- Don't want to forget? Click the star to add this project to your profile.
Tuesday, June 18, 2013
Have questions about Song Licensing? Here are the FAQs!
a great FAQ sheet to get you started
1. What is the current statutory mechanical rate for physical product (ex. CDs, Cassettes and Vinyl), PDDs, and ringtones? How is it calculated?
2. HFA’s Songfile rates for interactive streaming.
3. What can be licensed through HFA Songfile?
4. The HFA licensing percentage is not 100%. Why? What does that mean?
5. What are HFA's Songfile Licensing Terms?
6. How do I obtain print rights for sheet music?
7. How do I obtain performance rights?
8. How do I obtain master use rights?
9. How do I license a recording with samples?
10. How do I license at a reduced rate?
11. Do I need a license for less than 25 CDs, ringtones or PDDs?
12. Do I need a license for less than 100 interactive streams?
13. Do I still need a license for recordings if I'm not selling them?
14. What is "Fair Use"?
15. How do I license for digital uses other than single PDDs (full, permanentdigital downloads), ringtones, or interactive streams?
16. How do I pay my mechanical royalties to HFA?
17. How do I license a new arrangement of a copyright-protected song, or a medley?
18. Does HFA license karaoke?
19. Does HFA license multi-session recordings (DVD-A, SACD,DualDisc)?
20. Does HFA license recordings imported from other countries?
21. What is a UPC code and how can I obtain one?
22. What is an ISRC and how can I obtain one? 23. How can I license more than 2,500 units of physical or digital product?
24. How can I license more than 10,000 interactive streams?
25. Does HFA license internet radio?
26. Can I license Express Live CDs and PDDs through HFA Songfile?
27. Why can I find a song in the public search, but not when I search to license it through Songfile? Why can I license a song for some formats, but not others?
28. How can I license a song longer than 30 minutes?
29. How do I use the License Reorder Option?
30. What is an HFA Song Code?
31. How do I save a cart?
32. I added multiple songs. Why is there only one song in my saved cart?
33. How do I add multiple songs to one cart?
34. When I click on "View My Cart", my order is missing.
35. When I click on the View Cart icon on the top right of my Songfile page, I am unable to view my existing orders.
36. Can I add songs to a completed order?
37. Does a Songfile license apply outside the U.S.?
Thursday, May 17, 2012
Twitter vs Email? Which is better to Build your Fan base
Note: Artists and Creatives, this is a great article that presents pros and cons of Twitter vs Email to consider when building your fanbase. Apply it to your own situation.
Will Twitter supersede email marketing in the near future?
From Practical Ecommerce Newsletter
Now that the dust has settled a bit, some inexperienced online sellers do believe that Twitter has superseded email marketing, when in reality the two marketing tools complement each other perfectly. Here's how Twitter and email marketing stack up against each other.
Aesthetics – An email newsletter can be designed to match any brand identity and style, while in Twitter you’re limited to being able to change the background. Customers react more positively to a visual appeal which is consistent across platforms, and email allows customization that is impossible in Twitter. Advantage: Email.
Brevity – Twitter has the unmistakable advantage here, as if a marketer can master the art of condensing a promotional pitch into a scant 140 characters then the online world is their oyster. There is nothing like Twitter to appeal to a customer quickly by hitting them swiftly and powerfully with a strong driving message. Advantage: Twitter.
Checkout - Studies have shown that most consumers are 50% more likely to purchase from a company which has been emailing them over one that they’re following on Twitter. Advantage: Email.
Frequency – You can Tweet with a frequency that would get the CAN-SPAM police knocking down your door, while email needs to be meticulously issued to not violate tolerance thresholds. Advantage: Twitter.
Personalization – Email can be segmented to appeal to specific categories within your customer base while Twitter is essentially a one to all uncustomizable broadcast. This factor makes Twitter a far blunter tool for surgically catering to the specific needs and preferences of particular customer groups. Advantage: Email
Privacy – An email is a communication which is directly intended for a single individual while Twitter is a completely public announcement which can seem more like a broadly based advertisement. Emails are seen by your customers as a confidential missive in contrast to Twitter’s “shouting from the rooftops.” Advantage: Email.
Regulations – While every day brings more restrictive governmental legislation around the world covering what email marketers can and cannot do, Twitter is a wide open and effectively unregulated marketplace. You can legitimately approach customers on Twitter fully within the realm of netiquette and legality in ways that would get you labeled as a spammer if you did that in email. Advantage: Twitter.
Transparency – No email subscriber knows whether they are one of a hundred or a million on your list, but Twitter follower lists are visible to all. It is much easier for a small company to portray the illusion of a major international brand through email newsletters than on Twitter where it is easy to determine that the following numbers in the dozens. Advantage: Email.
Uniformity – Twitter wins this one as no matter how you access the service and what desktop, laptop, or mobile device you use, the interface is always the same. When you’re composing email newsletters you have to deal with aspects of word processing, design, email clients, and other factors that lack the built-in elegance of a simple, straightforward tweet. Advantage: Twitter.
Both Twitter and email marketing have their relative and fully complementary strengths. Not every customer suffers from ADHD and prefers to receive all their brand information in soundbites, as there are countless instances where 140 characters simply do not suffice to get the message across properly.
This era of online marketing is noted for substantially rewarding a coherent, studied, and comprehensive approach to the consumer via all of the channels available. In other words, use Twitter to spark customer interest, but use your in-depth newsletter content to make that sale.
Thursday, February 09, 2012
Tuesday, September 06, 2011
How to raise money for your recording project! Kickstarter
http://www.kickstarter.com/projects/555488012/nataly-dawns-first-solo-album
About this project
I know that I risk jinxing myself in saying that I have very high hopes for this album, but it's the truth! Over the last year, I have written songs that I'm proud of and that I believe represent a cohesive body of work. They've taken a lot out of me (in a good way), and I'm looking forward to sharing them with you.It helps that I have so much faith in the musicians I'll be working with. Between the drummer, the bassist, the guitarist and the engineer, I couldn't tell you who was the most talented. They are the ones who will turn my bare bone songs into full-fledged works. They are the magic makers. I would tell you who they are, but you would probably get too excited and forget to give me money.
Everything is ready to go: the songs, the musicians, the studio. All I need is a little help from you! Every dollar will go towards the album: paying the musicians and the people who will be filming the recording process, reserving the studio and hotel rooms, renting gear etc. And if by some miracle there's anything left over, I will buy myself a brand new Jaguar...or the money will go towards promoting the album. I haven't decided yet.
FAQ
- Don't worry about it! As soon as the project is over (September 6th) I will send you a form to fill out, and you will be able to give me all of your info!
Last updated: Saturday Sep 3, 12:33pm EDT - No you do not! You CAN if you REALLY WANT TO, but no one will make you do it. :)
Last updated: Monday Jul 18, 1:48am EDT
2,315Backers
$104,788pledged of $20,000 goal
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Monday, July 04, 2011
OTR Studios on tape, DSD, selling high rez files, Korg MR2 giveaway and the California Audio Show
We've had an article in Keyboard Magazine, July issue, on recording Vijay Iyer's solo piano album, interns from Greece, France and Austria and started a revolution mixing to DSD digital (one bit recording, 2.8 million parts per second). We still believe in analog tape and record to it when we can.. in fact, we supply the tape! DSD digital audio allows us to send these files to customers around the world. The sound revolution is on!
Call if you're ready to join!
650 595 8475.. Summer Specials are in the works.
Along with recording, mixing and mastering, we have a crew devoted to making websites and Downloads NOW! MicroStores. Forget mp3 for your fans, give them the treat of CD Quality wav files! If we master your release, you'll get a Store at no charge. Here's the page we did for Vijay Iyer and ACT Music
http://actmusic.downloadsnow.
We've got more than 130 Downloads NOW! MicroStores and growing. These are beta sites to get more information.
http://artistconnex.com/
http://downloadsnow.net/
July 15-17 The California Audio Show is taking place on the peninsula. We'll be there recording and moderating a panel called DSD-Then, Now and Tomorrow. Please come by our room (Blue Coast World) or sign up NOW for the Korg MR2 giveaway contest. The Korg is a great little recorder that you can take to gigs and record to DSD. It's about the size of an iPhone. Amazing.
http://bluecoastworld.com/
We've just released the Blue Coast Collection 2, the 3 release from Blue Coast Records. We're here to say that people will buy quality. Put your heart and soul into your work and music lovers will listen. We're selling DSD, 96kHz 24bit and CDQuality wav files.. (not mp3 or FLAC.. big ass files that sound great!)
Stay in touch and let us know what you're doing!
Enjoy
Cookie Marenco
OTR Studios
650 595 8475
Monday, May 30, 2011
Memorial Day Celebration Remembering the Interns, Soldiers of the Studio
We remember the interns who have journeyed thousands of miles to make coffee, water plants and vacuum which makes our studio that much more enjoyable for all who come. Those who come to have their ego stripped away to serve the good of the Artist Community. These fearless souls whose watchful eyes and sensing ears come to learn a craft where the only reward may be the excitement of being at an incredible performance. They are the ones we pass on our decades of experience where in we relive and embed what we know.
Sure, we watch them make the same mistakes we did whether it's placing a microphone inside the piano with the brick on the pedal or unplugging the power supply before turning off the preamps. Yes, we get a few laughs when one of them tries to do a rough mix or figure out how to punch in on analog tape. Of course, we roll our eyes when a newbie says "I've got ProTools Certification". But in the end, we are all family, we all contribute. No less important is the intern who learns to open the sliding glass door than the oerson sitting behind the console. Both have the power to completely f*&k up a session... or make it a happy lifetime experience for the Artist.
We wonder where many of you are, our Soldiers of the Studio. Please tell us what you are doing? Where you are living? And any memories you might have from your experiences at OTR.
And Artists, if you have an experience to share that you remember from being at OTR with a particular experience, please chime in.
Once you've been at OTR Studios, you are family.
Happy Memorial Day! Thanks for the Memories!
Cookie Marenco
Feel free to comment on our Facebook page
Wednesday, February 09, 2011
Workshop Lecture on Thursday night. Recording Higher Quality Audio and Why
The event is being sponsored by WAM and is free.
When: Thursday, February 10th, 7-9:30pm
Location: WAM, 1890 Bryant Street, Suite 312, SF
FREE
ALSO webcast.
RSVP or questions to hburkman@womensaudiomission.org
(limited seating. Reserve your spot today!)
Tuesday, December 07, 2010
Congratulations to Rob Ickes for Winning the United States Artists Fellowship!
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Friday, October 01, 2010
In The Studio with Chi MClean
From Chi McClean's blog post... Sessions at OTR with Chi, Brain and Jon Evans. Incredible!
In The Studio
Woah! These past few days have been a whirlwind…. Starting on Monday, September 27th, I have been working on my new record down at OTR Studios with producer/engineer Cookie Marenco, percussionist Brain, and bassist Jon Evans.
It’s been an incredible experience to spend some time with these guys and work out parts, new arrangements, and an overall sound for the record. Every one of them has contributed heaps to the entire process and it’s just amazing to see and hear it all come together so quickly.
Last night was pretty special. I honestly could have sworn that, for a few moments, I had John Henry Bonham and John Paul Jones in the tracking room for “Life Got In The Way” and “I Save You”. Chills… really! Talk about locking it down… BAM.
Today is our last day of tracking at OTR Studios and while we still have a bunch to do, it’s amazing to see how much ground we’ve already covered. Today is also my birthday, coincidentally, and I really can’t think of a better way to kick off another year than with these guys making music.
Stay tuned here for more updates as the recording develops and keep your eyes peeled for some new material soon! It’s gonna be awesome…
Tuesday, August 24, 2010
Why Do Professional Recordings sound so BAD? from Computeraudiophile.com Entry
Thanks, Steve, for the mention. I've been a recording engineer since 1982 and have recorded more than 400 albums/cd before starting my own label, Blue Coast Records.
As a hired gun engineer, my drummer credentials include recording Max Roach, Billy Higgins, Brain (Bryan) Mania (drummer for GunsNRoses, Primus, Tom Waits), Brady Blade (Emmylou Harris, Spyboys), Kenny Aronoff (John Mellencamp, Ricky Martin, Melissa Etheridge), Steve Smith (Journey) and hundreds of other drummers.
Drums are my favorite instrument to record because they are always a challenge. No kit is ever the same. The question posed as to 'why do recorded drums sound so bad' is complicated. Below, I'll list some of the challenges we pro engineers face.
CURRENT HIT RECORD TRENDS and LOUD DISC MASTERING
The biggest reason for inadequate drum sound is trend towards loud mastering to compete with the latest hit record. Much of this is about getting a record to 'pop' when you put it in the disc player... translation, a loud recording. It's tough when the label or artist thinks loud is good and they hold the purse strings.
There are cases where music I've recorded and mixed became unrecognizable to me after mastering or mp3s were made. It is one of the reasons I started Blue Coast Records.... to regain control from beginning to end.
COMPENSATING FOR AN INADEQUATE DRUMMER
It's not that hard to get a good sound on drums, especially if no other instrument is playing. As you add instruments and make decisions on how to mix, different criteria for sound come into play. Unfortunately, drums often take a lower priority to vocals or other instruments when mixing. As the drums fall back into the mix, the inadequacy of the drummer becomes apparent.
An inexperienced drummer will not have control over the sound of his high hat or ride cymbal. Individual miking of drums and cymbals is not often sufficient to compensate. If you take out the 'loud' high hat mic, it will still bleed into all the other mics creating a less than definite sound of the hat, for example. If the drummer can't control how loud he plays his individual drums/cymbals you're destined for problems.
If you are familiar with the early Steely Dan drum sound, you'll notice a very 'tight' drum sound. I'm not a fan, but this style of recording will give you more control over the individual sound of the drums. It's achieved by recording each drum separately to a click track-- kick then snare then hat, etc. Or by padding up the drums with tape, etc, to lessen the bleed. Then, noise gates are applied to open only with the one drum is hit and compressed to re thicken.
To me, the sound achieved is dead and lifeless. Some of the finest engineers and my heroes have had to record in this style. I can't deny I've done it myself over the years.
OVER COMPRESSION
In today's pop music, to compensate for a less talented drummer, the entire drum kit is compressed to 'even' out the sound, squish the cymbals and make the drummer sound more 'powerful'. Use of compression is an easy way to even out the performance and automatically removes the high and low frequencies naturally present. It turns to a thick pile of mud and helps disguise just how bad the drummer is!
DIGITAL MULTITRACK RECORDING FORMAT
I record my basic tracks to 2" tape or DSD where I have lots of headroom. But, as Steve mentioned, 80% of today's recordings are made at 44.1 on Protools. Most ADDA's used in recording to digital have uncontrollable compression built in to avoid going over the head room.
Rather than teach the engineer to record at a lower level, engineers are taught to record hot to get more bits active. Low level PCM recording has fewer bits and losses sonic life in these low levels.
Aside from 44.1 not having true high or low frequencies, percussive instruments especially suffer badly as transient frequencies slap the limit of dynamics and 'flat top'. There is a slight 'ticking' sound that resembles slapping your hands. Tape and DSD recording do not have these same issues.
MUCKING AROUND WITH DIGITAL PLUG INS
One way to run up a clients bill is to use digital plug ins that automatically put drums in time (beat detective). I'm very much against this practice and believe the lifeless perfection takes the personality away from the drummer. It also causes subtle artifacts that fly under the radar for most engineers, artists and public, but, I believe contribute to the public's gradual trend away from new music.
This technique is being used on even the finest drummers. You would be horrified to know that this is done in many current jazz recordings... and how many times I have to convince people to accept their slightly imperfect recording for the sake of the human emotional content.
DIGITAL COPYING
It is unfortunate that pro engineers are not taught that every digital copy, consolidation, bounce or transfer results in lowered quality. Instead, they are taught to make their life easier by using these copying tools freely without considering the consequence. From Recording to Mix to Mastering to Replication there is a minimum of 3 digital transfers. You are not close to listening to the original master. After the master in the studio, it's all downhill.
CREATIVITY, DEADLINES AND REALITY
Some artists just want to do something differently, like Tom Waits. He'll have the drummer set up in the bathroom with one mic outside the door. I am guilty as charged. Sometimes, I just want the drums not sound like drums... for fun.
A big issue for an engineer is that if we're on the money clock of the artist or label, we often don't get much time to really get the 'right' sound all the time. You learn to move fast, get a great sound quickly and move on. The session can't be about getting the best possible sound on the drums or you'll lose the magic of the moment from the other artists. A good engineer is always conscious session momentum.
BOTTOMLINE
It's easy to fault my fellow engineers for ignoring the true sound of the drums. The luxury an amateur engineer has in time spent can result in some nice recordings. The test of a good professional engineer not only getting a great sound, but also a great performance within a time deadline. Even the finest engineers will say that time and money can interfere with the sound of the drums.
I run an active intern recording program at my studio, OTR Studios, which is one of the few in the country. We get audio students from around the globe who are completing their college programs. I am often horrified at the lack of knowledge of music and physics of sound they are taught in school. On the otherhand, I am happy to say my students all leave as intense listeners and the next generation of audiophiles.
I am part of a recording book written by Rick Clark that is going to be used as a college text book for recording. It has interviews by many, many excellent engineers who offer their expertise. You might want to check it out.
http://bluecoastrecords.com/cookie-marenco-s-recording-techniques-featur...
I was thrilled that Rick chose to include Extended Sound Environment (E.S.E) that was developed by Blue Coast Records for recording. It shows a commitment to more audiophile kinds of recordings.
Sorry for the long note, but, I was compelled to set the record straight for the pros and confirm that your findings are correct.. most recorded drums sounds sound bad!
:)
It's a tough gig.
Cookie
Sunday, August 22, 2010
Why Do Professional Drum Recordings sound so BAD? from Computeraudiophile.com Entry
As a hired gun engineer, my drummer credentials include recording Max Roach, Billy Higgins, Brain (Bryan) Mania (drummer for GunsNRoses, Primus, Tom Waits), Brady Blade (Emmylou Harris, Spyboys), Kenny Aronoff (John Mellencamp, Ricky Martin, Melissa Etheridge), Steve Smith (Journey) and hundreds of other drummers.
Drums are my favorite instrument to record because they are always a challenge. No kit is ever the same. The question posed as to 'why do recorded drums sound so bad' is complicated. Below, I'll list some of the challenges we pro engineers face.
CURRENT HIT RECORD TRENDS and LOUD DISC MASTERING
The biggest reason for inadequate drum sound is trend towards loud mastering to compete with the latest hit record. Much of this is about getting a record to 'pop' when you put it in the disc player... translation, a loud recording. It's tough when the label or artist thinks loud is good and they hold the purse strings.
There are cases where music I've recorded and mixed became unrecognizable to me after mastering or mp3s were made. It is one of the reasons I started Blue Coast Records.... to regain control from beginning to end.
COMPENSATING FOR AN INADEQUATE DRUMMER
It's not that hard to get a good sound on drums, especially if no other instrument is playing. As you add instruments and make decisions on how to mix, different criteria for sound come into play. Unfortunately, drums often take a lower priority to vocals or other instruments when mixing. As the drums fall back into the mix, the inadequacy of the drummer becomes apparent.
An inexperienced drummer will not have control over the sound of his high hat or ride cymbal. Individual miking of drums and cymbals is not often sufficient to compensate. If you take out the 'loud' high hat mic, it will still bleed into all the other mics creating a less than definite sound of the hat, for example. If the drummer can't control how loud he plays his individual drums/cymbals you're destined for problems.
If you are familiar with the early Steely Dan drum sound, you'll notice a very 'tight' drum sound. I'm not a fan, but this style of recording will give you more control over the individual sound of the drums. It's achieved by recording each drum separately to a click track-- kick then snare then hat, etc. Or by padding up the drums with tape, etc, to lessen the bleed. Then, noise gates are applied to open only with the one drum is hit and compressed to re thicken.
To me, the sound achieved is dead and lifeless. Some of the finest engineers and my heroes have had to record in this style. I can't deny I've done it myself over the years.
OVER COMPRESSION
In today's pop music, to compensate for a less talented drummer, the entire drum kit is compressed to 'even' out the sound, squish the cymbals and make the drummer sound more 'powerful'. Use of compression is an easy way to even out the performance and automatically removes the high and low frequencies naturally present. It turns to a thick pile of mud and helps disguise just how bad the drummer is!
DIGITAL MULTITRACK RECORDING FORMAT
I record my basic tracks to 2" tape or DSD where I have lots of headroom. But, as Steve mentioned, 80% of today's recordings are made at 44.1 on Protools. Most ADDA's used in recording to digital have uncontrollable compression built in to avoid going over the head room.
Rather than teach the engineer to record at a lower level, engineers are taught to record hot to get more bits active. Low level PCM recording has fewer bits and losses sonic life in these low levels.
Aside from 44.1 not having true high or low frequencies, percussive instruments especially suffer badly as transient frequencies slap the limit of dynamics and 'flat top'. There is a slight 'ticking' sound that resembles slapping your hands. Tape and DSD recording do not have these same issues.
MUCKING AROUND WITH DIGITAL PLUG INS
One way to run up a clients bill is to use digital plug ins that automatically put drums in time (beat detective). I'm very much against this practice and believe the lifeless perfection takes the personality away from the drummer. It also causes subtle artifacts that fly under the radar for most engineers, artists and public, but, I believe contribute to the public's gradual trend away from new music.
This technique is being used on even the finest drummers. You would be horrified to know that this is done in many current jazz recordings... and how many times I have to convince people to accept their slightly imperfect recording for the sake of the human emotional content.
DIGITAL COPYING
It is unfortunate that pro engineers are not taught that every digital copy, consolidation, bounce or transfer results in lowered quality. Instead, they are taught to make their life easier by using these copying tools freely without considering the consequence. From Recording to Mix to Mastering to Replication there is a minimum of 3 digital transfers. You are not close to listening to the original master. After the master in the studio, it's all downhill.
CREATIVITY, DEADLINES AND REALITY
Some artists just want to do something differently, like Tom Waits. He'll have the drummer set up in the bathroom with one mic outside the door. I am guilty as charged. Sometimes, I just want the drums not sound like drums... for fun.
A big issue for an engineer is that if we're on the money clock of the artist or label, we often don't get much time to really get the 'right' sound all the time. You learn to move fast, get a great sound quickly and move on. The session can't be about getting the best possible sound on the drums or you'll lose the magic of the moment from the other artists. A good engineer is always conscious session momentum.
BOTTOMLINE
It's easy to fault my fellow engineers for ignoring the true sound of the drums. The luxury an amateur engineer has in time spent can result in some nice recordings. The test of a good professional engineer not only getting a great sound, but also a great performance within a time deadline. Even the finest engineers will say that time and money can interfere with the sound of the drums.
I run an active intern recording program at my studio, OTR Studios, which is one of the few in the country. We get audio students from around the globe who are completing their college programs. I am often horrified at the lack of knowledge of music and physics of sound they are taught in school. On the otherhand, I am happy to say my students all leave as intense listeners and the next generation of audiophiles.
I am part of a recording book written by Rick Clark that is going to be used as a college text book for recording. It has interviews by many, many excellent engineers who offer their expertise. You might want to check it out.
http://bluecoastrecords.com/cookie-marenco-s-recording-techniques-featur...
I was thrilled that Rick chose to include Extended Sound Environment (E.S.E) that was developed by Blue Coast Records for recording. It shows a commitment to more audiophile kinds of recordings.
Sorry for the long note, but, I was compelled to set the record straight for the pros and confirm that your findings are correct.. most recorded drums sounds sound bad!
:)
It's a tough gig.
Cookie
Monday, August 16, 2010
Vijay Iyer Solo Piano Recording -- Review on Hatchet Fish
http://mavogdezza.wordpress.com/2010/08/16/vijay-iyer-on-solo/
Vijay Iyer on ‘Solo’
So we’re making this album here at Belmont, CA, at a place called OTR Studios, with this beautiful piano which… is one of the finest recording pianos on the West Coast. And it also happens to be the piano where I made my first couple of albums and with the engineer who helped me make those albums. I’ve known her since 1995, and she’s someone I can trust.
I think of it, this process, making a solo album, everything is so exposed and…sensitive; it’s a very delicate process…y’know…you’re getting a real full dose of the piano…it’s like you’re being immersed in it. It’s not just a document….it’s really a sort of taking a stand about what a piano should sound like. The piano has a feeling very…lush and rich and vast…also has a lot of clarity, a lot of delicacy. Some people want the piano to be in front of them; but this is more like it’s all around you.
***
This is the most personal statement I could possibly issue, artistically. It’s the ultimate reveal [laughs], you know? ….um and it’s very vulnerable. So, one of the central pieces on this album is entitled “Autoscopy,” which is a kind of out-of -body experience, when you have a sensation of leaving your body and watching it. So, in a way, that’s what this album is…[laughs] is that process performed through the recording studio.
In the craft of records there is improvisation involved, you know, and discovery and, uh, and collaboration…building …it’s not built before they get in the studio it’s actually built in the process. I guess each piece…I’ve been playing has its own story. It’s been interesting deciding what to put on this album. I’m doing a number of my own pieces. I’m dealing with pianists who’ve inspired me, you know, I’ve talked about Thelonious Monk and Duke Ellington, pianists as composers, people who’ve presented a vision of music at the piano….not just as players but as architects of music.
***Well you know, one thing that I find to be pretty crucial is to strip away any notion of …pride? [laughs] or, uh, intent. You know, like it kind of has to, you can’t be too attached to what’s supposed to happen ……a specific piece, you know, because it’s improvisational music, it’s meant to be alive. I think part of what I want to do with this album is sort of re-….acquaint people with the process of experience itself, with really what it means to live through a moment. There are certain kinds of works of art that do that, where you don’t just glance at it, you live with it or you kind of live through it or move through it. You’ve got to put your body in the space. Now, music does that with you with time. You have to put your body through the time that was experienced by the body that made it. At some level we’re sharing time. This recording is recording something that you can kind of move around in. You can kind of live inside of it, something you can live with and can experience in layers, like each time you revisit you find something else.
Friday, March 12, 2010
Downloads NOW! Upgrades and Offers Full Length Song Preview and Single Song Purchase for Basic Setup
Now, Sell your songs in 44.1/CDQuality or 96 24 High Rez files with Downloads NOW!
650 595 8475
Not Flac, not lossless, not zip compressed. Full sized files.
Music tracks delivered with MAXIMUM sonic precision as you heard them in the studio.
Examples
Keith Greeninger and Dayan Kai, Make It Rain
The Valence Project
Houston Jones, Calico Heart
Jenna Mammina, Under the Influence
Forget what you read, quality counts. Our 96kHz files outsell our CD Quality 20 to 1 !
We've also seen that sales of singles encourages the full album purchase. While full length discs don't sell as many numbers as singles, dollar for dollar, customers are spending the same. All you need to do is send us the disc, we'll do the rest.
Looking for international exposure? 75% of our visitors are coming from outside the USA. Through the Artist Connex module, you get exposure to new customers while your album rotates on every DN! page.
Capture those fans? We can add a ReverbNation mailing list/ fan collector or other widgets to the DN! site.
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Our research shows that full length previews streaming at 192kbps SELL MORE SONGS! Or, use it for high quality examples for your booking use.
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MIchael Gaither Interviews Cookie Marenco on Production Techniques
Transcript from Michael's blog.
In episode #83, Cookie talks about her history in the music industry, why she never left analog tape, and why she loves working with acoustic artists. This episode includes two examples of Cookie's work: A cover of Warren Zevon's "Mutineer" recorded by Jenna Mammina and Matt Rallings and "Make It Rain", the title track to the new release from Keith Greeninger and Dayan Kai. (Not uncoincidentally, Keith and Dayan will be the guests on the next episodes of "Songs and Stories.") Subscribe to this in iTunes or sign up for my mailing list to find out when the interview is available. Click the red podcast button below to hear Songs and Stories #83 (time = 33:40, size = 30.9 mb)
Episode #84 is an audio tour of Cookie's Belmont, California studio. I've learned to just hit RECORD as soon as I start talking to someone, which I have to admit was a very good idea in this case. With the tour, we get even more insight into Cookie's approach to music, recording, and her engineering intern program. Click the red podcast button below to hear Songs and Stories #84 (time = 29:00, size = 26.6 mb)
Wednesday, February 03, 2010
2009 IFPI Worldwide Music Sales
IFPI publishes Digital Music Report 2010
SEE ALSO |
Download Report Key Highlights |
London, 21st January, 2010
“New licensing deals help push digital music sales to 27% of global revenues - but piracy is damaging investment in artists”
- Global digital music trade revenues reach US$4.2 billion, up 12% in 2009
- 400 services licensed worldwide by music companies with ISPs, mobile and other partners
- New figures show local music collapsing in major markets as piracy bites into releases, sales and investment in France, Spain and Brazil
- IFPI Digital Music Report highlights urgent need for legislation to curb digital piracy on ISP networks
More than a quarter of all recorded music industry revenues worldwide are now coming from digital channels, as music companies license music in partnership with ISPs and mobile operators, subscription services, streaming sites and hundreds of download stores.
However, despite the continuing growth of the digital music business - with trade revenues up 12% to an estimated US$4.2 billion in 2009 - illegal file-sharing and other forms of online piracy are eroding investment and sales of local music in major markets.
In particular, three countries known for the historic vibrancy and influence of their music and musicians - Spain, France, Brazil - are suffering acutely, with local artist album sales or the number of releases plummeting.
Governments are gradually moving towards legislation requiring ISPs to curb digital piracy. But progress needs to be much quicker. In 2009, France, South Korea and Taiwan adopted new laws to address the crisis. Other governments, including the UK and New Zealand, have proposed new laws for adoption in 2010.
These are key highlights of the IFPI Digital Music Report, published today. The Report provides an overview of the music industry's changing business models, outlines the impact of digital piracy internationally, and reviews the efforts of governments to address it.
New models are increasing consumer choice
The Report outlines how music companies are diversifying their revenue streams, offering new ways for consumers to buy and access music. These include: subscription services; music services bundled with devices and broadband subscriptions; streaming services with applications for mobile devices; advertising-supported services that offer premium services; and online music video services.
In the last year, music companies have partnered with advertising-supported services such as Spotify, Deezer, MySpace Music and We7; ISPs such as TDC in Denmark, Terra in Brazil and Sky in the UK; mobile operators such as Vodafone; handset makers such as Nokia and Sony Ericsson; and online video channels such as Hulu and VEVO.
Sales of music downloads, the dominant revenue stream in digital music, are seeing steady growth. Single track download sales increased by an estimated 10%, while digital albums rose an estimated 20% in 2009. Recent innovations in this sector include the introduction of variable pricing, which has increased the conversion of track purchases to album sales, as well as the launch of the iTunes LP and the rollout of DRM-free downloads internationally.
New figures show piracy is harming investment in local talent
Despite this progress, piracy is the major barrier to growth of the legitimate digital music sector and is causing severe damage to local music industries around the world. Providing new evidence of this, three of the world's biggest music markets, all heavily dependent on local repertoire - France, Spain and Brazil - have seen a sharp slump in the fortunes of their local music industries:
- In Spain, which has one of the highest rates of illegal file-sharing in Europe, sales by local artists in the top 50 have fallen by an estimated 65% between 2004 and 2009;
- France, where a quarter of the internet population downloads illegally, has seen local artist album releases fall by 60% between 2003 and 2009;
- In Brazil, full priced major label local album releases from the five largest music companies in 2008 were down 80% from their 2005 level.
The report shows that, while the music industry has increased its digital revenues by 940% since 2004, piracy has been the major factor behind the overall global market decline of around 30% in the same period. Overall, global music sales in the first half of 2009 were down by 12% (physical and digital sales) and full year figures are likely to see a similar trend.
Third party studies overwhelmingly conclude that the net impact of illegal file-sharing is to depress sales of music. Two surveys confirmed this in 2009 - by Jupiter Research, covering five European countries, and Harris Interactive, covering the UK. According to Jupiter, around one in five internet users in Europe (21%) shares unauthorised music.
"Climate change" for creative industries
The Report also shows how digital piracy is causing "climate change" across the creative industries. In 2009 the issue rose to the top of the agenda for film and TV producers as well as book publishers. TV programme piracy is estimated to be growing faster than in music, according to research firm Big Champagne. Meanwhile, the film industry estimates illegal film streams and downloads account for 40% of its piracy problem by volume (MPAA).
The Report calls for the urgent adoption of laws to curb P2P and other forms of online piracy - including the "graduated response" by which ISPs would cooperate with right holders in deterring illegal file-sharing on their networks.
Introducing the Report, IFPI chairman and CEO John Kennedy, said: "Music fans today can acquire tracks and albums in ways not conceivable a few years ago - from download stores, streaming sites, subscription services, free-to-user sites, bundled with their broadband or a mobile phone handset.
"It would be great to report that these innovations have been rewarded by market growth, more investment in artists, more jobs. Sadly that is not the case. Digital piracy remains a huge barrier to market growth and is causing a steady erosion of investment in local music. The collapse in sales and investment in France, Spain and Brazil, countries with traditionally vibrant music cultures, testify to this and are a warning to the rest of the world.
"In 2009 the mood has crucially changed. It is now accepted that this is about the future of a broad base of creative industries that have huge economic importance and employ vast numbers of people. Governments, led by France, South Korea, Taiwan, the UK and New Zealand led the way in 2009 by adopting or proposing legislation to tackle piracy. It is vital these efforts are seen through to their conclusion and followed by other governments in 2010."
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