Tip of the Week Archive: 2006

By Jeffrey P. Fisher

January 2, 2006 -- In my book, Profiting From Your Music and Sound Project Studio, I detail fourteen crucial traits you must possess to be successful. Here they are: 1) Passion, 2) Dedication, 3) Confidence, 4) Mastery of your talent and art, 5) Take charge attitude, 6) Self-reliance and motivation, 7) Know your strengths and weaknesses, 8) Thick skin, 9) Entrepreneurial spirit, 10) Committed to success, 11) Great people skills, 12) Rudimentary business background, 13) Basic electronics knowledge, 14) Strong computer skills!

January 9, 2006 -- People never get hired for their resume alone. In reality, resumes function more as a way for the prospective employer/client to reject you. They can scan your history and use it against you, eliminating you from contention. For example, let's say you did a project for Levi's, but the client now is Wrangler -- you won't have a chance! Or perhaps you have great credentials, but the client wants to give a newbie a shot. These things happen; I know from experience. So, you must always be careful when you've worked for a competitor or when you have more experience than they need (you'll make them feel you're too expensive or below their little project). Salary histories on resumes and quotes are another way to be quickly eliminated. Ask for too much money, and you hit the circular pile. Quote too high, and lose the gig; quote too low, and the same occurs (you look like an amateur). Therefore, it can sometimes pay to be more of a mystery and use the resume to get in the door where your in-person sales experience can take over. You can solve problems for the client, not just sell!

January 16, 2006 -- Sometimes you're the driver and other times the passenger. Recognize which role you are required to play and then make the mental adjustments necessary to do your best. Sometimes it's another person's show and all you do is play a supporting role. There will be few, if any, decisions to make. You'll just be called upon to do your professional best. Other times you'll need to drive the whole shebang and do everything, tip to stern. Take charge and lead your client along, keeping them abreast of developments and involved along the way.

January 23, 2006 -- Because I beta-test software for several software companies, I'm forced to sign strict Non-Disclosure Agreements (NDAs) that prevent me from discussing certain trade matters. While it's an honor to be included in the development of software that will go on to be used by thousands of people, it comes at a price. First, it is a lot of work to test software -- you have to make a commitment to the tasks. Second, you can't tell people about what you're doing. They have to wait, even though it is tempting to leak news when asked or when you see a complaint about a current feature that you already know will be fixed in the next release. Oh well. On the positive side, you get to see and use the software before anybody else. Your pay is usually getting the software free, too. So, while the process comes with a workload and commitment, it's worth it to be privy to some leading-edge technology. (And no you can't ask me about which companies I test for!)

January 30, 2006 -- I was looking for an easy way to watermark some audio content destined for my Website. Essentially, I wanted to discourage unauthorized use of the track, but I still wanted clients to get a good idea of my music. While rendering a low-rez MP3 helps, I wanted more. Enter the free VST plug-in "Beeper" from Voxengo. Set the interval, frequency, and duration of the beep you want to add (chain multiple iterations of the plug-in for even more random beeps) and then apply the effect when you render. The beeps are part of the file and definitely will bother anybody who may try to use your music without permission. Hopefully, the legitimate listeners won't mind too much.

February 6, 2006 -- As a creative music professional, your Website functions as a company brochure and the place to find you and what you are about. However, if you run a humble music business, as I do, don't expect thousands of visitors to stop by. Just because you hung up your domain name doesn't mean the world will beat a path to your door. It should be the place you send fans, clients, prospects, the media, and so forth for the latest information about your music products and services. Occasionally, somebody may stumble across your Website, but most will be driven there by all the OTHER promotions you do. Don't be discouraged when your website statistics only show a small number of visitors -- you ain't Google! Hopefully, you're getting a better quality visitor, ready to buy what you sell instead of a bunch of lazy surfers.

February 13, 2006 -- Here's a cool promotional idea: PhotoStamps let you add the picture of your choice to official US postage stamps which you can then use on your outgoing mail. You could upload a logo, cover of your CD, band photo, or any other idea you might want to use and turn that graphic into a stamp. Choices include first class and priority flat rate denominations. Such a stamp would make a lasting impression on those who receive it. While the cost is a lot higher than regular stamps, a few well-chosen letters could make a big difference in your promotional efforts.

February 20, 2006 -- An erudite rebuttal to last week's PhotoStamps (www.photostamps.com) idea from Ed Teja. "I truly cannot see the value in this one. Most executives don't open their own mail. Who are you sending things to that this will impress? I have trouble with the whole concept of promoting an icon (graphic or whatever) if the real product you want to get out there is your music. A cute picture or logo? I don't buy music based on logos, and doubt many people do. I'd think you'd be better off putting the effort into free concerts."

February 27, 2006 -- Returning from the annual Self-Employment for the Arts conference (SEA) there was one particular motif that struck me. 80% never make it because they don't possess the wherewithal to persevere. And it is essentially two conflicts that serve as obstacles. Overcoming them are critical. First, there is the inner conflict of not thinking you're good enough or that you don't deserve the rewards. This running monologue in your brain can hold you back more than you think. It stifles your passion and moves you to inertia. If you start to believe your mind -- without taking the chances to prove that it's right or wrong -- you risk never leading the artistic life you want to lead. Making excuses is a safe place, but not very satisfying. The second conflict is the outer conflicts from those naysayers who remind you that you'll never make it. Get a real job they say and crush your hopes. Until you can prove them wrong, ignore their bad attitude and go forth. You can do ANYTHING in the world. There is a market for whatever unique gift you bring to us. Don't let either conflict squelch your desire to succeed. There are plenty of examples of people who have cultivated a life and career despite innumerable obstacles. Model your own success after their tenacity and you, too, will reap those rewards that you so richly deserve.

March 6, 2006 -- A recent project found me installing a recording setup for a teleseminar leader. He records telephone interviews, and connects with some big-time people. His greatest concern was his lack of a backup recording device for these one-of-a-kind interviews. He'd lost a few recordings to various failures, so I made several suggestions. We decided to hook up another computer and record simultaneously on both of them. He bought an inexpensive second system which turned out to be cheaper than any of the other recording devices I'd originally suggested. His mixer has separate outputs, so one goes to the main computer, the other to the secondary. By saving to two computers, he eliminated the need to create second copies on his main machine and always has a clean backup at full CD quality available.

March 13, 2006 -- Use your tools regularly, not just when there's work to be done. I find this very true with certain gear that I use as-needed, and I know I'm not using it to its fullest potential. I don't take the time to learn the finer nuances or push the limits. Part of this, for me, stems from busy-ness. I'm often swamped in projects and rarely have time to experiment or fiddle. The trick is to give yourself permission to "play" with no goal of getting anything of real value accomplished. Use this time to discover and re-discover technology, neglected skills, and generally do better work.

March 20, 2006 -- Make constant training part of your career. You must always keep up with the latest technology and techniques and use what you learn to improve both your approach and your music. Take classes, read, watch DVDs, listen to CDs (MP3s are O.K., too). Also, look outside your interests for other ideas that may cross-pollinate to your situation. The solutions in another wholly unrelated industry may inspire and teach you. Also, run a professional business. Be ethical and honest, network with peers, attend and participate in the industry (local, national, worldwide) and its events. Don't be complacent, keep plugging away and promoting. Work to do better in everything. Be more creative and set trends; don't follow them.

March 27, 2006 -- We need to instill in our children that it is OK to be unique and different. Schools tend to take a cookie-cutter approach, and coupled to cutbacks in arts programs, diversity is something shunned not embraced. As parents we must take an active role in our children's arts studies. Just because a student doesn't excel in traditional studies should never mean that artistic outlets hold less merit. I recently finished teaching a youth class in video production. I didn't waste time on theory. Instead I put cameras in their hands, showed them how to edit, and then pushed them to tell stories. And that they did with more insight and acumen than I could have imagined. Sometimes the pixel is mightier than the pen! I feel that we all benefit from more cross-disciplinary studies, too. Instead, primarily at colleges and universities, we see turf wars. The theater department doesn't work with the film department, the journalism majors avoid the broadcast TV students, and the music department can't be bothered to score plays or student films. It's a shame, really. Those students who do cross these invisible boundaries always emerge with more knowledge and a larger network of peers from which to draw from as they embark on their careers. It's simple really. The more you know, the more you can do!

April 3, 2006 -- I've been preparing for this year's National Association of Broadcasters (NAB) convention when I remembered something that happened at this past year's NAB Post-Plus in NYC. After my session on voice-over success, two ingenue VOs shoved their demo CDs into my hands. I threw them into my bag, but never listened to them. I realized today that neither of those presumably success-minded VOs ever bothered to follow up or through. Amazing. Obviously, it took them some time to assemble the demo, a real cost to burn, print, and package it, the fee to attend my session, time spent listening to what I had to say, and the chutzpah to drop their demo on me. And still nothing has ever happened since. Not a phone call, e-mail, or nothing. I do hope you are not following their lead, because follow-up and follow through are always your job when you approach a possible client or gig. Don't just dump your material on the unsuspecting and hope they'll call you. On the contrary, it is you -- always you -- who must take the lead and stay in contact.

April 10, 2006 -- Received an interesting promotion in the mail. It was a refer-a-friend discount from a local car dealer. Essentially, the package contained ten cards that I could pass on to friends and family. When they presented the card at the dealer, they'd get a $200 discount off a new, used, or leased car. Also, if they went to the dealer, I'd get a $200 discount toward a new vehicle, up to a $2000 savings cap. If I sent ten people, I would save more money. This is a great idea that you could use if you teach music lessons or provide any product or service that you sell repeatedly. Figure a way to implement this idea into your business mix.

April 17, 2006 -- John Cedres wrote in this week with a terrific tip: "I had someone come in for studio time and we had finally completed a track complete with post-production after about 5 continuous hours. In the end, the guy I was working with asked if he could have 5 copies of his song when our agreement stated that he would only receive one. I gladly made him 5 copies and didn't charge him anything extra. Truth is, I pay about 15 cents per CD and it took only about 5 minutes to make the copies. He appreciated the gesture very much. In fact, the next time he brought three of his friends with him and let them know what a "cool" guy I was to work with. As a result, each one of his friends booked studio time with me which ultimately led to more business. It's the littlest things you give that are sometimes perceived as powerful special favors in your client's eyes. It helps build credibility as well as trust in your business."

May 1, 2006 -- It's been a hectic and electric week in Las Vegas at the annual National Association of Broadcasters (NAB) convention. I was busy teaching Field Audio Production and various Audio Post-production seminars showing digital storytellers how to make their soundtracks a success. It's an honor for me, but truly exhausting. In between sessions, I found time to stroll the exposition which is indescribably huge and chock-full of every imaginable piece of hardware and software. Of course, the industry leaders are here -- Sony, Apple, Audio-Technica -- along with hundreds and hundreds of others all showing their latest, greatest audio, video, and related solutions. High-definition video was everywhere, but high-definition audio (5.1) only received a cursory treatment here and there. I'm hoping to see more ideas in this area next year. Standouts, for me, were Sony's new Cinescore software and Smart Sound's SonicFire Pro 4 with Mood Mapping. Both products are quite similar (kinda scary actually) in that they allow non-musicians to conform library music to better match visuals, including control over multi-track stems. While it won't put composers out of business, they are both clever products that many A/V creatives will turn to for musical support. You'd better check them out to stay current. Now it's back to the usual work, which I'm happy to get back to now that I'm rested, inspired, and energized about my career. That's one key benefit for me, NAB gets my creative juices flowing. For seven days I've seen some of the most creative work displayed ... now it's my turn to put all that I've discovered to good use.

May 8, 2006 -- More news from NAB ... Heard a terrific mic from Heil. It's a dynamic cardioid that sounds like a condenser with off-axis rejection that was truly amazing, even on the very noisy trade show floor. Talk into the business end and it really shines, turn it around 180 degrees and the sound drops an amazing amount! I'd always wanted a brickwall cardioid, and this may finally be it. Tiny headset mics, in omni and cardioid patterns from DPA are great for podcasting and theater work. Not bad for broadcasting either, as they come in several flesh colors and are low key, if not stealthy when positioned on the non-camera side of the face. Not cheap, but well worth it. Harlan my VO cohort tried the cardioid and we could barely discern the BG noise from the floor as the mic is about an inch from his lips. He's going to try it for auditions on the road to eliminate noisy hotel room sounds and overcome less than ideal acoustics outside his vocal booth. Hopefully, we'll post some tests, soon.

May 15, 2006 -- My friend and co-conspirator, Harlan Hogan, appears in the zaniest game trailer I've ever seen. It's for the new game, "Sam Suede : Undercover Exposure" from the fertile minds of Ken Wegrzyn and Al Lowe. This is the same team who brought you "Leisure Suit Larry." See and listen to Harlan in the very, very funny trailer. Go to here and click the View Trailer link and choose your format. Enjoy!

May 22, 2006 -- As a music professional, you must learn to balance the creative with the practical. Some days your creative juices flow. You don't want anything to interfere with your music. Especially any technological or organizational glitches that may quickly squelch your innovative notions. Here's a hint. On those unfortunate days when your creativity ebbs, use your logical brain to take care of the more mundane, but no less important tasks -- repair, troubleshooting, organization, paperwork, and so forth. I had one of those days recently, so I updated all the software on my computer to the latest (hopefully) bug-free versions, re-organized a couple of hard drives, and tackled a long overdue filing cabinet. It was refreshing, and more importantly, took care of some "issues" that had been obstructing my progress. Things are a little smoother now, so when that creative mood strikes, I can float downstream and not have to fight the technology.

May 29, 2006 -- It's no secret that digital downloads will surpass CD sales. How do you benefit? Scott Liebenow from Little Man Music suggests you look to the next big thing: Burnlounge. Here you can run your own e-tail store selling your own and other people's music and pulling in decent percentages on the sales. Burnlounge is also a kind of MLM idea where you get money from others you add to your downline. Interesting concept with some heavy hitters signing up. Click the link for details.

June 12, 2006 - Soundtrack composers need to be very aware of two developments in the music for picture world: SmartSound's Sonicfire Pro 4 and Sony's Cinescore. Both software products do an amazing job of creating custom music scores from hybrid music library content. The software products are both easy to use, powerful, and plain fun for musicians and non-musicians alike. It's not original music composition, but both products provide unprecedented control over music timing, arrangement, and mix elements (all downsides of most canned library music). I see many low-to-medium budget productions taking advantage of these technologies, which could impact soundtrack composers. I even see the possibility of directors/producers/editors grabbing performance royalties from the music created with these programs. While I doubt these products will fully replace composers, they may take a chunk out of the available pie. They will surely affect the library music world as they are the future of library music.

June 19, 2006 -- Darryl Girard passed along this crucial bit of wisdom: "Yesterday, after finishing with a client in my home studio, there was a call from someone needing studio time who had been referred by one of my other regular clients. I assumed this was a gig "in the bag" and decided to call her back later that evening. I waited only because I had a short time to grab a bite and change clothes before I rushed to a gig. I was shocked when I called her later that evening to find out she was looking at other studios and ended up booking her session elsewhere. Obviously, my assumption was wrong and I learned it would've been better to call her immediately and to eat a power bar on the road." (Hot prospect? Drop everything and close the sale! Thanks, Darryl -- jpf)

June 26, 2006 -- I use Sony Vegas and frequently train others on how to get more from this killer application. Well, I'm pleased to announce that Sony is launching a certification program for people to become certified users and/or certified editors. I have been helping to develop this certification training and evaluation issues and will lead the training in several cities this August. Additionally, yours truly is now one of only a handful of Sony Certified Vegas Trainers in the world, and I am very proud to wear that title. If you are interested in either of the certifications, stop by the Sony Media Software website for details. I'll be teaching in Chicago, Orlando, Los Angeles, and New York City at first with more cities possible down the line.

July 3, 2006 -- Re-discovered a book I'd read ages ago. It's called "A Kick in the Seat of the Pants," by Roger von Oech and it's about unleashing your creativity -- something all of us can use now and again. Von Oech's primary focus is on using what he calls your Explorer, Artist, Judge, and Warrior to be more creative. Essentially, be the Explorer when searching for new information, be the Artist when converting resources into new ideas, evaluate the merits of your ideas by being a Judge, and when it is prudent to implement the idea, be a Warrior and bring it to fruition. It's sensible advice that these few words can't do justice. If you need a kick start, check this resource out!

July 10, 2006 -- The paradigm shift that is today's music industry is best summed up by former Squeeze member, Glenn Tilbrook. In a freshly released DVD documentary, "One for the Road. The Story of One Man, Two Guitars, and an RV," Tilbrook shares his new approach to music industry success. Gone are the huge tours, fancy rides and hotels, and all the excesses of being in a famous band. He's replaced all that with his passion for both the music and his fans and taken a more humble approach. He's logged over 30,000 miles in the states (and countless more in other countries) these last couple of years plugging his album, "The Incomplete Glenn Tilbrook." It is indeed a different music world when even a former superstar has to sell one ticket and one CD at a time. In Tilbrook's case, he isn't worried. Why? He's doing what he loves, entertaining and making music, every minute.

July 17, 2006 -- It's possible to accomplish more with your music using whatever time you have available. Jerry Cleaver, in his "Immediate Fiction" book, offered this simple, yet effective method for making time for your creative pursuits. Set aside five minutes each and every day to work on your music for a month. Take no time off. Ever. For any reason. And don't bank the minutes. Five minutes every day for 30 full days. Now five minutes isn't much time, but the two and a half hours you accrue can add up to some significant progress. And you make music part of your daily, must-do routine. This is important if you have a day job, work your five music minutes BEFORE your regular job. Your mind is fresher and your subconscious learns that music is more important to you.

July 24, 2006 -- Would you agree that promoting your industrial band in a country music magazine isn't the smartest idea in the world? Yet, every day there's evidence of scattershot promotion when laser sharp pinpoint accuracy is what works. Our world is deeply segmented and the tighter your focus on a narrow market segment, the better your results will be. It's a waste of time and money trying to reach everybody with your message. Instead, find the people who already like what you do and concentrate your promotional efforts on them. When it comes to promotion, you can spend money or you can spend time. If funds are short, you need to get more creative with your promotions and devote more time to them. Usually, these get-up-and-go tactics are more effective and substantially more profitable than simply throwing money at the problem. Don't fall into the easy trap of relying on passive promotions, such as advertising, when what you really should be doing is being more active.

July 31, 2006 -- Now you can get digital versions of vintage songs and download them for free. The Cylinder Preservation and Digitization Project Web site (www.cylinders.library.ucsb.edu) has almost 6,600 songs. Juneberry78s.com site (www.juneberry78s.com/sounds/index.htm) has 2,200 songs from rural Southern musicians recorded during the 20s and 30s. The Library of Congress American Memory has thousands of songs including 100 recordings by gramophone inventor Emile Berliner (memory.loc.gov/ammem/berlhtml/berlhome.html). The Library and Archives Canada Virtual Gramophone collection (www.collectionscanada.ca/gramophone/index-e.html) provides pre-1940 material to the tune of 5,000 recordings.

August 7, 2006 -- Gary Bosko from Pivot Entertainment sells digital distribution at gigs by his label's artist Dominique Vouk. Fans don't want to buy physical CDs anymore, so he sells them i-Tunes download cards instead. He's working now to get specific codes so people can just buy Vouk's music, perhaps on a postcard that she can autograph.

August 14, 2006 -- David Jaedyn Conley provided this recent tidbit (He's a featured interview in CASH TRACKS): "I did a film recently for Animadness, which is apparently one of the world's largest film festivals for animation. The filmmakers have three weeks to turn out an animated film based on certain criteria given to them by the festival judges. I had 24 hours to put together the score, record it, and add foley. Because I was so busy I did the film as fast as I could and then backed up the files and forgot about it. Because the film makers are in Australia and I am currently in the U.S. we sent all of the files via the Internet and worked remotely. Then, the other day I got an e-mail stating the film had won the grand prize and that I had won BEST ORIGINAL MUSIC SCORE. I'm pumped -- I've never won any awards for my film scoring outside of school and I really didn't expect to win anything so it's a great surprise. Film festivals usually don't pay any attention to film music so I really had no illusions. The best part is that because I had worked so quickly I literally couldn't remember what I had written because I had never seen the finished product. When I heard I won I visited the website and got a good chuckle out of re-discovering the film. Anyway, if you would like to see the films, including the other winners, go here. And thanks for letting me toot my own horn for a bit!"

August 21, 2006 -- Promote your music by finding radio stations that already play the music you do or appeal to your market in some other way. Ain't no sense sendin' Country to them Alternative stations now is it? Look for small stations, too. Many are only on the AM dial, yet lean toward the progressive side and are open to new things. College stations are a good first strike, too. Find stations at radio locator (www.radio-locator.com). Podcasters should also be targets for your publicity. Do some research and uncover those regular podcasts that already address the topics related to what you do. Some podcasts feature indie bands and artists, do reviews, talk on music business issues, and other material. It's worth it to pitch your ideas to them, too.

August 28, 2006 -- If you haven't looked at PumpAudio yet as a possible revenue-generating source for your music, check it out. Learn about how your music can make you money when picked up by radio, TV, Web, movies, and more.

September 4, 2006 -- "We don't do anything newsworthy." Wanna bet? It's possible to create your own news. All it takes is a little creativity and the gumption to let the media know about what you're doing. Here are some ideas for making the news. * Host an event. Record signing, for instance. * Publish something. CD, book, etc. * Accomplish something. Recording so-and-so's latest CD at your studio * Add new people, gear, or clients to your team. Pro Studio snags award-winning engineer. * Have something interesting to say. Instrument buying tips for parents of new band students. * Take a stand for something controversial or worthwhile. Joe Pro sponsors anti-hunger drive. * Talk about interesting hobbies, pets, and so forth. Joe Pro studios has 12 live-in cats. * Do something or go someplace unusual. Your band's drummer played with the Kodo drummers. * Use your ethnicity, background, or affiliations. Minister turns rocker. * Overcome an obstacle. Singer loses 75 pounds with new diet.

September 11, 2006 -- When you work with your music, let your ears adjust the controls. Too many novices try to choose the "right" settings. Instead, LISTEN and make adjustments. If what you do makes the sound better, it's probably right, even if it doesn't conform to some rule, recommended setting, or other generality. If your changes make matters worse, back up, even if you're doing what you "think" you should be doing (or what somebody else told you to do -- and that includes me!). All projects are different, and therefore your approach should differ accordingly. However, one thing that should remain the same is using your ears to be the judge. And if you don't trust your own ears, bring in a pair you DO trust!

September 18, 2006 -- There is a new e-commerce site that lets musicians list CDs and other products for only $1.00. The site is called TWNstores.com. There is no charge for store set-up, no commission off of a sale, or any transaction fees. It really is only a dollar to list and sell music. (As with all things Net-related, caveat emptor!) More on the story

October 2, 2006 -- I've recently grown fond of the Avantone MixCubes Mini Reference monitors. Sometimes you need a real-world reference to know how your tracks will sound on less than stellar audio playback components. The MixCubes don't sound good, and that's why they are an ideal second monitor during the mix. Read my full review here.

October 9, 2006 -- Serendipity plays a role in everyone's life. Embrace it. Use casual meetings in stores, in line, and so forth and strike up conversations with people. I meet a ton of people when I travel (in airports, on planes, and other chance meetings). Make sure you get around to the "what do you do?" question. You will be pleasantly surprised when the most mundane circumstance results in a useful contact, lead, even new business. I also make it easy for people to approach me by having material with me that indicates what I do. For example, I travel in shirts with my company logo and always have a music or audio/video technology magazine with me. On a recent flight a fellow passenger noticed me reading Electronic Musician and we spoke for some time about music. We traded business cards and now keep in touch.

October 16, 2006 -- Do you have a trusted adviser? This person should be an invaluable part of your success team. Is there someone whose opinion you value? This may be a long-time friend, significant other, or business peer. You can also hire a consultant for assistance. Let this person contribute to your success. The key here is trust. There can't be baggage with this relationship and you can't worry about bruised egos and politeness. You want someone who will be candid, honest, and forthright. Use this ally as a sounding board for new ideas, a shoulder to cry on, and to help you make critical decisions.

October 23, 2006 -- Here is some insight into audio post for video. Many DVDs released today have bonus features that can serve as an education in the art and science of sound for picture. Deleted scenes often do not have the gloss of the completed picture and serve as great indicators of how atrocious many production sound recordings really are. Forest Gump features an interview with sound supervisor Randy Thom along with examples from the film. Star Wars, Episode Two, Attack of the Clones has the definitive look at sound post-production as sound designer Ben Burtt explains that film aren't released, they escape. For an exercise in Film Music 101, grab North by Northwest where one of the extra audio tracks features only Bernard Herrmann's amazing score. And on the Web, check out www.filmsound.org.

October 30, 2006 -- Getting your music products in front of the right audience can pay rich dividends for you. We just did a promotion for our VO Success DVD with the Voice123 website. We offered the DVDs for half-price to the first 100 people who ordered it. We sold all the discs in less than 3 hours! We didn't make a lot of cash on the deal, but we put our product in front of the right audience, which will pay off in future orders down the line. So, the money we didn't make is an investment in promotion and ultimately additional sales later.

November 6, 2006 -- At NAB NYC, I led a session on using stock resources, and the inevitable question of music rights came up. There seems to be a lot of misconception about music rights, especially among the videomaking crowd. Here's how I laid it out. It is the song itself that can be copyrighted. Anybody seeking to use the music, must be away of all the rights belonging to the music copyright holder (usually the composer(s) and publisher(s)). There are four primary rights: Mechanical, Performance, Synchronization, and Master use. Mechanical is the right to reproduce your own version of another's song and a royalty must be paid (about 8 cents per song per unit). Performance is when songs are performed publicly, a royalty must be paid. Sync is the fee that must be negotiated and paid when using music with images i.e. a video. This is the big one that often costs a lot. It's also the most abused as many videographers use copyrighted music in their productions (and they shouldn't!). And Master use is the fee to use the actual recording by an artist (usually owned by a label). These rights are explained more thoroughly in my Cash Tracks book.

November 13, 2006 -- Looking for an inexpensive way to promote your music? Check out the Billboard Publicity Wire. Here you can develop a news release and then Billboard distributes it to print and on-line sources for you for a fee. The amount you pay varies with the distribution. We recently used it to promote the award-winning feature, The Craving Heart.

November 27, 2006 -- What is the real secret to success? Find out what it is you truly want to do and accomplish. Then, arrange your life accordingly to make it happen. Have you found what you're looking for? Are you even searching?

December 4, 2006 -- The number one question I'm most asked is: "Is my gear 'good enough' for professional work?" The question usually continues along the lines of is A-synth better than Z-synth or is P-DAW better than S-DAW? Wow, the music press does a pretty good job of pushing gear and confusing people -- I've been guilty of this myself, I know. What it really comes down to is people make music, not gear. If the equipment you have allows you to capture and present your music in a clean, reasonably competitive way, then what you are using is fine. I say competitive meaning that your tracks need to stand up alongside today's music. If your stuff sounds like it was recorded in a barrel on cassette, then you probably need to invest a little in cleaning up the sound. Virtually any synth/sampler (soft- or hardware), a decent DAW, a good mic/mic preamp (if you record acoustic instruments/voices), and tons of creativity are all you need. Instead of worrying about gear you don't have, get going with the resources you already have.

December 11, 2006 -- One thing about leading pro-level training sessions, as I did last week at the Government Video Expo in DC, is how the audience really challenges you. Obviously, I prepare material and examples for my sessions, but it is the unanticipated question that really keeps me on my toes. Such challenges force me to draw upon all my experience by placing me in problem-solving mode. When another audience member chimes in with his or her experience, we all benefit. Inevitably, the "teacher" always learns from the students. I know many people, especially my college students, have a hard time understanding this. It is nevertheless true. If you really want to test and augment your skills, try teaching another what you do. A five-minute conversation won't do; try teaching for couple of hours and really dig deep into explaining a complex subject. This exercise will force you to organize and explain without skipping over the details. This approach will help you because you'll uncover important points you may have forgotten, took for granted, or simply didn't know about. When you teach, you will learn. It's that simple. And as I'm fond of saying, the more you know, the more you can do!

December 18, 2006 -- I'm a big fan of using your project studio gear to produce on-hold messages. It's straightforward work that pays well. Ron Lewis has put together a terrific Website promoting his own Message On-Hold services. His welcome video is particularly interesting. If you've ever wondered how to promote and sell in this lucrative arena, you'd do well to model Ron's success.

December 26, 2006 -- My good buddy, Harlan Hogan, has authored a terrific article on building a portable VO booth. It's useful for grabbing sound in the field or when using less-than-stellar rooms. It's cheap to build, highly portable, and sounds great!

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