Why Your Recording Needs Mastering

For a complete list of mastering plants in the US go to:

http://www.recordlabelresource.com/list.php?catid=4


CD Mastering

Mastering is the final step in the 'production' process of a recording. The mastering house is the last place that you can make any adjustments, or 'fixes' to the material before it begins replication. The recording being mastered will be set to an appropriate volume level, to make it comparable with other commercial recordings of it's genre. The songs will be sequenced in the order they will appear on the CD, and the disc will be written with all the proper coding and information needed by the pressing plant.

Why does your record need mastering? If you plan on releasing your recorded material on CD, you will probably need to have it mastered. For some styles of music, all that will be needed is a level adjustment and sequencing for the final CD. Other material may require compression, equalization, reverb, and perhaps some editing. A good mastering house will be able to determine what kind of treatment the material may need, and have the equipment to apply that treatment, without damaging the quality of the sound. The most critical aspect in our eyes, is to insure that material will sound good when listened to through various playback systems, such as in the car, on the radio, off a boom box, and through a high quality speaker system.

The Music Industry Is Dying!

Very good infographic from the New York Times conveys the dwindling death knells of the music industry. Analysts give it 10 years.

According to data from the Recording Industry Association of America, since music sales peaked in 1999, the value of those sales, after adjusting for inflation, has dropped by more than half. At that rate, the industry could be decimated before Madonna’s 60th birthday.

This industry is coming apart at the seams at an alarming rate. With the advent of various business models that offer "free" music to consumers, who would be interested in pirating or illegally downloading music?

Yes, piracy has played a huge role in it, but music streaming is poised to dot the i on the unwritten contract between content provider and user.

Teenagers, who were once the largest demographic purchasing music, numbers have fell way off according to the NPD Group, a market research group for the entertainment industry, 13- to 17-year-olds “acquired 19 percent less music in 2008 than they did in 2007.” CD sales among these teenagers were down 26 percent and digital purchases were down 13 percent. The numbers are even worse for teenagers in the UK.

There was a time that whatever format was available, if there were at least several good songs on an album, the consumer would weigh the difference between the good and bad songs, and it seemed worth it to buy the entire album. Now with so many artists putting oput content that is noit really good, the consumers were forced to convert to other means to compile their favorite songs from an album, without purchasing it.

I blam this on the industry itself which seems to have catered to the demands of shareholders and the pursuit of the profit margin. Nothing wrong with being profitable, but when you are putting bad product into the market, what do they expect. Would you purchase a half put together car from GM or Ford? The answer should be a resounding no. Until the Big 4 wake up and smell the burning cinders of the industry they have helped destroy, we will continue to see the business slide off into the abyss.

Music Licensing In A Nutshell

The Basics
Music licensing in the United States is made possible by the protection that U.S. copyright law provides for artists. According to this article from the U.S. copyright office:

The copyright code of the United States (title 17 of the U.S. Code) provides for copyright protection in sound recordings. Sound recordings are defined in the law as "works that result from the fixation of a series of musical, spoken, or other sounds, but not including the sounds accompanying a motion picture or other audiovisual work." Common examples include recordings of music, drama, or lectures.
Copyright in a sound recording protects the particular series of sounds "fixed" (embodied in a recording) against unauthorized reproduction and revision, unauthorized distribution of phonorecords containing those sounds, and certain unauthorized performances by means of a digital audio transmission. The Digital Performance Right in Sound Recordings Act of 1995, P.L. 104-39, effective February 1, 1996, created a new limited performance right for certain digital transmissions of sound recordings.

So a sound recording is just that -- a recording of sounds.

There are several things that can be copyrighted in any sound recording for a song.

There are the actual sounds themselves -- the performance of the work.
There are the notes that the musicians play to create the song -- they could be embodied in sheet music.

There are the lyrics for the song -- they can be written down on a sheet of paper.

According to the the U.S. copyright office, copyright protection extends to the contribution of the performer(s) whose performance is captured.

For example, let's say I sit down and I write a piece of music and entitle it "My Lady". I record it onto a tape using an electronic keyboard:

Let's say that I also come up with lyrics for a song called "She's All That" that I sing to the melody of "My Lady". Now I play "My Lady" and I sing "She's All That" while recording it on a tape recorder. If I send the tape to the U.S. copyright office with the proper forms and the registration fee, I will own copyrights for the song, the lyrics, and the actual performance recorded on the tape.

Technically, the registration process with the copyright office is not officially necessary in order for me to own the copyright. I actually own the copyright as soon as I create the song and write it down. However, to enforce the copyright in court, registration is required.

Once I have the copyrights, I can sell rights to the song if I choose to, and I can also prevent anyone else from using the music, the lyrics or the actual performance of the song. I "own" the whole song and all the rights to it. I can license the song in any way I choose.


Licensing the Song
In the case of a "real song", like something you would hear on a top-40 radio play-list, there are several different parties involved with the song:
The label owns the actual sound recording -- the performance of the song as recorded in the label's studio.

The publisher works on behalf of the song's composer (the person who arranged the music) and songwriter (the person who wrote the lyrics). The composer and songwriter probably own the actual copyrights for the song, and the publisher represents them in all business dealings.

If you want to use a song for any reason, you have to somehow obtain rights at least from the publisher, and possibly from the label as well (if you are planning to use a specific performance). Here are just a few examples of when you need to obtain rights:

You own a radio station and you want to play a song on your station.
You own a restaurant and you want to play songs as background music.
You are making a commercial and you want to use a song in the commercial.
You are making a toy and you want it to play a song when a child pushes a button.
You are making a video production and you want a song as background music.

Perhaps half a billion dollars trade hands every year through licensing fees

ASCAP, BMI and SESAC

If you own a radio station or a restaurant and you want to broadcast or play music, what you need are public performance rights-- the right to play music that the general public will hear in one way or another. Obviously, if you own a radio station playing 300 or 400 songs every day, you would go insane if you had to obtain public performance writes from every label and publisher. Therefore, public performance rights licensing is now handled by two very large companies named ASCAP (American Society of Composers, Authors and Publishers) and BMI (Broadcast Music Incorporated) that simplify the process. Each one handles a catalog of about 4,000,000 songs.


Here are just a few examples of the establishments covered in the forms section of the BMI Web site:

Airport
Amusement/Theme Parks
Athletic Clubs/Dance Classes
Bowling Centers
Colleges and Universities
Competitions/Shows
Eating and Drinking Establishments
Festivals/Special Events
Hotel / Motel
Local Governmental Entities
Local Television
Meetings, Conventions, Trade Shows, and Expositions
Musical Attractions - Promoters/Presenters
Radio Station Interim
Retail Establishments
RV Parks and Campgrounds - Multiple Use
Shopping Center
Skating Rink
Symphony Orchestra
Web Site

A radio station will typically purchase from ASCAP, BMI and SESAC what are called blanket licenses to broadcast music. A blanket license lets the station play anything it likes throughout the year. ASCAP, BMI and SESAC decide how to divide up the money among all the rights owners.

Any establishment that wants to play music that will be heard by the general public needs a license as well. If you go to the Forms section of the BMI Web site, you can find a list of dozens of forms to cover every different type of establishment that you can imagine.

Let's consider this example -- a skating rink that wants to play music for its skating patrons needs to fill out this form. The schedule of fees is right on the form. If you own a rink that has 15,000 square feet of skating area and you charge customers $5.00 to skate, you own a class 6B establishment and you need to pay BMI $205 every year. You would need to do the same thing for ASCAP.

Technically, anyone performing music publicly anywhere has to pay:

If you are in a marching band playing in a parade and the song you are playing is an ASCAP or BMI song, the band or the parade organizers have to pay.
If you are an aerobics instructor using music in a class, you have to pay.
If you are a street musician, you have to pay.
If you do not pay and you get caught, you can be sued. Beware, the fines are pretty steep -- sometimes thousands of dollars.

Commercials and Film
If you want to use a song in a TV or radio commercial, you need a Master Use license from the label (unless you are re-recording the performance) and a Synchronization license (TV) and/or a Transcription license (radio) from the publisher.

According to the book "All you need to know about the music business" by Donald Passman, "The fees for synchronization licenses are really all over the board, and they vary with the usage and the importance of the song." For example, Passman's book mentions some fee ranges:

Low-end TV usage (e.g. -- music is playing from a jukebox in a scene, but no one in the scene is paying any attention to the music) -- free (for exposure) to $2,000 for a 5-year license. In a film, the fee would be $10,000 in perpetuity.
A more popular song is worth more, perhaps $3,000 for TV and $25,000 for film.
A song used as the theme song for a film might get $50,000 to $75,000.
Commercials fetch even more money: "a song can command anywhere from $25,000 to $500,000 plus per year. The typical range for a well-known song is $75,000 to $200,000 for a one year national usage in the United States, on television and radio."

Generally you would obtain the licenses you need through some sort of clearing organization that handles licenses on a daily basis.

Other Licensing Scenarios
There are many other situations where you need a license to use music. Here are several examples:

You want to create a new song that uses samples of other songs. Even if you are using just a few notes, you need to obtain licenses through an organization like LicenseMusicNow.com. Otherwise, you will end up paying even more in penalties when the song is played in public.

You want to play music in your lobby, elevator, restrooms, etc. You either need to obtain performance licenses from ASCAP, BMI and SESAC, or you need to contract with a company like Muzak, which handles all the licensing for you.

You want to play music in your small restaurant. You have three choices. Technically, you can play the radio. But in that case your customers will be listening to all the commercials, which they may not appreciate. You can play tapes or CDs. In that case you need to file with ASCAP, BMI and SESAC for blanket licenses. Or you can contract with a commercial music services firm like Muzak.

You are making a yearbook DVD for school, a wedding video, etc. and you want background music. You cannot legally use songs off a CD for these purposes. That forces you to look for production music -- music produced by companies specifically for these applications. The simplest example of production music is the kind of music you get when you buy sound effect files and music clips on a CD. A place like Music Box offers complete songs in many different styles.
To see how particular things can get, consider this example:

Let's say you have a cheerleading squad at your high school and you buy a CD from a place like Power Music for your practice sessions. Now you want to play the CD while your squad performs at a basketball game. The school should have waivers for ASCAP and BMI for that, but you need to make sure. If a local TV station wants to broadcast the game, there is a problem if you perform to the music because that is a retransmission of the music. Then if you want to video tape your squad performing to the music and sell the video tape, you have the same sort of retransmission problem. There are so many problems, in fact, that Power Music offers a FAQ on it. In the FAQ it says, "Over the years our writers and producers have created hundreds of songs that are available for video license. Since we own the recordings and the compositions we can grant you the license to manufacture videos with music from our catalog."

Think music licensing is limited to t.v. and the film industry? Think again. The video game, Grand Theft Auto: Vice City for Playstation 2 and its soundtrack box set are filled with dozens of famous songs. There's a wide range of artists -- from Tesla to Tears for Fears, the Psychedelic Furs to Squeeze and Frankie Goes to Hollywood to Foreigner.

In other words, about the only time you do not have to pay to use music is when you are sitting in your home or automobile listening to the radio with your family. And in that case, the radio station paid for you to hear the music with blanket licenses from ASCAP and BMI, and you pay by listening to the station's commercials. Every other possible use of music legally requires the payment of a licensing fee

Sade Back In Studio

Sade is making music again. The soulful English group fronted by 50-year-old singer Sade Adu will release a new album Feb. 8, according to Epic Records. "Soldier of Love" will be the group's first studio album since 2000's "Lovers Rock." All five of Sade's studio albums have landed in the Top 10 on the Billboard Top 200, selling more than 50 million copies worldwide.

"Soldier of Love" was recorded in England and produced by the band and longtime collaborator Mike Pela.

Devo Set To Release First Studio Album In 20 Years

The group Devo, famous for it's smash hit "Whip It", will release their first new studio album in almost 20 years, it's been announced. The band, who formed in Ohio in 1973, will release their new effort in autumn next year. "De-evolution has finally arrived and who better to guide us through the mess than Devo," a message said on their website...


The group has been steadily touring, but hasn't made a new album since 1990's Smooth Noodle Maps". More information is available on their website.

Janet Jackson's Album Slated To Be Released in Feb. 2010

Michael proved through retail sales this year, that he is still the "King of Pop".

Michael Jackson's music shot to the top of the charts after his death, and he ha already raked in a handful of awards. He also had box office success with "This Is It, which has a box set of the songs that generations of his fans have grew up on, and another dvd box set of "This Is It" is set to be released in January of 2010.

Now his sister Janet is prepping for her first studio release since 2006.

Jackson's as-yet-untitled debut album for Island Def Jam will be released in February. The artist is also prepping a worldwide tour to promote the follow-up to 2006's "20 Y.O." In addition, Jackson has signed with the William Morris Agency for representation in all areas.

Jackson comes to the company after a starring role in Tyler Perry's hit "Why Did I Get Married?" She will be repped by a team of agents led by Dave Wirtschafter and Charles King that will run across multiple divisions of the agency, including film, touring, licensing and merchandising, television, theater, publishing and new technology.

Jackson said she was attracted to the agency because of its long history. She continues to be repped by managers Johnny Wright and Kenneth Crear as well as attorney Don Passman.

As for Jackson's new album, it is being executive produced by Def Jam CEO Antonio "L.A." Reid rather than Jackson's boyfriend, Island Urban president Jermaine Dupri.

Dupri is working on Mariah Carey's new album, which should be out next spring. "We're going to make it seem like we're in competition to see who's going to have the biggest album of the year," he told Billboard in July.

The S in Sex / The R In R&B

He has been called the R in R&B, labled himself the "Pied Piper" of R&B, and numerous other monikers, including pervert, child molestor, but the one label that just can't seem to escape him even after 9 studio albums, is "Mr. Sex Fiend" himself! It seems that as his untitled cd hits stores today, it's back to the sexcapades of one the most raunchy lyricists in the business today.

You would think that his musical direction would have at least taken another route after being cleared of child pornography charges, yet he brings more of what his legion of fans have become familiar with, the raunchiness that blasted the R into the spotlight in the early 90's.

The album which orginally was going to be called 12 Play: 4th Quarter, was apparently scrapped sometime before R. Kelly walked into an Atlanta club and stated, "I'm working on a new album and I'm calling that muthafucka Untitled. Y'all call it what y'all want."

Track Listing Disc 1

1 Crazy Night feat. Rock City (Produced by R. Kelly & Lil Ronnie)
2 Outta the Game (Produced R. Kelly and Chris Henderson)
3 Exit (Produced by R. Kelly and Jazze Pha)
4 Echo (Produced by R. Kelly and Infinity)
5 Bangin' the Headboard (Produced by R. Kelly and Infinity)
6 Text Me (Produced by R. Kelly and GAZ)
7 Number One feat. Keri Hilson (Produced by R. Kelly and Roy Hamilton)
8 Like I Do (Produced by R. Kelly and Carlos McKinney)
9 Elsewhere (Produced by R. Kelly and Chris Henderson)
10 Fallin’ From the Sky (Produced by R. Kelly and T-Town)
11 Religious (Produced by R. Kelly and Todd Dixon)
12 #1 Fan (Produced by R. Kelly and Carlos McKinney)
13 Be My Number 2 (Produced by R. Kelly and Jack Splash)
14 Supa Man High feat. OJ Da Juiceman (Produced by R. Kelly and Willy Will)


As a sidenote*

In an interview with Blackvoices.com, R. Kelly claimed that he is going to finish the album Michael Jackson was allegedly working on before his untimely death in June, saying that he and Jackson had talks shortly before his death about Kelly coming in to help finish the album alongside Jackson.

"I recorded five joints for Michael Jackson (in the past). And we had been talking on the phone about his new album, and I was going to finish what Michael was doing at the time. We're going to get it out though. Michael liked the way I would try to sing the songs just like him."