SDC TALKRADIO

Saturday, December 29, 2012

Dixie Chicks news: Trio set to reunite for Canadian festival next summer

Dixie Chicks news: Natalie Maines solo album and tour coming in 2013
Trio set to reunite for Canadian festival next summer

By Phyllis Stark




The Dixie Chicks have been laying low in recent years, but we could be hearing a lot more from them in 2013, particularly lead singer Natalie Maines, who has a solo album and tour in the works.

Maines has been revealing details of the album, and a planned tour, in a series of tweets. On Dec. 19, Maines tweeted “Happy Natalie Maines finished her album day everybody!” She later revealed the album’s title (“Mother”) and release date (May 7, 2013). She also announced via Twitter, “I’ll be doing a solo tour this summer.”

The album title is likely taken from the Pink Floyd cover song Maines recently recorded for the soundtrack album of the documentary “West of Memphis: Voices for Justice,” which hits stores Jan. 15. The film tells the story of three teenagers, dubbed the West Memphis Three, who were convicted of murdering three 8-year-old children and spent 18 years in prison while supporters protested their innocence. A portion of the album’s proceeds directly benefit the West Memphis Three.

Meanwhile, the Dixie Chicks have been announced as the July 13 headliners for Canada’s Craven Country Jamboree replacing Lady Antebellum, which had to cancel due to band member Hillary Scott’s pregnancy.

The festival is set for July 11-14 in Craven, Saskatchewan, and the other days’ headliners are Kenny Chesney and Tim McGraw. Additional scheduled performers include Scotty McCreery, Phil Vassar, Brantley Gilbert, Sawyer Brown, Gloriana, High Valley, Randy Travis and Bill Anderson.

The Chicks are expected to play a greatest hits set at the festival. So far, it’s their only tour date announced for 2013.

Thursday, December 13, 2012

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Make your own slideshow at Animoto.


Luna Blanca plays with a vocalist featuring the beautiful voice of Gundy

On "Freedom in Your Soul" for the first time Luna Blanca plays with a vocalist featuring the beautiful voice of Gundy. (Download already available in our own Music store, www.lunablancamusic.com). ---
The last album El Dorado hits the No. 3 position on the international Top 100 Radio Airplay Chart July 2012 ---- Richard Hecks and his nouveau flamenco band Luna Blanca has become known for their catchy and instantly-appealing melodies plus a Latin-oriented ensemble sound that makes the listener feel they are traveling to a warm climate to enjoy good times.--- Luna Blanca, based in Bocholt, Germany, was founded at the beginning of the millennium by acoustic lead guitarist Richard Hecks. The other mainstay of the group is pianist Helmut Graebe, who joined the group just before they recorded the first album, and now co-writes the music with Hecks. On the last four albums, Hecks and Graebe have been joined by rhythm guitarist Bino Dola (a flamenco player much respected throughout Europe) and Clemens Paskert (who adds bass, percussion and additional keyboards). Paskert, who runs Capitol Sound Studios where the CD was recorded, also serves as arranger and co-producer with Hecks. "El Dorado is not only one of the best guitar-based albums ever, but also one of the best records of music in general" --- The latest album by internationally renowned German group Luna Blanca is an exhilarating journey through a variety of global music traditions, resulting in a vibrant mariachi/merengue world-fusion sound unlike any other. Luna Blanca’s unique style consists of Richard Hecks’s lead guitars, Helmut Graebe’s piano and keyboards, Bino Dola’s rhythm and additional lead guitars, Clemens Paskert’s bass, percussion, and additional keyboards, and Christian Landgraf’s additional keyboards. Using nouveau flamenco as an anchor, Hecks and company fuse together such diverse elements as classical, Latin, European, Hawaiian, reggae, and new age. The result is continually evolving musical hybrids that are infectious and engaging, pulling the listener in and never letting go. The rhythms are tight and the guitars are enticing and seductive. Although I have favorite tracks, the entire CD is a joy to listen to. This is not only one of the best guitar-based albums ever, but also one of the best records of music in general. --- by Raj Manoharan - RajManReviews - Artist: Luna Blanca Album: Obsession Artist Name: Luna Blanca Album: Obsession First/Last Name: Luna Blanca Email address: info@lunablanca.de Hometown: Bocholt, NRW, Germany Website: http://www.lunablancamusic.com Style of music: Country MySpace: SonicBids: http://www.sonicbids.com/lunablanca SoundClick: https://www.reverbnation.com/store/view_item_album/artist_604032?item_id=1650798 Facebook: http://www.facebook.com/lunablancamusic Other: http://www.amazon.com/Luna-Blanca/e/B001LHGKJQ Label Affiliation: Independent Label Performing Rights Affiliation: GEMA (GERMANY) Description: Holiday seasons perfect song: Freedom in Your Soul (feat. Gundy). --- WAV download for airplay: http://soundcloud.com/lunablancamusic/freedom-in-your-soul-feat/s-lkAOq

Thursday, November 29, 2012

Mastering Boot Camp & DIY Acoustics combo special in December

We are doing Cyber Monday Specials Again!!

2 for 1 Phone or Skype consulting.

Purchase any amount of phone-Skype consulting and get credit for double the amount you purchase. Purchase your time using our PayPal link on Monday November 26, and we will double your purchase. May be combined into one session or split into two sessions.


Mastering Boot Camp & DIY Acoustics combo special in December.

December 11 & 12 we are offering Mastering Boot Camp and DIY Acoustics classes at our Santa Monica location. Anyone that signs up for one of the classes on Cyber Monday may attend the other free of charge. Offer only applies to the December classes, and limited space is available. Just sign up for either class and send us an email (on Monday) to let us know you would like to attend both classes.

Mastering Boot Camp in Los Angeles
December 11, 2012 7:15 – 10:30 Details »
DIY Acoustics Class in Los Angeles
December 12, 2012 7:15 – 10:30 Details »
One last thing: This is not an RBC event, but my good friend, performance and vocal coach Steven Memel (Adam Levine, Sara Bareilles, Jesse McCartney, Justin Long, Drew Barrymore) is doing a free teleseminar this evening at 5pm PST on business tips and techniques for DIY musicians. Get more info here

Thanks!
Ronan
You are receiving this because you are a client or possibly met us at a conference or event. If you do not wish to receive the occasional email we will gladly unsubscribe you.

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Copyright (C) 2012 Home Recording Boot Camp All rights reserved.

Eric Gibson

Eric Gibson is an Austin, TX recording artist who writes, performs and produces his own unique brand of Alternative music. Eric was born in Richmond, VA, and raised in the mean streets of Gainesville, FL. He has been playing guitar, a variety of stringed instruments and keyboard since the early 90's. He has performed music, theatrical poetry readings, and performance art in venues all over Florida, DC, and Virginia. 



In the past he has appeared on Old Grumpy Radio, and The Will Stenner Radio show. He is open for radio interviews.


Artist:   Eric Gibson Music    Album: 3 Shooting Stars 
Artist Name:Eric Gibson Music     Album: 3 Shooting Stars
First/Last Name:Eric Gibson
Email address:egibster@gmail.com
Hometown:Austin, Texas, US
Website:http://www.ericgibsonmusic.com
Style of music:Alternative/Rock
MySpace:
SonicBids:
SoundClick:
Facebook:http://www.facebook.com/ericgibsonmusic
Other:
Label Affiliation:Unsigned
Performing Rights
Affiliation:
BMI (USA)


Description:Excellent power pop with desperately frenetic vocals.



Thursday, September 27, 2012

Tramaumah Drums Company


Recording Boot Camp

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Home Recording Boot Camp
We had a great group at our 6-day Recording Boot Camp in LA last week. It looks like one of the students got hired by a VERY major mixer the following week. Of course we take no real credit for that, but it's great to see good things happen for our alumni. We have just put the next 6-day Recording Boot Camp on the books.

December 3-8, 2012

This will be our last 6-day workshop this year, so sign up early if you want to guarantee a spot. Speaking of 6-day workshops, we are looking at the possibility of doing one in North Italy in January or February. If you think you might like to attend, send me a direct email to get first priority. http://recordingbootcamp.com/courses/recording-boot-camps/

SHELVING EQ TIP

Shelving EQs do more than you might think. The simple explanation of "Shelving EQ" is that a low shelf cuts or boosts frequencies below the EQ frequency point, and a high shelf cuts or boosts above the selected EQ frequency point. While this is more or less correct, one thing that many people overlook is that Shelving EQs will affect frequencies above the frequency point of a low shelf and below that of a high shelf; with certain EQ "slopes" this can be quite dramatic.

Check out the image below of the EQ plug-in. It shows an 8dB boost on a low shelf at 100Hz. While it's true that it's boosting everything below 100Hz, notice how with this particular shelf slope, it is boosting frequencies all the way up to around 1k (1000Hz)!!! Even with a steeper slope this boost would still be boosting frequencies upwards to 500Hz or so.

The reason this is so important is that when you are using a shelving EQ to alter one end of the spectrum you are also affecting frequencies closer to the mid-range. This really came to light last week when I was mastering a Big Band jazz album. I was using the the low shelf boost on an A Designs EM-EQ to push a little more power into the acoustic bass, but the client and I were both amazed how much my 60Hz boost was affecting the tone of the horns. The good news is that on most of the songs it actually helped the horns, but on a few tunes, because of the range the horns were playing in, it started to muddy them up a little so we had to choose a lower frequency, and in one song actually switch to another EQ all together for the low boost.

Even on individual tracks shelving EQs can affect the sound in ways beyond what you were planning for.  Once you start to get a feel for this, it will make EQ an even more powerful tool for your mixes.




You are receiving this because you are a client or possibly met us at a conference or event. If you do not wish to receive the occasional email we will gladly unsubscribe you.

Unsubscribe sdcinternetics@msn.com from this list | Forward to a friend | Update your profile 
Our mailing address is:
Home Recording Boot Camp
4712 Admiralty Way
#536
Marina del ReyCA 90292

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Sunday, September 16, 2012

New Rules For The Music Industry

By George Howard & Jeff Price
(follow George on Twitter)
From TuneCore.com


*** This was a post from 2011 - just wandering if anything worked!! -KHS


FOR THE MUSIC INDUSTRY:

1) BE TRANSPARENT – No more hiding behind complex royalty calculations.  Man up. Be honest.  Provide clear and accurate accounting.  The digital world makes it easier than ever to do this.
This applies to labels, distributors, ASCAP, BMI, SESAC and anyone else you can think of.  They can all be transparent if they choose to be.  Right now they choose not to be.

2) PAY ON TIME! – No more artificial royalty accounting periods.  Returns and co-ops are a thing of the past.  Pay out and account on one way no return sales that you have been paid in the same month you get them.

The only reason to hold on to the money is to make bank interest on it.  If this is what you are going to do, see #1, BE TRANSPARENT and tell artists you are doing this.

3) NO MORE SUGARCOATING AND HIDING REALITY – Seriously.  Stop promising things you know you can’t deliver.  Not everyone is going to be a star.  Be honest, tell the truth,.  Let the musician and artist know the realities of the market so they can have a better understand of what needs to be done to succeed or why things are not going the way they want them to.

4) ACKNOWLEDGE YOU WORK FOR THE ARTIST, NOT THE OTHER WAY AROUND – Without the artist none of us will have jobs.  They are the ones with the talent.  They create culture and write songs that have an impact on the world.  They are allowing us to serve them, not the other way around.  This philosophy and culture must permeate everything you do.  Turn this industry from one that “exploits” the artist to one that serves the artist.

5) ONLY OFFER SERVICES YOU CAN ACTUALLY DO – No more asking for rights or income from things you can’t contribute towards.  If you are a label and want more money from other areas (i.e. merchandise, songwriter income, gig income etc) you actually have to provide a service that does something to earn that right.  There are others out there that are specialists in these areas, can you do what they can?

6) UNDERSTAND THE ARTIST NOW HAS CHOICE – Unlike the old days, artists can now succeed without you.  Labels have gone from a “must have” to a “might need”.  Be clear in what you have to offer and create a fair and equitable deal in exchange for the services you are offering.

7) COMMERCIAL RADIO AND MTV NO LONGER SINGULARLY BREAK BANDS – It used to be that print, commercial radio and MTV were the three ways to break a band, no longer.  Fans themselves have this power via social networking.  Find ways to speak to fans directly and don’t use a middleman.  Empower and excite them and they will follow.

FOR THE ARTIST

1) STOP ASKING FOR BIG ADVANCES – Understand that the economics of the business have changed for both the artists and the labels.  The goal for artists and labels must be the same: create sustainable working relationships for both parties.  Disproportionate advances only add tension (economic and otherwise) to an already tense dynamic. Create financial working relationships based on realistic expectations of ROI.

2) EDUCATE YOURSELF – It’s no longer acceptable (or charming) to be the un-informed artist who doesn’t know the difference between a mechanical royalty and a mechanic.  You can’t claim that you’ve been taken advantage of by anyone at this point; the information you need is out there, and it’s not that hard to find.  Learn it, once you have this knowledge you can then make informed decisions and decide if the other entity is doing its job.  Not to mention, the labels etc already know this info and so should you.

3) TAKE RESPONSIBILITY – Stating that there is any person or thing standing in the way of you and success is a cop out.  No longer can you say, “If only my records were in stores, people would buy them,” or, “If only people could hear my music they would love it.”  The gatekeepers have vanished; the gates are open…go through them.

4) TAKE ACTION – Waiting for a booking agent before you tour? Waiting for a producer before you make a recording? Waiting for a label before you distribute or promote your music?  Guess what, someone else isn’t waiting for anyone, and he or she is leaving you in the dust.  The worst thing you can do is nothing.

5) SELL – Get over the fact that you’re the artist, and asking people for money in exchange for your art is awkward.  The reality is that if your work is good, people will want to compensate you for it. You must not only give them the opportunity to do so, but make it easy for them.  Be clear and transparent, and tell your customers that your music is valuable, and that if they want to ensure that you are able to keep creating the music that they enjoy, that they must pay for it. Then give them a wide variety of things to buy at different prices.

6) GIVE WITHOUT ASKING FOR ANYTHING IN RETURN – It’s not all selling, of course, and we are all in this together.  Look for ways to help other artists. Share information, share resources.  This is not a zero-sum game; the overall pie can expand, and we will all benefit proportionately when it does.

7) DEMAND ANSWERS – if you don’t understand something, ask.  If the person you ask can’t give you a clear, understandable answer then he or she is either clueless or trying to hide something.   Demand a clear, understandable answer or walk away from the deal.

8)  MARKETING DOES NOT ALWAYS EQUAL SUCCESS – The major labels spent hundreds of millions of dollars marketing and promoting bands.  Only 2% of them succeeded, the other 98% were deemed failures.  If marketing = success, they would have had a 100% hit ratio.  The reason an artist succeeds is because the music caused reaction.

9) LEAD TIME FOR STREET DATES MATTER LESS – It’s not like the old days where you only had a limited time for prime real estate in a retail store and if the CDs did not sell they would be returned.  In the new model you can release music today, and market later, with little detrimental impact.

10) IT’S ABOUT A CONSTANT STREAM OF MUSIC AND MEDIA, NOT A ONCE A YEAR ALBUM RELEASE ­  – The new world moves fast.   The best strategy is to roll out songs, videos, pictures, blog postings, tweets and anything else you can think of on a constant basis.  This keeps your fans engaged and stops you from losing momentum and going stale.

11) IT’S GLOBAL – The new music industry is a global one.  At the click of a button your music is available to buy, share, stream and download around the world.  Keep this in mind when you think about where your money is being held, generated and how to get it.

12) YOU ARE NOT POWERLESS – Music is not food, shelter or clothing, but everyone likes it and needs it.  The music industry currently generates around $30 billion dollars a year.  The entities and people getting this money is shifting from the legacy companies to you.  Within another five years the collective power of you will be bigger than any of them.  You have the power to change things, and you already are.
As just one example, in the past two years, TuneCore Artists have earned over $170 million in gross music sales and have sold over 400 million songs by paid download or stream.  TuneCore Songwriters have earned over another $120 million dollars.  As you sell more, they sell less.

13) DEFINE YOUR GOALS – Know what it is you are tying to accomplish.  Are you looking to be the next Vanilla Ice or just sell some music without touring?  Is your goal corporate sponsorships or having others cover your songs?  Whatever it may be, have a goal in mind and then work towards accomplishing that objective.  With that one conquered, you can move on to the next.

DON’T EXPECT SOMETHING FOR NOTHING
It’s going to take work to make things happen.  Either you need to do the work or you must hire someone else to do part, or all of it, for you.  If you understand your rights, how money is made, and how much you should make, you can make educated decisions.
Got more rules?  Post them here!

A Walk-Through: Sampling

George Howard is the Executive Vice President of Wolfgang’s Vault. Wolfgang’s Vault is the parent company of Concert Vault, Paste Magazine, and Daytrotter. Mr. Howard is an Associate Professor of Management at Berklee College of Music.


September 13, 2012
Article Courtesy of TuneCore.com

A Walk-Through: Sampling

Post image for A Walk-Through: Sampling
By George Howard
(Follow George on Twitter)
I’ll be writing a periodic set of articles all designed to present the necessary information to make complex topics in the music business more easily understood—”walk-throughs,” if you will.  The first in the series is a walk through on sampling.
I chose this topic because it allows us to view an action—sampling—which requires an understanding of an array of music business elements.  As such, I’m able to introduce several important concepts at the same time.  Even if you yourself are an artist who does not sample, it’s important to understand the process because someone may desire to sample your music.
First, a definition.  Sampling is the act of inserting a portion of another work into your work. For instance, Vanilla Ice inserted the bass line from the David Bowie/Queen composition “Under Pressure” into his song “Ice, Ice, Baby.” As such, Vanilla Ice sampled David Bowie/Queen’s song.
Whenever you question whether something is allowable in the music business, you should always begin with examining the bundle of rights that are automatically granted to copyright holders upon the creation and fixation (writing down or recording) of an original work of authorship.  For a primer on this, please refer to this handy guide.
Ok, let’s take a look.
First things first, should you desire to insert the copyrighted work of another artist into your own work (i.e. sample their work), you immediately bump into that artist’s exclusive right to create derivative works.  This—the right to create derivatives—is one of the six rights conferred on copyright holders.  What this means is that only the copyright holder can do things like: make a translation of their song, create a screenplay of their song, and—most relevant here—create a new song that is in any way derived from the original composition.  So, inserting a portion of someone else’s work—however short that insertion might be—is deemed to be creating a new work derived from another work.  Only the copyright holder of the original work can do this without infringing upon another’s copyright.
What this means is that should you desire to sample someone else’s work in a song you have written, you must go to the copyright holder(s), and seek permission to do so.  Similarly, should someone desire to sample your work in one of their songs, they must come to you. Fair is fair, right?
In terms of what type of deal you must strike with this person (or, they with you), there is no compulsory rate.  In other words, unlike, for example, when you want to cover someone’s song, and can rely on the compulsory license statute, which establishes the rules (including what you must pay the copyright holder of the song you cover), no such statute exists with respect to derivative works; it’s a purely negotiated dynamic.  The person who controls the copyright you desire to sample in your work can grant you the right to create a derivative for free or for whatever fee the market will bear, or just say no, and, thus, keep you from sampling the work at all.
Of course, the same rules apply to you when someone wants to sample your work.  This is reasonable. Imagine someone wants to use your work in their work, but you feel their doing so would present your work (and, by extension, you) in a way that you’re not comfortable with—you wouldn’t want them to be able to just do it anyway.  Similarly, if you are the copyright holder of a very popular song, and someone who is less well-known wants to sample your work in their song (I’m looking at you P-Diddy), you might reasonably feel that this artist is reaping disproportionate benefit from your song; in other words, the popularity of “their” song is contingent upon the established popularity of your work.  In this case, you would want to be compensated in such a way so as to not feel that the artist sampling your work is free-riding, and being unjustly enriched.  By not having a compulsory rate, you are able to do this.
Before we move on to further details with respect to compensation, let’s pull back and examine what exactly is being sampled.  For every song there are two copyrights: the copyright in the composition itself (represented by the (c) symbol), and the copyright in the sound recording of the song—frequently referred to as the “master;” this is the recording/version of the song that is on a CD or download (it is represented by the (P) symbol).  While the songwriter or the songwriter’s publisher is typically the copyright owner of the composition (the (c)); the sound recording (the (P)) is typically owned/controlled by the label who releases the record/CD/download.  Of course, if the songwriter releases the work himself/herself he/she would be the owner of both the (c) and the (p).
Both the (c) holder and the (p) holder have the exclusive right to create derivative works, and so it’s not only the writer of the song (the (c) holder) that you must obtain permission to create derivatives from, but also the copyright holder of the sound recording/master (the (p) holder)—again, typically the label.
Either party can say no, and either party can negotiate whatever deal with you that they want.  Frequently, these deals are “Most Favored Nations” (MFN), meaning that whatever deal is struck with one party (the (c) holder, for example) must also be struck with the other party (the (p) holder).
The copyright holder to the composition (the (c) holder) is the dispositive party.  That is, if the (c) holder denies the usage, it’s game over.  If, on the other hand, the (c) holder agrees to the usage, but the copyright holder of the sound recording (the (p) holder—typically, the label) says “no,” the person desiring the sample can re-record the sample, and, thereby, bypass the (p) holder.
Obtaining permission from the rights holders to create a derivative work is the first step, but, again referring to the six rights the (c) holder(s) are conferred with, we see that there are other steps that must be taken.
Simply having the right to create a derivative, and, thus, include a sample of someone else’s work in your work, doesn’t do you much good if you can’t exploit (sell) it.  In order to sell you must have the right to do at least two other things that—unless a deal is struck with the copyright holder—only the copyright holder has the right to do: reproduce and distribute the work.
The rights to reproduce and distribute a work are, of course, essential to selling that work. Labels that desire to reproduce and distribute the copyrighted works of a songwriter on the label’s releases do so via a “mechanical license.”  Therefore, when a sample is inserted into a song, unless the copyright holder(s) of the sample waives their rights with respect to reproduction and distribution (and, why would they?) the copyright holder(s) of the sampled work must be paid for the reproduction and distribution of the work.
Typically, what occurs is that as part of the deal that “clears” the sample—i.e. outlines things like the right to create a derivative work—details concerning royalties associated with reproduction and distribution are also addressed.  These are negotiated, and — like the terms for the use of the sample—are determined by what the market will bear, but the normal scenario is that the person using the sample gives up some or all of the mechanical royalties to the writer of the original composition.  Note, that a “synchronization”—the use of a song combined with an image; such as in a movie or TV show—also triggers reproduction and distribution issues, and must be addressed in these deals. In short, if your work is sampled in a song, and that song is used in a movie or TV show, you should get paid when that movie is reproduced/distributed.
The last element to consider with respect to rights/income and samples is public performance. The exclusive right to public performance (both in the composition (the (c)) and the sound recording (the (p)) are exclusive to the writer and the master holder.  As such, when the writer and master holder’s works are publicly performed as part of the song that sampled them (that is, when a song that has a sample in it is played on the radio, streamed online, performed live in front of an audience, or, in any manner, publicly performed) performance royalties are owed.  In all cases, a public performance royalty is owed to the copyright holder of the composition (the (c)), and in the case of non-interactive digital streams (such as internet radio, Pandora, or satellite radio), a public performance royalty is due to the master holder and featured performer. The payments to the the songwriter are made via Performance Rights Organizations, such as ASCAP, BMI, or SESAC.  The payments to the master holder/featured performer are made via SoundExchange.
As you can see, the use of another’s work as part of a new work (a sample) triggers a vast array of rights issues.  While—from the point of view of someone who desires to sample someone else’s work—this may seem extreme, from the other viewpoint—that of someone sampling your work—it should give you assurance that you have both control (via the ability to exclusively control whether or not a derivative of your work can be created) and compensation (via your exclusive rights related to distribution, reproduction, and public performance).
For those who feel that having their work sampled is beneficial from a promotional standpoint, and want to facilitate/encourage the use of their works as samples, they can utilize a Creative Commons license that allows the copyright holder to opt out of certain elements of their copyright bundle. For example, they could allow the creation of derivative works, and/or reproduction/distribution with few (attribution, for example) or no conditions. I suggested in a prior article that perhaps another way forward is to create a compulsory license for samples under a certain length (similar to the compulsory license rules around covers).
Certainly, there can be benefits to having your work sampled, as there can be benefits to sampling the work of others—in terms of revenue and awareness—and songwriters/master holders need to understand them, and, if they choose, attempt to maximize their value.
My hope is that, via this article, both those who desire to sample, and those who have their work sampled see that there is a system in place (however effective/efficient it may or may not be), and that the system is rooted in the same copyright law that governs all elements of the music business. To that end, if you understand this article, you’ve gone a long way in understanding the music business generally.

Thursday, September 13, 2012

PSP Radio One Widget

http://pspradioone.Caster.fm/

[url=http://pspradioone.Caster.fm] Visit my Radio Website [/url]

Sunday, September 9, 2012

13 Indaba Members were released on the first crowdsourced eBook soundtrack through the Booktrack Opportunity

Indaba Music Newsletter
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Hey Platinum Sound-

It's been an exciting month for us!
    
• 13 Indaba Members were released on the first crowdsourced
   eBook soundtrack through the Booktrack Opportunity


• Andrew Foshee's music was licensed for two OnStar
   commercials through our licensing platform


• As a special treat, Panda put together a video parody/tribute
   of Bon Iver for you
 
Like us on Facebook | Follow us on Twitter

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In This Issue

Feature
Community News
Tips & Tricks
Sessions, Members and Site News

Feature

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New Converse Opportunities Are On The Way 

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We have announced an exclusive partnership with Converse to connect Indaba Members' music with Converse's fans. Be on the look out for new opportunities to record at Converse's Rubber Tracks studio, gain exposure and distribution to major retailers, and more through 6 unique music programs.

Community News

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"The Time Machine" Booktrack Officially Released

clearBooktrack released "The Time Machine" - the very first eBook with a crowdsourced soundtrack. See what Nicholas WebbJerry M. SianoMystix Instrumentals and the CEO of Booktrack had to say about this groundbreaking opportunity.
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OnStar Licenses Andrew Foshee's Music

clearIndaba Member Andrew Foshee secured a placement in two online video ads for OnStar. Submit your tracks to our Licensing Catalog to get featured on our licensing platform Indaba Sync.
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A Brief On Our Judging Guidelines

clearYou’ve entered a contest and submitted a killer remix – now what? We've layed out an explanation of how judging works and how voting factors into the equation.
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News from the Indaba Panda Headquarters

clearPanda and a few members of the Indaba Team got together to create this silly Bon Iver parody for you. Enjoy (and please don't mock Panda's dancing)!

Tips & Tricks

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5 Ways to Make Your Music Sound Better

clearExplore some sound-effects techniques you can use in your remixes and projects.
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A Useful Framework for Mixing a Record

clearHow to employ a number of techniques during and prior to the production process that make the final mixdown a lot easier to manage.
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12 Mixing Mistakes You Didn't Even Know You Made

clear12 common problems with wayward mixes and how to solve them.

Sessions

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Get Your Music Played on the Radio

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Genre: Hip-Hop, Rock
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Another Day Remix Stems

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Genre: art pop
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Remix My Vocals

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Genre: dubstep, electronic
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Self Sabotage Remix 

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Genre: art pop
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Members

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In The Loop

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Song: Follow Me
Indaba memberclear

Ellem

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Song: She Caught The Sun
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David Marriott, Jr.

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Song: Blues for La Cuiza 
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Word of Mouth

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Song: My Everything
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Site News

Remix The Dirty Heads - Win $1,000 & Exposure

Remix "Warrior" featuring Kimbra, Mark Foster, and A-Trak - Win $2,500

Guitar Solo Contest! Win $750, A Signed Epiphone And More

 

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