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So you want to create rap beats for free. So do a lot of other people. We all want stuff for free. Unfortunately their is no such things as a free lunch. Somebody somewhere is paying for it. In the case of music, rarely is someone else going to pay for your lunch. The best thing you can do is learn how to do it yourself.

I have found 2 really good ways get high quality rap beats for cheap or free, but first I want to let all the rappers and new producers out the in on a little secret. If the beat that you are going to bootleg or download is not TOP TOP sound quality, DO NOT waste your time. To get anywhere in the music business your stuff has to sound better than everyone else. Not just the people in your neighborhood. The whole U.S. Do not sabotage yourself right from the start. If you have to spend even a couple dollars to get a half decent beat to mix tape over, do it. Continue Reading »

Tags: Music Business/Become Own Producer/

Don’t laugh. Many businesses began from nothing more an idea, and those melodies you have rolling around in your head just might be as good as any other ideas. When you write down or record your new song, you are essentially starting to own your own music business. Your idea has become a piece of intellectual property, as real and potentially as valuable as any physical property you own. Most businesses have at their heart some piece of intellectual property.

This used to be a known fact in the popular consciousness — check out a few Perry Mason reruns and you’ll see that “trade secrets” and “patents” were important enough to be motives for murder. With the coarsening of the public perception — all crimes and all plots on daily television seem to revolve around merely passion or pathology — we have lost the sense of the power of ideas. Continue Reading »

Tags: Music Business/Business Plan/Investor/Opportunities

For those interested in the music business, few things are as exciting or as challenging as opening their own music business. There are many facets to the music business, from acting as agent to the hot new music group to running a successful outlet selling new and used musical instruments.

==The Music Industry==

The music industry offers some unique challenges and some great opportunities, and the savvy businessperson can take advantage of those challenges and opportunities to create a thriving business even in the most difficult of climates.

Before opening the doors of your great music store, or taking the new band to the top, however, it will be necessary to create a solid business plan in order to attract financing, partners and investors.

No businessperson will invest in a new music business without a thorough understanding of that business’s prospects for success. A business plan is a way to communicate the goals of the business and to quantify its financial needs and prospects.

== What Should You Include In Your Business plan ==

Many new business owners are unsure how to write a business plan, or what that business plan should include. Every business plan will be different, and the business plan for a new music business may look quite different from that of a new accounting business.

That having been said, however, there are certain elements that all business plans have in common, and certain things that they all must include.

Some of the required elements of every business plan include:

What the business does. Any potential investors will of course want to have a thorough understanding of the purpose of the business, and, most importantly, how it plans to make a profit.

The mission statement of the business, a mission statement is most commonly a simple one page document which details the purpose of the business and the business philosophy of its owners and management. Continue Reading »

Tags: Writing a Music/Business Plan/ for Your Business Growth

There are many types of contracts used in the music industry. Some are very detailed and specific to any number of services that may be provided. It is a good idea to have an understanding of the basic types of music contracts that you are most likely to see if you are (or intend to become) a music professional.

However, it is first important to understand the basic forms of rights and compensation. Songwriters, publishers, and performing artists are compensated in a variety of ways. In the United States, there are specific rights in direct accordance with Copyright Law as well as rights associated with specific usages. Contracts are used to firmly establish rights and compensation in all cases.

First, Copyright Law provides for songwriter compensation and publishing compensation. The Law guarantees the payment of those folks holding the rights for a specific work. While these amounts have a set rate, they are generally split 50/50 between songwriting and publishing rights. Of course, songwriters, publishers, and record companies will negotiate for portions of these guaranteed payments and the provisions are generally outlined in a contract. This portion of the compensation is usually monitored and distributed for registered works through the professional rights organizations such as ASCAP.

These days, there are many more options available for an artist. The more traditional option is to sign with a record label that will take care of the distribution and marketing. For someone signing with a record label, there is additional compensation for performing a song. This is usually paid to the performer by the record company in accordance with a separate contract. This contract may or may not additionally address the above rights which are guaranteed by law. For example, payment from the record company may also be direct to an artist which does not necessarily involve the rights described herein.

Advances are a form of payment that a record company may offer to an artist, but it usually operates like a loan from the bank. That is, until sales reach a specified point, a specified portion of income received by the record company and expenses accrued on behalf of the artist are maintained in the artist’s account. In this case, the advance is already in the account as a form of “debt” to the record company. It is possible for an artist to actually “owe” money to the record company long after release if sales are weak and the terms are not favorable. Cross collateralization is a term that refers to using the funds from an additional, separate work to “pay off” the “debt” from a previous work.

By contrast, the independent artist will hire services or provide their own distribution and marketing. In this case, the profit from the sale of material becomes much less complex in nature but the ability to reach the public becomes very difficult as the traditional infrastructure for gaining exposure remains very much in play. That is, relationships that exist between record companies and the mass media outlets are very strong. Nonetheless, there are increasing numbers of independents who are finding markets for their music and the profit margins are much more favorable when an audience is found. The proceeds from the sale of digital downloads and tangible media are then collected and apportioned by the artist or someone managing the money for the artist.

There are also Mechanical Rights that are collected and paid for each public play or in most cases, compensated with blanket fees. These rights are monitored and collected in a similar fashion as the above described songwriting and publishing rights. The Harry Fox Agency is one of many companies that monitor the usage of songs as a service to an artist. Some publishers also perform this service on behalf of the artists they represent as it is also in their interest to make sure the publishing component of the fees are paid. Continue Reading »

Tags: Basic Types Of Music/Business Contracts

>German pop music Record Producer Ralph Ruppert (aka Ralph P Ruppert) relocated from Frankfurt, Germany to London in August 1985 after signing an exclusive Producers contract with CBS Records (now Sony Records) to produce the Berlin/Liverpool duo Picnic At The Whitehouse, a studio project formed by Berlin based keyboardist ‘Ilfo’ Debusmann. The very original recording of their first single “We Need Protection” featured the then still unknown Terence Trent D’arby on lead vocals which were replaced later by vocals performed by Liverpool vocalist Eddie Hind.

“We Need Protection” was a Top Ten Single in many mainland Europe countries. The original version featuring Terence Trent D’arby was never commercially released and is now a sought after jewel in the world of record collectors.

Ruppert has produced and engineered commercially successful songs and albums for numerous German, British and international artists. He received Gold and Platinum records awards for his sound engineering work with scottish pop band Wet Wet Wet and american born singer/songwriter Terence Trent D’arby. Continue Reading »

Tags: Ralph Ruppert/Record Producer/Celebrity Business

People have been asking me lately why have I been selling eBooks on my website and also why have I partnered up with iTunes and are now linked to the iTunes store. Some have even said I have sold out and I am no longer independent. This article is to address these points. Firstly, the idea of selling out is not the same as expanding my business. When it comes to being an artist it seems that the majority of acts/ bands are still being fooled by an old model of what music and in particular what selling music is all about. As the mercury award goes into another year we find story after story about record sales falling.

A case in point is Estelle and her hit single American boy, despite the track being a hit on both sides of the Atlantic the album has not been selling so, as all record companies do these days, they panicked and have pulled the single from the US iTunes in the hope that people will turn their attention to the album if they are unable to download the single. Kid Rocks Album was not sold on iTunes and he sold a very respectable 1.7 million. So, I guess the companies are thinking ‘let’s follow the same path and make it impossible to get the music on the worlds biggest download site’. The fact that there is a policy iTunes have where you can not just sell full album which in a sense encourages people to just purchase the individual songs they like. As an artist I look at the album as one piece of work and would love it to be bought as a whole, however the musical landscape has changed and I believe if you don’t make what your fans want available to them then you are cutting your own throat.

In my opinion it’s about time the music industry died, or should I say old music industry because that is exactly what it is, the old music industry. In fact is it dead now? It seems that the lid is closing on the coffin of the industry. Its last dying breaths are being sustained by sales of easy listening, middle of the road music to house wives through supermarkets like the Asda and Tesco chains and in so doing making it easy to pick your copy of James blunt or James Morrison as they buy their weekly food shop and the latest trend of new artist that sound just like dead idols.

This is why for me it is essential to change with the times and try new ways of getting the music out there and if the means making partner ship with companies like iTunes, then why not? Unlike record companies the new digital arena is not going to sign you into a contract that robs you of your rights as an artist. Continue Reading »

Tags: Record Companies/What the Point?/Advice/Marketing

As with everything else, everybody has an opinion as to who is the greatest guitar solo player and what was their greatest solo. All this is a matter of opinion of course but we can still learn from the opinions of musicians on what makes guitar solos great. Today I thought that I would run through some of the so-called great guitar solos and see what we can learn from such a list. I have decided not to number this list. I just want to bring these classics to your attention.

Stairway To Heaven was recorded in 1971 and never released as a single in the USA but is still among the most requested songs ever. Composed by Jimmy Page and Robert Plant, the final version of the song was a result of many hours of work in the studio by Jimmy Page.

Sultans Of Swing by Dire Straits introduced to the world the sparse arrangements and lyrical genius of Mark Knopfler. The version of the song that appeared on the album was voted number 22 on Guitar World magazine’s greatest guitar solos.

Another song that was transformed in the studio was All Along The Watchtower. The guitar solo fits the song as though it was made for it but Jimi Hendrix took the original song by Bob Dylan and added layers of electric guitar music until the original could no longer hold up its head. In fact, Bob Dylan now uses Jimi Hendrix’ interpretation.

Sunshine Of Your Love is famous for its distinctive riff and Eric Clapton’s use of the Rogers and Hart song Blue Moon to start off his guitar solo. The solo is classic Clapton in its tone and phrasing. Continue Reading »

Tags: Play The Guitar/Ten Greatest Guitar/How To Learn Guitar

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The reason most businesses fail isn’t because business is risky. It’s because many business people do risky and stupid things. Business isn’t that risky folks. Let me say that again. Business isn’t that risky. Of course, that phrase should always go along with fine print that says, “…if you plan well.” And that’s a big if that most people who go into business ignore at their peril. And a record label is a business. Now, many people I’ve met who are involved with a record label in some way haven’t fully realized that a record label is a business and they wonder why they aren’t making it.

Doesn’t it seem like everyone today has their own record label? Record labels today litter the landscape like cat turds in a kitty box. If I got a nickel for every guy who told me he was part of or thinking of becoming part of a record label, I’d be pretty damn rich by now. Thing is, in my experience, usually a record label just consists of a few guys with a loud, crappy MySpace and some recording gear who yearn to be taken seriously, but who are usually doing little more than just screwing around.

And they don’t know it. They think they’re not screwing around. In fact, in their minds, they’re 100% convinced that they should be taken seriously. But in reality, they’re just screwing around. I know that sounds harsh. But the uncomfortable truth is that many people who think they’re running a real record label need to open their eyes and see how badly they’re shooting themselves in the foot through the downright silly and sometimes stupid decisions they make.

A record label is no different from any other business in that regard. When it comes to sound decision making there is one crucial area that usually spells death for most music ventures. It’s the main reason why most record labels either never get off the ground or run out of steam. It’s called leadership.

The way most record labels start out is that a few people will get together because one person sings well, the other produces and the other is good with numbers or knows management or something like that. They realize that if they put their talents together they can create a business that produces and sells music. In the beginning everyone is super excited about all the possibilities and they all think they’re the hottest new thing out and they’re going to take over the world. I actually saw that on one band’s MySpace. They said they’re “Taking over the world,” like the Dark Overlord or something. But then the rubber meets the road. They actually have to take action and do the numerous daily chores that the business requires to succeed. The real world hits them like a fist. Continue Reading »

Is your website set up to help you pitch your songs or even sell your songs? Sure you probably have the songs listed with the CD cover photo. And, you might even have those songs set up for streaming audio so anyone can get a sample or even the whole song. So how’s that working for you? Is it selling those songs? Many of my songwriting clients have a wealth of songs ready for other artists to record or publishers and producers to use in a project; but the songs are just not set up so they can access them quickly.

I’d like to share 4 steps to help you pitch your songs more effectively and get your songs licensed more efficiently.

Step 1. Gather your songs from all those that are now recorded and available for purchase on CD or purchase by download, and organize them according to category. For instance: Love songs, ballads, songs of loss, uplifting songs, travel songs, work songs, songs for weddings or special occasions, patriotic songs, holiday songs, songs of triumph and victory, spiritual songs, etc.

Step 2. Now further organize those again into categories for tempo such as hard driving, upbeat, slow, medium, quiet and mellow. Add further information like, predominant instrumentation on each song such as soft strings, electric guitar, heavy drums, horns, piano, etc. I think you get the idea.

Step 3. Create a new page on your site with a new link button on the navigation bar. Give it a title compatible with your site and marketing style, but one that specifically invites and calls out to those who might be searching for songs. Some possible titles might be, Songs for Your Project, Songs by Category, Songs for Pitching, Your Project-My Song, Publisher’s Paradise, Producer’s Paradise or Record These Songs, etc.

Step 4. Design your web page with the various categories of songs, with links to streaming audio for immediate listening, (don’t make them wait for the download), a link to the lyrics for reading while listening and a link to your licensing policy, publishing and performing rights information and contact information to the appropriate person who would be making any deals on your behalf or directly to you. Continue Reading »

Music Business Contacts are a musician’s, life’s blood and effective, efficient follow-up can mean getting a record deal, getting reviewed or getting booked.

You’ve made your initial contact, sent your first email, letter, or complete packet. Now the next step is crucial and often the difference between throwing money or time out the door or getting what you want. Follow-up is not fun and often I hear artists say, they made the call or sent the packet so they’re done. What was sent is so often forgotten and three months later they wonder why they haven’t heard back from the person, the label, the media contact or the venue’s booking person.

Here are 4 tips to make your follow-up more streamline.

1. Keep your initial lists to bookers, media or other industry professionals, SHORT. Face it, there is no way you or anyone else can do adequate follow-up on a 400 piece mailing or emailing let alone a 4000 piece mailing or emailing and get the results you are looking for.

If you do your research first, then target 5 -10 prospective venue bookers, media or industry professional to send to, you are able to track that submission and set strategic follow up calls or emails for those few contacts. You’ll feel like you are accomplishing something rather than being overwhelmed by the enormity of the task of trying to follow-up on huge numbers.

2. Create a simple list or chart that you can keep in a visible place where you’ll see it everyday. Unless you have a pop-up program in your calendar that opens first thing and gives you your callback list, having this information buried in your computer, may be less helpful than having something printed out and visible, that hits you when you walk into your office or workspace. On it, indicate the contact name, emails, phone numbers, date sent, what you sent and the date and time you intend to re-contact them.

3. Now if your email client has auto responder capabilities, you might be able to set up an email sequence to send follow-up emails automatically over a period of week or two. But if you are not there yet technically, then schedule your follow up calls based on how you sent your material or information. Continue Reading »

Tags: Music Business Contacts