Need Loans But Have Bad Credit?

Visit http://gewdir.com for information on how to get loans with bad credit

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.

Time passes by and the enthusiasm begins to wear off. It wears off because people begin to realize that dreaming alone isn’t sufficient. To build a real business they realize you have to constantly do many small, boring, unglamorous tasks you may not like. And you have to do them day after week after month after year. And over time, all the tiny little things that the business requires add up and spin out of control, unless there is someone there to keep them all in order. The producer isn’t meeting deadlines, the artist is often late to recording session, etc.

You see, the problem with most record labels isn’t that people aren’t making enough decisions. The problem is that nobody’s really in charge to make sure that the right decisions are being made. Many people think that because record labels are about music, that business principles don’t apply as much. But a record label isn’t really about music. It’s about business. There needs to be somebody at the top who oversees everything with an iron fist if necessary.

Some labels will have two CEOs. They’re usually friends who decide that they can wriggle their way out of having to be their friend’s boss or subordinate by sharing power equally. But it doesn’t work that way. It’s a very stupid thing to share power like that because business isn’t about friendship. It’s about decisions and profit, and everybody’s not equal. There needs to be that one guy at the top who makes sure deadlines are being met, projects are being completed, relationships are being maintained and a million other things. Otherwise you just have a bunch of jackasses who think they’re running something. Call this head person the CEO, Director or whatever you want to, but the title’s not important. It’s the character and knowledge of that person that counts.

Lots of record labels do have people who call themselves CEOs, but so many times, they’re leaders in name only. You can’t just slap a title on somebody and expect them to lead. A person needs qualifications. There are four absolutely crucial things to look for when deciding who it is that’s going to lead a business.

The first is intelligence. Forget all this 7 theories of intelligence BS. Smart is smart. You know it when you see it. A leader must be able to carefully, clearly and objectively analyze situations, think into the future and strategize in order to take the label in the right direction. If you can’t plan several years into the future, you shouldn’t be a leader, plain and simple.

Second, a leader needs to be a good communicator. That means being the most articulate and good at dealing with people. Not just verbally, but through writing too. It doesn’t necessarily mean being outgoing. In fact, if somebody tells you this crap about being a “people person,” know that they’re probably not fit to lead anything other than their tongue. Being a good communicator is about knowing how to sell ideas and make other people feel at ease.

Third, they need to be curious about learning new things. The last person you want leading anything is some guy who hasn’t read a single book since 12th grade English class. Or who doesn’t even trawl the Internet every single day for information because he’s hungry for new ideas. Or a guy who never asks questions because he’s got too much pride. Otherwise, the company goes nowhere and the competition wins.

Fourth, a leader needs to be able to take responsibility for his actions. If he makes a mistake, he should be able to take the blame. If things go well, he should be able to praise everyone else before praising himself. A true leader leaves his ego at the door. Like a true captain, he should be willing to go down with his ship.

For more interesting advice on succeeding as an independent music artist, click here

http://www.madepublishing.com

The brand follows a relaxed fit clothing design, intended for the off hours in an urban environment. This proves to be an incredible step forward for the Hip Hop evolution into a global lifestyle that touches lives in some of the most remote locations. The Rocawear Clothing line provides the street savvy customer with incredible design, and detail that was previously unmatched by any clothing designer. This has facilitated the spread and popularity of the clothing line, front lined by its music mogul founders, Jay-Z, and his partners. Over the last 12 years Rocawear has become the standard of the urban apparel corner of the industry.

Some changes have come about since the 1995 inception of the hip hop clothing line. One of the most obvious changes is the expansion from the original customer target of the street savvy young man into children’s wear, women’s attire, shoes, loungewear, handbags, jewelry, outerwear, and more. The expansion of the urban clothing line continues to prove the trend setting standard of the urban apparel industry is still under their domination. A more surprising change came earlier in 2007, when the most well known face associated with Rocawear clothing and related musical endeavors, Jay-Z, sold the rights to the brand to a group called the Iconix Brand Group, for $204 Million. Jay-Z retains his share and stake in the company, as well as continues to manage the marketing, licensing and product development for the line. Thus much of the day to day has not changed since the sale. The sale came after the brand was hit with allegations about some of the items in their fur-lined clothing was raccoon fur. Having no previous knowledge of the type of fur used, they pulled the clothing from the department stores and addressed the issue with the clothing makers who put it together.

Even with some turbulence and change over the years, Rocawear continues to be a focal point of style, fashion and the urban lifestyle. As they have expanded the pulse of the Urban Lifestyle has expanded with them. This product of historically incredible marketing strategy, has staked a claim in nearly every developed country in the world, bringing men’s fashion to the forefront of peoples thoughts, style and brand recognition.

The current expansion of Rocawear Clothing can by found by visiting http://www.Rocaweargear.com It only further establishes the Rocawear clothing line as a powerhouse in the clothing industry and a force to reckon with in the Hip-Hop world

For many first time car enthusiasts, it was that deep bass and pounding rhythms which initially drew them in. Unfortunately, factory installed OEM speakers just don’t cut it. If you want real, quality sound, you will need to shop around for a subwoofer.

Adding an aftermarket subwoofer can produce some massive results. Just adding one or more to your car’s audio system can give you the single, most significant sonic improvement possible just by adding some real bass to your music. Here are a few points to consider before purchasing a new subwoofer system.

* The first thing you’ll need to do is decide where you want to install it in your car. Normally, they are put in your trunk, but a little modification, subwoofers can be put almost anywhere in your car.

* Now that you know where you are going to put it in your car and an idea of about how big of a size you are looking at, decide upon how much you are willing to spend. You will be spending at least $300 for one plus installation, so it’s best to set a price limit.

* Do you want to use one or two? The answer to this question depends on what type of music you listen to and how much room you have in your car for two. If you listen to music like rock or country, then you can get away with using only one subwoofer but you’re better off sound wise with installing two if rap, R&B, or techno fits your music taste.

* Pick a size you want. They are commonly found in sizes ranging from 8-inch, 10-inch, 12-inch and 15-inch with the larger ones producing the lower the frequency. Now that you know the size, make a decision on what kind of enclosures the subwoofers are going in. These will play a factor in deciding the size as well.

* Sensitivity of the subwoofer needs to be taken into consideration. The sensitivity is the rating of how much sound is generated for how much power is into the speaker. You typically would look for a high number since higher is better.

* You’ll need to know the max wattage RMS power it can handle. The more power, the more sound that is produced. It will also be more expensive price wise, since you are going to also need an amplifier to produce all that power.

* The material the cone is made of is a factor to consider. You have a choice of Kevlar, polypropylene, aluminum, or carbon fiber cone. Never ever buy one made from paper. Now that you have chosen the make of the cone, decide on the make of the surround. Rubber surrounds are the best and one made from foam work adequately. By choosing the perfect match of materials for the cone and surround, you not only improve sound but also longevity of the subwoofer.

* Of all the steps, this one is the easiest and probably the most enjoyable. Sit back and enjoy the sounds of your newly installed great sounds.

Electra Warehouse does not only offer mobile electronics, it also carries brand named pro DJ equipment and home audio equipment. Electra Warehouse strives to give each customer a great one stop shop for the best bargain mobile, home and pro dj electronics. Visit them at www.electrawarehouse.com.

So how do you become a Mobile D.J?, easy!, just call yourself one!. There are no diploma’s or qualifications and no graduation ceremony. However the time may come where you are called upon to demonstrate your D.J’ing skills and often this will be in front of 100′s of people at your first gig. Entertaining such a a large number of people can be a very daunting and nerve racking task.

Not just music and flashing lights

Mobile D.J’ing is different to club or radio D.J’ing. Just spending a fortune on the very latest equipment and latest chart music won’t make you a successful D.J or get you re-booked. Being a Mobile D.J is also about being an entertainer, rather then just being a Jukebox surrounded by lots of pretty lights!. You will also have to play a lot of music genres which you may not otherwise choose to listen to by choice.

A successful D.J is one who plays to his or her Audience, who can break the ice at difficult functions and who isn’t out to satisfy their own ego’s. Most D.J’s learn to “read” the audience, and are frequently watching the dancefloor to gauge what music will work next. At Mobile Functions such as Weddings, your audience may take some time to get onto the dancefloor and this is where Microphone work is important in order to break the ice, make your audience feel welcome and encourage them onto the dancefloor.

Where and how can I learn D.J skills and get advice?

Some people simply may not be cut out to D.J. Others may pick up the skills in a few months, others may take a year or longer. There is no hard or fast rule to learning the basics. The best, and often the most successful route to becoming a D.J is by helping another D.J at weekends.

Consider volunteering your services to another D.J locally. Helping out as a “Roadie” may not be financially rewarding but you are essentially learning new skills for free, which would cost you £100′s on a course. Most D.J’s will often cover your expenses and refreshments, some may even pay you, in return for your help, but don’t expect to live off it, after all they are doing you a favour by teaching you a trade, and sharing their knowledge.

Learning to D.J by becoming a Roadie is the fastest way to learn the business and by actually watching another Professional D.J at work can teach you more than in a classroom or College environment. Most D.J’s themselves got into the business this way, so don’t be afraid to ask.

What music will I need?

This is entirely dependant on the type of functions which you are attending. Most Mobile DJ’s will set themselves up to cover all types of functions from Childrens’ Parties to 75th Wedding Anniversaries, and this means playing music to all age groups. Ideally you will need to invest in virtually all types of Genres. Rock & Roll, 1960′s, 1970′s, Disco, Funk, Soul, Motown, 1980′s, 1990′s as well as the latest chart and club dance music.

If you are setting yourself up as a specialist DJ, offering services for one age group or type of function, then this will be a lot easier to fund and build a music collection. However you may wish to gauge the demand for that type of music and DJ in your area.

What Equipment do I need to buy?

Again it’s not the equipment which entertains, it’s the D.J. By having the latest equipment it won’t make you any better as a D.J. It is possible to start up on a budget of £1000, which will get you a sound system and a few lighting effects. If your budget won’t stretch to this, then you may need to consider buying 2nd hand or hiring the equipment. More information on choosing equipment is covered on another article.

Any good reason to start off by helping another D.J, is that you gain the experience and also find out if D.J’ing suits you BEFORE spending a lot of money and committment on buying equipment.

Buying a comprehensive music library is far more important than how much lighting you have, and should be your first consideration. You can build up your lighting, and upgrade your sound system (if required) once the work starts coming in to justify it.

What else do I need?

Committment, dedication and enthusiasm is a must. As is patience and a good sense of humour. By definition, most Mobile D.J’s work the weekends, so if you get a good reputation and a full diary, you may have to cut down on your own personal social activities, and this can also put a strain on relationships, so make sure your partner / spouse is also agreeable!.

From a professional prospective, you should also obtain some level of PLI (Public Liability Insurance), as a business within the UK it is a requirement to have some minimum level of insurance cover in order to protect you in the event of causing harm to a third party through accident or neglect. The amount of PLI cover required varies from £2 million to £10 million. You may find that £2 Million cover is adequate for your area, although some hotel chains may insist on a minimum of £5 million to work at their venues.

You may be asked to produce evidence of your PLI cover before being allowed to set up in some Hotels, and Council run establishments, so it is wise to get cover sooner, rather than later.

How about a D.J Course or Workshop?

These are few and far between especially in the UK, and usually aimed at teaching you beatmixing or turntable skills, which are of little use to the Novice Mobile D.J. If you are aiming for club work, then you may find a course to be of interest, however these courses have limited use on the Mobile Circuit.

D.J courses can cost between £100 and £1000s ($100 – $3000). Like any industry there are risks, so it is important to find out exactly what the course involves and whether the information is of any value to you before parting with your money!. Some courses may of little use, others may teach you the basics find out exactly what each one offers and weigh up the benefits to you.

If you are still in education and want to find a list of official College / University courses on further education opportunities in media, radio, stage and technical then ask at your High School for further information.

For more information on becoming a DJ, then why not join our DJ forum at http://www.dj-forum.co.uk

1. How much can you afford?

With such a wealth of keyboards available, a working person shouldn’t have a problem finding one that fits their budget. Low priced keyboards are all over. But this doesn’t mean that you should settle for anything. As the old adage goes, you usually get what you pay for. Usually the more money you invest, the greater the returns.

2. Do you need weighted action or synth action?

Weighted action means that the keyboard comes with heavy (weighted) keys and feels like an acoustic piano. You need some muscle to play such keyboards. If you’re a trained pianist or you want to develop your piano skills a weighted keyboard would be better suited.

Synth action would mean lighter keys. You can usually play faster and easier with a synth action keyboard. Are you gonna be playing synthy and techno stuff? Then synth action is what you need.

3. How many keys do you need?

You have a choice between 88, 76, 61, 49, 37, 25 keys, and even less. Your choice should be based on your needs and circumstances. For instance, players doing stuff that requires a small range, like samples, only need a few keys. 76 keys are usually best for quality synth action. But if you’re into stuff like sound development you can’t afford to work with anything short of 88 keys.

4. Do you need an onboard sequencer?

You need to avoid duplication. If you’re already sequencing on your computer you don’t want to pay for a keyboard that comes with a sequencer. You may never use it. An onboard sequencer is more important when you’re working without a computer.

5. Consider whether you need a workstation.

Workstations perform so many functions. These include everything from sequencing, to sampling, to effects, and mixing. Again you should avoid duplication. If you’re already doing all that on your computer, you probably don’t need to pay extra for a workstation. Don’t buy features that you already have. But a workstation is an incredible and necessary tool when a computer is not in the mix.

6. Importance of velocity and aftertouch features.

Ensure that your keyboard comes with velocity and aftertouch features. Velocity refers to how the sound responds to the amount of pressure applied to the keys (how quickly keys are pushed down). While aftertouch deals with the control data that is generated by pressing down the keys after they have reached and are resting on the keybed.

7. Will you be gigging or not?

If you’ll be carrying your keyboard from gig to gig, durability should be an important consideration. What material is used? A hard case should come in handy for protection. The weight of your keyboard is also part of the picture; unless you don’t mind the hassles of carrying a heavy keyboard or digital piano from one gig to another.

You should be able to find a keyboard easily online. You can order one that suits your needs today. Some of the best music keyboard and digital piano prices can be found on the Internet. You even get free shipping to your door.

Mantius Cazaubon offers a guide to help you choose a music keyboard that meets your needs on his site, http://www.yamaha-keyboard-guide.com. Visit Yamaha Keyboard Guide for Yamaha and other music keyboard reviews.

Why?

I think they forged through and made todays music what it is. Machines like the TB303, TR909, JD800 and the famous Moog- what an effect they have made on dance and techno music! The rise in popularity of techno, i.e, with the makers and in the audience, was down to the cool sounds and the general compatability (sound wise) between the machines were the key.

In some cases limited numbers were made and the increase in popularity only meant two things. 1) An increase in the same old songs, rehashed versions that sounded similar in everyway, and 2) The price went into overdrive. Machines like the TB303 were selling for silly money. This trend is still being seen today. You can buy one of these machines for between $600-$1000.

And why?

The old favourite answers are “because you can see the lights moving”, “Its just great twisting those dials”- and so on. This is where to me nostalgia stops, especially when you want to make techno. Sure they were great sounding machines, sure if you didn’t have their sounds in your music you were classed as old fashoined…but for $1000!

This isn’t ravings from a person who never had one at all. I have a Roland MC202. I love the little box of tricks. The little rubber keyboard is novel and the sliders are cool. However, once all the fiddling is out of the way. Once you have gone oooOOhhh…there isn’t really anything left. Thats the problem for me.

Once the coolness has worn off, you have to go through extra work to hook it up into your set-up. Do you sample the loops off the machine? Do you buy a synch box? Do you MIDIfy it (costing extra cash)? I don’t mean to be all doom and gloom, and if you do have one, keep it- they are cool to work with. But if you don’t…well, look at the other options.

There are two great alternatives out there in Internet land that can help us out.

1) Sample sites. Nowadays they house great sample loops, and single hit sounds from the various machines. Housed in sample packs, you will notice that the sounds sound similar to each other because the sampler has twisted the dial a little and then sampled the sound. Now you have loads of sounds altered slightly. These are pretty cool. The only problem is that you get the samplers idea of a good sample. Also you don’t get all the dials being twisted together- too restricted. However as a free source of nostalgic sounds they can’t be beat.

So we have identified one sound source (for free), however we have also noticed some problems- a lack of freedom, and because we are a creative bunch, we have to find another way.

2) VSTs. Wow, what a revolution to the music world. A fantastic resource that should help musicians who are looking to make music with little, or no cash. VSTs are either effects (like distortion) or they are some sort of music sounding device (like synths (called softsynths), drum machines etc). Some are stand alone programs, or some need a host program. The most well known softsynth has got to be Rebirth, the TB303 and TR909 emulator. It is really cool, emulating the machines really well, however, the best thing about this softsynth is that it is free. Now there are plenty of VSTs out there that are free, offering great synth sounds or great effects.

The possibility of sound creation using VSTs has now become infinite. The actual sound of the sounds has become endless, so now there should be unique sounding musics out there. Are there any disadvantages? Well not really. Some sound the same, and some of the pay for ones are expensive, they are cool, but too expensive.

So what you can do, is add VSTs together, add an effect plug-in over a synth VST. The cool thing is. Nostalgic sounds can be processed through these plug-ins to bring them more up-to-date, and to add a flavour of your desire.

So, going back to our original question do we need a $1000 techno machine. Well as every diplomat states, yes and no. If I had a TR909 I would keep it, sample it, and then add VST effects to give the sounds more spice, because they are good, no doubt, but music moves on and you have to follow. If I didn’t have a TR909 I wouldn’t be upset, I would search out the samples from the various sample sites, add again the VST effects and get the sound that I want…for free.

If you have a low budget (or no budget), there are now no obsicles to stop you recreating those sounds that make your music sound like it was made with a $1000+ set-up.

Dominic Hough has made music for over 18 years. On his site http://www.make-your-own-dance-and-techno-songs.com he shows what the best free VST plug-ins are, and how to use them with ease. The site also covers sampling, MP3s, loops and much more