Group items tagged

Pre Mastering Last week we saw a lot of interest in our mastering explained article, so this week we thought we would being you the prequel of mastering explained, preparing your songs for the mastering process. These tips are in no way a doit yourself guide for getting your songs to killer quality. Mastering should be done by the master, mixing should be done by the professional, let these tips serve as a guideline for being able to participate in the conversation with whomever you've hired to take your recording to the next level. http://musicproducersforum.wordpress.com/2010/02/03/tips-for-the-mix-to-the-master/#more-693

Mastering proffesional Adrian Carr of ACMastering recently posted a good article explaining mastering in fairly simple terms for those who are still convinced that "mixing and mastering" is one word. One thing that really helped me to understand mastering back when it was a big question-mark to me, was the differences in the files types each technique used. When mastering a song your are working off of the final exported two-track (that Wav or Aiff file all your hard work went into), whil with mixing you are working with each individual track that you laid individually during your recording, at this point your song is probably still sitting on some virtual sequencer like cubase, garage band or protools. I dunno, it helped me understand it a little more.

Are you a digital performer? K, dumb question, I know you make digital music, but are you using MOTUs digital performer to help create it? If you are then this course containing over 3 hours of interactive video covering all major aspects of audio and midi recording, editing, mixing and mastering using the MOTU Digital Performer 7 is for you. visit www.digitalmusicdoctor.com if your interested in this course.

Power, Path and Performance is a three pronged approach that if maximized could give artists more voice than they could ever need. The approach which centers around breath, open throat and authentic communication of message are three synergetic areas that when mastered can prove to be a dangerous weapon in your industry tool bag.

Malcolm Gladwell ,author of the book Outliers, is pretty adamant about his 10,000 hour rule. The rule states that in order to master any craft 10,000 + hours of practice must be accumulated. And getting in that many hours of practice can take 10 years or more. Basically, you gotta put in your work. The music promotion blog has a piece on Steve Martin that really attests to the decade journey that one must take to reach celebrity over night. By the time Steve was propelled into great public awareness he was a well oiled machine, ready to deliver the goods. Television (tell a lie to your vision, particularly shows like american idol and other media sources are very good at trivializing the years of work that some of our greatest icons put in to achieve icon status. Record Labels have even been fooled forgoing development for the young inexperienced (We've seen how well that works). Thats actually the equivalent of getting hired for an entry position and then getting promoted to CEO of the company a few weeks later, needless to say, that company's going to fail. I guess the point of this is if you want to increase your chances of success, not being signed but actually be icon status (being remembered for the many things you've done, not just the first thing), then you have to sleep in that car, perform in front of an audience of empty chairs, bounce from label to label because when god finally taps you on the shoulder and says its go time your going to outshine all of the others not even half way through their 10,000 hour mark. Put in the time and you will be rewarded.

Do you practice perfectly? If not you might need a little push in the right direction. The howtopractice blog advises you not to open your music and bash your way through it but instead break your practice up into many tiny tasks that you can aim to improve -only then will you see rapid results. The best part of this post is the colorful circle of "perfect practice" that holds your hand through the 5 steps of mastering your pieces. Save the chart to your computer or hand draw it in your practice notebook if you have to. Once you have begun practicing with this colorful piece of wisdom don't be shy to scribble the answers to each of the 5 questions out. Seeing is believing, plus writing it down always seems to work for me. Toodles.

Country Music Hall of Famer Carl Smith Passed Away Master honky-tonk stylist Carl Smith, the dashing "Country Gentleman" who was among the most successful Nashville-based artists of the 1950s, died Saturday, Jan. 16 at his home in Franklin. The Country Music Hall of Famer was 82. Radio exposure on WSM and on the Opry helped Mr. Smith to gain notoriety, as did his tours with Hank Williams and others he will be missed.

I've been saying it for sometime now, but playing shows is everything in the future. Looking to get a deal? Play shows. Want more exposure? Play shows. Wanna gain experience? Play shows. Do you want to be successful? Play...you guessed it. Small shows, big shows, street shows (I found one of my favorite bands at a street performance), house shows, showwws perieod. And now we have the merger of live nation and ticket-master finally getting judge approval. Recorded music revenue is dropping, and i haven't really bought a cd for awhile, but what i have a growing feining for is some live shows. Where are all the live shows at?

Ticket Master and live nation

2009 Future of Music Policy Summit CCC: California Copyright Conference NARIP: National Assn. of Record Industry Professionals AIMP: Association of Independent Music Publishers PMA: Production Music Association NMPA: National Music Publishers Association Record companies often earn money that cannot be paid to artists, managers, songwriters, or publishers because of paperwork problems. I know what you're thinking: yeah, right, paperwork problems. NMPA president and CEO David Israelite and Special Master/lawyer Kenneth Feinberg, who will be overseeing the distribution of nearly $300 million to music publishers from the big four record companies.