Chord Records

Vocal chords strengthening exercises let us take good care of a very important part of our body - the vocal chords. Vocal chords are very important because it play a very important role in our lives. We use it all the time, everyday, to express ourselves' communication. Some use this as their way of living such as singers, barkers, TV or radio host, call center agents and many other occupations that makes use of the voice most of the time. Therefore, it is very important to maintain and strengthen our vocal chords.

First off, you need to use the appropriate vocal chords strengthening exercises suited to the size of your vocal chords. How do we determine the size? Thick vocal chords produces lower, richer sounding voice while thin vocal chords tends to produce higher pitched sound. The size of your vocal chords is permanent, thus what's more important is to enhance its performance through appropriate vocal chords strengthening exercises.

Vocal chord stretching is one effective vocal chord strengthening exercise. This will help improve vibration of the vocal chords when we sing or speak. The degree of vibration and the quality of the sound produce depends on degree of stretching it. Your voice power depends on how you control the tightness of your vocal chords.

Another technique is controlling the amount of air while singing. It is not enough to sing, sing and sing, music experts believed that vocal chords strengthening exercises can help a lot in order for your to sing like a pro. Air control while the vocal chords are vibrating to produce sound is one effective vocal chord strengthening exercise.

The next vocal chord strengthening exercise includes exercising also the tongue. A French scientist believed that the hypo-glossus muscle in the tongue plays a vital part to produce power in the voice and the vocal chords. To exercise the tongue muscle, you need to first relax it flat in the mouth. Then start to roll both sides towards the center of the tongue so that it creates a passage or groove in the middle. The strength of the vocal chord is believed to be influenced by this movement.

These are only the basic vocal chords strengthening exercises. There are a lot of exercises available which suit every voice range. Music experts and music trainers are always the best resources. They can assist to improve your singing or speaking voice through vocal chords strengthening exercises. In fact, you can enroll in formal classes for vocal chords exercises.

Another source are DVDs or VCDs that you can always play in your own home at your convenient time. Also, you can find some vocal chords strengthening exercises in the Internet. As said, there are a lot of ways if you really want to improve your voice. Just like the body, it needs an appropriate exercise to remain healthy. Our vocal chords need the appropriate vocal chord strengthening exercises to function efficiently.

With the developments in technology today, it has been easier than ever to ditch the expensive recording studio, and record high quality music right at home. Unfortunately, many who choose to make music at home make many amateur mistakes that lower the quality of their music. Below are a couple of important tips of how to avoid the 5 most common mistakes in home recording.

1.) Be aware of your room- The room that you are recording will have a major effect on how your recording sounds. You will want to record in a room that does not create lots of echoes. Hint: your living room is much better than the garage.

2.) Don't overdo you mixing - many amateur recorders tend to get really crazy with the signal processing, this especially applies when it comes to the effects. Start off slow and build from there, to many effects typically annoy the general listening artist.

3.) Watch those gain levels - When you record make sure you are not recording to high or low with your gain levels. It will be much more difficult later, when mixing, to control the quality of the sound input. Typically, gain levels between 45-60% are appropriate.

4.) You are only as strong as your weakest component - Remember you will want to use or rent better quality equipment for recording. After all, how good would a Paul Reed Smith guitar sound coming out of a Crate practice amp? (the answer is not very good). Make sure your equipment can create and make the sounds you want.

5.) Tune your Instruments Perfectly - Most artists who come to you will not have any idea how important perfect tuning is. Have a high grade instrument tuner handy to make sure all your instruments are in good working order.

6.) Use that metronome - Get a metronome, or at least make sure if you are recording live drums that they have one! It is important to keep you music at a consistent tempo when recording with multiple tracks. If you do not follow the beat and tempo perfectly, it will be hard for later musicians to contribute their parts after your record yours.

7.) Have patience - When you are recording, you will want to fly through each different instrument and each different track. Recording is an art form and it takes time and patience to get everything sounding perfect. Remember you can fix a mistake once it is burned to disc. So take your time, make it perfect and enjoy yourself.

MusicProducerInfo.com is loaded with information on recording music, audio mastering, making beats or being a music producer. Take advantage of this great resource with articles, tools and recommendations to further your music production skills. Visit http://musicproducerinfo.com/home-music-recording for information.

Recording studio headphones of varying quality are available for vocalists and instrumental musicians to clearly hear themselves while they produce their best performances. In addition, recording producers need a clear reproduction of sound to be able to effectively mix recordings. But what do you need to consider before purchasing recording studio headphones?

First you need to be clear about why you need them. Do you only intend to use them to mix recordings or do you want your vocalists and musicians to hear themselves? If the headphones are for you alone then go for the best you can afford. If they are for your musician guests then ideally also provide them with great quality headphones. However, it rather depends on how much your guests are likely to mistreat the headphones and how much of your budget you are prepared to put aside to replace any broken ones. If you are on a tight budget then either buy them some less expensive headphones or encourage your guests to bring in their own recording studio headphones for their recording session.

Wireless headphones are not recommended for monitoring your recordings. Similarly noise cancelling headphones are not generally endorsed - you need to know in detail exactly what is being recorded. Also the majority of producers consider it sensible to mix using the output from monitors rather than headphones.

Any recording studio headphones you buy need to be within your overall budget. They also need to be comfortable to wear because you and your musician guests are likely to use them for long periods of time. They should be padded well so that the sound produced via the headphones does not include sounds from elsewhere. This is especially important if they are being used by a producer who is in the same room as the musicians. Similarly, performers using recording studio headphones should be able to concentrate on the sounds emitted through the headphones rather than being distracted and disturbed by other external sounds.

You should expect your headphones to provide a true, clean and flawless reproduction of sound. They should also have a good frequency range so that the bass and treble responses provide an excellent sound quality. Your headphones should be durable and light weight. An adjustable headband is also particularly convenient. Headphones can be sealed cup or open ended but sealed is generally better for recording and monitoring purposes. Whatever your decision, it is recommended that you only go to well respected manufacturers when you want to purchase recording studio headphones.

For even more information on choosing Recording Studio Headphones visit http://recordingstudiosetup.com/recording-studio-equipment/recommended-recording-studio-equipment/recording-studio-headphones

Have you ever dreamed of starting your own record label independently with no major label distribution. We'll now you can since we are in the the digital age of music. Major record companies are scrambling trying to catch up with the internet, but this leaves a great opportunity for you the music entrepreneur. Ok, so where do you start when you have decided to run your own record label?

1. Come up with a catchy name for your own record label and find an inexpensive graphic designer to design an upscale looking logo for you. Go to Google and search after other record label logos and start there. Remember this is your brand and identity for your own record label so make sure it looks professional so an artist will want to sign with you.

2. Set up your business structure for your own record label, are you going to be a LLC., Inc., or you can simply go down to your local city hall and file for a DBA license for your own record label.

3. Find a great artist with great music to represent. This can be the tricky part because like sports you can't teach speed, its the same with the music industry either you have a good ear for music or you don't. When signing an artist to your label always get an entertainment lawyer to review your contracts and make sure the artist you are signing has a great single and a great album ready to promote. I don't advise paying for studio time if your budget is low it's ideal to sign an artist with their own production capabilities so they may just hand-in their project to send to the distributor. Also, let your artist know upfront your financial situation to avoid what I call the "Daddy" syndrome many artist have. What that means is when an artist signs with your record label they now believe it is your responsibility to take care of them and all their financial needs, this is a recipe for disaster so let them know upfront your financial situation, or give them a small advance upfront and let them know this is all the label can afford to pay you until the record sells.

4. The contract, is very important and when I sign an artist I usually will put out two singles and give them a two album deal with 3 option periods. What is an "option renewal period"? An option renewal means that if the artist's music doesn't sell the way the record label wants then the label has the right to keep the artist or drop him from the label. This is important because what if the artist sells BIG and a major label wants to pull them away from you, you have those option periods this will lock in the artist, and the major label will have to negotiate with you and can't steal your artist.

5. Distribution: Distributing an artist in the old days was very expensive because a label had to pay upfront for the manufacturer to press up say 100,000 or more CDs to be shipped out to retailers before the release date. NOT ANYMORE! Everything is digital now CDs are obsolete. Usually Mp3's and wav files are sent to digital distributors like Itunes or rhapsody. You can usually find a digital distributor that will handle all this for your and pay you 90% to 100% royalties via paypal every 30 days. When doing digital distribution it usually takes 6-8 weeks for your album to reach all the digital stores so plan your release accordingly.

Alright, here's the deal. You want to get in the music marketing industry and work behind the scenes. You do not care to be an artist, but you would rather work behind all the glitz and glamour to make really honest, or really commercial, music. You will do anything and everything just to land a job at any of the popular record labels in the country. The question is: would they hire you?

The answer is: it depends. Everything depends on what you bring to the table. People like to think that the music marketing industry is all fun and games. You get to work with the most creative people; the most powerful artists; the best of the best. However, most people do not realize how much hard work goes into every single song. People do not realize that every move in the music industry is calculated. Unfortunately, even the task of hiring an employee is calculated. Why? Because, whether we accept it or not, music is a business, and everybody is broken down into an investment. What does this mean? It means, if you do not bring anything to the table, then you are not a good investment.

This is why you should start training yourself about everything there is to learn in the music industry. You must learn how to create music marketing plans, produce songs, advertise materials, create marketing tools, hype up your artists, find the right man for the job, and many other tasks. Basically, you must know ALL the ins-and-outs of the music industry. Most people think that just because they went to school and studied about music they will get hired automatically. Unfortunately, record companies need people who not only bring good music and good talent with them; they need people who are business minded and have excellent music marketing plan with them. They need people who understand that records need to sell because bills and people need to be paid and kept alive. They need people who know how to create a complete music marketing plan on one side, and then create the most beautiful song on the other. So if school does not do it for record labels, what does?

You would probably be surprised to know that internship or any previous real world experience is what record labels are looking for. In fact, this is not only true for record labels, as this is the trend across all industries in the world. Record labels will not waste time training a person who is fresh out of music school and has all the right knowledge but lacks a pulse for the business and street-smarts that applies to the industry. What they want is somebody who has real world experience; somebody who has actually gone through the rounds, who actually made transactions within the music industry. They want somebody who understand what it takes to produce music and marketing plan, somebody who has an eye for talent, somebody who can tell which person is the best fit for a job, a person who knows how to steer a musical direction, a person who knows how to facilitate the making of a music marketing plan, or a person who can sell an artist to radio stations.

Although these are taught in school, they are taught in theory. We all know that there things that cannot be taught by words or by theory and must be experienced in the real world. This is why record labels choose to invest in people who have already done it all. So again, here is the deal: until you have had some real world experience, you will not land a job. How do you find "real world" experience, search the net for sites that will team you up with other like-minded people and give you an opportunity to learn hands-on, and whip up a very good solid music marketing plan for yourself.

Eugene Sturdivant is the CEO of www.StreetDreamerZ.com, an online project oriented entrepreneurship program that gives everyone a chance in training and real-world experience in the music industry. This site offers a project-based curriculum that teaches you on starting up your own music business and making it big in the long run. This company will help you come up with the best music marketing plan that suits you and your needs.

All through the improvements that have impacted the music industry, a very important factor that has always been consistent is music for production. This usually has, and can remain, just about the most desired markets for composers as well as musicians. Music for production is very important to a production's success. Each and every film, TV show and also corporate video requires music to lift their final product... they usually have and will be always. Record labels could only get you so far, but bringing a tune in a TV show may gather its returns for a long time.

Production music libraries in many cases are requested by composers and musicians about how precisely to publish their very own music for production. An excellent library should be available to a stable circulation of fresh material from both experienced or veterans and new musicians. Who knows what undiscovered talent is waiting around in the wings! While all of us devote most time of our day online, connected to our email and the world wide web, it's very easy to deliver out an MP3 with a link to a site to browse around. Yet, a bit of work in your production can surely significantly help. Posting a demo CD featuring your very best work, with all clearly branded might have longer desk pile life than an email that's very easy to delete and tag as spam. The majority of production music libraries hold the greatest submissions on hand, generally organized by genre, for upcoming projects. Do not be blown away to listen to back from a library one year after, when they eventually comprehend they do need an album of mariachi rock music for production.

For some music libraries, composer agreements are made on a work-for-hire basis. The library will have the masters and copyrights, and will keep 100% ownership of publishing shares. But, the composer is eligible to take part in all writer performance royalties. Agreements may change among various music for production libraries, although many work on a work-for-hire basis to be able to support the type of music for production libraries as a one stop licensing shop.

Publishing indie music for production is actually a the same process. But, the management contracts differs from exclusive to non-exclusive deals, varying term period and publishing share splits. Many music supervisors, who be given a continuous stream of submitted music for production, highlight the value of exclusive agreements. It's within their greatest interest, as well as your best interest as a composer/musician/artist, to do business with just one company to try to sell your music. By doing this, all parties included are clear in terms of the prices and true ownership/representative of the music in use. You do not wish to contend against yourself and also have the music supervisor settle for a less expensive license fee. You may be losing out on well-deserved license earnings!

Thus, just what occurs when all the parties agreed and your music is used in a TV show such as Grey's Anatomy or Fringe? Hopefully you are a registered writer with either of the US Performing Rights Organizations (PROs), namely ASCAP, BMI or SESAC. These PROs are every author as well as publishers' very best friend. These people are responsible to keep sending you those royalty checks each quarter, yet most importantly, they help safeguard your rights as a composer and publisher.

Making music for production can be an extremely rewarding experience and a great profession. Having your foot in the door will not be simple, but understanding your rights and connecting with the right people will definitely bring you closer to success.

Today, there is a rather wide variety of music publishers, small and large. In reality, everyone that writes songs is a de facto music publisher if they intend their music for the public and they do not have a publishing deal. That is, if someone wants to use the music, then, at least in theory, they would come to the songwriter for permission to use the song. This would be an example of a songwriter acting as a publisher in a reactive role as the user comes to the songwriter in this case.

The primary role of a music publisher today is usually more proactive. Music publishers find users for original music and sometimes manage the usage of the music on behalf of the songwriter. Of course, songwriters can also be proactive in promoting their original work. Music publishers can be the songwriter or they can be someone who represents the songwriter in either a reactive or proactive role.

While there are many opportunities for songwriters to manage the business side of music, there are only so many hours in a day. Therefore, for some songwriters, it makes sense to find an advocate. This advocate is the music publisher who shares in the potential income for the original music in exchange for services.

Small music publishers are varied in their approach to the business. Some small music publishers are individuals who have only their personal songs. Some small music publishers may own a catalogue of music that is intended as a form of investment. This is usually music that has been recorded and continues to collect royalties. This type of music publisher wants to collect fees for their property much like a property owner collects rent for a rental property. Other small music publishers may have limited "catalogues" of music which have been assigned temporarily to them for the purpose of finding a customer willing to pay for each song. Again using the real estate analogy, this service would be like a fee based real estate leasing company.

The rights of songs are temporarily assigned to the publisher as the publisher seeks to find interested "buyers". The primary function of the assignee or publisher is to find "customers" for the owner. For assignees or publishers, there are many secondary functions which may include managing the account for the owner and/or maximizing exposure for the owner.

I think it is important at this point to distinguish between two misunderstood terms related to ownership in the music business. In particular, I want to describe the differences between an owner and an assignee. When a song is written, it is automatically copyrighted under U.S. Copyright Law and it is the property of the songwriter or songwriters. The songwriter at this point is the owner. The copyright should also be registered, which is a statement of claim to the intellectual property which is the song. This is done with an application through the U.S. Copyright Office. This copyright may be assigned to a second party at the time of registration or it may be assigned after being registered in the name of the songwriter or it may not be assigned at all. If assigned, it may be assigned to a publisher for the purpose of finding interested artists, larger publishers, commercial sponsors or labels. Therefore, the publisher becomes the assignee but the songwriter remains the owner. This arrangement is typically based on a set period of time. That is, the assignment of rights will eventually revert back to the songwriter or owner. Some publishers will pay to own a song in which the songwriter generally receives a lump sum of money in exchange for the song. In this case, the songwriter is usually entitled to no additional compensation unless otherwise stipulated in a contract.

The smaller music publishers tend to take on specialized roles to provide needed services in niche markets. These roles are expanding with the changing music industry. Small publishers now take on a variety of responsibilities that may overlap with a variety of other music professionals. There is a good reason for this. The publisher has a stake in the success of an artist so they often take an active role in the artist's development. Therefore, it is not unusual to see publishers acting as agents for the artist, for example. Agency is a service provided for the more specific purpose of maintaining a steady stream of business for a client. Good agents provide valuable services and should not necessarily be confused with a small publisher. The larger the potential income for an artist, the more specialized the roles become which is why you see big names in music with high powered agents. Agents typically maintain the amount of business and associated income of a big name artist because the big name artist doesn't have the time to manage all elements of their career at this level of success.

Big name artists also have publicists and managers, but for a new artist, many of these hats may be worn by a single interested individual. The small publisher will often take the role of agent, publicist and manager in addition to the role of publisher. In some cases, a small publisher will perform as a fee collection agent for mechanical rights as they already receive a portion of the fees that are due for usage. While some small music publishers may provide a variety of services with only a handful of clients, there are also small publishers who specialize in more limited services. They may specialize in a particular classification of music, for example. These publishers tend to have more clients as they tend to have a more limited scope of overall responsibility. Their strength lies in understanding a particular segment of the market and knowing the right people.

Most small publishers are risk takers. They attempt to select unsigned artists with maximum potential, hoping for a "break out". The reward for the small publisher is usually in the form of fees that are guaranteed by United States Copyright Law. Of course, a "break out" can also launch the career of a small publisher if there is a strong relationship with the artist founded on mutual trust. Small publishers may eventually get "squeezed out" by the more dominant players in the industry following the success of a signed artist. Contracts will eventually expire, so it is possible for a small publisher to receive their reward for the duration of work covered under the original contract, but to not receive further compensation for new material from a newly discovered artist who signs with another publisher. It is the nature of the business.

Small publishers maintain contacts with larger publishing companies, record companies, retail marketing executives, and are now using their skills to help promote independents. Some small publishers know when projects are coming up with a label, for example. They also know the type of music that interests various A&R professionals. Other small publishers may be better equipped to assist an independent artist with possible promotion opportunities through a retail store. In either case, an efficient small publisher will use contact management techniques and software to help them keep up with the necessary periodic calls. A good small publisher will follow up on every hold and make sure that a client is paid for all usage of a song.

Large music publishers may perform in the very same capacities as described above on a much larger scale. Catalogues owned by a large music publisher can be in the hundreds of thousands of songs. Large music publishers have the distinct advantage of size. They are well known among industry professionals and, as a result, have easy access to a lot of high powered folks. Large music publishers tend to also have a print media division that distributes printed materials such as sheet music. Large music publishers have other departments assigned to very specific responsibilities such as artist and repertoire or A&R personnel. Overall, the primary focus of the large music publisher is to maintain a positive bottom line through acquisitions and account management, thus it is much more of a corporate style of business.

Finally, there are many different types of music publishers, but the role continues to expand. With the emergence of independent artists and new online distribution models, the role of music publisher must change to meet new demands. It is very likely that the new small music publisher will have sufficient computer skills along with the more traditional understanding of music publishing, marketing, promotion, contact management, accounting, copyright law, negotiation, business etiquette, contract law, music business politics, and just plain old common sense.

Article distributed by permission of Del Boland and http://bluemusepublishing.com

www.vmusicbook.com sells an e-book, which provides solutions for most issues that unsigned musicians experience.
VmusicBook was created for those who wish to set up and successfully run an independent music business, especially for the URBAN markets such as Hip-Hop, R&B, Drum & Bass and all other Dance genres including UK Grime.
VmusicBook is one of the first music resources of its kind. It is said to be the most comprehensive and detailed directories sold online giving you direct access to 100s of important contacts.
VmusicBook is an invaluable business tool for unsigned talent looking to turn their talents or skills into a legal business. No matter what you do if it is creative and entertaining then this is without doubt for you.
The VmusicBook was made for unsigned artists and musicians, label owners, music producers, songwriters, engineers and mangers. Get your music or songs into television, films and commercials.
Hip-hop has been a very popular form of music since for the last few decades and most people like to listen to it. Even though hip-hop sounds so complicated but it can be learnt easily. You can also learn with the help of e-books. Learning it from the Hip-Hop Music e-Books it a very convenient way and has some other advantages as well.
Where you can find them
There are a large number of websites where you can find the Hip-Hop Music e-Books. Generally, they are not free and you will need to download them first. However, the cost is much lower than an actual Hip-Hop music book. Thus, the e-books will also save some money.
How are they useful
The Hip-Hop Music e-Books can be used in the same way and to the same effect as the conventional books. Moreover, e-book versions of the popular conventional books for learning Hip-Hop music are available. Therefore, if you want you can also use such e-books.
What e-Books provide
• You will get all the information about Hip-Hop music through the Hip-Hop Music e-Books. They teach you right from the beginning i.e. what Hip-Hop music is, why people like it, the different aspects involved in Hip-Hop music like raps, turntable, music instruments, the human beat boxing, etc.
• The music instruments like drum machine, sampler, and synthesizer are not at all difficult to learn. You will be able to learn them within no time with the help of Hip-Hop Music e-Books. E-books offer a lot of training on playing instruments. They also have some samples for better understanding and learning. Breath beats also are very important in Hip-Hop music and the e-books will teach you to effectively use breath beats while playing Hip-Hop music.
• Rapping is the most crucial as well as difficult aspect of Hip-Hop music. To learn rapping you will need some time, understanding the different things related to rapping. Therefore, it cannot be learnt from a professional. Just observation of rapping in the popular hip-hop music tracks and along with it, the e-books are helpful for this purpose. The Hip-Hop Music e-Books will provide you the basics, tips, as well as number of samples along with analysis of raps.
• In addition to teaching you Hip-Hop music, the Hip-Hop Music e-Books will also provide you information about how you can get into the Hip-Hop industry. This is important because, there are several important things, which you need to know about the Hip-Hop industry before you enter into it.
Advantages
There are several advantages of Hip-Hop Music e-Books. They are available in different formats and therefore you they can be easily downloaded on your computer. As you may know, e-books do not require much storage space and about 500 e-books can be stored on a single CD.
Moreover reading the e-books is much more convenient than the paper books. You can adjust their font, color, etc. Some computer software also helps to search the e-book for finding what you want. Some Hip-Hop Music e-Books are editable therefore; you can add you own notes as well.
Coutesy of www.vmusicbook.com ©VmusicBook, Inc. 2008
Read more: http://www.articlesbase.com/music-articles/hiphop-music-ebooks-406094.html#ixzz0tmgkyMhX
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Production music is a relatively new thing as far as music is concerned. With the advent of music being utilized in media industries, there has become a need to provide a way for producers to access music in a legal manner for their productions. Product music libraries provide royalty free music to producers and consumers who are looking to find music tracks in a legal manner to avoid any licensing headaches that can arise from utilizing pirated music.

Production music libraries first came about when producers were looking to make up scores to their movies or commercials, but has since evolved into being useful to an individual who is in need of royalty free music for school projects, such as a video yearbook, or a motivational looking to make their speech memorable through the use of emotional music.

 
Production music libraries range from libraries that have only a few hundred tracks to those that have thousands upon thousands of tracks available to producers and consumers looking for the right music for their purposes. By providing so many different music tracks in one place that is royalty free, producers and individuals can be assured that all of their music needs will be met in a single production music library.

By providing so many music tracks, producers and individuals have the option of purchasing only a handful of tracks, for a small project, or by purchasing several tracks for a larger production. By providing varying packages of music, producers and individuals can be assured that they will only be paying for the music that they need and will use, rather than being forced to buy a pre-made package of tracks in order to only use a couple of the tracks within the package.

Production music libraries have evolved with the need of producers and individuals needing royalty free music for their productions. Music can be utilized in a variety of ways and with the strict licensing laws around music these days; it is becoming harder for producers and individuals to find legal ways of obtaining music for their productions. This is where production music libraries come in, because they provide royalty free music to their consumers, providing an assurance that their consumers are purchasing legal music for their productions. With the popularity of production music libraries by both producers and individuals, they have realized that they can meet the needs of more consumers by providing packages that suit both large productions that need several music tracks as well as small packages that work well for individuals who only need a couple music tracks.

Source: Zack Fair publishes articles for a Royalty Free Music provider UniqueTracks.com that offers royalty free classical music and background, and production music. Create presentations and use special effects from UniqueTracks. Get Royalty Free Music Downloads today.