Posts Tagged ‘music tips’
10 newbie mistakes when writing in Ableton
10 Newbie mistakes in Ableton
Here are some common newbie mistakes people make when writing in Ableton. This isn’t all Ableton specific as some tips apply to music production in general. It also isn’t in any specific order and doesn’t necessarily assume to be the Top 10 of newbie mistakes. These are just some mistakes I’ve seen people make over the years and are certainly some mistakes I have made as well. If you are new to Ableton or cumputer music production, these should be of some assistance.
1. Assuming Ableton’s auto-warping will warp your songs perfectly :
This is a fairly common but huge mistake when working with Ableton. Although Ableton is excellent at warping loops without much trouble (as long as the loop is already seamless), a full song is a different animal altogether.
I suppose it can be pretty misleading to see an option called “Auto-warp” and wonder why your songs aren’t syncing up to tempo perfectly. While the auto-warp function does do a lot of the work for you, it’s your job to fine tune it so that every thing is 100% on. Learning this process is the single most important thing you need to master if you want to unleash 95% of Ableton’s true capabilities.
Here’s are a few videos to get you started.
For Ableton 8:
For previous versions of Ableton:
2. Recording parts on the same track in both arrange and session window:
A common mistake for people who are new to Ableton is assuming that the session window (the window with all the boxes for clips and scenes. Also home to the mixer) and the arrangement window (the window the most resembles other audio recording software) are separate entities.
For example you will have a clip on audio 1 in your session window but audio 1 in your arrange window is empty. If you are new to Ableton it is easy to assume that it’s fine to record on that track in the arrange window but that would be a big mistake. You will quickly find that one of your parts is no longer playing.This is simply because you have put 2 parts on the same track at the same time.
Once you understand how the session and arrange windows are intertwined, it will make complete sense what is happening. The simple rule to follow is:
1 instrument per track.
Think of each clip in a track (audio or midi) as representing what 1 instrument will be doing in different sections of your song. For example, one clip might be for the intro, the next for the verses, another for your bridge and another still for a chorus.
If you have ever programmed a drum machine, clips are similar to patterns on your drum machine. When you want to chain those patterns together to make your complete song, you would do that in the arrange window.
If you are recording something start to finish (like a full vocal take), you would also want to record in the arrange window. The important thing to remember is that at the end of the day, everything will need to go into the arrange window before you mixdown (render) your song. If you are arranging your instruments from loops or recording separate parts of your song to arrange later (like with drums) you would most benefit from starting in the session window and then chaining those parts together in the arrange window.
*As a sidenote, some would argue that you can do everything in the arrange window, and I wouldn’t disagree, but i’d suggest you learn the basics of both windows and then decide what works best for you.
Here is a video that might make the concept a little easier for you:
3. Too many loops or parts fighting for the same frequencies:
If you are building your songs with loops and samples, a common mistake is to think that the more loops you add, the more full and complex your song will sound. You are only half right though. It’s true that more layers can give your song more complexity and depth, but the downside is it can easily make your composition sound muddy, off pitch or just plain not right. Keep an eye on your fighting frequencies when choosing your loops. A good way to finding these conflicting frequencies is to use a spectrum analyser. Ableton 8 has one built right in, but if you are using an older version of Ableton, you can use one of this free plugin.
4. Not removing needless frequencies – Keeping on the subject of your EQ’s and frequencies, it’s really important to keep in mind what is the most important part of a an instrument and cut out the frequencies that aren’t needed. You won’t want 2 or 3 parts all playing a deep, heavy kick drum. You’ll need to choose which one has the best lows, and remove the low end from the other loops. Same with your hi frequencies. You’ll want to make sure your hihats are coming through clean by removing the highs from your othertracks. For snare and percussion in your mid frequencies, you may need to attenuate certain frequencies so that each part has it’s own space and doesn’t sound muddy. In most cases, you’ll find that popular music doesn’t have too much going on in any given frequency. Everything is balanced and that is what you want. The goal of this blog isn’t to tell you exactly how to dial in all of your EQ’s but rather to point you to where you should look if your songs aren’t sounding as good as you had hoped.
This video might give you the basic idea:
You can also read this Blog
5. Not arranging your songs in multiples of 4 :
Now I know that there are many other time signatures than 4/4 time but I just want to give some basic tips here for people struggling with producing songs. If you are struggling, it’s probably best that you learn to write in 4/4 timing before getting into complex time signatures.
That said, it’s very important in popular music and club music that you create your parts on multiple of 4 bars. For example, if you have a verse that goes 7 bars instead of 8 and then you jump into a chorus, it’s most likely going to sound all wrong. This multiple of 4 predictability in music seems very natural. Don’t try to get too tricky until you’ve successfully got this down. Once you know how things are “supposed” to sound, you can tweak the timing to create more tension successfully.
6. Doing your songwriting and sound design in the same session:
I’ve written a whole blog on this subject if you want to get deeper into this, but basically, you don’t want to be fumbling around trying to get THAT sound when you have a melody or bassline in your head. In the time it takes to create this amazing sound in your head, you will likely have lost the original idea that inspired you. It’s best to work fast with a template of sounds or presets that you have found to work for you and touch things up after the rough idea is saved.
7. Adding parts to compensate for bad sounding parts:
Each part in your song should be able to stand on it’s own. It shouldn’t sound crappy when you solo it. Of course I know that sometimes it takes a couple layers to get that certain Bass sound. It’s totally ok and even encouraged to layer your sounds but at the end of the day those sounds need to all stand together as 1 Bass or 1 Stab sound or whatever.
If you find yourself adding melody on top of melody in an attempt to make something sound “right”, you might be better off redoing your melody.
Make sure your drums, bass, pads, melodies and vocals all sound great on their own. You aren’t going to make good tracks by burying so-so parts deep in your mix. If you can break your song down to 6-8 elements, it will keep you focused on if you are adding too much stuff. You may end up with 40+ tracks in your song, but you definitely don’t want all those elements playing at the same time.
If you have 3 different melodies, you should only have one out front at any given time. Even complex songs should come across sounding fairly simple and there should be empty space between the parts. Put on a CD and listen to how many elements are going on at any given time. Notice how each sound has it’s space to come across clearly.
The less you have going on in your song, the bigger each sound is able to be. That’s why with a 3 piece band like Nirvana, each instrument can sound so big.
Regardless of the style of music, we are all limited to a certain frequency range. When you have parts fighting for the same frequency, both parts are bound to have to sacrifice something in order to fit into the mix.
Another way to look at building a song is to ask “What frequency am I going to fill in now?”, then you want to use a spectrum analyzer to find what works in that range. If you have 2 parts you like but they are taking up the same frequencies, perhaps you can take one up or down and octave so it has it’s own range. Once you have filled up your full spectrum you can see how strong each element is before adding any extra layers.
8. Too many options:
Having too many choices with instruments and plugin’s without having made yourself a “go to” collection can become a huge time and energy waster. It’s far better to have a few “go to” plugin’s and instruments that you know really well than it is to have 100′s that you aren’t familiar with. Using unfamiliar software can really slow you down and give you below par results.
Find 4 or 5 synths (or even less), 2 compressors, 2 or 3 reverbs, a couple delays etc.. Then take some time to find out what each one is really good at and build some “go to” presets. This will make things much easy and you’ll be getting the sound you are looking for much more quickly.
It’s fine to have lots of plugins in your arsenal but it’s best to find out what each one does before you start your songwriting process. Believe me when I say that I am writing this for myself as much as for you!
Before the days of free plugin’s and fast computers, we pretty much had to make due with whatever equipment we had. Given those limitations, it’s easiest to get to the process of making music instead of trying to fiddle with every toy in the toy store.
Another thing that you’ll find is that when you get comfortable using certain equipment, those limitations become your sound and gives you some consistency. Get your “go to” collection started asap.
9. Not making a template:
Templates are a saving grace when it comes to songwriting. When you have a setup that works with your favorite effects settings or your send/returns, drumkits, synths etc take the time to save it as a template songfile or to drag it to your presets for later use. This will save you loads of time trying to figure out how to get that certain sound you had before.
Fumbling through presets and setup takes time and can easily distract you from your goal: To get your ideas down while you are inspired.
Templates give you a basic setup with all your “go to” stuff included. You can even make different templates for different styles of music. Having several options will allow you to be ready to go regardless of what creative mood you are in.
10. Using low quality samples:
Using low quality samples with the intention to “fix it in the mix” is another big mistake. Now I’m all for lo-if and I’ve been known to use less than optimal quality sounds to great effect, but you need to make sure it works for your track and that you aren’t building your track off a bunch of lo quality sounds.
If you have to doctor it up with tons of effects and eq to make it sound decent, you should probably use a higher quality sound that has most of the tone you are looking for from the get go. For example, a kick drum that doesn’t have good low end from the start is never going to sound deep,punchy and professional.
Using a lower quality sound might not seem like it will make a noticeable difference, but just wait until you have a whole song full of these sounds and the overall quality will become pretty apparent to you.
Using mp3 quality is something I wouldn’t recommend. Generally speaking 16bit 44.1 should be the minimum you accept. If your computer can handle 24 bit recording at 96kbps you will likely hear a difference, just keep an eye on your hard drive usage. I personally stick to 16bit for most of my work and I get good results.
I hope this has been helpful for you. Feel free to email me your newbie mistakes and I’ll consider updating this Blog to perhaps 15 newbie mistakes.
Happy music making,
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
Control Ableton with this cool Iphone ap!
*This post will likely only interest Ableton users who have an Iphone and work on a PC (or Bootcamp/Parallels).
Here is a custom controller I have made to control many of Ableton’s features with my Iphone. Although it isn’t an “end all” solution, it definitely makes things go faster and much more conveniently whether you are producing at home or DJ’ing. As long as you have a wi-fi signal to connect to, you’re golden.
Here is what you will want to do to get started.
1. Go to your Iphone AP store, purchase and install Snatch Remote (don’t worry, it’s only $4 and if you don’t like my custom controller, you cn pretty easily make your own).
2. Download and install snatchtrackpad & remote onto your computer at this link http://www.hoofien.com/Snatch/
3. Open up Snatch on your computer, and then your Iphone
4. enter the server/password info into the setting on Snatch inside your Iphone
5. Download and unrar my Snatch remote files at this link http://www.musicsoftwaretraining.com/share/snatch.rar
6. In Snatch on your Iphone, hit “Keys” tab, then “Edit” then “load screen”
7. a window will pop up on your computer, choose the first Snatch file, confirm on your Iphone and hit “done”
8. On your Iphone, swipe from right to left to get another blank screen and repeat steps 6 and 7.
9. Watch the video below and make sure to assign your 1,2,3,8,9 & 0 keys to the correct locations.
Enjoy!
I look forward to our community sharing further tweaks and custom controls.
Happy Music Making,
Jason
Follow me: http://twitter.com/AbletonVids
Website: http://www.musicsoftwaretraining.com
Digital vs Analog
Analog vs Digital
The Analog vs Digital war battles on and will likely continue through the ages, however year by year digital has tightened the gap and is getting warmer all the time. Some of the softsynth reproductions of “analog” warmth has been pretty impressive as well. Although I’m not planning on taking sides, I am going to defend digital a bit for all the heat it seems to get from so called “analog purists”. I am also not planning on getting into the math on this one. That kind of stuff bores me to tears and defeats the point of this little blog.
Digital strengths vs Analog strengths
The Art of Mastering Audio by Bob Katzs makes some good points on this subject. Being one of the most respected mastering engineers, I take what he says as coming from years of experience in both the digital and analog world. This is what Bob has to say:
Analog recordings tend to excel at producing accurate detail in the lower frequencies and get less detailed and fuzzy at the higher frequencies.
Digital recordings excel at accurate reproduction of the higher frequencies and get fuzzy on the bottom end.
Bob uses this analogy to give you an idea of how this works:
Analog recordings would be like looking up at a skyscraper from the bottom whereas Digital would be like looking at the same skyscraper from the rooftop down.
From this perspective you can see where both digital and analog could both be used to good effect, depending on what you are going for. You can say that analog has a pleasant muddiness (I’m using this term loosely so don’t throw a fit) and digital has a sharper sound overall.
Imperfections
The thing many of us love about analog is that it’s imperfect and thus more human. The artifacts created in an analog recording keep a recording a bit more dynamic and unpredictable whereas digital recordings come across much more sterile and with virtually no artifacts or imperfections. Many producers keep this in mind when recording in the digital domain and do their best to inject some variation and unpredictability to the recordings. Many high end virtual instruments and fx plugin’s do a good job of recreating analog-like artifacts and “analog” warmth. If you know the right tools to use in the digital domain, you can fool most people most of the time.
Mastering
Many people think that a professional mastering studio only uses analog equipment to do their work but this isn’t the case.
Most engineers agree that taking your wav or aif file master recording, running it through analog equipment and then back into the digital domain will usually do more harm than good even if they are using excellent converters. More often than not, if an artist wants everything mastered in the analog domain, they will deliver their reel to reel masters to the mastering house, otherwise the work will most likely have the best results staying in the digital domain.
For Studios on a small budget, the cost of comparable analog gear, the converters and all the highest end cables would not be worth it. Also remember all the maintenance to keep the equipment working top notch. That isn’t cheap. On top of that, you can’t expect to have an artist come back to you years after your first session and have presets that will deliver identical results. Analog gear can’t be expected to get the same results day after day because its not crunching numbers like in the digital domain. There will always be a little chaos added to every piece of analog gear. This can be wonderful during the recording phase but can make it very difficult to master an album over the course of months or years.
The Real Test
Go ahead and go through your CD collection and pull out your warmest analog recordings. Pink Floyd? Stevie Wonder? Air? Notice the difference you hear in those recordings. Notice all the warmth from the tape saturation. Notice the difference between that and the most obvious digital recordings and these old recordings. Some of you might prefer the clean modern sound and that’s totally fine. To each their own.
The most important point that I want to end with is that digital must be pretty damn good at reproducing analog sound since the best CD you’ve ever heard is still a 16 bit digital representation. It might not be vinyl, but most of what you listen to these days ends up digital at some point. In fact, don’t doubt that some of your vinyl is just an analog representation of a digital recording.
This blog wasn’t meant to answer all the questions in the analog vs digital debate but rather to open up a healthy conversation on the topic. These days there is so much great technology at our fingertips whether it be Analog or Digitally produced that it’s hard not to be attracted to both. Even with free software you can create release worthy music. Don’t get hung up. Use what you’ve got. If it sounds good to you, roll with it. When it comes to your art, it’s your opinion that matters most.
Happy Music Making,
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
_________________________________________________
Monetizing your Music or Art – part 2
Monetizing your Music or Art part 2
(note: For those of you who are DJ’s or solo producers, don’t let the word “band” discourage you. Many of these techniques can be applied by anyone)
Monetizing with social media.
I’ve seen far too many people misuse social media in promoting their bands. Probably the most popular Social media outlet for bands is MySpace.com. In fact MySpace has become so misused that is has become almost useless in selling your music and bringing people to your shows.
Some poor promotional strategies include:
Randomly adding as many friends as you can. This used to give others the impression that you had a lot of people into your band, but these days people know that the amount of friends you have on MySpace doesn’t translate to people who buy your music or come to your shows. It simply shows how more often than not, people accept your friend requests out of politeness or in interest of promoting themselves. Everyone is trying to play the same game and no one is succeeding.
Leaving Spam comments, fliers, links and other promotional jargon on on your “friends” pages. Leaving these “comments” is just rude and it’s also a complete waste of time. Do you have any idea how many comments people get from bands they’ve never heard of? Unless you have had conversations back and forth and have determined that they are indeed a fan and are actually local enough to be able to make your event, you are wasting your time, and theirs. Think about it.. have you tried this and actually had succeess with this lame strategy? I didn’t think so. For unsigned bands, the only people who will support you are those who know you personally, or has heard great things about you through friends. If you are going to leave a comment, make it about them, not about you. The whole “I think you’re great, check out my band too” doesn’t cut it.
Spam bulletins. In the early days, bulletins were a pretty good way to let your friends know what was happening with you. Unfortunately now there is just too much traffic with bulletins once you have 500 or more friends. They are most likely going to miss your post. On top of that, most or your “friends” are in bands as well and are too busy trying to promote themselves to pay any attention to you or your bulletins. The “what are you doing” features in Facebook and Twitter are far more effective. It’s also not considered spam to write on your own wall so it comes across much less intrusive. Don’t write a book though. It’s better to keep it text with possibly a link with more information or pictures. Post pictures on your own page, and your friends will see it as well. The 140 character limit on twitter is a very good guideline as it makes you get to the point.
Sending invites to everyone you know in hopes that you will land 10 people who are interested in trading their money for your music or performances. This is another waste of time. For every 1 person you get (if you actually get 1 person from this strategy) you will annoy or piss off 100′s or even 1000′s more. Is this how you want to treat your potential fans? Is this how your favorite bands get you to buy their music or come to their shows? Have you actually given some random band your time and money through any of these tactics? I didn’t think so.
So am I saying you should delete your MySpace page if you are a band? Absolutely not. MySpace is still an incredibly good way for people to find you. It’s a great way for actual fans to check your show schedules or new music releases. It’s a great way to create new friendships by common interests. I have met a number of people that I keep in touch with although I usually spend most of my time deleting irrelevant friend requests, irrelevant comments and irrelevant emails. Fun huh?
What should you do then?
From personal experience I’ll tell you what worked for me and my band. Although several of these are tactics I used as many as 20 years ago, they worked so effectively that we are planning a reunion show that already looks like it’s going to sell out and it’s still a year away!
1. Don’t suck – This might seem obvious, but some people get so into the idea of self promotion that the actual music takes a backseat. Whatever your sound is, refine it and play it well. You need a great product and you need it to stand out. Don’t settle for sloppy half-assed music with no hook. If you are going to go through the work of getting people to your shows and buying your music, you are going to want them to have an amazing time and keep coming back… with more friends.
2. Make a list – Every person in your band is going to want to make a list of every friend you can think of. Really take the time to do this, don’t leave anyone out unless it’s clear that they aren’t interested in what you do. Tally up all of these people and hunt down their phone numbers. It’s time to get yourself SO pumped about your own music that it’s completely infectious. You don’t want a conversation to leave anyone you talk to on the fence. You want to convince them that your band is going to be the next band to break out of the scene and go huge! It is not time to be humble but then again, it’s also never time to lie to yourself and others. If you don’t really feel that what you are doing is great stuff and worthy of interest nobody else is. Remember, this is going to become your core audience and they are going to be your biggest fans and advertisers. If you can’t get your friends excited about your music, they will never promote you to their friends and you may end up with a handful of friends who will come and see your shows out of pity. Everyone wants to be the first person to discover a great band. It makes them even more proud when they know you personally. This all starts with you and your band. Make sure when you make your calls that you ask your friends for their help in contacting their friends. Have them give you names so you can follow up. Make sure to add all of these people to your MySpace, Facebook and Twitter accounts. I think you should have all three and don’t let a week go by without something to say, new pictures uploaded and of course new music (Just don’t leave this stuff on other peoples comment page without their permission) . Within a few months, you should have at least 50-75 people that you can count on to come to your shows and help your promote. If you can’t muster that up at the moment, you’re going to want to start meeting more people both online and off.
3. Don’t play locally every week – You don’t want to give people the same show week by week. I’d suggest 1 show every 3 months. This gives you time to change up your performance and add new songs. This also gives you time to promote and get everyone pumped again. Playing every week will make each individual show less important and your attendance will suffer. Better to play less and make each show a real event.
4. Flyers – Get the band out of the house and into the clubs. Your band should be going out once or twice a week handing out fliers, talking to people and getting people to listen to your music and become a fan. The flyer should have a place they can hear your music. It’s not a bad idea to bring some burned CD’s with 1 or 2 or your best songs to give away Don’t go overboard. it’s better for each member of the band to bring 1 or 2 CD’s and give them away very selectively. This will create much more value to the people you choose to share your music with.
5. Get the clubs playing your music. If you can get in tight with the DJ’s, give him/her the most club friendly song you’ve got (If your song isn’t club friendly, find someone to remix one of your tunes). There is nothing cooler than having everyone in your favorite clubs know your songs. This is a no brainer when it comes to recruiting new fans. If the clubs have video screens or TV’s you can become instant celebrities with a good video. Find an art student who’s good with a video camera and knows how to edit it in a cool way and you’re golden.
6. Look unique, stand out – You are going to want your band to have a look. I know a lot of you want to make it all about the music and I would agree that is of utmost importance but it certainly won’t hurt you if your band has a style that sets you apart from your fans. It’s much more appealing than having a bunch of average Joes in jeans on a flyer. Think of your idea of what a “star” looks like and go with that. If you can stimulate the eyes and the ears, you’re in pretty good shape.
7. Take all negative comments as a challenge for any truly successful band to endure. When you take yourself and your music seriously, it will initially make some people uncomfortable. Nearly ALL successful people tend to get a backlash from the people around them when they attempt to make a dream or goal reality. The drive you have will make others feel like slackers. They might try to bring you down by saying “You’re being ridiculous, you’re acting like your going to be a big star”. Don’t worry, just keep doing what you’re doing and they will soon come around and realize that in fact you seem to be going places and when they DO come around, they will influence and turn other doubters into fans. It’s also important though to not mistake some helpful critiques for negativity. There are some people that want you to succeed and want to help you improve. Try to distinguish between the 2 before writing it all off as negativity.
8. Open for bands who are more popular than you. Of course you want to be sure that the band you are opening for is similar enough to attract the same type of people that might be into your band. This is probably the best way to get new fans as long as you are great live.
9. Know your environment. Some Artists or bands fit perfectly in a coffee shop environment while others have a much bigger sound that requires more space, better lights and a bigger soundsystem. If you are trying to uphold a certain image, don’t settle for a place that can’t offer the type of show you would like to deliver. Obviously you aren’t going to start off in stadiums (if that is your goal) but you should be doing the most you can with what you have to work with. If the club you are considering can’t meet your minimum requirements, pass on it. You are not desperate to play live. Live venues are desperate for good bands that can bring a lot of people. Be that band and the doors will open. When you DO play a good venue, make sure you get a couple camera guys to video it from different angles. You may want to record your mix to a laptop or DAT machine (anyone use those anymore?), that way you have good sound to sync to the video. This can make a great promotional tool to get more shows.
10. Make and manage a mailing list. Yet another forum for keeping in touch with your fans. More about that below.
11. Blogs and Radio Shows. Find music bloggers in your music genre. Chances are they are searching for new bands to talk about and share. What’s great about this is that you have someone who has built him/herself up as an authority on the subject. This is great to have a trusted voice putting your name out to all their readers. The same goes for online radio shows. Getting your music on a genre specific radio show can definitely get you new fans as long as they post their setlist and talk about the artists they are playing.
12. Join forums. This probably goes without saying, but getting your band into conversations (and not strictly self promotional stuff) can definitely put off a good vibe with the online community. Having a name people recognize in regular conversation can make people actually care when you’ve made a new song or have an upcoming show. One warning though is to not get involved with a lot of negative talk that has become a bit of the norm on most forums. Keep it positive and don’t freak out if someone says you suck. I’ve honestly turned many of those people into friends or followers by just keeping positive. Those who don’t come around will just start to look like an embarrassment to the rest of the community in due time.
Free Stuff
As I said in the last blog, don’t give away your music and get stuck in the “Free” zone. I said that and I meant it. However, giving things away for free can certainly lead to you selling more in the long run or getting more people to your shows. You just want to make sure to be wise about what you make available for free. A great example of Free might be to plan and promote the heck out of a Free concert. This will obviously expose you to more people who wouldn’t have otherwise paid to see you. A good performance can then lead to selling your music, shirts or other merchandise. Also don’t lose this opportunity to collect emails at the door. Don’t be forceful but definitely have someone asking if they would like to join your mailing list.
Although you certainly want your music to hold value, the “try before you buy” approach can be very effective. One technique I use is to offer a 6 song EP for free download in lower quality mp3 format and offer a high quality version with bonus tracks. Sure most people will just keep the free stuff, but at least they will be listening to your music, sharing it with others and possibly coming to your shows. Otherwise these people would have skipped over you and never been exposed to your music.
You can also trade free music for emails. This is a great way to build your mailing list and keep in touch with new potential fans. Personally, I would give away a few songs for free and then offer more in trade for an email. It comes across less “business-y”. Make sure not to give everything away for free as your goal is to build value, not remove it. As you make more music, you should get yourself out of the habit of making it available for free download and rather allow people to stream the songs at your webpage or on YouTube with a simple graphic or picture Make sure to put a link to where they can purchase your music in the info section and make an annotation pointing to it. Also be sure to use “http://” in front of links on YouTube or they won’t become links. YouTube has become a major “go to” place for finding music. Joining this community opens you up to a whole lot more people. Soundcloud.com is another site to check out. It’s a pretty innovative way to share music.
I hope this has given you some ideas that can take you from a starving artist to an empowered one.
Happy music (and money) Making!
Jason
P.S. – Don’t forget to comment & tweet (down below) & “like” (up above).
All your feedback & support is appreciated!
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