Others think of anything that is receiving heavy rotation on radio as commercial music. Whatever their definition, one thing is often overlooked: commercial music is the heart of the music industry which pumps the blood that keeps it alive.

So why then are so many music artists resistant to making commercial music? The answer that I’m often given is because they don’t want to “sell-out” their creative integrity by conforming to some industry version of what’s popular (i.e. what’s selling at the moment). It becomes very obvious to me that the problem is not commercial music, but rather the perception and definition of it.

The misconception is that the music industry created this superficial definition of commercial music to strip away the artistry and true identity of artists for the purpose of making money; forcing artist to create songs that the “masses” will enjoy. That fallacy is often perpetuated by music artists who are usually incapable (not unwilling) of creating commercially viable songs.

The truth is the public, not the industry, dictates what is commercial, and for decades they have gravitated towards, embraced, and purchased songs that adhere to a commercial music format.

If commercial music is the rule for success and sales in the music industry, there are inevitably going to be some exceptions to it, but unfortunately, the tendency is for music artists to try and become the exception, instead of observing the rules and why they exist.

Simply put: the rules of commercial music success have not, and will not change. Not in your life time or your children’s lifetime. They exist because it’s human nature to reject the unfamiliar; in the music industry, similarity is the cornerstone of acceptance. This is why so many popular songs sound similar and contain familiar elements.

It’s a rule that is prevalent in every genre, and on every continent. There are those artists who do a masterful job of observing their own artistic values while delicately balancing the demands for commercial music by industry professionals. Artists such as Prince, Sting and Bjork, have pushed the envelope of creativity for years. But artists of their caliber who possess such sublime talent and vision are rare.

For the sake of clarification and argument, I will offer my explanation and industry definition of what commercial music is; based on 25 years of listening to recordings as a music lover, music industry professional, and music critic in what I will call, “The 6 Rules of Commercial Music Success.” They are songs that have the following:

1.) A STRONG HOOK/MEMORABLE CHORUS. If no one knows what your song is called, they can’t request it when they hear it on the radio. More importantly, they can’t buy it at retail…or track it down on the Internet to illegally download a copy of it.

2.) GOOD MELODY. Commercial music is characterized by good melodies (i.e. verses, choruses, and sometimes bridges that get stuck in your head and make you want to sing-along). What can the top selling hip-hop acts of the last 10 years (Tupac, Notorious B.I.G., Jay-Z, Eminem, and 50 Cent) attribute their success to? Good melodies (not cool beats) that increase the commercial value of their music.

3.) WELL-PRODUCED. Coming from an R&B background where producers are a pivotal part of commercial music success, I did not realizeuntil I became a consultant that many rock bands don’t utilize, nor value producers like R&B music acts. Perhaps they should since the record company often assigns top-notch producers to enhance the quality of songs (through their musical expertise) and enrich the records (through their experience and proficiency in the recording process), ultimately making them more enjoyable to listen to and, you guessed it…more commercial!

4.) APPEALING LYRICS. The lyrics don’t have to be profound; people just have to be able to emotionally connect with and mentally relate to them. If you have a way of saying common things in an uncommon way, your lyrics will have an edge over the songwriter whose song is about the same topic. Write about what’s closest to your heart for credibility and sincerity, and others will be able to relate to your songs – especially if it’s on a subject matter that they know or have experienced.

5.) KEEP IT SHORT. Keep the length of your songs down to a maximum of four minutes. Jazz and World Music are exceptions. A song that is well-written makes people want to hear it again, and again, and again. The longer the song is, the less likely that will happen. Don’t believe me? Check the length of your favorite songs.

6.) TALENT/WELL-PERFORMED. Most outstanding vocalists are often surprised by how low this rule is on the list. The fact is that there are more mediocre songs performed by outstanding vocalists, than there are mediocre vocalists performing outstanding songs. A good song that is well-performed gives it an edge, but if the song is lacking, all of the yelling and vocal acrobatics that singers tend to use to compensate for it will not make it a better song…though it may help the singer to attract better songwriters to work with. If you lack talent and it’s a really good song, someone more talented can (and will) sing the song and make it better.

Now that you know the 6 rules of commercial music success, hopefully you will be able to use this information to your advantage and create songs that will increase your chances of success in your professional music endeavors…or you can ignore them and continue to wonder why no one (other than your friends and family – all of which listen to commercial music) like your songs.

Gian is a recognized authority on commercial music and Independent A&R Specialist who is best known for his comprehensive and insightful music reviews on The Muse’s Muse.com. He has been an influential factor in obtaining record deals for artists signed to RCA, Bust It!, Gasoline Alley and Interscope Records. He currently does A&R for signed and independent music artists, and music producers including Grammy nominated music producer Cori Jacobs (Pussy Cat Dolls) and San Francisco Bay Area Producer, Chris Carter, (Jasmine Trias/Back Street Boys), in addition to being an Adjunct professor of Music Industry Studies at San Francisco State’s Music/Recording Industry Program.

While royalty free music is certainly a convenient and inexpensive option for those in search of bulk music for their restaurants, not all royalty free music is created equal. Music from major providers such as Award Winning Music is an affordable and premium music choice for all types of professionals. The following are five characteristics to look for in high quality royalty background music, production music, and music on-hold to help insure it will enhance a business’ or project’s mission and communicate its purpose and style without reducing its value:

1. Good – make that excellent — sound quality. The sound quality of the music you are listening to will be the first and most noticeable element. If the music has been recorded under optimal conditions, you will hear a perfect balance between bass and treble, as well as consistent sound and texture regardless of the volume at which you are listening to the music. Similarly, you will be able to pick out the individual sounds of different instruments as they blend to create the whole piece.

2. Instruments that sound true-to-life. Similar to excellent sound quality, the best royalty free music ideally uses real instruments and not those that are synthesized. And if they must be synthesized, they should sound just like their original instruments and not like hollow versions of themselves. Most people have at some point heard instrumental pieces in the grocery store, in an elevator or used as on-hold music for major companies that sound no more textured than a sub-par demo on a low-end keyboard. The best royalty free music will have depth to it, and will demonstrate the many capabilities of the violins, cellos, percussion, electric guitars or brass instruments it incorporates.

3. Original musical themes that still evoke familiar tunes. One of the many benefits of royalty free music is that is an inexpensive way for film producers and directors to use original-sounding production music in their films, television programs and video projects. But, not all providers of royalty free music enlist the best composers and musicians (or, if it is purely digital, any trained composers or musicians at all!) to create their repertoire. First-rate royalty free music will sound original, yet be reminiscent of favorite songs. Stylistically and technically, it will make sense and fit into the grand scheme of a project while still making it unique. It will have rhyme and reason to it, and will therefore sound as though someone composed it for the specific film or project and will resonate in the minds and hearts of each listener and create a true emotional response.

4. Well-composed music by musicians and artists with real credentials. Great royalty free music sites will provide credentials for the composers and performers they enlist, and their artistry will shine through in the finished product. A purveyor of beautifully and carefully crafted background music, on-hold music and production music will be able to give the history of the artists involved in the design and production of the music, and this history will include collaborations with major artists in the genre of the type of music being composed.

5. A diverse yet still versatile music library. The best royalty free music will offer diverse styles that run the gamut of musical tastes. Genres of music might involve classical, jazz, different types of rock and roll, New Age and some progressive styles such as Hip-Hop and techno/dance music. But even within the more traditional styles of music, such as classical, there will be selections that appeal to younger listeners with typically more “modern” musical tastes, just as within the more cutting-edge styles, there will be pieces that can be enjoyed by even those that would not normally listen to techno and Hip-Hop.

Looking for these basic characteristics when shopping for royalty free music will help discriminating professionals select the perfect production music, music on-hold or background music to suit their very specific projects.

Award Winning Music is an excellent source for royalty free music that far exceeds all standards. If you would like to take a look as what they have to offer, their website is at RoyaltyFreeMusic.com.

You want to get THERE but what is THERE?

Many people I talk to equate success and getting THERE to making music full-time, getting their songs into film and TV, going on the road and selling enough CDs and merchandise to support themselves financially. That is awesome. But unfortunately some indie artists have no clue as to what they really want. They are tired of their day job and want to make a change. They dream about the day they can quit and do music full-time. They dream but don’t act.

So how do you get there?
You must act!

Ahh, that is the hard part for many. How do you act? What does it take? I suggest spending time really thinking about your wants and needs. And don’t be vague! Don’t say I want to be a rock star so I can earn millions. Get out some paper and write down what THERE is to you. Aim high. But step back and look at the big picture. Be realistic. What do you need to do now to get onto the road to getting THERE?

Make an action plan then stick to it. If you want something badly enough you will do what it takes. You will do the work.

Oh yes, you heard me right. That nasty word that too many people can’t handle: work. That is the bottom line. You have to work it. You can’t sit back and coast. Well you can, but will that lead you to THERE? Doubtful.

I can think of several indie artists that work extremely hard. Here is what they all have in common:
*They persist.
*They network.
*They take advantage of every opportunity that comes their way. No excuses!
*They don’t complain. If things don’t go their way, they move on to the next one.

Do what it takes to get yourself THERE? Get committed! Make a plan. Take action. Do the work. Be a DO-ER! You will see results.

Copyright © 2007 Madalyn Sklar, IndieMusicCoach

Madalyn Sklar is a music business coach, consultant and author. She founded IndieMusicCoach and has spent over 11 years working with a wide range of independent musicians all over the world – U.S., Canada and Japan thus far. Her goal is to help indie artists achieve greater success in the music business by working smarter not harder. She is also the founder of GoGirlsMusic.com, the oldest and largest online community of indie women musicians, with a vision of bringing together and empowering musicians from around the world.

photo credit: Irish Philadelphia Photo Essays

At first, the music industry was hit hard by the first file-sharing programs that allowed fans to download music without actually paying for it. The rapid downloading speeds afforded by high-speed internet and satellite broadband have made this process even easier in recent years. Although CD sales fell and some artists initially feared they would no longer be able to support themselves by making music, legal safeguards have since been put into place to prevent illegal music sharing (although of course the practice is still widespread). Despite these initial setbacks, the industry has adapted and has arguably provided the general public with infinitely more opportunities to discover and enjoy music than were available previously.

For example, websites like Pandora allow users to discover new music every day. Listeners can create personalized internet radio stations that play only certain types of songs, according to the user’s specifications. Music fans can create a station based on a song or band that they like, and the station will play songs with similar musical qualities. The website is completely legal and all music artists are paid when a user listens to their music. The service may not work properly on computers with slow internet connections, however, and satellite internet or another type of strong connection is recommended.

Fans who do not want to purchase a song online also have the option of listening to their favorite tunes using services such as YouTube. Searching the name of a popular song on YouTube inevitably produces hundreds of results-from official music videos to the home videos of talented and not-so-talented fans who have posted their own renditions online for all to see.

Of course, now there are also many ways to purchase music online. The most popular program for downloading music is probably iTunes. The iTunes Store allows fans to search and download both individual songs and entire albums, and that is just the beginning. Television shows, movies, podcasts–if you have a fast satellite internet connection, you will have access to any of these literally within seconds. You can view the most popular downloads of the week as well, which might allow you to discover new music; you can preview each song for approximately 30 seconds.

Musicians have also taken advantage of social networking sites such as MySpace to reach a wider audience of potential fans. Most singers and bands have a page on the website; this allows users to listen to songs and find information about upcoming events such as concerts.

The internet has created countless new ways for individuals to find and enjoy music. Although illegal downloading initially worried many in the music industry and continues via a number of websites, on balance the internet appears to have been a positive thing for both musicians and fans. The introduction of high-speed internet and satellite broadband have been especially great for music fans–high downloading speeds mean instant access to their favorite new songs. Many people still listen to the radio on the way to work or buy their parents CDs for the holidays, but these traditional means of discovering music are being quickly replaced by the countless new music options afforded by the internet.

Hughes Net internet brings you the Internet so much faster than dial-up. Get internet service from Hughes Net today.

During the First Quarter of 2007 CD and DVD music sales were down 20%. Though music downloads contributed to some of the decline in sales most was caused by the consumer losing interest in a watered down industry. Most music fans insist that if they really like an artist or album they will buy it even if they can download it. But who wants to buy a CD for twenty bucks that has only one or two good songs? There was a time in music when an artist would release an album and from front to back it would be solid hit after potential hit. Think of the great Zeppelin records or the innovative sounds of Black Sabbath. These types of bands exist nowadays just not in the eyes of the mainstream public. Instead of good bands with musical integrity getting opportunities we are forced to live in an era of Reality TV and American Idol. These types of shows may be good for immediate PR and sales but long-term gains are virtually non-existent. Long-term success comes from giving the consumers what they truly want – value.

What a consumer wants a consumer gets as in the case of value. What’s more value than downloading music for free? It’s hard to understand the difference between copying music from friends before the internet era and downloading it for free nowadays. What’s all the fuss about? While the music business will take the ethical road and raise issues of copyrighting and stealing the true issue is control. Artists no longer need big labels to distribute and promote their music because they have myspace and social sites. Artists no longer need radio because they have Podcasts and Internet radio. Artists no longer need two hundred thousand dollars from labels to make records when they can buy their very own home studio for less then ten thousand. Perhaps that’s why big labels can only attract sub-par artists because good artists understand that they can do well on their own.

The on-going debate of music vs. the internet will probably carry forever as there will always be a point counter-point with copyright laws and human right issues. At the end of the day the music industry needs to stop pointing fingers. They control what they release, how they act and what they promote. The Music Business has become it’s own worst enemy and is eating itself alive.

http://www.aloudgirl.com

photo credit: Nicholas Gray

With all of the reality shows on television today, everyone wants to be the next big music star. You would think that singing was the only job in the music industry. It is the one job that is out in the forefront, but it is not the only job in the music industry.

With all the changes in technology, the music business has gone hi-tech. the sound is not just produced by listening to tunes on a keyboard. Music is mixed, recorded, and re-recorded to produce the best quality sound possible. Highly skilled people are needed to fill those positions.

Let’s start at the bottom and work our way up. One person who needs to be around all the time is the technician. This person’s job is to become familiar with all of the technical equipment used in a recording studio. When something breaks down, he or she is the one who everyone looks at to get the equipment back up and running in the least amount of time. This person may not be recognized as a major player in the industry, but he helps all the movers and shakers get their jobs done.

Someone has to write all those songs that the music stars sing and set them to music. These jobs belong to the songwriter and composer. Sometimes, this is one and the same person. Songwriters are a dime a dozen in this industry.

The one thing that will set them apart is their style of music and their dedication to the craft. A songwriter who has an ear for what’s interesting and can create the sound to go with it is a hot commodity. They know their way around a keyboard, synthesizer, and can maybe carry a tune.

Once a song is chosen for an artist, several other jobs come on board. Someone has to program the musical tracks so the singer can hear it as they perform the lyrics. A programmer works with the music arranger and sound mixing engineer to turn all of these sounds into one flawless recording. It’s amazing that all the singer has to do is sing a few times and the technical guys do the rest.

A studio is rated on the quality of the work they produce. For that, they need to hire the best people they can to do the job. We’ve always heard that you should find one thing that you are good at and stick with it. In the music industry, someone who can do more than one thing is an asset especially when it comes to the technical side of the business.

Now, there are some jobs that get as much attention as the musical performer. I’m speaking about the music producer. The producer is visible, but they have learned the skills that have earned them the position and the title.

A producer oversees all of the recording done in the studio. They listen to the tracks and the performers. A producer can change or adds sounds and they can also remove parts of the song that they feel are not needed. The producer is the one responsible for the final finished musical product. A music producer may have done all of the above jobs and worked their way up to being the one in charge of the entire production.

The music industry is still highly competitive, but it is easier to break into the business if you’ve got the right combination of talent, determination, and education. Each job in the music industry is important because it builds on every other job. The more you are willing to learn, the further you will go.

Singing is obviously not the only type of music job although it’s the most visible. There are many behind-the-scenes positions that require considerable talent and skill. Visit the Film and Music section of JobMonkey where you’ll learn about recording engineer jobs and other careers in music and entertainment. Lisa Jenkins is a freelance careers writer who tells her readers where the jobs are and how to get them.

Yes, fellow Dj’s the age old rumour that you can back up your original CD’s to MP3 format for use on a Hard Drive or Digital based player legally in the UK is FALSE! . Doing so is illegal and likely to risk prosecution despite it being perfectly legal and acceptable in many other European Countries, and America either under Fair Use conditions in local copyright acts or the Home Recording Act of 1992 (U.S.A). So in other words, UK based DJ’s are being singled out, penalised and getting the raw deal once again.

The Digital DJ Licence costs you £200 ($350) and this gives you the right to back up original CD’s to MP3 or other digital format for storage and playback on Hard Drive format (upto a maxium of 20,000 tracks) for use on a PC or Laptop, however like anything else there are conditions and several flaws.

Q) I have a Digital DJ Licence so surely I am now fully covered

False!. The first and perhaps most largest flaw in the Digital DJ Licence is the fact that the PPL licence is only half the story!. In order to remain fully legal you also need permission to convert the tracks from the MCPS as well. The Digital DJ licence only covers the PPL side of the law. As well as buying the Digital DJ Licence you will need to contact the MCPS and obtain a licence from them or risk prosecution. Since the MCPS (at the time of writing) do not have a blanket licence similar to the Digital DJ licence in place nor are they part of this Digital DJ licence, then this is likely to work out very expensive and time consuming once you contact the MCPS and also the individual record labels of all of the artists whose material you are converting in order to obtain permission. Assuming they DO give you permission!. If the MCPS or Record Label decline permission to convert any or all requested tracks and you have already bought the Digital Dj Licence then sadly, you have bought yourself a white elephant.

Q) What Additional rights and facilities does the Digital DJ Licence Offer?

Other than the right to convert your existing original CD collection to a more flexible means of archive and playback, absolutely nothing. You cannot use the digital back up at the same time as your original CD Material, so having two roadshows and using your CD material at one, and Laptop at the other would naturally still be illegal and is not granted under the terms of the Digital DJ Licence.

Personally I believe that making Dj’s pay twice and ongoing for converting material, is simply put, unfair discrimination and an attempt at cashing in on the rights of individuals to choose to use alternate technologies where they are available in their marketplace. Dj’s in other countries are not subject to the same laws and fees, so why should UK DJ’s be charged? – after all, we already pay more than our colleagues in other countries for the original CD’s in the first place, charging us a yearly fee on top of that is just taking the piss. What would happen if everybody was charged an annual fee to own and play their legally purchased CD’s in addition to the cost of the CD’s in the first place? – there would be a public outcry and rightly so.Why should this stealth tax on Digital Dj’s be treated with kid gloves?

Q) But we are DJ’s and using material commercially therefore we should pay

This is a tired point and one which is flawed. If you are going to use this point, then what you are suggesting is that all DJ’s should be paying a yearly fee to PPL to play music where a fee is paid to the DJ. There can be no half measures or discrimination here. Either all DJ’s who work for a booking fee (ie to make money) irrespective of whether it’s a public or private function should pay the same Digital Licence fee every year whether they use CD, MP3 or a PC as a means of medium. Is a Digital Dj any more commercially desirable than a conventional CD or Vinyl one, do they earn more money?, command higher fees? do they deny the artist royalties?

Let me ask you a question, if a DJ buys a CD from the mall, goes home and converts it to MP3 purely because it is a more flexible and prefered method of playback for him / her, then leaves the CD in a cupboard at home whilst they take their laptop / pc to a gig, how is this adversely affecting the artiste who created the music?, is the artiste any worse off financially because of these actions? do they deserve a higher fee to compensate?.

Also remember that any venue we work in has to have an entertainment licence by law, which is payable to PPL, meaning that for playing music at least the PPL already has had it’s pound of flesh!.

Q) How did this legislation get in and why wasn’t I consulted?

Like most new legislation, rumour has it that this one arrived via the back door too. There was appearently DJ’s and DJ Associations who were consulted as to their opinion on the matter and the licence was rumoured to have been constructed around their feedback and requirements. However exactly who was consulted and which DJ Associations remain a mystery because nobody has come forward.

Recent polls on the many DJ Forums, Entertainment Blogs and even the BBC show that the majority of DJ’s are not happy with the licence in its current form.

More information on the Digital DJ Licence and campaigns against this unfair legislation can be found at http://www.dj-forum.co.uk

1. Having no clear direction for yourself as an artist.

No matter what talents a person has, you must have some type of plan or goals for the use of that talent. The more talented and skilled you are, the evident it is that your talent has a purpose. Many artists never take the time out to set a plan for themselves as artists. Could be taking a class to improve your skills, or getting X amount of paid projects per month. The point is, set a plan and then work that plan.

2. Not having a web presence to show your work.

It’s a shame that many artists strike up conversations with people interested in their work, yet they can’t send this person anywhere on the web to view their portfolio. What’s worst is that many of those same artists use the net everyday. In this day and age, the person who can connect with prospective clients the fastest is the artist that has either a paid or free internet portfolio that promotes you as an artist.

3. Not clearly identifying your audience.

Many other business people make this mistake quite often. When you invest anything in order to advertise or market yourself as an artist, you must be sure that you know “who is MOST LIKELY to do business with you. What is the average age? What is their average income? What do they like about your work, etc? The answers to these and a few other questions allow you to target your marketing strategy to those most likely to respond.

4. Not following up with people who’ve expressed interest in their work.

An artist that sells their work or services is a business person. Following up with an email or phone call with prospects just makes good business sense.

5. Not keeping in contact with former clients.

Who else to buy your work now than someone that has already bought from you.

Tony Snipes is an Artist, ministry leader, Illustrator and founder of “The Kreative Kingdom”, whose goal is to help artists seek God’s purpose and plan for their creative talent.

Tony’s newsletter/discussion group “Art Lessons From God!” discusses topics related to:

-The artistic gift God has given artists.
-Why God has given us our artistic talent?
-What does HE want us to do with it?

“Art Lessons From God” can be found at: http://kreativekingdom.org

Here is my list.

TO DO:

Have plenty of CDs (with the wrapper removed) and business cards on you. I’m amazed how many people don’t do this!

Smile and be approachable. This is a network event so make the most of it!

Meet and mingle with music industry professionals as well as other musicians. You never know who can help you.

Attend workshops & panels. You can never know it all. Take the time to learn something new.

Be professional. Always, always be professional.

Follow up! What is the point of meeting all these new people if you don’t take the time when you get home to send a follow-up email, phone call or hand written note.

WHAT NOT TO DO:

Think you’re better than everyone else. No one likes a diva.

Arrive late for your showcase. It’s a great way to not get invited back!

Not be prepared to showcase. Be rehearsed. Be well groomed. Always look your best. Don’t look like you just rolled out of bed.

I hope you found this useful! Please feel free to get in touch with me if you have any questions or comments. And be sure to check out my BLOG at www.madalynsblog.com

Copyright © 2007 Madalyn Sklar, IndieMusicCoach

Madalyn Sklar is a music business coach, consultant and author. She founded IndieMusicCoach and has spent over 11 years working with a wide range of independent musicians all over the world – U.S., Canada and Japan thus far. Her goal is to help indie artists achieve greater success in the music business by working smarter not harder. She is also the founder of GoGirlsMusic.com, the oldest and largest online community of indie women musicians, with a vision of bringing together and empowering musicians from around the world.

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.

That being said, the best solution I have found will set you up with as many tight beats as you need, but when you download the free trial you cannot save your beats unless you upgrade. Plus their is more flexibility with what you can do. To start go ahead and head over the site I list in the next paragraph. Not only do you get beat making software, but they actually give you a producer education so you can make hit hard and fast. They wont even see you coming.

First make sure you check out Themusicbusiness.info for Music industry info Also their are some great ways to speed up your learning and production curve.

free beat maker downloads my random informative article selection of the day