YOUR MUSIC YOUR CAREER
How important is music in film? Heard of the film STAR WARS or Composer John Williams. Star Wars, is an epic space saga created by George Lucas, it has one of the most instrumental examples of how music relates to film. But gone are the days where music had to be scored on a piece of paper, performed and recorded by an orchestra in sync with the film. Film makers today now have a wider array of options when it comes to sourcing music. The main source today are, Records by Artist. Why? Because it's a competitive market out there! and all our music is now digital.
So How do you get your music heard by film makers? Well the first thing you want to do is to ensure you understand the rights to your music. Now that's covered, find the film makers through Associations or Organizations in your Local Market and let them know you exist and mean business. You can also find digital online services like SongTradr that acts as a middle man for U.S. Productions. Remember everything in the world is territorial so finding the right Market & Territory Is your job exclusively.
Here are 3 examples of how Music in Film can be used:
Music In Film
Tips For Rehearsals
Having Common Goals
Don't Go Broke Advertising!
What Is Non-exclusive?
Without Going Broke!
Do's & Don't!
Listen to new music
become a member today!
8 Ways you can Advertise Your Talent Without Going Broke!
Ads In The Yellow Pages - Who reads the yellow pages anyway. How about corporate businesses who need reliable sources. Being listed in the yellow pages may also give you the ability to place an Ad in the section you are currently listed.
Printing Posters & Flyers - Flyers aren't just for promoting a show or an event, your flyers/posters can have information about an album release, upcoming shows or events for the month, even give aways. Being creative is key
Designing T-shirts with your logo - Your True Fans will wear this shirt everywhere for everyone to see, so it's important your design can pull in more fans.
Contact schools - Schools are filled with impressionable young minds so your content and brand must be one that a school would be proud to display to their students.
Clubs - We all want to play in clubs and do shows so make contact with club Owners or Managers, try to make a direct deal with them as opposed to a Promoter or Publicist.
Religious Groups - Like schools Religious groups are very concerned with content, but remember you brand an content is yours just because you are not making Gospel music does not mean your music is not inspirational, it's 2018!
Social & Business Organizations - Who has more events that Social & Business Groups, they are always in need of Talent, seek them out let them know you exist.
Caterers - Because Catering companies today are also provide event planning services and this could be an added plus for what they can offer a client.
*Be prepared to negotiate prices. You want to make as much money as possible, and the client wants to get great entertainment at a low price.
Developing Your Talent!
If you have read other Artists Biography's you would know that most of the Major Pop Stars and Artist started off in bands or groups in their own local markets, before breaking off and starting their own careers. Lets say you have been playing around with your guitar or piano for a while practicing your music and singing, well enough that you want to either start a band or join an existing one.
How do you find other people to sing and play with?
First, identify exactly what kind of music you want to play and how committed you are about it. You can place an ad in a weekly or monthly entertainment section of the local paper or online magazines, "looking for new or additional members" or "individual/s starting to put a band together". Another way would be through your local Musicians' Union, you may be required to attend meetings or join the union itself. Finding people that share your interest in music is key to you, and like you others have their own interest too! Recording studios and instrument repair shops can also be a vehicle for research.
Having Common Music Goals.
Something we might not give a lot of thought to, but quite important. When Musicians, Vocalists, Bands & Artist are collaborating, having these common goals can keep you together during tough times. Without these goals, division and senseless bickering can easily destroy progress.
One of the most divisive aspects of group decisions in the music world is the question of whose material will be performed. In the world of music the assumption that because Mary wrote the song she should be the one that performs it, might not be the best route. As a Band or a group of writers putting together demos for publishers, Mary might not be the one with the best vocal quality for this particular song. As a group you should be able to criticize each other honestly and without feelings of bitterness or holding back opinions. Don't be insulting or hostile as this will create walls and division, but ultimately there is no way to disguise bad news. Know what you are working towards as a band and have agreements.
Having Agreements: Bands, Musicians or Artist.
If you're serious about music here, there needs to be agreements. It's always a good idea to have some sort of agreement in writing that defines what happens if a member of the group decides to leave or is fired. If you're a band an agreement would specify who owns the equipment, or whether it belongs to a specific individual. Is your group a co op publishing company, owned by all? There might be conflict when one of your engineers, or musicians get fired, you go on to release a hit record and he collects his share of the publishing royalties forever. Bands often share writers credit equally with members of the band and if a member leaves you will again be faced with the same problems.
Bands and musical groups usually come together or of mutual respect and friendships, but spending all that time together can be challenging especially if there are no common goals.
If you are in doubt about a band agreement, you might want to consult a lawyer. Become a Member of this website join our forum to gain access to Free Music Seminars hosted by Local Music Professionals & our Legal Partners. Contact Us Today!
Starting a Band OR Group
When you start a band one of the first things to work out is who is going to be its leader. The leader of the band usually calls the rehearsals, work out ways to make promotional material, book the band him/herself or talk to booking agents, set up auditions and pretty much be the contact person for the band. In some groups, one person usually gravitate toward the leadership role. Other members don't mind as leadership can be quite the responsibility. In this type of band the most common trouble comes when it's time to decide which music will be chosen and performed. Most people will only show their concern about whether their own song or choice of covers will be performed or who is going to sing and play the solo parts.
Sometimes a group may have one person who acts as the music director, another handling the equipment, a third who owns the vehicle for transport, a fourth person booking gigs. In these groups the band usually splits the money as well as the responsibilities.
In other bands one person might own the band name and hire other people to fill in the empty slots.
There are many different ways bands come together and they all have different purposes.
Are you a cover band doing tunes that are already on the charts? Or are you an original band developing the writing skills of the members? Sadly, cover bands will have quicker access to work. But if you don't write songs or perform originals there is nothing that will set your band apart from any of the other bands.
Now come up with a name for the band. Figure out a rehearsal schedule and find a place to practice. decide how often you will have rehearsals as well as who is going to be at them. Chances are other members in the group may have other commitments, like school, jobs, sports, spouses or boyfriends&girlfriends. So get to know your future band.
4 Tips That Work For Most Rehearsals
Start at a set time, and work for approximately the same amount of time whenever you practice.
No visitors should be allowed, unless they are there for a specific reason. For example, you might invite another musician to rehearsal to see if the vocal balance is correct.
Do not allow friends, people that you are dating, fathers, mothers, or other relatives or friends to visit.
Never have anyone who is visiting a rehearsal (who, remember, you are not supposed to have invited) take sides in a group dispute. As this would not be fair to fellow band/group members, and it puts the visitor in an embarrassing spot.
Music In Film
Who do i contact if i want to use a piece of music in my film or Visual Media?
Artist, Composers, Publishers and Record Companies, but the easiest answer is the Rights Owner. You will need the approval of the person/s responsible for the recording you would like to use.
DO YOU HAVE ACCESS TO YOUR MUSIC!
Whats a music library?
Let's see... A Music Library or Stock Music is the name given to recorded music that can be licensed to customers for use in film, television, radio & other media. Music Libraries act as a bridge between the Music Creator and Music Users.
Here is how it works for Music Users
lets say you wanted to use a piece of music, but the music you originally wanted is so exclusive that its going to cost you thousands of dollars you might not be willing to cough up for a 60 second television commercial. Don't worry the internet has provided you with many choices of libraries that can meet your needs, with a broad range of musical styles and genres, enabling producers and editors to find what they need in the same library. For Licencing or Synchronization prices can range from a few dollars for an internet usage, to thousands for a network commercial usage.
If you are a Creator of Music pay close attention here. Lets start off with something important. If you are under contract with a music publisher or record label, you should first seek their advise on how to proceed with licensing your music.
If you are not obligated to a contractual agreement, then you could be missing out on the potential exploitation of your Musical Work. Here's how... Non-exclusive music libraries.
Non-exclusive production libraries allow a composer/author or owner of copyright, to sign a non-exclusive agreement allowing the artist to license the same piece to their libraries and clients with the same non-exclusive agreement. In other words, your intellectual property (Your Composition) can be licensed to multiple clients simultaneously, provided that they are not contractually bound by an exclusive agreement with another company. The non-exclusive library doesn't own rights outside of the licenses that are made by that library. Typically the library does not pay for the piece, and the artist doesn't get any payment until the piece is licensed at which point the library and the artist split the license fee, in some cases equally but there are companies that will license music for a lesser portion of the share. Some Libraries might require the artist to rename the piece in effect to create a unique artistic work for the library to register with their PRO (Performance Rights Organisation). Should the composer want to enter the piece into an exclusive agreement with a library or client, they would first need to remove that piece from all non-exclusive agreements. An advantage to using a non-exclusive library is the possible broad exposure through multiple outlets, and the ability of the artist/creator to retain control. Conversely, if an artist sells his/her piece to an exclusive library, he/she is paid upfront for the piece. In this case the artist typically sells the publishing rights, hence losing control of the piece and future licensing fees.
Get It Here
Music & the local market
How do i turn my likes into fans? One of the most challenging factors for Musicians & Artists today in the local market is getting fans that spend money and come out to shows. We know that not every Social Media Like or the 20,000 plays generated did not equate to money in the bank from fans, and lets be honest we want to make money or else why would we be spending so much. But every so often though we will come across a raving fan or 'True Fans'. Who Exactly is a True Fan? A True Fan can be defined as someone who loves everything you do. Buys just about everything you sell just because you sell it. Tells everyone about you, even when some of the things aren't that special. A True Fan will drive for miles in the rain to hear you sing, they will buy the re-mastered version of the live album they already own. They will have you sign the copies, buy the merchandise and can't wait for you to release your next work. They are True Fans.
How Do We Attract True Fans?
By Being Remarkable.
How do i become remarkable?
The possibilities are endless. Whatever it is you are doing now, 'Up Your Game' and make it Remarkable.
Imagine you had 100 True Fans in 2017, if you had 5 shows that year at $10.00 your True Fans would generate the minimum of $5,000.00 from shows. Incorporate the merchandise, Hats $15.00, Shirts $20.00, that's a total of $35.00 x 100 True Fans equals $3,500.00, Now You released 2 Albums to CD and 3 Live Albums of Shows, These are sold at $10.00 each. 100 of your True Fans will spend $50.00 in 2017 on Album Sales that's $5,000.00 a total of $13,500 but remember; These are your True Fans and they are not alone.
The First - or Last
The Cheapest - or Priciest
The Easiest - or Hardest
The Simplest - or Most Complex
The highest - or Lowest - or Most Valuable
who needs production music?
Anyone needing recorded music to enhance their product through media, is looking for production music. Music is a major key in keeping the attention of a customer therefore it has value. Radio commercials, Television Commercials, Websites, Background Music, Film, Television and the list goes on.
Here are some music licensing definitions that you want to know...
the right, granted by the copyright holder or his/her agent, for the broadcast, recreation, or performance of a copyrighted work. Types of licensing contracts can include: 1) a flat fee for a defined period of usage, or 2) royalty payments determined by the number of copies of the work sold or the total revenues acquired as a result of its distribution. In addition to a basic fee, most music licensing agreements require additional payments to the copyright owner when the work in which it is included (movie, play) is financially successful above a certain threshold.
the owner of the licensed work
the person or entity to whom the work is licensed
the public performance of a musical piece, whether live or recorded, performed by the original artist or someone else, whether the performance keeps to the original version or is adapted or changed in some manner. Playing a music CD (or tape, etc.) in public is "performing" the work.
playing live or recorded works, including radio, TV, webcasting, podcasting, etc., to multiple listeners in a setting such as a bar or bookstore. (Using that definition and the previous one leads to phrases like 'live broadcast performance'.)
Performance Rights Organisation
large companies that hold performance rights for copyrighted musical works. The best-known are American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music Incorporated
(BMI), Society of European Stage Authors and Composers (SESAC),
and La Asociación de Compositores y Editores de Música Latinoamericana (The Association of Composers and Publishers of Latin American Music, ACEMLA), in the UK, the PRS for Music, and
Phonographic Performance Limited for licensing recordings and music videos. The companies license public performance on a nonexclusive basis of the music they own or hold under contract using a complex weighting formula to distribute the fees to the respective rights holders. The license may be a blanket license, but individual licenses may be negotiated. Rights organizations sample radio and television broadcasts, offer blanket licenses to broadcasters, and investigate complaints to detect and prevent unauthorized performances. In the US, ASCAP and BMI hire field agents to monitor public performances. The field agents may act as agents for the organization, negotiating a fee for a blanket license, but individuals may negotiate directly with the organization. The fee may be presented on a take-it-or-leave-it basis, but in case of disagreement, the fee may be appealed to the Federal District Court in the Southern District of New York.
Pre cleared Music
music that is covered under a prior agreement allowing distribution and legal use under specific circumstances. The license may be for use in film, video, television (commercials and programs), Internet, events in live venues, video games and multimedia productions.
literally, 'the right to copy.' The owner of a copyright has five exclusive rights: reproduction (copying), preparing derivative works (adaptation), distributing copies to the public, performing the work publicly, and displaying the work in public. Prior to 1886, no effective international law of copyright existed. The first major international copyright law conventions were the Berne Convention for the Protection of Literary and Artistic Works.
for the purposes of copyright, a publisher is the owner of the copyrighted work. It is now standard practice for songwriters of even the slightest prominence to form a publishing company as a separate legal entity to hold the rights to their work. Continued use of the, now somewhat anachronistic, term "publisher" reflects the state of media at the time of the Berne Convention, when all music distribution was done on paper as sheet music or played piano rolls.
Auditioning isn't much fun, whether you are the one under fire or the one making decisions. If you are the one looking for people to form a band, think about what it is you want them to do.
An example, if you want someone who can read music, then you are going to want to have some charts ready to test their reading skills. Can they ready fluently, slowly or not at all? This can be just one of the ways you choose the most suitable addition for your band.
Are musical styles important?
Be sure to go through the entire range of musical styles you expect the person to be able to play. Group jam sessions won't cut it, everyone plays every blues lick they know, as fast and as loud as they possibly can. Get to know the musician you are auditioning. Do they play other styles like reggae, or R&B, do they play multiple instruments, or any instrument that may add some spice to your sound? Many Musicians have been through some sort of music program, whether it be a high school band where they learned String or Brass instruments, this may be the sound that makes a particular song sit just right with you.
If you are auditioning for a band
Look from the bands perspective, Be honest about your strengths and weaknesses. Don't pretend to be a jazz player if you don't know what a C6 Chord is. Get to know the band you are auditioning for, try and figure out what it is that you can add to the band that would convince them to hire you. Have you written any songs? Can you write arrangements? Do you own recording equipment? Do you have band equipment? Could the band rehearse in your garage? Most importantly, is this a band you want to be in? Just because you are offered a job does not mean you have to take it. Don't waste your time or others doing something that you do not want to do.
Your Music, Your Career!
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