There aren’t many complaints about the Apple iPod, only one complaint often is often referred by iPod customers is the lack of ability to copy iPod video from their iPod to a new personal computer. Though the iPod has no issues copying songs from a desktop or laptop to iPod with iTunes, the reverse is not allowed. Without iPod to PC Package, you will be unable to copy your iPod information to an extra computer. This topic sometimes occurs when users get a new PC or have to reinstall the operating system on their old personal computer. Apple forbids this process because it does not want unauthorized sharing of purchased songs from the iTunes website. However, there are a lot reasonable circumstances that iPod users need the ability to transmit from iPod to computer. If a machine dies and you need to reinstall the operating system, you could need iPod to Computer transfer software to retrieve your worthful videos and music. Otherwise, the clean installation of iTunes will erase your iPod, potentially costing you lots of dollars in unrecoverable files. An additional common scenario individuals require these types of software packages is when they buy a new personal computer and want to transfer their existing database of iPod music on the new personal computer. Once Again, if you do not install this type of application, you might possibly lose your valuable iPod music and video files. There are many software developers on the Web today that offer computer programs to carry through this project. A fast visit to software download sites will show a bunch of picks. You could also just type the phrase ‘iPod to machine copy software’ into Google or Yahoo.

Obtain an effective quality guitar
Obviously you have to own a guitar. The best ones are Fender because that is what David Gilmour uses (Pink Floyd guitarist). David Gilmour uses a Fender Stratocaster which are quite expensive but you can buy a Fender Strat which are cheaper, over £100 or $200.

Before you start to play, tune your guitar strings. Electronic tuners are inexpensive. Get one.

Get some guitar effects, Gilmour does why not you!
It is best to obtain some extra effects such as reverb, distortion or gain and maybe some chorus or delay. Your playing will sound more pleasing to the ear, fun and professional.

Get hold of Pink Floyd Guitar tablature
Find some Pink Floyd Guitar tabs or sheet music by searching online. To save you time, the best site is Pink Floyd Guitar because it consists of lessons and doesn’t just give you the tab and leave you to it. The address is located in the Resource box below. Pick your Pink Floyd guitar tab for your chosen song and try and pick a simpler song to start off.

Get the feel for the music
Listen to the Pink Floyd song the one that you hope to play. Hear how it sounds and get the feel for it. Concentrate on different layers of music provided by the different instruments, however, you are playing the guitar parts.

Play your Pink Floyd guitar tab
Play slowly at first, gradually improving your speed. Listen to the solo slowly and learn to play along. Some media players allow you to digitally slow down the tempo of a song without changing the pitch. Start learning the tablature. Learn one measure at a time, one line at a time. You do not need to learn an entire song on your first try. Play for a minimum of 10-15 minutes per day with one day off each week.

Allow time to improve. Don’t get discouraged if you play poorly on certain days. Everyone has bad days. Start simple and gradually move to complex.

Play against a backing track
Play your Pink Floyd guitar tab over a backing track. These are available from monthly guitar magazines. Also maybe online somewhere.

Record yourself playing the Pink Floyd guitar tab

You do this by downloading or purchasing music software or just use the recorder on you pc but you would need a mic, however, they are very cheap.

Why not play it in a band!!

Have fun.

Created by Ameen Jabbar. Specializes in providing Pink Floyd music playing to musicians. For further information about guitar playing, learning famous riffs or Pink Floyd guitar techniques go to http://www.pinkfloyd-guitar.com or Email: pinkfloy@pinkfloyd-guitar.com.

“Hey, I’m looking for a rhythm guitar player for my virtual blues band. Can you play the blues? You can? Great! Would you like to audition? You would? Fantastic! Come on, step into my virtual rehearsal room and meet my virtual band mates. We’ve got a big virtual tour coming up and we desperately need a virtual rhythm guitarist. By the way, what’s your name? Stevie? Nice to meet you Stevie, I’m Pete. Come on, come inside…..”

CUT TO…..

VIRTUAL REHEARSAL ROOM -EVENING

A dimly lit room with graffiti on the walls. The drummer and the bass player are jamming a jazz blues. Pete and Stevie interrupt.

PETE: (Shouting) Guys

They don’t hear him

PETE: (Shouting louder) Guys, QUIET!!!!!!

They stop playing.

PETE: Thank you. This is Stevie. He says he can play the blues.

JAKEY THE DRUMMER: Hi Stevie, I’m Jakey

COLIN THE BASS PLAYER: Yo, I’m Colin

STEVIE: Nice to meet you both.

JAKEY: So you play the blues, huh?

STEVIE: Sure, anybody can play the blues.

PETE: Ok, grab a guitar Steve. We’ll have a jam.

Jakey adjusts his hi-hat. Colin turns the volume up on his amplifier.

COLIN: Ok, how about something simple to start off with.

JAKEY: A 16 bar?

PETE: Sounds good, key of C sharp.

Jakey starts counting in

JAKEY: 1…2…3..

Stevie interrupts

STEVIE: Sorry, a what bar?

PETE: A 16 bar

Stevie has a blank look on his face. Colin and Jakey exchange glances.

PETE: Have you played a 16 bar before?

Stevie shakes his head.

PETE: Ok, erm…I know let’s try an 8 bar blues.

COLIN: Yeah. Let’s do it in A flat

JAKEY: Great! 1….2….3….

STEVIE: (Interrupting) Hold on guys.

Everybody looks at Stevie.

STEVIE: I’m sorry, I’m not too sure how to play an 8 bar.

PETE: I thought you said you could play the blues…

STEVIE: (Angry) Sure I can play the blues. I’ve been playing the blues for years. I grew up playing the blues.

PETE: Erm, ok then, let’s try a minor blues in F sharp.

JAKEY: 1…2…3…

STEVIE: (Interrupting) Er…no

PETE: But you did say you can play the blues.

STEVIE: Course I can play the blues.

COLIN: Ok, your call Stevie, what shall we play?

STEVIE: Well, how about a 12 bar blues in E?

PETE: Yeah, ok. Let’s give it a go. We’ll make it a quick change 12 bar in 12/8 time. Oh yeah and lead in with the turnaround.

JAKEY: 1………..

STEVIE: (Interrupting) Erm…….

Pete, Jakey and Colin are puzzled

PETE: What?

STEVIE: Quick change? 12/8? Lead in with the turnaround?

PETE: But you said you can play the blues.

STEVIE: yeah, well not this sort of blues.

An awkward silence fills the room.

STEVIE: (Embarrassed) Erm…maybe…..I should…er……go

Stevie turns and leaves

Jakey and Colin glare at Pete

PETE: But he said he could play the blues….

Cymbal crash - THE END!

Ok, let’s step out of virtuality and back to reality. I have a question for you…..

If you were in Stevie’s shoes, what would you have answered when asked you if you could play the blues?

Be honest, would you have said yes? I think most guitar players would have. It seems as though a lot of people think the blues is an easy music. Three chords in a 12 bar format. Well, a lot of it is three chords and a lot of it is in a 12 bar format. There is no denying that. But, there is also a lot more to it than most people think.

Let me ask you another question. Once again, answer honestly.

Imagine it was you in the audition room and not Stevie. Could you have played the 16 bar in the key of C sharp? How about the 8 bar or the minor blues? How would you have coped with the turnaround intro or the quick change? Would you have known what 12/8 time was? Would you have been comfortable in the keys that were suggested? C sharp?, A flat? F sharp? Remember, you are being asked to play these things on the spot.

If you answered yes to all the above then, great! You need read no further. Go reward yourself with a jam doughnut, you deserve it. For those of you that answered no to all, or just one of the questions, we need to do some work. Maybe you could argue that “feel” would have got you through the audition. What is this word; “feel?” Well, it’s great to have it, but a bit silly to rely on it. Sometimes we need a little bit more than feel to get us through tough situations. The truth is we need knowledge!

If you are serious about becoming a professional guitar player then you really do need a good knowledge of the blues. It is a language that all musicians love to use. The way to get this knowledge is to work hard and commit yourself to your musical education. A solid understanding of blues progressions is essential to your development. Sorry but a 12 bar in E just will not do.

That’s why we, at Jack Sky Ltd, have produced an excellent blues rhythm guitar study entitled “Blues Progressions.” This 32 page e-Book covers 8 bar, 12 bar 16 bar, minor blues, jazz blues plus many variations of these progressions. It also includes a chord syllabus with chords that are commonly used in blues music. It really is packed with information that will equip you with the skills required to jam with any blues band.

The next time somebody asks “Can you play the blues?” make sure you are in a position to stick out your chest, lift up your head, look em in the eye and reply….”Yes, I play the blues!” Grab this fantastic e-book today. Visit our on-line store at www.jack-sky.com

Knowledge breeds confidence. Confidence will, in turn, create opportunities. Opportunities will bring experience. Experience will bring success!! Here’s to your success! Work hard and feel yourself improve……

Oh, and by the way, can you play the blues………..?

Peter Jones is the Managing Director of Jack Sky Ltd. Based on the banks of the River Mersey in the great city of Liverpool, Jack Sky Ltd is committed to providing quality guitar tutorials to its customers. A warm welcome awaits you at http://www.jack-sky.com

Value chain analysis

The value chain analysis consists of the following components arranged in sequence: artists and repertoire development, recording, manufacturing, marketing, distribution and finally retail. Such chains as manufacture, recording and retail are very often outsourced, even by the Great Five (Warner Music group, EMI Recorded Music, Universal, BMG Entertainment and Sony Music Group).

A thorough analysis and review of CCM’s operations has been completed by reviewing the current and long-term problems in both the internal and external environments.

Artists and Repertoire Development: Recording companies put as much available money as possible into developing their groups and music, the musical repertoire and quality, to promote concerts and organize tours, to prepare the merchandising. CCM plans to expand its product line to include more musicians and albums and to expand the musical genre the company operates into.

Recording: Usually major labels have their own recording studios, though still outsourcing this link of the value chain is possible even by such premier companies as Columbia and EMI. Primary costs come from the equipment and mixing, which in the case of Colorado Creative Music were the cheapest quality equipment from all possible.

Manufacturing: Manufacturing a CD usually takes 10% of its cost. There are not too much CD manufacturers in the world, since the costs of the process make the market very limited with serious entry barriers. CCM’s manufacturing is not very costly process due to the technology employed, though the company didn’t manufacture actually CDs, it bought them from the relevant producers, and then just duplicated them.

Marketing: activities connected with marketing and advertisement traditionally account for 30% of total CD production costs. Marketing costs combine radio and television advertisement, printed catalogues and press releases, promotional tours and other events. Also, marketing costs include preparation of PR tours and music videos. CCM’s marketing events include: live performance, comprising malls, art festivals and concerts; Website, specifically website promotion and new programs to acquire and to learn; publicity consisting of airplay radio, TV, internet radio, live interviews on radio and TV, print press releases and reviews featuring listings of events; promotion - in store, contests, sponsoring, giveaway; and email marketing methods comprising monthly newsletters.

Distribution: The distribution phase accounts for about 40% of the total cost of the product. This process involves physical transportation and packaging of a CD from manufacturing place to distributors or direct retailers. Since there are few manufacturing facilities, delivery from these places to any corner of the world may be very costly. Moreover, as delivery is often needed within short terms, the distribution costs grow even higher. For CCM, the distribution may include direct sales on live performances, through 800 number order, through website or mail order catalogue. Indirect distribution channels applicable for the company can be traditional and untraditional. Traditional channels comprise chain music stores, chain book stores and independent music stores. Nontraditional methods include catalogs, retail chains, gift stores, independent bookstores, Christian chains and independents. Inclusion of indirect distribution methods into CCM’s distributional tactics is wise since it distincts the company from its competitors and aims at winning still untouched potential markets.

Retailing: the retailing operations are generally carried out by major labels and internet superstores like Amazon.com and CDnow. Until products of CCM become popular with particular public segment, the company cannot enjoy such retail service.

Strategic cost analysis

Strategic cost analysis aims at comparing the cost position of the firm relative to the key competitors activity by activity from purchase of raw materials until the price paid by the final customer.( Hill & Jones , 1995) In this case, the analysis will be carried out in regards to CCM and the representatives of premier market segment such as Sony Music of EMI. In 2000, with the total income making up $216, 614.05, the primary source thereof was direct gig sales, accounting for $181, 451.92, that is more than 80 percent. Major companies derive their main income from traditional indirect distribution channels, such as retail music stores. Other major sources of CCM income comprise wholesale ($12,238.83), mail and phone orders ($11, 442.24), and website sales ($6,419.35).

Traditional distribution channels, along with other sales, make up only $1,758.79. This number is relevant for the microlabels but absolutely not characteristic to independents and major labels. The cost of goods sold makes up $22,034,33, therefore gross profit of the company in 2000 made up $194,579.72. This number is the higher of 1997-2000 period and such relatively low cost of production of goods (10%) is typical for the whole industry. As for expenses, 2000 was the first year when the company spent some amount (up to $500) for equipment rental. Until that moment, the company used its own equipment. Equipment rental and production outsourcing is a typical practice for major recording companies and though they posses a large amount of costly equipment, sometimes they pay considerable sums of money for rental of unique, exclusive and particular equipment for the needs of individual recording.

It should be noticed that professional fees of the company, that is the money paid to the staff, increase on a yearly basis, that means that the company each year conducts growingly active human resources policy, hiring more professionals, technicians, musicians and performers. This is a good index and such expenses (in 2000 they made up $29,719.26) should increase each year if the company wishes to grow in size and in prestige. Major labels employ tens or even hundreds of first-class technicians, sound producers and producers and pay them tens thousand dollars yearly. Besides, the major companies conclude contracts with famous artists with costs often exceeding several hundred thousand dollars. Another feature which should be mentioned in the analysis is low cost of advertising expenditures. In case of CCM it makes up $10,423, that is only 5% of total income. This figure shows unsatisfactory advertising and promotion campaign, since typically music recording labels account for larger percentage, at least 8-10%.

In a whole, the revenues and income structure is typical for microlabel companies with low expenses assigned for advertisement, distribution of their products and particularly professional fees. In major companies and independents, structure of expenses is different. The main accent is drawn to upgrade and maintenance of the equipment (major companies have very expensive equipment working on analogue basis which needs to be constantly maintained); professional fees, which are incredibly high due to popularity and prestige of performers and high professional level of the staff; advertising and promotion campaign and distribution channels. CCM approximates these proportions only with professional fees, which along with payroll make up about $45,000, the largest expense segment of the whole income statement.

Key competitive success factors

Key success factors are tangible measurements of the vision, mission and values of the organization on a yearly basis with the aim of attaining improvements for reaching ideal future vision (Gerry, Kevan, 1997).

The key success factors for Colorado Creative Music are values assessment, member satisfaction, financial viability, effective performance management system, customer satisfaction and recognition, development of technologies and enhancing the array of brand names. The music industry has a number of driving forces which are the determinants of success for such company as CCM. These forces, directly impacting CCM, include:

* Tangible reduction of the cost of recording and duplicating music on the digital basis. Without this fact, the existence of CCM is very dubious.

* Distribution and downloading music via virtual internet means. The affordability for people to comply and burn their own CD has the revolutionizing impact on the structure of distribution channels in the music industry and decreases the retail price of a single CD. Internet has become very effective, novel, affordable and today critically important tool for informal direct and indirect (through virtual bookstores) channel of distribution.

* The relative easiness of making website, posting it on the web and conducting online sales of one’s music. Internet makes easier not only distribution of the music, but promotion thereof as well. Internet promotions of the website of some musical products, taking into consideration growing number of internet users, is by far one of the most effective advertising means.

* Small-scale informal distribution of music is possible. Thus, the company possesses certain distribution channels even if it is deprived of the opportunity of access to traditional indirect channels.

All these factors altogether provided CCM with the opportunity to make music recording industry affordable and attractive for small studios.

At the present moment, to succeed, the company has to focus on developing these directions of activity such as production, distribution, and marketing, but to grow further and reach another level, to turn into independent label, the company has also to expand its repertoire, the number of musicians recorded, and work on the popularity of the artists whose works it records, promotes and distributes.

Competitive advantage over the rivals may be achieved through cost leadership policy, when the company lowers the price for its products and makes them cheaper than those of competitors, and differentiation strategy, which implies offering different from the rivals array of products or services. Also, there is focus strategy, but if the company strives to grow from microlabel to independent, it needs to expand its customer base and acquire new segment of market besides the one it already has.

Therefore, differentiation strategy is by far the most effective in gaining competitive advantage for CCM, though some elements of cost leadership, including lowering the price for music purchase in the Internet, or elaborating saturated pricing structure, is also possible. These two strategies are elements of competitive advantage based on the position of the firm, also called positional advantage. There is also another approach for gaining competitive success, called resource-based view, which stands for utilizing by the firm its resources and capabilities for gaining competitive advantage over the company’s rivals. In this viewpoint, CCM has to focus on such success factors as installed customer base, reputation of the firm and brand equity, which altogether form distinctive competencies enabling innovation, quality, efficiency and customer responsiveness.

BCG matrix

BCG growth-share matrix deals with allocation of resources among the company’s business units. The business units which may be identified within CCM are recording department, promotion department, distribution department, finance and accounting, management and human resources department. Currently the company doesn’t have such functional units, since its staff is not numerous and Darren Skanson, top manager, performer and producer, simultaneously works as accountant, desktop publisher, database manager, newsletter editor, website designer, copywriter, leading artist and manager. But the company aims at growing from microlabel into independent recording studio and for that it will certainly need more staff and division of working directions among functional units. According to BCG matrix, almost all units of the company are dogs and question marks, since the market share the company occupies are rather small relative to its rivals, the company has acquired a distinct niche which has limited customer base. Such units as recording, finance and accounting and management may be defined as dog sectors, while promotion, distribution and human resources are question marks.

For other parts of this series, please check Music Recording Company Case Study

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Many thanks to Uncle ILL for the info he accepted to share with me.
Jermaine Harbin aka Uncle ILL was born on April the 5th, 1976, in Detroit. Uncle ILL grew up in Detroit. Not only was he the witness of the early stages of Detroit hip hop, he participated largely to its first steps. Rich of 16 years of rapping experience, Uncle ILL has earned a lot of respect on the local scene. However, Jermaine Harbin deserves more recognition on a nationwide and international scale for his numerous collaborations and very original and diverse work.
Largely influenced by Ice T’ movie Breakin’, Uncle ILL started rapping at the age of 12.

How does he sound?

In fact, it is quite difficult to define Uncle ILL’s music. Very open minded about the music, Uncle ILL found his inspiration in many different artists such as Ice T, George Clinton, NWA, Eminem, Kraftwerk, Red Hot Chili Peppers and many more. With his typical grave voice, Uncle ILL talks about diverse themes from domestic disputes, fake thugs, hood life to moving to the suburbs and nosey behaviors, just to name a few themes.
Uncle ILL uses various instruments and manages to create a very dynamic and energetic sound. You could barely sit down while listening to Uncle ILL: most of his tracks are an invitation to move your body and dance to his music.
Uncle ILL is not a hardcore rapper, he nevertheless deserves the listeners’ attention for his good work.

Back in the days of early Detroit hip hop
Uncle ILL has collaborated with many local emcees on the Detroit scene. In the early stages of his career, Jermaine Harbin needed some beats. A friend of his, Fred, introduced him to Manix of Bassmint Productions.
At this time Manix was producing beats for Champtown’s album, Crazy Home escapist & Check It, an album on which Uncle ILL is featured.
This is also how two young men known as Marshall Mathers aka Eminem and Dan Carlisle aka Mc Hush crossed his road.
Soon Uncle ILL and Mc Hush would unite their talents and their passion for hip hop and work together on their common Da Ruckus label.

Da Ruckus

After his collaborations with local rapper Champtown, the Detroit rapper that would actually play a major role in Uncle ILL’s collaborations is another veteran on the local scene: Dan Carlisle aka Mc Hush.
Both rappers decided to unite their talents and their passion for hip hop and created the legendary label known as Da Ruckus that is mentioned in Eminem’s Stan song.
In 1997, Da Ruckus released an album independently, Quiet As Kept.
Federation Records decided to invest in the Da Ruckus label and the following year, the label would release an EP Da Ruckus Episode 1.
150 Emcees is an example of the beautifully well handled songs from the Episode 1 EP. Da Ruckus Episode 1 is rich of many interesting Detroit collaborations including Eminem, Swifty of D12, Miz Korona, Mad Chemist.
Two singles, We Shine in collaboration with Eminem and We Came Here To Party in collaboration with Dale, would be released in 1998.
In his Metro Times review of Da Ruckus, Hobey Echlin says about Epidode 1: Episode1 isn’t just tight, it’s a pretty accurate depiction of a day in the strife.
You will be able to listen to snippets of Epidode 1 here.
http://www.undergroundhiphop.com/store/detail.asp?UPC=FR770CD

One of Da Ruckus’ main goals was to struggle for more recognition on a national scale. Da Ruckus’ musical style is dark and close to a definitely Esham inspired horror core.

Solo career and collaboration with Mad Chemist

After a while, Hush and Uncle ILL decided to both concentrate on their solo careers.
Uncle ILL started collaborating with Mad Chemist on his solo album Ya’ll Know, that was released in 2001. Mad Chemist produced Y’all Know.
You will be able to listen to some tracks of Uncle ILL’s album here.
http://www.undergroundhiphop.com/store/detail.asp?UPC=SR011CD

I particularly recommend you Cho, Who’s Ya Uncle, Stress and Sunday. Uncle ILL’s CD is full of interesting Detroit collaborations, including Mad Chemisy, Mc Hush and Miz Corona. I’d call it a Detroit underground classic that is definitely worth your interest.

A rich career that is far from ending
Besides his numerous collaborations with fellow emcees,the commercials he did for various companies like Wireless Toyz, Uncle ILL also created his own clothing line Uncle ILL Gear.
Moreover, the talented and dynamic Uncle ILL never gave up his passion for rap: he is still active in making his original music. On November the 15th, 2005, he released a brand new CD, Undisputed (1996-2006), which can be considered as an anthology of his work and collaborations.
Uncle ILL has made a video for his Keep On song that can be found on his my space account.

http://www.myspace.com/uncleill

Uncle ILL is a skilled emcee of experience. Co founder of the Da Ruckus label, Detroiters already consider him as a local hip hop legend. Check out the talented artist who is definitely worth your attention.

Copyright©2006 by Isabelle Esling
All Rights Reserved

My name is Isabelle Esling. I am an Eminem biographer and a freelance music journalist. I teach English and German at public schools

I get asked a lot about press kits. People want to know how to present them, what’s in them, etc. I have been asked over and over again to write articles on the subject, so here you are: a brief crash course on press kits.

Your press kit is your calling card. It will introduce you and your band to the people you need to help move your career forward before they meet you or hear your music. Make it interesting, exciting and entertaining. Make it attractive. Make it something that will capture their attention and make them want to see, read and listen to what you’ve sent.

Your press kit should include reviews you have received for shows, information on current venues, and any reviews from your new CD when they are available. Include a head or group shot (black and white is the least expensive, but color really catches the eye), a bio (if you don’t have a bio, create one, or get someone to create one for you), a cover letter, a CD, and a business card.

Your cover letter, should be limited to one page and should be packed full of concise well formatted information. Try to limit your press kit to 7 or 8 pieces of information. You don’t want to overload them and you want to save some excitement for later! Keep them a little curious.

You’ll want to compile three types of press kits: one for major labels, one for distributors, and the other for Radio PD/MD’s. (In my book, “The Indie Guide To Music, Marketing and Money” ISBN 978-0-9746229-4-1, I go into much greater how to present the different press kits to each one.) The order you place the information in your folders is equally as important to the reader as the content is to you. They know what they’re looking for. Your enclosures should go in the following order starting on top:

Press Kit for Major Labels
On the left side of the folder
CD
Business card (attached to the folder)
Cover letter
Head shot/Group Shot
On the right side of the folder
Bio
Reviews (most current on top)
Any press
Lyric Sheets (very important to many A&R personnel. If you already have them in your CD jacket don’t repeat them with another enclosure unless they specifically request separate lyric sheets. Save on postage.)

Press Kit for Radio PD/MD’s
On the left side of the folder
CD (possibly two, depending on the type of station - more on this in my book.)
Business card (attached to the folder)
Cover letter
Head shot/Group Shot
On the right side of the folder
Bio
Reviews (most current on top)
Any press

A word of advice: Certain labels will not accept unsolicited material no matter what you do. Generally, you’ll need an entertainment lawyer or manager to submit to them on your behalf. Other times major labels have an established relationship with a verifiable industry contact that must represent you. Warner Brothers is one of those and Dreamworks is another. Before you send any press kit, you need to get permission first. If you don’t get permission, your product has a very low probability rate of ever getting to its destination and even less of a chance of getting read and listened to.

There are musicians who think that their music is the only thing that will speak for them. They believe that their music alone will open the doors to major labels. It won’t. That is just the plain truth. You must have a proven track record as well as a “certain” style and look. It is after all the first thing they see before they ever listen to your music. This is a money making business. The majors are in business. They may think you’re the nicest person in the world, but they still want to make money off of you and your contract. They aren’t really interested in taking a risk on what you think is the best music. Your CD and ticket sales will inspire them.

So make sure that you do your work! Get listed with Soundscan. Keep a record of all the airplay you receive (which stations are playing you), and sell, sell, sell before you submit to labels. Your statistics are equal to you being a low-risk prospect for a major label. You’ll have already proven yourself! And, more importantly, you’ll have a much better shot at opening the doors.

After you have sent your press kit, make sure to follow up with a phone call to make sure your press kit has arrived safely. Then wait three weeks before you begin follow-up calls. Don’t just send the package and expect them to call. Remember, they get hundreds of packages from musicians just like you every single week. Follow up and get noticed - but don’t become a pest or they will ignore you. It’s a fine line and you will know it when you speak with them. Once you get a response, whether you like the answer or not, politely thank them and send them a thank you card for their time. They will remember you and you may have perhaps gained an ally for the future!

Copyright 2005 Jaci Rae

Jaci Rae is the #1 Best Selling author of “Winning Points with the Woman in Your Life One Touchdown at a Time” ISBN 0974622907 and “The Indie Guide To Music, Marketing and Money” ISBN 978-0-9746229-4-1 as well as the host of the Jaci Rae show. Dubbed by the media as “Racy Jaci” because of her quick wit and “The Rae of Hope,” for her powerful insight, please make sure to check her out at: http://www.jacirae.com To hear Jaci’s popular show, with some of the top behind the scenes as well as famous bands go to: http://www.jacirae.com click on the weekly show link.

The bass guitar has been derived from the double bass, which was used in the late 1950’s. Having 4 strings, these instruments add the lower tones to a musical performance. Experimentation with the bass had started as early as the 1920’s. It wasn’t until the 50’s however, that a proper bass instrument was formed.

In the mid 20th century jazz became popular. As double bass’s were used those days, they were often not heard due to the lack of amplification. The drums, banjos and other instruments in the band drowned out the sound of the bass. Until the 1950 when the first electric bass came into existence with modern amplification techniques.

The bass guitar is played like all guitars with the player holding it close to his body in a horizontal position. The strings are plucked with hand or with the plectrum. In the 1970’s, the slapping technique became popular.

Today, the bass guitar ranges from 4 strings up to 11 strings. The 5, 6 and 7 strings providing the mid range while the 11 string starts from a lower than human hearing going up to a very high active. Electric bass guitar players use various configurations. These changes are made by using preamplifiers and speaker sets. Signal processors are also varied to provide new soundscapes.

In night clubs, combo amplifiers are used. These amplifiers are fixed with single loud speakers to make them portable and effective.

The body of the instrument can be of wood or graphite. A wide range of finishing is applied to make it look good. IT can be colored or simply clear white. The work done on the body is fine engineering and delicate balances have to be maintained.

A hot debate rages on what to call this instrument. For non musicians, the term bass guitar is common, while hard core players like to call it electric bass or simple electric bass. Slowly but surely however, this instrument has gathered a large following which likes to use its own jargon.

The electric bass is a part of modern country music, post 1970 jazz and funk. Used mainly to provide backing, it adds a depth to the music. This instrument has added a whole new color to our musical pleasure. In sole music particularly, the bass guitar is effective.

Are sound effects used? Well, yes and no. As the bass guitar sets the tone for the rest of the band, sound effects are not often used, unlike electric guitars. Modern bands however have started experimenting with distortion units to add a new flavor to the bass and low key that they provide behind the music.

As we go into a new century, electric bass’s become more and more popular. All bands use it today to add a subtle background. Many groups like U2 even use it to give a haunted feeling increasing emotional attachment with the music. Newer techniques have made this instrument a crucial part of any musical group today.

Sandra Stammberger is the editor of The Bass Guitar. Get detailed information on playing guitar along with comprehensive resources on the best guitar online shops and guitar supply.

If you believe you can, you will. If you believe you can’t, you won’t.

No matter what your musical skill level is right now, there are going to be many significant challenges ahead of you. Your attitudes, and the ways you deal with musical challenges, will be single greatest factor in determining how much you will achieve as a musician. If you believe that you can, and will, overcome your greatest challenges, you will find a way, or you will seek help from a teacher, trainer, coach or mentor that will help you through it. If you don’t believe you can achieve, your done, it’s over, because you won’t.

A true story of self-fulfilling prophecy

OK, a short history lesson here might go a long way, so here it is. In early 16th century Mexico, existed a great empire called the “Aztecs”. In fact, it was the most powerful civilization in North America up to the year 1519. It was in that year when the Spanish conquest began. Cortez brought with him about 400 men, and with these soldiers, they defeated virtually the entire Aztec empire. How did Cortez’s men defeat this great empire with only 400 men? Was it with superior weapons or superior military tactics? No! The Aztec emperor (and many of his people) believed in a myth that some day in the future a “god” would return to Mexico to destroy them. When the Spaniards arrived with their strange skin color, beards, clothes and weapons, the Aztecs “knew” they couldn’t win. They believed they could not overcome the power of Cortez’s tiny army because they thought Cortez was the “god” who was returning to destroy them. The Aztec empire was destroyed forever by a false belief (that Cortez was their “god” and that it was impossible and useless to try to defeat him)! There are many other military defeats throughout world history caused by other types of false beliefs. Had the defeated armies and/pr rulers had different beliefs, the history of the world could have turned out to be quite different.

As you see above, the negative results of false beliefs, and not believing in oneself, can be devastating for entire civilizations, so imagine how badly your negative beliefs can hurt your ability to effectively learn your instrument!

Lets find out where your attitude is likely to be

1. Play something on your instrument that you cannot play perfectly yet.
2. Listen critically to your playing.
3. Identify problems and try to define for yourself what they are.
4. What are your mental thought patterns? What is the voice inside your mind telling you?

Lets say what you played above was a scale at high speed. You noticed that not all the notes were played cleanly. Now lets look at two types of thought patterns and attitudes you might have about that:

1. You say to yourself, “These notes are not even, clean and clear….I can’t get it!… This sounds terrible!….I guess I have to try harder….it still doesn’t sound good…I just CAN”T do it!….Maybe I just don’t have what it takes……?”

2. Or you say to yourself, “These notes are not even, clean and clear….I’m going to record myself playing these scales, so I can listen while I am focused only on “listening” and not on “playing”….Where do the worst spots seem to be happening?…..Where are the better notes located?……Hmmm, I notice the problem seems to be occurring when I change from string to string or every time I use my ring finger…..Perhaps, the string changing problem is caused from inefficient right hand motion and maybe the ring finger is causing problems because it’s not working independently from the other fingers…..I’ll ask my teacher about this and he will probably offer specific exercises I can do to strengthen these weak areas. Then I’ll be able to play these scales correctly!….”

The results

Obviously the differences between these two opposite attitudes are huge. More importantly is the difference in “results” one will get from choosing to approach the same problem with opposite thought patterns and attitudes. The first attitude offers only self-doubt, pessimism, a negative self-image and hopelessness. The second offers confidence, self-reliance, hope, optimism, security and the desire to get through the difficulty of mastering this technique. Even though working with a great teacher is the very best way to improve your skills, only your thought patterns, positive attitude, and the way you deal with challenges, will make significant improvement actually happen. It’s that simple!

Why most people fail to ever become musicians.

More than half of people in the United States who begin to play an instrument will quit in less than one year from the time they begin to play. Another significant percentage of people will play occasionally, but will not make much forward progress on their instrument. Why? Well there are many possible factors, but the biggest two reasons are:

1. They took the first attitude mentioned above.

2. They didn’t learn from a great teacher on a long-term basis.

Inaction: The worst possible thing

Inaction (taking “no” action), when action is necessary, is the worst possible thing, I can think of, for all areas in life. For most people, inaction comes easily and naturally. It’s so easy to do “nothing”. It’s so easy to “not” take guitar lessons. It’s so easy to “not” find a better teacher, coach and mentor. Hey, I’m not perfect either, there were plenty of times in my past when I too took the path of least resistance and did nothing when I really needed to. Those decisions to do nothing (or to do little) led me to…..

Regrets

A few years ago, I got tired of living with regrets and made some interesting observations about them. Regret is a poison, a toxic waste that marinates in your soul. What drives our regrets? Most of our regrets in life occurred, not from what we have done (or said or thought), but from we didn’t do. Our failures are not the main cause of regret and unhappiness, it is passing up our opportunities to grow, improve and make things better that hurts us most. Think about it.

What will you do?

I teach a private and correspondence music careers class where I teach, train and coach my students to become professional musicians, music teachers, etc. The very first (and probably most valuable) thing I do as my student’s mentor is ask them this question: “What are you committed to do, RIGHT NOW TODAY, to reach your goals? Even if you are only able to make a small baby step forward, tell me WHAT WILL YOU DO RIGHT NOW?!?! This very moment is the first moment of your future. You create your future by what you do in the present!

So, what will YOU do right now? What thoughts will you allow to fill your mind? Who will you call or email? How will you spend the rest of your day? What action will take right now? What will you do in this “present” moment, which will contribute to your future?

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More articles by Tom Hess are available for free here: http://tomhess.net
My email: hess@mc.net

Copyright 2005 by Tom Hess. All rights reserved. Used by permission.

See Tom Hess on the HolyHell world tour in 2006. Tour dates posted here: http://tomhess.net/news.php?rubric=1

Quick guide to record contracts.

The following is intended to be an introduction to the main points to be aware of with recording contracts, but we would always advise you to have a solicitor with experience in this area to help you negotiate your contract.

A record contract is an ‘exclusive’ agreement.

A record contract is an exclusive agreement, this means that you agree not to make recording for anyone other than the record company for the term of the contract.
The record company decides if the music is released

You should note that a recording contract is not a guarantee to release, whether the music is released or not will depends on whether the company believes it is commercial viable.

If your contract is for a number of albums, this is the number of albums that you are tied to the company for. For example, if you have a five album contract, and your first album is a failure the company can drop you. If on the other hand, the band is a commercial success, the band must remain with the company. Since the record company has already invested in the band, they want to ensure a suitable return on their investment if the band is successful.

Royalties.

The terms and conditions covering royalties will form a major part of the contract. Royalties can be based on either the wholesale price, or the standard retail selling price, and as a rule your royalty percentage is also reduced for sales where the product is discounted. You may also find that the costs of production, manufacture and packaging are also deducted from the royalty figure.

If you have a good solicitor representing you, he will probably be able to provide you with calculations to determine how much (or little) you are likely to receive.

Typically, record companies will pay for studio time and promotion, and may give the band an advance. The money for all of this is a loan which the band pays back out of their royalties. Once you sell enough to pay back the record label, you will receive royalties on future record sales. This means, that unless the band is successful enough for the royalties to cover cost and the advance, they will not receive any money, likewise the record company will stand to loose the money they invested in costs and/or advances if the sales do not cover these costs.

Copyright.

You should always retain copyright to the musical work itself, though in the contract you will licence certain rights to the record company, to enable them to manufacture, distribute and sell your work on your behalf.

For musical works copyright can exist separately in a sound recording (phonographic right), and in some instances, copyright to the master recordings may also be owned by the company.
Other types of contract

Besides the standard record production deal, there are also licensing contracts, where the you fund the majority of the costs independently and simply grant the company the rights to manufacture, distribute and sell agreed recordings. This gives the band more control and the royalty rate should be higher, but there is unlikely to be a major budget to promote the album. Some of the smaller independent labels also offer profit split the profits, after any expenditure with the artist.

From across the big pond, Corinne Bailey Rae has released her self titled debut album and boy is it a good one.

I first caught wind of Miss Rae while watching VH-1 Soul’s album release program. Where India Arie was also recently featured. On the program they featured track 1 from Rae’s CD, Like A Star, and track 3 Put Your Records On and that’s all it took to get my attention.

Well… that and the fact that Miss Rae is umm… let’s just say easy on the eyes.

Anyway, that reality aside I really enjoy the soulful, laid back style with which she delivers her songs. Somewhat reminiscent of a favorite of mine, Sade.

The CD is a fresh new sound and filled with lyrics of love and goodness that fit Rae’s voice perfectly. Also refreshing is the fact that Corinne actually wrote the majority of the songs in this, her debut collection, and the one’s she write herself she co-wrote.

It launches with a great track, Like A Star, that will definitely be heard on radio stations everywhere, and deservedly so. From there Rae proceeds to display why she is destined to be considered one the great vocalists of our time.

These days it’s a very rare CD on which every single song is good or better than the one before it. This CD is certainly one of those rare CDs.

Overall the CD Corinne Bailey Rae is an outstanding release. What I call, must have music. I give it two thumbs up.

While this entire CD collection is outstanding the truly standout tunes are Like A Star [track 1], Put Your Records On [track 3], and Call Me When You Get This [track 6]. My SmoothLee Bonus Pick, and the one that got Sore […as in “Stuck On REpeat”] is track 9, I’d Like To. Very nice!

Release Notes:

Corinne Bailey Rae originally released her self titled CD on June 20, 2006 on the Capitol Records label.

CD track list follows:

1. Like A Star
 2. Enchantment
 3. Put Your Records On
 4. Till It Happens To You
 5. Trouble Sleeping
 6. Call Me When You Get This
 7. Choux Pastry Heart
 8. Breathless
 9. I'd Like To
 10. Butterfly
 11. Seasons Change

To listen to samples of each song on Corinne’s CD Title go to:
Corinne Bailey Rae CD MP3 Samples

Clyde Lee Dennis, a.k.a. SmoothLee is a life long music fanatic. In addition to writing CD Reviews like this one for several music related websites he also hosts an internet radio show, and invites you to join him daily for some of the best soul soothing smooth jazz you’ll ever hear at http://www.SmoothJazz247.com