When working as a music composer, beat
maker, or orchestrator in the music industry during this digital age of
technology DAW’s
become second nature. Therefore, when you need a level of control at your
fingertips look no further than Apple’s Logic Pro
X. So, what is Logic Pro? Well it is a digital audio workstation that has an
enormous collection of plug-ins
and sounds, which can flesh out any musical idea conceivable. This DAW provides
the user with the ability to compose sounds from scratch, start with a sine
wave and transform it into an industry standard. This feat is accomplished with
the advanced options of the sequencer in Logic Pro that lets you record,
edit, and manipulate MIDI
performances any way imaginable. For that orchestrator in you instantly convert
MIDI data into notation within Logic Pro while still being able to edit notes extensively
with input options to enter the music manually. Music notation tools with a full
notation layout allowing instrument transposition, drum notation, and lyric
input, this feature also allows printing of sheet music. With all of these
defining features nothing else is needed in creating your next hit or single
with this DAW.
Digital based composers develop amazing
sounds but just how do they accomplish this without the use of actual
instruments and synthesizers. When thinking about creating that next big sound
for your project, consider checking out the
ultimate production suite. Komplete 9
Ultimate is a package that delivers the entire collection of Native Instruments
65 instruments and effects through Komplete.
This package encompasses a complete creative suite for audio production
featuring 16,000 sounds totaling at 370 GB all placed on a single dedicated
external hard drive, so no more massive disc installations. As an added bonus Komplete 9 Ultimate is the most
inexpensive way to obtain Native’s libraries saving over 80% on all 65
products, compared to buying them individually.
Self-publishing
is becoming a popular market amongst the independent professional community. Print-on-demand
(POD) and aggregator websites have become vast over this past decade. Self-publishing
has its advantages over obtaining publishing deals the traditional way. As
visited before, to get a publishing deal the traditional way, a query
letter needs to be created to obtain an agent. Once
the agent is attained, a press
kit must be created to
showcase your identity as an artist, something like a resume. This will allow
an agent to shop your works to a publisher, in hopes of getting a publishing deal.
As for Self-publishing, it is possible to publish works without the involvement
of an established third-party. Self-publishing forwards the author
responsibility and control over the entire publishing process. This process
includes design, file formats, price, distribution channels, marketing and
public relations. The author can either do it all themselves, or outsource the
process to companies that offer these services.
On the
road to finding a reputable publisher, there are steps that must be taken in order to reach those reputable
publishers. First lets state that the entertainment industry is all about the
connections you have and what you know. As a rookie music composer ready to
attempt at finding opportunities in the music industry, a certain connection is
needed to mediate between the publisher and us. Most production companies will
instantly refuse to review unsolicited works, which most likely will be thrown
in the trash once received. Getting to the first step at finding a publisher,
find a reputable agent that best thrives in your field of
choice and at your skill level. An agent is the go between that can
successfully solicit works to production companies. Agents have those vital
connections to the industry that is needed to get to that next level.
Novels
made into film adaptations
have become the go to means of producing for new films in the entertainment
industry. Film adaptations of novels have led to many legal disputes over the
years. These disputes are based on if copyrights are still protected or are the
works in the public domain,
due to the works dating prior
to 1923. Adding to this heated dispute lets add some more fuel to the fire by
reviewing some of these cases in detail. There are a lot of works out there in
the entertainment market related to the character Sherlock Holmes. Works such
as feature length films and the TV show Elementary, which is based current day
in New York City. What
most people don’t know is that the character Sherlock
Holmes was first introduced in 1887 and was featured in four short novels
and 56 short stories dating from 1887 to 1927. The question that is constantly
disputed is whether Sherlock Holmes is in the public domain or not. Based on
changes to our US copyright
act everything prior to 1923 is in the public domain, which is where most
of the confusion stems from with the character Sherlock Holmes. With that being
said, the characters Sherlock Holmes and his sidekick Dr. Watson’s relationship
on what they did and how they worked together were created prior to 1923.
However, the estate of Sir Arthur Conan Doyle, is saying
between 1923 and 1927 versions of the Sherlock Holmes story, are being featured
in the current book scheduled for publication by random house.
In recent news the court system has been
receiving their run of industry court lawsuits. Today lets narrow in on a few
of these cases, preferably ones dealing with and affecting the entertainment
industry. The European
Court of Human Rights has supported the conviction on one of the world's
largest sharing torrent file websites, Fredrik
Neij, and Peter Sunde Kolmisoppi,
two of the co-founders of The Pirate Bay. Neij and Kolmisoppi were both charged with Connivance to commit crimes in
violation of the Copyright Act. Their sentence was for one years incarceration
and a 3.3 million euros (4.3 million US) fine. This sentence was later reduced
but the fine was raised to 5 million euros (6.5 million US). Neij and Kolmisoppi then filed an application arguing
that under Pirate Bay they received and provided information to Internet users about
torrent files, which led them to believe that liability for IP infringement
fell on Pirate Bay’s users. They
both believed their right to communicate information was protected by Article
10 of the European
Convention of Human Rights, which dictates that everyone has the right to
freedom of expression. This right also includes the right to embrace opinions,
receive and convey information and ideas without restriction by public
authority, regardless of borderlines. What Neij and Kolmisoppi didn’t take into account is that the same article also states
that this shall not prevent States from requiring the licensing of
broadcasting, television or cinema enterprises. The ruling says, (Eriq
Gardner, 2013) "Since the Swedish authorities were under an obligation
to protect the plaintiffs’ property rights in accordance with the Copyright Act
and the Convention, the Court finds that there were weighty reasons for the
restriction of the applicants’ freedom of expression."
Once an afterthought in terms
of game design and overall music culture awareness, video game music is now an authentic
industry of its own. Today, worldwide prominent orchestras perform concerts of
music composed specifically for video games and features top of the line film
composer soundtracks. Like
the purpose of all great scored music, it's supposed to appeal to your
heartstrings and drive your emotions wild. Video game music has become over
this past decade so indistinguishable from scored music for films, that many have begun to
envision a video game to be on the same level as a feature length film. In the
past video game music was limited by its hardware but that all changed with the
introduction of the CD-ROM.
Furthermore, the National Academy of Recording Arts
and Sciences (NARAS)
decided in the year 2000 to let interactive games compete in the annual Grammy
awards.
You have to ask yourself, if performing artist’s
use artist
managers, what can an artist manager do for a music composer. Essentially
promotion will be the focus in managing a composer. Due to artist
managers working with various clients they have the contacts to Send your
music out, talk to directors about your music catalog and look for commission
project opportunities.
However, for a composer like myself I prefer to employ an artist manager to
handle the business aspect of my career. This will allow me to focus on the
creative process, which is the music. There comes a point in a composer’s
career when they know that they cannot push their skills as hard as somebody
like a manager can push. When a music composer feels overwhelmed by the amount
of project details and has countless commitments in a short period of time, in
my opinion is where an artist manager can place their worth.
William Ury’s Negotiating for Sustainable
Agreements presentation discusses the strategies he has developed at the Harvard Negotiation
Project for creating sustainable agreements in diplomacy and business. Ury discusses
how much time we already dedicate to negotiation in our everyday lives. Conflict
has been suppressed over the years and is now coming to the surface. We have a
choice to resolve conflict through family feuds, lawsuits, and wars. Or we can deal
with conflicts constructively through listening, dialogue, collaborative
problem solving and non-violent actions. You can learn from Ury’s presentation
that objective
criteria can be used in more ways than just preventing wills from clashing. Using
a third side to way in concerns for both parties can also use objective
criteria to express concerns in a negotiation that can benefit all negotiators.
Learning not to react and gaining the ability to listen will take any negotiation
to the next level. This allows you to focus on interest and not positions to
learn what is wanted and better assess the direction of a negotiation.
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