Best Music Business

“The industry bible” ( Los Angeles Times ), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry. Now if you’re reading this and trying to decide whether the music business will disappear and if you’d be better off putting the price of this book into your stamp collection, there actually is a beautiful weather forecast. As we’ll discuss, streaming has the potential to make the music business bigger than it’s ever been in history. People who never would have gone into a record store are listening to streams, and the numbers are growing fast. As these new ways to exploit music take hold, you might wonder how artists get paid. And at no extra charge (if you act RIGHT NOW), there’s an update of what’s happening with traditional music business deals—recording, songwriting, merchandising, touring, and so forth.

"Ari is at the front of the front. Forget everything you think you know about the odds of “making it” in the music industry. Today, odds mean nothing and success is not about lucky breaks. I've read a hundred how-to-make-it-in-the-music-biz books, and this one is today's definitive, comprehensive manual.”. - Jack Conte, 150+ Million YouTube Views, Pomplamoose, CEO of Patreon. Anyone wanting to make music for a living should read this, period.”. - Peter Hollens, 150+ million YouTube views. “There are few careers more difficult than being a professional musician, but How to Make It in the New Music Business will absolutely increase your chances of success. Ari Herstand is a fresh, emerging authority on a music industry that is just taking shape, and a fearless tour guide in a brand-new jungle. Reading Ari’s book teaches you what the music industry actually is, not what others think it should be.”. - Jeff Price, Founder of Tunecore, Audiam. Covering things like proper etiquette when emailing promoters to getting your songs placed in film and TV, Ari expedites the sometimes tedious process of learning what it takes to be a professional musician.

A pioneer in the South's quest for respect in the Hip Hop world and one of the most colorful characters to emerge from the music scene which ultimately topped rap charts at the turn of the century, Chad "Pimp C" Butler's controversial life - and suspicious death in 2007 - left behind many unanswered questions, a family divided, and scores of talented new artists inspired by his group UGK's music. That's what was so endearing and refreshing about him, and what made him such a special person ... [He] had a rough exterior but underneath it all he had a big heart and was really just a good person who was - as many artists are - just frustrated, [trying] to get his voice heard." "Pimp C helped lay the foundation that we stand on where Southern Hip-Hop music is concerned." Prince, CEO of Rap-A-Lot Records, Raw Report DVD. - Nancy Byron, Pimp C's publicist, The Source Magazine. "As we keep a lighter up for the Pimp, it's only right that we remember him not just for his often-under-rated musical contribution but also for his indomitable, smack-talking spirit."

Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes. Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Michael Brauer, Serban Ghenea, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Dave "Hard Drive" Pensado, Jack Joseph Puig, Mark "Spike" Stent, Phil Tan, Andy Wallace, and many, many more . Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio , "The 'Why The Hell' Challenge". In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio . The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Amongst many other things in Mixing Secrets for the Small Studio , I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom: Indeed, the two most celebrated mixing speakers of all time, the Yamaha NS10 and the Auratone 5C Super Sound Cube, both have extremely uneven frequency-response plots, but excellent time-domain performance. Those common experiences are just the tip of the iceberg, and it's only by learning to work around the fickleness of your own hearing that you can begin to get decent mix results reliably. Corrective processing can certainly produce unmusical results, but it's important to realize that it doesn't have to, even if you're just using the editing facilities built into your software DAW. Furthermore, almost every small-studio production I've worked on sounded more musical (and became a lot easier to mix) once careful timing and tuning correction had been applied. In that case, it's much better to start with those while your ears are fresh, and while you've still got lots of mix real estate and computer CPU power to play with. In fact, a lot of the established classic reverb units sound pretty unnatural (the AMS RMX16, say, or the EMT 140 plate), but that doesn't stop them from appearing all over the current charts. I call this the "silver bullet" myth--that comforting delusion that the only thing separating your mix from the ones you hear on the radio is some single esoteric process. The malaise can almost always be traced to a whole selection of minor misjudgments that have been made at various points in the arrangement, editing, and mixing process. It doesn't matter if you have to replace the drums with samples, stuff synth pads between the guitar layers, add new backing vocals, or remove certain instruments entirely--just as long as your final product sounds great enough to make the client a happy bunny.

Music: An Appreciation remains the time-tested solution for welcoming non-majors to the art of listening to great music. Kamien taught for 2 years at Hunter College and for 20 years at Queens College, where he coordinated the music appreciation courses.

“The industry bible” ( Los Angeles Times ), now updated, essential for anyone in the music business—musicians, songwriters, lawyers, agents, promoters, publishers, executives, and managers—trying to navigate the rapid transformation of the industry. Now if you’re reading this and trying to decide whether the music business will disappear and if you’d be better off putting the price of this book into your stamp collection, there actually is a beautiful weather forecast. As we’ll discuss, streaming has the potential to make the music business bigger than it’s ever been in history. People who never would have gone into a record store are listening to streams, and the numbers are growing fast. As these new ways to exploit music take hold, you might wonder how artists get paid. And at no extra charge (if you act RIGHT NOW), there’s an update of what’s happening with traditional music business deals—recording, songwriting, merchandising, touring, and so forth.

By 1934, four years before his first feature film Snow White and the Seven Dwarfs would be released, Mickey Mouse had made him famous enough to have a recipe published in Better Homes & Gardens magazine. From humble beginnings to becoming one of the most famous men on the planet, Walt was more of an everyman than a pampered celebrity when it came to eating. In no particular order I like traveling the world, Broadway musicals, consorting with race horse persons, cooking for family and friends, reading, fitness, soul searching and wine. When I am not adventuring, I live in Sonoma County, which according to Luther Burbank is "...the chosen spot of all this earth as far as Nature is concerned."

From one of the co-founders of Pixar Animation Studios—the Academy Award–winning studio behind Coco, Inside Out, and Toy Story —comes an incisive book about creativity in business and leadership for readers of Daniel Pink, Tom Peters, and Chip and Dan Heath. NEW YORK TIMES BESTSELLER | NAMED ONE OF THE BEST BOOKS OF THE YEAR BY The Huffington Post • Financial Times • Success • Inc. • Library Journal “[ Creativity, Inc. ]. just might be the most thoughtful management book ever.”— Fast Company Creativity, Inc. is a book for managers who want to lead their employees to new heights, a manual for anyone who strives for originality, and the first-ever, all-access trip into the nerve center of Pixar Animation—into the meetings, postmortems, and “Braintrust” sessions where some of the most successful films in history are made. It is, at heart, a book about how to build a creative culture—but it is also, as Pixar co-founder and president Ed Catmull writes, “an expression of the ideas that I believe make the best in us possible.”. Praise for Creativity, Inc. “Over more than thirty years, Ed Catmull has developed methods to root out and destroy the barriers to creativity, to marry creativity to the pursuit of excellence, and, most impressive, to sustain a culture of disciplined creativity during setbacks and success.” —Jim Collins, co-author of Built to Last and author of Good to Great “Too often, we seek to keep the status quo working. Any reader of Creativity, Inc., Catmull’s new book on the art of running creative companies, will have to agree. Catmull, president of both Pixar and Walt Disney Animation, has written what just might be the most thoughtful management book ever.” — Fast Company “It’s one thing to be creative; it’s entirely another—and much more rare—to build a great and creative culture. Over more than thirty years, Ed Catmull has developed methods to root out and destroy the barriers to creativity, to marry creativity to the pursuit of excellence, and, most impressive, to sustain a culture of disciplined creativity during setbacks and success. Catmull’s book is quickly becoming the latest bible for the show business crowd.” —The New York Times “The most practical and deep book ever written by a practitioner on the topic of innovation.” —Prof. [Catmull] uses Pixar’s triumphs and near-disasters to outline a system for managing people in creative businesses—one in which candid criticism is delivered sensitively, while individuality and autonomy are not strangled by a robotic corporate culture.” — Financial Times “A wonderful new book . An immensely readable and rewarding book that will challenge and inspire readers to make their workplaces hotbeds of creativity.” — Kirkus Reviews (starred review) “Punctuated with surprising tales of how the company’s films were developed and the company’s financial struggles, Catmull shares insights about harnessing talent, creating teams, protecting the creative process, candid communications, organizational structures, alignment, and the importance of storytelling. [ Creativity, Inc. ] will delight and inspire creative individuals and their managers, as well as anyone who wants to work ‘in an environment that fosters creativity and problem solving.’” — Publishers Weekly (starred review) “For anyone managing anything, and particularly those trying to manage creative teams, Catmull is like a kind, smart godfather guiding us toward managing wisely, without losing our souls, and in a way that works toward greatness. What Ed Catmull shares instead is his astute experience that creativity isn’t strictly a well of ideas, but an alchemy of people. In Creativity, Inc. Ed reveals, with commonsense specificity and honesty, examples of how not to get in your own way and how to realize a creative coalescence of art, business, and innovation.” —George Lucas “This is the best book ever written on what it takes to build a creative organization.

1949), known for his work with the E Street Band, and his brand of poetic lyrics - Americana, working class, sometimes political sentiments centered on his native New Jersey - his distinctive voice, and his lengthy and energetic stage performances.

Every album and every song ever released by the Beatles - from "Please Please Me" (U.S. 1963) to "The Long and Winding Road" (U.S. 1970) - is dissected, discussed, and analyzed by two music historians in this lively, fully illustrated work. *Starred Review* This hefty gem of a book catalogs every recording released by the Beatles, in chronological order of album release. They know their stuff (Guesdon is a musician; Margotin, a music critic), and it shows—especially in the Production and Technical Details sections, where the type of equipment is named and described, recording speeds are discussed, and there is much talk of the number of takes each song required and why.

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!

Learn the subtle editing, arrangement, and monitoring tactics which give industry insiders their competitive edge, and master the psychological tricks which protect you from all the biggest rookie mistakes. Pick up tricks and tips from leading-edge engineers working on today's multi-platinum hits, including Michael Brauer, Serban Ghenea, the Lord-Alge brothers, Tony Maserati, Manny Marroquin, Dave "Hard Drive" Pensado, Jack Joseph Puig, Mark "Spike" Stent, Phil Tan, Andy Wallace, and many, many more . Amazon Exclusive: A Letter from Mike Senior on Mixing Secrets for the Small Studio , "The 'Why The Hell' Challenge". In all these cases I've started with real-world small-studio recordings and used widely available mass-market technology to remix it to a commercial level, all without ever setting foot inside a "real" studio. If you want that kind of transformation for your music, then you can find a detailed explanation of my method in Mixing Secrets for the Small Studio . The second reason you might want to take notice of these mixing techniques, though, is that they've been drawn not only from my own professional experience, but also from more than four million words of first-hand interviews with the highest-profile engineers and producers on the planet. Amongst many other things in Mixing Secrets for the Small Studio , I try to deliver a stout kicking to the following questionable (but surprisingly pervasive) pieces of received wisdom: Indeed, the two most celebrated mixing speakers of all time, the Yamaha NS10 and the Auratone 5C Super Sound Cube, both have extremely uneven frequency-response plots, but excellent time-domain performance. Those common experiences are just the tip of the iceberg, and it's only by learning to work around the fickleness of your own hearing that you can begin to get decent mix results reliably. Corrective processing can certainly produce unmusical results, but it's important to realize that it doesn't have to, even if you're just using the editing facilities built into your software DAW. Furthermore, almost every small-studio production I've worked on sounded more musical (and became a lot easier to mix) once careful timing and tuning correction had been applied. In that case, it's much better to start with those while your ears are fresh, and while you've still got lots of mix real estate and computer CPU power to play with. In fact, a lot of the established classic reverb units sound pretty unnatural (the AMS RMX16, say, or the EMT 140 plate), but that doesn't stop them from appearing all over the current charts. I call this the "silver bullet" myth--that comforting delusion that the only thing separating your mix from the ones you hear on the radio is some single esoteric process. The malaise can almost always be traced to a whole selection of minor misjudgments that have been made at various points in the arrangement, editing, and mixing process. It doesn't matter if you have to replace the drums with samples, stuff synth pads between the guitar layers, add new backing vocals, or remove certain instruments entirely--just as long as your final product sounds great enough to make the client a happy bunny.

Here's what The Rap Year Book does: It takes readers from 1979, widely regarded as the moment rap became recognized as part of the cultural and musical landscape, and comes right up to the present, with Shea Serrano hilariously discussing, debating, and deconstructing the most important rap song year by year. Complete with infographics, lyric maps, uproarious and informative footnotes, portraits of the artists, and short essays by other prominent music writers, The Rap Year Book is both a narrative and illustrated guide to the most iconic and influential rap songs ever created. Shea Serrano is a no.

He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show . Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences. Born to Run takes readers on a riveting ride through the everyman rock star’s deeply lived existence.” — Associated Press. His story is intimate and personal, but he has an interest in other people and a gift for sizing them up..” —Dwight Garner, The New York Times. He delivers the story of Bruce—in digestibly short chapters—via an informally steadfast Jersey plainspeak that’s worked and deftly detailed and intimate with its readers—cleareyed enough to say what it means when it has hard stories to tell, yet supple enough to rise to occasions requiring eloquence—sometimes rather pleasingly subsiding into the syntax and rhythms of a Bruce Springsteen song." “A virtuoso performance, the 508-page equivalent to one of Springsteen and the E Street Band's famous four-hour concerts: Nothing is left onstage, and diehard fans and first-timers alike depart for home sated and yet somehow already aching for more.” — NPR.

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!

Titles: Alouette * Alpine Melody * Amazing Grace * Au Claire de la Lune * Aunt Rhody * Auld Lang Syne * Aura Lee * The Bandleader * Beautiful Brown Eyes * Blow the Man Down! * Largo (Dvorak) * Lavender's Blue * Lightly Row * Little Brown Jug * Liza Jane * London Bridge * Lone Star Waltz * Love Somebody * Lullaby * The Marine's Hymn * Mary Ann * Merrily We Roll Along * Mexican Hat Dance * Michael, Row the Boat Ashore * Money Can't Buy Everything * My Fifth * Ode to Joy * On Top of Old Smoky * O Sole Mio * Raisins and Almonds * Rock Along * Rockets * Rockin' Intervals * Rock It Away!