Here comes a very special Holiday/Christmas music project to you from a very gifted artist with a special story to share in regards to this music release. Take the time to read before you listen, it’s worth it! Consider purchasing her EP for yourself or loved ones and share. Thanks!
My words exactly: WordPress is the ideal platform and technology for the independent artist. It’s easy to learn, well supported and features a host of plug-ins extending its functionality into your one-stop technological vehicle.
Preliminarily speaking, this is great news for indie artists publishing their music as YouTube videos or otherwise having music available on YouTube. Audiam.com will scan YouTube’s vast catalogue and search it for videos containing your original music, videos or composition and then claim your share of ad revenue on your behalf – which you are entitled to, presuming you control the rights to the composition. At 25% commission for their services, here is another opportunity to shake out a few bucks from the big money making machine in the cloud! And as of yesterday, they are offering their services in the U.S. as well. Spread the word and more importantly: Get your music uploaded to them, so they will know what to be on the lookout for – on your behalf!
Thought so: It’s simply impossible to manage the effort of self promoting music on a major scale – not before we managed “(quantum) non locality on the macro scale” (i.e. being in one or more places simultaneously). Trent Reznor of Nine Inch Nails tried and gave up. Other independent artists promote themselves very consistently and successfully, but it seems you can’t reach the bulk of fans this way.
Here’s an interesting discussion on a live G+ Hangout among independent artists and formerly signed ones about the way where the business is headed and what the opportunities are for independent artists – if you’re willing to wear different hats and put in a major effort, that is.
How Much Do Music Artists Earn Online?. Wow. If you’re an artist and want to keep the faith – don’t read. If you’re a fan and believe in “exposure” – read. If you’re neither nor – <sarcasm> find a pirate bay and don’t bother.</sarcasm>.
I am stoked!!!! Recently, Wes Gillespie of Smooth Jazz Radio Station JazzNet 247 selected my tracks I Count on U and Naiad Theme for his fine programming. This in itsself would be an incredible treat alone, but it gets even better: I recently checked his playlist and was almost falling from my chair from detecting myself among all the BIG names of the genre! Upon tuning in to his radio show, I hear a radio jingle with announcements of the songs to air during the second hour of his show and – shock again! – he placed an announcement of my track between Brian Culbertson and – Herbie Hancock!! I mean – come on!!! This is getting better than whatever dreams I may have had in my late teens and early twens! A-M-A-Z-I-N-G!!!
Some of my Facebook family and friends might be tempted to think, I was presenting myself extra-humble in order to “solicit” more attention or support, but no! Take my word on this: I am really, really almost in disbelief over all the incredible things that have started to happen for me!! And excited and thrilled at the same time, of course!
Again, my heartfelt gratitude to all of you, who have and are supporting me in ways I could not have imagined! This is major, major, major and means EVERYTHING to me! And know that I keep working on my chops and material. After all – what could be better than knowing there is an appreciating audience waiting for more to come?
Thank you all! At this point, I’d like to mention Brian O’Neal, who got the ball rolling for me about one and a half years ago, by inviting me to collaborate on his track and then video Dreams in Color and by getting the word out. Please consider supporting his charity organization DO Foundation that came from this musical collaboration. Also, a big shoutout to April Sims and Christopher Fields on WAGTi Radio, for inviting me to be among the first interview guests when the station launched under that name in March 2009. After that, I soon found myself invited on a couple more stations getting interested in airing my music and finding out about my work. Cres O’Neal, Gary Fuston, Mary Ann of U S Smooth Jazz Network, Marissa Caliguire to name a few more – thank you dearly! Please find the complete list of stations and radio presenters here.
This is incredibly exciting, people! Thank you!
wesbound, October 2010
I’m pleased and honored to say that a number of radio stations and social media platforms have added my music to their rotation as well as done interviews with me re: my musical journey. I’m honored all the more, as these are stations playing the finest artists in Contemporary Jazz and Smooth Jazz. Please find a list of stations and networks, I’m currently airing on or have aired on in the past:
- WAGTi Radio, presented by April Sims and The Poetry Man with I Count on U
- Groove FM, presented by Peter Hoeld with Naiad Theme
- Jazz ‘em Up, presented by Crescentia O’Neal with Naiad Theme
- US Smooth Jazz Network, presented by Mary Ann Wexler
- GHP Radio, presented by Gary Fuston
- Phoenix98 FM, presented by Graeme Holiday and Andy Hubbard
- The Coast Radio, presented by MJ
- Smooth Grooves Phoenix, presented by Colleen Spencer
- Funky Jazz TV, presented by Donna Whittington and Bobby D
- Smooth Jazz Expressions, presented by Kerri Donovan
- eurosmoothjazz, presented by Eberhard Fruck
- WJCT Electro Lounge, presented by David Luckin
- JazzNet 247, presented by Wes Gillespie
- Smooth Jazz.com just notified me, I’ll get added to their playlist(s) on smoothjazz.com and smoothlounge.com – thanks Donna and Sandy!!! This is really exciting! (they are said to be the second largest, if not THE largest Smooth Jazz (web) radio station and network). Very cool!
My heartfelt thanks and gratitude to the presenters of those fine programs!
OK, so now there’s 36 bars of a guitar track for my next track in the making. This equals about half a day’s work. Why that much? And why was I being slow? Can’t I play at all? Let me explain:
I left it the way it is now at about the 30th take into it. When I say “take”, I mean to say one ENTIRE track of recorded guitar, from bar 12 through 38. Don’t get me wrong: I had a decent take on the first attempt, yes. But then: It was only decent. I don’t by any means claim that the current track is perfect or anointed or anything. But it’s the least quality I’m satisfied with. So now why does it take so long?
Ok: I found out that I sound more organic when doing “entire tracks of takes” – in this case: About 36 bars at ONE GO! That again means, if I mess up anywhere in between … – you guessed it! – I stop the recording, go right back to the top of the track and start all over. Most often, I delete the current take right away unless I feel there were some parts I might be using later (which I rarely do, given the approach of taking the entire track in one go). To give you an example: Let’s say, a string accidentally snaps or “tingles” (in not a musical way) on the neckboard at bar 37… YES! I go RIGHT BACK TO THE VERY TOP and start all over!!! And I keep doing that as many times as it takes for me to be “OK” with the recording. When I say OK I don’t mean to be fishing for compliments, either. It’s really just that: When I’m ok with it, that’s when I leave it as is and move on. No sooner than that. If that requires for me to come back for an entire week until I got it right – I will! If it means, I have to drop some heavier parts and play something simpler, I will. If it means I’ll drop the take altogether… I will. The bottomline: Only – when I can lean back and listen without getting a knot in my stomach, only THEN will I warm up to the thought of actually “freezing” the take and move on to the next one.
For the songs I’ve put out so far, there’s typically between 20 and 30 individual tracks. Not all of them are single instruments. Sometimes, there’s a track with only fill-ins on drums. Other times, there are some ad libs (“random” additions) on the instrument. Sometimes, it’s a midi-track I’ve already recorded, which I copy and assign a new sound to (to “fatten” it, mostly for bass sounds, sometimes for bass drum or snares). This is just about the “raw” process of tracking instruments. The editing process… guess, that will be a different chapter.
OK, now I’m gonna take a break and do a lap of bike-riding or swimming, then back to the “sweatshop” later LOL.
Have a great day, everyone!