Tag Archive: Digital Music Distribution

  1. 8 Tips to Get Your Music Heard

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    There are many ways in which you can get your music heard. This can be achieved through CD’s, radio, TV and many online distributors. Your music can be uploaded to different online platforms free of charge such as YouTube, Soundcloud and Vimeo. However getting your music heard through the mass amounts of bands and artists that are also online is more challenging. The likes of social media, radio and live streaming are useful to reach your target audience and keep followers updated.

    Get your music heard on social media through ad campaigns; prices for this will vary depending on which social media site you wish to advertise on. However, this will be seen by more people which will let your name and music to be known. Another option for getting your music heard online is through self-promotion, though this may more time consuming.

    Get Your Music Heard

    Get Your Music Heard Online

    Here are some few tip to help make your music heard through the noise of the online community.

    1. Keep track of trends on social media so you’re relatable to your target audience. Using trends will also mean your name and music are seen by more people.

    2. Collaborating with an artist that creates similar music in the same genre, will let you grow your fan base.

    3. Ensure all the songs you upload have the appropriate tags that relate to your music. This will allow people to find your content easily. It will also allow people who like your genre of music to find your songs more easily.

    4. Post regularly to each of your your social media platforms. This keeps your audience engaged and also helps you gain more followers. You can also let your followers know that you’re creating new music and keep them up to date with your live dates.

    5. Create a hype prior to the release of a single or album. You can do this through a countdown to the release date and posting album art or snippets of a music video etc.

    6. Competitions to win merchandise, tickets or songs etc, allows you to gain more interest for your music. Try asking people to like and share your content, for a chance to win and creating more interest and grow your fan base at the same time.

    7. Contact online radio, traditional radio or university radio stations etc. to play your music. Ensure all songs are edited for radio, meaning no swearing or offensive content is included. Radio campaigns are also effective if you wish your music to be promoted further.

    8. Live streams mean people can listen to you or your band play live, giving them a more personal performance. Live streaming will also allow people to hear your music instantly and allow them to give you feedback. Remember to post on your social media platforms prior to ensure people know that you’re doing a live-stream.

    Online promotion is key to get your music heard. Social media, live steaming and radio channels are popular and can be low cost options to get your music in front of a larger audience.

  2. 4 Tips to Get Out of Your Songwriting Rut

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    Songwriting is truly an art form. Capturing a story using words and music and portraying that to an audience can be difficult, especially those beginning moments when you are faced with that blank page staring back at you! But there are a few things to think of that may make it a little easier…

    4 Tips to Get Out of Your Songwriting Rut

     

    Think about it a little less literally

    For example, a song is like a conversation. There are certain elements that dictate how this conversation is played out and perceived. You know the words you want to say but the way you say it can change how it is perceived:

    • You may have lyrics written down and can’t decide what melody to go for: If you’re in a conversation and saying something upsetting, you wouldn’t laugh about it… If you’ve written sad lyrics it may not make sense to sing in a minor key if you want to get that feeling across!
    • You may have a melody but can’t think of lyrics: if you’re in a happy environment such as a celebration for a friend, you wouldn’t want to bring that down by starting an argument with someone. The melody is like the environment… how does the melody make you feel? Channel that into words to figure out what topic suits the melody.

    Songwriting is a form of storytelling

    If you are telling a family member about something that happened to you at work, for example, that story might become more refined the next time to you tell it to someone. And over time, the more you talk about it, you find the parts of the story you don’t particularly need to be able to get to the point so you cut those out. Or you find that certain parts aren’t making sense so you add more detail. You can do this when songwriting by performing your song again and again. You’ll find parts of it that don’t quite sound or feel right and then you can change this. You won’t fully understand what direction the song is taking or needs to take until you sit and just belt it out! Nothing is final until it is recorded, so use the time to your advantage.

    To get your ideas flowing you need to get out of your head

    Try not to worry about what you think others want from you or what you think is right to do… what do you want to write about?! What is important to you? What is going on in your life that you can draw on? Also, don’t get bogged down in writing for particular genres, it’s okay to be diverse in your songwriting if that’s how you feel at the time. If you write for other people’s pleasure, not your own, then you may never be happy with what you’re doing. It’s important to be genuine in this industry… again, like a conversation, people value honesty and can spot when you’re not being genuine with them. So don’t take that negative energy into your songs.

    Always be songwriting

    Don’t restrict your songwriting time for when you decide one day that you’re going to sit down and write a song. Carry a small notepad with you everywhere you go! Some of your best ideas will probably come when you’re not actively thinking of song ideas e.g. in your sleep, when you’re inspired by other music, when you see something while walking in the street or driving around. Anywhere! If you have nowhere to note these ideas down then you could forget them as quickly as you’ve thought of them. It doesn’t have to be a full verse or chorus or full topic for a song, it could be a word or sentence or even an image. Just something that later you will look at and think “thank god I wrote that down! I know what to write about now…”

    There is no one way to write a song. Some people prefer to write melody first, some people prefer to write lyrics first. Some people do both at the same time! Find what works for you but remember that it’s okay to take your time and be selfish! Do what is right for you, not everyone else. Obviously there is the small exception of when you are writing a song to a brief, but songwriters that do this still have their own personality that they bring to the song. So it still stands… find your own voice or interpretation of a brief and bring that to any work you are doing!

     


    Written by Help For Bands, who provide free impartial advice and monthly music industry opportunities through their newsletter.

    https://www.instagram.com/helpforbands
  3. How Publishing Works – Contracts and Rights Explained

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    How Publishing Works

    How Publishing Works

    Publishing can be a very tricky area of the music industry to understand. As if the concept of what publishing is wasn’t difficult enough, there are a huge number of acronyms and organisations to remember. Luckily we are here to help make sense of it all for you.

    Music publishers are essentially the people who administer the rights for songwriters and composers on a piece of music. When a song is created there can often be songwriters consulted who are not members of the band or performing act. In order to make sure they receive royalties for their work, a song is split into two different parts when dealing with rights. Publishers deal with the rights for the composition of the song and the written work, whereas labels typically deal with the recording of the song as a different component (often known as the master).

    When signing to a publisher in the UK, they will work together with the UK collection society called PRS (similar organisations exist in other countries under different names). The PRS is an organisation that represents songwriters, composers and publishers, collecting royalties on their behalf whenever their music is performed publicly. This can be when the song is played live, on TV, radio or in public places like retail shops.

    As if the split between recording and composition wasn’t confusing enough, there are also a few types of income streams with publishing. These are:

    • Performing Rights.
    • Mechanical Income.
    • Synchronisation.
    • Print Rights.

    Check out this post for more information on what these rights mean.

    Publishing Contracts

    When singing a publishing deal there are a few different kinds of typical scenarios you can expect:

    Single Song Assignment - Also referred to as a specific agreement. This is where the publisher will only publish individual songs and the songwriter is not exclusively signed to them. They can enter into as many single song agreements as they wish. The agreement is also made for a specific period of time.

    Exclusive Writer Contract - This type of deal is more serious and is worth seeking legal advice for before signing. The entire catalogue of the writer is covered by this agreement and could include a recoupable advance for the writer. Make sure to look at the length of the agreement, the territories involved and the royalty split when signing this agreement.

    Administration - This is a different kind of contract where the writer does not sign any publishing rights away, and does not involve any creative endeavours such as sync opportunities. Instead this brings in a third party to handle the administrative work of publishing, such as collecting foreign income through sub-publishers in other territories. The administrator will take a percentage of the royalties for this work.

    Sub-publishing Agreement - This is a deal that publishers make with other publishers and is generally done without the involving the writer. If a publisher feels that the writers work would be better represented in another territory by a different publisher, they will write a sub-publisher agreement to do this. For example, if a publisher in England would like to publish in America they may find an American publisher to work with.  The advantages of this are that that publisher could be an expert in their territory and have good contacts. Royalties would also flow quicker as that publisher can collect more easily for their territory. The disadvantages of this however is that there are more parties taking a cut of royalties before they reach the writer, and  when new developments occur for the writer it can take a long time to update each and every publisher about what is going on.

    Synchronisation - This contract can be made to either a publisher or a specialised sync company. This deal solely covers trying to license music for sync and collecting money from that. Typically there is a 50/50 royalty split between the writer and sync company but this can vary. Specialised companies tend to have better contacts in TV and film companies, but it is worth looking at what successful placements they have done in the past.

    Overall publishing can create a great source of income for artists aside from regular sales of music. It also means you are not missing out on royalties you are potentially owed and creates great exposure opportunities through sync placements. Hopefully this helps you to understand a little more about publishing and what its place is within the music world.