place the surrounding cymbals so close the to the drums it's almost impossible to get a microphone on the drum. There are several different microphones made for these types of scenarios and the mics are small and easy to clip onto the shell of the drum without having to use a microphone stand.

One of my personal favorites is the Sennheiser E604. This is a great sounding microphone for just about any percussion application and great at getting into tight spaces. Another one is the Shure Beta 98. Either way you go you're still trying to achieve as much isolation on the drum as possible without the use of auxiliary dynamic processors such as gates, eq's, and compressors.

Overhead microphones easy to just throw up above the kit and walk away from but great care should be taken when placing the overhead mics. I highly recommend to mic your kit with a stereo pair of condenser mics for the overheads. The overhead mics give life to your drum sound as well as detail to the cymbal performance from the drummer. Stereo mic placement requires the consideration of phase coherentity between both mics.

Use the kick drum as the visual center of the drum kit. Each overhead microphone should be exactly the same width, height, and depth away from the kick drum. The trick here is to try and have the sound of the kick drum hit the microphones head at the exact same time. You'll almost never get it perfect but the better you do this the more open and transparent your drum overhead mics will be, absolutely giving you a natural drum sound that can easily be added to your drum mix creating a great drum sound.

A very popular overhead microphone technique is to criss-cross the heads of the mics directly above the kick drum putting them into what looks like the letter x. This way it's very easy to see the relationship between the microphones in regards to their placement off the kick drum.

In closing, just remember that if you do not like the way the kit sounds there are few things to do before you go tweaking knobs on your mixer or in your software.

1. Make sure the kit is tuned. If the kit is not tuned properly you'll never be able to get a great sound because the drums do not sound great to begin with.

2. If the kit is tuned properly and you do not like the sound you are getting in your live sound mix or your recording, before you tweak anything, go move the mics. You'll be amazed at how well moving the microphones will improve your mics performance.

Good luck and please make happy music!

Promotion for Unsigned Musicians: Tips to Get Your Music Noticed Online

With so many underground musicians emerging all over the world, competition has never been greater. It does not take much to be an unsigned singer or rapper; all you need is lyrical ability, rhythm, access to good production and means to record your music. However, in order to get noticed you need a completely different…

With so many underground musicians emerging all over the world, competition has never been greater. It does not take much to be an unsigned singer or rapper; all you need is lyrical ability, rhythm, access to good production and means to record your music. However, in order to get noticed you need a completely different skill set – online marketing know-how.

Here are important points you should consider if you want to make an impact online with a small budget.

Analyze your market

What sites are relevant to you? If you're a UK rapper, or UK underground rapper, why not type that into Google and see what comes up? What blogs are related to say British rappers specifically? What forums? What music artist directories? Build out a list of sites you would like to be featured on such as mixtape websites, lyric and hip hop websites and target those. You can evaluate websites based on their popularity by using tools such as Website Informer and SEO plugins for your browser.

Have your own website

You may notice that every major artist has a website. There is a good reason for this. It is the center of your promotional and social media campaign – tying everything together while being a hub for your work, and it is a great way capturing fans personal details such as email addresses. It will protect your artist brand ensuring that no one else takes the domain name online. You can and should set up your website on analytics packages. Using these tools you can quickly and easily see how many visitors your site receives, where they are coming from and how they are interacting with your site, which is essential to getting an understanding of how the results are translated into the results you want to achieve.

Embrace social media

This will allow you to engage with fans and create your own network made up of popular social media pages all linking to your website. In each social media platform you can remember a new group of people who may be interested in your music. The most popular social media and video websites by region can be found online. Find YouTube users who may like your music by finding people who wrote comments on songs like yours. You can subscribe to their channel on YouTube and also gauge how important and active they are by how many followers they have – the same goes for Facebook pages and Twitter too – follow the commenters.

Build a content strategy

Without fresh content being added to your website's news section Google's crawlers do not crawl your sites pages as frequently as they should. Ideally you want to control what web pages come up for a Google search of your name – these should be the websites in your network. Your content strategy allows you to upload fresh content to your website on a regular basis, as well as having content to use for comments and features on other websites. Get together images, comments, and status updates in advance so you never leave your website or any social media page idle, a technique not yet widely used by underground rappers who do not have the resources of artists signed to major record labels.

Diversify and make the most of your content; record your gigs, take a photo of your flyer and post it as a status update on Facebook, then tweet about it, then paraphrase the tweet in an article on your website which can then be bookmarked. Record freestyles, interviews, how to videos, images, rhymes, and include yourself in specific websites and directories, forums, blogs and bookmarking sites. Release content about every aspect of your music, including mixtape artwork.

7 Ways to Monetize Your Music – NOW

Making money from your music – quickly, safely, in as many ways possible – is critical if you want to continue funding your dream without continuing taking cash out of your own pocket. If you are an unsigned artist or producer still searching for your big break – these ideas can help you finance or…

Making money from your music – quickly, safely, in as many ways possible – is critical if you want to continue funding your dream without continuing taking cash out of your own pocket.

If you are an unsigned artist or producer still searching for your big break – these ideas can help you finance or pursue your dreams, to get closer to that major signing – or other paid opportunities:

1. Song-writing & Composition

One thing no major record label ever has enough of – is HIT SONGS.

It's the currency they use to turn great talent, into big paydays. Search online and you'll find even big record labels continuously search for new songs for their star artists.

If you have the ability to write great, original songs – you 'do not need to wait for your own big break, before your first payday. Nothing has the potential to raise your profile like writing a hit song for a big-name artist.

2. Sequencing & Midi Programming

If you're not quite a hit song-writer yet, but know your way around the computer and piano, you could use sequencing software to help other aspiring artists and songwriters make their ideas come to life. Not all songwriters always have the facility, to convert their ideas into demo recordings.

With a midi keyboard and multi-track editor, you could offer this service at a reasonable fee, and earn a healthy living, for funding the pursuit of your own dreams.

3. Synchronization Deals

You do not have to wait for a major record deal before getting your music hear worldwide.

TV Shows, Films and Advertisers are continuously looking for fresh sound tracks for their next projects. These are called synchronization transactions – with a variety of publishers who will help you find placements and opportunities for your music, worldwide.

4. Compilation Deals

Producing and publishing an entire album of original songs, without a major label to back you – can be a costly, time-consuming, and risky affair.

A shorter, safer route is to get one single onto a compilation album first. This way you can test acceptance of your music by the market and use the proceeds or publishing credit to fund more recordings, or further pursue a record deal.

5. Cover Songs

Writing and performing your own songs is a gift – but it takes a fortune to promote, get them known, and available for purchase.

Easily overlooked, cover songs on the other hand, have a ready-made audience on search engines worldwide – looking for their favorite songs every day.

Apply for copyright to re-record and publish one or two trending cover songs, and you could land a busload of new fans willing to part with some cash for a copy of your cover single, online.

Do it well, and you might be able to fund your own original music, with an existing fan club to sell to the click of a button.

6. Online Publishing and Distribution

With the assistance of the web – for a few dollars – anyone can publish and sell their own music online without the approval, or waiting on majors to discover you.

Build your own fan club and make enough sales using social media and supporting Indie Music Websites – and it might become tougher for record labels to ignore you much longer.

7. Advertising Revenue Splits

Qualifying for YouTube partnership status or registering and applying for performance rights on your music videos – can earn you a percentage split of the advertising revenue YouTube gets for ad placements next to your media, from corporate sponsors.

Always make sure you follow the correct guidelines and process – and that you either own, or clear the copyright for collection of such royalties.

Some independent artists earn a decent living this way – and use the proceeds to further fund their own endeavors of major record deals – once they get enough views and subscribers.

These 7 ideas are a great start for pursuing your dreams of getting your music and talent discovered by fans and record bosses worldwide – without passively waiting on your big break.

The power is in your hands.

Do not wait to get it PERFECT … just get STARTED – right NOW.

Recording Broadcast Quality Vocals – Affordably

Learning the 5 basic skills of recording vocals, may save you a fortune on expensive studio sessions – if you take the time to practice and perfect this. At the very least, you might be able to export and then take your track to a professional studio for mixing only, reducing the cost – provided…

Learning the 5 basic skills of recording vocals, may save you a fortune on expensive studio sessions – if you take the time to practice and perfect this.

At the very least, you might be able to export and then take your track to a professional studio for mixing only, reducing the cost – provided you do it properly.

Apart from improving and refining your vocal talent, here are some ways in which you can start making better quality vocal recordings at home, without re-mortgaging your house.

1. Acoustics

The space in which you record vocals is critical. You want clean and clear separation and isolation of the sound, to edit and mix later. Chirping birds or barking dogs will not do you any good. Neither will reflective surfaces, adding an echo or reverberation, bleeding in on the track.

If you can not afford a full-on vocal booth, pick a quiet room, and treat any reflective surfaces with sound absorbing materials. A reflection filter may also be a worthy investment.

For a more enduring solution, you can construct a basic corner booth, using two floor-to-roof sheets of Presswood, built into a corner framework of pine, and laced with absorbent materials. If budget is an issue, it does not need to be 100% sound proof – just as long as sounds entering the booth from outside is not loud enough to bleed into the microphone.

2. Gear

A computer with enough power, silent operation chassis, and your preferred version of Music Production Software, will simplify your job of recording, editing, and mixing. You'll need a sound card capable of high-resolution playback and recording (minimum 24-bit, 44.1kHz).

A good mid-level vocal microphone, or at least top of the entry range, with Phantom power.

A microphone pre-amp and compressor unit, to bring the mic level up to line level, and help you regulate vocal dynamics. Although some software has that built-in – the hardware option makes a big difference.

Then, to hear what you're doing – a decent set of powered, studio grade monitors (speakers). You're not looking to blast off the roof. As long as they have a reasonably flat response curve, and you can hear everything clearly – you're good.

Good accessories to have include a shield for the microphone, a spare XLR (balanced or canon) cable, and of course for the vocalist, a set of studio grade headphones.

If you are going to record vocals in an open room, you'll need some headphones for yourself as well, to use during recording, so that playback does not feed into the microphone.

3. Recording

After setup and installation of your gear – always consulting the user manuals, the following are words you need to add to your vocabulary – before you can press record:

  • Gain structuring
  • Dynamics and compression
  • Headroom
  • Equalization

These topics could combine a book, each by themselves – but what's important is that you get practice, hands-on, as you get acquainted with the basics, right from the start.

Basically, you want a decent, strong, clean level at all times on the vocal, without distorting.

4. Editing

After the vocal track is recorded, editing helps you to slice and splice the vocal track graphically, eliminating unwanted sounds, excessive breaths or noises. Each vocal phrase should be cleaned up, with volume envelopes, fade-ins and fade-outs.

5. Mixing

This is where you'll shape the tonal characteristics of your vocal, using a graphic or parametric equalizer in your Music Production Software. You'll also adjust the balance and levels of the track, compared to the music or backtrack – and ensure the dynamics are in line.

Good words to add to your vocabulary for mixing:

  • Dynamics
  • Equalization (EQ)
  • Compression and Headroom
  • Limiting and Broadcast Levels
  • Stereo Image

These 5 basic skills will help you make a start in mastering the art of vocal records. For more information on recording at home, see the series “Making Hit Recordings From Your Bedroom – Parts 1 – 8”.

Do not 'wait to get it PERFECT … just get STARTED … right NOW.