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Keith Hatschek

Sustain your music career – nine insights to help you do it

by Keith Hatschek March 12, 2014

The Nadas career in music is built on touring The Nadas have built a 20-year career in music. Through playing hundreds of shows and releasing 11 records, they’ve learned what works when building a sustained career in music and an audience that spans one-third of the country. We spoke with Nadas co-founder Mike Butterworth (guitar/vocals) and dug up nine nuggets of wisdom that have helped the band survive for so long. Read more.


Tax tips for the working musician

by Keith Hatschek February 12, 2014

Friedman's tax tips for musiciansFor most anyone making money with music, the onus is on you to make the most of the various deductions that can be taken on your federal and state income tax returns. To help answer some questions to help you prepare for the inevitable, I spoke with veteran CPA and tax guru, Alan Friedman to get some tax tips for musicians. Read more.


How to make YouTube work for you

by Keith Hatschek January 15, 2014

The playbook will help you build an audience on YouTubeOnce you dive into learning the proven techniques that have helped bands to dramatically boost their fan base and build an audience on YouTube, you’ll begin to understand how to develop an overriding video strategy and leverage the power of the platform. The best place to start learning is the YouTube “Creator Playbook” that spells out how successful creators conceive, produce, publish, and promote their content. Read more.


The Introverted Musician In The Digital Music Age

by Keith Hatschek October 11, 2013

Music promotion for the introverted musician With six words, “Not everyone wants to be an entrepreneur,” Alina Simone gives voice to a nagging feeling many musicians and songwriters have. Sure, the social media platforms and music promotion tools available to any musician today form an impressive array of conduits to share your music, reach out to new audiences, and establish your “brand.” But what about the shy artist who is not comfortable displaying her entire life to the world? Read more.

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Don’t Rely on Music Tastemakers – Be One!

by Keith Hatschek July 11, 2013

New Media music tastemakers Investing your time, talent, and emotional capital by sharing what you find compelling can help to not only build an audience for you and your own music, it can help you better define your brand. And these days, aside from the music itself, branding may be the most important element in determining who makes a living in music and who continues as an infrequently paid music hobbyist. Read more.


Artist Development in the New Age

by Keith Hatschek June 12, 2013

Artist development in the new ageThe new definition of artist development hinges on emerging artists consciously establishing a career plan and then implementing that plan over time in order to accomplish a series of ever more ambitious goals. To learn more and get practical advice, I spoke with Catherine “SupaCat” Enny, CEO and founder of Guerrilla Management. Catherine established her management credentials when a then-unknown band she produced and managed named Kyuss broke out on the strength of her production and business acumen. Read more.


Retaining Your Master Rights Is Smart Business

by Keith Hatschek April 16, 2013

BalloonRideSongwriters – or more correctly, copyright holders – have always been compensated for the use of their songs, whether it was via traditional radio or new streaming services. With the rise of more and more new outlets for music consumption, master rights are an essential asset to leverage for artists and labels to earn money. This brings up the question, “Should an artist try to hold on to his master rights, or sign them over to a label to secure a deal?” Read more.


Creating Magical Moments In Your Live Music Performance

by Keith Hatschek March 14, 2013

Live music performance coachingIn part two of Echoes’ interview with renowned live performance producer Tom Jackson, we learn a simple rule: sing fewer songs, create more moments. When asked to play a half hour set, most bands immediately think, "How many songs can we fit in?" Instead, if they thought "How many moments can we develop?" they’d be much further along. Read more.


A Great Live Music Performance Requires More Than Being Rehearsed

by Keith Hatschek March 13, 2013

Live music performance coachingIn part one of our interview with live performance producer Tom Jackson, we learn that most artists never learn to see themselves from the audience perspective. Once a record is done, the focus shifts to hitting the road. When that artist hits the stage, adrenaline is pumping, the band sounds tight, everyone is locked in, so it’s natural to think, “Everything is good.” That’s not always the case. Read more.


Making Money With Music Licensing – Part 3: Who’s Buying and How to Connect

by Keith Hatschek February 8, 2013

MusicBuyerWho are the buyers for your original music? The short answer is they are incredibly diverse, and include everything from video game production companies to late night TV variety shows. And while the enormous range of buyers is encouraging, they mainly operate in a closed loop of industry contacts, so gaining access can be difficult. That why knowing the ground rules and how value is perceived by the buyers is crucial before attempting to break in to the loop. Read more.


Making Money With Music Licensing – Part 2: Creating Value and Income

by Keith Hatschek February 7, 2013

GardenStateSoundtrackWhen striving to understand how the music licensing business operates, one key fact is that the music licensing marketplace determines value on a daily basis. What this means is that to make any money licensing your music, your songs must have value in the eyes of the marketplace. The following qualities will help determine a piece of music’s relative licensing value. Read more.


Making Money With Music Licensing – Part I: Copyrights and Revenue

by Keith Hatschek February 6, 2013

CopyrightRevenueTo develop an adequate understanding of the path to earning money with your original music, four essential areas make up the key foundational knowledge, and we’ll explore them in three posts. In this first post, we’ll look at the different copyrights and the basic blueprint for how revenue is generated by licensing your music. Part two will address creating value and earning income through licensed music. In part three, we’ll explore the diversity of buyers for original music, and the all-important connections you will need to develop to begin to make money from your original music. Read more.


Let’s Pay Music Artists Less – The Fight for Internet Radio Fairness Ain’t Done Yet

by Keith Hatschek January 17, 2013

Late last year, at the urging of Pandora radio and other tech industry players, Congressman Jason Chaffetz (R-Utah) and Jared Polis (D-Colo.) co-sponsored the Internet Radio Fairness Act (IRFA). The bill got such a late start that it failed to make it out of committee during the 2012 Congressional year. It also fared poorly at a Congressional hearing in late November 2012, but sources such as Billboard warn that the bill isn’t dead so much as “hibernating.” Read more.


Vintage Guitars For Fun, Profit, and a Little Piece of History

by Keith Hatschek December 11, 2012

Take for instance the Kalamazoo line of student instruments from Gibson. Manufactured in the 1960s, the KG-1 (single pickup) and KG-2 (dual pickup) solid body guitars first featured a Fender Mustang style body and then morphed to an SG-style body. They featured a Fender style headstock, rosewood fretboard, and maple neck, with all the tuners on one side. They were built using regular Gibson components as a budget line instrument to hook young players on the Gibson style and sound. Nearly 24,000 of the KG-1 and -2 were manufactured, so they are not so rare as to be impossible to find. Read more.


Music Publishing and How Michael Jackson Came to Own The Beatles Songs

by Keith Hatschek November 13, 2012

Michael Jackson had traveled to London to contribute to McCartney’s Pipes of Pan album. One night Paul brought out a thick notebook that had copies of all the songs he had begun to acquire through his own post-Beatles publishing company. Jackson was floored by the concept that one could own song copyrights as an investment. Taking the idea back home, he told his attorney, John Branca, to be on the lookout for song catalogs to purchase. Soon after, one of his first acquisitions was a number of songs written by Sly Stewart of Sly and the Family Stone. Read more.