How to keep the momentum going in your songwriting career

This article was written by Dave Kusek, founder of the New Artist Model, an online music business school for independent musicians, performers, recording artists, producers, managers, and songwriters. He is also the founder of Berklee Online, co-author of The Future of Music book, and a member of the team who brought midi to the market.]

Songwriting can be extremely fulfilling. The feeling you get when you hear someone humming your song is like nothing else. However, on the flip side of that, it can be discouraging when your songs don’t get the attention you think they deserve, or when you don’t see the kind of growth in your career that you’d like. These kinds of setbacks can feel like personal blows to our creativity, but there are some things you can be doing to keep the momentum going and turn that negativity into progress.

If you want even more tips to improve your songwriting, you can sign up for free video lessons here. You’ll learn easy tips to take your lyrics and melodies to the next level as well as music business strategies to start growing a fanbase around your songs.

Don’t Take it Personally

Sometimes a song you absolutely love won’t make as big a wave as you thought. Maybe it’s about a big moment in your life, a strong connection you felt, or a relationship you had with someone. To you, that song means everything, but other people may just not be able to relate to it, and that’s fine.

The key is to not get overly attached. Don’t take it as a personal offense if an audience didn’t relate to your song. They aren’t uninterested out of spite for you, or because your song is bad. More often than not, it’s just because they haven’t experienced the emotion or event you’re trying to describe with your song – the connection just isn’t there.

Instead, treat it as a learning process and use it as an opportunity to try to improve your writing. Think about how you can convey the same emotion in a way that a lot of people can relate to. If you’ve never lost a mother or father, you won’t be able to relate to a song about such a specific topic. But loss is something everyone has experienced, so if you make your song a little more general, you may be able to relate to a larger audience.

That being said don’t feel like you need to change your songs to get more fans or attention. Songwriting should always be a personal thing for you. But do keep in mind that any song is a conversation. You convey your thoughts and emotions and your audience places it in context of their own lives and experiences.

Set Goals for Yourself

Songwriting is an inherently creative process, and as a result, we tend to go with the flow of inspiration when it comes to writing and our songwriting career. While random inspiration will always play a big part in your songwriting, you should try to institute some kind of structure, and goals are a great way to keep yourself moving forward.

In your writing, try setting goals for how many songs you will write each week. Some songwriters have challenged themselves to write a song per day or per week, while others will set aside 1 hour each day to write, whether they are inspired or not. Getting yourself in this kind of schedule helps to break down the barrier that lack of inspiration presents. After a while, you’ll be able to find your own inspiration at any time.

You should also be setting goals for your career. Try to have an idea of where you want your songwriting to take you. Do you want to write songs for recording artists and spend most of your career behind the scenes? Do you want to be on stage conveying your songs directly to your fans? Or do you want songwriting to be a hobby that you keep to yourself?

Depending on where you see yourself, there are steps you can be taking to move yourself closer to that goal. If you want to write for other people, practice writing about all different kinds of topics and in all different styles. If you want to be the front man, you should work on finding other musicians and getting a band together.

Of course, there are plenty more ways to take your songwriting to the next level, and I’m sharing a lot of tips and techniques in this free video series. You’ll learn how to take your lyrics and melodies to the next level and also how to protect your songs and start growing a fanbase around your music.

If you’re ready to take the next step in your songwriting, check out the Songwriters Kickstart online course. As you can see, songwriting is about writing great songs and sharing those songs with the world, so the Songwriters Kickstart program will teach you both songwriting and music business strategies and techniques so you can feel truly fulfilled as a writer.

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The post How to keep the momentum going in your songwriting career appeared first on DIY Musician Blog.


Source: Musician Resources

10 things you’ll learn at the DIY Musician Conference

DIY Musician ConferenceCD Baby’s first-ever DIY Musician Conference is really taking shape.

Unlike many music industry events, this one is centered entirely around YOUR needs as an independent musician, and it’s all happening this October 23-25 in Chicago…

… but our early-bird price of just $49 (for all three days) lasts only until the end of July.

So register now!

What should I expect at the DIY Musician Conference?

We’ll meet up on Friday night, hang out a bit, and then head down to the open mic where you’ll have a chance to play your best songs for a room full of supportive independent musicians across many genres.

Then we have a weekend full of exciting breakout sessions, workshops, panels, and keynotes planned — all geared specifically to DIY artists who are working to move their careers to the next level.

On Saturday night, there will be some awesome showcases where you can hear great music, meet other DIY musicians, and talk with conference speakers.

Who should attend the DIY Musician Conference?

* Recording artists (of all genres)

* Touring musicians

* Songwriters and composers

* Producers and beat makers

* Band managers, publicists, and booking agents

We’re getting close to announcing the schedule and a list of speakers, but in the meantime we thought we’d give you a glimpse of what you’ll get if you attend.

10 things you’ll learn at the DIY Musician Conference:

1. How to create unforgettable moments during your live show

2. Practical DIY touring tips that will earn you more money on the road

3. New ways to get more out of your mailing list

4. Making your music publishing rights work for you in the age of streaming

5. Hands-on advice for improving your website

6. Proven strategies for getting your music featured in the press

7. How to write better songs in any genre

8. How to prepare for your next album release

9. Smarter social media techniques to build your online fanbase

10. How to turn sync and micro-sync licensing into a bigger source of revenue

… and much more.

Register today for CD Baby’s DIY Musician Conference — only $49!

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Source: Musician Resources

5 common studio mistakes you can easily avoid

Joey Sturgis: producer and audio engineer

[This article was written by Joey Sturgis, a music producer and recording engineer who’s worked with bands like Asking Alexandria, Of Mice & Men, Attila, and more. He is offering a free mixing masterclass on July 16 & 17 at CreativeLive.com.]

Well you’ve got your clothes packed and you’re ready to head to the recording studio tomorrow to begin recording your next album. You’re having thoughts of ambition and failure all at the same time. What if the album doesn’t do well? What will our fans think? Will the producer like us?

You might be worried about a lot of things, but what you’ve totally forgotten are a few simple things that are ironically often overlooked.

1. Songs

Did you forget to write songs? Might sound silly, but I’ve had huge rock star bands show up to my studio with not enough songs to record an album. This behavior should be completely unacceptable unless agreed upon in advance. Shame on you! Get your act together! Don’t you want to play music for living? At least write your own songs.

2. Consumables

Yeah you know, the absolutely required to perform kind of stuff. Like guitar picks, guitar strings, drum sticks, drum heads, your lyrics… all that stuff. You lost your Allen wrench, can’t find your drum key? Aren’t you supposed to be a professional musician? What are you doing in a recording studio!?

3. Knowledge of material

I bet you’d never guess that a band would show up to a studio and not even know how to play their own songs. Yep, this happens, and it’s incredibly ridiculous. Practice makes perfect, so don’t even waste a producer’s time when you don’t even know how to play your own music. And don’t expect the producer to be responsible for any of your mess-ups.

4. Direction

The worst thing to do in the studio is be indecisive. You should be ready to buckle down and make the tough decisions that ultimately become your album. Swinging back and forth from decision to decision will drive everyone mad and cause your productivity to be practically zero. Be head strong and have a concise ideal of what your album or songs are going to be before you attempt to record them. Furthermore, make sure your band members are at least in some sort of agreement which will prevent inner-band turmoil during a time where you are asked to be your most creative.

5. Life on hold

You might need to put your life on hold to create music. Nothing is worse than being bothered by forgotten speeding tickets, jury duty, family illness, unpaid bills, or even worse, a warrant for your arrest. Either take care of your issues or reschedule your session. A time to be creative is not a time to be dealing with life’s ups and downs.

This may sound like a harsh reality but with music and music business being such a relaxed status quo, a lot of formalities slip beneath the cracks and end up terrorizing the music as a result. Don’t let yourself fall victim to what I some would call “comfort.” If it’s too easy, you’re not trying hard enough.

—–

Author Bio: Producer, mixer, recording engineer, programmer, writer, performer — Sturgis is multi-talented, and for a full decade he has brought these powers to bear on nouveau strains of metalcore, post-hardcore, electronicore, and more, shaping a revolutionary new wave of hard music. Sturgis has racked up a massive list of credits for a who’s who of modern cutting edge metal, channeling the raw power of bands like Asking Alexandria, Attack Attack!, Born of Osiris, Of Mice & Men, Attila, We Came As Romans, Blessthefall, I See Stars, and many more.

Sturgis will host a free CreativeLive.com workshop “Mixing Master Class” on July 16 & 17. Enroll for free at https://www.creativelive.com/courses/mixing-master-class-joey-sturgis?via=audio_live.

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[Picture of Joey Sturgis by Michael Pelaez.]

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Source: Musician Resources

10 totally uncommon ways to better your mixes

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Ways to avoid the grumpy mastering engineer adage: “garbage in, garbage out.”

THINK LIKE A LISTENER

In the era of modern editing and correction tools, infinite tracks, and no outside-world time constraints, it’s super-easy to get carried away and disappear down the “The Perfect Mix” rabbit-hole. But people don’t listen to a mix, they listen to a song.

Very few sit and listen to music with an intense scowl on their face, hawkishly looking for mistakes. After all, if you really want to find mistakes in your mix, you will. Always.

Try to get the perspective of a fan:

* Whenever possible, take some real time (days) away from your productions.

* If something sticks out as sounding wrong, then it warrants fixing.

* If not and the song comes across as something you would enjoy listening to, then the mix is done: Time to move on.

GET TO KNOW YOUR TRACK BEFORE MIXING

Before I start a mix, I bounce a rough “faders up” version and listen for a couple of days. Over time, approaches and ideas present themselves organically. Allow the music to dictate the mix and not the other way around. This sounds more Zen than it actually is but it’s a good way to get out of template-driven ruts and habits. Listen to your mix away from your computer. It gets you out of producer headspace and into music-fan headspace.

MIXING AS ARRANGEMENT

Edit!

Mixing is an extension of arrangement and orchestration. So when faced with a busy, dense mix, ask yourself if all the parts really need to be there before using every EQ, compression, and panning trick in the book. Giving individual parts space and “time off” will increase their impact. Use sounds that are complementary instead of similar (ie. layer a short, attack-y sound with softer, sustained sound). Approaching a mix as a musical arrangement instead of just a bunch of frequencies that need to be wrestled with, goes a long way.

AUDITION YOUR MIX WITH LANDR

COMPUTER

Sometimes it’s smart to take a break, get some space and hear what the LANDR algorithm will do to your mix. From there you can identify what’s actually still a problem (have you been EQing that bass for 2-days? Can you stop?). It’s actually one of the most common uses of LANDR – which was a surprising, but cool discovery for us too.

Brooklyn’s Govales – who’s recently caught the attention of MistaJam, Zane Lowe and Gilles Peterson – started running his mixes through LANDR, before they were finished — it helped him highlight which parts still needed work.

Audition your mixes with Landr.

TRAVEL YOUR MIX

No doubt, that having the best monitoring setup (speakers, headphones) and room treatment is very important, but hearing your music in as many “real world” scenarios is a great workaround, especially if your home studio is on the budget side. Listen on laptop speakers, crappy earbuds, in the car, and even at your audiophile friend’s acoustically-perfect-subterranean-shrine-to-Steely Dan.

If it works on all these systems then your mix is as good as it gets. If not, make a note of what the problems are and go back to the mix and fix them.

Lather, rinse, repeat.

GET WEIRD

Making a mix sound balanced, defined, and well-proportioned is only part of the equation; A mix should also be hella interesting.

Get lost in experiments: run your vocal reverb through a granular synth. Vocode your drums with your synth pad. Reverse the delay that’s delaying the delay on your vibraphone, add tremolo, reverse it and add delay. The worst that can happen is it sounds bad and you start from scratch. The best that can happen is you stumble on something truly unique and develop your signature sound, a la “the Cher Effect”. Tip: don’t do this with a paying client in the room. Unless they’re cool with it. Some of them actually are.

LOWER YOUR GODDAMN LEVELS :)

LEVELS

Now that we live in a 24-bit world, noise floors aren’t an issue anymore. So there is no reason to record or mix with every meter blazing red.

Recording too hot needlessly pushes your recording chain into harsh clipping territory. Aim for an average level of -18dB FS (or a peak level of around -10dB FS on your faders) and your signals will be safe from clipping. Plus you’ll save lots of headroom on your mix bus without resorting to limiters or continually pulling down your faders.

If your track needs to be louder then turn up the volume on your speakers. Save the “make it loud” step for mastering.

Your mixes will sound more open, detailed, and less fatiguing as a result.

AUTOMATE YOUR FADERS

Compressors are great for taming wildly dynamic performances and adding character but relying on compression to set the level of your tracks, while leaving volume faders static, is a recipe for a lifeless mix. Once you’ve set a basic balance between all the elements, automate small fader rides. This will help parts fit together in a natural and musical way.

RESIST THE URGE TO SOLO

SOLO

Soloing a track is useful if you’re trying to clean up noises, or make sure your edits are tight. But avoid EQing and compressing things in solo mode. The natural tendency is to make all parts sound big and full on their own but this can cause elements to clash and compete when put together.

Mixing is about getting all the parts work together as a whole. Some parts might end up sounding thin and small when soloed, but that allows them to be placed easily and unobtrusively into the mix alongside the fuller lead elements.

F EVERYTHING

That’s right kids, filter everything. Well, maybe not everything, but a lot of things a lot of the time. The lowly high-pass and low-pass filters can be your best friends in a mix. Rolling off the lows, and even occasionally the highs, on tracks that don’t need them opens up a lot of space you didn’t even know you had.

Remember, don’t worry if the sound is a bit weird or thin when soloed. It only matters what it sounds like in context with everything else.

[This article was written by Sacha-Léo Shenkier and it originally appeared on the Landr Blog.]

How to spread the word 
about your music: 
online marketing tips to help you connect with fans and sell more music.
Creating Effective Facebook Events

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Source: Musician Resources