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      "body": "![](https://cdn.steemitimages.com/DQmZgg9pxLQnejuohwAYLayAhteW2PGsWCaevP1NBoYg4j1/image.png)\n\nPhil tugged hard on his mom's skirt again, stamping his foot in frustration. there was a reason behind his sudden likeness for playing at the park and his mom was curious but pleased. \"In a min sweetie. your dad's on the phone\", she said ruffling his soft, curly hair. Gosh! he hated it when she did that, especially when he'd spent the last half-hour brushing it flat...\" grrr\", he gritted his teeth and stomped off to the car, pouting.\n\nA few minutes later, his mom appeared smiling at him while he scowled at her in return. A quick kiss and then she helped him into his seat, taking note of his seat belt. \"I'm ok mom, just let's go\" he grumbled at her. \"Why the hurry dear?\" she asked, eyebrow raised in amusement. he muttered a few words under his breath and then fell silent as his mom revved the car and backed it out into the road...After fiddling with the radio dial a bit, he finally settled for his all time fav; blaze102.5fm the trip to the park would take 15 mins. 30 max if the traffic was a bit heavy, but it was a Friday evening...he settled down with his thots, planning and strategizing in his mind...\n\nToday he was going to make a move...!\n\nLeaves caught by the soothing autumn breeze, drifted idly from the tree-tops and littered the driveway to the park. untidy looking environment to the meticulous, but to Phil, they added spice to the mood. unbuckling himself hurriedly, he got outta the car pausing to listen for the familiar voice he knew all too well...his mom leaned against the car, watching him lovingly but with a knowing look on her face. he was soo much like his dad; his looks, the crazy confidence, sly smile and all...but NO! thots like that brought pain and tears stung her eyes.\n\nHurriedly, she blinked them away. \"Mom, you spacing out on me again\" called Phil irritably, grabbing her arms n dragging her alongside him...he loved her with his life but not now...there was something else on his horizon of thots and it was less than a hundred feet away from them...in the park...\n\nThe ball bounced twice and ricochet off a swing. it was only the blurry image of Darian that could be seen as he dashed across the green with two lads in hot pursuit. a quick flick n he stopped the ball, spinning to face Harry and Terry, the notorious twin bullies as they rushed towards him with red faces and puffy cheeks. it was kinda obvious, sports was not their thing. Darian sighed. a clever dribble and the twins went hurtling onto the grass swearing profusely. the girls on the swings giggled helplessly as Harry spat grass from his mouth and rolled over, faced red. \n\nTerry pulled him up and they shook their fists at Darian, yelling \"think you'll get away with this?\". Darian sighed again. he knew he'd get a beat down once the girls left but that was the last thing on his mind. \"he's late again\" he thought, ignoring the twins as he made for the free hammock nearby. \"he's late again\" he muttered to himself, rolling onto the hammock with another deep sigh.\" there must be something he's not telling me\".....\n\n\"Oh, men! not the hair again\" cried Phil in dismay as Sharline ruffled it once more laughing. squirming in her hug, he couldn't wait to flee as her soft but firm voice followed him across the green. \"No fighting with the Maxwell twins ok?\"...but he was out of earshot...he slowed his pace as he spotted Darian afar off and watched him send the maxwell twins sprawling onto the grass...he stifled a laugh and dodged behind a pine tree, giggling as Darian glanced in his direction. \"not now...\" Phil thot as he cautiously sneaked out of sight. he knew he was late again. \"Darian would have put two and two together by now.\" he thought with a slight frown as he made his way towards the basketball court whistling in high spirits. \"she ought to be there by now...\" he thot. the smile that hung on his lips stretched a little bit but suddenly vanished as he stopped in his tracks, fist tightly clenched...\" she definitely would BE there by now\" he muttered, angrily to himself, \"she'd be there....watching HIM!\"\n\n>To be Continued\n\nStory by: Dx Snipe\n\nPS. i wrote this story back in 2008 when i used to actively write poetry.",
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      "body": "![](https://cdn.steemitimages.com/DQmQ52jZQNCTEC7QLT3NyKcw4UTMESjogTYUUX1Tk7bUyqT/image.png)\n\nWhen it comes to getting a record deal, finding the right fit with a label is critical—but is an indie or a major record company a better fit for you? First, you need to know the difference.\n\nThe common perception of a \"record label\" is one of the major record labels, located in Los Angeles or New York, which signs all of the major players. These major record labels, including Sony and Capitol Records, are major corporations with hundreds of millions of dollars behind them. This allows them to fully fund the biggest artists out there. In the eyes of emerging artists, a record deal with a major label was always the big prize to chase after.\n\nHowever, the major music industry is on life-support with the introduction of online social networks and digital music retail stores such as iTunes, Rhapsody, and Amazon—and the fact that major releases are often leaked to the internet weeks before their release day. Enter the Indie (short for Independent) label.\n\nWhat Makes a Record Label ‘Indie’?\nAny music recording label that operates without the funding of the organizations of the major music labels is considered an indie label. While major labels are global and operate their own publishing and distribution companies, indie labels work with other smaller companies, either in long-term partnerships or in smaller contractual relationships for their distribution and publishing needs.\n\nThe Indie Niche\n\nWhile indie labels can’t offer the kind of funding for artists that the major labels can, because of the benefits, indie label contracts are fast becoming a new goal for many artists—and a more realistic goal at that. And they do offer many benefits that the Big Guys can't. Because of all the upsides (and the escalating trend toward social media and digital platforms that's not abating), indie labels have created a true niche for themselves.\n\nLet's take a look at the benefits (and the downsides) of working with an indie, and check out the pros and cons of working with a major label for a full 360 view.\n\nThe Pros of Working With an Indie Label\n\nRespect for Your Music\n\nIndie labels generally have the freedom to work with whomever they like. There's no pressure like you'd find at major labels to sacrifice your tastes in favor of seeking chart success. When you are signed to an indie label, in almost every instance it's because the label is a huge fan of your music; that translates into dedication because they believe in what you're doing.\n\nClose Working Relationships\n\nBecause indie labels have smaller staffs and tighter rosters, musicians can more easily develop a close relationship with the people working on their record. Although it's not always the case that artists can pick up the phone and get an immediate answer, the odds of closer communication are greater than they are with a major label.\n\nArtist-Friendly Deals\n\nSome larger indie labels have relatively complex contracts, but smaller indies often do business on little more than a handshake and a profit split agreement. You seldom find indie labels demanding any measure of creative control over their artists, and most indies don't lock their artists into long-term, multi-album contracts.\n\nThe Cons of Working With an Indie Label\n\nIndie labels are not without their drawbacks. Consider the following before you decide who you want to sign with.\n\nMoney\n\nWhile money is the top reason to sign with a major label, it definitely tops the list of negatives for indies. While some indie labels are sitting pretty financially, most small operations are just trying to stay afloat. They usually don't have the coffers to fund an all-out media blitz like the major labels, and they often have to get creative with promotion ideas. They also can't afford big advances, fancy packaging, large recording budgets, tour support, and other perks a major label has the funds to offer you.\n\nWith indie labels, you'll usually have to remain financially invested in your own music career.\n\nDisorganization\n\nNot every indie label is disorganized, but the informal nature of operations at many smaller indie labels means some elements can get a tad bit confusing. As an artist, you might find that details may sometimes slip through the cracks, or it may be hard to figure out processes that aren't quite formalized, like accounting, for instance.\n\nSize\n\nAlthough the intimate size of indie labels has its upside in terms of closer and more accessible relationships, there is also a downside to being small. Indies don't have the purchasing power of major labels, and with a small roster, they have fewer strings to pull with the press. Also, the smaller the label, the less influence, and power within the music industry.  \n\nWritten by: HEATHER MCDONALD",
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      "body": "![](https://cdn.steemitimages.com/DQmYm2W6P17cRqzvW1dGqdY8KfkBDRJWcjH9V3dcBWa42xP/image.png)\n\nThe internet has opened up endless possibilities to promote your music. And, while that may seem daunting, it really allows you to experiment and let your creativity run wild!\n\nThe key to successfully promoting your music in today’s music industry is to try new things, learn from the promotions you run, make changes, and fine-tune them to your unique career.\n\nLet’s take a look at some basic strategies you could be using to promote your music right now.\n\n<b>1. Live Music Promotion</b>\n\nWith everything moving more and more towards digital, it’s easy to forget about the value of that person-to-person interaction. After all, these days you can create great quality music, release it, distribute it, promote it, and even play live without ever leaving your room.\n\nBut, just because you can release something entirely online doesn’t mean you should! In fact, these personal interactions are still extremely important in the music industry.\n\nLet’s take the live show as an example. Sure, it’s a chance to make some money and perform your music and have fun. But it also presents some really unique marketing opportunities.\n\nGigs are a great place to promote your new album or song. Tell your fans that you’ll be premiering a new song (or the whole album if you want to go all out) before it’s released. Choose one local gig and turn it into an event. Maybe fans who come to that show will be able to buy the album at your merch booth before anyone else.\n\nYou could also use gigs to grow a fanbase in new cities, states, or countries. Work with a local established band and propose a headline swap. You’ll open for them in their home town and they’ll open for you in your home town. Just make sure you pick a band with a similar musical style. Do this a few times and eventually you’ll be able to do your own headlining show.\n\n\n<b>2. Use Social Media the RIGHT Way </b>\n\nWe all use social media. If you’re not on Facebook, Instagram and Twitter these days, it’s almost like you don’t exist. However, you may not be using social media to it’s full potential to promote your music.\n\nSocial media is NOT a straight-up marketing platform. It’s really a catalyst for conversation and word-of-mouth marketing. About 80% of your posts should be funny, conversational, and interesting, leaving about 20% for promotional material.\n\nThat’s not to say that conversational posts can’t be promotional! You just need to learn how to frame the content in interesting ways. For example, if you’re in the studio recording a new album, try sprinkling little updates on social media. Tell a story about your studio experience that day, share a photo of the mix, or post a short teaser video of a song.\n\nIf you’re out on tour, take photos at the venues or share short videos or photos of the audiences. These things aren’t obviously promotional, but they still let fans know what’s going on.\n\nIt’s important to remember, though, that social media isn’t the end-all-be-all when it comes to promoting your music. It can easily become a huge time suck that takes you away from your music if you don’t manage your time properly (Hint: get social media time management tips here).\n\n<b>3. Promote Your Music and Sell it on Your Website</>\n\nYour website shouldn’t be a static thing. It should be ever adapting and changing to reflect new events in your career. Basically, you want your fans stopping by your website as often as possible. The more often they’re on your site, the more they’re exposed to your albums, merch, and tickets.\n\nIf you’re just starting out, you probably don’t have a lot of big updates other than the occasional album release and tour. Starting a blog is a great solution.\n\nIt’s fairly easy to set up a blog on the homepage of your website. Most website tools like Bandzoogle, and WordPress, have blog capabilities. Plan out blog posts at regular intervals like once or twice a week and share anything you think your fans would find interesting. This could be the inspirations behind certain songs, new lyrical ideas you’re working on, a funny story from the last band practice, or even a run-down of the gear you use.\n\nAnother idea is to create landing pages on your website. Landing pages can be used to collect email addresses, to raise awareness, to give your fans more information, or to make a sale.\n\n<b>4. Reach out to Music Blogs</b>\n\nIf you want to promote your music, it isn’t just about sharing things with your fans. You also want to reach out to new audiences and convert them to fans. And music blogs are a great way to do that. Bloggers are always looking for fresh, new content, and the cool thing is, there are a ton of smaller blogs that are totally within your reach as an indie artist. Blogs also tend to have a pretty niche following. This means that if your music is run on a blog, it’s guaranteed to be seen by people who already like the genre!\n\nDo some research, find blogs that cover your type of music, and send personal emails out to the bloggers. Are there any interesting stories about your new album, song, or tour? Having a unique story will definitely help you stand out from the thousands of other musicians releasing an album. Make it as easy as possible for them to cover your story and treat them like people. Remember, it’s all about establishing a relationship.\n\n<b>5. Collaborate with Other Musicians</b>\n\nCollaboration is an often overlooked aspect of music promotion. It’s a great way to get your music in front of a new group of people and grow your fanbase exponentially. You can collaborate on pretty much anything. Just make sure you collaborate with musicians whose fans would appreciate your music. Choose to work with bands in a similar genre or with similar fanbase demographics.\n\nOf course, the headline trade strategy we looked at earlier in this article is a great option. But let’s talk about some things you can do online as well.\n\nObviously, you could also work together on a song or album. Try recording a cover song or two together and release them on your YouTube channels or Facebook pages. The key is to drive your fans to each other. If you create a song or video, link to each other’s website and social channels.\n\nAn even more easy-mode option is to just agree to give each other shout-outs on social media. Share each other’s newest track and tell your fans how much you dig it. (Obviously work with artists whose music you actually do dig.) The power of a recommendation is one of the best marketing tools out there.\n\n<b>6. Promote with Email</b>\n\nYour email list is an extremely valuable tool to promote your music. Unlike collaboration and blogs, your email list is marketing to your current fan base. If someone signed up for your email list, they want to hear from you, so take advantage of it!\n\nRemember, your emails should be driving your fans to your website, so you want to include links.\n\nSo what do you send to your email list? The obvious use of an email list is to let your fans know when you have an album coming out or a tour. BUT you can also use your email list to send fans to your blog when you have new content. (Remember, you want to get your fans on your website as often as possible.)\n\nOf course, you need to get fans to actually signup for your emails before you can start using it as a music promotion tool, right? An easy option is to trade something of value for an email address. Keep in mind this doesn’t have to be a free song (in fact there are a TON of more effective ways to grow your email list)\n\nIf you’re not sure where to even start when it comes to growing your email list, here are 10 easy ways to build an email list for your music.\n\n“No matter how many followers you have, you can’t eat a tweet. Get New Artist Model and learn how to turn traffic – into fans – into money.” – Dave Kusek\n\n<b>Conclusion</b>\n\nYour music promotion strategy is going to be something that you refine over time, so don’t get frustrated if things take some time to come together.\n\nThe important thing to remember is that you should be taking advantage of all the different promote your music tools you have right here at your finger tips instead of relying on just one thing.\n\nWritten by: New Artist Model",
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      "body": "![](https://cdn.steemitimages.com/DQmaAjeaPBR69WgGGFdZZpg1nyk2XDwJk32XG9EdbpTN8W5/image.png)\n\nMany talented emerging artistes are confused by the issue of an image and don't have a sense of their own style. So, they either copy things from other people, or are just bland. Few artistes actually have a true, distinct style. In today's entertainment environment, the first impression is as important as ever. However, style is only one aspect of an artist's first impression.\n\nMy theory for building a compelling image is that you have to look within, harness what really makes you great, and then express that to the fullest. A style or look is just another form of self-expression, similar to the way you express yourself on stage or in the studio. It's capturing that same energy, and applying it to the rest of your life, including your look.\n\nEverything you do can be viewed as a form of self-expression - from knowing yourself so deeply that your expression comes from an authentic place, to your live performance, to how you walk into a room, conduct yourself in meetings and interviews, and to how passionately you live your daily life. These things shape the way that you are perceived. And of course, style and a look play an important role too.\nEntertainment is a business of first impressions. People make a decision ofwhat they think about you in the first few seconds of seeing you. But here's the key - People don't get an impression from you; they get an impression from the image you project. That's why talent is not enough to make it in this business. Many musicians have talent. But if they're not doing all they can with it - if they're not packaged in a way that it truly connects to others - it won't work. They won't attract the industry attention they deserve.\n\n\nIt's important that you define your look, just as you have defined your sound. This creation of a signature style involves the following 3-step process:\n\nEducate yourself so that you can dictate your own style: Start to notice what you're drawn to and what you like. Notice what styles work on certain people and what doesn't. Pay attention to advertisements on TV and billboards. Notice movie posters. Flip through magazines. I'm not an advocate of following every trend, but if you don't know what the trends are, how can you decide to take part of them or not?\n\nCreate a point of view and direction by uncovering your imaging themes: Think about your favorite artistes. Notice their defining characteristics and traits. Then get clear on your own gifts and quirks. Rockstars accentuate their strengths. How can you? A combination of your favorite rockstar's traits, along with your own defined uniqueness will form a Point of View and Direction. An image is formed when you consistently put forth a clear direction.\n\nIllustrate your themes and direction in the way you dress, accessorize, and act: Once you have a clearly defined direction for your image, the next step is to portray that in every part of your look and in everything that you do. For instance, what's the belt buckle, hair style, or color combination that clearly represents the new image that you want to project? Your photographs, website, and other presentation materials should all reflect your new image too. Then decide how you can express your new direction in your live performance, studio sessions, and daily life. Live your artistry in all that you do. So now that you have your own style, it's time to go shopping. Happy hunting.\n\nWritten by: John Battaglia",
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      "title": "Music Producer Tips: Getting Results By Being Relentless",
      "body": "Recently I’ve been reading this book called Relentless, From Good To Great To Unstoppable, by Tim S. Grover. While it’s considered a ‘health & fitness’ book with focus on NBA greats such as Michael Jordan and Kobe Bryant, it examines the boundaries of what makes people great at whatever it is that they do. Many topics in the book I found related directly to ‘our world’, the craft of composing, recording and producing the best music we possibly can. With that in mind, I wanted to explore a few thoughts that might help push us all even higher. \n\nGood Things Come To...\n\nOne of the discussions in the book was dispelling the phrase ‘Good Things Come To Those Who Wait’. The author argues, rightly so in my opinion, that good things come to those who WORK. That is so true. We can’t wait around for things to happen, we have to make them happen. Many people ask me how they can get into TV composing, and most often I say, you have to just make it happen. Nobody dropped this career in my lap; I clawed my way up the ladder through hard work and focused effort and I'm not done yet. Good things come to those who work.\n\nKnow Your Craft\n\n![](https://cdn.steemitimages.com/DQmSQcbWAwBRrBkyQvQ5uFArpacfNZDGoeYZnUm118wb26U/image.png)\n\nLike Michael Jordan and Kobe Bryant, guys who undeniably know their craft, we must know ours. No matter what you want to do in this business - mix, compose, create, etc, you have to spend hard, intense, disciplined time learning every nuance you can about it.\n\nWe live in a very lucky time to have almost unlimited information about virtually everything, so use it! I still spend many nights home taking tutorials or watching videos on what my weak spots are, so that they eventually become strengths and I can call on them at a moment's notice. I spend time studying guitar, bass, keys, composing, orchestration, new plugins, new mixing techniques and endlessly trying to learn to better myself at my craft. There is no better investment than yourself, if this is what you want to do.\n\nKnow Your DAW\n\n![](https://cdn.steemitimages.com/DQmZyGTHLgEbPBgiY8qRsiqrNhnG6UCVkrKUc8y4DccdV16/image.png)\n\nI find it’s not only important - it’s crucial to know your DAW. Not only know it a little bit, not even a lot, but know it like the back of your hand. Nothing has slowed down more creative sessions than someone who doesn’t know their DAW. When I first got Pro Tools, I read the manual (yes, it had HUGE, THICK, AWFUL manuals back then!). I said, ‘ok, I'm going to be the best at this thing called computer recording’. It was still new to many people back then, but by learning every nuance of it, I ended up on the road with Emerson, Lake & Palmer and in the studio with Ace Frehley. None of that would have happened if I didn’t know my DAW inside and out.\n\nWith each new update and upgrade, I would spend whatever it took to get that hardware of latest software, because there was no other choice, I had to succeed. Pro Tools, to this day, is still humbling. There are a thousand shortcuts and countless ways to get the same task done. I have to admit, all these years later, I’m still learning new key commands, etc. I'm not afraid to admit when I don't know something, and am never afraid to ask those who do know. So put the time and and work hard at learning your DAW. The rewards will be years deep.\n\nInstinct\n\nThe author talks a lot about how the greats perform on instinct, which makes perfect sense - it’s who they are and what they do. I try to translate that to my TV composing by just writing on pure instinct from what’s in my head and my heart. But the ability to do so also comes from spending countless hours learning my craft and my DAW. I like to think I can take what's in my head, pass it through my hands (usually with a guitar), then through the computer and out the speakers. So I will let my brain do what it does, and literally a few minutes later, the idea is down. Im working on instinct, but the instinct comes from taking the computer and DAW almost out of the equation, or even better, making it do exactly what I want it to do without thinking. Pure instinct - through focused work.\n\nSweat The Details\n\n![](https://cdn.steemitimages.com/DQmdjKzS1r5yXpAmY5xWtvFLJFMXKrVo3WvUUnQa3NRMSPV/image.png)\n\nThe greats sweat the details, Grover noted. That, in my experience working with some of the greats in our business, is undeniably true. Al DiMeola is one of those, who clearly thinks through every single nuance of every note and every part. Daryl Hall as well, with vocals, and Ace Frehley with every detail of his guitar parts and how they feel. They all take the time to make sure nothing is left to chance. There’s a reason they are great at what they do.\n\nI follow the same rules, even with the thousands of one minute or two minute cues I write. After each is done, I listen to the whole cut again one last time before passing it on to the producers or network. I scrutinize every part to make sure it fits my standards, and many, many times I’ve heard things that were not good enough on that final listen. I would either go back and fix them, or literally, scrap the whole piece and say to myself, ‘you can do better’. It’s sweating the details.\n\nNever Be Satisfied\n\nIf you want to be great in this business, you must never be satisfied with enough. Many of us work alone creating our music, so there’s nobody to blame but yourself if it doesn’t sound good enough or achieve the result you were seeking. We have to keep pushing the boundaries, keep studying, learning and resolve to never be satisfied. There’s enough mediocrity in the world. Don't settle for it. 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