I was searching around the ‘net today for cool tools, and I found something that I never would have thought of, a web-based sequencer. That’s exactly what I found in Soundation Studio. The interface itself looks remarkably like a cross between GarageBand and Fruity Loops. While it’s not quite as feature rich as those programs, it does boast a library of over 400 loops, three synthesizers, a drum machine, and 11 real-time effects. Best of all, it’s completely free!
Users can mix loops and utilize track automation. Once the mix is complete, simply bounce it down to a wave file. One interesting feature is the ability to host your creations as an mp3 file online and direct your friends to a specific URL. Also, you can embed your audio in much the same way you do with YouTube videos.
As a creation tool, Soundation Studio opens up worlds of opportunities. Not only does it present musicians with a place to create from anywhere in the world, any time the muse strikes, but it’s also a great introduction to the world of sequencing and loops. Soundation Studio could be used in the home or in the classroom.
Check it out. Let us know your thoughts. How could you use Soundation Studio?
Have you ever thought that giving your music away for free will help to actually increase sales? It’s true. On top of that, and perhaps more importantly, it will help to solidify fan loyalty.
In truth, no matter how hard we try to keep online music thieves from ripping our music, some persistent pirate is bound to find a way. Whether by way of P2P filesharing, rips of streams, or YouTube videos, someone is going to find a way to get something for nothing. Why not preempt them by offering music for free?
Free music adds value. It seems a bit counter-intuitive to think that giving something away will actually add value to your music, but it in fact does just that. Primarily, it’s a gesture of good will to your fans. It’s an outward sign that you care about your fans. If you include other goodies, such as album art, and ID3 tags, then they’re actually getting a better (and safer) deal than from a P2P software.
Free music is a portal. It serves to bring potential customers, both new and previous buyers, to your site. It helps to generate interest in or, at the very least, awareness of, your music. Many a band encouraged piracy in the form of bootlegging in order to create a buzz about their music in their early years.
Limited-time freebies create a sense of urgency. By only offering portions of your catalog for a short window of opportunity, you’re creating urgency in the mind of your potential customers. This can be a valuable tool for several reasons. You can use it to create an awareness fast. You can bring in an influx of visitors to your site, which is good coupled with other sales opportunities.
Here’s an example. AfterEdmund, a surprisingly savvy yet incredibly talented Christian rock act, is working on their sophomore album. To get a buzz going, for one week, they blasted their various social media network presences (Facebook, MySpace, Twitter, and YouTube) with details on a free download of one of the new singles. After then, the offer disappeared. Doing so not only helped to pull fans to their website, but it also built interest and anticipation for the new album. These guys are a great study on self-marketing and -promotion. Keep an eye out for MusicIsMyBiz’s interview with AfterEdmund, coming up soon. In the meantime, check out their debut album, Hello.
Have you offered your music for free? What were your results? Comment and share your thoughts.
Anyone familiar with ProBlogger.net is familiar with Darren Rowse’s “Speedlinking”. Every so often, he’ll post a collection of useful links. Here’s the first one for MusicIsMyBiz. I shall call it “Resource Round-Up”.
In our last post, I gave you the Secrets to NOT Getting Booked for a Gig. Today I ran across a post on Bob Baker’s Music Promotion Blog that I would be completely remiss if I didn’t share with you all.
It’s a humorous take on the practices that keep bands and musicians in failure mode. Shamefully, I can say that I’ve been guilty of a few of these myself in the past. I still struggle with a couple in particular.
You’ve seen the tips on how to get booked for a gig. But I bet you haven’t seen the secrets of how to NOT get booked (or booked again) by a club or venue. Here are seven sure-fire ways to ensure that you won’t get a call to perform:
1.) Don’t give them a complete press kit. Venues and club owners want to know what they’re getting when they book you. While CDs are a given, most venues would like to see a bio, press clips, or fact sheet.
2.) Don’t put your contact info on everything. Press kits get misplaced and separated from CDs. If the venue loves your music and wants to book you, but your contact info isn’t on your demo, then you can bet you won’t get the call back.
3.) Don’t follow up. Club owners get busy. After all, they do have a business to run. If you don’t get called back after a reasonable time, it may not always be because they don’t like you. They may not have gotten around to listening to the demo, or they may have forgotten to get in touch with you. Out of sight, sometimes really is out of mind. So not following up with leads may just make you lose that gig.
4.) Don’t start on time. Fashionably late doesn’t exist when it comes to gigs. Similarly, taking breaks that are too frequent or too long are deal-breakers. Crowds get antsy. Owners get antsy. Keep them waiting, and you likely won’t get hired back.
5.) Don’t fill the venue. Club owners really don’t care about your music. They care about filling their establishment with PAYING patrons. They want to sell enough food and drinks to cover your band and make a profit for the night. Playing to an empty club definitely won’t get you hired again.
6.) Don’t cater to the audience. Even though your adoring fans show up to support you, not everyone in the audience is there to see your band. Some people just like the establishment. Make that crowd react negatively with your music, volume, or antics, and you won’t play there again.
7.) Advertise other gigs on nights that compete with the current venue. You’ve got a gig tomorrow night at a competing club across town? Great! Your fans need to know it, but do it discretely. Announcing that gig on the microphone tells a club that you’re stealing their crowd. That’s bad business. Do it and you won’t be asked back.
What other tactics can you think of that ruin your chances of getting booked?
I often struggle with the balance between my Creative Brain and my Business Brain. While one would think I gravitate to my creative side, there are times, like recently, when I find myself hanging out in business mode and generally being uncreative. While trying to motivate myself, I ran across an article on the Music Biz Academy that I found quite interesting, The Creative You and the Business You. While I don’t typically do link posts on the MusicIsMyBiz blog, I would like to pass this along to you guys.
I’ve always been a die-hard do-it-yourself kind of guy. I like things to be done the way I want them done, so I tend to try to do everything on my own. After enough time spend trying to do everything myself, I started to reach the point of burn out. I was getting frazzled trying to complete projects, so I never seemed to get anything done. I found that, even though I could do some things decently, I still couldn’t approach the quality of having a dedicated professional do those things for me. The hardest part was being able to relinquish my control to someone else, and risk spending money on something that may not be exactly what I had in mind. But I’ve found that, even in music, outsourcing is a most valuable asset to my operation.
Outsourcing is frequently used in the business world to help get things done faster, better, and cheaper than one could do himself. On the other hand, outsourcing is rarely thought of when it comes to music. Sure, you would outsource your music to a replication house such as Discmakers, but there are other avenues to consider when it comes to completing your recording project better and faster.
Hiring a Producer. Most people hate the notion of handing their creative control over to a producer. Somehow, it’s equated with selling one’s soul to the devil. But consider this: if you’ve worked on a project for a considerable amount of time, particularly if you feel like you’ve been spinning your wheels, then a producer’s fresh ideas may just revitalize your project. If you’re starting from scratch, a good producer will help you zero in on a particular creative direction, help you stay focused, maintain organization, and generally help a project get to completion faster.
Using Session Players. Unless your specific project is a solo one-man-band album, then hiring session players highly recommended. I used to be adamantly opposed to the idea, preferring to try to play all the other parts on my own in order to save money, until I realized that hiring great, professional players only helped to make me look better. Somehow, I used to think they would make me look bad by playing better than me, but, in the end, the opposite was true. They played the parts solidly, with more feel, and faster than I could on those other instruments. Since they’re truly professional players, they know what “fits” within the context of the song, and they deliver quickly and consistently every time. Session players are a must for singer/songwriters, songwriter demos, and solo instrumentalists.
Mixing. If you’ve recorded your own music, then using a professional mixing engineer (or at the very least, one other than yourself), will breathe new life into your project. In general, a project will benefit from a fresh set of ears. As a project progresses, a person tends to develop preconceived notions — right or wrong — about how a particular mix is supposed to sound. A pro engineer will invariably help you maximize your sonic possibilities with new ideas and techniques.
Mastering. If there’s only one area you can afford to outsource, make it mastering. In fact, you can’t afford not to have your project professionally mastered. Mastering is the final step before pressing and release. In essence, makes your program “radio ready” with the use of compression, limiting and equalization. Mastering is what helps your recording to sonically compete on a professional level. Most importantly, however, it is conducted in a finely-tuned, acoustically treated room. Not only is it a good idea to master your project, but it’s best to have it be performed by someone other than the mix engineer. Here again, a different set of ears will do wonders for improving the overall quality of your recording project.
I know most “Indies” are staunch do-it-yourselfers. I also know outsourcing may cost a little more up front. But I also know it will help you get your recording project done faster and at a higher quality, with less stress than taking it all on yourself. That will, in turn, make your fans more likely to buy your music. Happy recording!
I love working with computer-based digital audio production. However, one thing that I’m not particularly fond of is having to mix “in the box”. It’s cumbersome, time-consuming, and not very intuitive. I had been considering a control surface for the studio, but it had to have certain criteria: it had to have motorized faders for automation, and it had to have some transport controls. For the longest time, I’d been searching for a decently priced control surface, but none were automated. Since I didn’t need it to act as an audio interface, I was hoping that would reduce the cost factor. I was delighted when I heard that Behringer was releasing a control surface — complete with motorized faders — for less than $200.
I know many people harp on Behringer products as being sub-par quality, but I find, if you pick your products wisely, you can get some really decent gear for a budget-conscious studio. Plus, I figured, since I was needing it to act solely as a MIDI control surface and not something critical (like an audio interface), that I’d give it a shot. At that price, I didn’t stand to lose much.
The box itself has surprisingly small footprint, so it fits nicely on my workstation desk. Although the BCF2000 is built using plastic and some metal, it’s ruggedly constructed, and it doesn’t feel “cheap” at all. The unit consists of 8 motorized faders, as well as 8 rotary encoders (assignable for pan, aux sends, etc.). There are also various user-assignable buttons for bank select, transport controls, or other functions. It can connect to your computer via USB or MIDI. If using USB mode, the MIDI ports act as an extra MIDI interface. There’s also a standalone mode to control a live MIDI rig. The BCF2000 has various modes and settings to function with different software DAWs. It also works under Mackie Emulation and Baby HUI.
The BCF2000 comes in two colors, white and dark blue.
The first drawback that struck me with the unit was the lack of a Master fader. That would have been a really useful addition to the control surface, but it wasn’t a deal-breaker for me. Upon testing the unit, I did notice that the faders weren’t equally smooth. One in particular was worse than the rest, but, again, not a deal-breaker. At slower automation speeds, they can also be a bit jerky, but that’s not a significant issue either. Unfortunately, though, it was disappointing that the motors were a bit noisy and the faders were a little “clackety” as they traveled to the extreme top and bottom of the throw. Excess noise isn’t welcomed in a recording studio environment.
The setup itself wasn’t too terribly complicated, however, the manual left much to be desired. Even though there are so many potential uses for the BCF2000 and numerous software applications with which it can be used, it seems like Behringer neglected to put some important information in its manual. For example, I use MOTU’s Digital Performer (just upgraded to version 7, the latest version as of this writing), which, considering that it’s a major contender in the DAW world, is inexplicably nonexistent in the manual. On the other hand, it does give info on ProTools, Cubase, and Logic. Most of my information on setting the BCF2000 up for DP was found online in various forums, but only for DP6 or earlier. Even more shocking, after consulting the Digital Performer 7 manual for information on setting up control surfaces, I find the DP7 manual actually mentions the BCF2000 (and only the BCF2000) and the setting to use! Once I learned (from the DP7 manual) to use Mackie Emulation mode, we were good to go.
All-in-all, the uses for the BCF2000 are virtually limitless. It can be used to control your sofware synth or sampler, DAW or live MIDI rig. It can also be used as a lighting control surface in conjunction with LightJockey, LightFactory, or Cuelux.
So, what’s the virdict, Use It or Lose It? If you’re looking for an inexpensive control surface for your DAW, Lighting, or MIDI rig, the BCF2000 is definitely a Use It!
![[Ask]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/ask.png)
![[BlogMarks]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/blogmarks.png)
![[del.icio.us]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/delicious.png)
![[Digg]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/digg.png)
![[Facebook]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/facebook.png)
![[Fark]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/fark.png)
![[Furl]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/furl.png)
![[Google]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/google.png)
![[LinkedIn]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/linkedin.png)
![[MySpace]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/myspace.png)
![[Reddit]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/reddit.png)
![[Shoutwire]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/shoutwire.png)
![[Slashdot]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/slashdot.png)
![[Squidoo]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/squidoo.png)
![[StumbleUpon]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/stumbleupon.png)
![[Technorati]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/technorati.png)
![[Twitter]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/twitter.png)
![[Windows Live]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/windowslive.png)
![[Yahoo!]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/yahoo.png)
![[Email]](http://claybutlermusic.com/blog1/wp-content/plugins/bookmarkify/email.png)
You’ve seen the tips on how to get booked for a gig. But I bet you haven’t seen the secrets of how to NOT get booked (or booked again) by a club or venue. Here are seven sure-fire ways to ensure that you won’t get a call to perform: