MIXTAPES, Music 101, Platinum Articles, Platinum Music

The @OfficialCoreDJs Memphis Draft 3 Mixtape and more

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CORE DJ RADIO Shade 45

 

Ready‬ … ‪#‎TheCoreDJs‬ Draft Weekend is right after Thanksgiving Day in ‪#‎MEMPHIS‬!

Welcoming new members to the @CoreDJsWorldwide and @coremodelworld@coredjpromo ‪#‎draft3‬ #2014 ‪#‎memp10‬ ‪#‎DJs‬ ‪#‎models‬ ‪#‎coredjapproved‬ ‪#‎core10‬ ‪#‎coredjs‬ ‪#draft‬

@IAMTONYNEAL Discounted hotels and events TBA soon!

2014 CORE DJ Draft
CORE DJ Certified Street Muzik Ohio State Homecoming 2K14 Edition - DJ Will Money - DJ SKNO FRONT

#‎TRACKLIST‬


01

DJ Will Money Intro – @Willmoney513

@OfficialCoreDJs @GoodTimesUSA @RapJuggernaut

02

Beat Up The Block – @DorroughMusic @BoosieOfficial

03

I Need War – @Tip @YoungThug

04

MVP – @CoolAmerikaAMG ft Offset @MigosATL

05

OCD – @Playboi_C @TyDiggie @AkaDBoyG

(Mafia Boyz)

06

Go Crazy – @DJDrizzle @LilSpigg_Bolo @FrontStree

07

Pull Up – @JermaineDupri @TyDollaSign @MigosATL

08

She Works Hard – @CominToAmerica

09

Freaky Girl – @Bishop_DaGreat

‪#‎PinkChocolate‬@KalykoMuzik

10

Made Me (Freestyle) – @ChrisBrown @TreySongz

11

I – @KendrickLamar

12

Trouble – @MigosATL @TIP

13

Who Day – @TrinidadJames @Currensy_Spitta

14

Be Like – @LantanaEasy

15

What A Shame – @RickyRozay @FrenchMontana

16

Hot Nigga (Freestyle) – @FreeRemyMa

17

Hell Yeah (Remix) – @JudgeDaBoss @RickyRozay

@Drake

18

DJ SKNO Intro – @Coredjskno @OfficialCoreDJs

19

Deep – @DJMustard @RickyRozay @WizKhalifa

@Teeflii

20

Part Ain’t A Party – @IAmJamieFoxx @2Chainz

21

My Whole Head – @MacLucciDPG

22

Can’t Trust THOTS – @TheOfficialWash

@FrenchMontana

23

Get Off (Remix) – @ItsKamillion @VerseSimmonds

24

Dope Man – @IssaIAm

25

I’m Blowed – @ItsKamillion

26

Bass – @CoachNcredible @HowardHD2

27

Hundo – @IssaIAm

28

Too Many – @513YoungRome

29

All I Know – @Shellshock3 @Coredjskno

30

Made Me (Remix) – @SnootieWild @Jeremih @BoosieOfficial

31

(Bonus Track ONLY On Soundcloud) Party Girl –@ItsKamillion @MissCheeMusic

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Music 101, Platinum Articles

See what a Licensed Radio Station should have in order to pay you: Read Licensing 101

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you! There are a lot of you out there that want to be on the radio, just any radio station. I’ve found that many of you don’t even know about the business in this aspect. For those who don’t know or for the pretenders, this is for you. You could be missing out on some royalties because you were not aware of these qualifications.

What is a statutory license?

The statutory licenses relevant to service providers can be found in sections 112 and 114 of the Copyright Act, 17 U.S.C. §§ 112 and 114. The rates and terms applicable to the statutory licenses for service providers can be found on their website. Currently, SoundExchange is the only entity authorized by Congress to administer the statutory licenses described in sections 112 and 114.

What kinds of services are covered under the statutory licenses administered by SoundExchange?

The section 114 statutory license covers public performances by four classes of digital music services: eligible nonsubscription services (i.e., non-interactive webcasters and simulcasts that charge no fees), preexisting subscription services (i.e., residential subscription services which began providing music over digital cable or satellite television before July 1998), new subscription services (i.e., non interactive webcasters and simulcasts that charge a fee, as well as residential subscription services providing music over digital cable or satellite television since July 1998), and preexisting satellite digital audio radio services (i.e., Sirius XM Radio). The section 112 statutory license covers ephemeral reproductions (i.e., temporary server copies) made by all digital music services covered by section 114. Additionally, business establishment services (services streaming background music into bars, restaurants, retail stores, etc.) are exempt from paying public performance royalties under section 114, but must still be otherwise eligible for section 114, as well as operate under section 112.

How do I know if their service is “non-interactive?”

Non-interactive services are very generally defined as those in which the user experience mimics a radio broadcast. That is, the users may not choose the specific track or artist they wish to hear, but are provided a pre-programmed or semi-random combination of tracks, the specific choice and order of which remain unknown to the listener (i.e. no pre-published playlist). For services which provide an interactive service or on-demand access to certain tracks or artists (e.g., YouTube), the statutory license does not apply, and a direct license must be obtained from the copyright holder.

How do they obtain a statutory license as described in section 112 or 114?

To obtain a statutory license, you must first notify sound recording copyright owners by filing a Notice of Use of Sound Recordings Under Statutory License (“Notice of Use”) with the Copyright Office. All services must file a Notice of Use prior to making the first ephemeral copy or first digital transmission of a sound recording to avoid being subject to liability for copyright infringement. An original Notice of Use with a $25 filing fee should be sent to the Copyright Royalty Board at the U.S. Copyright Office (address on the form). The Copyright Office will not give you any confirmation that it has received your Notice of Use. Once a service files its Notice of Use, it may begin making digital audio transmissions, provided that it complies with all the terms and conditions of the statutory license, makes all payments, and files all statements of account and reports of use when due. Services providing a Notice of Use are subject to the default rates and terms of the statutory license as set by the Copyright Royalty Board. Services wishing to operate under alternative rates or terms (e.g., pursuant to the Webcaster Settlement Act, etc.) should follow the instructions prescribed in those rates and terms.

How does a station qualify for a statutory license?

All statutory licensees must be eligible to operate under section 114, and the specific eligibility requirements are listed there. To be eligible, a service must be (in most cases):
a non-interactive service,
creating transmissions adherent to the sound recording performance compliment,
not allowing the listener a reasonable foreknowledge of the transmission of a specific sound recording at a specific date and time (e.g., by the use of a published advanced program, playlist, announcement, etc.),
not creating transmissions as part of an archived program (a) less than 5 hours in duration, or (b) for exceeding 2 weeks,
not creating transmissions as part of a continuous program less than 3 hours in duration,
creating audio-only transmissions (i.e. without the use of video imagery synchronized with the audio transmission),
reasonably cooperating to prevent certain kinds of selective transmitting and/or illegal copying of the transmission by the listener,
using an ephemeral phonorecord created from a copy of a sound recording that was authorized by the sound recording copyright owner for commercial release,
reasonably not interfering with technical copyright protection techniques, and
identifying on the receiving device, in textual data, simultaneous to the transmission, the following identifying elements related to the sound recording being transmitted: (a) the name of the featured artist, (b) the title of the sound recording, and, to the extent that one exists, (c) the title of the phonorecord embodying such recording.

What is the “performance complement?”


The performance complement (which limits the amount of times a service may send sound recordings from a specific artist or album during a specific period of time) is one qualification to which all webcasters must adhere to be eligible under the statutory license. The performance complement may only be violated if the service has received specific waivers from the owner of the sound recording copyright, and unintended violation of these limitations (if corrected) will not cause a service to be ineligible for statutory licensing.

The limitations are, specifically:
No more than 4 tracks by the same featured artist (or from a compilation album) may be transmitted within a 3 hour period (and no more than 3 of those tracks may be transmitted consecutively).
No more than 3 tracks from the same album may be transmitted within a 3 hour period (and no more than 2 of those tracks may be transmitted consecutively).

How are the rates and terms determined?

The Copyright Royalty and Distribution Reform Act of 2004 created a board of Copyright Royalty Judges (also known as the Copyright Royalty Board) to determine the rates and terms for the statutory license. Under the Copyright Royalty and Distribution Reform Act, “statutory rates” are set through either voluntary negotiations or trial-type hearings before the panel of three Copyright Royalty Judges. In negotiated cases, interested services negotiate rates and terms with SoundExchange and present those to the Copyright Royalty Judges for adoption. If the agreement is adopted by the Judges, it will be available for opt-in by any similarly situated parties. (In fact, the Webcaster Settlement Acts of 2008 and 2009 facilitated the adoption of several such negotiated agreements.) Any parties who have not negotiated agreements may present to the Copyright Royalty Judges, who will conduct a rate setting arbitration to establish royalty rates.

The station already pays royalties to ASCAP, BMI, and/or SESAC.

Why do they have to pay SoundExchange, too?


Every musical recording embodies two distinct copyrighted works. The first is the underlying musical composition, composed of the written notes and lyrics (a “musical work”). The songwriter and/or his or her music publisher usually own the copyright in the musical work. The second copyrighted work is the actual recording itself – the sounds, including the recording artist’s interpretation of the musical composition, and the creative efforts of the producer, sound engineers and background musicians (a “sound recording”). A copyright holder, whether a label or an independent musician, owns the copyright or  “master” to the sound recording. SoundExchange collects and distributes royalties associated with the sound recordings made by services operating under one of the statutory licenses. By contrast, ASCAP, BMI and SESAC collect and distribute royalties associated with the public performance of musical works. A digital audio transmission of a musical recording will usually require a license for both the sound recording and the underlying musical work.

What happens if it turns out the radio station not eligible, but they’ve been operating anyway?


It is the responsibility of each service provider to be confident about its eligibility and ability to be compliant with rates and terms before beginning operation under statutory licensing. Ultimately, SoundExchange does not confirm such eligibility or compliance: they accept payments, Statements of Account and Reports of Use, and distribute those payments to artists and copyright owners as instructed by those forms and reports, without waiving the rights of anyone they pay, or of anyone whose recordings were transmitted under such intended statutory licensing. Since artists and copyright owners are always free to protect their legal interests, they urge service providers with any questions in these regards to review their website for more information, and to contact them and/or legal counsel.

Source: SoundExchange

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!
Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Music 101, Platinum Articles

Artist Development Makes A Difference and Why

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Artist development in the music industry has evolved over time, leaving most of the early progress to the artist themselves. For the most part, the days are gone when a record label developed up and coming talent. The question continuously arises for those young artists, “where do I start”? With the advent of the Internet, the possibilities are mind-boggling.

Many artists put in their mission statement, simply that they want a record deal, thinking that is all they need to succeed for career in music. Most don’t have a clue what it takes to get that deal, let alone maintain that career.

Artist development is a huge area overlooked by far too many artists and bands. Let’s explore the question, “What is artist development”?

A record label A&R rep once “discovered” fresh new faces in clubs, bars or word of mouth and would then support them, cultivate their creativeness, build up their fan base, and guide their direction with the intent of turning them into superstars.  All of this,  of course, was with the intent of selling those 45’s, LPs, cassette’s and CDs. Gradually, many labels moved more into product development, which meant they are focused more on the immediacy of sales of the latest CD (product) released, and not bringing the artist up to that point. And more often than not, naive artists were at the labels mercy.

In this Internet age, it is more the artist or band themselves that must build the quality sound that is ready as a commercially viable product. On top of that, they need to have an already established fan base, basic music business skills, perhaps even the early music sales of a well produced CD. Labels are looking for pre-packaged, very talented musicians that are already showing their value.

A music career is a charted path to follow. Artist development involves all the issues surrounding and arising from that charted path, and crosses into knowledge of product development – the ultimate sale of the music.

Checklist on what artist and product development need: 

*Exceptional vocals, musicianship and/or songwriting skills

*Continued education and enhancement of musical skills

*Quality equipment

*Performance ability

*Image creation and maintenance

*Plan of action, goal setting

*Exceptional promotion materials, including photographs, press releases and artwork

*Business management skills

*Marketing, publicity, and promotion knowledge, online and offline

*Professional management

*Basic knowledge of recording, producing, engineering, and mastering

*Basic knowledge of manufacturing, distribution, and sales online, brick and mortar and air-play

*Good choices in members, staff and advisors

*Physical and mental preparedness

*Basic knowledge of finances, accounting

*Law and legal issues: publishing, copyrighting, trademarks, and an attorney

*Alternative career options – even athletes need to have other options!

Tending to all areas of your music career may make the difference between a one hit wonder and longevity in this business. It’s been said, “If you think this is a piece of cake, you better go bake one.” The music business, again, is a business. Businesses need to make money. That’s worth repeating – the music business is a BUSINESS. Take the time to find out all you can about each of these steps in your journey.

That being said, an up and coming artist must begin somewhere…and if a career in the music business is the goal, then any naiveté must be addressed immediately! Knowledge is power. Power gives you leverage. And who knows…that entrepreneurial artist may just find they don’t need that particular record deal after all.

In Closing, You never know where I may be; bringing you the events of Chicago and other relevant topics, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

Source: electrogarden

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Music 101, Platinum Articles

The One-Sheet or EPK & Why You Need One

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant #Music101 topic to you!

I’ve had many experiences with many artists that are not aware of the importance of a EPK or One-Sheet. Some artists don’t know what a EPK or One-Sheet is; here’s a detailed explanation of what they are, Enjoy!

The Record Industry as a whole cried itself to sleep the first few years after the turn of Millennium in denial that the infrastructure it had so graciously abided by for the past 50 years wasn’t working anymore. We all know that unless you are Beyonce or Jay-Z, you can no longer make a living off of your album sales and airplay alone, but even they have their labels telling them to tour for months on end to support it.

Being a successful artist today is about you, maybe a little about your music, a little more about your live show, and a lot about your persona. Why is that? Because what is most important today, is not your music itself, but what people are saying about it.  The world of technology has made its users a community of nosey gossipers! Good or bad, is makes news travel faster than ever and trends spread across the globe over night. The connection you make with your fans has to be more personable than ever, even if it does mean tweeting what kind of cream cheese you had on your bagel this morning!

Making your album art  catchy to the eye on a shelf isn’t nearly as important than producing a song that could play well behind a commercial or sitcom intro. With so many changes happening in the music industry from physical to digital you do not need to be backed by a billion dollar label to make it happen for yourself. Yet many of he same principles are there and it is important for you to know how to do it yourself, both efficiently and accurately. Promotion is what you are striving for. In order to have a loyal fan base that will come see you play shows, watch your videos, and buy your material, they first need a way to find out about you. There are people who can help you, by just spreading the word, and they wont ask for much in return! Those that do it best today are college radio DJ’s, indie radio station DJ’s, editors, podcasters, and the true taste makers of our day,  Bloggers!

There is one item that these people need from you, it was the same 50 years ago in the old model and through all the changes, is still the same today.  This is The One Sheet. A one sheet is just what it’s named, no need for confusion. A brief, organized, strategic layout of information that anyone could ever need to know about you to think they’d love your music without even hearing it. It states album tracks, a promo picture, very short bio, album tracks with singles highlighted, recent specific stats on social media sites, sales, recent or upcoming touring dates, website links, and past review highlights. Whenever you send out a press kit a one sheet should be included. Most labels and radio stations still prefer to receive them over anything else. Today when sending information over the web, the use of an EPK has the same essential use. The One Sheet’s digital equivalent, the Electronic Press Kit.

An EPK is what viewers see when they go to your main page where you host your music. Most musicians do not realize just how important the look and layout of this page is for the future of their career. The Internet is an open circuit.You never know who may be surfing the web and stumble upon your page. Colors count, professionalism counts. Does the accurate portrayal of your image,persona, and musicality bleed through? Your tracks should be in order of quality and should have the best representation of your music and vision.  Your pictures should be creative and artistically pleasing. All of your important links should be placed easy to find; Facebook, twitter, and main music player site are a must.  Any positive press you have ever gotten should be linked to or quoted, as well as tour dates, and available tracks for purchase or download. You should update and connect with fans and other musicians on a regular basis through your EPK.  This page is your haven for success and you need to nurture it! So go out there and DIY, but use the basics tools that were there 50 years ago and are still there today. People WILL listen.

SOURCE: Music Clout

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

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Music 101, Platinum Articles, Platinum Music

Wondering when your favorite albums will be released? Read this!

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing some new music info to you! I always welcome you to my Platinum Music Listening Party! Please feel free to leave a comment about the music presented to you today!

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Below are the release dates for all albums and major mix tapes scheduled to be released in 2013.  If any album is missing feel free to post a comment.

Note: Remember that albums use to leak 2-6 days before their official release dates (usually on Thursday/Friday afternoon).

July 1

Ty Dolla $ign – Beach House 2 (Mixtape)
Joey Bada$$ – Summer Knights
PARTYNEXTDOOR – PARTYNEXTDOOR

July 2
Young Scooter – Juughou$e
No Malice – Hear Ye Him
Jon Connor – Unconscious State
Joe Thomas – Double Back: Evolution of R&B

July 4
Young Scooter – Street Lottery 2 (Mixtape)
Cam’ron – Ghetto Heaven Vol 1 (Mixtape)
Jay-Z – Magna Carta Holy Grail

July 9
Ciara – Ciara 
Skylar Grey – Don’t Look Down
Tony Touch – The Piece Maker 3: Return Of The 50 MCs

July 11
DJ Paul & Drumma Boy – Clash Of The Titans (Mixtape)

July 16
Ace Hood – Trials & Tribulations
Pusha T – My Name Is My Name
Chris Brown – X
¡MAYDAY! – Believers
Cory Gunz – Datz WTF I’m Talkin Bout (Mixtape)
Kevin Gates – Stranger Than Fiction

July 23
TGT – 3 Kings
Mariah Carey – The Art of Letting Go
YMCMB – Rich Gang
Chamillionaire – REIGNFALL EP

July 30
Tech N9ne – Something Else
Robin Thicke – Blurred Lines
Mathematics – The Answer
Crooked I – Apex Predator
Jay Sean – Neon

July
Wu-Tang Clan – A Better Tomorrow
Fabolous – Losos Way 2
Marco Polo – PA2: The Director’s Cut
Earl Sweatshirt – Doris
Ashanti – Braveheart

August 1
Young Scooter – From The Cell Block To Your Block (Mixtape)

August 6
Maybach Music Group – Self Made Vol. 3
Madchild – Lawn Mower Man

August 11
K. Michelle – Rebellious Soul

August 20
A$AP Ferg – Trap Lord

August 27
Goodie Mob – Age Against The Machine
Big Sean – Hall Of Fame

August
Redman – The Preload (EP)

September 1
Webbie – Savage Life 4Ever

September 3
John Legend – Love In The Future

September 9
2 Chainz – Based On A True Story II: Me Time

September 17
Drake – Nothing Was The Same
The Roots & Elvis Costello – Wise Up Ghost

September 24
DJ Khaled – Suffering From Success

September 30
Justin Timberlake – The 20/20 Experience (Part 2)

September
Birdman – Bigga Than Life
Devin The Dude – One For The Road

October 5
Waka Flocka Flame – Flockaveli 2

December
T.I. – Trouble Man: He Who Wears the Crown

TBA
50 Cent – Street King Immortal
Ab-Soul & JMSN – Unit 6
AZ – Doe Or Die II
Beyonce – 5th Studio Album
B.o.B – Underground Luxury
Blu – Good To B Home
Bobby V – Peach Moon (EP)
Bone Thugs-N-Harmony – Art Of War III
Capital Steez – King Capital
Chief Keef – Bang Pt. 2 (Mixtape)
Chief Keef – Almighty Sosa (Mixtape)
Clipse – As God As My Witness
Common – 10th Studio Album
Curren$y – Pilot Talk 3
Danny Brown – Old
DJ Scream – Long Live The Hustle
E-40 – The Block Brochure Parts 4, 5 & 6
eLZhi – The Weather Man
Flatbush Zombies – Better Off Dead
Freddie Gibbs – The Neck Tie Party
Freddie Gibbs & Madlib – Cocaine Pinata
Future – Super Future (Mixtape)
Future – Future Hendrix
Game – Operation Kill Everything (Mixtape)
Ghostface Killah – Supreme Clientele Presents… Blue & Cream: The Wally Era
GOOD Music – Cruel Winter
Gunplay – Living Legend
Ice Cube – Everything’s Corrupt
Iggy Azalea – The New Classic
Janelle Monae – The Electric Lady
Jay Electronica – Act II: Patents of Nobility (The Turn)
Jeremih – Thumpy Johnson
Jhene Aiko – Souled Out
Joey Bada$$ – B4.Da.$$
Juicy J – Stay Trippy
Juelz Santana – Born To Lose, Built To Win
Juelz Santana – God Will’n Vol. 2
Kirko Bangz – Bigger Than Me
Lloyd Banks – F.N.O. (Failures No Option) (Mixtape)
Ludacris – Ludaversal
Lupe Fiasco – Tetsuo & Youth
Lyfe Jennings – 5th Studio Album
Mario – Restoration
Meek Mill – Dreamchasers 3 (Mixtape)
Method Man – The Chrystal Meth
Method Man & Redman – Blackout 3
Mike Will Made It – #FuckVerse (Mixtape)
Mystikal – Original
N.O.R.E. – Student Of The Game II: Dyslexia
Nelly – M.O.
Nicki Minaj – Pink Friday: The Pinkprint
Nipsey Hussle – Victory Lap (Mixtape)
Omarion – Love & Other Drugs
Omen – Elephant Eyes
Plies – Purple Heart
Pusha T – King Push
Raekwon – F.I.L.A (Fly International Luxurious Art)
Raheem DeVaughn – A Place Called Loveland
Redman – Muddy Waters II
Red Cafe – American Psycho 2 (Mixtape)
Reks – Revolution Cocktail
Rick Ross – Mastermind
Rocko – #Ignant (Mixtape)
Rocko – Seeing Is Believing (Mixtape)
Ryan Leslie – Black Mozart
Schoolboy Q – Oxymoron
Slim Thug – Boss Life (Mixtape)
Slum Village – Evolution
Swizz Beatz – Haute Living
T-Pain – Stoicville: The Phoenix
The Roots – & Then You Shoot Your Cousin
The Weeknd – Kiss Land
Tinie Tempah – Demonstration
Travis Porter – Let Me Borrow Dat (Mixtape)
Trae Tha Truth – Banned
Twista – The Dark Horse
U-God – The Key Note Speaker
Underachievers – Chapter 23
Waka Flocka – Lebron Flocka James: 3rd Quarter (Mixtape)
Wiz Khalifa – Blacc Hollywood
XV – The Kid with the Green Backpack
Yelawolf – Love Story
Yo Gotti – I Am
YG – Freshman on Campus

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, see ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

(Music Videos and Links are for promotional use only)

 

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Music 101, Platinum Articles

What services should an Artist expect to pay for on their way to a sustainable career?

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another relevant topic to you!

Assuming you’re a performing singer-songwriter or are in a band, you basically have one supreme goal; to make enough money with your music to support yourself or even better, to live like a  star.

The sooner you come to grips with the way things are (as opposed to the way things used to be or the way you think they ought to be) the sooner you can get down to the work it will take to make your supreme goal a reality.

In the new music business, just like in the old music business, you are the creator of a product. Once you’ve created some music and you have recordings you’re satisfied with, you must reach the ears of an audience that will compensate you. The responsibility of getting your music discovered by fans and industry professionals rests more squarely on your shoulders than it ever has in the past. There are several ways to create an income stream but in the end it all comes back to an audience hearing your music and you getting paid for that. No one is more interested in your music being discovered than you are. So grab the bull by the horns and make it happen.

When you think about it, you realize this is the way it is for any product or service. Companies often spend far more money generating awareness, marketing & selling than they spend making their products. Your music is no different. Accept that and get on with it or stop complaining that you’re not getting anywhere. Secondly, even with today’s modern tools for musicians, it can still require a lot of work to stand out. If you’re not willing to put in the effort yourself, the first thing you need to do is get a manager who is. You cannot escape the need for this work to happen on your behalf, either by you or by someone who works for you.

Sure, you can hope your music goes viral and suddenly everyone knows about you and it didn’t cost you anything. Good luck with that strategy. I’ve stumbled upon awesome music that deserves to be ubiquitous but is buried deep within YouTube. Blowing up virally works for far fewer than 1 in a million. Hope is not a strategy. Having a good plan and executing it works far more often and most people who have made it in any profession followed that strategy.

Pay to acquire fans:

First and foremost, you should be acquiring fans. The only reason you should do it exclusively the old-fashioned way (i.e. playing gigs to as many full rooms as you can) is if you have no other options, which only happens if you don’t have any halfway decent recordings. But if you have some recorded music your options increase exponentially because you can reach so many of your potential fans online.

Doing so isn’t free and you need to understand that. I don’t care if you spend all day on LinkedIn, Facebook, Twitter, and the new MySpace chatting people up and getting them to listen. Time is money and while you pound the digital pavement you have to pay your rent and feed yourself. It only feels free. It’s pretty costly when you add up the time you spend doing it plus the time you didn’t spend doing other things. That doesn’t mean you shouldn’t be active on social media. It’s great for managing an already acquired fan base but It’s no longer the most efficient and least costly way of building one.

Don’t buy ghost Twitter followers. Don’t buy YouTube views. Don’t buy Facebook likes. Don’t waste time creating the perception of traction. Spend your time and money creating real traction with real fans.

We live in an attention economy and no one will pay you money until they first pay attention. Legitimate companies are emerging with great services that essentially guarantee potential fans will hear your music. If they love it, you get their contact information and presto, a relationship is established. Compare the time, effort, and money it would cost you to play to 10,000 people to acquire 1,000 true fans vs an online service who can expose you to that many people in a few days or even overnight and deliver the fans’ contact details to you.

There are plenty of artists who earn a living with 1000 true fans. Get your 1000 true fans (at least). Learn how to monetize them. If you aren’t using the new tools out there to get this done, you’re not only working harder than you have to, you’re being outpaced and out-competed by artists and bands who understand the new tools available to them.

Pay to get deals:

There are two kinds of deals that matter to you. Exposure deals (that expose you to a mass audience) and commercial deals (that pay you money for your work or for a license to your music). Deals can be both exposure deals and commercial deals at the same time, like getting your song in an advertisement, signing to a label, or licensing your song for film and TV. But notice that exposure deals are simply catalysts to reaching more potential fans and remember, your income always ties back to an audience hearing your music and you getting paid for that. That’s why exposure deals matter. If your song plays on network prime time or in a video game like Call of Duty it is worth more than you can imagine in saved time and money that you would otherwise have to spend to reach that audience.

Most artists who get deals are leveraging the exposure to further their career goals while often also getting paid.

But since you don’t know where all the deal opportunities are (and if you did it would take you months to network your way in), you should pay to speed up the process. There is nothing wrong with paying for a service that saves you time or money or both. In fact, that’s the smart thing to do.

Beware though! The landscape is rife with shady companies and shysters who will rip you off if you aren’t cautious. Your aspirations to get a deal and the closed nature of the music business makes you a target for getting scammed.

Pay for help getting deals if the following criteria are met:

* The company or professional is reputable with verifiable references you can query.

* They can point to verifiable and very recent success stories.

* They are transparent. Don’t just take someone’s word for it that they have contacts.

* They don’t take a cut of a deal or any rights to your work that isn’t at least contingent upon success they directly help you achieve.

You’re a professional with a product to sell. You should be treated professionally. You should have your questions answered. You should easily understand the answers. If it feels like you’re getting the runaround you probably are.

Pay for distribution:

You can’t get your music into iTunes, Spotify, Amazon and a hundred other consumer outlets on your own with any efficiency. There are companies that do this for you. It’s not expensive. Pay them.

Pay for an awesome online presence:

Unless you’re a good web designer / developer you should pay someone to do this for you. You should have your own site where you control your image and messaging. Update it frequently. Scroll your tweets from your homepage. Show fans ways they can engage with you. Run contests for a live in-home performance. Be creative with how you engage your audience from your own site.

Pay for the use of tools to help you manage your fan base:

You need to stay in touch. You need a mass email service. You need to let your fans know where you’re going to be playing. You need to sell them some t-shirts and other cool items that enable them to feel connected and part of the exclusive club.

Pay to get better:

There is almost no one in any profession that can’t learn more, can’t hone their trade, can’t be more effective. Even top athletes train every day with a trainer. Seek professionals in your field who have more experience, who have won a Grammy or two, who have worked with other top professionals and get real feedback, critiques and career coaching from them. It’s not costly and there are companies that help these kinds of contacts for you.

In conclusion:

It has never been easier for an artist with good music to make a living but the responsibility for making that happen has never rested so squarely on the shoulders of the artists themselves. Instead of lamenting about all the things you must do to become successful in addition to making great music, rejoice that your destiny can now be in your own hands. You don’t have to wait around and hope to be discovered. Hope was never a good strategy in the old music business either.

Devise a good plan and spend some time executing it every day and don’t hesitate to pay for services that advance your career and that save you time and money.

SOURCE:Mike McCready

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com.  Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

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Music 101, Platinum Articles

Artists, Djs, Labels & Producers, Submit Your Original & Remixed Music for Free!

Hey Y’all!

It’s Your Gyrl, Ms. Carmen aka Platinum Voice PR bringing another opportunity to you! As always, I’m hooking you up! The Crate Connect is great tool for getting your best project to the DJs!  They are giving you exposure for free! Remember the product you submit represents you! You never who will be listening, so send your clean copywrited versions for that sake! Thank you and here’s the info:

1. All Music must is a minimum of 192kbs – 320kbs Mp3 format

2. Properly ID3 Tagged with Artist – Track information

3. Upload MP3 files or rar/zip packs of music HERE or can email them to music@CrateConnect.net

4. Please provide information on the genre or style that best fits the music submitted.

Please Note: The more versions of the track the better for promotion. EXAMPLE. Acapella, Club, Instrumental, Radio, Edits.

*Terms & Conditions

You must own the rights to the music submitted to CrateConnect.net or we cannot add it to the Promotional Dj Pool.

All the files provided to on CrateConnect.net are provided to our “users” for promotional review for airplay or live play consideration and may not be sold, licensed, or re-distributed without the express written consent all copyright holders respectively.

You never know where I may be bringing you the events of Chicago, so make sure you follow this blog and Follow me on Twitter, @PlatinumVoicePR! If you need your name and craft to buzz out here, go to http://www.platinumvoicepr.com. Until next time, See ya later Babies!

Disclaimer:

(PlatinumVoicePR is the source for the events and has no legal bindings with associated parties)

 

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