Como Se Preparar Para Licenciar A Sua Música? Cada Etapa É Vital

How To Prepare Yourself For Licensing Music: Every Step Listed Is Vital

Music licensing is a very lucrative business. One with no shortage of placement opportunities. Everywhere you turn there’s a company or product that utilizes music to some extent.

As an indie music creator, you have the ability capitalize, but you have to be organized, flexible, patient and willing to cater to the market’s needs. This is a different ball game when compared to creating around an artist.

Here’s some tips you can utilize today to better prepare yourself for licensing.

1. Make Sure Your Music Sounds Good.

I’m not speaking in terms of genre or taste, but more so in terms of sonic quality. You want to make sure your music is mixed properly. This means no clipping, good dynamic range, good levels etc. It must sound good.

If mixing isn’t a talent you possess hire someone to mix your music or start learning how to do it yourself.

I get a lot of questions in terms of who to contact for mastering or does my music need to be mastered. My answer is no it does not need to be mastered, don’t focus on the mastering, focus on the mix because the master is only as good as the mix.

A good thing to do is compare your music to commercial music or a song that you hear being used in the licensing world. If your music doesn’t sound as good sonically then it’s not ready.

2. Who Owns The Rights To Your Music?

Make sure you know who owns the rights to your music. If you working with a band or with multiple writers, then everyone involved with the creation owns a piece of the music.

Here’s a perfect example. If you, Billy and Casey wrote a song together, then you are all co owners, and have say in what happens with the song, unless stated otherwise in a contract.

What licensing professionals need to know

1. who owns a master recording?
2. Who owns the composition?

Why is this important? Because before your music can be used in visual media, the client needs to obtain two specific licenses.

1. Master license (master sound recording)
2. Synchronization license (the right to use the composition)

And without all parties (writers/owners) onboard, the transaction gets stuck in limbo.

visual media = video games, movie, reality TV shows etc.

3. Got Publishing? Sign Up With BMI – ASCAP- SESAC

Make sure you’re signed up with a Performing Rights Organization also known as a PRO. The reason why you want to sign up with the PRO is because they collect royalty payments on your behalf.

If your music is used in a TV commercial and this TV commercial airs several times a day, that’s money in the bank and without being signed up with a PRO, it’s money that you’re missing out on.

Even if the commercial only airs on Saturday mornings between 9 AM and 11 AM, that’s money that you’re missing out on if you’re not signed up with the PRO.

4. Have Alternative Versions Of Your Music

Why? Because it increases the chances of your music being used. A lot of times when you listen to TV ads, you’ll notice that the instrumental plays underneath the dialogue for a few bars, then towards the end, you hear the full song.

This is done because the dialogue for the commercial/TV ad or whatever is important and they need your music to aid the message, and not conflict with their dialogue.

In the event that a music supervisor needs the instrumental version of your song and you can’t be reached or can’t turn it over in a reasonable amount of time, you could miss out on the placement altogether.

There are also times when you have a good song, but it’s not tailored correctly. What does this mean? This means your music isn’t set up to be used in visual media → there needs to be edits and variation.

5. Educate Yourself On The Business Of Music.

Make sure you understand the basic terminology of music licensing as they will be used in your contracts. If you can afford legal representation, I recommend going that route, but if not education is required.

Even if you can afford legal representation, it’s still beneficial to understand the jargon and terms being used. In some instances it’ll save you money, and it makes you a little more marketable (professional).

Big clients like working with people who are professional. Smaller clients will appreciate the Average Joe approach, especially if you can explain things on their level.

Existem Agora Mais de 100 Milhões De Pessoas Pagando Por Música em Streaming.

There Are Now 100 Million People Paying For Streaming Music

First of all thanks to Hugh McIntyre  for this article.

NEW ORLEANS, LA – JUNE 30: ESSENCE Live Host, Dana Blair attends the Apple R&B Rising Event during the 2016 ESSENCE Festival presented By Coca-Cola at Kingsway Mansion on June 30, 2016, in New Orleans, Louisiana. 

During its annual big event, Apple AAPL -2.65% revealed that its streaming music platform has now been able to accrue 17 million paying customers, even though it is only just over one year old. That’s a very impressive number, and it makes Apple Music one of the largest services in terms of paying subscriber numbers in the world. The jump in users is not just good news for Apple, it’s good news for the entire music industry. Thanks to some smaller players making big moves and the larger services collecting millions of new users all the time, the streaming music industry can now claim 100 million paying customers around the world, which is a very big deal for the ever-expanding business.

Just a short time ago, new Spotify hire Troy Carter revealed that his employer now has 39 million paying customers listening to music, which is up significantly from when the company’s CEO tweeted that the Swedish giant had reached 30 million not too long ago. That number is just about the same number of subscribers satellite radio pioneer Sirius XM has collected over the years it has been in business. Add in the tallies of companies like Tidal, Napster, Deezer and a handful of others, and the millions truly begin to add up. In fact, there are probably more than 100 million paying subscribers in the world, but companies like YouTube and SoundCloud won’t reveal the subscription numbers connected to their newly-launched streaming music platforms just yet.

While 100 million is certainly a wonderful marker to pass, there are actually many more people out there streaming away, though not all of them are paying for it. Spotify alone has 100 million users, though only about 30-40% of them are paying for the privilege of ad-free listening. Converting those users already comfortable with the idea of streaming music, while also attracting new users by the boatload, is vital to ensuring that this new form of media consumption is able to survive the coming years.

100 million paying customers means that while there is still a lot that needs to be worked out when it comes to payments, technology, reporting, and so on, streaming music is picking up steam, and the masses have definitely chosen this method as their go-to for accessing music. Streaming music will be better for everyone involved—especially those looking to make a living off the music they create—as the industry grows, and the more people pressing play on songs and paying their monthly dues, the better. This is just one major milestone, and there are sure to be many more in the not-too-distant future, as the rate of people signing up and handing over their credit card information is rising almost as quickly as the numbers themselves.

Conheça A Mulher Que Tem Sido A Engenheira De Som Do Pearl Jam A 24 Anos

Karrie Keyes stands at her soundboard at a show at Boston's Fenway Park in August 2016. From here, she communicates with the members of Pearl Jam to get the monitor mix just right.

Meet The Woman Who's Been Pearl Jam's Sound Engineer For 24 Years

Lots of people have jobs where they make their boss look good. But for over two decades, Karrie Keyes has been making sure her bosses sound good. Keyes is a sound engineer, and her bosses just happen to be Pearl Jam.

"Half our fans, they know who I am because they see me come out on stage," Keyes says. "The 'microphone girl,' because I'm checking the mics."

Keyes (whose last name rhymes with "eyes") is Pearl Jam's monitor engineer, which means she doesn't deal with the sound the audience hears. Rather, she mixes the sound the individual band members hear, through earbuds and speakers, while they're playing live.

"Sometimes it's easy and everybody wants to hear the same thing," she says. "And sometimes it's really difficult, because none of them want to hear the same thing."

From offstage, Keyes communicates with the band, especially lead singer Eddie Vedder, mostly using hand signals. The conditions for her work are unpredictable: Everything from weather and humidity to crowd size and sweat-drenched microphones can change what the musicians are getting in their ears. Over time, she's redesigned her monitor system specifically to suit the band's needs.

Keyes has been with Pearl Jam for 24 years. Her career dates back to when, as a punk-loving teenager at a Black Flag show, she met a sound engineer who offered her a job.

"When I started, it was loading trucks: putting all the equipment back in the trucks, then taking it out of the truck," Keyes says.

She learned to survive on $50 a week, taking any work she could: punk shows, mariachi gigs, gospel festivals. Not every show was great, and as one of few female engineers, she ran into sexism frequently — but she says travel and variety made up for the drawbacks.

"You were gonna go someplace else the next day, so it didn't matter," she says. "That was the selling point: Every day was new and every day had the potential of being an amazing day."

By the early 90s when Pearl Jam exploded, Keyes was on the road a lot. Then, she had twin daughters. While she was touring, their dad, aunts and sometimes a nanny took care of them. It was challenging.

"It took me probably till they were three or four to actually come to terms with, 'You know what, I'm actually a better mother if I'm doing what I love doing.' So that when I'm here, I'm completely here."

George Webb, Pearl Jam's equipment manager and bass guitar technician, witnessed that transition and says he remains impressed.

"That's some serious bravery: doing this job, touring all the time and having two kids," he says. "I remember, you know, when she was pregnant–pregnant on tour. Having babies and raising them and trying to tour at the same time just wasn't an easy thing."

It's rare for sound engineers to stay with a band as long as Keyes has — and it's stillrare for sound engineers to be women. That's why a few years ago, Keyes co-founded SoundGirls, a group that supports and mentors women in professional audio. This summer, SoundGirls held camps to teach young women live sound.

"Everyone's had a mentor, a teacher, a guide," Keyes says. "The crew and the band has earned being here. And we're going to go out and put on a really good show."

A Trilha Sonora E Os Sons De Uncharted 4: A Thief’s End

The Sound of Uncharted 4: A Thief’s End

In this exclusive SoundWorks Collection sound profile we talk with the Naughty Dog audio team behind Uncharted 4 including Audio Lead Phillip Kovats, Senior Sound Designer Robert Krekel, Senior Programmer Jonathan Lanier and Senior Sound Designer Jeremy Rogers.

---

SOUND STUDIO	DIRECTOR	ORIGINAL MUSIC
Naughty Dog	Neil Druckmann and Bruce Straley	Henry Jackman

---

Synopsis

Three years after the events of Uncharted 3: Drake's Deception, Nathan "Nate" Drake, now retired as a fortune hunter, has settled into a normal life with his wife Elena Fisher. His world is then turned upside down when his older brother Sam, long believed to be dead, suddenly reappears seeking Drake's help. Along with Victor "Sully" Sullivan, they embark on a race against time, across the globe, from the snow-capped peaks of Scotland to the island nation of Madagascar, in pursuit of a conspiracy behind Libertalia, a long lost pirate colony, and its fabled pooled pirate treasure. Nate must also contend with rival treasure hunter Rafe Adler, who has partnered with mercenary Nadine Ross and her PMC, Shoreline, to help him locate Libertalia. Naughty Dog outlined the game's plot as "his greatest adventure yet and will test his physical limits, his resolve, and ultimately, what he's willing to sacrifice to save the ones he loves".

Mini Documentário Na Arte De Masterizar Um Vinil (Vídeo)

Mini-Doc on the Art of Vinyl Mastering

Discussing the subject with accomplished mastering engineers Rashard Becker (who has also released his own music via PAN), Andreas "Lupo" Lubich, and Noel Summerville, a new mini documentary from the The Vinyl Factory dives into the current state of mastering tracks for wax. With a client list between them that includes Apex Twin, Boards of Canada, Theo Parrish, Maxmilion Dunbar, Nicolas Jaar, and Laurel Halo—to name a few—Becker, Lubich, and Summerville provide a good deal of useful insight into the world of mastering for vinyl.

Though just over six minutes in length, Sculpting Sound: The Art of Vinyl Mastering does more than merely skim the surface of the somewhat mysterious, but essential process. Taking trips to talk with each mastering engineer in their own studio, the mini-doc is a quick but informative look into the art of cutting tracks onto vinyl, and more specifically, how the methods have changed and evolved in recent years.

Marketing Básico Para Músicos Independentes

Basic Merch Marketing Strategies for Indie Musicians

Music feeds the soul; merch feeds the body. How cheesy but that is very true, my friend.



You know that! If you’re a musician, you need to sell band merchandise in order to survive. And in order to sell, you have to know how to market your merch. Here are some strategies that could help your band generate more merch sales:

Make Sure Your Name is Big and Bold. To make sure your fans won’t get lost and buy from another merch table, you have to have a big signage. It is a must! You don’t want them to have a hard time finding your table.

Light up your Merch. Aside from having a huge and readable signage, your booth should have good lighting. LED lights are okay but you should also put some “sexy” lights like yellow lights or Christmas lights. Just don’t put strobe lights as it could annoy everyone.

Avoid Clutter. Clutter looks artsy- as if you really don’t care. But you (and your fans) would have a tough time if your shirts and CDs and posters are all cluttered. Not only that, you would have a hard time packing up the items if it’s time to leave. Organizing your booth so it looks clean and so it’s easy for them to look, easy for you to find things is the way to go.

Let it reflect your personality. Your products should be an extension of your personality and style. Make sure booth-hoppers would know it’s your booth and not another band’s.

Friends Should Hang Out Somewhere else. A lively group of people chatting away near your booth and talking to you non-stop will intimidate people with real interest in buying your products.

Bundle Items. Bundle your CD with your t-shirt at a cheaper price to push those frugal fans to buy your items.

Get everyone’s E-mail. Every man, woman and child who visits your booth should leave their e-mail. Of course, ask this in a friendly manner. At least if you don’t have plenty of sales, your online marketing would improve. Every e-mail counts.

Set-up an iPod Station. Fans could pay you when they download your music or you could just ask their e-mails in return. It’s not a bad option.

Set- up a Photo Booth.  If you have the extra money to set up a photo booth, go right ahead! People want souvenirs for their concert experience. Yes, there’s instagram but photos from a photo booth are ten times cooler. Of course, be ready to have your pictures taken with them.

Sell vinyl records, USB sticks and other exclusive items. Fans that will make the effort to attend your show would want something that others don’t have. They wouldn’t care so much if your items are a bit more expensive than a CD because they’ve already traveled (and spent money) just to see you anyway. Make sure you announce this to your website to convince more people to watch your gig.

Sell Hand-made Items by Band Members. If you have a painter in your band, let him paint and sell the paintings to your fans. It would also serve as a lovely decoration to your booth. Tap into each others’ skills.

Money matters. You should agree to set some money aside from every gig to put towards merchandise. Every expense and income should be accounted and uploaded for every band member to see.

Task Designation. Involve every single member of your band and give everyone a job. Someone should be in-charge of inventory, shipping items, accounting, marketing, manufacturing,

Accept Credit Cards and Debit Cards. If you have a smart phone, go to SquareUp: http://www.square.com  – this app allows you to take credit cards anywhere, and they will even provide you with a card scanner that plugs into your phone! You’ll be taking more orders this way, so don’t miss out on sales by not taking credit cards!

Let them Know you have a Table. Talk about your items and your merch table in your Facebook page, website and most of all…when you’re on the stage. So you won’t sound like you’re begging them to buy, assume that they all went to the concert to have your exclusive merch. Announce it in between songs and tell them you’ll be there on the booth after your performance.

Você Esta Fazendo Estes 9 Erros Durante Os Ensaios?

Are You Making These 9 Band Rehearsal Mistakes?

A ragtag group of musicians doesn’t just become a band because it thought it was a good idea to practice together.

A band becomes a band when they click and play together as a well-oiled machine.

For instance, I’ve played in a band with a few different line-ups.

The core group has always been the “band.” New musicians that audition don’t become a part of the band until they click with us musically. Until we can groove together and play off each other.

That doesn’t happen overnight. And sometimes it doesn’t happen at all. Sometimes you need to get rid of that one band member that doesn’t click, because it’s for the greater good of “the band.”

But the most important places you will ever have is your rehearsal space. The rehearsal space is the place where your unlikely group of musicians you found on Craigslist becomes something more than the sum of their musical parts.

But if you just screw around during rehearsals, you’re not gonna become greater than before. Cherish the time you spend with your band mates while you rehearse. Have fun, but make no mistake, there is work to be done.

If you don’t think you’re progressing as fast as you could be, maybe you’re making some of these mistakes?

1. You Have No Plan

Being business minded and obsessed with efficiency can have its advantages. Think about your rehearsals like a business meeting, except that you can wear what you want, you’ll be playing music and there’s probably empty beers cans on the floor.

So maybe nothing like a business meeting, but it still needs to be efficient. Have a plan of action when you go to practice. This is the underlying mistake that most of the following 6 mistakes will build upon. Without a plan, it’s easy to get wrapped up in stories, not working on challenging song sections or even trying to write new ones.

If you have an hour to practice, schedule 5 minutes for chit-chat, 5 minutes for warmup(just play an easy song you all know to get in the groove.) and then devote the rest to actually rehearsing to get better.

Make a plan of what you’re gonna work on before you waste all that time telling stories about last week’s awesome drinking session/concert.

2. You Don’t Want to Do the Work

Work. It’s a word that has a nasty ring to it.

But just because it’s work can’t mean it’s not fun. It’s very liberating to overcome the challenge of a hard song part, nailing that solo or finding that perfect vocal harmony.

Think of it like work, just way cooler and more artistic. That’s what your job is when you’re in your rehearsal space.

3. You Play the Same Songs Over and Over Again

Sure, it’s good to play your set-list over and over to make it as smooth as possible. However, if your setlist sounds as smooth as possible then it’s pointless to keep rehearsing something that doesn’t need work.

Instead, focus on your underdeveloped songs, your song ideas and melodies that you’ve toyed with at home. It’s much more productive to work on a short idea for 30 minutes and end up with a template for a new song than to play the same 6 songs over again.

You won’t end up with anything new, and you’ll have wasted an entire rehearsal because you’re not challenging yourself.

4. You Don’t Challenge Each Other

This is in a similar vein to #3. It’s OK to be honest with each other about your parts. If your guitar part doesn’t really work for you, then say it. Being in a band is (usually) a collaborative effort.

Unless there’s one head songwriter that also writes all the parts then you should communicate what works and what doesn’t. It’s challenging to try to come up with new parts, and it’s annoying if you’ve worked for long on a part that nobody likes. But if taking some more time to work on an even better part contributes to the greater good of the song, then that’s something you should be willing to do.

The opposite is also true. Sometimes musicians think their part is no good because it’s too simple or they don’t like it for some reason. If it sounds perfect to the rest of the band then it’s their job to encourage the musician to keep doing what he’s doing.

Sometimes simple is best for the song.

5. You Don’t Focus On the Problem Parts

When the bridge of your ballad is the only part of the song that needs work, don’t play the song over and over. That’s simply inefficient.

Focus only on the part of the song that needs work. Otherwise you’ll waste a lot of time going through the motions of what you already know instead of focusing on the actual problem.

It’s like a chef who doesn’t know how to make gravy makes the whole roast turkey again because he keeps screwing up the gravy. It’s simply not productive.

Play that part over and over again until you nail. Then play it a few more times to make it groove. Then you can play the song from start to end.

6. You Don’t Record Your Practices

One of the best things for my band practices wasn’t a new instrument or an effects pedal. It wasthis little portable recorder. By recording all our practices, my band and I were ready to gig within a month of ever starting to play together.

We just recorded all of our practices, I sent the recordings to all of the band members when I got home and we all listened and did our homework before next practice. Everyone could work on their own mistakes on their own time so that when it came time to practice we could work on making the songs groove.

Nobody was struggling with their parts and we could focus on playing like a whole.

Absolutely the best band investment I’ve made.

7. You Don’t Do Your Homework

Of course, recording the whole session is pointless if you’re not going to do anything with it.

It’s supposed to help you with your parts that you can do on your own time. It’s a great way to write solos or practice your backing vocals or harmonies.

But all that stuff is pointless if you don’t do anything outside of practice. And let me tell you, it’s annoying for everyone else if you’re the only one screwing up the songs for next week’s gig.

8. You Don’t Plan for the Next Practice

Just like you need a plan for each practice, planning in advance for the next can be very productive.

Problems are more fresh in your mind so if you jot them down before you leave it can jog your memory the next time you come in. You might forget about fresh song ideas that you just came up with so by planning ahead for next week’s practice is important to keep a good workflow going.

9. You Don’t Love Your Music!

This isn’t really a part of the mistakes per say, but if you don’t love the music you’re making you’re wasting your time.

Sometimes you love the music but the band members are in the way. If the drummer isn’t doing it for you and they are your songs, then find another drummer.

It might sound harsh but would you rather have an awkward conversation and an awesome group of musicians or would you rather dread going to practice each week just to put up with bad drumming and uninspiring music?

I don’t know about you but the former sound an awful lot better.

Conclusion

Some of these tips might be relevant to you, some might not work for your particular situation, but I really hope you gained something from reading this article.

If you’ve recorded your music in your rehearsal space and want to take it to the next level, check out Crowd Audio’s mixing services today. Have your music mixed by dozens of engineers and pay for only the mix you like the most.