GEMSTAR PRO STUDIO - MUSIC BLOG

How to Get Your Music Video on MTV

2012-01-30T08:08:00.000-08:00

Here's a great how to article on getting a video on MTV:

How to Get Your Music Video on MTV
By Jennifer Reynolds

Getting a music video played on MTV is a complex process and can be difficult for independent artists with no record label or promotional team to support them. MTV does not play music videos on their network very often anymore, but MTV2 still does occasionally. The network has a vast music video library on their website, so submitting a video for consideration is still a practical and viable way to gain exposure for your music. Before sending your video off to MTV, you will need to prepare a proper submission package.

1.

Make the first contact with MTV through e-mail. You can submit a general inquiry by way of the email address found on the MTV website (http://mtvpress.com/contacts/form), or send an e-mail directly to MTV's manager of music programming, or director of music programming (http://mtvpress.com/contacts). Further contact information for MTV staff can also be found on the website. Be sure to be clear about your intentions in your subject line and e-mail and include a link to your band or artist's online profile. Either of these contacts will most likely send you a submissions package. including a submission form and video format requirements.

2.

Read all instructions carefully and fill out the submissions form fully and accurately. Be sure your video matches the format specifications outlined in the submissions package, and that you include full contact information (phone number, e-mail, mailing address and ideally fax number) for a designated publicity contact. If you are an independent artist, this will probably be yourself.

3.

Write a bio and hype sheet. These should be no more than a page each. Your bio should describe your music career, and it should highlight any accomplishments, such as awards, press coverage, recognition and major performances you have been involved in. For example, if you opened for a major recording artist at a show in your city, be sure to include this in your bio. Your hype sheet should be a catchy press release-type document explaining why your video should be on MTV. The lead will be the most important part of this document, as it needs to sell the music programming department on your video immediately. Make sure it stands out.

4.

Submit your package. You may be able to submit all information digitally to one of the e-mail addresses you contacted, or you may have to mail hardcopies to MTV headquarters in New York. If you are submitting your video digitally, make sure it and all accompanying documents, like the form, your bio and hype sheet, are in the correct format so that the staff at MTV can view them without problems.

5.

Wait for a confirmation. Once you have submitted your video, there is nothing left to do but wait to see if MTV will accept and play it. You will likely receive a confirmation of receipt, and later either a notice of acceptance or rejection from the studio. Not every video submitted to MTV is played, but it is always worth a shot, and participating in the submissions process is at the very least valuable experience in the workings of the music and promotion industry.

You can also submit videos to BET, Music Choice, and other networks through a paid service such as:
http://www.musicvideosubmissions.com/services/hip-hop/

Videographer List (DMV Resources)

2011-06-13T07:02:00.000-07:00

DMV Videographer List

David Currie

443-983-4838 begin_of_the_skype_highlighting 443-983-4838 end_of_the_skype_highlighting

watchwestwood@gmail.com

www.watchwestwood.tumblr.com

Skinny Corleone

202-396-1498 begin_of_the_skype_highlighting 202-396-1498 end_of_the_skype_highlighting

skinnycorleone@gmail.com

www.youtube.com/fonzo49

Dro Victorious

Rawftg44@gmail.com

www.youtube.com/drovictorioustv

Koblack

240-899-0264 begin_of_the_skype_highlighting 240-899-0264 end_of_the_skype_highlighting

www.youtube.com/forbiddensins

Wayne - Trap Productions

trapdmv@yahoo.com

www.youtube.com/trapproductions1

Reef

240-464-1335 begin_of_the_skype_highlighting 240-464-1335 end_of_the_skype_highlighting

www.youtube.com/taydontv

Christopher Wickes

301-331-9377 begin_of_the_skype_highlighting 301-331-9377 end_of_the_skype_highlighting

chris@christopherwickes.com

www.christopherwickes.com

1^st Impressions Studio

206-339-2639 begin_of_the_skype_highlighting 206-339-2639 end_of_the_skype_highlighting

www.youtube.com/user/1stImpressionsStudio

*If you know a videographer from the DC or Baltimore area you would like to be included in this list, please send their name, contact info, and You Tube page address to: gemstarpro@gmail.com

50 Studio Tips for Vocalists - part 2

2011-04-27T10:27:00.000-07:00

50 Studio Tips for Vocalists - part 2

by Carl Rushing (sound engineer)

www.gemstarpro.com

25) Budget your time. Plan wisely. Allow 15% more time per song than you think it will take.

26) Speak up. Give the engineer, producer, and collaborators your honest opinions without becoming a dictator.

27) Use WAV files if you know your beat maker. MP3s do not and will not ever have the same richness.

28) Confirm with everyone expected to be at the studio 2 days before the session.

29) Memorize your lyrics. This assures you can fully focus on your delivery.

30) Create more songs than you actually plan on using for your project. This will allow you to choose the songs that make the most sense on the project and have a few extras to release as leaks or for future projects.

31) Practice difficult parts before the session. This will save valuable time, money, and energy.

32) Give it the car test. This is the system you probably know best. A song isn’t done until it has been checked on your car’s system.

33) Make sure if you are doubling vocals that they are layered precisely. A slightly off double can make the vocals sound cluttered and hard to understand.

34) Don’t be scared to use autotune. Even the best vocalists in the industry use it. The artistry is in how it is used.

35) Keep the vocals simple. Too many vocal tracks doing different parts at the same time clutter the song.

36) Find a way to split the costs of the session with another artist, a group, or someone who believes in your music.

37) Bring extra work to the studio in case you have extra time.

38) Know your equipment. Just because a studio looks official doesn’t mean it is. A $80 mic can sometimes look like a $8000 mic but they sound a lot different. Ask the studio what "mic and mic pre-amp" they use and google it before booking a session. These are the 2 most important pieces in vocal recording.

39) Understand basic vocal effects such as delay (echo), reverb, compression, EQ and distortion. This will allow you to clearly make effects requests.

40) Consider having a basic recording set up at home. This allows you to preview how the song will sound and could lead to a more elaborate studio in the future.

41) If you want to hear more of your raw vocal, take the headphone off one of your ears.

42) Know the difference between mixing and mastering. Mixing has to do with putting effects on or adjusting individual instruments (ex. turning volume of ad-libs down or boosting the high EQ on the snare drum, etc.). Mastering is the final step before getting the CD manufactured. It boosts the overall presence of the songs and evens out the overall EQ and volume levels from song to song.

43) Make it sexy. Unless you are doing religious, alternative, or folk music, sexiness drives the musical engine.

44) Measure your song up against your competition and ask how it can be better.

45) Singers have about a 2 octave range. If you sing, know what keys best compliment your vocals. This is especially important if you are singing a song someone else wrote or if a producer or writer is creating a song for you from scratch.

46) When you write lyrics, consider where you are going to take a breath.

47) If the energy is not coming across in the recording, try to over-project. The booth is a place to express, not to be shy.

48) Avoid excess noise in the booth. Take off any jewelry or nylon cloths that make noise. If you write on paper, watch out for shuffling the paper while you record. If you write on a phone, make sure to turn the service off. Signals can cause digital blips in the recording.

49) Check your ego at the door. If your producer, engineer, or group member offers some advice, take it into consideration. They are there to help. If one person in the studio doesn't like an idea or take, there will be a thousand more outside of the studio that don't like it. Unanimous decisions are the best decisions.

50) Be yourself in the booth. Imitators can only strive to be 2^nd best. Be an original.

50 Studio Tips for Vocalists - part 1

2011-04-24T18:33:00.000-07:00

50 Studio Tips for Vocalists

by Carl Rushing (sound engineer)

www.gemstarpro.com

1) Make sure the mic is at mouth level. If the mic is too high or low, the frequencies will not be normal and will be difficult to get the strongest possible signal.

2) You should be about 3 inches from the popscreen when recording.

3) Drink only lukewarm or warm drinks when recording. Cold drinks constrict vocal cords.

4) If you want to hear your raw vocal sound more when recording, take one earphone off.

5) Come in the studio well-rested and feeling fresh.

6) Your first 3 takes are usually the best. Unless there is a specific error, avoid doing many retakes.

7) When punching in, say the lines before and after the punch-in areas. This makes for smoother transitions.

8) Get to your session early. This assures you will have all or more of your scheduled time and shows the others in the session you are serious.

9) Consider having someone honest and experienced in the session to give you constructive criticism.

10) Be minimal with your ad-libs. They can easily clutter a song and compete with the lead vocal. Take a cue from your favorite artists. How much ad-libbing do they do?

11) If you rap, don’t waste your time and money freestyling in the studio. Unless you are in a live MC battle, people will not want a CD of you freestyling.

12) Study the greats. Have a clear understanding of what makes great songwriting and vocal performance.

13) Consider finding a vocal coach or a mentor. The most well known artists even have teachers.

14) Having a small buzz to boost confidence can sometimes help but watch out for the slippery slope into drunkenness.

15) Choose your studio wisely. Your songs will likely have the same quality as the other artists from that studio. Choosing a studio that works within your genre is also important.

16) Attitude is the key. Even a whisper can be felt if it has the right attitude.

17) Don’t invite too many people to the session. It presents too much chaos, noise, and sometimes an abundance of opinions that waste time. If there have to be a lot of people in the session, make sure they are not all drunk!

18) Respect the studio. Leftover trash, weed smoking, and/or large groups on the premises can cause stress for the property owners.

19) While most hooks are stacked 3-4 times, it is not always necessary. A more intimate song might work better with just one voice on the chorus.

20) For hip hop verses, consider using 3 tracks. 1 lead vocal, 1 double (or doubling key words), and 1 ad-lib/hype track. The ad-lib/hype track should not contain any doubles. Since ad-libs are generally louder than doubling, this helps the mix be more organized.

21) Punch in where there is a breath. This makes for a cleaner punch.

22) Have your songs prepared. It can be costly to spend studio time rewriting songs, printing out lyrics, finding beats on the internet, or making song structure decisions.

23) Set high standards for your song. The standards you set are what will ultimately define how good your song is.

24) If it aint broken, don’t fix it. Overworking a song can be counter-productive and frustrating for everyone involved. Unless you can pinpoint a problem in the song, there is no need to rework it.

25) Budget your time. Plan wisely. Allow 15% more time per song than you think it will take.

How to Get the Best Quality Beats

2011-03-27T05:55:00.000-07:00

How to Get the Best Quality Beats

by Carl Rushing (sound engineer)
www.gemstarpro.com

WAVs vs MP3s

Whenever possible, artists and producers should use WAV files (that have never at any point been an mp3).

Quality and file size are the primary differences between WAV files and MP3s. WAVs contain more information that results in a richer sound. At worst, mp3s can sound grainy and thin. MP3s are smaller files because they have less information, resulting in worse quality. Producers use MP3s out of convenience. They can be e-mailed and do not take up much space on a computer. While this is easier, it does not produce the best results.

Pictures are a good example of another media that works like this. Better quality pictures are generally larger files. Have you ever downloaded a small picture that has been scaled down for the internet and then enlarged it? If you did, you noticed it's obvious pixelation and lack of clarity. When songs are scaled down to mp3 format, a similar thing happens. A file with over 16,000 kbs of information is striped down to become a file with just 320 kbs of information at best. So even if we expand the mp3 back into a larger WAV, the damage is already done.

So unless you are using an industry instrumental or a beat where the only thing available is MP3 format, it is always best for an artist to ask for the WAV files. Producers can e-mail WAV files by using free websites like www.megaupload.com, www.zshare.net, www.yousendit.com, or www.toobigforemail.com.

Tracked Out vs Stereo File

First, let's look at the terms here. A stereo file is a single file that contains a left and right channel. A song on a CD is a stereo file. When an instrumental is downloaded, that is a stereo file. Tracked out files (or 'tracked out WAV files' as they are usually referred to) will contain a single file for each instrument used. If the beat contains a synth, snare drum, kick drum, and hi hat, then there will be 4 files.

The advantage of using tracked out files, is it gives the engineer the ability to polish up the mix. If the snare drum needs a little more sizzle or bass drum a little more punch, it can be done when the tracked out WAVs are available. This is not possible with just a stereo file. It also allows the engineer and producer to collaborate to get the best sound possible.

The advantage of a stereo file is that it requires less work and less mixing time in the studio. If the instrumental was properly mixed or is only going to be used for a mixtape, this might be the best option.

Loud (limited or peaking) vs Clear

Every artist and every producer wants their song to sound powerful. Volume is a primary factor. However, when a beat has been maxed out either by the overuse of limiting or peaking (going into the red), distortion results. When an instrumental is used in the studio, it should not be peaking or have any limiting on the master fader. The volumes will be maxed out in the mastering stage that is the very last stage of music production. If maxing out is done prior to mastering, sound clarity will suffer.

A Note to Producers on Sound Choices

Selection of the sounds used to make a beat is extremely important. Take the time to select premium sounds. Bad sounds cannot be fixed in the mix. If an instrumental is being tracked out from a keyboard or beat machine, consider tracking out on a high quality pre-amp and interface. M-Boxes just don't provide the richness that a quality instrumental deserves. Although some of the best sounds can be expensive and hard to find, it can be the difference in making the instrumental a hit.

Ways to Make Money in Music Right Now (for artists)

2011-03-20T05:56:00.000-07:00

Ways to Make Money in Music Right Now (for artists)

by Carl Rushing

www.gemstarpro.com

Diversifying is one of the most important concepts for an artist who wants to have an independent career in music. We've all heard, "Don't put all your eggs in one basket" or "Don't place all your chips on one bet". For most successful artists, generating a small amount of money from a number of different areas adds up to dollar signs. These primary areas of income are listed below with descriptions and advice for each. I hope you find this information useful in generating income.

Merchandise

Sale of merchandise includes CDs, t-shirts, hats, and any other physical item with your logo or music on it. For independent artists, sale of merchandise will be mostly sold at an event you perform at. Therefore live performances are vital. www.cdbaby.com and www.amazon.com are the 2 primary sites where indie artists can sell a CD online. You can also create and sell merchandise other than CDs at sites such as www.cafepress.com .

Digital Sales

Digital sales encompass any digital music format (MP3, FLAC, etc) purchased at online stores such as iTunes. These sales are great because there is no manufacturing costs and they can be purchased instantly by anyone in the world with an internet connection. Having music available at all the main online retailers is a necessity and very easy to do. www.cdbaby.com and www.tunecore.com both have great programs for digitally releasing your songs. For promoting your music online, it is crucial to have positive articles, reviews and links to your music. This will increase your search-ability and the chances that a new fan will find you in the clutter of online music.

Teaching

While teaching is usually the last thing an artist wants to do, it is also one of the most practical and guaranteed methods of getting paid in the music industry. Imagine where we'd be without the people who taught us what we know over the years. It can be a positive way to strengthen your foundation and make some money in the process. There is a saying that says, "The best way to keep what you have is by giving it away." You can advertise for free at www.craigslist.com . There are also music schools and traveling teaching organizations you can get involved with too.

Songwriting

Writing for other artists is as much of developing a relationship with that artist as it is writing the song. Many of the artists in need of songwriting are young, pop-centered artists who's investor is looking for a "hit".

If you have a knack for writing hit songs but don't care to perform them, there is a world of opportunity here for you. Songs (in the form of a polished reference) are usually pitched to investors by a producer and songwriter team. If the investor likes it and an agreement is reached, the song is considered "placed". You will likely receive an upfront payment as well as songwriting royalties if the song gets played. If you've developed a solid reputation as a songwriter and someone has an idea for a song, they may pay you an advance to custom create a song for their project.

Song Placement

Song placement generally refers to a song that has been used by an advertising, movie, or television company in their production. The great thing about getting a song placed is the song has already been recorded which means your job is done (unless you're the one negotiating the contract).

A publisher, who's job it is to get a song placed and negotiate, is usually involved. It is standard for a publisher to receive 50% of royalties. Finding a good publisher to push your music can be very profitable for both parties.

A friend of mine once got a check for $50K for the use of one of his songs in a Sprint ringtone commercial during a Superbowl ad. And he has always been an independent artist!

www.taxi.com is one of the more popular companies who help writers and publishers place their songs.

Shows

Events that pay are generally put on by established promoters, organizations, corporations, or festivals with a set budget for entertainment. Most of these groups have a submission process for being considered.

Formal private events such as weddings can also pay very well but usually require the artist to play cover songs that the crowd knows. Showcases and parties thrown by other artists or small-time promoters almost never pay (and some even require the artist to pay).

If you enjoy staying out late and being social, many artists have found success in promoting their own event. Keep in mind, a 2% attendance of people you promote to is considered a success!

Whatever public event you perform at, play a part in promoting it, and you are more likely to be asked back by the promoter and gain a larger fan base.

Investors / Labels

Manufacturing, studio time, merchandise, and promotion can all be very expensive and time consuming for any one person to take care of themselves. For this reason, investors and labels are in most cases great for an artist. Most investors or labels in the independent world are started up by friends, associates, or fans of the artist. These investments work like loans that are only repaid by the artist from the sales of music. This does not have the same risk for the artist as a credit card or bank loan.

Grants

Music grants tend to be given to people who are "making a difference" in the community through music. Teachers and outreach organizations are typically recipients. It requires some work to apply for a grant and is not guaranteed. But if you get one, it is a financial gift for usually thousands of dollars that unlike loans, you do not have to pay back. Here are a couple resources: http://www.educationmoney.com/arts_humanities.html ,& http://www.ehow.com/how_2060966_get-art-grant.html

Donations

Other than family financial gifts, donations are made primarily by loyal fans who download your music free with the option to pay. This model worked great for Radiohead who gave their 2008 release, Rainbows away for free but still generated a lot of income from fans who clicked the "donate" link on their site. While this might be more difficult for an independent artist, it is a good idea to have a "donate" link on your site if you plan to give any of your music away for free.

Sponsors

Sponsors are people or groups who use an event or artist to promote their brand or product and in return donate money or promotional products. A couple examples of sponsors are Run DMC and Adidas or The Seagrams Gin Tour sponsored by Seagrams Gin.

For the independent artist sponsorship might come in the form of an artist agreeing to wear a brand of clothing by an independent designer at a public event in return for free cloths. Another agreement could be the artist placing the logo of a business on the back of their CD and in return that business donates their goods or services. Remember, it is always cheaper for a company you deal with to pay you with goods or services than with cash. If there are indie or local brands you genuinely like, approach them on sponsoring you.

Featuring on Another Artist's Song / Session Work

Session work for singers and instrumentalists range from free for up-comers and $30-$75 per hour for established independent artists. While it is almost always looked at as a promotional opportunity for independent rappers to feature on another artist’s song, a well-known independent or famous old-school rapper typically makes $200-$1,000 per 16 bar verse. Major label artists usually make over $15K per verse. Having a well-known feature on your project and being a feature on other artists’ projects can benefit both parties by sharing fans. 

Engineering

Engineering is one of the more stable areas in the music industry. There will be a need for an engineer as long as people are recording vocals or instruments. If you have the patience to perfect this skill, you will not only be able to run your own sessions rent-free, but you can also help other artists and will be paid in the process. And your experience on the mic will give you an edge over other engineers.

If you already have a computer, you can buy studio starter kit for under $1000 (which will likely include a condenser mic, Mbox (includes Pro Tools), studio monitors, headphones, and wires). Look for tutorial videos and private lessons offered by studios to learn Pro Tools. Starting rates for home studios is $20-$30 p/hr.

Beat Making

You can custom craft your own sound and save time and money on working with and finding producers by making your own beats. R Kelly, Eminem, Kanye West, Akon, and Pharrell are a few of the artists we know who have found success both on the mic and beats. FL Studio is a user-friendly and very popular beat making software for beginners. If you are interested in marketing your beats to other artists, be sure to check out www.soundclick.com and www.pmpworlwide.com .

Graphic Design, Photography, and/or Video Editing

Graphic design, photography, and/or video editing are also skills you can learn that can both save you money and make you money. With a laptop, software, and a camera you'll have the essentials to getting started. For online classes, www.lynda.com is highly recommended!

9 Steps to Creating a Quality Mixtape

2011-03-13T22:11:00.001-07:00

9 Steps to Creating a Quality Mixtape

by Carl Rushing (sound engineer)
www.gemstarpro.com

Mixtapes are an unpolished collection of songs, usually combining a mixture of industry and original beats. They are released online and locally as branding and promotional tools for artists before or between the release of an album.

Because of the current over-saturation of mixtapes available, it is vital for artists to create a project that will set itself apart from the competition. Below is a basic step-by-step process for producing and releasing a mixtape. Although there are many more details that go into a successful project, you should find these primary ingredients useful toward your own release. Good luck!!!

1. Finding Beats

Original beats give a unique touch to any mixtape. They range from free to $200 for the non-exclusive rights for use. It isn’t necessary to pay for exclusive beats when you are making a mixtape. Save the exclusives for the album.

Industry beats are very easy to obtain. Avoid getting beats from you tube. The downloadable music they offer is compressed which results in very poor quality. There are many other options, usually a Google search away. For best results, download a beat from every available website that has it and compare the quality.

Here are some of the best websites for locating mixtape beats.

Original Beats:

www.soundclick.com, www.reverbnation.com, www.20dollarbeats.com, www.rocbattle.com, www.ineedbeats.com

Industry Beats:

http://j-armz.blogspot.com, www.datpiff.com, www.frostwire.com

2. Recording and Mixing

It is important when recording to be prepared to say your verse in 1-3 takes. If you are taking up time in a studio spending more time, this can be a waste of money. Most mixtapes get 1 listen at best, so don’t nit pick too much. When you record your album, more time will be spent on fine-tuning songs.

Mixing also is done in this way. A professional mixing engineer will be able to create a good mix while the song is being recorded. It is ok to have a few imperfections in the mix as well. Like with recording, more time will be spent on fine-tuning if a song is being made for an album.

3. Finding a Host

DJ hosting fees range from free-$200 for local DJs and upwards of $1500 for nationally recognized DJs. Some DJs will mix the songs or offer other promotion along with hosting. While a host is not needed to make a quality mixtape, having one can give it the stamp from a celebrity who people recognize. Most DJs are just a Google search and an e-mail away. If you choose not to get a host, consider doing something unique between song transitions.

4. Mastering

Mastering is a recommended yet optional process for creating a mixtape. If you know someone who can do a quality mastering job for under $150, it could be worth it. The primary difference you’ll notice with a mastered mixtape is an increase of volume and presence. Mastering can also offer slicker transitions between songs and even out EQ levels from song to song.

5. Graphic Design and Photos

The CD design is the first impression most people will have of your mixtape, so the image should be strong and set you apart from the rest. You will be expected to provide the designer with the good quality pictures and the word content to be used.

To find a quality graphic designer, Google search, ask an artist you know for a recommendation, or use an in-house designer at the CD manufacturer. There are thousands of graphic designers who can do quality work and are easy to find. Prices range from $50-$200 for CD insert design.

6. Manufacturing the CD

Here are a few of the hundreds of CD manufactures who have a good reputation for price and quality.

www.wavewerks.com, www.mixtapeprinting.com, www.jakprints.com

While selling a CD of a mixtape for $5 is common, it is also common to give it away for free. To save more on costs, consider giving it away for free as an internet-only release.

7. Throwing a Mixtape Release Party

A release party is a way to get your friends involved in your buzz. Most clubs will allow you to use their space for free to throw a party. Their primary concern is making money at the bar. So more people are always a plus. Some will require a deposit that will be refunded if the bar makes its quota. Many clubs require you to pay a fee for security. If you are looking to throw it on a prime night (Thurs-Sun) or if it is a larger club, it is more likely they will charge you to rent the club.

8. Posting Your Mixtape Online

The more visible and available your mixtape is, the more fans you will have and the easier it will be to find you in web searches. Uploading the mixtape on websites can be time consuming but vital for optimizing your web presence.

Here are a number of mixtape and “share” sites to post on:

www.datpiff.com, www.livemixtapes.com, www.hotnewhiphop.com, www.rapidshare.com, www.mediafire.com, www.Hulkshare.com, www.zshare.net, www.Divshare.com, www.Depositfiles.com, www.uploading.com, www.sharebee.com, www.thatcrack.com, www.omgtracks.com,

www.easy-share.com, www.hotfile.com, www.mixtapetorrent.com/how-to-upload-mixtapes, www.mixtapefactory.com/upload, www.mixconnect.com, www.mixtapepage.com, www.hipstrumentals.com

9. Promotion

Promotion is the most overlooked and underrated step in the release of a mixtape. This allows potential fans and future collaborators to find out who you are. Here are a few tools you can use to promote yourself.
Grassroots: flyers, shows, open mics, e-mail newsletters

News Media: local newspapers, online magazine reviews and articles

Social Networks: Twitter, Facebook, Myspace, internet forums, word of mouth

Video (online): You Tube, Vimeo, Videoegg, Vsocial, Grouper, Jumpcut

Paid Advertising: Google Ad Sense, web banners, Facebook Ads, e-mail blasts