Quick Reference: check the numbers of the questions then scroll to the answer.....why not ask your own question? This is only a tiny indication of what you can get from:

>>>>>>> from one Irish chancer to another?<<<<<<<

You have such a way with words! It is one thing I am definitely not!!!!

<<<<<<<was in a meeting with one of ***'s vice presidents.>>>>>>>

You must know the gag......there are so many Vice Presidents in Ford that a guy rang up, for a laugh, and asked for 'The Vice President in charge of car seats'. The operator asked: "would that be left seats or right seats..sir?"      "Eh....left please"     "Front or back...sir?"

I wouldn't get over excited in meeting with any Vice President in the USA!

<<<<<<<<<No cover, no copyright, no lawyer, no accountant and no money. >>>>>>>

Whoops! How come so many people in the music business have no money?

There is little chance of any copyright infringement. A piece of music is copyrighted to the originator the first time it is committed to any hard copy....CD, back of fag packet, cassette....anything. But in order to play the game properly, all your material needs to be legally covered. You need your own publishing company....that is my first advice to all writers and music makers. Check out www.makehits.co.uk/publishing.htm "How to Start Your Own Publishing Business for less than £100"

You could easily find yourself screwed! They will automatically demand that you sign with their publishing dept. You would then automatically lose 50% minimum.

It is well to understand that ANY publishing company will sign ANY writer! It's only a piece of paper. But you could find yourself bound by that for years. they will do nothing to promote your music and eventually when you get the action yourself they will miraculously wave the original contract in front of your nose.

<<<<<<< They might offer me a publishing deal. Am I standing blindly beside a pitfall?>>>>>>>>

Yes - you could lose a lot.

It is best to say: "I'd love that, but you see, all the material is signed to my own publishing company 'Flying Pig Music'"

If you feel that the deal is about to fall out of bed [you will get a sense of that if you are smart] then you can always say: "But we can talk about sub-publishing....no problem" Then, never be the first to mention a figure....whatever figure they mention HALF it!

But all this stuff is in 'How To Make A Million From Your Music'.

Regards

DEC [Cluskey]

dec@makehits.co.uk

 

SELLING CD'S ON THE INTERNET? Question (2) I wish to sell my own music as well as others on my website. I wish to sell Dance Mic Compilation Cd's, Either mixed in my studio, or when we do our live dj'ing gigs. Now i have set up my publishing company and 2 record labels. Obviously i want to sell these cd's. I wish to know how much i have to pay each artist(s) for using their records on the mic cd. say there are 20 tracks per cd. Is there a set percentage figure that i have to set aside for the artist(s) and how do i make that payment to the label, or publishing company. Is it on a six monthly basis, like our ex record label used to do with our royaltiy payments. Any help will be grateful ... Dec. Regards D***** B*****

First of all D***** you will have to negotiate with MCPS [Mechanical Copyright Protection Society]. They will issue a license for you to proceed with pressing the CD's. This you will have to pay for before you have the stuff pressed. They deal mainly with the length of each track and the involvement of the track [background to the main action etc]

You should inform PPL of the existence of the CD's and give them an artist list and play list. They then will ensure that the artists get paid for any public performances. That money is collected by PPL from Radio Stations, Film, TV and public venues.

Your main focus should be on the negotiation with MCPS. As the field of Internet sales/downloads etc. is all relatively new you should be able to pin them down to a good deal.

Of course, if you are using samples, or whole tracks, then you will have to get in touch with the publishers of each piece of material and alert them to the imminent release. You will then have to do a deal with each of them, depending on whether you are using a sample or a whole track....whole tracks would get you involved in simple licensing deals.

Note: there is no point in contacting the publishers or the holders of the recorded copyright unless you have a realistic release date. They are inundated by bedroom PC guys asking for permission to use samples. They rarely get released. The PC guys are a real nuisance.

It is not the artist you deal with, but the publishing company for each track. Also the holder of the copyright for the recorded work. This will not necessarily be the artist...in fact, it rarely is. All the relevant detail will be on the original CD credit notes.

I hope this clears your thoughts.

Regards

DEC [Cluskey]

dec@makehits.co.uk

 

HIGH HAT PROBLEM? Question (3) Dec - I am working on several songs and their kicking loops as you describe in the million dollar course. I have gone back and search out the information on high hats, but I could not find it. What is your advice about using high hats in the percussion tracks? Also, do you put each percussion instrument in it's own track so you can effect and mix them all separately? Or do you put them into a stereo track when you have it all kicking? R**** B***

High Hat [H.H.] is usually treated as part of the drum kit. Kik, Snare, Toms, HH, Cymbals.

I have written much on this in 'How To Make A $Million'. It is best for you to study the way a good producer [in the genre you are writing your stuff] writes the H.H. pattern...or check the way a live drummer in your genre plays the H.H.

I do not know what genre you are writing in so it is impossible to tell you how to write patterns.

It is best to write a basic 4 beats to a bar, 8 beats, 16 [depending on the genre] and then go back over each pattern for the verse, chorus, links, mid 8 and add extra hits for interest. That is the way a real drummer approaches playing a toon. This is a trick you will only pick up from practice and also by getting used to where the interesting extra hits come in the various bars, e.g. 1-1-2-17 and 1-3-4-23, 1-3-4-33 etc.

Percussion is a different term to drums. Drums means the drum kit as set out above. Percussion is all the other percussion instruments....cabassa, tambourine, tymps, whistles, congas, tubular bells, wood blocks etc.

The drums are set out with kik in the middle [it has the most energy] the snare fractionally right, H.H. in the same position but to the left and the cymbals and toms spread left to right. It is not comfortable to hear a kit spread completely left to right in the stereo spectrum, so we only spread them slightly....it is always good to listen to the kit, on it's own, when mixing, and imagine standing right in front of a live kit...that is the best way of balancing the kit.

The rest of the percussion and rhythm samples are spread very wide to give good stereo imaging.

Regards

DEC [Cluskey]

dec@makehits.co.uk

The Boss, Dec with his 'bro' at The Southbank Centre in London....200 male voice choir plus a raving band and their multi million seller 'I Believe' ... the perfect Christmas Show....December 2003

The Serious Writers Guild is run by real, successful, active music people....not faceless businessmen.

 

MIDI PHONE SEQUENCERS REQUIRED? Question (4) I saw an ad in a music mag which offers to pay money for midi sequencing work…. I would like to make some extra money, and am considering ringing these guys up, but I have a feeling in my gut that says the work is not lawful. Here is the ad as printed: “WANTED DEDICATED MUSICIANS/HOME PRODUCERS experienced in midi sequencing who can transcribe Top 40 hits to 30 second midi files to be used as mobile phone content. Work from home. Must have internet access” If I did take on this job, would I be breaking copyright laws, etc?  i.e. I would be making money from other peoples hard work without them getting any reward out of it. My gut feeling says it is not right… but I thought I’d check with you, just in case I may be wrong.  The guys paying me may already have copyright clearance, who knows. Best for me to be informed before I call them. Regards D***** C****** [Member NET0907030W]

D*****

Any advice given shall not be deemed to be financial or legal advice within the meaning of any current or future law of any country.

Interesting question.

As far as you are concerned, be aware that companies like that pay 'pennies' - as they rely on the fact that midi guys love their work and will put in hours and hours for a couple of $dollars.

As regards the copyright angle, in my opinion, that would be the responsibility of the people who 'broadcast' the item. You would not need any permissions to replicate or create the midi program. This is a common misconception. The writers and publishers are only too keen to get their work earning money in any way possible. After all, that is most likely what you would like...other people recording your works?

You will probably find that they have dozens of calls...they will ask for a sample of your work. It would be important to picture the work coming from the tiny speaker of a mobile phone...so glossy mid range sounds would be best, if they use sampling techniques [Sogem phones]. They may want the files in monophonic [single note/sound] files as most phones are not polyphonic.

Remember, it is most important to 'value' your working time. By that I mean, work out what you would be prepared to work for per hour...then work out how long it would take to create the midi file and stick to that charging...otherwise you will be working for less than a road sweeper!

Regards

DEC [Cluskey]

dec@makehits.co.uk

 

WHERE DO YOU LEARN FILM SCORING? Question (5) Hello! I am a public school musician/composer, and SERIOUS musician interested in learning how to score movies.  .Need I go to UCLA to learn how? Notes Flying Constantly, W*** M****

Hi W***

An interesting question.

You will have noticed over the past ten/fifteen years that the 'flavor' of music scoring has changed dramatically...Pat Williams started the change, then Stuart Copeland...but more recently, the change is much more marked with the Film Companies using many 'chart' orientated tracks.

This serves a dual purpose. It makes the young more interested in the film and also gives the film a chance of having a Top Three track in the score. Thus the film gets huge publicity.

I feel the type of scoring you are referring to is the Doctor Zhivago type score. They are now very few and far between. Even then, the Pop and R&B influence is mighty!

The major music colleges [and I do mean the major ones] are the only colleges that will teach you proper scoring and proper music construction. I presume that you have a good grounding in music theory. Most of the main colleges will have a scholarship scheme in place and gaining a scholarship will indicate whether you have the initial 'promise' or not. I always feel that being accepted and paying a $fortune for a three year course can be a mighty 'scam'....and I personally hate those type of colleges. They are much like the Stage Schools, Fame Academies, Sound Courses.

Will, it is worth considering that John Barry [wrote all the 007 stuff] and Brian Bennett [wrote major film and TV stuff] both were in a band together and both took 'correspondence courses' in symphonic scoring. They studied on the coach going to gigs.

It is also worth while considering that 95% of Film stuff is chart orientated, so it goes without saying that knowledge of success in today's industry is essential. The only place I know to learn that success is The Serious Writers Guild at www.makehits.co.uk

My own career started with gaining Grade 8 at The Royal Academy of Music, piano and theory.....then simply studying scores written by others. I sat in on every recording session I could. Played on a lot and of course made all our own hit records. At age 15 I wrote my first score [18 piece orchestra] without even knowing that score paper existed! That played well. I wrote and played all the back music for a 26 week radio series at age 17.

Our Hits were scored by the greatest American, Canadian, British, Italian, French and I carefully collected and collated all the arrangements [I still have them]. I studied them and recreated the ideas in other arrangements. I now consider that my skill is superb and still improving. Of course, along the way I have eagerly learned all the sequencing skills and have a private, top of the range, studio. There I combine the best of electronic techniques with live techniques.

Check out the latest Michael Buble album to see how those techniques work. They don't teach you that stuff at college!

Regards

DEC [Cluskey]

dec@makehits.co.uk

 

PSEUDONYMS, WHY DO PROS USE THEM? Question (6) You mentioned pseudonyms, but never did discuss.  You said you always use pseudonyms for your work. What is the value of doing so? Why do the "pros" do that? Would you have a different name for every project, or is it better to have a gobsmacking "showbiz" name and then build a reputation around it?  Looking forward to the master class. Have a great new year. R**** B***

The biggest mistake amateurs make is having the credits:

Music and lyrics: Fred Smith

Performed by Fred Smith

Guitars by Fred Smith

Programming Fred smith

Engineered by Fred Smith

Mixed by Fred Smith

Mastered by Fred Smith at Fred Smith Studios

Regards

DEC [Cluskey]

dec@makehits.co.uk

 

I WANT TO MAKE A DEMO - HOW? Question (7) Dec NET0924030W I have recently purchased the first release of 'How To Make a $Million From Your Music'. It is inspiring stuff and I cannot wait for the next release. Here, however, is the thing: I have always been able to create whole songs (music, lyrics - the whole deal really) in my head, although this ability has been suppressed to some extent by the life that I have lead so far practicing law. Since I have decided to take up my music again (and therefore purchased your program) this ability to hear the music has come flooding back and I do this now again spontaneously, mostly while doing simple things like washing dishes etc. WHAT A FANTASTIC FEELING!! Since I never forget any of my songs, I am then later able to write down the words and main chords. I now have quite a number of these with more and more pouring out. The eagerness and enthusiasm that is burning a hole in me is however tempered to a great extent by the facts that I have no money and no clue how to progress any further. I just hear the music in my head. It seems to me that the only thing that I can do right now is wait (for the next nine months' worth of releases), which I really don't want to (I want to do something NOW), and maybe save some money? Surely this cannot be right? There must be something I can do right now with my songs if they are really good, but I have no means (just yet) to make a demo or turn it into something presentable as you will probably teach in your program? (I also have a good voice, but I am mostly interested in becoming a really great songwriter.) PS : If I in future get my hands on some spare cash, is it possible to purchase further releases of your program without having to wait a month each time? Thank You A******* A********

A********....

I hear your story so many times ..... I don't hear of  the ability to create songs so readily...that is a great talent!

The focus of the course is to show you the 'real' way to success.

What you want to do is rush off to a record company with a load of 'intuitive' songs...in other words, songs that have come naturally to you with no reference to what is necessary in a sellable, commercial, potential Hit song. This is a disastrous mistake waiting to happen.

I always compare success in the music industry to success in brain surgery. The two professions are as skilled as each other. And both take a long time to learn. Your law degree did not happen with a couple of exchanged Emails?

You must relax, leave yourself in my hands. The program is carefully constructed so that each monthly module will improve YOU. Your music will improve automatically as you realise that you must study, study, study. You must analyse the chart. You must break each Hit track down and understand what makes the track a Hit. Then you must alter your own thinking so that you construct Hit Potential songs. You must then learn the art of honing the best of your own songs.

It would seem, at the moment, that you are churning out dozens of intuitive songs....and that will not earn you one cent! Hit songs take months of honing and polishing....but first you must learn and understand what a Hit song is.

Patience!

Regards

DEC [Cluskey]

dec@makehits.co.uk

When you get involved with DEC you get ten months of two knowledge packed books a month, stunning advice, today's methods for writing music, making music and promoting it. 24/7 access to the man himself. And you get a 'LIFETIME' guarantee. If you ever pay DEC for anything, if you are not happy at anytime in your life with the product then return it for a complete, no-quibble, courteous refund! DEC means it! That's not only a guarantee it's a personal promise "There Is No Catch" "There Is No Risk" Become a Member of the 'The Serious Writers Guild' PROGRAM CLICK HERE       FREE INFO PACK? QUICK CREDIT CARD HOTLINE? or just prove we are real? +44 (0)1323.728005 [UK office hours]