The Digital Crates

According to Billboard, 2011 was officially a positive year for music sales ! The first yearly gain seen since 2004, there were many factors that contributed to these statistics. United States album sales were up over 1.5 % and music sales in total were up almost 7 % ! New releases were up by over 2 % and digital album sales helped to account for a lot of these increases. In 2010 we had 80 million plus selling singles and in 2011 we reached 112 tracks with 1 million plus digital sales. There were 13 albums selling over the million mark as well. Universal Music Group and Sony Music Entertainment combined for over 60 % of the market share leaving the rest to the Warner Music Group and Independent labels. Every single format of music sales was up (including vinyl) except for CD’s which were down about 5 % . The main source of sales were cataloged and legacy artists which leaves the majors wondering how much should they really invest in new artists when their legacies repeatedly outsell. This next year we will most likely see a similar balance of new and re-releases leading to hopefully another positive gaining year for digital and physical music sales. Between now and 2015 digital music sales are expected to increase by another 20 % as more consumers buy iDevices to access online content. 

1.     1. Kanye West & Jay-Z - Watch The Throne

Classic Moments. The album and the tour was full of classic moments. As an artist and rapper respectively Kanye West and Jay-Z are at the very top of their crafts. To combat piracy they released this album direct to Itunes before shipping it to retailers and other outlets. This move helped them to contain possible leaks that could have harmed not only their sales but the cultural impact of the major direct to digital release. With Kanye West leading the creative direction of the project he was able to elevate additional features and guest production to the highest levels of sonic quality and integrity. Jay-Z clearly at his most comfortable recording puts a myriad of styles and lyrical tricks onto some of the most progressive tracks that have ever been created in hip hop. Features from Beyonce, Frank Ocean, and Mr. Hudson round out arguably the years best and most likely grammy award winning album.

2. Adele – 21

Adele ruled the radio airwaves with her two leading singles, “Rolling in the Deep” & “Someone Like You”, off her sophomore album aptly named for her age “21”. This collection of songs is proof that raw talent still extists in the music business. Real talent shines as Adele and her production team portray an incredibly cohesive story of love and loss. The songwriting seems to outshine her voice at times, others her voice outshines the songwriting. Overall there is a very tasteful mix of classic and new musical elements throughout “21”s tracks that have helped to keep this album in constant rotation for fans and critics alike throughout the year.

3. Drake – Take Care

Judging by the first two singles “Headlines” & “Marvin’s Room” it was kind of hard to imagine what Drake’s 2^nd full album would sound like at first listen. I imagined he would continue his artistic progression of both singing and rapping over melodramatic production featuring vocal stylings of Abel Tesfaye from The Weeknd.  Just as I had imagined the album wasn’t so much more of an artistic progression but more like an expansion of his earlier efforts. With mainly in house production Drake is best apt to tell his continuing story of his rise from Canadian TV actor to worldwide music superstar. There are moments of weakness, strength , surprise, and sorrow , but the album has an overall uplifting tone to set the listener up for Drake’s continued expansion into his third album project. 

4. Maybach Music Group – Self-Made Vol. 1

Rick Ross quickly became a hip hop heavyweight throughout his four solo album releases. Follwing the power molds of southern record labels before him, he decided after such success to take A & R matters more into his own hands. After taking time to cultivate young artists Torch, Triple C’s & Gunplay, Ross decided to look into other movements to bring into his circle. As quickly as the news could break to the blogs Rick Ross and Maybach Music had officially made three major signings. By bringing together the Northeast Mixtape Phenom Meek Mill , DMV’s own former Interscope-signee Wale , and one of the south’s most buzzing artists Pill, Ross established himself not only as a lyrical threat but also as a wise label head. Recorded in less than a month, this album quickly tapped into the psyche of what hip hop fans wanted to hear RIGHT NOW. and With that quick turnaround, Maybach Music Group brought us one of the most cohesive label compilations in a very long time.

5. The Roots – undun

Concept albums are a ararity in this modern musical market. As the current late night band for Jimmy Fallon, “The Roots” aren’t today’s typical artist/group. Most of the Roots’ prior albums had themes but never a full underlying concept such as “undun”. Lyrically and sonically the record is based on the semi-fictional life of character Redford Stephens who’s accounts are that of struggling to survive and make a life for yourself in the ghetto. The Roots have proved their staying power here with a statement that both fans and critics have both anticipated and enjoyed. Amazing features from Big K.R.I.T. ,Phonte , and Dice Raw complete this musical tale that could possibly one day become a major motion picture.

6. Foo Fighters – Wasting Light

The Foo Fighters’ 7^th album was also their first number 1 album as Wasting Light debuted with over 200,000 domestic sales its first week of release. Recorded with ex-Nirvana producer Butch Vig, the Foo Fighters took about four months to record this album to analog tape while to quote Dave Grohl, “we are making our heaviest album yet”. Adding Pat Smear back as an additional member of the band for the first time since 1997’s “The Color and the Shape” their sound is full and rounded out despite being recorded in Grohl’s garage. The making of this album was filmed and documented as “Back and Forth” which is also as worth checking out as listening to the album itself.

7. Mac Miller – Blue Slide Park

Independent artists rarely get the number one spot on Itunes. Even more rarely do they go number 1 on Itunes before their album even goes on sale. Mac Miller performed this feat this past year with his debut release “Blue Slide Park”.  Even without a single from the album connecting with fans Mac, released great mixtape after great mixtape last year providing his fans with enough content to keep them excited about the album. Choice cuts include “PA Nights” and “Party on 5^th”. Web phenom Mac Miller’s singles have now gone gold and the album blue slide park is close to selling a quarter of a million copies worldwide. Mac’s reach into social media has made him one of the most important artists to watch in 2012.

8. Wiz Khalifa – Rolling Rapers

Wiz has been proven as a rapper and touring performer but remained lowkey on the radar screen until given the right opportunities to grow as an artist and songwriter via production. There are many cases of big budgets that are unessasary for rappers and this past year there was a large amount of albums and mixtapes that got thrown away even with “top notch” production. Wiz Khalifa under the right guidance was allowed to develop songwriting skills that elevated him past being just a “rapper”. “His first two singles , “Black & Yellow” & “Roll Up” , both produced by Stargate , were proof that he was dedicated to writing updated radio friendly crossover tracks. His lyrical sensibility made sure that the catchiness matched his autobiographical accounts of his rise to the cream of the new hip hop crop. Album cuts such as “No Sleep”, “Fly Solo”, “The Race”, & “Wake Up” were/are ALL deserving of being released as singles to continue one of this past years strongest hip hop album cycles.  

9. Wale – Ambition

As the premier signing to Rick Ross’s “Maybach Music Group” , Wale had to lead the pack like a franchise player and came through with a number one debuting Billboard album called “Ambition”. Featuring the raps of his label-mates and hooks by Miguel,Ne-Yo , Lloyd , and Kid Cudi, Wale brought us what should have been his first album. As strong of a sophomore turn as any rapper could give, Wale progresses his lyrical style with a mix of dry wit and consciousness. A little bit of extra boastfulness to match his label situation helped to gain radio airplay, street cred, and critical acclaim.

10. Common – The Dreamer, The Believer

I have always been respectful of albums entirely produced by a single producer or production team. Common had been working on music continuously throughout his time acting but hadn’t released anything. A lot of fans and critics were anticipating this release and he wanted to make sure the project was making the right statement at the right time. Common and long-time producer/collaborator No ID came together to create one of this past years most cohesive projects. Side A – The Dreamer starts off the album with a serious nod to the golden age of hip hop which Common and No ID helped to shape. Side B – The Believer takes these notes from the past and creates a new future for a classic hip hop sound.

11. The Black Keys - El Camino

Releasing two albums in less than a year and a half is an impressive feat for a rock band constantly appearing on television and on soundtracks as well as touring to sold out arenas. The duo of Dan Auerbach and Patrick Carney (with Danger Mouse co-producing on their 2011 release) defied the odds and blurred the lines of what alternative rock and blues music should sound like. Critics highly praised both their last albums and this group continues to evolve and push the bar further from their original roots as a blues rock duo.

12. The Weeknd – House of Balloons, Thursday, Echoes of Silence

Releasing three 9 track free albums last year, The Weeknd helped to shape and change the future of R & B music. Highly touted and featured by Drake , lead singer Abel Tesfaye is one of the most promising talents to watch in the upcoming year. Equally brilliant and weird, the ehtereal sounds and production of each record is incredibly unique. I recommended late nights and headphone splitters for maximum listening enjoyment.

13. Tyler, The Creator / Frank Ocean / Odd Future

The Odd Future Gang was hard to miss this past year from indie releases to Watch the Throne features. Capped with winning at the MTV awards its not hard to recognize the uniqueness of this group of talented young individuals collectively from Los Angeles and New Orleans. Infusing a mix of raw viral visuals and constant media appearences this crew put their brand and music in places that a lot of veteran artists achieve. Their pop-up shop in Los Angeles is proof that fashion, film, branding, and merchandise play now an almost equal role to the recorded music itself. Not to sell their music short in any way, Frank’s debut release Nostalgia, Ultra coupled with Tyler’s debut release“Goblin” was one of the most deadly 1-2 knockout punches hip hop and R &B has seen from a young independent label in quite some time.

14. Kendrick Lamar – Section.80

As Top Dawg Entertainment’s most buzzed about artist in 2010, cunning lyricist Kendrick Lamar had to step his game up even higher for this project now that he had more media attention. With Section.80, he whole-heartedly delivered a throwback west coast classic to the days and lyrical subject matter of Tupac Shakur. His standout performance on this effort lead to a feature and subsequent tour with Drake and now has the chance to bring his particular brand of hip hop to the worldwide masses.

15. The Songstresses 

This was a great year for female performed pop music. Major crossover singles and number 1 Billboard albums were released by Rihanna, Katy Perry, Marsha Ambrosius, Jill Scott, Britney Spears, Beyonce, and Kelly Rowland. The power pop female voice was unescapable this past year. 

Why pay for something you can get for free? This has been the penultimate question posed to consumers of digital content in the past five years. The current digital distribution platform has left content providers scrambling to compete and fight with “piracy”. Mobile devices have made it so easy to access “free” content on sites and apps like Youtube, Crackle, and Pandora etc. that buyers are completely stopping their purchasing of content. The music, film, and television businesses have been suffering from this free form of digital distribution that blurs the lines of legality. Despite these setbacks, mobile devices, along with Wi-Fi and 3/4G access have made more opportunities for consumers to actually purchase digital content in many interesting new ways. Online stores, subscription services, and advertising opportunities for content have given artists and companies a lot of new unique ways of marketing and promoting their material. This digital push and pull has begun to be studied and the outcomes for the near future of digital content management are still unclear. However you picture it, the digital age has been exciting for the entertainment business as adapting to a new digital culture has proven to be both a challenge and a success.

  The traditional digital download method of a consumer buying an entire album on ITunes is already outdated. The timeline culture of twitter and Facebook has made entertainment an INSTANT venture.  Consumer attention is guaranteed in this type of information-based society, but actual purchasing and post consumption is not promised to any artist/performer or content provider. The same consumers who state that digital downloads are their favorite ways of buying music are more likely to go to YouTube to listen to the songs rather than purchase them. I am not saying consumers got lazy, but the convenience of timelines and streaming media on social networks makes enjoying content instantaneous and albeit easy to digest. I believe in a try-before-you-buy option, which most retailers offer in 30-second snippets. After viewing/listening to the entire length of content most people never purchase the product. This fact accounts for the amount of views on YouTube versus the amount of sales of Adele, Watch The Throne, or The Lonely Island’s latest albums.

  Even with all this technology only about 15% of available consumers have legally purchased a digital download in the past three months. YouTube, Vimeo, and other free video hosting sites are the main source of consumer attention and even though the numbers may appear to be low, ITunes is still the main source of consumer to provider payouts. The bulk of consumers that I have spoken with regarding preferential use have stated different ratios of paid versus free content in their online usage.  I have tried to maintain a balance between purchasing and streaming content and have found about an even ratio in my online usage. I seem to be in a minority as the bulk people in my research have heavily leaned either towards purchasing or streaming.

  Instant gratification and tangible ownership of content are the two main reasons to keep consumers shopping. The public nature of streaming services take away the ownership experience that has made art, film, and music so cherished throughout the past one hundred years of consumer experiences. Our digital sharing culture has actually removed our thought stream away from content and more towards research and recommendation about content. Word of mouth and personal recommendations still fuel viral movements just as before the advent of modern sharing and streaming technology. The balance of purchasing and sharing has been at the center of debate since the original battle of tape and radio or TV versus the VCR. As content managing technology advances I believe that our attachment to our devices will outweigh our attachment to actual content and that streaming services will overcome purchasing engines. As for the present, I am enjoying all the exciting new purchasing and streaming platforms as both a consumer and content provider!

As 2012 rapidly approaches I’ve recently taken some time to think about the past 10 years of the digital music revolution and how that may help us to predict the trends of the next 10 years in the music business. We have seen so many intermediate mediums come and go since the late 1990’s and the distribution market for music has never been as turbulent as it is now. We have seen rapid declines in physical sales and massive gains in digital sales. We have seen artists sign non-traditional deals in terms of touring, merchandising, and licensing. We have seen music production; publishing, and recording companies fold in these tough economic times. We have seen almost every viable consumer turn into the STAR via YouTube, Facebook, and blogging. We have seen home recording trump professional recording services. We have witnessed the mobile device revolution and there is NO end in sight for the massive changes and paradigm shifts to the music business.

The first massive paradigm shift in the business was the move from physical retailing to digital distribution. Sales of recorded music have become dependent on services like ITunes, AmazonMP3, and Spotify to reach the most consumers in the market. The shift from home computing to mobile devices has exponentially increased the potential for digital sales. It is amazing how using one’s phone you can LEGALLY purchase just about any song or album you want and have it streamed/delivered to your mobile device and then to your stereo INSTANTLY. The experience of ownership in terms of recorded music has changed so rapidly that there are young adults purchasing digital music that will NEVER own a CD, DVD, Tape, or Record EVER in their lives. The ITunes store along with the IPhone has changed not only how we receive our music but also how we perceive it as well. Many artists and labels are now developing apps and online stores to try and lure customers back into purchasing recorded music like the days of vinyl and cd’s.

The smart device revolution has eradicated the need for a tangible medium of music. Where we once coveted our vinyl, tape, or CD collection we now hold fast to a personal device that acts as an intermediary between ourselves and our personal entertainment albeit music, film, television, or formerly printed media. The smart device revolution has also eradicated the need for other devices such as cameras, listening devices, desktop/laptop computers, and televisions. Retailers have shifted their focus to direct to consumer distribution by using the mobile device as a solid platform for expansion. The consumers “need” for physical entertainment merchandise and products are declining with the consumption of content and media rapidly increasing. I believe it is just a short amount of time until all physical retailing of entertainment media will be abandoned for the growing market of direct to consumer media.

Seeing past the mobile device revolution, manufacturers are starting to utilize cloud and locker services for on demand content being available to ANY device. In this next year especially I predict that online storage mediums for content will replace having to buy Devices with moderate and or expandable memory. As a music producer I have taken advantage of many cloud-computing services such as Drop Box, ITunes Match, and the Amazon Cloud player for my professional services. Google, Apple, and Amazon respectively are at the top of the batch of interesting and new computing mobile computing services and it will be interesting to see how other companies join or compete against the services these three major companies are offering consumers. There is a defining a la carte movement in terms of distribution of entertainment content. It has never been easier for the average consumer to purchase and appreciate various forms of entertainment. The industry is expecting broad growth of digital sales throughout the next few years so as producers and artists we have to stay focused on creating content for distribution.

In my last post I described my initial experiences with music composition using GarageBand and the Apple Ipad2. It took me about 2 months to move past GarageBand but when I did I found an AMAZING collection of music apps in the app store that will forever change and improve my music composition and production. From composing/creating to mixing/mastering there are incredible apps and tools for musicians readily available in the app store.

Upon first inspection of the App Store I cam across a company named Smule who rose to fame developing the I AM TPAIN app that brought “autotune” from the recording studio to the mobile platform. My initial impression of this app was very positive as I thought it would be great for demoing hooks on the fly whenever inspiration struck…upon realizing I could upload my own instrumentals I was SOLD. I have since used “I am TPain” to demo about 10 hooks of which 3 made actual placements into songs. I like how they are constantly adding instrumentals to the app and its kind of fun to listen to people’s recordings from around the world. I was so impressed by this app initially that I checked Smule’s website to see what other apps they had available.

The second Smule app that peaked my interest was the “Magic Fiddle”. Both my grandfathers were trained violinists and I have always had a knack for string instruments but never purchased an actual violin. I had doubts about the professionalism and sound of this app but was immediately amazed by how realistic and intuitive the “Smart Fiddle” app was designed.  I went through the songbook and could instantly play along with some classics. I then set up a microphone and recorded some solo passes on a few compositions I was working on that day. I have since come back to this app in the studio many times to record realistic sounding violin parts.

The next app I came across has now become an integral part of my music production setup. Djay for Ipad and IPhone is an incredible platform for performing and recording. After seeing this app in the commercial for the new Ipad I was skeptical that it would hold up to Serato Scratch or Traktor Pro. Upon purchase I was AMAZED at the ease of use and wealth of features. I have used this app at countless DJ gigs, which has saved me a lot of time and hassle of bringing turntables, laptop, mixer, and cables. Going straight from Djay to the PA system of a nightclub gives me a lot of signal strength without the hassles degradation loss from plugging in multiple audio devices. The effects and eq’s are strong and I enjoy using the looping points to mash up mp3’s in front of a live audience.

My next experiment was with Propellerhead’s Rebirth. I have not used this program much for productions but in travel I have found myself creating bass lines and drum patterns just as a regular Ipad user would play solitaire or Sudoku. I have had similar experiences experimenting with Korg’s Ielectribe (Gorillaz Edition), Beat Pad, and Easy Beats. The Sunrizer and miniSynthPro have also provided me with an outlet for experimenting with sounds in fun and interesting new ways.

The only experimental app that has made it into my studio productions so far has been Native Instrument’s Imaschine. The drum sounds especially fit incredibly well with my on the fly style of production. I have used this app in recording studios across the mid Atlantic and Southeast with very successful results. On one particular bus ride up to New York City I composed 7 instrumentals of which 4 have already been licensed and/or sold!

One of the reasons I bought the Ipad was to use it as a controller for my desktop computers. I have read about how to use them to control DAW’s and was VERY excited to get started to figure it all out. I started with the TouchOSC app and began searching for tutorials online to walk myself through the initial steps. Before I had the chance to find proper tutorials I was already up and running. Creating and using custom templates has allowed me to gain more precise control of the functions I most use in my DAW’s!!!

Honorable mentions go to Akai for their synth station and FL Studio for going mobile. I am also very excited about the new aniMOOG app!!! I am so excited every time a new professional music app comes to the app store. I am very much looking forward to the rest of the tablet revolution as it pertains to music production and composition.

I have only briefly gotten a chance to use the first Ipad, IPhone, and/or the modern IPod touch. I have an older MacBook and a first generation IPod and an android sprint/htc phone. When the release date for the Ipad2 was announced I didn’t hesitate at all to go buy one. I was looking forward to a product that would bridge the gaps between my smartphone/mobile device and my various laptops and desktops. I bought the Ipad2 on a whim because I FELT that it would fill the gaps for me without even trying one.

It has been months since my initial purchase and I am still enamored by the product. I am learning new uses for the device everyday while familiarizing myself with the built in apps. Upon initial purchase I was lost in a sea of apps and wasn’t sure where to begin in setting up my system. I started by going through all the settings so that I could get comfortable with the multi touch gestures and movements on the pad screen. The interface is bold, clean, and VERY intuitive. I was able to fully customize my Ipad2 in less than a few minutes and then began exploring the apps that were pre installed.

I started with the camera and video apps.  I was amazed at how professional both the front facing and rear facing cameras looked and performed. I started thinking about how there’s probably thousands of amazing photo editing and camera apps in the market. After taking some pictures and videos of my recording studio I decided to stop wasting time and check out Garage Band.

I opened the App store and was immediately distracted by the most amazingly productive and time wasting collection of programs to use at my will. I quickly refocused and searched for Garage Band. The download took about 2 minutes and before I could even start learning this new software I was already making music.  I started exploring the instrument list and was amazed at the professional feel and sound of this mobile production format. I had an instant feeling that not only Garage Band, but all the music apps I was yet to download would be an integral part of my work in music composition.

The first instrument in Garage Band that I experimented with was the “Smart Drums”. I figured that I would build up a basic drum pattern and then go through each other instrument one by one. Upon opening the “smart drums” I was excited to find enough kits to get basic beats started with easy to navigate programming. When seeking inspiration it is great to be able to just “roll the dice” to get a simple/solid groove going. After I tried rolling the dice a few times and then adding sounds as needed I decided to track out the pattern into my sequencer and move on to the “smart bass”.  The four included bass sounds are great for getting realistic bass lines started and upon experimenting with the auto-play functions I was ecstatic to get to work on the next instrument, the “smart keyboard”.  The piano sounds rivaled the dry sounds of the Nord electro, which I was used to working with and I was so surprised at how “smart” the chord structuring was compared to a basic electro piano module. Within a few minutes using just the smart drums and keyboard I had build up about a half dozen scratch ideas to build off. Going back to the first of these ideas I moved on to using the “smart guitar”.

The “smart guitar” instrument was amazing at filling out parts and space in the basic ideas I had started with the drums and piano. Effortlessly switching between acoustic and electric emulations with auto play and scale mode features made me so happy and instantly satisfied with my purchase of an Ipad2. I could have stopped here and made music for endless hours but I wanted to keep trying more instruments, which led me to using the “keyboard”. I was blown away by how many GREAT sounds were included in this instrument and I was so excited at the idea of linking this mobile Garage Band to my laptop/desktop to use all my other sounds/vst’s in accordance with these amazing new mobile instruments. Within another hour I had completed about 10 basic compositions using the built in sequencer with ease and had transferred them to my computer to open in Logic/Pro Tools for further composing and editing. Lately I have really enjoyed using the built in sampler to scratch vocal ideas and build basic tracks around them. Every time I go in the studio now I start off my sessions with uploading my musical ideas out of the Ipad’s Garage Band and onto my full system!

After a few days of building up a library of Garage Band demos I started exploring other Apps within the App store to see if I could achieve success in building a mobile project such as the Gorillaz who released an ENTIRE album composed on the Ipad.  I am a very proud owner of an amazing professional mobile production rig in the Ipad2. In my next post I will describe my adventures in exploring a TON of pro/am music applications for the Ipad2.  

It seems as if the initial kick off for this service is geared towards music makers and not so much music consumers. As a music producer who went through the rapid changes from the “tangible content” era to the “digital content” era I am INCREDIBLY pleased with this new program. I had conceived of a unique service similar to Amazon’s Cloud Drive around 2004. Lacking the funds and expertise to put something together I chose a career path for my music that was far from designing web and app code. After 10 years of composing, producing, engineering, and performing I have amassed a very large publishing catalogue of music that I own and operate. Working with pioneers in the content management field such as http://www.chaoticcontent.net/catalog/ I have seen companies gain success from having accessible databases of music in an online forum. Stepping this up to the mobile device and cloud era has made me VERY happy to finally be enjoying visions that I have previously had for content management services.

Within minutes I had set up my cloud drive and uploaded almost 500 pieces of music from my publishing catalogue. There was nothing worse then dubbing music to cassette tape, almost as bad was burning Cd’s, just as bad but a little bit better was travelling from studio to studio with hard drives containing my music, video, and other content. Having a server like the cloud drive is going to prove INVALUABLE to the independent artists and producers in the music and film business for ease of access to massive amounts of content. Within the next hour I had uploaded raw video content from studio sessions and shows and a TON of pictures from shows/events/travel etc. in the past few years.

As pleased as I was with this uploading service it was time to update the amazonMP3 app on my HTC droid and see how the actual player works in conjunction with the drive. This is where I encountered mild issues. The player organized the music already on my phone but wouldn’t load my content from the cloud. Following the in-app instructions I was directed back to Amazon.com/cloudplayer which is a different site than the cloud drive. Once I filled out the registration info I was directed to sign out and then back in from my AmazonMP3 app. After this ALL my content quickly loaded up on my phone and I was VERY impressed at the organization of the music in the player and of the sound quality. I noticed slight sound degradation from my original mastered broadcast Wave files which was equivalent to the sound loss I deal with when importing to Itunes.

As a content provider and frequent traveller I am EXTREMELY proud of Amazon/Android for jumping ahead of the pack with this digital storage solution. I am VERY surprised that Apple had yet to provide a similar service alongside of Itunes. I think Microsoft/Windows is going to lose an incredible amount of market share in the near future as we continue into the mobile device and Tablet era. On my 3g phone the player was somewhat slow to load up songs and play them without interruption but upon signing into a Wi-Fi network and or downloading from the cloud to my phone the speeds became much better. All and all, I praise Amazon for offering this service and I bet there will be a MAJOR sales spike in the next few weeks as they are offering incentive of 15 gigabytes of more storage space for one year with one album purchase.

Seth Barmash

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There has never been a doubt of people’s interest in listening to good music. There has always been a great search for the next best artist and the most cherished vintage recordings. The Internet and mobile cultures has helped fans to seek new content in more ways than ever before. In the golden age of the music business you had months to prepare a coordinated release that would itself last longer than almost any sale/promotion cycles found today per project. When tracks are to be released on album, chances are millions of consumers have legally and or illegally had access to getting the album online. Large scale exposure to a piece of intellectual property can happen within minutes and as members of the music industry we have to be careful to handle the “business” side of our music before intended online exposure or commercial release. I am going to list here the most important steps you must take before releasing video or music content. It is as important as ever to coordinate a release of a product and harness all media outlets pertaining to your consumer’s interests.

1. Copyright/Trademark - The first thing to do with a newly created song/video is to fill out the proper forms to copyright the piece of intellectual property. As a performing artist or band/group it is also extremely important to trademark the name of your new “brand”. Licensing of brand and image has become and integral way to advertise your media. It is very common now for clothing and lifestyle companies to sponsor the release of new music in return for spreading word about their brand and image to fans and consumers. This first step is essential in becoming as strong as the established brands that represent the new artists in the business.

2. DBA/Business Registration - Once you have established income sources for your copyrights it is essential to have a proper way to cash the checks. The process of registering a small business and a fictitious name for accounting purposes is more affordable and easier to register than ever but STILL extremely essential. These forms and processes should be handled concurrently with the copyrights and trademarks mentioned in first item.

3. Merchandise - With the decline in sales of recorded mediums it is time for upstart artists to focus on branding their name and likeness images via merchandising. Creative advertising for unique products have carried artists to a new level in the past few years. Just recently Will I AM of the Black Eyed Peas was named a creative director at Intel. If you come into the music business already savvy with online sales techniques it is fairly easy to capitalize off of the newly developing mobile market. Service platforms such as ReverbNation and CafePress make it easy for an upstart artist to easily gain necessary materials to handle the online sales culture’s demand and begin to profit immediately.

4. Mobile App/Web Presence - Finding a niche in the online/mobile app culture has never been easier. With the addition of a technical advisor to help develop a mobile app or a web presence it is easier to direct online fan traffic to official channels instead of online pirating. The booming tablet market is going to increase the demand for accessible online content and merchandise and its best to now find ways to advertise to that group of consumers.

5. Marketing/PR - Print, TV, and Radio are still great media outlets and it is essential to coordinate an online presence and release with other mediums as well. It is important to have someone on the team who knows the existing media culture and can help spread the word about a coordinated release to the most consumers.

6. Digital Distribution - There are a vast number of online retailers for content and it is extremely important to exploit them to the fullest when it comes to release for sale only online content. Supporters of the arts will always find a way to pay for their entertainment and it is important to find as many outlets for your material as you can to sell your music and video. There are many varied digital distribution services and companies of which I will talk about in a future post.

Now you can clearly tell that to break into the music business as a new artist it takes a vast effort on a multitude of mediums coordinated around a release date of a product with other profit bearing opportunities attached at the same time. Upon more thought than ever I’d advise an artist to GO for it or FORGET about it at the same time…Just remember it is of the utmost importance to build a strong team and properly delineate responsibilities.

When the basic music fan/consumer and entry level music industry staffer think of success they normally start with record sales. Throughout the years there has been a large number of tangible mediums to sell music starting with sheet music in the early 1900’s to the sales of MP3’s in the early 2000’s. When you look deeper into the the business its hard not to see that record sales are really the last thing an industry professional or investor thinks about due to rapidly declining sales of recorded music. I am going to list here a few ways that industry professionals make money off of their signed talent. This list will also reflect some of the ways that artists themselves gauge their success outside of record sales and digital downloads.

• Radio - It is no secret that FM, Satellite, and Internet radio STILL work very well in getting your music to the fans. Record labels and Independently artists still spend the bulk of their investments on radio promotion. Most radio stations sell their song slots just as they do their advertising slots. Think of your song being played on the radio as advertising your BRAND as an artists. There is NO better way to command an audience than Radio Promotion. If your songs are being played on multiple radio stations at the same time in various markets your music becomes UNAVOIDABLE to the consumer. For just as many times as YG’s “Toot it and Boot It” was played on Los Angeles radio this fall so was Waka Flaka’s “No Hands” down south, just as Rick Ross’s “Aston Martin Music” was played in the northeast territories. It is really a phenomenon when an artist such as Nicki Minaj, Justin Bieber, or Rihanna has their music played in ALL regional territories. As a label or investor if you add up radio spins in terms of royalties paid out those numbers become VERY important in measuring the success of an artist as opposed to record sales or downloads.
• Merchandising - Direct sales of merchandise to consumers is also a great way to prove your worth as an artist/band. With so many new internet tools for direct sales accompanied with traditional methods the brand of a performer has never been so lucrative. Most acts take to the road as the best way to push their brand to fans. Sales of clothing and accessories have maintianed their price point for as long as I can remember. The concert business is as worthy as ever due to the decline of price of recordings. There are plenty of fans who may have downloaded an mp3 at a low price from an aritst they admire and STILL pay $35 dollars for a T-shirt and $50 dollars a ticket for a concert. The internet and social networking platforms ahve made it VERY easy for independently funded as well as major label artists to capitalize off fan devotion in terms of merchandise sales.
• Licensing - There are many paid music supervisors and advertisers that are ACTIVELY seeking great new as well as older music. Artists who are consistantly making good music always have a chance to place some of their tunes in Film, TV shows, commercials, and other mixed media. The shelf life of a artist/band is now greatly extended due to licensing placements. Licesning agreements are very lucrative to artists and their publishers. Whether in terms of upfront licensing fees and or royalties collected artists can gain substantial success by placing their art in other forms of media.
•  Digital Distribution - It used to be that you had to sign a major recording contract to get your music to the fans. With great services such as tunecore(Itunes) and other popular internet based media outlets such as Youtube it is hard to imagine leaving your home to go to a retail outlet to buy a song/album that you either like or just have “heard of”. Royalties from digitally distributed music and videos can significantly add up once the artists handles proper copywriting and registering with either ASCAP or BMI. 

This post should help us all to understand that there are many ways to make money from music without stressing over selling a TON of copies of records through physical retailing.

They say behind every successful artist is a TEAM that works even harder than the performer. A mentor of mine once stated that all artists in the music biz need to do is make good music and play great shows. Easy enough ….right?!?!?!. Well….it is now about 70 years since the inception of the modern music industry and as an artist there are SO MANY more things you need to do to become successfull. In this post I am going to list some people behind the scenes that make the life of an artist/producer seem effortless.

There are many kinds of music business personnel and I am going to try here to represent each of these professions. Most industry professionals face a rigorous calender of engagements ranging from radio interviews, studio recording sessions, performance tours, marketing meetings, keeping up with internet trends, and SOMEWHERE in there maintaining a personal life. Once it gets to the point where you can’t even pick up your phone the first person an artist hires is a MANAGER. The way I see it, a manager, should be responsible for creating business outside of your music. Let’s face it…NOBODY is selling records like they were 1960-2000. Thus NOBODY is making money like they were from 1960-2000. At this point one might ask, WHY would I need a manager when I can take care of my own career?!?! I’m here to tell you that within a 14-18 hour day even the most CREATIVE and ENTHUSIASTIC of artists need to find NEW ways to make money. The most successful artists in the game right now have used management firms to create ALL sorts of business off of the branding and licensing of their name and likeness rights.

• Scooter Braun - As one of the foremost upcoming managers in the music industry this former promoter has grown into a force. After starting as a party promoter and then a marketing executive for So So Def, Scooter has taken all his various skills and used them to manage the careers of both Asher Roth and Justin Bieber. By utilizing his industry connections and the best of what technology has to offer he started a management firm with Usher and secured a MAJOR recording deal with LA Reid for Justin Bieber. With new releases set for both his artists and possible future signings on the horizon I have a great feeling that Scooter with a little help from Justin Bieber will become a MAJOR player in the music industry post 2011.

• Julie Greenwald - Julie has climbed the corporate ladder in the industry ranks from an assistant at Def Jam to now being the active chairman and chief operating officer of Atlantic Records. She has helped to guide the careers of B.O.B , TI, Flo Rida, Plies, and Trey Songz. With recent signings Wiz Khalifa, Plan B, and Diggy Simmons, Julie has set herself apart from the rest of the record industries exec’s by Championing hip hop and R & B in a pop driven market.

• Zach Katz - Zach started as a lawyer and then switched gears to represent Producer J.R. Rotem. The two eventually created a boutique label called Beluga Heights. They have signed Sean Kingston, Jason Derulo, and Iyaz while successfully guiding ALL their careers. With newest signings Auburn and Mann, Zach and J.R. are poised to continue dropping amazing singles and albums throughout 2011 for the entire roster of Beluga Heights.

Now that I have talked about artists, producers, and industry people to listen for I am going to make the next few posts more opinion based and less on facts. I feel that people deserve to hear how I truly feel about the inner workings of the music industry. Stay tuned for the next few updates …

In my last post I mentioned a few artists that deserve a listen early in this new year. I want to dedicate this post to the REAL artists behind the scenes in the music business. I am going to list a few producers here that made a name for themselves in the past few years but are now poised to step out into the spotlight. In no particular order……….

1. Lex Luger - After following in the steps of his predecessors such as Zaytoven, Drumma Boy, Shawty Red, and 36 Mafia, Lex is about to step out in the south as the new beast behind the boards. He has produced smash trap hits for Waka Flaka Flame, Rick Ross, Kanye West, Ace Hood, Fabolous, and Soulja Boy. His resume is about to increase in both star power and productivity and hopefully the quality of his “sound” will increase along with the quantity of his output.
2. Alex Da Kid - Seemingly coming from NOWHERE this in demand producer has made some of the most memorable music of 2010. I say music because what he does is beyond the role of a “beat maker”. With songs such as “Love the way you Lie” for Eminem, “Coming Home” for Diddy, and “Airplanes” for B.O.B he has given us a much more musical taste for Hip-Hop and R&B. Most of his songs follow a strict formula built around Hooks by Skylar Grey and feature live guitar and piano. His drum sounds are VERY CLEAN and once you add a superstar artist into the mix he has given us in the business a TRUE recipe for success in terms of production and marketing.
3. Bruno Mars - As 1/3 of the production team “The Smeezingtons” this producer/performer/writer is a TRUE threat to EVERY upcoming producer/artist that’s trying to make it in the business right now. It seems as if EVERYTHING he touches goes platinum. If “Nothing on You” by B.O.B, “F*&$% You” by Cee Lo, and “Billionaire” by Travie McCoy are his “tip off” I am very excited as music fan to hear what’s next. The fame and money will hopefully fuel his ambitions to create his art at an even HIGHER LEVEL in 2k11. The music that he makes for himself has a clear distinction from the tracks he blesses for other artists and this range is what will keep us all listening to what he has to offer for many more years. 
4. RedOne - As the architect behind the success of Lady Gaga’s music, NO producer really stands a chance once her new album drops later this year. Just like “40” and Drake, Gaga and RedOne have established a true musical throwback to the time when albums were ONE artist and ONE producer. I am not the biggest fan of Gaga’s music but I definitely RESPECT and acknowledge the great engineering, production, and songwriting that is behind her movement. Hopefully after the release of Lady Gaga’s second album “Born this Way” we’ll hear RedOne branch out to working with more artists in all genres of music. 

In my next post I will dig deeper into what makes these artists and producers SO successful amongst the millions of people trying to get their music heard.

Last night on my FaceBook page I mentioned about 10 artists that I feel deserve to be heard in this first week of 2011. I’m going to shortlist here what I have been listening to the past few days of this new year.

1. Tinie Tempah - This artist was first brought to my attention about a year ago when I was searching for a new sound for some artists that I was producing. The difference a year made for me was getting over the SOUND of the records and to really listen to what he was saying in his lyrics. Single after single overseas he has proven to me this year that he is LISTENING to what we are doing over here and actually doing it BETTER. In my opinion he has quickly taken the best of Lil Wayne , Wiz Khalifa , B.O.B , and Lupe Fiasco and put them all into one in terms of production and marketing. His latest single is proof to me that he is ready to do major numbers here in the U.S. market in 2011.
2.  Mac Miller - This past year I started researching the upcoming music scene in Pittsburgh, PA. Rostrum Records has shown the industry that ARTIST DEVELOPMENT still MATTERS !!! Mac Miller is a recording artist who truly lives and means what he says. I believe he will find crossover production this year and reach a youthful audience that will embrace his humble personality and REAL music.
3. iSqaure - Just as I believe we as fans actively seek GREAT MUSIC, sometimes we just need some filler to get us moving on the dance floor. The recent success of the Black Eyed Peas has shown us that not all HIT SONGS are GREAT SONGS and not all GREAT SONGS become HIT SONGS. With that all said I tip my hat to iSquare for heeding closely to the BEP formula.
4. Greyson Chance - With his first single “Waiting Outside the Lines” this child prodigy has shown us we don’t HAVE to SING AND DANCE to be a young pop star. Great production and Great marketing will hopefully lead this singer/songwriter down a respectful path in the industry to become as popular as Michael Buble and Josh Groban.

I am going to post more music for everyone to check out in the next few days. Please stay tuned to www.THEDIGITALCRATES.com !!!