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Music licensing submission status update

We’ve just rolled out some new features that will provide you with more information about what is happening with your future submissions to music licensing opportunities. We’d love for you to check out the new and improved “My Licensing Submissions” page and tell us what you think. Some of the new features include:

Expected Decision Dates – Each opportunity posted after 9/17/2010 will include expected decision dates. Obviously these dates are estimates since there are many variables that can delay a project, but these dates give you an idea of when you can expect results. If an expected decision date passes, the provider will let you know via the Status Log.

Status Log – Providers will now be updating you with the status of each opportunity and every time they post a note, we’ll send you an email to let you know they’ve updated the status.

Event Timeline – Now you’re able to see, in real-time, what the provider is doing each day throughout the process. You’re now able to see when the provider logs in to review songs, which of your songs they are playing or downloading, when they view your artist profile and more.

New layout – Since there is a lot more data being displayed for each opportunity, we’ve updated to the layout to accommodate.

Please keep in mind that opportunities posted before this update will not include much of this data.

To check out the updates, go to Broadjam.com and click the “Music Licensing” link in the top menu. Then click “My Licensing Submissions” in the sub-menu.

Posted by Broadjam on Sep 17, 2010 in Broadjam Blog

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RECENT COMMENTS …
71 total comments on this post.
  • E. J. Live!'s comment is:

    Thanks for the follow up call Jesse and always adding that personal touch. I always appreciate your work and effort around here.

    Feb 9, 2011/5:28 pm
  • E. J. Live!'s comment is:

    Still watching Opp’s close with no status update of “your song ‘x’ was played by provider on such and such date.” These closed with the note that provider will be soliciting for more submissions later even though they haven’t listened to all of the ones that they already have.

    FT10DM07
    FT10DR07
    FT10DS07
    FT10DT07

    These are recent; I can go back to Jan 2010 in the timeline on most of my submissions and see that they were never listened to yet closed as no BJ artists selected. Many of these I submitted several songs for each but haven’t been reviewed?!

    I think that I’m on the wrong side of this equation. How can I solicit entries for opportunities that I have? I have a publishing company that needs material; will I get a portion of the submission fees for my listings or do they all go to BJ?

    Feb 2, 2011/4:00 pm
  • E. J. Live!'s comment is:

    So, on a “glass half full” note, you have to appreciate the customer service for this one and say thank you for rectifying this for me; on a “glass half empty” angle, one has to wonder just how many of these mistakes go by unnoticed and without fixing them. What about all of the other people who submitted to this Opp also?

    I applaud the effort but this doesn’t make me feel better about the situation…actually, a little worse. ;-(

    Feb 1, 2011/4:36 pm

Artist Spotlight: Dennis Makepeace

Dennis Makepeace is a singer, songwriter and guitarist living in Northeast England. He has performed as a solo artist and has also performed in several bands. Dennis loves writing and performing his own songs every opportunity he gets. Additionally, as a songwriter, he gets great satisfaction hearing his music covered by other artists.

His anti-war song, “There’s No Glory,” was a finalist in the Irish Song Contest For Peace and many of his other songs have been contest winners as well. The music Dennis writes ranges from instrumentals, to acoustic ballads, to old-style Pop. His lively tune, “Katy’s Dance,” has also been covered by a brass band, showing that his music is very adaptable across genres.

At present he is finalizing his new CD, “Katy’s Dance,” and writing songs for his new album.

Dennis Makepeace’s Profile.

Posted by Broadjam on Sep 15, 2010 in Broadjam Blog

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Start Your Own Scene

I hear a lot of people complain that their band can’t really get anywhere because there’s not much of a scene where they live. However I don’t see a lot of people doing anything about it. If there’s going to be a scene, someone needs to have the vision and initiative to start it. So if you don’t have a booming scene where you live – start your own! Here’s how:

The first thing that you need to do is to scout out at least one good venue. What you want to look for are venues that are:

a) inexpensive
b) fun
c) willing to give you the freedom to set up your own shows

The other important factor is bringing in other bands to play with you. You’ll know you’re on the right track when you start putting together shows that you’re genuinely excited about. If you’re excited about the shows you put together then that excitement will translate to your fans. When you consistently put together fun and exciting shows you’ll see the beginnings of a new scene. Other bands will want to be a part of it and you won’t have to beg people to come to your shows. You’ll just need to tell them when they are.

When you put on shows with bands who know each other and who have fun together then people will actually stay for more than one band! They’ll leave happy without having spent too much and the bands can actually make some money too. It’s a win, win for everyone if you do it right.

If you’ve got total freedom over the shows you put on then you can do some things that are outside the box. You can have a comedian or a magician open for you. Be creative. I saw a band once who had made a big wheel that they would spin that would prompt them to do all kinds of entertaining stunts in between songs depending on where the wheel landed. It’s your show. Have fun with it!

Before I moved to Los Angeles I played in a band in Rhode Island where there wasn’t any kind of established scene. There were a couple of no-name venues where we regularly played. One was at a restaurant/bar at the beach and another was a tiny bar in the suburbs. Neither one had bands playing there until we proposed the idea. We brought in bands that we wanted to play with and we played what we wanted to play.

Both of these places that we played at gave us 100% of the door and 100% of merch. One of them even gave us the door plus $100 and free drinks! The bar was a tiny unknown hole in the wall, yet we made more money per show there than when I played in a band that sold out the Viper Room. Those shows were some of the best times of my life. We weren’t trying to reach for something beyond us, we were just putting on the shows we wanted to play and that we thought would be the most fun for everyone. We booked the bands we liked to watch and that we liked to hang out with, so naturally our fans would enjoy the show as well. People would come back to see us again and they would bring more friends and tell more people, to the point that many of them would be turned away at the door.

The idea is to bring people together in a way that’s a win win for everyone. If everybody wins then everybody will want to be a part of your shows in the future. If you want to create a scene, forget about the big expensive venues that don’t care about you, book 6 unrelated bands a night, don’t pay you and that your fans can only afford to go to on special occasions. Instead, find a fun place that’s receptive to the idea of letting you come in and put on your own inexpensive shows. It’s an opportunity for everyone – the venue owner wants more customers, you’ve got fans and you know other bands who have fans (you just need a willing venue), and the fans have a few hours and a reasonable amount of money to spend, and they want good entertainment.

Bring it all together and you’re the hero. So don’t be one of the countless complainers. Be a doer. Amazing things can happen when you’ve got the vision to bring people together.

Posted by Broadjam on Sep 13, 2010 in Broadjam Blog, Independent Rockstar Blog

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2 total comments on this post.
  • Protilius's comment is:

    That sounds really fun.

    Oct 4, 2010/7:32 pm
  • Seventhings /Margaret McClure's comment is:

    I was lucky enough to win a PA system from Broadjam a few years back..So it is easy to have gigs in my living room.. We invite everyone we know..have a few special guests, we dont charge a dime call it BYOB and we just have a blast .. it is really fun with no one telling us what to do and no pressure..and now when we go to play at a club all of those people come and they bring friends ..i didnt really plan it this way we just wanted to play our songs for our friends but i must admit it sure is better to play for a room full of people who like you!!
    i guess my point is i agree that fun is really important ..ive played in plenty of snobby venues where people are stressed out and counting every penny ..and its not worth it to me….anyway i know that not everyone can play in there living room like me but maybe a friends garage or local lodge… its out there if you look!! music is supposed to be fun !

    Oct 3, 2010/2:22 pm

How Vocals Affect Mastering

A lot of the people I master ask if there’s anything they should do when mixing that would make for a more “mastering-friendly” piece of music. I’ve already mentioned avoiding distortion, leaving some headroom, and not using signal processing on the stereo output, and as those elements are so important, I’ll say it one more time:

“Hot” mixes are NOT good mixes for a mastering engineer.

Actually, I lied. I’m going to say it yet again:

“Hot” mixes are NOT good mixes for a mastering engineer.

Do I need to mention it again? No? Okay, next topic.

Quite a few tunes I’ve been sent have the voice mixed too low. The vocal is the focus of most songs, and you want to make sure it’s clear and distinct. After mastering, some people have even listened back and agreed the voice needed to be louder…so they remixed the song, and sent it back for a second pass at the mastering. In every case, they liked the version with the louder vocal more.

Another reason why this is important is because some of the music I get has a sort of “blanket” over the sound, where the music lacks clarity. I can fix that, but in the process of doing so, making all the other instruments stand out more can make the vocal sound less prominent by comparison. This is especially true with a “collapsed” soundstage, where the mix sounds more mono than stereo (another common problem).

One “Broadjammer” sent me a file and before I mastered it, I suggested he mix the vocal up. He didn’t think that was a good idea, so I asked if his mixes used automation. He said yes, so I said okay, do me a favor…send me a mix the way you want it, then run off another mix with the vocal up 1.5dB, and another with the vocal up 3dB. I mastered all of them and guess which one the artist chose? Right, the one with the vocal up 3dB.

So why don’t they get it right during the mix? I think it’s all about the difference between mixing and mastering. When mixing, they’re listening to each individual track, and if they hear the vocal, they figure it’s okay. But when the mastered version comes in, it’s usually at least a week or two after the mix was done, and they get to hear it with fresh ears – and more importantly, they may hear it for the first time as a complete, cohesive piece of music, not a collection of tracks. That’s when they realize that yes, vocals need to be prominent.

One last thing: I think another reason why people mix their vocals too low is because they’re self-conscious. Don’t be. Your vocal is what it is, and if it’s not a great vocal, making it lower in level won’t make it any better – in fact it will be worse, because people won’t be able to hear it! Whenever you think your voice isn’t good enough to spotlight in the mix, think of two vocalists: Bob Dylan and John Lennon. By any classic standards, Bob Dylan’s anything but a great vocalist. Yet he found a distinctive style, didn’t run away from it, and it became his trademark. Lennon reportedly hated the sound of his voice, but it seems millions of Beatles fan respectfully disagreed. So don’t be afraid of your voice; shine a spotlight on it.

Posted by Broadjam on Sep 7, 2010 in Broadjam Blog, Craig Anderton Mastering Blog

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3 total comments on this post.
  • Protilius's comment is:

    Craig::

    How do you feel about half mastered tracks?

    I just realized how I got a great sound out of a track once.

    The only parts of it mastered were the opening and the chorus.

    The rest was pure mixing prior to mastering… Or faux mastered at most.

    The final cut was an interesting play on dynamics. Fun stuff from an art side of the music and engineering.

    I see engineering as an art…

    What do you do to bring art to your craft when you can?

    What were some of the more memorable projects you were proud to be a part of?

    N

    Nov 19, 2010/9:10 pm
  • Mike Peacock's comment is:

    Excellent points. With the bands and artist we record, mix, and master the vocal issue is always a battle. I think it takes a set of outside ears to help create the perfect mix. This article will be a helpful resource with my sound recording students and customers. Thanks.

    Mike Peacock
    Sound in the Hall

    Oct 21, 2010/11:46 am
  • MJVXperience's comment is:

    Thank you! I appreciate those helpful pointers.

    Sep 28, 2010/4:35 pm

Are You a Beggar or a Rockstar?

What I’m going to write about is what I consider to be the biggest fundamental difference between artists who thrive and artists who struggle to survive. It’s a mindset, a paradigm, a way to view the world.

Most bands out there are looking for support. They want you to help them out. Vote for them in a contest. Go to their show. Buy their CD.

By you contributing to their cause you will get them far enough to get their big break. When they get their big break then they will have made it and other people will be there to give them all the resources they need and they’ll live happily ever after.

There’s just one small problem with that model: It’s an illusion that will keep you trapped until long after all of your dreams are gone. It’s a fundamental misinterpretation of the way that money and value work. This strategy will no sooner make you successful then it will a beggar.

Money is just a lubrication in the exchange of value. Think about that for a minute. It doesn’t have any intrinsic value. It’s just a symbol. It’s a more advanced way of trading sheep. What the symbol stands for is value. It’s not about “getting” money. It’s about value. If you want to receive value, then you’re going to have to produce value for other people. You can’t game the system. It will all add up in the end one way or another. If you don’t produce value then you won’t even have the capacity to hold on to value. Whatever you get, you will lose.

You need to focus on the value that you can give to people. Do you want to get people at your shows? Do you really want to make some real money? Then convince people that you’re going to give them something that they value. Anything less will get you nowhere. You can get people to come to a gig or two out of obligation, but if they aren’t getting more in return than they are spending then they’re going to stop showing up. It’s just not sustainable.

Does your show cost $10 at the door, plus $5 to park and an hour or two of time on a Friday night? Well then it needs to be a show that’s worth $20+ and be the best thing that someone could do on a Friday night. YOU are the first person who needs to believe this. THE IMPORTANCE OF THIS CANNOT BE OVERSTATED.

When you’re well calibrated to what your fans value and you’re 100% convinced that going to your show on Friday night is the best thing that anyone could do, and that it’s worth 5x the cost of admission, then something amazing will start to happen. People will start to sense it. This will come through in your communications. People will see it in your eyes and read it in your body language. The pictures you take will start to speak to people differently. It’s like sprinkling magic dust on everything you do.

People are repelled by those who want to get something from them, but attracted to people who they believe will give something to them- and when you give them something that’s worth far more than the cost, then they will talk about it.

No one will ever come in and save the day by giving you your big break if you don’t first produce more value than what you ask in return. This is the great illusion that runs rampant amongst the minds of starving musicians. If you’re waiting for someone to show up and give you your success then you’re still going to be waiting when you’re old and grey.

So this is my challenge to you:

Eliminate the idea of charity or support as part of your strategy. Make “support” a dirty word. Don’t ask people to support your band. Don’t ask for favors. Instead, convince them that your band is the best thing that will ever happen to them. They’re going to tell their grand kids about you. Your band will be the soundtrack to the best memories that they’ll every have. $10 for your CD is the best bargain that they’ll ever find.

If you’re going to convince them of this then you’re going to have to convince yourself first.

This comes BEFORE you get your big break.

Don’t be a beggar.

BE A ROCKSTAR.

Posted by Broadjam on Sep 1, 2010 in Broadjam Blog, Independent Rockstar Blog

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3 total comments on this post.
  • Scott James's comment is:

    Thanks Protilius. Johnny, I think you’re absolutely right. Songs are probably the most important element in the mix. However, that’s not within the scope of what I’m writing about on this blog. I pick up where songswriting leaves off. I recommend checking out books from Jason Blume, who I think is a very good teacher and I also suggest looking for interviews from the songwriters you admire most through google as well as looking up songwriting associations in your area.

    Sep 13, 2010/4:25 pm
  • Johnnyuk's comment is:

    Why no mention of songwriting?
    I thought that songwriting was fundamental in reaching an audience so maybe give us some songwriting tips on how to create stronger melody lines or lyrics/structure etc that would be most welcomed.
    Without a strong song there is no audience and no amount of promotion is gonna hide that fact from the listener.

    Sep 12, 2010/8:12 am
  • Protilius's comment is:

    I love this…

    And any groupy that comes backstage with Gragnat takes the risk of having to tell “their” grand children about the day they met Protilius.

    LOL

    Awesome article… Insanely proper way to be regarding a winning mindset too.

    N

    Sep 3, 2010/5:56 am

Artist Spotlight: Dead Till Tuesday

Today we would like to bring your attention to Dead Till Tuesday, whose song “Kiss Me” won the Peace Love Productions Weekend Quickie Contest. Dead Till Tuesday is the latest musical incarnation of Brooklyn-born songwriter and producer Joe Pepitone. Joe started playing music at a very young age and he draws upon many influences to create music that combines elements of Rock, Indie, Electronic, New Wave, Hip Hop and Pop. He has won several awards for his music and recently recorded an EP with multi-platinum producer Mark Saunders.

Dead Till Tuesday’s Profile.

Posted by Broadjam on Aug 27, 2010 in Broadjam Blog

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2 total comments on this post.
  • rp music's comment is:

    I’ve been a big fan of Joe’s ever since he played for the New York Yankees in the 50′s!
    Welcome to bjam Joe!
    May you have every bit of success that you enjoyed as a Yankee
    ballplayer, and more!

    Feb 23, 2011/10:10 am
  • H. Jay Carney's comment is:

    Welcome Joe Pepitone and Dead Till Tuesday. Your work is brilliant, superior, creative and unique. Great writing, both lyrically and melodically. Very cool music that’s very, very enjoyable to listen to. All my best wishes for continued success.
    j

    Sep 14, 2010/10:15 pm

Artist Spotlight: Sam Cooper

This week we would like to introduce you to Sam Cooper, a producer and songwriter from Nashville. He produced and co-wrote the song “Fireworks,” which won the Springtime New Found Love Song of the Month Contest. Since the 1960s, Sam has been performing all over the US as a vocalist, guitarist and bass player. More recently he has been focusing on the behind-the-scenes work as a songwriter, producer and musician in many genres including Rock, Country, Americana, Soul, Rhythm & Blues, Funk, Reggae, Folk, Heavy Metal, Jazz and Pop music.

Sam Cooper’s Profile.

Posted by Broadjam on Aug 26, 2010 in Broadjam Blog

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Artist Spotlight: Nils Rurack

This week our featured artist is Nils Rurack, a songwriter and guitarist from Illinois. He won the Up-tempo Instrumental Song of the Month Contest with his song “Funky Farm.” Nils started playing guitar at a very young age and, while he likes to stick with his true love of Rock music, he often branches out into Funk, Blues and Jazz.

Nils Rurack’s Profile.

Posted by Broadjam on Aug 24, 2010 in Broadjam Blog

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6 total comments on this post.
  • margaret mcclure's comment is:

    Congratulations NIls ! you are a truly original innovative musician and an inspiration to us all !!
    much luck and all the best …..

    Aug 26, 2010/2:49 pm
  • Swinford's comment is:

    Nils!!! YAAY!! great job on this and I agree with Morgen very deserved!!!

    Aug 25, 2010/10:32 pm
  • Nils Rurack's comment is:

    Thank you guys so much. I appreciate all the support I have received at Broadjam and all the friends I made here.

    Nils

    Aug 25, 2010/10:07 pm

Artist Spotlight: Bonnie Warren

This week we’re putting the spotlight on Bonnie Warren. Her song, “Make the Most,” won the Growing-Up Song of the Month Contest. Bonnie, a singer and songwriter from the Philadelphia area, has won national song contests and can be heard on other artists’ releases, on TV, in independent films and at various venues across New York, Philadelphia and Nashville. Her songs cover several genres, including Pop, Country, Christian, R&B and Inspirational.

Bonnie Warren’s Profile.

Posted by Broadjam on Aug 23, 2010 in Broadjam Blog

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Danger: Data Compression Ahead

Every now and then, I get asked to master an MP3, AAC, WMA, or other data-compressed file. This is different from audio compression, where someone puts a compressor or limiter across the output and squashes the living daylights out of the dynamics; data compression actually removes bits of the file so that it takes up less memory. All the formats above are called lossy compression formats, because when you convert a WAV or AIF file to one of them, part of the music is gone forever.

How much is gone depends on the bit rate. Higher bit rates take up more memory, but sound better. The “internet standard” bit rate is 128kbps (kilobits per second), which is not exactly high fidelity. 320kbps is much better, and is the maximum bit rate attainable with current-day MP3s. Still, you’re losing something, and mastering a data compressed file is always discouraging because I know I’ll hit a wall where no matter what I do, I can’t take it past a certain point because of limitations in the file itself.

I always ask the client if I can possibly get a higher quality version, but sometimes a data-compressed file is all someone has. (By the way, converting a data-compressed file to a WAV or AIF file doesn’t solve the problem, because remember, we’re dealing with a lossy format and some of the music simply isn’t there. So, what you end up with is an accurate reproduction of the data-compressed file, not an improvement on it.) In that case, I can either reject the job, or see if I can improve matters—while warning the client that this is a less-than-ideal situation.

With data-compressed files, the success of the mastering job depends more than ever on the recording quality and the type of material. As I’ve mentioned before, mastering puts music “under the microscope” so if the material was well-recorded, that’s a huge help. Also, loud, thrashing guitars will be more forgiving than, say, a solo harp recording.

Tonight I received a mastering job in m4v format (Apple’s data-compressed AAC format). I wasn’t very hopeful, but I really liked the music and wanted to make it sound as good as possible. Much to my surprise, although it took a lot of effort, I was able to make it sound much better than the original. Of course, if I’d had a higher-fidelity file in the first place, it would have sounded considerably better. But, if you want to define mastering as “taking a mix and making it sound a whole lot better,” this qualified.

Overall, I’m being dragged into becoming more tolerant about dealing with data-compressed material. Whereas before I used to pretty much reject it outright, these days I take a very close listen and make a first pass at mastering before deciding whether to keep going or not. Some songs just won’t fly no matter what I do, but others are indeed “masterable.”

Bottom line: If you’re going to send something in for mastering, please—please!!—send a high-quality WAV or AIF file. But if all you have is something lik an MP3, don’t give up; the more I work with them, the more I’m finding ways to get around the format’s limitations.

Posted by Broadjam on Aug 19, 2010 in Broadjam Blog, Craig Anderton Mastering Blog

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