Archive for November, 2013

About is a one stop shop musician resource hub and network.  We help musicians take there music from conception to reality by assisting with every step in-between.  Amongst our numerous services, we provide:

  1. A densely stocked “Shop” full of discounted links to anything an artist or audiophile might need for any project.
  2. A rich network of almost any music professional/ service imaginable, including: Studio’s, Radio Stations, Record Labels, Managers, Producers, Engineers, Session Musicians and more!
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We are entirely supported by Sponsors and Donations, as a service to the independent music industry and the public.

There are ABSOLUTELY no obligations or charges to artists to have their original music aired on and linked back to your site or distribution outlet.  Our purpose is to help you promote your music.

Be Heard Locally, Nationally and Worldwide

All you need to do is email Joe at, attach your ORIGINAL MP3′s, at least 10, include your Web site, a Bio and state that you are allowing us to play the music.Your songs can be added to any of our Play Lists. Just indicate which one(s) and within two (2) weeks you will be on the air. If you don’t have MP3′s, you can mail your CD to us by requesting where to send them.

Pay everyone but the musician

Posted: November 27, 2013 in Helpful Tips


DIY artist Whitey lashes out at big media when asked to give away music for free – and he calls for a “public discussion”

Whitey won't give away music for freeIt’s compelling when an artist takes a concept and crystallizes it into words you wish you had come up with. For example, let’s say you want to send a message to all the big media companies that are looking to use music from a DIY artist for their television shows but claim “budget restrictions” when it comes to paying for the music they want to license.

Enter Whitey, AKA Nathan White, a Berlin-based electro-rock multi-instrumentalist/composer from London who apparently shuns many standard DIY promotion tactics (like having an official website). He has, nonetheless, crafted a 10-year indie music career and has landed songs on Breaking Bad and The Sopranos, in addition to releasing multiple albums and scoring other notable licensing placements.

Whitey’s making headlines for his recent spat with Betty, a London-based TV production company that “makes modern and high quality popular formats and factual television series” (i.e. reality TV). Betty wanted to use his song “Stay On The Outside,” claimed budget restrictions when asking to use the track, and basically asked him to give away music for free. This was too much for Whitey, and he posted the transaction on his Facebook page. Here it is below:

From Betty:

Thanks for emailing me, I have emailed your label but not heard back yet so thanks for getting in touch. Unfortunately we don’t have any budget for music but would be great if we could use the track but it is up to you, but would appreciate anything you could do?

Many thanks,

From Whitey:
Hello Zoe,

Firstly, there is no label – I outright own my own material, so I’m not sure who you’ve been emailing.

Secondly, I am sick to death of your hollow schtick, of the inevitable line “Unfortunately there’s no budget for music”, as if some fixed Law Of The Universe handed you down a sad but immutable financial verdict preventing you from budgeting to pay for music. Your company set out the budget. So you have chosen to allocate no money for music. I get begging letters like this every week – from a booming, affluent global media industry.

Why is this? Let’s look at who we both are.

I am a professional musician, who lives from his music. It took me half a lifetime to learn the skills, years to claw my way up the structure, to the point where a stranger like you will write to me. This music is my hard-earned property. I’ve licensed music to some of the biggest shows, brands, games and TV production companies on earth; from Breaking Bad to The Sopranos, from Coca-Cola to Visa, HBO to Rockstar Games.

Ask yourself – would you approach a Creative or a Director with a resume like that, and in one flippant sentence ask them to work for nothing? Of course not. Because your industry has a precedent of paying these people, of valuing their work.

Or would you walk into someone’s home, eat from their bowl, and walk out smiling, saying, “So sorry, I’ve no budget for food”? Of course you would not. Because, culturally, we classify that as theft.

Yet the culturally ingrained disdain for the musician that riddles your profession leads you to fleece the music angle whenever possible. You will without question pay everyone connected to a shoot- from the caterer to the grip to the extra- even the cleaner who mopped your set and scrubbed the toilets after the shoot will get paid. The musician? Give him nothing.

Now let’s look at you. A quick glance at your website reveals a variety of well-known, internationally syndicated reality programmes. You are a successful, financially solvent and globally recognised company with a string of hit shows. Working on multiple series in close co-operation with Channel 4, from a West London office, with a string of awards under your belt. You have real money; to pretend otherwise is an insult.

Yet you send me this shabby request – give me your property for free. Just give us what you own, we want it.

The answer is a resounding and permanent NO.

I will now post this on my sites, forward this to several key online music sources and blogs, encourage people to reblog this. I want to see a public discussion begin about this kind of industry abuse of musicians… this was one email too far for me. Enough. I’m sick of you.

— NJ White

Of course, there’s the ongoing debate regarding whether DIY artists should give away music for free, and it can be tough, especially as a budding indie musician, to say “no” to opportunities that are pitched as benefitting you in ways other than monetary compensation – the old “we can’t pay you, but you’ll get a ton of exposure” line. We want affirmation that our work is worthwhile, or seek that gateway to reach an unknown audience that can result in new fans and record sales.

But the question of when and why your music should be undervalued or why you should be expected to give away music for free is a relevant one. An actor or director wouldn’t do a commercial for a major product and not expect payment. They wouldn’t see it as a chance to gain exposure and other work. Why would that be true for the DIY artist, musician, or composer?

Whitey’s Bandcamp page:

Whitey’s Facebook page:


From a post on Linkedin by  Digital Project Manager/Digital Strategist, Freelance.

Here’s an illuminating slice of music industry reality brought to life through this interactive chart. This interactive chart, based on actual RIAA revenue figures, shows how the slice of the pie changes dramatically over the last 40 years, starting from 1973 up to 2012. The chart illustrates the revenue generated from all the various formats, sources and distribution points. If you’d like to take more than just 40 seconds and zero in on some of the stats check out the static charts, by each year, over at Digital Music News.

Check it out here… Chart

Christian Music Studio

Posted: November 25, 2013 in Helpful Tips


 We are an organisation of Christian musicians, producers, songwriters, singers and lyricists who are involved in the Christian music industry. The people involved in producing your music have had experience in writing songs that have been in the top 100 CCLI chart as well as having played on CCM albums that have reached the top of the American Praise and Worship Retail Charts.


 The idea behind CMS is simple: you send us your song or idea and we create your track. Heres how it works:

1) Decide if you are a songwriter or a lyricist.

2) Select Recording Packages if you are a songwriter or Lyric Packages if you are a lyricist.

3) Select the individual package you need.

4) Pay for your package via Paypal.

5) We will contact you once payment is received. You send us your song/lyrics and we begin your project.



A song is made up of 3 components: lyrics (words), melody (how you sing the words) and music (chords). If your idea has all of these compnents you are a songwriter and should select our Recording Packages.

If you have written lyrics but you don’t have a melody or any music to accompany them then you are a lyricist and should select our Lyric Packages.

If you have written lyrics and have created a melody for your words then you are a songwriter and we will be able to create the music for your song so please select one of our Recording Packages.



We offer 4 Recording Packages and 2 Lyric Packages that should cover all of your needs.

Recording Packages

These can be Basic Tracks or Full Tracks. A Basic Track is composed with one  instrument only, normally acoustic guitar or piano. A Full Track is composed with many  instruments to  give a ‘full band’ sound to your song. Instruments used in Full Tracks can  be any  combination of the following instruments: acoustic guitar, piano, strings, bass,  electric  guitar, drums and synth. Basic and Full Tracks are backing tracks for you to  perform your own vocals on.

We also offer to have one of our voclists perform your song on both Basic and Full Tracks. Male and female vocalists are available. Select ‘Basic Track + VOX’ or ‘Full Track + VOX’ for this option.

Lyric Packages

These packages are aimed at non-musicians and are suitable if you have only written lyrics and  have no melody or music. Again you may have either a Basic Song or a Full Song. A Basic Song  is composed with one instrument, normally acoustic guitar or piano. A Full Song is composed  with many instruments to give a ‘full band’ sound to your song. Instruments used in Full Songs can be any  combination of the following instruments: acoustic guitar, piano, strings, bass,  electric  guitar, drums and synth.

With Lyric Packages we compose the melody and the music for your lyrics. A vocalist is also included on all Lyric Packages as we are the ones composing the melody for you.

Learn more….CMS Website




We are always looking for new music to add to our playlists and to give our listeners the “411” on up and coming or breaking bands. Have a new CD coming out, we can help you break it.

College Underground Radio has had over 1 MILLION listeners and website visitors. THAT IS ALOT OF EXPOSURE! This provides a vehicle for unsigned or undiscovered bands and artists to get your music heard and build new and more fans.

Bands or musicians who want to submit their music to College Underground Radio for consideration to be added to our playlists should submit 1 mp3 recording (so pick your best) and sign a release for us to play your music.

What Is Included:

  • 1 track included in the next month’s playlist rotation on this station
  • Rotation is approximately 3+ spins per day for a least 30, 60 or 90 days depending on the airtime you select.
  • Listed on the College Underground Radio playlist
  • Be heard by thousands of listeners and website visitors in 100+ countries
  • Possible inclusion on some of the CUR Future Sound Radio shows

All submissions to College Underground Radio are assessed an upload fee per recording to cover our basic costs. We are not asking you to pay to play, its just that to keep our radio station free, we need to help defray the costs of formatting, editing and uploading to the music stream plus the people we pay to do this.

College Underground Radio


Just about a year ago, I started doing this music thing professionally, and launched my first company.

I was 20 years old, overly enthusiastic and had absolutely no clue what I was getting myself in to. Together with a partner, we founded artist management agency Heroes Management. We started out with two acts, and were absolutely dead certain that they’d make it big in no-time. And that we would be able to make that happen… easily.

Oh boy, were we wrong.

Looking back at a year of trying a bunch of stuff, working with a variety of artists, hosting events, starting a label and generally getting the gist of the business, there are some key lessons that I learned. If only someone had taught me these, or told me about them. But maybe that would have been impossible, or maybe I just needed to learn the hard way.

I’ve written down the most important ones. Hopefully these will resonate with you and save you the trouble of having to fall on your face to figure them out yourself.


This is a marathon, not a sprint

So our plans of achieving overnight success didn’t exactly pan out as we had hoped. We figured our guys would just make a hit record, we’d make it go viral on the web, and that would be that. Or that we’d approach a bigger label with promising tales and interesting tunes, and that they’d just pick us up.

Dream on.

For the majority of musicians, it’ll be a long and relentless journey of under-appreciated work, until that ‘breakthrough’ moment comes. If it ever does, that is. Once it’s there, it’s all about hanging on and building from there.

There is just so much competition. In any genre this holds true, but for electronic music more than any. No longer is the barrier to making music the purchase of instruments and gear. All that’s needed now is a computer and an internet connection. With this low entry barrier, the supply has become insanely huge, and with that, the amount of both crap and good music has increased drastically.

Thing is though… good isn’t going to cut it anymore. There’s good music all around us. Attainable for ‘free’ (if you have a bit of wits on you). We hear so much stuff that the only thing you’ll really pay attention to, is something that is absolutely-astoundingly-great, or surprising.

Now I think there are different ways for musicians to attain success. The most praiseworthy are the ones that make superb music, but also innovate. The ones that create stuff that hasn’t been made before, crossing boundaries and inventing new genres. Then, you have the superb musicians, whom through great music and marketing manage to build a name for themselves. And lastly, there’s the ‘hype’ artist, who pulls off a shocking gimmick to get people talking about them.

Logically, the innovators are the ones that lead the pack. These are your Beatles, Daft Punk and Skrillex’s. The guys that do something that hasn’t been done before, and tap into a totally new market. They’ll attract fans from existing genres, but also new listeners. All in all, they won’t be competing as much with the acts focused on saturated markets. Usually, these innovators manage to form a truly dedicated community of fans, whom will forever associate that artist with the genre they created.

In terms of musical greatness, I’m sure you guys have heard about the theory of mastery. Basically, it’s based on scientific research which shows that on average, one reaches mastery of a skill after putting in 10.000 hours of work. They claim that the ‘greats’, such as Mozart and Beethoven, have created their true masterpieces around the time when they’ve hit that 10.000 hour mark. Practically, this amount of work comes down to about 10 years, if you’re doing 5 hours of music making every day. Sure, there will be some super-talented exceptions whom are able to produce great works before investing so much time, but on average it holds true. And chances are that a non-talented but persistent artist will outperform the one that is talented but lazy.

What I’m trying to say is this:
You’re in this for the long run. If you truly want to be great, innovate. Do something that hasn’t been done before… create a new genre. Cross boundaries. When marketing, shock and surprise people. Not through a gimmick, but by integrating those element in your total proposition. And in terms of honing your craft, true quality will only come if you put in the necessary hours. There is no quick fix.

I’ll bet you 100 bucks that a Miley Cirus, Martin Garrix or any other formula or gimmick artist’s success will only be temporary, and will never affect people in the way that the innovators have.


It’s all about who you know

Just like any other industry, the music business is all about networking. It’s all about who you know.

The deeper and higher up the scene you get, the smaller the group that’s truly calling the shots is.

It’s about establishing relationships, creating goodwill and adding value. You scratch my back, and I’ll scratch yours. Everyone is doing favors for one another, and only if you give at least as much as you’re willing to take, can you really expect to foster that much needed goodwill.

This is true to the extent that I’ve seen multiple labels sign qualitatively not-so-great artists, just because they have a good relationship with them, their management or publishers. It’s the people you have on speed dial, or that owe you a favor, that can really make the biggest difference.

For me as a manager and label guy, as much as for my artists, this means that we’re always connecting with people. And when we do, we try to foster real relationships. Add something to the table… share some knowledge, give feedback, discuss possibilities and help each other out. That’s what will lead to the trust and goodwill that will make the difference at some point. And I believe the only way to genuinely do this, is if you’re in it for the love. Not the cash.


The majors are largely toast, and only sign things that are radio compatible

During the course of this year we’ve sat down with a number of majors, and their A&Rs. Our pitch and music was good enough to get the sit down, but not right enough to close a deal.

Reason for this is because the majors are only looking to sign things that will get played on the radio.

Their total business model has taken a huge hit with the rise of digital, piracy and particularly streaming, and they’re having to rely on 360 deals in order to keep making a profit. For those of you unaware of what a 360 deal is, it’s when a label takes a certain percentage cut from revenues other than record sales. Think publishing, touring, merchandise, etc. They’re doing this to make up for the drop in record sale revenues, and to compensate for the expenses they’re making for marketing and records being made.

This shaky financial model is because they weren’t quick enough to adapt to the change that the internet was bringing. And they’re not really to blame for that. Bureaucracy and everything tends to make the big machines slow.

Regardless, there are still few things as powerful for achieving market penetration, as the marketing and financial support of a major label. Look at Lorde for example… came out of nothing, pushed to every possible place by Universal, and now a worldwide success.

For us EDM and dance people, there’s still hope when looking at the majors. EDM is becoming more and more mainstream, particularly in the USA, and is getting more airplay than ever. Avicii and Guetta have paved the way, and with a ‘cross over’ or ‘Beatport top 10′ compatible dance record, producers are now able to reach a bigger crowd than we could ever have imagined ten years ago.

Now we’ve come to conclude that a major label deal isn’t something we should be aiming for. Our music is not compatible, and even if we were to deliver a track that’s fitting to their style, it would because we intentionally made it that way, and not because it naturally came out like that.

For you others though, if you want to score a major deal, take a good look at what’s being played on the radio. That’s what your stuff should sound like, if you want to have a shot at landing that deal.


Content is king, but distribution is queen

We’ve all heard the saying that ‘content is king’. Sure, it’s true, but it’s not all.

Distribution is queen.

Why do I say this?

Because we have access to nearly infinite amounts of music, of which a good portion is great. Not superb, but great. Now to truly stand out, you need to either be significantly different and surprising, or be supremely great. Otherwise, people simply don’t pay attention.

You get one shot at proving yourself once someone checks out or discovers your stuff, and if you can’t instantly impress, you’re done.

Now from how I see things, people discover music either by stumbling across it, or by checking it out on someone’s recommendation. We tend to be more favorable to the latter, but for both cases, whatever content it is you’re seeing, it needs to prove itself, QUICK.

Distribution is queen, because even if you have superb and surprising music, people aren’t going to find it if it isn’t made available to them in the right places. After all, a great song you find on Spotify or Beatport, beats a superb song which never leaves the producer’s bedroom studio. You need to improve the odds of people stumbling across your stuff, so that you can then leave that lasting mark.

That’s why I argue that distribution is queen. Be everywhere. iTunes, Beatport, Spotify, Pandora, Shazam… and most importantly, utilize the content focused social media platforms to really reach the masses. Blogs are powerful, but I find that curated YouTube and Soundcloud music channels even outperform those.

If you don’t agree, take a moment to think about all the indie artists, whom are getting hundreds and thousands of plays on tracks that haven’t even been released on a label, let alone a digital store. That’s the power of these content communities (YouTube, Soundcloud etc), and sure beats just getting a track to show up on iTunes and Beatport.

Have great content. Then get it out EVERYWHERE. It shouldn’t be missed.


Names do not matter

This is a lesson we truly learned the hard way.

One of my bands had reasonable success using an alias which was only understandable if you were Dutch.

We figured, if we’re going to take this music thing more seriously, we should professionalize the artist name too. Internationalize it.

So, we ‘killed’ the older alias in order to re-introduce them under the new name. The new one being English of course, to that everyone got it.

Here’s what happened: we lost a good portion of our existing fan base, because of social-platforms not allowing us to change the URL and channel names. Only Soundcloud and Twitter allowed us to adapt, whereas Facebook and YouTube forced us to create new pages. Big mistake there, particularly as we weren’t yet collecting email addresses of our fans (which I now believe is the best way to keep in touch with a core following). Also, the people that had followed and supported us earlier, but that weren’t hugely involved, lost the association with the music that the guys had made earlier, simply because it wasn’t linked to the name anymore.

In the end, it took us far longer than expected to re-build a following of the size we had earlier, and the benefits of having a new name, and a fresh start, were hardly recognizable. It’s the music that does the talking, and a name that sounds familiar but isn’t understandable, is more precious than a non-familiar one that is.


The money is in the rights, and events.

Out of all the lessons, this is by far the most important. If only someone had told me.

The majority of money in this business is coming from exploitation of rights, and events.

With record sales increasingly becoming a thing of the past, it is no longer something artists and labels can rely on to pay their bills. Maybe the big shots can, but the small guys definitely can’t.

We’re all just too used to listening to whatever we want, whenever we want. Platforms like YouTube and Soundcloud have spoiled us, and as a result we’re just not used to paying for music anymore. Maybe there’s still the odd baby boomer that purchases a track or album now and again, but the younger generation definitely doesn’t.

What the kids are willing to pay for however, is an experience. Something that’s live, with friends, that sticks in your memory. With the huge rise of EDM in the USA and other western countries, the events business is booming. So there’s definitely some money there.

And then there’s licensing. This is the biggest cash cow. Intellectual property laws assign rights to content creators, and allow them to grant the rights of exploitation to other parties, often in exchange of a part of the copyrights. This creates incentive for many parties to collaborate on exploiting a creation. Royalties from public performances (radio, / TV and public usage), mechanicals (sales and streams) and synchronization (adding music to advertisements and film) can be huge. For independent musicians and labels, this is a great field to focus on, as the flat fees from a single synchronization of a track behind a commercial, can easily result in a €5000+ flat fee. Now that’s quick cash.

Luckily, I now know this. We’re not expecting to make a big buck from record sales until the label or my artists have become huge, but we’re really focused on exploring our opportunities in licensing. There’s good money there, and potential exposure for our music. Also bookings will help pay the bills, but acquiring them is time intensive until the artists are in demand, and not so much in supply.

That’s a honest synopsis of the most crucial things I learned about the music business this year. Hope you are able to take some of that insight and apply it to your own scenario, whatever that may be.

I’m very curious to hear feedback from you guys, let me know your thoughts. Feel free to leave a comment, or to drop me an email if you wish to discuss.

Read the original article here…Budi Voogt