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> Good Books About Music Bussines?, ...
Vasilije Vukmiro...
post Sep 4 2010, 09:36 PM
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Can anyone recommend me good book about creating, publishing selling music?
Like, how to succeed as composer, how to promote music online, publishing, marketing and all that....

I am ordering some books on Amazon, and I want to read something about "that" side of the music smile.gif


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Saoirse O'Shea
post Sep 4 2010, 10:21 PM
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Don't think I've come across any specific books Vasilije apart from the odd biography - sorry. I'll see if I can find some for you though.

Most of the promo marketing info etc I tend to get comes from other music industry professional whom I know personally (and a lot of that is just gossip) and trade sources like Music Industry Weekly.


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OzRob
post Sep 5 2010, 12:11 AM
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Vasilije, I don't know any books offhand but this site has a large range of articles (not all useful) laid out logically and can point you in the right direction. I think music is still very much a relationships business.

http://www.starpolish.com/advice/


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Vasilije Vukmiro...
post Sep 5 2010, 01:09 PM
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Thanks OzRob, site looks good.

@OzRob @tonymiro
Have you heard about wwwtaxi.com?
Their offer sounds promising, I think that within one year it's possible to publish a composition...


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OzRob
post Sep 5 2010, 01:25 PM
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Vasilije, I'll PM you.


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Saoirse O'Shea
post Sep 5 2010, 01:28 PM
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I've come across them once before indirectly (know someone who used them) and there are other similar companies on the Net. AFAIK the success rate of these sorts of A&R Brokers isn't great and of all the musicians I've worked with who have recording deals not one used a service like this. Also of all the record label A&R that I know none view a service like this as in any way better or more likely for them to listen to your stuff as opposed to another unsigned musician.

TBH from what I'm told what gets you noticed with A&R is:

1/ A large following and media 'buzz' about you. You can either try for this the traditional way by gigging, releasing your own stuff as an indie and building up a fan base or via Internet social networking again to build a fan base.

2/ Media celebrity - all publicity is good news and if you get A&R to recognise your name because you've had some publicity it will help.

3/ Different demo - 99.9999% of demos to A&R look and feel the same. If you want to get noticed yours needs to stand out. Do something different. I know someone who sent a rubber foot attached to their cd with the message 'Now that I've got a foot in the door please listen to my music.' It worked.

4/ Excellent demo - big label A&R often spend only 10 or so seconds listening to a demo before deciding to either bin it or listen some more. If your demo isn't excellent in terms of music, playing, recording and mastering then there is a very strong chance that it will get binned.

An A&R broker like taxi here isn't likely to do anything special to get A&R's attention - they probably just mass mailshot to everyone in the Industry contacts guide. People who might have got a deal and who used a Broker almost certainly also did 1 and/or 2 and/or 3 and/or 4 above themselves and probably would have got a deal without the Broker anyway.

Just my opinion though.


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Vasilije Vukmiro...
post Sep 6 2010, 12:38 PM
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Well yeah, it would be wrong to expect miracles.
The way they do the business is, listen the tracks for particular industry listing and choose 4-5 most appropriate.
Then they play those songs to guy who ordered listing, and he choose what he likes the most.
But of course it's not good to idealize them, from what I read on forums, it takes months maybe even year to get published, maybe even forwarded.


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Saoirse O'Shea
post Sep 9 2010, 11:56 AM
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I've asked around a bit now and a few books that have been suggested are:

"The Craft and Business of Songwriting" by John Braheny and "All You Need to Know About the Music Business", by Donald Passman.

I also had a chat with someone I know who's pretty high up in A&R at Warner Bros. He repeated the 4 things that I said above but he also added that it helps to have professional representation that is specific to you. Specific here rules out Taxi and similar and really means either a good manager, producer, music industry lawyer, or publisher that works directly for you and on your behalf and who has good personal contacts in the industry and a track record. To use the old cliche it's who you know that often gets A&R to even listen to your stuff in the first place. As he put it, A&R recieve something like a 1000+ (thousand) cds etc from unsigned hopefuls every week. If you have personal representation from someone they know and trust who advocates that they listen to your stuff then they are much more likely to.

They (A&R) also receive 100s of twitter texts, pushes from Facebook/Youtube and other social networking sites everyday telling them to 'check me out I've got X no. of fans'. Too often they don't have the time and those sorts of contacts are viewed in the industry as unprofessional and rude. You need a buzz but that doesn't mean you have to ram the message down A&R's throat; if you really have a buzz then they'll find out and come to you.


--------------------
Get your music professionally mastered by anl AES registered Mastering Engineer. Contact me for Audio Mastering Services and Advice and visit our website www.miromastering.com

Be friends on facebook with us here.

We use professional, mastering grade hardware in our mastering studo. Our hardware includes:
Cranesong Avocet II Monitor Controller, Dangerous Music Liasion Insert Hardware Router, ATC SCM Pro Monitors, Lavry Black DA11, Prism Orpheus ADC/DAC, Gyratec Gyraf XIV Parallel Passive Mastering EQ, Great River MAQ 2NV Mastering EQ, Kush Clariphonic Parallel EQ Shelf, Maselec MLA-2 Mastering Compressor, API 2500 Mastering Compressor, Eventide Eclipse Reverb/Echo.
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Vasilije Vukmiro...
post Sep 10 2010, 09:30 PM
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Thanks Tony!

You reminded me about excellent book, "Man and boy" by Tony Parsons. He described life of a 35-old guy who is jobless, but get passive income from his father royalties. Like, his father wrote one great Christmas song, and out of that song, for years he generated very good income. It sounds silly, but I think that is true.

I mean, Paul McCartney earned a billion out of songs he wrote in 60s. He could have retired 40 years ago, he would still a billionaire. smile.gif


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