Bob Dylan. Billy Corgan. Kesha. Conor Oberst. Ani DiFranco. Neil Young. Picking up on a theme here? All are fantastic artists, and all have been accused of being “bad” singers. Yet they still connect with millions of fans and are able to stand out from the crowd, in part because of the unique qualities of their voices.
Over the past few years, the consumer model has gone through some major changes. In the good old days, you may have opened up your Christmas stocking and expected to find a bunch of physical products. Then as those products went digital, you probably started to receive a bunch of gift cards for online stores instead. This year, we’ve seen another consumer shift, and this time it’s towards subscriptions; from Netflix to Spotify to Pro Tools and even Microsoft Office, everything today seems runs on a subscription model. And while major record labels haven’t been able to crack the subscription code just yet, there are several tools independent artists can use to make the subscription model work for them. Here are three of the best options for musicians who want to earn income not just from one-off sales or gigs, but on a regular, predictable, and ongoing basis.
Writing good lyrics is a difficult craft to master, and with every generation of brilliant lyricists, it seems to become harder to follow in the footsteps of the greats. But every great lyricist started somewhere – and becoming a good lyricist, like any other craft, is the result of study and lots of practice. Here are five of the best practices to get you writing better lyrics today.
From being featured in the Discover app to landing radio airplay in the U.S. to being asked to join the soundtrack of a feature Hollywood film to getting on the eligibility list for an Oscar nom for “Best Original Song,” this is the story of a little-known band who hustled their way to DIY success. “You got me hooked, you got me dancing…you got me!” <— That right there is the quintessential reaction a fan has after experiencing a live show care of the boys from Belgium, The 5 AM. A couple months ago we received a crazy email from these dudes completely out of the blue, raining down props on ReverbNation’s tools and services. Seriously, we couldn’t have scripted this story any better, but it all came from these guys. Cause apparently some really cool (and unexpected) stuff happened to them recently. It all starts with a concert 2,000 feet above the ground…
Confirmation bias – the tendency for people to look for what confirms their beliefs and ignore what contradicts their beliefs – may be getting in the way of finding the real answer to the question “is my song good?“. This goes well beyond the positive thinking trap you might find yourself in when asking friends and family for feedback on your music. It’s a tested psychological concept that can trick you into thinking your perception of your own songs is representative of what others hear.
We’re back with the fifth and final installment in the mixing masterclass entitled Mix Resolutions: 10 Tips for Creating Better Mixes from the team at iZotope. Step your mixing game up with insider advice from a GRAMMY winning mixing engineer and professor at Berklee College of Music.
Going on an international tour as a support artist is a once-in-a-lifetime opportunity and it’s something that most musicians aspire to do at some point in their careers. Performing overseas allows you to connect to a new audience and new industry professionals, make new friends, and gain valuable experience. The exposure can be amazing, the memories will last a lifetime, but it’s a big endeavor that requires A LOT of planning. That’s why we asked our friends Empathy Test – who are no strangers to the road – to share some of their expert advice.
If you’ve been doing this music thing for more than a minute, you’ve probably met a few music journalists or have a shortlist of writers with whom you’d love to work. You also probably have a general idea about what they do and what they expect. But there are a few things you’ve likely never thought of.
I’ve been a working music journalist for six years now, and there are definitely some trade secrets that would benefit every musician. These five tidbits will prepare you to go into your next interaction with a music journalist answers a’blazin’. Take notes!