I hate when people say “Yeah, but you’re lucky.” When people use the word “luck” as a crutch or excuse, it makes me feel as if my dedication and education are not the reasons behind my ability to make a living in the music business. I gave it some thought, and I think there are some definable traits that set those who make a living in the music business apart from those who don’t. Read more.
So you’ve put your blood, sweat, and money into making your new CD. One of the best ways to ensure disappointing results with your new CD is to release it with no plan for how to market it. Time and time again I’ve seen artists release CDs by just “making it available.” They put out a CD and ask people to buy it. They don’t pick a single and don’t have a plan to build anticipation. Don’t let that be you! Read more.
GearTrack’s intrepid gigging deputy gives advice on how to help the police track down your precious stolen music gear. In “Tips from a cop to help prevent music instrument theft,” deputy sheriff Jerry Cress gives advice about how preparation and prevention is the first defense against theft. In this post, he focuses on what to do to recover your stolen music gear. Read more.
While there’s no universal formula for creating an ideal musical elevator pitch, there are ways to help yourself communicate effectively in situations when you’re interacting with a potential new fan or industry contact. We’ve assembled tips from a trio of music industry professionals to help you spark productive conversations about your music — and avoid walking away with your foot in your mouth. Read more.
In a standout vocal performance, how and when you release a note is just as important as the way you attack it. On the keyboard, whether I’m playing jazz, rock, or anything else, I try to keep this idea in mind. Time after time, I’ve found that one of the best things I can to do to help a song lock in is to be mindful of both ends of every note I play. This is also true for a vocal performance. Read more.
Mixing music is the craft of taking multiple audio tracks and combining them together onto a final master track. The way we combine tracks is equal parts art and science, and if you think of your audio mix as a three-dimensional sonic image, its four basic elements are level (height), EQ (height), panning (width), and time-based effects (depth). Read more.
According to information posted on Statista.com, Americans are most likely to discover new music via terrestrial radio. That’s right, AM/FM radio accounts for 35 percent of music discovery with another 21 percent polled saying recommendations from friends and family are their source for new music. Internet and streaming services pale in comparison. Read more.
Here are the 10 best-selling albums in March: See all 10…
An organized soundcheck can give band members and sound engineers the tools they need to craft an excellent live music mix, while a chaotic one can suck up valuable minutes – and good will. Some bands do sound checks like complete pros, others are just a mess with everybody onstage playing at the same time, nobody listening, and lots of noise and yelling. Read more.
Every studio recording should begin with pre-production, as prepping for a studio recording is the only way to take advantage of the time you have. Record yourself playing your band’s songs to understand how your tracks will come together in the studio. Review your recordings and focus on your parts to understand where improvements need to be made to lock down the tracks. Read more.