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Wednesday, June 20, 2012

Making Your Own Music

Making Your Own Music
Making Your Own Music

Do you know that you can create, write, produce and record your own music from home? These days there is no need for a expensive recording studio and all the high costs burning through your pocket. Making your own music from home is the most effective way to record music. If you are a musician on a tight budget, which most musicians are. There is a music recording software that is inexpensive and will cater all your music recording needs. Dub Turbo is a must software every musician, dj needs. Check out Dub Turbo and you will be amazed what you can create!

Sunday, May 27, 2012

Home Recording Software-Professional Recording Studio

Home Recording Software-Professional Recording Studio
Home Recording Software

  Discover a great home recording software that has all the tools needed for a mixed and mastered professional music recording.  Dub Turbo is a fantastic value for under $50. I work in the music industry as a music manager for bands and artist and highly recommend this home recording software if your looking for a finished sound and great value! No need to create and spend thousands of dollars on a  professional recording studio. Visit Dub Turbo here: Dub Turbo.

Thursday, May 24, 2012

Making Your Own Music-Foreign Mechanicals

Making Your Own Music-Foreign Mechanicals

Others countries outside America do have mechanical rights organization. These organizations are usually government owned.  It is a license provided for that specific territory. What they do is collect all royalties from the record companies/label and hangs on to the money to earn interest on the royalties. After time, they then pay off the publisher. How the amount is calculated is the entire record is licensed for a percentage of the wholesale price and does not matter how many songs are on the album. In order for the publisher to be paid, it must file a claim to the proper organization. When making your own music the publisher must have ownership of the songs. They can either claim a percentage of the song or the percentage share if the rights are split with other publishers.

Foreign Performances

Just about every territory outside the U. S. has a performance rights society that is also government owned. They pay the writer's share to ASCAP/BMI/SESAC which will then turn around and pay the writer of a song. If there is no foreign publisher it goes to the U. S. publisher. This is better for an artist, because one primary publisher instead of several is more money for the artist when making your own music.

* Next post I will discuss foreign advances.

Monday, May 21, 2012

Making Your Own Music-Digital Downloads Part Two

Making Your Own Music-Digital Downloads Parts Two

Audio streaming. Now let's talk about audio streaming on demand. These are what is considered interactive streams, which is what ever the listener wants to hear. The specific term is called a subscription service. Here are some examples. Napster, Rhapsody, Yahoo and MusicNet. Publishers feel that with interactive streams when making your own music, there is more royalties and monies involved. The streaming services had a much different opinion. The two sides battled for years and finally came up with an agreement. What happens was the streamers paid advances to the publishers, and therefore are recouped from the royalties. This idea was for the two sides to keep negotiating. Then a royalty rate of streaming was settled and the publishers would get royalties from the starting point of contractual agreements. Well, this was not the final stage. The Copyright Royalty Board had to decide on the streaming rate. A royalty was set and it is the percentage of the subscription fee and ad revenues. The issue is the publishers do not share these royalties with the songwriters. This is because there is no way to compute the royalties and don't know which songs earn back advances and can't allocate the monies to the writers of the song when making your own music.

Video streaming. This is a touchy subject between the publishers and the streamers. This is an unsettled matter on royalties. The digital streamers feel they are covered by the public performance license through ASCAP or BMI. Publishers feel they should get more return. The Copyright Royalty Board has not benn involved due to no compulsory license for streaming videos.

Tethered downloads. These specific downloads are very restricted. If someone downloaded a song under a subscription service and they don't renew there subscription, you can't play the song after your term. Tethered downloads are from services such as: Listen.com, Music Match and Napster. There is also no rate set for tethered downloads. An example of the math. Publisher say makes %10 of the streamers revenues then the publisher gets $100. The publisher gets a porportional rate meaning if the streaming puts 1000 streams out there and 250 of the stream are yours, you will get %25 of the money, or $25. With tethered downloads it is based on the number of times the song is downloaded to the listeners computer.

Podcasting. With podcasting this is considered and viewed as promotional. The song is a sample of thirty seconds. If the songs extends over thirty seconds, the publisher will be paid.

*Next post I will cover foreign mechanicals.

Sunday, May 20, 2012

Making Your Own Music-Digital Downloads

Making Your Own Music-Digital Downloads

As a recording artist, you need to know about where your music needs to go when making your own music. Publishers and record companies/labels have now seen the light in regards to making a buck with your music. The technologies today are becoming an alternative and substitute for record sales of CDs. People are cherry picking the internet for songs by there favorite artists. If you end up downloading  every song from one album, you are likely not to buy the CD. Also, millions of music listeners are subscribed to a music service for fees, so there is no need to purchase the entire album. Everyone on the side of labels and publishing companies are in a panic and the publishers are scared they might sell the song rights for a low cost. So this is the new norm as the music business has changed very dramatically when making your own music.

1. Untethered downloads. These downloads are a common thing on the net. I tunes is one of them. This means as an artist you will get full mechanical rights on these downloads. Pretty straight forward. You will get a percentage of every single song downloaded. A non-tethered downloads are ring backs or ring tones on a cell phone. The publishing royalty for these are straight forward as well. Also, it's a higher percentage than audio downloads. The publishers get a range between %10 to %12 of the retail price and a floor rate of 10 cents to 12 cents per copy.

2. Webcasting. Here is another way to earn some money. Again, very straight forward. Their is something called non-interactive webcasting. This means someone else chooses what is played. A prime example of this is an internet radio station. Pay wise, the publisher only gets performance monies/royalties. The stats and monies are gathered by ASCAP or BMI. Works the same as over the air regular radio play. Very important that you obtain a server copy license. This protects the artist for earning royalties and not get in any hot water with copyright when streaming. Must have this license before you stream anything.

Next post I will continue digital downloads information that you and or publisher needs for earning monies on the internet with your music.

Saturday, May 12, 2012

Sync And Transcription Licenses

Sychronization License

Sync license is a license that is use with visual images when making your own music. The most reconizable example of this is a song in a moition picture. This happens when the song is played with actions on the screen on tv commercials, home video devices, etc. It does not include any commercials on the radio. Radio is not visual, so it is not considered sychronized. There are radio commercial licenses that are called transcription license. This license is specific towards radio.

What Are The Fees?

Fees depend on the suggnificant importance of the song in the ad. An example, if the song is used for 5 or 10 seconds in the ad for backround this is usually a unknown song. A major song would be a on camera full length major and popular song that is in a high budget motion picture. When you talk about commercial songs, the fees are heavily increased.

Here Is A Breakdown:

1. Moition picture sync license for a major film can range from $15,000 to $100,000 as they buy out the rights for usage.

2. Main title usage is a song that is played during opening credits of a film. $50,000 to $250,000.

3. End title usage is a song that is played during the end of the film credits. $35,000 to $100,000.

4. Indie films are low budget and can range anywhere from $2,500 to $7,000 wherever the song appears in the movie. A kicker deal should be considered. This gives the publisher a nice earning for a song if the film explodes in the box office. Kickers are 3 million in gross and you can make 4 times the amount from the begining.

5. TV, such as cable, free and satellite ranges around $6,500 to $8,500 for perpetuity rights. Pay television is the same as free tv, cable or satellite.

6. Foreign movies should outside the United States are usuallt a standard $15,000.

7. Home video. This is a program that is released later on home video can range from $8,500 to $10,000.

8. A tv theme song are based on how many episodes run. This can be a real money maker. Ranges from $4,000 to $10,000 per episode. Nice money. If a show runs for years and is sydicated, you can make a hugh amount of money.

9. Commons are what we call songs that are on tv shows on airplanes, bicycles, ships, etc. An original deal you make $1,000 to $3,000 which is a five year deal. It can be $2,000 to $3,000 for a perpetuity.

10. Commercials a song can make you some nice cash and range $75,000 to $350,000  for what is called national usage for tv and radio. These are one year deals at a time. If the song is popular and is a giant hit song, the contract can reach into the millions.

11. Video games in songs. If the song is a big hit $30,000. The normal rate however, is between $5,000 to $6,000.

*Make sure that when you become a recording artist on a label of any sort ,that you maximize all your potential income with licensing when making your own music. You won't make any money on album sales! A very tiny amount.

Wednesday, May 9, 2012

Making Your Own Music

Making Your Own Music

There is nothing more creative than making your own music. Anything from recording music, playing guitar, or simply writing your own songs. In today's world we have such an advantage in creating music and sharing with the rest of the world. Like anything else, serious musicians that want to create and distribute musical material can rip through your budget and be very expensive. In my years of being involved in music and several years in the music industry I have found that the biggest challenge for musicians is to create and produce a CD (album) independently. The first step is to know as a musician or band your niche. What type of style is your music? Are you trying to write and create a number one hit on the radio station or create music that lies deep in your soul and your write what you feel and enjoy writing, recording and sharing with the rest of the world?

Home Recording Software
Music Recording Software

My advice is when you get to that cross road about the recording process is to record material at home. Build your craft in song writing, learn and become advanced in the recording process. This will cost you literally nothing if done correctly. Obviously researching a software or types of recording equipment take knowledge of what will work and cater your specific needs as a recording artist. If you are not advanced at recording and I mean not a professional producer or recording engineer, I would recommend a recording software which for it's value is the best thing I have come across on the market under $50! Yes, that's all.  Dub Turbo, a software where you have all the capabilities as a major studio if used to it's full extent. Have a look and this will be the best investment you will make as a musician if you don't have the funds to record in a studio.This home recording software is incredible effective. Happy recording!

Monday, May 7, 2012

Learning Guitar-Making Your Own Music

Learning Guitar-Making Your Own Music
Learning Guitar

     When it comes to learning guitar, there is an alternative to simple guitar lessons and making your own music. For several years guitar lessons have been limited to two learning concepts. You could learn to play guitar on your own with frustration from spending countless hours or your second option is to spend hours and plenty of money taking private lessons from tutors. In this day and age of computer technology access to just about everything is apparent. Now you can learn to play guitar and master the instrument by instructional video and the best teaching program out on the market. Jamorama guitar lessons is the only way to go these days. It is considered the top instructional guitar lessons on the Internet, voted by consumers. It is a one minute download e book that you have directly on your computer, so you can learn effectively right from home. It has step by step instructions from beginning to end. Learn to play different styles and genres of music. This entire course is cheaper than just one hour of private lessons with a tutor. Less than $50! This is the best value you will ever find. You will also get bonuses, chord charts and play along videos. I highly recommend Jamorama guitar lessons. It takes less time to learn, it's fun, simple and inexpensive. Have fun!
Simple Guitar Lessons

* Arian Collin is a manager for bands and solo artists in the music industry.

Monday, April 30, 2012

Secondary Publishing Income

Printed Music

Here is a look at some other sources of income when making your own music. The majority of printed music revenues comes from sheet music. When making your own music, single songs in print is a nice way to earn income as a writer/musician. Collections of songs by a number of different artists and writers are called mixed folios. Another type is a matching folio, which has all songs of a particular album. Matching folios are usually printed with the album artwork on the cover and various posed candid shots of the artist inside.


The royalties paid to a publisher for single song sheet music are 20% of the marked retail price. If the sheet music has a $3.95 retail price, so the publisher gets about 80 cents. Royalties on folios are 10% to 12.5% of the marked retail price. Most retail selling price is around $24.95. A personality folio is one that has the picture of the performing artist plastered all over it. For personal folios an additional royalty is 5% of the marked retail selling price. This royalty goes to the artist.


Licenses for print music are for limited periods of time, usually three to five years. Because of this, you have to spell out what a printer can do with the stuff at the end of the term. Certainly they can't manufacture any more inventory, but can they continue to sell what they have?
     Normally these licenses give the printer a right to sell their existing inventory for a period of six to twelve months after the term expires. These rights are non-exclusive (meaning someone else can sell the same materials at the same time). At the end of the six to twelve months, they have to trash anything left over. For folios, the printers try not to have any time limit on their sell off rights.

Home Recording Software

If you want a great home recording software, I recommend this software to record right from home without a fancy studio. Check it out here. Recording software.

*Author, Arian Collin is a independent manager for bands and solo artists in the music industry.

Saturday, April 28, 2012

Motion Picture Performance Monies

Motion Picture Performance Monies

Due to some fancy footwork by the film industry a number of years ago ASCAP and BMI are not permitted to collect public performance monies when making your own music and your songs are in motion pictures. There seems to be no logical reason for this. It is just political and historically not done. However, foreign territories have never bought into this nonsense, and motion picture performance monies are very significant. The fees are collected by local societies, then paid over to ASCAP and BMI.

     Foreign film performance monies are percentage of the box office receipts, which means they generate a good amount of green. How much? Well, the composer of a major smash film score can earn hundreds of thousands of dollars in foreign performance monies alone.

Which Society Is Best

This is hard to tell. The best gauge is to look at cross-registered songs, which means a song that is registered with both ASCAP and BMI. This happens when a song is owned by an ASCAP and BMI publisher. If a song is owned 50% with BMI and 50% with ASCAP, each publisher must match that of the writer. With cross-registered songs, ASCAP collects half of the song and remits to the ASCAP writer/publisher on the same song, each independent of the other so we get to see who pays more.

    In the comparisons I've seen, ASCAP seems to do a bit better in general, but for some compositions, BMI beats them. Also, BMI changes its payment schedule periodically. Thus there are no hard and fast rules. 

Home Recording Software

     Here is the best value to record music at home effective and with a high quality of sound. Home recording software can be expensive, This one is under 40 bucks! Have a look here. Dub Turbo.

*Author Arian Collin is a independent manager for bands and solo artist. Mr. Collin is highly knowledgeable in music law.

Thursday, April 26, 2012

Allocation of License

     So here are the societies sitting with those millions of dollars of license fees when making your own music. how do you know how much to pay each publisher and writer? First, the monies are used to pay the operating expenses of the society. Then, everything left over is divided among the participants (ASCAP and BMI are non-profit, so everything not used for expenses gets paid out; SESAC is privately owned and operated for profit, so they don't distribute all the money). The division is based only on radio airplay, television airplay and touring if you are an artist who performs his or her own compositions in live concerts, but you're not on the radio or TV, you can sometimes make special arrangements with BMI (but not ASCAP) to get paid. So, you ask, how do they know how much a song is played on the radio or on tv?

1. Radio
BMI requires its licensee radio stations to keep logs of all the musical compositions they play. This is done on a rotating basis, from station to station, and each station has to log for three days each year. BMI then projects from these logs to the whole country. As a check against the logs, BMI uses a services that digitally listens to certain stations. The digital magician matches the songs to a database and reports what it hears. ASCAP doesn't have stations keep logs. They use a digital monitoring service to scour hundreds of thousands of hours, then extrapolate for the rest of the country.

2. Television
TV stations are required to keep cue sheets, which are lists of every musical composition used, how long it was played, and how it was used (theme song, background, performed visually, etc.). The cue sheets are then filed with the societies and there are specific dollar amounts paid for each type of use. The amount also varies with the size of the broadcast area (local pays a lot less than network).

3. Touring
The societies now pay based on domestic live performances, but it's only for the top tow hundred grossing tours as reported in a magazine called Pollstar. They pay based on set lists-lists of the songs played by the band involved-which they get from either the venues or artist's management.

4. Muzak
Muzak, your source of fine music in elevators, grocery stores, and waiting rooms is also logged separately.

BMI pays bonuses for musical compositions that are performed heavily. and this can result in substantially increases in the amount of performance monies paid. ASCAP has no such concept, but its fees tend to be comparable anyway. Both societies pay quarterly and both societies pay about nine months to a year after the quarter in which monies are received.

When making your own music, it is crucial to join BMI or ASCAP!

Monday, April 23, 2012

Making Your Own Music-Performing Rights

Performing Rights Society
When making your own music, there are major performing rights societies in the United States. ASCAP standing for American Society of Composers, for authors and publishers. BMI standing for Broadcast Music Incorporated and SESAC. Of the three ASCAP and BMI are by far the largest, as SESAC has only about 1% of all performing rights. Virtually every foreign country has the equivalent for its own territory, most of which are government affiliated, such as SACEM for France, BUMA for Holland, PRS for the UK. The societies go to each publisher and say "Give us the right to license performing rights in all your songs." We'll then go to the people who want to use them like radio stations, nightclubs, etc. For each license we'll collect fees, divide them up, and send you your share of the cut. And this is exactly what happens. Publishers sign up with ASCAP, BMI, or SESAC, who then issues license to the users, collects the monies, and pays publishers. This is a vital component you need to know as an artist. Here is a great home recording software for it's value.

Friday, April 20, 2012

Making Your Own Music-Videos

Making Your Own Music-Videos

The first draft of almost every controlled composition clause requires you to license your songs for free in videos when making your own music. Here are two parts to video creating:

1. Promotional usage.
I don't think it's unreasonable to give the company a free promotional video license. When it's using the video to promote your records, it's not making any money.

2. Commercial usage.
When it comes to commercial usages, you should argue for some compensation. At present, the only meaningful commercial usage is home video distribution. For this, independent publishers usually get in the range of 8 cents to 15 cents per song. Also, there is almost always a 10,000 to 15,000 unit guarantee, meaning, for example if you got 12 cents per unit and a 10,000 unit guarantee, you would get a $1,200 advance. (12 cents times 10,000 units). In addition, they often get something called a fixing fee, which is non-recoupable payment for fixing songs in the video. These normally range from $250 to $500 per song.
     It's very difficult to get compensation for home video if you're not the artist, for the simple reason that companies don't like to do it. Remember, your video royalty as an artist includes publishing money, so in one sense you'd be taking it from yourself. However, publishing royalties are paid prior to recoupment, while video royalties aren't. So if you can get something here, it's worth the fight. However, it is tough to get.

     There are a number of websites that stream video on demand. MSN, Yahoo, AOL and others. The record companies take the position that your artist royalty includes any publishing monies like home video sales, so you don't get anything extra. Try to resist, but it's not easy. U.S. Congress added digital downloads to the compulsory mechanical license. This is called DPD(digital phonorecord delivery).
This provisions says that any contract made after June 22, 1995 can't reduce the mechanical rate you get on DPD's. In other words, even if your controlled composition clause requires you to give the company a 3/4 rate for songs on your CDs. you get a full rate on downloads. This is great for you.

Monday, April 16, 2012

Making Your Own Music-Multiple Albums

Making Your Own Music-Multiple Albums
Home Recording Software

     When making your own music most controlled composition clauses don't distinguish between normal albums and multiple albums. If you don't raise the issue, you'll have a ten-song mechanical limit on multiple albums that can have twenty or more songs. If you ask, you may get more that a "ten times" limit, but it won't be "twenty times": The companies will only increase the mechanical royalties in the same proportion that the wholesale price increases over that of a single-disc album. For example, if a single disc is $10, and a double album is $11, you would get 11/10, or 110% the ratio that $11 for the double album bears to $10 for the single of the mechanical royalties payable for a single album. This formula is very similar to the one used for your artist royalties on the multiple albums. If there is no price increase, you won't get any more mechanicals in your contract, but you can often work it out when you start to record the multiple album. This can be serious business if you have a lot of outside songs, because the outsiders will insist on getting paid and it comes out of you. For example, if there are sixteen songs and six are outsiders, all six are excess of the allowed ten and would be deducted from mechanicals leaving only four songs worth of mechanicals for your ten songs. If you pay the outsiders full statutory, while your limit is ten times 75% of statutory, you're even further in the hole! So, if you have an attack of multiple-albums-itis, negotiate the mechanicals with your record company, and ideally with the outsiders as well, before you start. Box-set mechanicals are specifically negotiated when the package is put together.

Thursday, April 12, 2012

Making Your Own Music-Maximun Rate Per Album

Making Your Own Music-Maximum Rate Per Album
Home Recording Software

     Standard clause. All controlled composition clauses impose a limit on the total mechanicals for each album when making your own music. This is what is called a cap. It's usually ten times 75% of the statutory rate (or ten times the full rate if your per-song rate isn't reduced). This is known as a ten times rate, meaning you get ten times the single song rate. Note that this is in addition to, an independent of, the per-song limit. In other words, you must deliver each song at the specified single song rate, no matter what the total album limit, but you can't exceed the total album limit no matter delivering, for example, fourteen songs at 75% rate, which totals more than the company is willing to pay, even though you haven't exceeded your per-song limit. All of these limits are based on a multiple on the minimum statutory rate (the rate for songs five minutes and under). Nowadays, it's common for CDs to have anywhere from eleven to fourteen songs. So you should always try for more then a ten-times limit. New artists, get use to ten times. With clout, you can edge up to eleven or twelve times, and occasionally a little more. Wherever you end up, you can see that it's pretty easy to slide right over the limit. Let me show you what happens when you do. This is not a good sight. Just for consistency in the examples, I'm going to assume that you have a maximum album rate of ten times 75% of statutory, or 68.2 cents. The same principles apply even if it's a different limit eleven times 75%, or ten times full statutory, but let's use the ten times 75%.

No Limit on Non-Controlled Songs. As your bargaining power goes up, you may be able to get a clause with no limit on outside compositions (other that statutory rate), even if you have a 75% statutory limit on controlled compositions. The catch is that you can't exceed the overall limit for the album (which in our example is ten times 75% of the statutory rate). This sounds a bit odd at first, but it's much better for you than a flat 75% of statutory limit on each composition. The advantage is that you can now pay the outside publishers full statutory without reducing your royalties, because you're not limited on outside songs as long as you stay under the album limit. Here are some numbers:

     4 outside songs at statutory (4 times 9.1 cents)     36.40 cents
     4 controlled compositions (4 times 75% of 9.1 cents)     27.28

     total mechanicals payable     63.68cents
     maximum allowed (10 times 75% of 9.1 cents)     68.25 cents

Note the amount payable (63.68 cents) is less than the maximum allowed for the album (68.25 cents), which is ten times 75% of 9.1 cents. So you get the full 27.28 cents for your songs, which is 75% of statutory. This contrasts with the result under the clause where you got less at (18.16 cents) for the exact same album. And by the way, the extra 9.1 cents can add up to a hefty sum if you sell millions of albums. On the other hand, if the mechanical royalties total more than the ten times 75% of statutory under this clause, the excess comes out of your royalties. So if you pay outsiders at the statutory rate, you either have to put fewer than ten songs on your album. or else take a reduced rate on your songs. For example, if there were five outside songs and five controlled compositions, you would get less than 75% of the statutory for the controlled songs under the same clause. This is because the maximum per-album rate applies to all of the compositions under the restriction, even when there is none under maximum-rate-per-song provisions. Here are the numbers:

     5 outside songs at statutory (5 times 9.1 cents)     43.50 cents
     5 controlled compositions (5 times 75% of 9.1 )     34.12 cents

     total     79.62 cents

     maximum allowed (10 times 75% of 9.1 cents)     68.25 cents
     less: amounts due outside songs (5 times 9.1 cents)     45.50 cents

     total     22.75 cents

So, for each of your songs, you don't get 75% statutory (6.82 cents), but rather only 4.55 cents (22.75 cents divided among five songs).

No Penalty for a Limited Number of Outside Songs. The next step up is to say that you can pay statutory rate for the outside songs, and that you're allowed to exceed the overall album limit on order to pay this to the outsiders. If you can get this, it's usually limited to one or two songs per album. This concept is easier to understand. Assume your overall album limit is ten times 75% of statutory  (68.25 cents). If you have ten songs on your album, and two are outside songs licensed at statutory, you exceed the maximum by the difference between the 75% limit and the full statutory amount (100%) that has to be paid for each of the two outside songs. (the difference is the 100% paid less the 75% maximum, or 25% of statutory, for each of the two songs).

     8 controlled compositions (8 times 75% of 9.1 cents)     54. 60 cents
     2 outside songs at statutory (2 times 9.1 cents)     18.20 cents

     total     72.80 cents
maximum allowed (10 times 75% of 9.1 cents)     68.20 cents

excess     4.60 cents

No Penalty for Any Outside Songs. With still more clout, you can get a clause that allows you an overall album limit of ten times the full statutory rate, even though controlled songs are limited to 75%. This  means you're not penalized at all for outside songs (unless you exceed ten songs on the album, or unless you have outside songs over five minutes in long). Here is an example:

     5 outside songs at statutory (5 times 9.1 cents)     45.50 cents
     5 controlled compositions (5 times 75% of 9.1 cents)     34.12 cents

     total mechanicals payable     79.62 cents
     maximum allowed (10 times 9.1 cents)     91 cents

Since the maximum allowed (91 cents) is now more than the amounts payable for both outside and controlled songs, you get the full 34, 12 cents (five times 75% of statutory) for your songs. To wrap this all up, the only limit is ten, eleven or twelve if you get it. However, you still have to live with the minimum statutory rate. Next, I will discuss multiple albums.

Wednesday, March 21, 2012

Learn To Play Guitar

                                                                Learn To Play Guitar

People are always wondering want is the most effective and cheapest way to learn to play guitar? Being in the music business I understand that there are hundreds of thousands of private teachers and tutors in every city across America. Believe it or not , their are other alternatives on how to learn to play guitar. Yes you have the old traditional way of learning through private training. The problems with this is that it is very expensive for hourly lessons. Guitar lessons will range between $40 to 75 per hour! Ouch. That is pretty expensive for one hour which in your first lesson and nothing really happens. Not only will you have to pay for these pricey lessons but you also have to get there. Lessons are usually taught at a house or the tutors studio. The most effective alternative is online guitar lessons. One program is more effective and the entire course is cheaper than one hour of private guitar lessons. They actually work and have been proven that you will advanced much faster as a guitar player. I have found one program that contains all the techniques that even your private tutor won't teach you. Also, if you are a newbie at lessons, tutors have a tendency to milk the time and it will be a slow learning process that will burn a hole in your wallet and make money loads of money for the tutor. The other two benefits learning online is that you are not spending more money (gas) just to get to your lesson and two, you can learn the guitar from the comfort of your home without all the awkwardness trying to play in front of a stranger. My advice is to save your money, learn more faster and more effectively. I recommend, Jamorama Guitar Lessons. Come check it out!

*Arian Collin is a manager for bands and solo artists in the music industry and is also an advanced guitarist.

Sunday, February 26, 2012

How To Play Guitar For Beginners

How To Play Guitar For Beginners

Jamorama Guitar Lessons
Finding the right teacher or online program for learning guitar is a daunting task. I have researched many products both online and teachers and tutors. My conclusion is that how to play guitar for beginners is best with online teaching. Private lessons are costly on an hourly basis. You also spend money on getting to your lesson buy driving and spending cash on gas costs. The easy and most effect  way is Jamorama guitar lessons online. Yes, you can actually learn to play guitar right from home. This program has hours and hours of video instruction from step one. Also this program is good for the average player to improve your playing. If you are not sure which way to go on learning guitar, I recommend learning online with Jamorama. It is more effective and much cheaper than private lessons. Remember the entire course is cheaper than one hour of lessons. One you purchase these lessons you will have a chance to win a Martin DM12 guitar through our monthly raffle.

Friday, February 3, 2012

Simple Guitar Lessons

Simple Guitar Lessons

Simple Guitar Lessons
You can use a guitar to play anything from death metal to country to classical and everything in between. Learning to play guitar is more approachable than many other instruments, once you master a few basics. It may take you years to get the basics down, and you may need formal instruction at some point to exploit the instrument's full potential. You need to learn with simple guitar lessons. This is a good article for people who already have their guitar, or are seriously considering buying one, but are struggling to get started and want to teach themselves. For those who have significant difficulty forming chord shapes with their fingers, it may be better to start off learning songs which utilize single notes or power chords. This will help build finger strength, dexterity, and familiarity with the guitar, hopefully with less stress and frustration. My suggestion is to learn the guitar or get better by online lessons. This course offers hours of extensive guitar learning and several extra free bonuses. Also, once you sign up from this sign up page link, we will send the course and after purchasing you will have a chance to win a Martin DM12 guitar. Click here on simple guitar lessons for the link.


Tuesday, January 24, 2012

Record Your Own Music-Professional Recording Studio

Record Your Own Music-Professional Recording Studio

Thinking of making your own music? You can record and create music from home without a professional recording studio or major recording equipment. You only need one little software that you download to your computer. Dub Turbo is a professional recording software that has all the capabilities of a fancy recording studio. This all in one software records music in a finish product. No need to mix or master. It is already done for you! You control every aspect of the recording process from the mouse on your computer. You will not find a better value. Under 50 bucks for Dub Turbo!

Wednesday, January 18, 2012

Home Recording Studio Software-Professional Recording Studio

Home Recording Studio Software
Home Recording Studio Software

When making your own music from home, you only need one piece of software that you can actually record from your computer and produce the same results as a fancy professional recording studio, which can cost you thousands of dollars just to record. There are also additional costs like mixing and mastering a album or song. These cost are very costly, as well as the recording process. With Dub Turbo, a home recording studio software you can create beats and make your own music for less than 50 bucks! Dub Turbo has all the capabilities that the expensive software's provides. It is also very user friendly as you control everything with your computer mouse. Make the investment, it's worth it! You can have your own home recording studio directly from your computer! Save your money as with this software there is no need for a music studio.