Found 400 results
Found 400 results
My goal is to be a touring bassist, those are the classes are I want to take. The education masters would just be so that I could teach if I really wanted to.
I wasn't planning on getting a masters at Berklee.
Tommy the Cat by Primus. easy riff, a few kinda tricky fills, and a beast of a solo. but you can improvise your own little solo if you want to do the whole song.
If a label signs a band to a multi-album deal and the band chokes at the release of their first album, then the label has pre-committed themselves to releasing two more (or how ever many else) albums by that artist. The label is then forced to do what they call 'burying' the album - essentially allowing the album to be released, but not going through the effort and expense of promoting and marketing it. Better to lose $25K on the production of an album instead of $1M promoting and marketing an album that won't sell.
It is safer, then, for the label to sign them to a single release to see how it does. If sales meet or exceed expectations, then they'll talk further.
Most of this is good. I have a couple of problems/questions, though....
I think you branched off into two different planes of thought here. A traditional licencing deal says that the record company (or whoever else wants to licence your material) will pay you a set fee for the right to reproduce your work as they see fit. That set fee may be a lump sum, (ex. $10 000) or may be a percentage of what they are able to sell (say 10%), or a fee based on a per-unit basis. (ex. $1.00 per CD sold). The licensor (in this case, the label) has no ownership of the publishing or anything... they just have the right to duplicate and re-sell as they see fit, subject to the agreed upon terms.
My information says that pretty much the opposite is true. If you get signed, you have one shot to go big or go home. If you don't come up with a full house, or at least a three of a kind on your first album.... they ain't gonna give you a nickel more to try again. You're dropped. These things used to be called 'development deals' where a label would let a band go out, put out a first album to get some experience under their belt and to get the name out there, but development deals disappeared ages ago. Now, if you are hugely successful... THEN you have some leverage for negotiating multi-album deals.
What profits, and as defined as how?
If you look at a CD costing $20 and the artist in the end getting $1.00, then yes, there is your 5%, but that is really misleading. It suggests that the label gets the other 95%, which is entirely untrue. The retail store bought that CD for $10 and marked it up 100%. So, the store gets half of that $20. Of the remaining $10, the label will see maybe $4. Of that, $1.00 will be the publishing royalties. You will also get $1.00 worth of publishing royalties. The rest of the money is partly distribution costs, packaging costs, marketing costs, etc.
You can't tell me that you, as an indie label, will have a CD sell in a store for $20, and have the artist get even close to $10. When you say between 20%-50%... your 50% sounds really far-fetched for the more traditional sales routes. I'd put a retail sale in the neighbourhood of 20%.
I would suggest that the artist probably gets closer to 50% if your label sells a CD from their own website where there is no other parties involved to want a cut or to mark it up further for their own purposes.
To all those who practice their scales, arpeggios, speed etc for about an hour a day or whatever you do, how do you practice them? I'm starting to compose with a friend of mine, and we're really getting serious about it. I'm trying to work on my speed and scale knowledge, but I have no idea how to do it. How do you guys go about practicing? Sorry for the hijack, I thought asking here would be more appropriate than wasting bandwidth and starting a new thread.
I understand what your saying but I disagree thats like saying to practice playing basketball you have to be running plays and playing defense and shooting jumpers is dickin around.
It depends on how you play whatever you want it you're literally just playing whatever comes to mind then yeah thats not the best of what to do. If you're playing something and trying to perfect it, taking notice of everything then thats practicing.
I practice maybe for an hour a day on a good day, but most days its a half hour, and I try to focus on something different each day.
"Someone asked Shane how much he practices, and Jim stepped in and said, "Shane, I'm going to rephrase that question a bit. Do you practice more than 2 hours a day?"
Shane said, "Yes."
Jim said, "Do you practice more than 3 hours a day?"
Shane grinned a little and said, "Yup."
Jim asked, "Do you practice more than 5 hours a day?"
Shane said, "Yes, I do."
Then Jim asked, "Shane, how much do you practice?"
And Shane said, "I practice between 7-8 hours a day [on upright]."
The audience was a bit taken aback, but Jim said something I will never forget:
"Folks, we need to stop the clinic here for a second so I can go over something very important with you. What Shane does is not unusual for someone who wants to play at a professional level. This is what it takes to be an expert at something - anything. Practice is how you get better, and how you maintain your level once you're there. If you're not willing to practice several hours every day, you need to seriously consider if music is the right career for you.""
Good luck finding a Rick copy. Rickenbacker have basically resurrected Torquemada to hunt down copies of their instruments, and burn anyone selling them at the stake.
Sweeping on bass?
I've heard it CAN be done, but I don't think it would sound too good.
If you use a PA system aswell that shouldn't be a problem. And you should be using a PA system for all of your instruments (bar maybe drums, although if you have a bass drum mic you should mic that.) and vocals.
Thats just for pubs and small venues though.
Note: guitarists shouldn't need anything above 50w solid state either (with PA system), and if they think they do you may hit them round the head with the nearest object.
my cousins boyfriend has one and he let me use it for a little bit and i honestly didnt love it. like it was fun and all but i didnt find the need for the chorus effect it creates since you rarely use like chords on bass. RHCP sounded pretty cool on it but then i tried some zeppelin and i didnt like the way it sounded. i guess it depends on what your gonna play.
I can see what you mean, but it's really harsh to say "you can have some money, but your buddy can't because of his background" I think the moto "No child left behind" works here, it's basically playing favourites, and I've never been a fan of that game.
Yeh, I know, but it's sad that the deciding factor is how much the parents earn without taking into account the family size, so basically it should be either everyone gets it, or nobody does.
I agree up until the last part, I think everyone deserves this money, it's not like if your parents earn a comfortable living you don't need incentive to go to further education, I could have explained better, but I am very tired.
NO. First off, it would sound terrible.
Secondly, it wouldn't work. The MG cab can only work with the MG head.