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Thanks Hypebot!

Thanks Hypebot!

My blog post was just picked up by @hypebot a top #musicindustry blog. Guess I need to get started on part 2 of the series – Get Your Songs On TV. #songwriter #musiclife #songwriting #filmmusic

Yes I’m Exclusive

#factsonly I don’t work with everybody. And it’s not about budget. It’s not even all about talent. It’s about impact. You can have bands and stacks and a killer voice to match. But if I don’t believe that we can create something magical, then I’ll gladly pass!
I’m serious about changing the world. I have sacrificed everything to master this craft. And as God directs me to artists that are worthy, I will bless then with songs that will change their lives and everyone around them. I’m holding onto dynamite. Don’t reach if you’re not prepared!
#studiolife #studioflow #songwriter #songwriting #musiclife #producers #production #ableton #pengame

Pandora & Spotify are not the enemy

I’m a musician – full time – who strives to make more and more money from music.  That said, I’m a fan of Pandora, Spotify and of streaming music in general.  They allow me to put my music in front of people that record labels and radio stations would have never allowed me to reach.  
I think “somone” is just using the streaming companies as a scapegoat.  Hoping that we’ll be focused on them and not the major labels and radio stations who continually struggle to make money for their artists.

The biggest fallacy being pushed now are the poor major label artists who are showing that they only made 12 cents after a million plays on Pandora.  That’s really a bogus argument.  You can’t compare a million plays on Pandora to a million downloads on iTunes.  That’s apples and oranges.  To really know whether that amount is a fair payment, you have to ask “how much does an artist get paid when one million people listen to a single performance of the song on broadcast radio?”  That’s the only true comparison.

So, if a NY radio station has 100,000 people listening at any given time, then, a song would have to play 10 times in order for a million people to listen to it.  How much does that artist make from those 10 plays of their song?  That should be the question.  And you would think it’s a simple question, wouldn’t you?

Thing is, nobody’s asking that question.  No one.  Not ASCAP who seems to be more focused on killing the streaming companies than getting their artists paid.  Not Paul Resnikoff, who seems to be nothing more than a lobbyist for the major labels posing as a journalist.  And not the major label artists risking their fan bases by fighting the advancement of technology.

And why is no one asking that question?  Probably because, no one can.  For years, artists have been doing everything including selling their children for the chance to have a song played on a major radio station.  But not one of those artists can tell you how much money they make per listener.  That’s because money in radio is a big grey mystery box.  We leave it to companies like ASCAP, BMI and SESAC to figure out the accounting for us.  Whatever they pay us we’re thankful for.  And since, for major label artists, we’re talking about thousands of plays multiplied by hundreds of thousands of listeners multiplied by hundreds and hundreds of radio stations – the numbers are so big that no one is questioning it.  But if you go back to basic math and reduce everything to it’s least common denominator, then the Pandora’s numbers may not be so ridiculous.  

Yeah, the Pandora check amounts are minuscule, but at least Pandora is able to say what an artist makes when someone streams their song.  I’m willing to bet, that an apples to apples radio comparison wouldn’t be much different.  That is, if anyone could ever figure out the formula in the first place.

RE: Should I learn Ableton or Pro Tools?

An artist I’ve worked with just asked me this question on Facebook.  Here’s my response.  Thought it might help anyone else wondering the same thing:

Pro tools is more of the industry standard so it’s good if you’re going to be working in different studios and with different engineers. They both allow recording and manipulation of audio and midi. But Ableton is more powerful when it comes to manipulating audio (or samples) and experimenting with sounds. That’s why it’s so popular with Electronic producers. The way you can easily tweak sounds and create totally new unique sounds for your music is a producers dream. I’ve used pro tools for years. And I haven’t touched it since switching to Ableton a year ago. 

In reality, if you just want to record your keys and some live instruments and capture song ideas or record your vocals. Then it doesn’t really matter what you use. Pro Tools might be best because you can easily work with other musicians. But from a purely producer standpoint, Ableton is the future.