Apple Logic Pro /LogicExpress Discussion

Does anyone here know the ins-outs, or strategies in getting music placed in a Production 
Music Library?,

I have several tracks I believe would qualify for use,

thanks!

¿Taxi.com¿


________________________________

From: tombsp12 <tombsp12@...>
To: Logic_Cafe@yahoogroups.com
Sent: Thursday, October 30, 2008 12:58:21 PM
Subject: [Logic_Cafe] Production Music Libraries


Does anyone here know the ins-outs, or strategies in getting music placed in a Production 
Music Library?,

I have several tracks I believe would qualify for use,

thanks!

 


      

[Non-text portions of this message have been removed]

taxi is having a big conference next weekend in LA. Is anyone else going? 
They have a deal now where you can come for $100, and then if you like it, you 
can join by paying the difference.


**************
Plan your next getaway with AOL 
Travel.  Check out Today's Hot 5 Travel Deals! 
(http://pr.atwola.com/promoclk/100000075x1212416248x1200771803/aol?redir=http://travel.aol.com/discount-travel
?ncid=emlcntustrav00000001)


[Non-text portions of this message have been removed]

never been but there is a topic in the forums that talks about the road rally that has a bunch of good info.

I'll post it if I can find it. 

Have you been to it?

 I'm still building a music catalog to submit at some point, but I get the newsletters. 



 



________________________________

From: "GAmoore@..." <GAmoore@...>
To: Logic_Cafe@yahoogroups.com
Sent: Thursday, October 30, 2008 1:43:07 PM
Subject: Re: [Logic_Cafe] Production Music Libraries


taxi is having a big conference next weekend in LA. Is anyone else going? 
They have a deal now where you can come for $100, and then if you like it, you 
can join by paying the difference.

************ **
Plan your next getaway with AOL 
Travel. Check out Today's Hot 5 Travel Deals! 
(http://pr.atwola. com/promoclk/ 100000075x121241 6248x1200771803/ aol?redir= http://travel. aol.com/discount -travel
?ncid=emlcntustrav0 0000001)

[Non-text portions of this message have been removed]

 


      

[Non-text portions of this message have been removed]

I don't work for taxi or nothing, but here is some info. From that road rally I was talking about

HOME RECORDING BOOT CAMP
Ronan Chris Murphy
Ronan is a producer who has worked with King Crimson and many others. My notes:

Don't sound mediocre like a bunch of midi tracks made by one guy in their bedroom. One way to make it sound high quality instead of like a demo is to add real instrument tracks on top of the midi. Use a real shaker, tambourine, cymbal or highhat. Get one real string player to do a couple of tracks over synth strings. Or use an unusual signature sound like a toy piano. Any acoustic track will add air to midi sequences.

Great producers need people to count on that are really great. Don't do it all yourself, get people on recording who are really great at their instrument. Get best ingredients for each instrument and mix, a strong team makes a great recording.

Match the vocal to the mic. Even with the best mics available, still uses mostly Shure SM57 and SM58. Solid state preamps can be better than tubes. On a budget, spend more money on a good mic, that's more important than a good preamp. A good converter is important.

Better not to use compression while recording a track unless you really know how to make it sound great. Pro's usually do compress going in but if it's not right don't do it.

If equipment is humming, try connecting everything through one outlet.

Never heard a reverb plug-in that sounds as good as an outboard reverb.

Constantly listen to other people's CDs on studio monitors to compare.

Don't use subwoofers while mixing (except occaisionally). Can cause crossover unless it fits acoustic room treatment.

The 808 kick rattles at 60 Hz.

Don't put too many effects in mix on vocals. Dry vocals sound more current. The easiest way to date a recording is the reverb and where the kick and snare sit in the mix. For reverb, delay, compression and EQ, the idea is sprinkle, don't douse. During mixing, add tons of compression. Majority of hit songs use analog outboard compression.

When you get to number 9 on the charts, it's such a great feeling. When you get number 2, it's such a failure.

RED=BAD
Never go into the red while recording.

Most tracks should be recorded mono, except overhead drums and certain instruments (string sections, some keys).

Sometimes double-tracking can mask a good track. Don't overdo it.
--------------------------------------------------------------------------------------------


WRITING & SELLING SONGS IN THE HOT AC MARKET
Robin Frederich
Robin is an AC Taxi screener, writer, producer and recording artist who has worked with Rhino records and Virgin. Robin is a very fun teacher, animated and creative. This was one of my top favorite classes at the Rally, since my music is AC. My notes:

AC and Hot AC demographic is 25-55 years old.
AC= Older artists, smooth
Hot AC= Edgier, assertive groove, syncopated lyrics and tracks
Hot AC is bigger than AC. The combined AC/Hot AC format is the second biggest for radio (first is country) and is the preferred style currently for ads and TV shows such as Gray's Anatomy, Men In Trees.
Included in format is pop, pop/rock, adult pop, singer-songwriter, teen pop, country crossover. Pop is the melodic style, an old word for AC/Hot AC.

AC= Norah Jones, John Mayer, Kelly Clarkson on Breakaway, Celine Dion on Taking Changes. Pop-country crossover Rascal Flatts, Big & Rich, Faith Hill, Leann Rimes
Hot AC= Fray, Lighthouse, Matchbox 20, Chris Daughtry, Pink, Goo Goo Dolls
Crossover both charts AC/Hot AC= Fergie on Big Girls, Chris Daughtry, John Mayer
There's room in the market for hit songs. Album filler is written by artists but hit songs are place-able. In the top of the charts this week, 6 songs on Hot AC and 5 on AC are cowrites.

Every couple of weeks, check the charts (Billboard, search online, listen to the radio). Buy a download or CD of the hit song and study it.

Song structure is VCVCBC, VPCVPCBC or sometimes VPCVPCVPC (V=verse, P=prechorus, C=Chorus, B=Bridge). It's rare to do 3 verses because it brings the listener down at the end. Sometimes an exception would be a half verse but never in teen pop. No AABA for the same reason, returning to the A after the B brings the listener down. Hit songs have big chorus and forward momentum.

Pink: Who Knew? Co-write with producer and artist. Pop-rock. Short intro, conversational lyrics, big chorus, clever hook, the hook is at the end of the chorus.

Lifehouse: First Time. Pop Rock. Conversational lyrics, lift builds, big chorus, hook at the end of chorus.

Natasha Bedingfeld: Unwritten. Co-write. Pop AC. Short intro, repetitive 2 lines, lift gathers momentum, big chorus, hook at end of chorus.

Common elements: structure, momentum, rhythm and melody, repetition, passion, emotion, revealing lyrics, syncopation in hook. Shifting the beat emphasis is the difference between old pop and contemporary. 70's pop melodies lines begin on the first beat and have this rhythm: Line/Pause/Line/Pause and not too much repetition. Current songs repeat more but it doesn't get boring because of the syncopation. Fewer chord changes currently than in the 70s. Lifts don't have any pause, taking out pauses adds momentum.

To study the syncopation of the lyrics, keep beat with hand or foot emphasizing the one. At the same time, speak Da-Da-Da along with the lyrics, not singing or saying the words but just listening for the rhythm of the words. Notice where in the beat the words are emphasized.

Pink: Who Knew? In the verse, empasizes beat 2 until the end when it changes to emphasizing the 4. When it gets to the chorus, the 1 is emphasized. Phrase lengths are all different, sounds current. If all phrases are the same length, sounds dated.

If Robin screens your AC song and says the hook isn't strong eough, it might mean the hook needs to emphasize the 1. If she says it's too generic or dated sounding, it can mean the 1 is too much emphasized and it could change to a more syncopated beat. Try different phrasing, "get in your playpen" and change things around.

Tori Amos: Beekeeper CD. AC. Melody shifts the phrases.

Embed new styles of music by taking a hit song and writing new lyrics. Keep the phrasing the same, where the emphasis is and length. Keep where the title is the same. Try this a few times and then write your own and it will be easier to write in new style.

Rascal Flatts: What Hurts The Most. Unusual beat emphasis and phrase lengths.

Besides syncopation, hit songs have personal lyrics. Fresh, impact, unusual, conversational, revealing, strong images, emotionally direct statements, mix poetry with directness. Make sure listener understands, beautiful imagery is mixed with clear explanation. Listener wants to know what you're feeling and why. Don't have to rhyme, rhymes call attention to themselves and that takes away from the conversational tone. The lyrics can't be too crafty.

Pink: Who Knew? Common phrase is the hook. Contrasts with seriousness of the song's subject. This contrast adds punch.

When pitching, consider if the client is an advertiser. They want to incite feelings of passion, excitement, to associate that feeling with their product. If it sounds like a current hit, it's place-able.

-----------------------------------------------------------------------------------------------------------------------------------------

MELODY MASTER CLASS
Jason Blume - A Hit Songwriter who has had singles on the Pop, Country,, and R&B charts-- all at the same time. His songs are on 3 Grammy nominated albums, have sold more than 50 million copies, and have been recorded by artists including Britney Spears, the Backstreat Boys, Jesse McCartney, John Berry, the Oak Ridge Boys, and more. Author of three best-selling songwriting books and teaches workshops throughout US and internationally.

MY NOTES (Disclaimer: These are my notes, so they are not likely to be 100% accurate to Jason Blume's presentation. In my enthusiasm to write what interested me most, I likely missed some great points. His sessions were chuck full of good stuff! P.P.S. Jason Blume's incredible sense of humor will also not be accurately conveyed herein!)

Main reason for hits are MELODY, NOT LYRICS. MELODY!! There are NO RULES, just tools. Tools to spark and have creativity emerge.

It's a mistake to look at chords, grooves, and beats-- okay with hip hop, jazz, etc., but songs not in those genres need more. Chord changes and groove are only foundation-- shouldn't take front seat.

People don't walk down the street singing chord progressions. So write melody and then choose best and most delicious chords and rhythms that match and bring out that melody.

JASON BLUME WRITES ACAPELLA ONLY! Locks in with rhythm and guitar later, after that one singable melody is created. [demonstration]

When you write for yourself, choose your best range and best techniques-- i.e. deep sultry low notes-- and SHOW THEM OFF!! Show off what you've got.

For a record company-- give them notes and range to shine on-- they want their singer to SHINE and show off their range. Those are the money notes for them.

Tool #1: BIG held out notes-- high, full note held-- shows range and fullness. [song demonstration]

Study 1st songs by an artist-- here you can see what makes it a hit and gives them their first break! Need that 1st break-- through a single hit-- so study these breakthrough songs and you'll hear those incredible songs!

Attitude to have when rejected: "You think my songs isn't good enough? I'll show you how good it will be!! I'm going to do something so undeniable that it just blows you away!" [shared from his personal experience of rejection]

Tool #2 - Limit to simple motifs-- 1-2 per section. One simple, very simple melody [another great demonstration with If You Ever Stop Loving Me song]. Keep it simple.

Tool #3 - Highest note comes in the CHORUS-- pops out, lifted higher in range.

To recap:
One simple melody, repeat
Another simple melody, repeat
[uses songs to give demonstration here]

Tool #4 - Opening lines need to GRAB someone MELODICALLY and if anywhere your lyrics matter, those 1st 10 seconds are it! Grab them at the top of the song. [Demonstration with Face is a Map of the World song, quirky and grabs you right away]

Tool #5 - Title should JUMP OUT of the song, especially when you are pitching to an artist or publisher. Use a different range-- high or low-- to accent the title of the song in the song. Use life (pre-chorus) to lift into the chorus [Demonstration with There is No Arizona song]

Keep a "hook book" of phrases from anywhere that strike you [he shared how this happened with There is No Arizona song]. Then when you write a song, this can 

be life-changing!

=---------------------------------------------------------------------------------------------------------------------------------------------------

VOCAL TECHNIQUE, THE MEMEL METHOD
Steven Memel
Vocal coach for artists such as Maroon 5. This was another of my favorite classes. My notes:

Emotion in singing is the most important thing to connect to listener. Sometimes a singer gets the emotion right, other times misses. There's techniques to getting it right every time, so you can get the great feeling you have singing in the car and bring that to studio or stage on command.

When in touch with emotions, it feels new and authentic. When it isn't right, we get stuck in rigid ways of thinking and moving. First identify the emotional blocks. Demonstration: someone stands up and sings in front of class, nervous. Steve asks what she's nervous about. She answers afraid her voice will crack, that she'll sing out of tune, forget the words, not look good, etc. These thoughts inhibit her so she doesn't sing well, physically stiff performing, no emotional connection to lyrics.

Recognize fears and then dismiss them. So what if her voice cracks? If she looks foolish in front of the class, what difference will it make a year from now? Analyze fear and decide it doesn't matter if judged, voice cracks, out of pitch, disliked, criticized, ashamed, make mistakes, get self-conscious.

Analyze lyrics line by line to understand what the feelings are. Find a physical movement that expresses the feeling. Make it a big gesture, not to be corny or theatrical, to allow our brain to disconnect the auto function and feel the song.

Use a movement that connects to the lyrics. In the demonstration, the lyrics are pleading, Steve suggests holding hands together like praying. Singer does this and there is a big change, her tone is strong and in tune, there's emotional connection to the words listeners can feel.

The movement will reactivate our spontaneous nature and this will allow us to sing like we do when uninhibited. Unexpected movement releases spontaneity. Recognize when fear is activating and allow physical movement to convince brain to relinquish learned behavior.

Tell yourself: I have something to say and someone to say it to. I'm going to like myself no matter what when I leave. These positive thoughts short circuit the habit of being afraid.

Memel technique doesn't work sometimes, it works all the time.
-----------------------------------------------------------------------------------------------------------------------------------------------------------

PHRASING, THE BODY LANGUAGE OF YOUR SONG
Pat Pattison
Songwriting teacher at Berklee, students include John Mayer. His book "Writing Better Lyrics" is hands down my favorite book on songwriting, the only book I use on a regular basis as a reference.

Front end= before the 1
Back end= after the 1
Body language of phrasing, leaning forward or back changes emotion. Front is stable, solid. Back= unstable, floating
Architectonic= structure of tone (cool new word)

If phrase begins on 1 and 3, it'll sound strong. If phrase begins on the 2 and 4, it'll sound like it's floating.
Front heavy/ weak bar= phrase starts on downbeat of 3rd bar


--------------------------------------------------------------------------------------------------------------------------------------
FILM & TV / PUBLISHER PITCH PANEL
Michael Lloyd (co-owner Curb Records, producer with over 100 Gold & Platinum records), Jerry Davis (Fox Sports music supervisor), Cassie Lord (Executive producer Rescue Records/5 Alarm Music), Ted Lowe (president Choice Tracks music library)

Very short intro better for pitching
Up-tempo easier to place, as fast as possible
For sound library CDs, genre has to fit exactly
Helps to have instrumental hook

Sports mostly up-tempo, dramatic, instrumental
Non-specific lyrics, if any, themes like winning, dreams
Orchestral good for action, suspense. Don't over-quantize. Use some live strings so it doesn't sound too synthetic.
End of year highlights: busy track.
Each sport has different musical needs

If song has organic sounds (flute, strings, etc) don't make it clash with drum machine tracks.

Relationship songs work for soaps, movie of the week
Usually much easier to place general emotions like soaring, epic

Repetitive general phrases like "higher"

Michael Lloyd: When you get a rejection what should you do? Do better.

Muzak type tracks very placeable. Weather channel, scenes in malls, elevators.

Make sure music is interesting but won't distract from dialog

Prefer to get link than to get CD

--------------------------------------------------------------------------------------------------------------------------------------------------------------
SECRET SAUCE: The Inside Scoop on How TAXI's Screeners & the Industry Really Work
Panel: Michael Laskow (moderator), Pat Luboff (co-author of 101 Songwriting Wrongs and How to Right Them), Meg Hansen (consultant to Universal, Columbia, and Geffen Records), Matt Hirt (created full-time career in film/TV/commercials from TAXI forwards), John Braheny (author, The Craft and Business of Songwriters), Dave Walton (many film/TV placements & credits), Marlice Kraemer (CCM/Country expert)

[Note: These are brief, abbreviated notes, as I was not present for part of this presentation]

When you write a song for a particular artist, know that the artist wants a song about something they love. Remember-- artists who cut an album will sing those lyrics 100's of times and it must be something they really are a match to. For examples, Garth Brooks is now happily married and does not want to sing songs about divorce, etc. The artists have to LOVE the message of the song-- they want to find a song they'll love.

Do your homework-- know what the artists' lives are all about, know what kinds of things the artists love. Also, remember that some artists prefer to always write their own songs, so don't waste time trying to write for them.

Artists looking for songs are looking for HITS, not just something to fill up their album. So you have to pitch top top notch songs to get noticed in all the songs they review for possible use.
---------------------------------------------------------------------------------------------------------------------------------------------------------

Pete & Pat Luboff's Class on Songwriting

-It is important to address the same thing in your lyrics as you would if you were writing a news article.
Who? Where? What? When? Why? How? and the Feel of the situation.

-within the first 20-30 seconds you should have a simplistic image laid out in order to gain your audience's attention and have them connect to it.

-Always pay attention to the tense of the lyric. don't be switching back and forth between the present and past unless its easy for the listener to follow.

-First person point of view holds the most impact.

don't try and say too much...

DIFFERENTIATE BETWEEN CONFUSION AND MYSTERY... (unless you are writing old school Psychedelic tunes :P )


Pat Pattison - Phrasing (awesome class!)

basically wanted to add to Nomi's notes here..

-Mr. Pattison used Heartbeat city by The Cars as his example. If you listen the whole message that the writer was trying to get through to you were the only lyrics that were front heavy while the rest was all weak bar phrasing. The message was "Oh Jakie"...."I missed you". great stuff.

he also suggested John Meyer's song Belief as another good example of this technique.
---------------------------------------------------------------------------------------------------------------------------------------------------------

RALPH MURPHY - re county music writing - especially lyrics:
-- humour, irony, detail; the woman is always right;
-- 4 to 7 repetitions of title, first use of title within 60 secs;
-- the singer is never a loser or over 30

FETT - re audio mastering-- mastering means adding finesse, power, clarity, polish, cleaniness to a mix -- it is NOT a fixing process

Steps of mastering:
1) - completion of the mix process - you get the stems (stereo sub mixes) as well as the final mix, the final mix is two tracks

2) a - tone shaping - looking for warmth, crispness - balance the tone & ensure frequencies are shared between low, med & high band -- this should be subtle
2) b - leveling - smoothing out the dynamics of the mix

3) - audio repair

If you are mastering an album you want to make the tone of each cut have the same tonal quality -- look for a tonal centre for the album. Also want to have a loudness centre for the album

TED LOWE - re film/tv-- pitch music with updated sounds & great mixes
-- tempo matters - groove is more important than melody a lot of the time
-- be quirky or distinctive

FILM & TV PITCH PANEL-- uptempo gets used more; start with meat & potatoes
-- know what you are pitching for - what would the music be used for, where do you hear it
-- if pitching with vocals -- they must be great
-- whatever you're doing, strive to do it better

A&R LISTENING PANEL #1
-- the listener should feel / have a visual interpretation of the music
-- there is a move back to music with heart & soul -- emotion in lyric & voice
-- more natural, less midi -- makes a difference to have even one or two organic tracks
-- songs must have a really big payoff in the chorus
-------------------------------------------------------------------------------------------------------------------------------------------------------------
GOING PRO: ACHIEVING CAREER SUCCESS AS A PROFESSIONAL
KENNY KERNER (discovered & produced KISS, TAXI screener for 14+ years, among so much more...)

Good enough is not good enough. Better is not best. Unless you are doing the best, it's not good enough. MUST be the BEST ALWAYS, in EVERYTHING YOU DO.

TAXI is the most honest and good company he's ever worked with. They go out of their way to help people.

Good thinking always makes a difference. Plan, research, etc. before you act. Good thinking is just this-- think things through before you do them.

Focus on your set goals, the things you want to do today. What needs my attention today. Keep a diary. Or a list board. Erase things as they are done-- gives you more space in your brain. Be good at erasing things!

KNOW WHO YOU ARE, what you want to be, and what you do best.

As you become successful in one area of music, the other areas of music will open up for you. Focus on what you are good at! You can do all things, but do ONE at a time with success and it will open other doors for you.

Know your limitations and how to reduce them. Get collaborators to write songs with you.

Think and act like a professional. Amateurs think negatively-- can't do this, it's hard, who will do that..?? Professionals think-- how can I reach the next level, how can I adjust things so they'll go to the next level?

Why not seek advice and help of professionals? ASK FOR HELP-- ask manager, people at TAXI, on internet, get advice. Ask professionals-- i.e. TAXI critiques-- and put on your thinking cap when you get the critique back. Even then--- "no.. no... not relevant... ah, yes! That's the 3rd person who had given me that feedback. Let me consider the song with that kind of FB in mind..."

Be original. Think original. What could we do that nobody else has done. What's a great topic for a song that one one is writing about? What twists could we do? For example, "Unbreak My Heart" song...

Work hard, play hard. Do it all 100% Do it all 150%! Must do strategic thinking-- break down thinking into very manageable pieces in order to take action. What is your plan of attack?

Have a career plan-- break things down into the following categories: DOCTOR:
Direction: What to do? Why to do it? What is likely to happen when I do these things? What will come back (like chess)? Will I be prepared for what comes back?
MOST PEOPLE FAIL BECAUSE THEY ARE NOT PREPARED FOR SUCCESS. [I'll interject what he said at mentor lunch here because it fits: If you're a winner and go to Vegas with dimes and pennies, you'll end up with dimes and pennies in winnings. You must get a couple hundred $$, know how to play the gam, study the game, prepare and go in. Then you can WIN, really win the game you came to play. You were prepared. Most businesses fail because the owner's were not prepared for success.]
Organization: Missing pieces that I need to take advantage of
Cash: Budget- dosen't take $$ for success most of the time.
Tracking: Are we on target, are we meeting our goals? Go back and measure success. Stop and reassess progress and success or not along the way.
Overall Evaluation: Are we standing still? Are we moving forward?
Refinement: Tweaking-- what changes need to be made to make things better.
------------------------------------------------------------------------------------------------------------------------------------------------------------
TV/FILM SONG PLACEMENTS VIA MUSIC LIBRARIES
Ted Lowe (President of Choicetracks, Inc., among other achievements)

Build a career, create a story and then it builds interest. Group DNC- song licensed 14+ times-- grabs you quick. It HAS TO with film and TV. Go through music library that has relationship with TV, etc. They'll take calls from people they have relationships with.

Library music-- not a lot of up front money-- TV and repeats is where $$ is.

His advice: Get a lot of music and find a library to work with.

In Choicetracks: Instrumentals: deals on an exclusive contract basis-- 2 minute tracks with sharp, hard button endings. Songs (vocals): on a non-exclusive basis. Not necessarily 2 minute hard end for vocals

Production music-- 1min 55sec average full length. Short intro, verse, chorus, verse, chorus, out. And that's it.

ENDINGS of songs-- likes interesting endings. Like a low note after the end of the last note on a beat, for example [played sample]

Key: Have an interesting intro! Have an interesting ending-- those of the two parts they punch to when reviewing. This will greatly increase the sales and interest in your music and usability.

29.5 seconds for commercial time. Be smart, watch TV and see what they'll want. WATCH TV!! If you submit stuff to him, "YES" is a phone call from him, "NO" is you won't hear back from them at all. Same thing happens with forwards to TV shows-- they'll call you right away if they want it because they'll need paperwork. They won't call if they don't want to use it. Don't wait around for call!

Instrumentals are used LOTS more than vocals in TV/Film.

Experiment with libraries-- see if they pick up your stuff. Bulk deals-- for example, in Choicetracks, they only license 25 songs in bunch at a time. Not singles.

Key-- send demos to music library and then if they like it, send them to a webpge to find you with 30 second edited samples. Best way and it's appreciated!

With music supervisors, don't burn these bridges. They have many people to please.

** From his perspective-- they higher the tempo, the more uptempo your beat, the more likely you'll be able to get used. Upbeat MOVES the story line along. 156 bpm and higher and people eat it up! Make it unique! Use good intros, bubble up quick notes, then get into beat. Instrumental music is biggest seller-- the crazy stuff they love.

He doesn't do much with ads-- but ads pay very well.

When you forward to TAXI, forward vocal version and put an asterisks next to it that says *Instrumental also available. Very professional.

For exclusive contracts, get a reversion clause that says if we don't do such-and-such by this time, you will get the rights back. Research libraries to see how recent they've had placements and to whom. You MUST see if they are doing good business!!!

For record companies, can contract to license your records to them for 3 or 5 years, then have it come back to you.

DO NOT SAMPLE for TV/Film-- NEVER-- must own 100% rights-- never borrow lyrics or words. Royalty free is okay-- but you need to check-- royalty free may be free and clear for all but TV/film
-- be sure to read the fine print!! May exclude movie trailers.
They must xerox samples' book for Choicetracks if they want to use your stuff-- so Choicetracks can see for themselves. Bottom line-- don't borrow or sample-- it will ruin your career forever.

Be professional and accommodating.

Best placements: uptempo, singer/songwriter, rock, hard rock, alternative, etc. Uptempo definitely gets strongest placements.

If you make a direct deal with a TV show or something, be sure to have something in the deal that says you'll get a cue sheet from them for its usage. Keep for your references.

ASCAP reports-- double check. If you get performing rights but no licensing money, why not?? Double check all your payments.




________________________________

From: "GAmoore@..." <GAmoore@...>
To: Logic_Cafe@yahoogroups.com
Sent: Thursday, October 30, 2008 1:43:07 PM
Subject: Re: [Logic_Cafe] Production Music Libraries


taxi is having a big conference next weekend in LA. Is anyone else going? 
They have a deal now where you can come for $100, and then if you like it, you 
can join by paying the difference.

************ **
Plan your next getaway with AOL 
Travel. Check out Today's Hot 5 Travel Deals! 
(http://pr.atwola. com/promoclk/ 100000075x121241 6248x1200771803/ aol?redir= http://travel. aol.com/discount -travel
?ncid=emlcntustrav0 0000001)

[Non-text portions of this message have been removed]

 


      

[Non-text portions of this message have been removed]

thanks for the info

--- In Logic_Cafe@yahoogroups.com, Charles Franklin <dachillone4u@...> wrote:
>
> I don't work for taxi or nothing, but here is some info. From that road rally I was talking 
about
> 
> HOME RECORDING BOOT CAMP
> Ronan Chris Murphy
> Ronan is a producer who has worked with King Crimson and many others. My notes:
> 
> Don't sound mediocre like a bunch of midi tracks made by one guy in their bedroom. 
One way to make it sound high quality instead of like a demo is to add real instrument 
tracks on top of the midi. Use a real shaker, tambourine, cymbal or highhat. Get one real 
string player to do a couple of tracks over synth strings. Or use an unusual signature 
sound like a toy piano. Any acoustic track will add air to midi sequences.
> 
> Great producers need people to count on that are really great. Don't do it all yourself, 
get people on recording who are really great at their instrument. Get best ingredients for 
each instrument and mix, a strong team makes a great recording.
> 
> Match the vocal to the mic. Even with the best mics available, still uses mostly Shure 
SM57 and SM58. Solid state preamps can be better than tubes. On a budget, spend more 
money on a good mic, that's more important than a good preamp. A good converter is 
important.
> 
> Better not to use compression while recording a track unless you really know how to 
make it sound great. Pro's usually do compress going in but if it's not right don't do it.
> 
> If equipment is humming, try connecting everything through one outlet.
> 
> Never heard a reverb plug-in that sounds as good as an outboard reverb.
> 
> Constantly listen to other people's CDs on studio monitors to compare.
> 
> Don't use subwoofers while mixing (except occaisionally). Can cause crossover unless it 
fits acoustic room treatment.
> 
> The 808 kick rattles at 60 Hz.
> 
> Don't put too many effects in mix on vocals. Dry vocals sound more current. The easiest 
way to date a recording is the reverb and where the kick and snare sit in the mix. For 
reverb, delay, compression and EQ, the idea is sprinkle, don't douse. During mixing, add 
tons of compression. Majority of hit songs use analog outboard compression.
> 
> When you get to number 9 on the charts, it's such a great feeling. When you get number 
2, it's such a failure.
> 
> RED=BAD
> Never go into the red while recording.
> 
> Most tracks should be recorded mono, except overhead drums and certain instruments 
(string sections, some keys).
> 
> Sometimes double-tracking can mask a good track. Don't overdo it.
> -------------------------------------------------------------------
-------------------------
> 
> 
> WRITING & SELLING SONGS IN THE HOT AC MARKET
> Robin Frederich
> Robin is an AC Taxi screener, writer, producer and recording artist who has worked with 
Rhino records and Virgin. Robin is a very fun teacher, animated and creative. This was one 
of my top favorite classes at the Rally, since my music is AC. My notes:
> 
> AC and Hot AC demographic is 25-55 years old.
> AC= Older artists, smooth
> Hot AC= Edgier, assertive groove, syncopated lyrics and tracks
> Hot AC is bigger than AC. The combined AC/Hot AC format is the second biggest for 
radio (first is country) and is the preferred style currently for ads and TV shows such as 
Gray's Anatomy, Men In Trees.
> Included in format is pop, pop/rock, adult pop, singer-songwriter, teen pop, country 
crossover. Pop is the melodic style, an old word for AC/Hot AC.
> 
> AC= Norah Jones, John Mayer, Kelly Clarkson on Breakaway, Celine Dion on Taking 
Changes. Pop-country crossover Rascal Flatts, Big & Rich, Faith Hill, Leann Rimes
> Hot AC= Fray, Lighthouse, Matchbox 20, Chris Daughtry, Pink, Goo Goo Dolls
> Crossover both charts AC/Hot AC= Fergie on Big Girls, Chris Daughtry, John Mayer
> There's room in the market for hit songs. Album filler is written by artists but hit songs 
are place-able. In the top of the charts this week, 6 songs on Hot AC and 5 on AC are 
cowrites.
> 
> Every couple of weeks, check the charts (Billboard, search online, listen to the radio). 
Buy a download or CD of the hit song and study it.
> 
> Song structure is VCVCBC, VPCVPCBC or sometimes VPCVPCVPC (V=verse, P=prechorus, 
C=Chorus, B=Bridge). It's rare to do 3 verses because it brings the listener down at the 
end. Sometimes an exception would be a half verse but never in teen pop. No AABA for 
the same reason, returning to the A after the B brings the listener down. Hit songs have 
big chorus and forward momentum.
> 
> Pink: Who Knew? Co-write with producer and artist. Pop-rock. Short intro, 
conversational lyrics, big chorus, clever hook, the hook is at the end of the chorus.
> 
> Lifehouse: First Time. Pop Rock. Conversational lyrics, lift builds, big chorus, hook at 
the end of chorus.
> 
> Natasha Bedingfeld: Unwritten. Co-write. Pop AC. Short intro, repetitive 2 lines, lift 
gathers momentum, big chorus, hook at end of chorus.
> 
> Common elements: structure, momentum, rhythm and melody, repetition, passion, 
emotion, revealing lyrics, syncopation in hook. Shifting the beat emphasis is the difference 
between old pop and contemporary. 70's pop melodies lines begin on the first beat and 
have this rhythm: Line/Pause/Line/Pause and not too much repetition. Current songs 
repeat more but it doesn't get boring because of the syncopation. Fewer chord changes 
currently than in the 70s. Lifts don't have any pause, taking out pauses adds momentum.
> 
> To study the syncopation of the lyrics, keep beat with hand or foot emphasizing the 
one. At the same time, speak Da-Da-Da along with the lyrics, not singing or saying the 
words but just listening for the rhythm of the words. Notice where in the beat the words 
are emphasized.
> 
> Pink: Who Knew? In the verse, empasizes beat 2 until the end when it changes to 
emphasizing the 4. When it gets to the chorus, the 1 is emphasized. Phrase lengths are all 
different, sounds current. If all phrases are the same length, sounds dated.
> 
> If Robin screens your AC song and says the hook isn't strong eough, it might mean the 
hook needs to emphasize the 1. If she says it's too generic or dated sounding, it can mean 
the 1 is too much emphasized and it could change to a more syncopated beat. Try 
different phrasing, "get in your playpen" and change things around.
> 
> Tori Amos: Beekeeper CD. AC. Melody shifts the phrases.
> 
> Embed new styles of music by taking a hit song and writing new lyrics. Keep the 
phrasing the same, where the emphasis is and length. Keep where the title is the same. 
Try this a few times and then write your own and it will be easier to write in new style.
> 
> Rascal Flatts: What Hurts The Most. Unusual beat emphasis and phrase lengths.
> 
> Besides syncopation, hit songs have personal lyrics. Fresh, impact, unusual, 
conversational, revealing, strong images, emotionally direct statements, mix poetry with 
directness. Make sure listener understands, beautiful imagery is mixed with clear 
explanation. Listener wants to know what you're feeling and why. Don't have to rhyme, 
rhymes call attention to themselves and that takes away from the conversational tone. The 
lyrics can't be too crafty.
> 
> Pink: Who Knew? Common phrase is the hook. Contrasts with seriousness of the song's 
subject. This contrast adds punch.
> 
> When pitching, consider if the client is an advertiser. They want to incite feelings of 
passion, excitement, to associate that feeling with their product. If it sounds like a current 
hit, it's place-able.
> 
> -------------------------------------------------------------------
---------------------------------------------------------------------
-
> 
> MELODY MASTER CLASS
> Jason Blume - A Hit Songwriter who has had singles on the Pop, Country,, and R&B 
charts-- all at the same time. His songs are on 3 Grammy nominated albums, have sold 
more than 50 million copies, and have been recorded by artists including Britney Spears, 
the Backstreat Boys, Jesse McCartney, John Berry, the Oak Ridge Boys, and more. Author of 
three best-selling songwriting books and teaches workshops throughout US and 
internationally.
> 
> MY NOTES (Disclaimer: These are my notes, so they are not likely to be 100% accurate to 
Jason Blume's presentation. In my enthusiasm to write what interested me most, I likely 
missed some great points. His sessions were chuck full of good stuff! P.P.S. Jason Blume's 
incredible sense of humor will also not be accurately conveyed herein!)
> 
> Main reason for hits are MELODY, NOT LYRICS. MELODY!! There are NO RULES, just tools. 
Tools to spark and have creativity emerge.
> 
> It's a mistake to look at chords, grooves, and beats-- okay with hip hop, jazz, etc., but 
songs not in those genres need more. Chord changes and groove are only foundation-- 
shouldn't take front seat.
> 
> People don't walk down the street singing chord progressions. So write melody and then 
choose best and most delicious chords and rhythms that match and bring out that melody.
> 
> JASON BLUME WRITES ACAPELLA ONLY! Locks in with rhythm and guitar later, after that 
one singable melody is created. [demonstration]
> 
> When you write for yourself, choose your best range and best techniques-- i.e. deep 
sultry low notes-- and SHOW THEM OFF!! Show off what you've got.
> 
> For a record company-- give them notes and range to shine on-- they want their singer 
to SHINE and show off their range. Those are the money notes for them.
> 
> Tool #1: BIG held out notes-- high, full note held-- shows range and fullness. [song 
demonstration]
> 
> Study 1st songs by an artist-- here you can see what makes it a hit and gives them their 
first break! Need that 1st break-- through a single hit-- so study these breakthrough 
songs and you'll hear those incredible songs!
> 
> Attitude to have when rejected: "You think my songs isn't good enough? I'll show you 
how good it will be!! I'm going to do something so undeniable that it just blows you away!" 
[shared from his personal experience of rejection]
> 
> Tool #2 - Limit to simple motifs-- 1-2 per section. One simple, very simple melody 
[another great demonstration with If You Ever Stop Loving Me song]. Keep it simple.
> 
> Tool #3 - Highest note comes in the CHORUS-- pops out, lifted higher in range.
> 
> To recap:
> One simple melody, repeat
> Another simple melody, repeat
> [uses songs to give demonstration here]
> 
> Tool #4 - Opening lines need to GRAB someone MELODICALLY and if anywhere your 
lyrics matter, those 1st 10 seconds are it! Grab them at the top of the song. 
[Demonstration with Face is a Map of the World song, quirky and grabs you right away]
> 
> Tool #5 - Title should JUMP OUT of the song, especially when you are pitching to an 
artist or publisher. Use a different range-- high or low-- to accent the title of the song in 
the song. Use life (pre-chorus) to lift into the chorus [Demonstration with There is No 
Arizona song]
> 
> Keep a "hook book" of phrases from anywhere that strike you [he shared how this 
happened with There is No Arizona song]. Then when you write a song, this can 
> 
> be life-changing!
> 
> =------------------------------------------------------------------
---------------------------------------------------------------------
------------
> 
> VOCAL TECHNIQUE, THE MEMEL METHOD
> Steven Memel
> Vocal coach for artists such as Maroon 5. This was another of my favorite classes. My 
notes:
> 
> Emotion in singing is the most important thing to connect to listener. Sometimes a 
singer gets the emotion right, other times misses. There's techniques to getting it right 
every time, so you can get the great feeling you have singing in the car and bring that to 
studio or stage on command.
> 
> When in touch with emotions, it feels new and authentic. When it isn't right, we get 
stuck in rigid ways of thinking and moving. First identify the emotional blocks. 
Demonstration: someone stands up and sings in front of class, nervous. Steve asks what 
she's nervous about. She answers afraid her voice will crack, that she'll sing out of tune, 
forget the words, not look good, etc. These thoughts inhibit her so she doesn't sing well, 
physically stiff performing, no emotional connection to lyrics.
> 
> Recognize fears and then dismiss them. So what if her voice cracks? If she looks foolish 
in front of the class, what difference will it make a year from now? Analyze fear and decide 
it doesn't matter if judged, voice cracks, out of pitch, disliked, criticized, ashamed, make 
mistakes, get self-conscious.
> 
> Analyze lyrics line by line to understand what the feelings are. Find a physical movement 
that expresses the feeling. Make it a big gesture, not to be corny or theatrical, to allow our 
brain to disconnect the auto function and feel the song.
> 
> Use a movement that connects to the lyrics. In the demonstration, the lyrics are 
pleading, Steve suggests holding hands together like praying. Singer does this and there is 
a big change, her tone is strong and in tune, there's emotional connection to the words 
listeners can feel.
> 
> The movement will reactivate our spontaneous nature and this will allow us to sing like 
we do when uninhibited. Unexpected movement releases spontaneity. Recognize when 
fear is activating and allow physical movement to convince brain to relinquish learned 
behavior.
> 
> Tell yourself: I have something to say and someone to say it to. I'm going to like myself 
no matter what when I leave. These positive thoughts short circuit the habit of being 
afraid.
> 
> Memel technique doesn't work sometimes, it works all the time.
> -------------------------------------------------------------------
---------------------------------------------------------------------
-------------------
> 
> PHRASING, THE BODY LANGUAGE OF YOUR SONG
> Pat Pattison
> Songwriting teacher at Berklee, students include John Mayer. His book "Writing Better 
Lyrics" is hands down my favorite book on songwriting, the only book I use on a regular 
basis as a reference.
> 
> Front end= before the 1
> Back end= after the 1
> Body language of phrasing, leaning forward or back changes emotion. Front is stable, 
solid. Back= unstable, floating
> Architectonic= structure of tone (cool new word)
> 
> If phrase begins on 1 and 3, it'll sound strong. If phrase begins on the 2 and 4, it'll 
sound like it's floating.
> Front heavy/ weak bar= phrase starts on downbeat of 3rd bar
> 
> 
> -------------------------------------------------------------------
-------------------------------------------------------------------
> FILM & TV / PUBLISHER PITCH PANEL
> Michael Lloyd (co-owner Curb Records, producer with over 100 Gold & Platinum 
records), Jerry Davis (Fox Sports music supervisor), Cassie Lord (Executive producer 
Rescue Records/5 Alarm Music), Ted Lowe (president Choice Tracks music library)
> 
> Very short intro better for pitching
> Up-tempo easier to place, as fast as possible
> For sound library CDs, genre has to fit exactly
> Helps to have instrumental hook
> 
> Sports mostly up-tempo, dramatic, instrumental
> Non-specific lyrics, if any, themes like winning, dreams
> Orchestral good for action, suspense. Don't over-quantize. Use some live strings so it 
doesn't sound too synthetic.
> End of year highlights: busy track.
> Each sport has different musical needs
> 
> If song has organic sounds (flute, strings, etc) don't make it clash with drum machine 
tracks.
> 
> Relationship songs work for soaps, movie of the week
> Usually much easier to place general emotions like soaring, epic
> 
> Repetitive general phrases like "higher"
> 
> Michael Lloyd: When you get a rejection what should you do? Do better.
> 
> Muzak type tracks very placeable. Weather channel, scenes in malls, elevators.
> 
> Make sure music is interesting but won't distract from dialog
> 
> Prefer to get link than to get CD
> 
> -------------------------------------------------------------------
---------------------------------------------------------------------
----------------------
> SECRET SAUCE: The Inside Scoop on How TAXI's Screeners & the Industry Really Work
> Panel: Michael Laskow (moderator), Pat Luboff (co-author of 101 Songwriting Wrongs 
and How to Right Them), Meg Hansen (consultant to Universal, Columbia, and Geffen 
Records), Matt Hirt (created full-time career in film/TV/commercials from TAXI forwards), 
John Braheny (author, The Craft and Business of Songwriters), Dave Walton (many film/TV 
placements & credits), Marlice Kraemer (CCM/Country expert)
> 
> [Note: These are brief, abbreviated notes, as I was not present for part of this 
presentation]
> 
> When you write a song for a particular artist, know that the artist wants a song about 
something they love. Remember-- artists who cut an album will sing those lyrics 100's of 
times and it must be something they really are a match to. For examples, Garth Brooks is 
now happily married and does not want to sing songs about divorce, etc. The artists have 
to LOVE the message of the song-- they want to find a song they'll love.
> 
> Do your homework-- know what the artists' lives are all about, know what kinds of 
things the artists love. Also, remember that some artists prefer to always write their own 
songs, so don't waste time trying to write for them.
> 
> Artists looking for songs are looking for HITS, not just something to fill up their album. 
So you have to pitch top top notch songs to get noticed in all the songs they review for 
possible use.
> -------------------------------------------------------------------
---------------------------------------------------------------------
-----------------
> 
> Pete & Pat Luboff's Class on Songwriting
> 
> -It is important to address the same thing in your lyrics as you would if you were 
writing a news article.
> Who? Where? What? When? Why? How? and the Feel of the situation.
> 
> -within the first 20-30 seconds you should have a simplistic image laid out in order to 
gain your audience's attention and have them connect to it.
> 
> -Always pay attention to the tense of the lyric. don't be switching back and forth 
between the present and past unless its easy for the listener to follow.
> 
> -First person point of view holds the most impact.
> 
> don't try and say too much...
> 
> DIFFERENTIATE BETWEEN CONFUSION AND MYSTERY... (unless you are writing old school 
Psychedelic tunes :P )
> 
> 
> Pat Pattison - Phrasing (awesome class!)
> 
> basically wanted to add to Nomi's notes here..
> 
> -Mr. Pattison used Heartbeat city by The Cars as his example. If you listen the whole 
message that the writer was trying to get through to you were the only lyrics that were 
front heavy while the rest was all weak bar phrasing. The message was "Oh Jakie"...."I 
missed you". great stuff.
> 
> he also suggested John Meyer's song Belief as another good example of this technique.
> -------------------------------------------------------------------
---------------------------------------------------------------------
-----------------
> 
> RALPH MURPHY - re county music writing - especially lyrics:
> -- humour, irony, detail; the woman is always right;
> -- 4 to 7 repetitions of title, first use of title within 60 secs;
> -- the singer is never a loser or over 30
> 
> FETT - re audio mastering-- mastering means adding finesse, power, clarity, polish, 
cleaniness to a mix -- it is NOT a fixing process
> 
> Steps of mastering:
> 1) - completion of the mix process - you get the stems (stereo sub mixes) as well as the 
final mix, the final mix is two tracks
> 
> 2) a - tone shaping - looking for warmth, crispness - balance the tone & ensure 
frequencies are shared between low, med & high band -- this should be subtle
> 2) b - leveling - smoothing out the dynamics of the mix
> 
> 3) - audio repair
> 
> If you are mastering an album you want to make the tone of each cut have the same 
tonal quality -- look for a tonal centre for the album. Also want to have a loudness centre 
for the album
> 
> TED LOWE - re film/tv-- pitch music with updated sounds & great mixes
> -- tempo matters - groove is more important than melody a lot of the time
> -- be quirky or distinctive
> 
> FILM & TV PITCH PANEL-- uptempo gets used more; start with meat & potatoes
> -- know what you are pitching for - what would the music be used for, where do you 
hear it
> -- if pitching with vocals -- they must be great
> -- whatever you're doing, strive to do it better
> 
> A&R LISTENING PANEL #1
> -- the listener should feel / have a visual interpretation of the music
> -- there is a move back to music with heart & soul -- emotion in lyric & voice
> -- more natural, less midi -- makes a difference to have even one or two organic tracks
> -- songs must have a really big payoff in the chorus
> -------------------------------------------------------------------
---------------------------------------------------------------------
---------------------
> GOING PRO: ACHIEVING CAREER SUCCESS AS A PROFESSIONAL
> KENNY KERNER (discovered & produced KISS, TAXI screener for 14+ years, among so 
much more...)
> 
> Good enough is not good enough. Better is not best. Unless you are doing the best, it's 
not good enough. MUST be the BEST ALWAYS, in EVERYTHING YOU DO.
> 
> TAXI is the most honest and good company he's ever worked with. They go out of their 
way to help people.
> 
> Good thinking always makes a difference. Plan, research, etc. before you act. Good 
thinking is just this-- think things through before you do them.
> 
> Focus on your set goals, the things you want to do today. What needs my attention 
today. Keep a diary. Or a list board. Erase things as they are done-- gives you more space 
in your brain. Be good at erasing things!
> 
> KNOW WHO YOU ARE, what you want to be, and what you do best.
> 
> As you become successful in one area of music, the other areas of music will open up 
for you. Focus on what you are good at! You can do all things, but do ONE at a time with 
success and it will open other doors for you.
> 
> Know your limitations and how to reduce them. Get collaborators to write songs with 
you.
> 
> Think and act like a professional. Amateurs think negatively-- can't do this, it's hard, 
who will do that..?? Professionals think-- how can I reach the next level, how can I adjust 
things so they'll go to the next level?
> 
> Why not seek advice and help of professionals? ASK FOR HELP-- ask manager, people at 
TAXI, on internet, get advice. Ask professionals-- i.e. TAXI critiques-- and put on your 
thinking cap when you get the critique back. Even then--- "no.. no... not relevant... ah, 
yes! That's the 3rd person who had given me that feedback. Let me consider the song with 
that kind of FB in mind..."
> 
> Be original. Think original. What could we do that nobody else has done. What's a great 
topic for a song that one one is writing about? What twists could we do? For example, 
"Unbreak My Heart" song...
> 
> Work hard, play hard. Do it all 100% Do it all 150%! Must do strategic thinking-- break 
down thinking into very manageable pieces in order to take action. What is your plan of 
attack?
> 
> Have a career plan-- break things down into the following categories: DOCTOR:
> Direction: What to do? Why to do it? What is likely to happen when I do these things? 
What will come back (like chess)? Will I be prepared for what comes back?
> MOST PEOPLE FAIL BECAUSE THEY ARE NOT PREPARED FOR SUCCESS. [I'll interject what 
he said at mentor lunch here because it fits: If you're a winner and go to Vegas with dimes 
and pennies, you'll end up with dimes and pennies in winnings. You must get a couple 
hundred $$, know how to play the gam, study the game, prepare and go in. Then you can 
WIN, really win the game you came to play. You were prepared. Most businesses fail 
because the owner's were not prepared for success.]
> Organization: Missing pieces that I need to take advantage of
> Cash: Budget- dosen't take $$ for success most of the time.
> Tracking: Are we on target, are we meeting our goals? Go back and measure success. 
Stop and reassess progress and success or not along the way.
> Overall Evaluation: Are we standing still? Are we moving forward?
> Refinement: Tweaking-- what changes need to be made to make things better.
> -------------------------------------------------------------------
---------------------------------------------------------------------
--------------------
> TV/FILM SONG PLACEMENTS VIA MUSIC LIBRARIES
> Ted Lowe (President of Choicetracks, Inc., among other achievements)
> 
> Build a career, create a story and then it builds interest. Group DNC- song licensed 14+ 
times-- grabs you quick. It HAS TO with film and TV. Go through music library that has 
relationship with TV, etc. They'll take calls from people they have relationships with.
> 
> Library music-- not a lot of up front money-- TV and repeats is where $$ is.
> 
> His advice: Get a lot of music and find a library to work with.
> 
> In Choicetracks: Instrumentals: deals on an exclusive contract basis-- 2 minute tracks 
with sharp, hard button endings. Songs (vocals): on a non-exclusive basis. Not necessarily 
2 minute hard end for vocals
> 
> Production music-- 1min 55sec average full length. Short intro, verse, chorus, verse, 
chorus, out. And that's it.
> 
> ENDINGS of songs-- likes interesting endings. Like a low note after the end of the last 
note on a beat, for example [played sample]
> 
> Key: Have an interesting intro! Have an interesting ending-- those of the two parts they 
punch to when reviewing. This will greatly increase the sales and interest in your music 
and usability.
> 
> 29.5 seconds for commercial time. Be smart, watch TV and see what they'll want. 
WATCH TV!! If you submit stuff to him, "YES" is a phone call from him, "NO" is you won't 
hear back from them at all. Same thing happens with forwards to TV shows-- they'll call 
you right away if they want it because they'll need paperwork. They won't call if they don't 
want to use it. Don't wait around for call!
> 
> Instrumentals are used LOTS more than vocals in TV/Film.
> 
> Experiment with libraries-- see if they pick up your stuff. Bulk deals-- for example, in 
Choicetracks, they only license 25 songs in bunch at a time. Not singles.
> 
> Key-- send demos to music library and then if they like it, send them to a webpge to 
find you with 30 second edited samples. Best way and it's appreciated!
> 
> With music supervisors, don't burn these bridges. They have many people to please.
> 
> ** From his perspective-- they higher the tempo, the more uptempo your beat, the 
more likely you'll be able to get used. Upbeat MOVES the story line along. 156 bpm and 
higher and people eat it up! Make it unique! Use good intros, bubble up quick notes, then 
get into beat. Instrumental music is biggest seller-- the crazy stuff they love.
> 
> He doesn't do much with ads-- but ads pay very well.
> 
> When you forward to TAXI, forward vocal version and put an asterisks next to it that 
says *Instrumental also available. Very professional.
> 
> For exclusive contracts, get a reversion clause that says if we don't do such-and-such 
by this time, you will get the rights back. Research libraries to see how recent they've had 
placements and to whom. You MUST see if they are doing good business!!!
> 
> For record companies, can contract to license your records to them for 3 or 5 years, then 
have it come back to you.
> 
> DO NOT SAMPLE for TV/Film-- NEVER-- must own 100% rights-- never borrow lyrics 
or words. Royalty free is okay-- but you need to check-- royalty free may be free and 
clear for all but TV/film
> -- be sure to read the fine print!! May exclude movie trailers.
> They must xerox samples' book for Choicetracks if they want to use your stuff-- so 
Choicetracks can see for themselves. Bottom line-- don't borrow or sample-- it will ruin 
your career forever.
> 
> Be professional and accommodating.
> 
> Best placements: uptempo, singer/songwriter, rock, hard rock, alternative, etc. Uptempo 
definitely gets strongest placements.
> 
> If you make a direct deal with a TV show or something, be sure to have something in 
the deal that says you'll get a cue sheet from them for its usage. Keep for your references.
> 
> ASCAP reports-- double check. If you get performing rights but no licensing money, 
why not?? Double check all your payments.
> 
> 
> 
> 
> ________________________________
> From: "GAmoore@..." <GAmoore@...>
> To: Logic_Cafe@yahoogroups.com
> Sent: Thursday, October 30, 2008 1:43:07 PM
> Subject: Re: [Logic_Cafe] Production Music Libraries
> 
> 
> taxi is having a big conference next weekend in LA. Is anyone else going? 
> They have a deal now where you can come for $100, and then if you like it, you 
> can join by paying the difference.
> 
> ************ **
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>  
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