Hey everyone! I am back from vacation and thought I'd pop in to follow up with you about questions you had a couple of months ago. How's everything going? Any news? More questions?

Post your websites here too!

Darcie

Hope you had a good vacation!

Here's sommore ?'s 4 ya!

1. How exactly do you contact or talk to someone from ASCAP or BMI for song publishing royalties or to have my songs or compositons "guarded"?

2. Since I'm trying to build a home studio, what kind of sound reinforcements would I need?

3. I'm gonna be taking music classes this fall at Drexel (woo-hoo!), which ones should I start with?
(I asked u this one already, but I enrolled to late for summer classes.)

4. I did'nt forget to call you. A lot of things have been happening (good things), so I'll DEFINITELY be In touch very soon!







The reason why I be dissin' yall niggas, cause You 0 for 6, you arrowhead muthafuckas I'll expose you quick,fuck around and get ya waffle split- Tony Starks

How are you!! I had a GREAT vacation! Down in GA and MS - a week each... Let's see what we can do to answer these ?'s

1. How exactly do you contact or talk to someone from ASCAP or BMI for song publishing royalties or to have my songs or compositons "guarded"?

ASCAP and BMI should have a customer service line for their local offices... their websites can direct you to the phone numbers for customer service. They don't deal with Publishing per se - just the performance of your songs - They are Performance Rights societies. So you join as a writer and any time your song is performed publically (radio, TV, etc.) it would be reported (there is a very specific system called BDS that tracks this for radio) and you would get paid. BUT there are a few variables.

1- if someone covers your song in a club, you may get a quarterly piece of a very large pie. Clubs pay blanket fees for jukeboxes and live gigs to ASCAP, BMI, and SESAC.

2- not every time your song is on TV will you get a royalty. If your publisher places your song in TV or film, the contract will dictate whether you get a one time fee that allows them to use the song limitlessly in the same episode (even reruns) or if you get a royalty.

To protect the song itself - the COPYRIGHT go here http://www.loc.gov and print off a SR form (to protect the actual recording and song content) or a PA for the songs alone (safe too) The SR protects that particular recording and is an optional added protection. You can put more than one song on a cd/tape or in a book (if you wrote the songs out) and it's one fee per form of $30 (I can clarify this process if you need any help)

If you are looking to get your songs placed, you should talk to a publishing company. These deals can be as tough to get as a record deal, but don't give up! And, before you get involved in any kind of contract, talk to an attorney and read Mark Halloran's Musician's Business and Legal Guide for more information on how this works and how contracts look. This is very involved and an attorney is necessary.

2. Since I'm trying to build a home studio, what kind of sound reinforcements would I need?

Wow - that is a question for my friend John. He's the production guru. Let me know more about the equipment you have and I will forward all of that to him. He takes a while to reply, so bear with me as I get that answer :) In the meantime, you can read Sound Advice by Wayne Wadhams - get the Maroon one for STUDIO - there's a record company advice book too that is good too

3. I'm gonna be taking music classes this fall at Drexel (woo-hoo!), which ones should I start with?
(I asked u this one already, but I enrolled to late for summer classes.)

Here are the courses in the Music Industry field and I asterisked the ones that I would recommend as first courses, but you should talk to your advisor about prereqs and all that. :) The 100 classes are usually first semester but your advisor can tell you where you can get around things and the course bulletin will tell you about prereqs too. The chair can often waive prereqs depending on your academic success but that is usually in upper semesters and based on academic performance

Music Industry (52 credits)

MUSC 150 Acoustics 3 credits
MUSC 151 Sound Reinforcement 3 credits ** since you have this question anyway :)

MUSC 156 Computer Applications in Music 3 credits **
MUSC 157 Digital Audio Production 3 credits
MUSC 227 Listening Tech. for Music Production 1 credit
MUSC 259 Recording I 3 credits
MUSC 352 Recording II 3 credits
MUSC 353 Recording Session 3 credits
MUSC 261 Music Business I 3 credits **
MUSC 361 Music Business II 3 credits
MUSC 461 Music Business III 3 credits
MUSC 450 Audio for Video 3 credits
ACCT 111 Financial Accounting 3 credits **
STAT 311 Quantitative Analysis I 3 credits
ECON 211 Microeconomics 3 credits **
MKTG 311 Marketing Management 3 credits
BLAW 211 Legal Options 3 credits **
FIN 311 Financial Management 3 credits


Senior Project and Electives (24 credits)

MUSC 490 Senior Project 3 credits, 3 terms 9 credits
  Free Electives 21 credits, 7 courses 21 credits
  Three Month Internships 2 summer terms

4. I did'nt forget to call you. A lot of things have been happening (good things), so I'll DEFINITELY be In touch very soon!

That sounds good - I was thinking of ya the other day and guessed you were busy with school! No hurry call whenever you'd like or email me at askdarcie@hotmail.com and I will have an anwswer soon about the sound reinforcement. You may also find the required books from the course number at Drexel and grab the books at the bookstore - that could be a useful visual and technical aide.

Best, Darcie

What's the best approach for getting music in TV, Movies and other mediums outside of conventional radio play? I'm really concerned about TV and Movies though.

Hi Tariq! The best bet would be to a) join ASCAP or BMI and also hook up with a Publishing Company and an entertainment attorney. This is the best way to protect yourself and to have options for opportunities.

Another route AFTER you have an attorney is to have a lawyer or manager contact music supervisors for TV shows (you can find this information online or your lawyer would most likely have access to this info.) For movies, that's tougher... where are you located? I may have some resources for you as a starting point...

>Hi Tariq! The best bet would be to a) join ASCAP or BMI and
>also hook up with a Publishing Company and an entertainment
>attorney. This is the best way to protect yourself and to
>have options for opportunities.

Check. That's done.

>Another route AFTER you have an attorney is to have a lawyer
>or manager contact music supervisors for TV shows (you can
>find this information online or your lawyer would most
>likely have access to this info.) For movies, that's
>tougher... where are you located? I may have some resources
>for you as a starting point...

I'm from Cleveland, Ohio.

Thanks for the help BTW..

I did some research here ... some web leads - I have more information at home and can get that to you later on in the week. If the post dies, I will inbox ya

http://www.filmmusicdirectory.com/pages/Post_Production_Services/Music_Supervisors/

http://www.filmmusicmag.com/onlinesvcs.html

you can e me at tariq@iron3angle.com

Check out my groups site as well www.iron3angle.com and let us know what you think. We're trying to work from the muscle. But we also have a good team behind us on the business and legal end.

I will check you out for real and email feedback soon!

this is actually just what i needed. i want to get more into film and licensing music. i'd asked you about this before on the last post and was only able to come up with a few companies. i think you'd recommended that i contact the film department of some local colleges and start there. i really have no idea how to go about that. i mean, i still do not know how to license a song, so what would i say to these people? can you offer me more advice in detail or point my to a site or book?

also, i've been looking for jobs in the film licensing industry and can't seem to come up with anything. it seems like a hard field to get into. what kind of experience do you normally need to have to get on at one of these places? thanks in advance.

The great thing about the music business is that it's a constant learning process. The film thing is a little newer on me too.

I honestly have not seen many jobs in the film area but maybe this will help??

http://www.berklee.edu/careers/film_scoring.html

I think that if you are in school, studying music business would be the best place to start and so you will have the background. Otherwise, if you studied something else, maybe your advisor or alumni affairs director could help you will setting up an internship program at a Publishing Company. Publishing Companies handle the licensing aspect of film use (I hope I am getting closer to what you are looking to do - I thought you meant you wanted to become a Music Supervisor on a show or movie?? I apologize if I was off the mark on that.)

To become a Music Supervisor, they may want to see some music background as well as some of the business and legal side. Interning is a good way to get the real life experience. Publishing will expose you to the legal side.

Please let me know if I am hitting this nail yet - I really do want to help you! Darcie

i am trying to become a music supervisor or at least get my foot in the door of a company that does so. actually, i've explored some of the links you've posted in more detail, and they are pretty helpful.

filmmusic.net actually has a job listing which is great. unfortunately, it's only available to paying members. it might be worth the money to subscribe though.

the other, filmmusicmag.com, actually has a free film music job newsletter, so i'm definitely gonna subscribe. i think i just need to do more research.

once again, thanks a million.

You're welcome! Hope that you get to where you want to go! Any info I find on this as time goes on I will share!

~*~*~*~*~*~*~*~*~*~*~*~**~*~*~*~**~*~*
check out my squad and let me know what you think.....

http://www.soundclick.com/prizmmusic

I really like your style and your flow - I would recommend when pitching to labels - if you aren't signed yet - to get to the vocal a little faster on the demo.

What you can do is this: Make a cd with the highlight clips in the first 3 positions. Then put the whole songs on tracks 4-6. Just make sure you indicate that on the labeling.

GOOD LUCK! Add me to your mailing list askdarcie@hotmail.com

There are many ways that you can start to do this...

MP3.com
CDBaby.com (distribution for independent records)
Local Airplay (if you can swing it)
LIVE PERFORMANCE
Your own website
Placement in other media (film, tv, etc.)
Appearance on local arts shows - there are tons depending on your area

localmusicscene.com
starpolish.com

Showcasing with larger acts

If you have specific questions, please ask them here or email me at askdarcie@hotmail.com - link me to your site too ;)

Darc

Any where you can find an opportunity check it out and go for it. Be sure you copyright your music first though

http://www.jambase.com

how is breaking into doing movie scores different from making albums?

I think in this case you'd be signed to do the soundtrack album - and have a single on that. Usually the ST is distributed by a major distributor or large independent - depends on the film.

Ever wonder why some songs are in the movie but not on the soundtrack album? The movie cats may get a master use license for film but not a duplication license so therefor it can't go onto the ST album :) In some other cases, the ST album distributor may cut the song for continuity reasons too - politics. But usually it's the first reason. An artist is already signed and the owning label doesn't want the song out on a competing label.

If you are accepted into the soundtrack and you and your publisher agree to the use on the soundtrack album and you don't have a major label deal, or an indy for that matter, you may be signed for that one song. However, if that song is a feature song, or on the end credits or something (that's a good place to be!) the distributing label may release it as a single. Then you could get signed by the dist. label or noticed by another. If you get your song on the ST in a major motion picture, good on you! It could be a springboard and most definitely a negotiating point.

D

good ish and very practical

WOW! Thanks!

how do you get into the business as a tour manager?

~m~

Avatar: Sin Titulo-Untitled by Tony Gleaton taken in Mango Creek, Belize, 1992

This is tougher - What aspect of the tour would you want to oversee? The tech side? The roadie side? The business side? The overall administration of the tour (you'd be everybody's boss!)

I just got this email the other day and you can try this avenue - http://www.music-jobs.com

I would recommend having a degree related to the field or at least a lot of past experience in venues and booking as well as promotion - stagecraft training is going to be helpful to you as well as legal understanding. There is so much that happens to make a tour successful. If you haven't gone to college yet (and even if you have) Berklee College of Music is a great place to prepare for Music Industry jobs.

Here is Berklee's take on different elements and jobs within Business, INCLUDING Tour work

http://www.berklee.edu/careers/mbm.html#tours

But you can work as an intern or entry level at a concert promotions company and start at the ground level and work your way up. Indicate when you interview that you are looking to move upward and explain your specific goals - stage by stage. Telling them that you are very interested in ultimately managing tours should interest them, and tell them that you are interested in being a roadie (assuming you can lift a lot and work many hours) and learning as you go.

For something amusing, you can check out these tour riders (what the artists demand on contract) for some very Pop oriented tours... you can see how detailed it gets... (THIS IS NOT the official Berklee site, but one started by a group of students)

http://www.geocities.com/berkleebeach/trhome.html

Let me know if you have any more questions

Darc

~m~

Avatar: Sin Titulo-Untitled by Tony Gleaton taken in Mango Creek, Belize, 1992

do the demos ever get listend to by someone in a decision making position?

Well, sometimes they get heard. There are some deciding factors...

Most labels will not take unsolicited materials (too risky legally.) So a call has to be placed and permission granted to even send your materials. The person asking for permission is important too. If you have a manager or lawyer, chances are good you'll at least get past Go.

This business is so relationship based. And, sometimes, your record might get to A&R REP ONE and it's not what they need to sign but they might peep it to another department. It's so hard to say.

It's BEST to gain so much momentum on your own that labels are looking for YOU - or have a showcase and invite them to one of your gigs - get them to offer pens. The more offers you get at once, the more leverage you have at the bargaining table.

I did a record in the early 90's that i just found out was big in Europe and Asia. How do I go about looking for my money, royalties et all?

WHOA! OK - here are some starter questions if you can answer these for me it will help me help you. But you will want a lawyer for this one - especially if you are doing some headhunting.

1. Were you affiliated with ANY Performance Rights society? ASCAP or BMI?

2. Are your songs registered copyrights (with the Library of Congress)

3. Do you have a publishing company on the songs in question?

4. Do you know who has released this music? Is it a label? How did you find out that your music was hot over there?

Unfortunately, if you didn't file a copyright form for your stuff, and you have dated proof that it's yours on a tangible media (CD, Tape, etc.) you will be only moderately protected. To claim the largest amount of royalties with a federal penalty.

If you DID file your copyright with the Library of Congress than you would have full protection. Is it your performance or did someone steal your song?

More information would help me give you more instruction on this matter so please feel free to fill me in.

You will need a lawyer because international things get weird - and there are nuances there that I am not completely aware of to the latest - that knowledge is reserved for attorneys. This is probably an example of a case where I must refer you to a lawyer.

>WHOA! OK - here are some starter questions if you can answer
>these for me it will help me help you. But you will want a
>lawyer for this one - especially if you are doing some
>headhunting.
>
>1. Were you affiliated with ANY Performance Rights society?
>ASCAP or BMI?
>Yea
>2. Are your songs registered copyrights (with the Library of
>Congress)
>Yes
>3. Do you have a publishing company on the songs in
>question?
>No
>4. Do you know who has released this music? Is it a label?
>How did you find out that your music was hot over there?
>Yes
>Unfortunately, if you didn't file a copyright form for your
>stuff, and you have dated proof that it's yours on a
>tangible media (CD, Tape, etc.) you will be only moderately
>protected. To claim the largest amount of royalties with a
>federal penalty.
>
>If you DID file your copyright with the Library of Congress
>than you would have full protection. Is it your performance
>or did someone steal your song?
>
>More information would help me give you more instruction on
>this matter so please feel free to fill me in.
>
>You will need a lawyer because international things get
>weird - and there are nuances there that I am not completely
>aware of to the latest - that knowledge is reserved for
>attorneys. This is probably an example of a case where I
>must refer you to a lawyer.
>
Thanks

OK - so your bases are covered. An attorney can help you and may take the case contingent from the award.

A little letter might rustle some feathers. Find an Entertainment Atty in your area and go forth and prosper!

Congrats on your success! And I hope you get your money quickly!

the only way you wouldn't get money is if you are still recouping an advance on a record label... that was one question I didn't yet ask... If you have a label, you can ask your manager or lawyer to request a report on sales and allocation from the accounting dept just to see how your account is doing

thats the link

right now im getting a website designed

im also trying to sort thru copyrighting and publishing

now THATS confusing...

let me know what you think about the music

"in 2003 the lease is up"

how do you tap into the overseas market?

im really interested in that.



"in 2003 the lease is up"

I will definitely check you out sometime today! If you need help with your copyright forms, let me know. I can help.

If you used any samples, your copyright could be denied. Just as a heads up :) D

*sigh*

okay my question from there is

how stupid is it to move forward with uncopyritten music?





"in 2003 the lease is up"

If you have used needle drops - STOP and get legal clearance first.

If you simply recreated the music with your own instruments and performers, see the info in the thread about mechanical licenses (early in the thread) There is also info there about if you used a sampling keyboard with built in samples or some other device that you purchased with built in samples. In those cases where drums or horns or whatever were sampled and you purchased that instrument or module, that's different.

IF you used scratches and samples from RECORDS though - they are copyright protected. STOP before going any further. You can find yourself in more trouble than you can get out of if you don't follow the law

okay so basically you are telling me that im sitting here with some beats that can get me in alot of trouble?

is there anyway around that? or you basically have to clear the samples with is EXPENSIVE as hell....

i dont even know any session musicians...

damn damn damn....



"in 2003 the lease is up"

Did you lift from a record or did you use a sampling keyboard with sounds preprogrammed? This makes a difference...

If your keyboard came with say the snare from James Brown "I Got the Feelin" or something and you used that in creation of a new original composition you are straight. But if you used the actual recording and pattern and everything from I Got the Feelin' it's the need for a master use license (non compulsory)

But if you had a band recreate the groove and more from I Got the Feelin depending on what it is you may need a mechanical license ESP. if it's a melody-oriented instrument - voice, horns, guitar, etc.

maybe it was chopped
maybe we filtered it
maybe we even resequenced it

but it was took straight from the original recording...

*shit*

so what does a copyright do anyway? i mean... what is it protecting me from?



"in 2003 the lease is up"

Oh man --- I wish I had better news for you...
A copyright is the federal protection of intellectual property. Abuse of it and sale of it is a federal offense...

I feel so bad because you didn't know about all this. You know a good keys player? He or she could duplicate the beats for you and it would be a lot more cost effective and depending on what you recreate, it may or may not need a license once replayed. If you REPLAY just the drums and make it slightly different (sped up, etc.) drums aren't copyrightable on their own but if you use the SOUND RECORDING it is protected so recreating this on your own is better and may not cost much. I'd have to know what you are trying to do (once I listen to your music this week I can guide you better) I can advise you on this.

But please don't sell (anymore) of what you've got there - it will be so so so so so bad if they find you. Financially yes and if they press fed. charges that would be awful.

BUT what YOU can copyright on your own is any melodies and lyrics that you created on your own - do dry recordings (no backtracks ) of those and copyright YOUR stuff in the meantime so you are protected :) d

the ep we did is solely for promotion...
not selling any of it..

by copy righting dry recordings you prettymuch mean copyrighting the acapellas right? like copyright the lyrics right?

i guess ill wait till you give it a spin to get the full opinion on what we need to do.. but yeah

this part kinda went over my head tho...

>I feel so bad because you didn't know about all this. You
>know a good keys player? He or she could duplicate the beats
>for you and it would be a lot more cost effective and
>depending on what you recreate, it may or may not need a
>license once replayed. If you REPLAY just the drums and make
>it slightly different (sped up, etc.) drums aren't
>copyrightable on their own but if you use the SOUND
>RECORDING it is protected so recreating this on your own is
>better and may not cost much.

can be copyrighted?

*sigh*

ill never sell a record...lol

Yes - and what you would do is clear the sample first, and indicate the part of the song that is a sample on the copyright form and then attach a letter or what have you. The lawyer who helps you clear the sample can give you even more help in the details.

But copyright your part! For real!

i still have no idea why i need to copyright...

i just know i have too...

(i know im dense, it just dont make sense)

You are not dense!
It's just to protect anyone from sniping your lyrics and melodies and all.

This requires form PA and if you have a question when you are filling it out, just tell me the line item and the question and I will help :)

yep - you can copyright the a capella versions :) I will listen sooner than later and get back to you - lotta people take this piece sorely. You're a good sport :)

copyrights and publishing info

hit me up

wfreeman7d6@hotmail.com

or inbox me....

thanks a million

If you need the forms for copyright ...

http://www.copyright.gov/register/performing.html

Instructions are there too :)

NOTE ABOUT WORK FOR HIRE - Do not indicate that this is a work for hire unless someone paid you to do the work for a company or what have you. If you are in a situation where you aren't sure, tell me your situation in detail and I will tell you if it's work for hire or not.

What about Publishing do you want to know? There's a lot :) Do your copyright stuff before aiming at Publishing Cos!

how can i keep in touch with you?

i appreciate all your help..

askdarcie@hotmail.com
AOL IM: askdarcie

Email anytime and glad to help!

ill get back at you in a little while..

id love to get your opinion of our music

thanks

I won't forget! :) Sometime this week for sure if not sooner

Yes to be quite honest it is. It does not hold up in Federal Court - where it counts. It is not a recognized legal way to copyright your music. The best way to copyright your songs is to use the Library of Congress. You can put more than one song on a CD as a collection and use one form for one price of $30

You can copyright the songs themselves using a PA form or the recording itself using an SR. PA is more recommended for the composition as a whole. http://www.loc.gov

copyrighting music filled with uncleared samples. did i read you correctly?

Yep! The Library of Congress does comprehensive searches for use of previously copyrighted material and your claim would be denied - not to mention you can get in trouble! Take the samples out - re-perform the parts you want and get a mechanical license - see above in the thread for details and if you still have questions, ask away and I will help.

PLEASE DON'T SAMPLE RECORDS :)

if i get live musicians to play something that i had previously sampled, i don't have to pay the artist i'm "borrowing" from?

If you get musicians to cover a song, in whole or in part, you will need a mechanical license - (a sample is a master use license)

The est. fee is 8.1 cents per song per UNIT UP TO five minutes in length and you obtain this license from http://www.harryfox.com

You pay the license in advance based on units you press (intended sales) and must pay before each new run (so lets say you make 500 to start, you pay based on 500. Before you sell any of the second pressing you must pay again.)

Making sense? Let me know if this is still unclear

a master use license?

(you're great btw. thanks for all the help).

Master use fees can be set via negotiation. There is no set fee - the label can name the price because they don't have to grant this license to you.

The only compulsory license is the mechanical license.

Price will most likely be determined on length, popularity, politics. :(

I wish I had a more concrete answer for you on this one.

Thanks for the compliment! It's all about such great questions!

*edit* let me be more specific. not the funkmaster flex/dj clue/biz markie type DJs. more like a relatively unknown cat.

What you will accept is entirely up to you (like a band - I know bands who get paid anywhere from $250 - 4000 depending on the venue!)

In your case, if you are unknown, you may need to start small and work up. I don't know if there is a status quo for DJ's - I would say ask friends who DJ - depends on where you live, the clubs, the night, etc.

You can also do some roundabout research. Call DJ's in the yellow pages and anonymously ask their rates for various things. For a hot club on a Friday night you'd ask for more than you would on a Tuesday night at a small little place you know?

Always get fed if the place has food :)

This is where you have control and set a range in your mind. Whatever you do, try to research it first. You don't want to over or undersell yourself. But sometimes taking a smaller gig or less money on a hot night at a venue you are dying to spin is worth it to get noticed. Same goes for us all :)

no particular questions at the moment thanks.

I will check this out asap and will offer feedback if you like

Thanks

peeped a clip - nice beats, flow - it all goes together well! I've heard good MC's today!

I will listen more this week and give more detailed replies then! Thanks! D

And tell me what you think of my music and what you would like to see added to the site.

To ask for your link to be added to my site, please email askdarcie@hotmail.com


Thanks!
Darc

Check your inbox please

Hey - I didn't get your message yet...
you can email it direct if you like to askdarcie@hotmail.com

Hi Darcie, I spoke to you a while back about manipulating samples. I'm currently promoting an album for an artist I produced and we decided to make a mixtape and give it away for free. it's about 20 minutes long. it's one whole song from the album and rest are just snippets mixed and scratched in. I live in a small town so I figured we start here and branch out. Touching the college market and hell whoever likes it. I have been getting good feedback so far. We plan on dropping the album in the fall. The question I'm asking is was this too much to give people? Somebody told me that I was giving away too much too soon. But I want people to really know what they are buying as far as the versatility of my music style and the artists rhyme style. I figured this was a good way to get this artists name buzzing. what you think. The mixtape is on my soundclick below. across the board groove is what we are pitching to Radio.
as always your comments are appreciated. Thank You.




Moving
Endlessly
Toward
Achievements
Fully
Acquiring
Knowledge
To
Advance

CHECK OUT MY MUSIC AT
http://www.soundclick.com/wrecktifiedrecordings

WRECKTIFIED MUSIC STR8 From the CHI


SOUTHSIDE CHICAGO

Syleena Johnson
Chapter II The Voice
Go Get That Shit

Will listen for certain! Thanks for sharing the music links everyone!!

You are smart to give away a sampler of your music (assuming it's your beats and you've copyrighted the material!)

20 minutes is not long and as long as your copyright is registered, it's fairly risk free.

I think if you give some away and then know that you have more on the stove to sell later, you are straight. Make sure you keep good records of costs and income - you and your artist will need to report any cleared income of more than 600.00

GOOD LUCK! Feedback on the way!

we (The Iron Triangle) are doing a similar thing with giving away snippet CD's. For us, since we are trying to get established there is no better way to start creating a buzz. We give these away at shows and we never have enough. This makes the stuff kinda exclusive in a way because we can only give out so many per show. Additionally, I think it has brought more traffic to our website and at the very least it's the beginning of developing our fanbase.

Little Brother gave away at least 6 free songs on the Internet, if not more. I think that it's utimately successful because people are getting a taste of what they are buying. But it's important to communicate to your fans on the 'ethics' of buying music from indy artist. I think that ultimately that you will reap the benefits of having hardcore fans that will buy your music.

if an unsigned artist put their music on the internet, they can get their music heard by a large number of people. this is great advertising.

they are also subjecting themselves to piracy because people can download & burn their songs without having paid a dime. then, when the artist finally drops a record under a label, many fans have already heard & downloaded the tunes.

do the risks outweigh the rewards?


~*~*~*~*~*~*~*~*~*~*~*~**~*~*~*~**~*~*
check out my squad and let me know what you think.....

http://www.soundclick.com/prizmmusic

For songs you intend to also sell, I recommend only putting clips up so that no one has the whole song (though in my case I recorded at a College so I can't sell these recordings anyway so please note that if you check out my music on my website!)

This allows people to hear you without losing the sales.

For independent musicians, may I recommend http://www.cdbaby.com

they have a much fairer cost for using the system and the site is aesthetically better

OH OK! I heard of this company briefly but most East Coast people I know go to CDBaby - I will start schooling people on this place too! Thanks for the tip Tariq! I looked at your site (very nice!) and bookmarked it as well as your soundclips. Thanks! Darc

And is that still an option?

As soon as you want to start a company :) Are you seeking investors or independent funding?

But Post anyway! I will get to this tomorrow!
IF it falls off, email me your question at askdarcie@hotmail.com and I will start a new thread in the morning.

Best, Darcie

thanks for such awesome questions thus far... keep 'em coming!

"in 2003 the lease is up"

http://www.copyright.gov/forms/formpas.pdf

These instructions on a short form PA will help you. In your case for the lyrics and all I think you can use a short form PA

If you are only copyrighting lyrics, you can just make word documents of each song (one song per page or two pages) and in the Title Section call it whatever you want and after the title write BOOK ONE

You can have as many lyrics in the book as you wish.

No need to make a CD but you can do that too - whatever is easier for you

have the the words typed up or send in a disc of the accapellas?

Yep! Either way is fine. If your rhymes are mad fast, I'd recommend having them on paper. In fact, if your handwriting is neat, you can handwrite them instead. But they like typed better for obvious reasons

okay lets say the lyrics are copyrighted

the music is not...

essentially we still cant do shit with the complete songs right?

what can we do with this half copyrightten material?

i think if we send in a disc it will be cool.. i dunno i may type it all up.. if i do type them do i need to trancribe the entire song verbatim? like adlibs and shit too?

okay lets say the lyrics are copyrighted

the music is not...

essentially we still cant do shit with the complete songs right?

Wrong. Once you complete the song (with only your material) you can copyright the MUSIC OR do a Sound Recording Copyright (FORM SR) OR you can do another PA and write in your PA Registration # indicating that the lyrics were previously copyrighted. When that happens you will need a FORM PA - not the short form.

what can we do with this half copyrightten material?

It's not half copyrighted. Your lyrics would be a full copyright of their own. This will prevent theft and prove creation date.

i think if we send in a disc it will be cool.. i dunno i may type it all up.. if i do type them do i need to trancribe the entire song verbatim? like adlibs and shit too?

You would need to transcribe verbatim adlibs and all. If you want to send a disc - that's fine. And if there is anything MELODIC that is copyrighted along with the lyrics. In that case, if it's not just rhymes, send a disc. And then your melody AND lyrics are set.

:) Hope I'm helping!

>Wrong. Once you complete the song (with only your material)
>you can copyright the MUSIC OR do a Sound Recording
>Copyright (FORM SR) OR you can do another PA and write in
>your PA Registration # indicating that the lyrics were
>previously copyrighted. When that happens you will need a
>FORM PA - not the short form.


so you are saying when the music is reworked we can recopyright

i need you to move to cincinnati... lol

Yep - as long as it's all yours. And you could copyright the tracks on their own as a separate copyright (how you merge them is up to you.) or a new PA for the two together or an SR *sound recording form* - up to you. When you get there, email me and I will help you out on that. askdarcie@hotmail.com

Staying in Boston for now, but I am always a mouseclick away :)

another question

im suppossed to be putting some of my verses on my friends album

it will be commercially released

i should copyright my verses right?
can i just lump em into this batch of copyrights?
and on that note... anystuff i had written that appeared on somebodies shit, should i copyright that too?

what about publishing?

another question

im suppossed to be putting some of my verses on my friends album

it will be commercially released

i should copyright my verses right?
Sure you can do that! Note that your verse will be part of the sound recording and potentially of the composition... what you SHOULD do is fill out a separate form on just that one song (or songs) that you contribute and you would be one of the authors, your friend the other. That should go separate but you could also lump it in to this copyright, sure. And you are in a sense authorizing him or her to use your verse. That's cool too. In either case, you should get some writing credit if your verse is big.

can i just lump em into this batch of copyrights?
and on that note... anystuff i had written that appeared on somebodies shit, should i copyright that too?
Yes, and again you can choose to copyright on your own or with them. But you are probably not going to be entitled to half of the earnings on the song unless your contribution is half... you should work out payment with your friends. If they made money that is. Always better to do this before you record so you may have lost out on some ends if they don't feel like paying you or consider your payment the exposure... :)


what about publishing?
For performance rights, you can join ASCAP or BMI - and they watch out for your song use and make sure you get paid :) But to get a publisher to administer and place your songs, you will also need to hook up with a publishing company. But joining ASCAP or BMI (I like ASCAP) is a good start to protect you, but they don't place music for you. Just to clear that up

>what you SHOULD do is fill out a separate form on just that
>one song (or songs) that you contribute and you would be one
>of the authors, your friend the other. That should go
>separate but you could also lump it in to this copyright,
>sure. And you are in a sense authorizing him or her to use
>your verse. That's cool too. In either case, you should get
>some writing credit if your verse is big.

Each form is $30 so if you are looking to save money you certainly can register ALL of your lyrics in one form as opposed to working everything out on separate forms. I've done that before myself.

one for this ep project

adn the other for miscellaneous spare verses

but i have to title teh work

if its say 6 cameo appearances on songs. with 6 different titles from 6 different years

waht then?

how do i demarcate all of that?

no worries - for all your misc stuff - just do the lyricsheets for YOUR verses - not the whole song - since you didn't write the whole song. Only register your own stuff and you can title that Book Two.

i send in a cd

do ineed to label on the cd teh tracklisting?

there are two of us rapping

do i need to label who is rapping what?

on the form do i need to lable the tracklisiting?

i think im making this confusing...

I'm not confused. You can list the tracks but you don't have to. the whole CD will be copyrighted. Are all of the lyrics yours or are some those of the other rapper? If so, you will be authors a and b and will send in the form together for this EP. If they are all your lyrics it doesn't matter who performs it.
Since you are doing a form PA all that matters is the content not the performance. But I would at least mark the CD with a marker stating your name so they don't lose it.

DO NOT mark the lyrics or CD with a © symbol but DO put the year created on the CD.

Profane content is allowed.

IMPORTANT - just remembered: when you take this to the post office be mailed, send it certified and ask for a return receipt. This is proof of LOC sendout in the interim b/c it has a government office signature on the green return receipt once they get it. This is good because it will take awhile for you to get a file number back. Once you do KEEP IT VERY SAFE IN A FIREPROOF PLACE OR BOX

just label author a and author b and list both addresses?

ther is only room for one phone number and email address so id prolly just list mines...

when is a work considered published?

Yep - you can be the primary contact

Your work is not published until released - when it does commercially release (large scale) just file an amendment but as far as I can tell you are all set for now

Just make sure you keep a note as to what songs you put on CD one so that if you ever need to track it you can call it by the right file # - you don't need to tell them all of that - just the file number

What is the difference between a PA form and a SR form?

Philly Hip Hop's College Radio DJ of the Year, NEW MIXTAPE
by DJ PRIMETIME AND EXION - The Wax Museum - 23 New Tracks from
Critically Acclaimed, Masta Ace, Zion w/ Goapele, El Da Sensei, Craig G, Athletic Mic League, Planet Asia. Exclusive freestyles from Pack FM, Doujah Raze, Life Long, Supastition and Skeme Richards.
http://sandbox.pair.com/abstract/waxmuseummixtape.html
http://www.wqmcradio.org/mixtape.htm
http://www.wqmcradio.org/primetime.htm

Some people on this board recommended some music industry books. Can you recommend one or two books that I can get to get some more insight on things?


Philly Hip Hop's College Radio DJ of the Year, NEW MIXTAPE
by DJ PRIMETIME AND EXION - The Wax Museum - 23 New Tracks from
Critically Acclaimed, Masta Ace, Zion w/ Goapele, El Da Sensei, Craig G, Athletic Mic League, Planet Asia. Exclusive freestyles from Pack FM, Doujah Raze, Life Long, Supastition and Skeme Richards.
http://sandbox.pair.com/abstract/waxmuseummixtape.html
http://www.wqmcradio.org/mixtape.htm
http://www.wqmcradio.org/primetime.htm

The Books Recommended in this post thus far...

All You Need to Know About the Music Business - Don Passman
Musician's Business and Legal Guide (more indepth - read Passman first.) - Mark Halloran

Hit Men
The Real Deal - Daylle Deanna Schwartz

There are a few more I have in my home library and I will get the titles tonight and the exact Author/Publisher to make those easy to find too

Hello!

A Form PA stands for Performing Arts and protects the whole song - so it would be the song as the song and anything coming after that (any recording) would be ownership of the copyright holder in that song.

A Form SR stands for Sound Recording. This is why labels can own the SOUND RECORDING and prevent you from using it, but you can record a cover song in your own way. The Sound Recording is its own separate art but it only covers that one particular recording of a song - not EVERY recording of a song. So Tony Bennett's Fly Me to the Moon is a separate ownership than Frank Sinatra's. Makes sense and they are on two separate labels.

Does that answer the question?

Just curious...

You cannot copyright a beat with a sample and have a guarantee of copyright - you cannot claim ownership of something partly owned by someone else... please take your sample out before copyrighting your song and do not use the sample without legal clearance

Always send your package out registered or certified mail and ask the Post Office for a return receipt! And save everything in a safe and secure place in case you need to refer to it later, especially your file # and stamped copyright.

Inbox me or email me askdarcie@hotmail.com
Loving all the interaction! Darc

and bookmarked for tonight.

This post almost slipped by me.

DTag thanks for the reply, I will be inboxing you soon.

Inbox anytime! Or email - that's efficient too askdarcie@hotmail.com

Darcie

hey, i want to get into the business for the business aspect of it...is that naive on my part?

I love music and i love numbers and ofcourse, everyone loves money...i feel like the music industry is the perfect career for me. but do execs have lives? is it a long career or can it be cut short with age? as a woman, will i be respected if i'm married or with kids one day? whats the real deal in the music industry...is it serious in terms of being educated?

I'm currently at Colgate University in upstate NY, but live in NYC in the summers and have grown up here...and i'm also wondering what major I should pursue and what kind of internships i can get? (as a younger college student-since most of the good ones go to juniors and seniors) I was thinking economics...political science (liberal arts college)...

...i'm just rambling, but i hope you get my point. fill me in.

   hey, i want to get into the business for the business aspect of it...is that naive on my part?

NOT AT ALL! Smart, really!

I love music and i love numbers and ofcourse, everyone loves money...i feel like the music industry is the perfect career for me. but do execs have lives?

Depends what kind of exec you want to be -- A&R (the cats who select and fashion artists) are BUSY but they have their life too. Thing is that it's a high risk job. Save a lot of money while you do this (in case you get fired for making one too many unprofitable picks - not that you would - just it's a really transitional and hard to keep job) and also learn other areas of the label. If you have a good work history but are not hot in A&R, the co may agree to transfer you if you are stellar in another area.

is it a long career or can it be cut short with age?
If you are a music business person with a positive attitude and lots of knowledge and can network well, you will be an old lady with it. Look at Quincy Jones and Berry Gordie. Among many others. Walter Yetnikoff is up there and Clive Davis too. But you have to perservere and expose yourself to lots of different settings and be willing to do coffee runs. Sit in on sessions if you can. Make friends with a studio cat in the City.

as a woman, will i be respected if i'm married or with kids one day?

I sure as hell hope so! I am 29 and not married yet and I'm not working for a label. But fair employment protects you - if you are full time you'd get the maternity benefit. Don't become a workaholic and don't neglect the kids - work half time if you must. But if you are in R&B and Hip Hop, and Gospel, my experience has shown that family is important - I have never met anyone in this camp that doesn't respect family. I'm sure they exist but ... Just prove yourself slowly, steadily. My friend Wendy was married with kids and was a successful attorney for a major label too. It's more than possible.

whats the real deal in the music industry...is it serious in terms of being educated?

I think it's BETTER if you are educated IN music business but a business degree or law degree will give you the foundation. The rest comes as a specialty. So either way is fine. Major in business and you are straight! Read some of the books I mentioned here and get LOTS of field experience. And, you can email me anytime if you have specific questions along the way. And remember, half the cats who are in the game learned by rote, so that's possible too - just takes longer.

I'm currently at Colgate University in upstate NY, but live in NYC in the summers and have grown up here...and i'm also wondering what major I should pursue and what kind of internships i can get? (as a younger college student-since most of the good ones go to juniors and seniors) I was thinking economics...political science (liberal arts college)...

Don't go this route - Business is the best route to take - econ is only one sliver. It's the marketing, statistics, business principles, accounting, and more that make it tick. At Berklee they have those plus specific courses (Record Company Operations, Publishing, Legal Aspects, Contract Negotiation, Concert and Venue Promotion, Music Intermediaries, Creative Promotion thru Media.)

Hook up with some studio cats, go to sessions. See how it works. Ask your internship coordinator for an internship IN the dept. that you want to work in. I have linked careers in music business from Berklee's site so you can see what's possible for you. And keep your head up :)

GO TO THIS LINK
http://www.berklee.edu/careers/mbm.html


...i'm just rambling, but i hope you get my point. fill me in.
I talk forever - no worries!

thanx a lot! this has helped greatly...maybe i should transfer to berklee...

thanx!

Thought this would help some of you who are interested in pursuing music as a College track... GOOD LUCK IN ALL YOU DO!
Takes a strong person to be a musician!

Sorry that these didn't all hyperlink... I tried... :)

http://www.berklee.edu

http://www.musictech.com/music_college/music_business_degree.htm

schlbus.belmont.edu/mb/

csunix1.lvc.edu/~snyder/biz/bizprogram.html

nwc.hccs.cc.tx.us/arts/programs/musb/aas_musb.html

www.potsdam.edu/CIMB/institute.html

www.wtamu.edu/administrative/vpa/em/starr/ degreelists/0001/musbus0001.htm

mlm2.multimediahouse.us/dir/music_business_internships/ index.shtml

www.class.csupomona.edu/mu/mbe/misinfo.html

More search results....
http://www.google.com/search?q=+%22music+business+degree%22&hl=en&lr=lang_en&ie=UTF-8&as_qdr=all&start=30&sa=N

inboxin

thank you.