Quais São Os Melhores Livros Para Promoção Na Industria Da Música?

What Are The Best Books on Music Promotion and The Music Business?




When musicians ask me for recommendations on books to help them advance their music career, I rarely recommend books about music promotion, as many get outdated, or just say the same old shit e.g. ‘Be active on social media’ or even more painfully ‘Build a loyal fan base’. Below are a few exceptional books that I would recommend, along with a few great books on creativity, and success that I regularly recommend to musicians.

Books on music promotion

Music Success in Nine Weeks by Ariel Hyatt

This is one of the few music promotion books that I regularly recommend. Ariel is not only a good friend in the online music business world, but she’s an incredibly talented music publicist with some incredible insights. In Music Success in Nine Weeks, Ariel shares tips ranging from creating your elevator pitch, to setting goals, and managing social media strategies. Don’t worry, despite the title of her book she doesn’t actually expect you to reach the pinnacle of music business success in nine weeks time, but if any book were to get you closer to that goal, this would be it. A must-have for any DIY musician looking to promote their music.

Guerrilla Music-Marketing Online by Bob Baker

Another great book by a good friend in the community. Bob Baker has been in the game of marketing music longer than most of us, and although some of his tips are the common sense types, this book has some great insights for the musician looking to do some guerrilla marketing (no, that’s got nothing to do with actual guerillas). For less than £15 this book is worth picking up and scanning for a few fresh ideas.

Books on The Music Business

Music Business: The Essential Guide to the Law and the Deals by Ann Harrison

This is one of my favourite books on the boring side of the music business (sorry music lawyers). In Music Business: The Essential Guide to the Law and the Deals Ann talks through everything you need to know to keep your hands clean and be prepared when managers, record labels, sponsors, and other music companies start asking for your autograph on a dubious piece of text-heavy paper. The book is fun and has lots of hard-hitting case studies from her career as a music lawyer where well-known musicians got screwed over by lawyers, record labels and other music business professionals. If you’re looking to learn about the various types of emerging deals and contracts, this is the book.

The Future of Music by Dave Kusek

A few years ago I interviewed Dave Kusek about his thoughts on where the music business is going. Dave has an abnormal talent for predicting the future of innovation in the music industry with great accuracy. This book is his manifesto on the future of music and the digital revolution. It’s a great read from one of the most intelligent futurists in the music business.

My Top Five Books for Musicians

Now onto the really great stuff – the books above are great reading if you want to learn about promoting music or the music business in general, but the most well-rounded and intelligent musicians I meet are often those who explore outside of the boundaries of the music section in their library. Here are my top five books of all time for musicians.

1. Anything You Want by Derek Sivers
In January 2012 I was lucky enough to meet Derek at his offices in Singapore. Derek founded CDbaby and sold it for $22 million, which he then gave to a charitable trust. This book is an amazing collection of lessons about creative entrepreneurship, innovation, and life, from one of the most humble and down-to-Earth musicians I’ve ever had the pleasure to meet.

What makes Anything You Want such a great read for musicians is that it explains how Derek was frustrated that he couldn’t sell his music online, which is why he created a buy-it-now button on his website. When other musicians saw Derek selling his music with a buy-it-now button they asked if they too could sell their music on his website, until he finally ended building an ‘online music shop’, known today as CDbaby.com. If you don’t want to spend the £5 or so on buying this book, I strongly recommending dedicating at least an hour or so to reading some of Derek’s life lessons on his blog sivers.org – you will not regret it.

2. Think and Grow Rich by Napoleon Hill
Despite the title, this book is not really about getting rich (in my opinion). Think and Grow Rich is a study of over 1,000 successful entrepreneurs over 25 years. Napoleon distilled all of the traits commonly found in successful entrepreneurs into 13 simple principles. I see musicians as ‘creative entrepreneurs’, and I see success as obtaining your dreams. This book is an incredible insight into how to realise dreams (but without the lame self-help twist).

3. Rework by 37 Signals
Again, this book by 37 Signals is more intended for creative entrepreneurs opposed to musicians directly, but there are some great lessons to be learnt in this book about being unconventional when it comes to working on building your career as a musician.

4. Crush It! by Gary Vaynerchuk
I’ve read this several times now, and every time I read the first ten pages I get a huge burst of motivation to kick ass on social media. Gary Vaynerchuk is one of the few non-celebrities with over 1,000,000 followers on Twitter. He built his multi-million pound success from pure hustle on the social media, and this is where he shares how he does it. If nothing else, this book is a brilliant motivational kick up the ass.

5. How to Win Friends and Influence People by Dale Carnegie
This is a classic by Dale Carnegie on how to win friends and influence people. “Why do I need to learn how to win friends?” I hear you ask – because the same processes apply to winning fans, and unless you’ve got a decent fan base who are supporting your creative work, you’re going to struggle. This is one of best books on communication skills for anyone looking to up their game.

Have any other recommendations of great books for musicians? Let me know your favourites in the comments below and hopefully we can start compiling a great reading list for musicians.

Marcus

É Incrivelmente Caro Manter Um Site De Streaming - Então Consolidação Poderia Ser O Caminho!

It's incredibly expensive to run a music streaming site — so consolidation could be on the way

SoundCloud CEO Alexander Ljung

Spotify isn't making any money. It's not even close to profitability. Its most recent accounts show it made a $194 million (£149 million) loss in 2015.

And if you thought that was bad, German music streaming startup SoundCloud's finances may make you wince. It lost €39.1 million (£33 million) on revenues of just €17.3 million (£14.9 million) in 2014.

It's no surprise, then, that The Financial Times reported on Wednesday that Spotify is in advanced acquisition talks with SoundCloud.

Spotify has a business model that's all about hooking in free users through its ad-supported tier, and then (hopefully) converting them into paying every month for the service.

SoundCloud could help funnel more people into Spotify, while keeping itself as a slightly more niche streaming site focused on original content by DJs and smaller artists.

There have been rumours of consolidation in the streaming space for years. Hans-Holger Albrecht, CEO of music streaming service Deezer, warned in an interview with Business Insider in January that consolidation is on its way.

"It’s still going to be the number of players I anticipated. Four or five big ones," he said. "You see clearly Spotify, Apple is there. Rdio got acquired now. Whether it’s just US or embedded in Pandora is still to be seen. And then you have to say whether the other big guys will do more greater moves. Nothing has changed in that respect."

There are three established players in the world of music streaming: Apple, Spotify, and Google. They (probably) aren't going anywhere soon. But smaller streaming startups can't afford to keep losing money every year.

It was reported in June that Apple held acquisition talks with Tidal, the music streaming service owned by Jay Z that has been struggling financially. And that certainly wouldn't be the first time a large streaming site bought a smaller competitor. Pandora acquired the assets of Rdio in 2015, and Google acquired streaming site Songza in 2014.

It's expensive to run a music streaming site and lose money every year. Apple, with its $231 billion (£177 billion) cash pile, can afford to run Apple Music at a loss for a long time. But smaller music streaming startups will reach a point where they have to make a choice: Start making money or sell up.

It looks like SoundCloud may have already reached a decision, and it won't be the last startup to do so.

5 Dicas Para Ter os Bloggers De Musica Escrevendo Sobre Você! Eu Continuo Tentanto!!

5 Tips For Getting Music Bloggers To Write About Your Music

Although the value of a review in printed publicationshas greatly diminished, bloggers remain a valuable resource for getting your music into the public eye. Here we look at useful tips for capturing the attention of these modern day taste-makers.

_____________________________

Guest Post by Bobby Owsinski on Music 3.0

It used to be that just one good review in a magazine could sell loads of albums. Even a bad review could be really good for business if it was in a publication like Rolling Stone. That’s all changed since magazine reviews have become pretty irrelevant as the music world has moved online. Now its the music blogs like Pitchfork or Stereogum that can make the difference not so much in sales, but visibility to a new audience. Yes, music bloggers are important.

Sometimes those larger blogs are tough to break through, but the smaller bloggers still provide more of a one on one chance to state your case.

But how do you approach music bloggers in the first place? There really is a right and wrong way to do it, so here are 5 tips to get a blogger interested enough in what you’re doing to actually post about it.

1. Read the blog for a while to become familiar with the theme and feel. You can turn the blogger off completely by sending something cold without knowing the backstory of the blog.

2. Make some post comments without any overt marketing.Just try to move the conversation along on a few posts. The idea is for the blogger to recognize you as someone who contributes regularly and adds to the conversation.

3. Only after the blogger becomes familiar with you is it safe to reach out about what you’re doing. If you’re a regular reader and contributor, the blogger is much more likely to read a press release or take a listen to your music.

4. Sometimes asking a question about your project gets a response. While many bloggers are too busy to answer every email, many go out of their way to accommodate a regular reader and contributor. As a result, it’s perfectly okay to follow up after you’ve sent something to the blogger and there’s a good chance he’ll answer.

5. Never hard sell, just inform. Hard sell is a turnoff in general. Don’t do it. It’s okay to state the relevant information, but keep the superlatives like “Best band ever!” out of the equation.

Compositoras Na Indústria Dos Games - Veja A Diferença De Salários

Female Composers in Games Industry See Gender-Based Pay Penalty, New Study Finds

"Prince of Persia: The Forgotten Sands" composer Penka Kouneva attends The Women Who Score: Soundtracks Live in Concert at Grand Performances on Aug. 19, 2016 in Los Angeles. 

As GameSoundCon, the annual conference for game music composers, is set to begin on Tuesday, Sept. 27, in Los Angeles, the profession finds itself in the dichotomous position of being in a Renaissance Age for sound technology, but in the Dark Ages when it comes to income equality, a recent industry survey shows.

The penalty for being a woman in game audio is roughly equal to two years’ of experience, according to an independent analysis of the survey. In other words, a woman with eight years of experience composing music for video games was compensated on the same level as a man with six years of experience.

The analysis was based on data gathered online via the Game Audio Industry Survey, which tracks compensation, working conditions, contact terms and production information for the video game music and sound industry. The survey included responses from 526 men and 51 women. The 10:1 ratio of respondents mirrors the gender composition of the industry as a whole, said Brian Schmidt, a veteran interactive music composer and sound designer and executive director of GameSoundCon, which commissions the annual industry survey.

This is the first year survey organizers have commissioned an independent analysis of the gender data -- largely because there were so few women in prior surveys for there to be a valid sample, Schmidt said.

Now that the profession has quantified the bias, it needs to address the harder questions of why it happens and what can be done about it, said Karen Collins, the Canada Research Chair in Interactive Audio at the University of Waterloo. 

"I don't think there's outright discrimination," Collins said. "I do think it's a systemic problem across all fields."

Though there may not be overt discrimination, many studies suggest that subconscious bias plays a powerful role by shaping expectations of what the ideal job candidate looks like, for both men and women. The influence may seem subtle, but the effect is substantial. An analysis of 100,000 job offers on Hired.com found that 69 percent of the time, men are offered more money than women for the same job title at the same company. In addition, men are offered an average of 3 percent more pay than women. While that's initially a small difference, it can add up to hundreds of thousands of dollars over the course of a career. A separate study by the National Women's Law Center calculated that difference to be $430,480 over a 40-year career.

"Because all their role models are male, women may not ask for as much pay or offered as much money because there's a perception that they don't look like what you would think of as a music composer, and, therefore, they're not as good," Collins said. "There's an expectation that women are not as capable as men. But it's not a conscious one, which makes it a lot harder to overcome because they don't recognize the bias."

In interactive music composition, women encounter a "double whammy," said Collins. That's because the profession stands at the confluence of two heavily male dominated fields -- technology and music composition. "In music school, women generally have male role models. Add that to the technological aspect, which is also male dominated, and you have a double whammy."

As for what can be done to balance the scales, Schmidt says he's doing two things off the bat. The first is acknowledging the bias in a roundtable discussion at this week's GameSoundCon conference. The second is to schedule a disproportionate number of women speakers at the conference, both to broaden the perception of what a game music composer should look like and to encourage more women to seek leadership roles.

"There tends to be two main salary peaks," Schmidt explained. "One is around $60,000 a year, and another is around $140,000 a year. That jump occurs when you shift into a manager, director or other leadership role." In other words, having more women in leadership roles would significantly tip the salary average higher for females. "I think it's important for people to see women as leaders and experts in the field of game music composition and sound design," Schmidt said.

Adele Alcançou Com "25 " O Status De Diamante Em Menos De Um Ano

Adele's '25' Hits Diamond Status in Less Than a Year

Adele was presented a plaque celebrating the 10x Platinum (Diamond) certification of her latest album 25.   The presentation took place on Sept. 22, 2016 at Madison Square Garden where the artist just completed a six-night stint. 

Adele is once again in a league of her own. In an era when mutli-platinum album sales are typically reserved for an elite group of artists, the British singer has reached a career pinnacle that most superstars are lucky to summit once, to say nothing of doing it twice in a row. According to the RIAA, Adele's smash 25reached diamond status last Thursday (Sept. 22), certifying it for 10 million in sales in the U.S. alone. She received the 10X Platinum plaque on the final night of her six-show stint at Madison Square Garden. 

Rewinding the Charts: In 2011, All Adele Needed Was Her Voice & a Piano

On the strength of the seven-times platinum single "Hello" as well as hit singles "Send My Love (To Your New Lover)" and "When We Were Young," 25 reached diamond in a little over 10 months. Her previous album, 2011's 21, propelled by hits "Rolling in the Deep" and "Someone Like You," took almost two years to hit diamond in November 2012. Adele continues her sold-out North American tour, which runs through a Nov. 21 date in Phoenix, Arizona. 

Tomb Raider - Minha Trilha Sonora Efeitos Sonoros - Video

Tomb Raider - My Soundtrack and Sound Design 

By Bruno Cantinho

Hi Everyone, as usual I got this idea a couple months ago, since I heard the Tomb Raider (Video Games) was back again.

Then, again, I did the download the teaser and edit the clip. The first task was edit the voice of caracter. I used severa plugins, as gate, compressor, EQ and more gate to get as much as possible only the voice of caracter.

You see watching the video that there are little strings in some parts during the video.

Now was time to work on soundtrack. The clip as it self gave me the whole idea what kind of music I have to make. I start with basic drum first and change the EQ, reverb and add more taiko drums on bass drum. After that I started to add the strings. In the end I decided to keep on this way, only drums and strings on entire clip.

For the he sound design since the beginning I put  the sound of the winds, airplane and the steps more to end of the clip, I keep some original partas such as Tomb Raider Hit the Glacier Wall and the crack starts to come in and the torch.

I hope you enjoin this demo any comments will always welcome.

See you next time.

As Gravadoras Dão Boas Vindas à Ascensão Do Streaming, Mas Os Compositores Ainda Não Estão Sorrindo

Record Labels Welcome Rise from Streaming, But Songwriters Aren't Smiling Yet

Earlier this week, the American recording industry celebrated the very good news that they made more money during the first half of this year than they did during the first half of last year -- something that hasn't happened in any meaningful way for a long, long time. Streaming services, which have spent the past five years gaining acceptance stateside, seem to have reached a tipping point. 

But as record labels watch their balance sheets go up and to the right, songwriters say -- and have been saying for some time -- they're being cut out of streaming's success.

Essentially, songwriters and publishers -- the companies that oversee and manage the use of songwriters' compositions, which are legally separate from the recordings of those songs  -- see the problem as twofold. First, they say they're being forced to compete in an open marketplace with one hand tied behind their back, because of regulations put in place by the U.S. government in 1941 over fears of antitrust. 75 years ago, the government had a legitimate reason to be worried that control over who could play what music was overly concentrated, and mandated that those in control of licensing songs to various businesses would have to license those songs at a rate that was reasonable and predictable, preventing price gouging. However, songwriters, publishers and the performance rights organizations -- principally ASCAP and BMI, who originally agreed to the consent decrees -- argue that being mandated by these regulations in 2016 is unfair in a chaotic, and competitive, market.

"When labels negotiate, they set their terms and if they don't like them, they get to say no," says David Israelite, president of the National Music Publishers Association. "The songwriters and publishers are operating under a patchwork of antiquated regulations that don't allow them to say no."

"The consent decrees don't allow songwriters and publishers to negotiate in a free market," says Dina LaPolt, an entertainment attorney who works with Songwriters of North America (SONA), tells Billboard. "The recording industry can negotiate in a free market for interactive services [also known as "on-demand" -- those that let listeners pick what they want to hear, like Spotify]."

One source from a digital service counters that publishers say they want a competitive market, but not "true capitalism... Because in a truly competitive market, prices always come down."

Those who license music from publishers and labels explained their stance in a recent letter written under the umbrella of the MIC Coalition, whose members include Google and iHeartMedia (and from which NPR and Amazon withdrew), "The protections provided by the consent decrees protect licensees from the massive market power of a few collectives over vast catalogs of non-substitutable musical works."

Another argument is that digital music services are paying out most of their revenue for "content costs" -- the music they play. If songwriters were allowed to collectively negotiate for higher rates, the lucrative new streaming economy would collapse.

"That's not how markets work," counters Israelite, saying that the labels and publishers wouldn't negotiate the industry's newest, massive revenue generator into an early grave.

Matt Pincus, CEO of the independent company SONGS Music Publishing, says that if he were able to freely negotiate the rates he charges digital services, as labels do, the result could be more money for the songwriters he represents. "Look at the one source of revenue where we can bargain, synch [the placement of songs in movies and television], we get fifty-fifty -- the same as the labels." (Pincus also obliquely references another ongoing dispute -- that publishers/songwriters should receive an event split of money from digital services. However, labels take on additional overhead, like recording and marketing, that publishers do not. Fear not, that debate will continue.)

The other problem, according to songwriters and publishers, is that record labels are getting "the lion's share" of digital revenues because of considerations labels secured during negotiations for the Digital Millennium Copyright Act (DMCA). At the time of these negotiations -- the mid-'90s -- labels argued that, because publishers receive performance royalties (the money owed from playing songs on the radio, in venues, and on the web) from multiple sources, labels should receive, at least, a digital performance royalty. Regulators agreed.

"First of all, it's not our fault," says Israelite, of the fact that record labels receive no money from broadcast radio. "We want them to get paid. The fact that they've gotten beaten in congress is no reason to punish songwriters." But more importantly, he says, is that because of how the music industry -- really any media business -- has evolved, all of the money is in digital anyways. This is clear from the very thing that prompted this article -- that the record business is growing after a long period of decline based entirely on digital sources of income.

"No one I know is against streaming services," writes David Lowery, a songwriter and professor, in an email to Billboard. "The issue is compensation -- or lack thereof."

"The main way that songwriters have earned money, performance royalties," Pincus says, "are now being directed to labels because of the DMCA." He offers the example of Pandora, which pays out 55 percent of total revenues (compared to Spotify's roughly 70 percent) back to the industry, of which he says 4 percent makes its way back to publishers. "It flips around the economics of the business in a fundamental way."

Record labels counter that the overhead of their business -- marketing, recording, for example -- makes every dollar they make more expensive than publishers' business.

So... what's the solution?

"Whether its a performance share [of digital royalties], or a greater share of the other sources of revenues from streaming," Pincus says, "we need to secure more of the revenue paid out by streaming services in order to keep the income of songwriters healthy."

LaPolt is more pointed: "Blow it up and rebuild it. We're asking these old hags who have been in the business for 30 years to deal with something they barely understand," she says, in reference to the industry's tectonic digital pivot. She also says that waiting for a legislative solution is a fool's errand. "We need to put a lot of pressure on the government, and not through legislation -- politicians spend ninety percent of their time trying to keep their job." So, she says, "the only other thing to do is sue! Sue everybody's asses off."

In the meantime, songwriters are left with little recourse but to wait for the titans to reach a median. "How many Etta James' have to die alone, penniless," LaPolt asks. "How many B.B. Kings will need to get up on stage when they can barely stand?"