Recording - March 2012 - 22

Eric Alexandrakis knows how to turn songs into money. He walks the walk for a living, so we asked him to talk the talk. When he was 22 years old, a graduate student at the University of Miami School of Music, then considered the best music industry department in existence (and the first), he had learned the legal logistics of licensing from copyright and law classes, but had no idea how to get a song to air on the “tube”. It turned out no one in his world really knew. But that was then, and this is now—he figured it out long ago, and we’re glad he’s willing to share.—Ed.

How to profit from licensing your music
By Eric Alexandrakis

Generating an income in the music business is very difficult. Licensing is a good avenue, as long as your strategy is focused and you have a plan. I’m a firm believer that if you are good at what you do, are willing to learn and take criticism and don’t give up, you can be successful. Musician or rockstar? First question to ask yourself is, “Do I want to be a musician or a rockstar?” In the music industry, the term “rockstar” is not taken seriously. Going for the “rockstar” image, before perfecting the musical craft, never gets anyone anywhere. In a world where there is so much emphasis on image, don’t forget that it really does come down to a great tune. Focus first on that. No one will pay money to license mediocrity. In the spotlight or behind the scenes? Next, decide the vehicle that will carry the content. Will you try to become an artist who tours, building a buzz for your music, or do you want to be a songwriter from behind the scenes who focuses just on licensing? These are two very different paths, but both require perfecting the songwriting craft as a first step. If you need guidance, head on over to someone like MusicPromotion.com for some advice. Everyone, major and indie, needs a marketing plan to focus on the path and on the end goal. As an artist looking to make it big commercially, you will want to be accepted and considered for licensing for your own sound. For a solo artist or band, your music will be seriously considered for licensing only after you’ve perfected your sound, homed in on your proper image, created a substantial buzz, and you’ll either have representation that is well connected to music supervisors, or you yourself have networked and built up those relationships.
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http://www.MusicPromotion.com

Recording - March 2012

Table of Contents for the Digital Edition of Recording - March 2012

Recording - March 2012
Fade In
Contents
Talkback
Fast Forward
Emmylou Harris: The Songwriter And The Studio
BOSS MICRO BR BR-80 Digital Recorder
Songwriters—Turn Your Songs Into Money!
Reviewed & Revisited: Apple MacBook Air and GarageBand ’11
Ronan Chris Murphy: Sage Advice For The Recording Singer/Songwriter
Cakewalk Music Creator 6
Recording Fundamentals. Chapter 3: Introduction To Audio—Part Two (Where Do The Mics Go?)
Slate Pro Audio Fox Mic Preamp
From Songwriting To Final Master: A Recording Project
Reviewed & Revisited: Steinberg Cubase 6
A Demo In A Day
Once Over—Reviews In Brief
Readers' Tapes
Advertiser Index
Fade Out
Recording - March 2012 - Intro
Recording - March 2012 - Recording - March 2012
Recording - March 2012 - Cover2
Recording - March 2012 - 1
Recording - March 2012 - 2
Recording - March 2012 - 3
Recording - March 2012 - Fade In
Recording - March 2012 - 5
Recording - March 2012 - Contents
Recording - March 2012 - 7
Recording - March 2012 - Talkback
Recording - March 2012 - 9
Recording - March 2012 - Fast Forward
Recording - March 2012 - 11
Recording - March 2012 - Emmylou Harris: The Songwriter And The Studio
Recording - March 2012 - 13
Recording - March 2012 - 14
Recording - March 2012 - 15
Recording - March 2012 - 16
Recording - March 2012 - 17
Recording - March 2012 - 18
Recording - March 2012 - 19
Recording - March 2012 - BOSS MICRO BR BR-80 Digital Recorder
Recording - March 2012 - 21
Recording - March 2012 - Songwriters—Turn Your Songs Into Money!
Recording - March 2012 - 23
Recording - March 2012 - 24
Recording - March 2012 - 25
Recording - March 2012 - 26
Recording - March 2012 - 27
Recording - March 2012 - Reviewed & Revisited: Apple MacBook Air and GarageBand ’11
Recording - March 2012 - 29
Recording - March 2012 - 30
Recording - March 2012 - 31
Recording - March 2012 - 32
Recording - March 2012 - 33
Recording - March 2012 - Ronan Chris Murphy: Sage Advice For The Recording Singer/Songwriter
Recording - March 2012 - 35
Recording - March 2012 - 36
Recording - March 2012 - 37
Recording - March 2012 - Cakewalk Music Creator 6
Recording - March 2012 - 39
Recording - March 2012 - Recording Fundamentals. Chapter 3: Introduction To Audio—Part Two (Where Do The Mics Go?)
Recording - March 2012 - 41
Recording - March 2012 - 42
Recording - March 2012 - 43
Recording - March 2012 - Slate Pro Audio Fox Mic Preamp
Recording - March 2012 - 45
Recording - March 2012 - From Songwriting To Final Master: A Recording Project
Recording - March 2012 - 47
Recording - March 2012 - 48
Recording - March 2012 - 49
Recording - March 2012 - 50
Recording - March 2012 - 51
Recording - March 2012 - 52
Recording - March 2012 - 53
Recording - March 2012 - 54
Recording - March 2012 - 55
Recording - March 2012 - Reviewed & Revisited: Steinberg Cubase 6
Recording - March 2012 - 57
Recording - March 2012 - A Demo In A Day
Recording - March 2012 - 59
Recording - March 2012 - Once Over—Reviews In Brief
Recording - March 2012 - 61
Recording - March 2012 - 62
Recording - March 2012 - 63
Recording - March 2012 - Readers' Tapes
Recording - March 2012 - Advertiser Index
Recording - March 2012 - 66
Recording - March 2012 - 67
Recording - March 2012 - 68
Recording - March 2012 - 69
Recording - March 2012 - 70
Recording - March 2012 - 71
Recording - March 2012 - Fade Out
Recording - March 2012 - Cover3
Recording - March 2012 - Cover4
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