The value chain analysis consists of the following components arranged in sequence: artists and repertoire development, recording, manufacturing, marketing, distribution and finally retail. Such chains as manufacture, recording and retail are very often outsourced, even by the Great Five (Warner Music group, EMI Recorded Music, Universal, BMG Entertainment and Sony Music Group).

A thorough analysis and review of CCM’s operations has been completed by reviewing the current and long-term problems in both the internal and external environments.

Artists and Repertoire Development: Recording companies put as much available money as possible into developing their groups and music, the musical repertoire and quality, to promote concerts and organize tours, to prepare the merchandising. CCM plans to expand its product line to include more musicians and albums and to expand the musical genre the company operates into.

Recording: Usually major labels have their own recording studios, though still outsourcing this link of the value chain is possible even by such premier companies as Columbia and EMI. Primary costs come from the equipment and mixing, which in the case of Colorado Creative Music were the cheapest quality equipment from all possible.

Manufacturing: Manufacturing a CD usually takes 10% of its cost. There are not too much CD manufacturers in the world, since the costs of the process make the market very limited with serious entry barriers. CCM’s manufacturing is not very costly process due to the technology employed, though the company didn’t manufacture actually CDs, it bought them from the relevant producers, and then just duplicated them.

Marketing: activities connected with marketing and advertisement traditionally account for 30% of total CD production costs. Marketing costs combine radio and television advertisement, printed catalogues and press releases, promotional tours and other events. Also, marketing costs include preparation of PR tours and music videos. CCM’s marketing events include: live performance, comprising malls, art festivals and concerts; Website, specifically website promotion and new programs to acquire and to learn; publicity consisting of airplay radio, TV, internet radio, live interviews on radio and TV, print press releases and reviews featuring listings of events; promotion – in store, contests, sponsoring, giveaway; and email marketing methods comprising monthly newsletters.

Distribution: The distribution phase accounts for about 40% of the total cost of the product. This process involves physical transportation and packaging of a CD from manufacturing place to distributors or direct retailers. Since there are few manufacturing facilities, delivery from these places to any corner of the world may be very costly. Moreover, as delivery is often needed within short terms, the distribution costs grow even higher. For CCM, the distribution may include direct sales on live performances, through 800 number order, through website or mail order catalogue. Indirect distribution channels applicable for the company can be traditional and untraditional. Traditional channels comprise chain music stores, chain book stores and independent music stores. Nontraditional methods include catalogs, retail chains, gift stores, independent bookstores, Christian chains and independents. Inclusion of indirect distribution methods into CCM’s distributional tactics is wise since it distincts the company from its competitors and aims at winning still untouched potential markets.

Retailing: the retailing operations are generally carried out by major labels and internet superstores like Amazon.com and CDnow. Until products of CCM become popular with particular public segment, the company cannot enjoy such retail service.

Strategic cost analysis

Strategic cost analysis aims at comparing the cost position of the firm relative to the key competitors activity by activity from purchase of raw materials until the price paid by the final customer.( Hill & Jones , 1995) In this case, the analysis will be carried out in regards to CCM and the representatives of premier market segment such as Sony Music of EMI. In 2000, with the total income making up $216, 614.05, the primary source thereof was direct gig sales, accounting for $181, 451.92, that is more than 80 percent. Major companies derive their main income from traditional indirect distribution channels, such as retail music stores. Other major sources of CCM income comprise wholesale ($12,238.83), mail and phone orders ($11, 442.24), and website sales ($6,419.35).

Traditional distribution channels, along with other sales, make up only $1,758.79. This number is relevant for the microlabels but absolutely not characteristic to independents and major labels. The cost of goods sold makes up $22,034,33, therefore gross profit of the company in 2000 made up $194,579.72. This number is the higher of 1997-2000 period and such relatively low cost of production of goods (10%) is typical for the whole industry. As for expenses, 2000 was the first year when the company spent some amount (up to $500) for equipment rental. Until that moment, the company used its own equipment. Equipment rental and production outsourcing is a typical practice for major recording companies and though they posses a large amount of costly equipment, sometimes they pay considerable sums of money for rental of unique, exclusive and particular equipment for the needs of individual recording.

It should be noticed that professional fees of the company, that is the money paid to the staff, increase on a yearly basis, that means that the company each year conducts growingly active human resources policy, hiring more professionals, technicians, musicians and performers. This is a good index and such expenses (in 2000 they made up $29,719.26) should increase each year if the company wishes to grow in size and in prestige. Major labels employ tens or even hundreds of first-class technicians, sound producers and producers and pay them tens thousand dollars yearly. Besides, the major companies conclude contracts with famous artists with costs often exceeding several hundred thousand dollars. Another feature which should be mentioned in the analysis is low cost of advertising expenditures. In case of CCM it makes up $10,423, that is only 5% of total income. This figure shows unsatisfactory advertising and promotion campaign, since typically music recording labels account for larger percentage, at least 8-10%.

In a whole, the revenues and income structure is typical for microlabel companies with low expenses assigned for advertisement, distribution of their products and particularly professional fees. In major companies and independents, structure of expenses is different. The main accent is drawn to upgrade and maintenance of the equipment (major companies have very expensive equipment working on analogue basis which needs to be constantly maintained); professional fees, which are incredibly high due to popularity and prestige of performers and high professional level of the staff; advertising and promotion campaign and distribution channels. CCM approximates these proportions only with professional fees, which along with payroll make up about $45,000, the largest expense segment of the whole income statement.

Key competitive success factors

Key success factors are tangible measurements of the vision, mission and values of the organization on a yearly basis with the aim of attaining improvements for reaching ideal future vision (Gerry, Kevan, 1997).

The key success factors for Colorado Creative Music are values assessment, member satisfaction, financial viability, effective performance management system, customer satisfaction and recognition, development of technologies and enhancing the array of brand names. The music industry has a number of driving forces which are the determinants of success for such company as CCM. These forces, directly impacting CCM, include:

* Tangible reduction of the cost of recording and duplicating music on the digital basis. Without this fact, the existence of CCM is very dubious.

* Distribution and downloading music via virtual internet means. The affordability for people to comply and burn their own CD has the revolutionizing impact on the structure of distribution channels in the music industry and decreases the retail price of a single CD. Internet has become very effective, novel, affordable and today critically important tool for informal direct and indirect (through virtual bookstores) channel of distribution.

* The relative easiness of making website, posting it on the web and conducting online sales of one’s music. Internet makes easier not only distribution of the music, but promotion thereof as well. Internet promotions of the website of some musical products, taking into consideration growing number of internet users, is by far one of the most effective advertising means.

* Small-scale informal distribution of music is possible. Thus, the company possesses certain distribution channels even if it is deprived of the opportunity of access to traditional indirect channels.

All these factors altogether provided CCM with the opportunity to make music recording industry affordable and attractive for small studios.

At the present moment, to succeed, the company has to focus on developing these directions of activity such as production, distribution, and marketing, but to grow further and reach another level, to turn into independent label, the company has also to expand its repertoire, the number of musicians recorded, and work on the popularity of the artists whose works it records, promotes and distributes.

Competitive advantage over the rivals may be achieved through cost leadership policy, when the company lowers the price for its products and makes them cheaper than those of competitors, and differentiation strategy, which implies offering different from the rivals array of products or services. Also, there is focus strategy, but if the company strives to grow from microlabel to independent, it needs to expand its customer base and acquire new segment of market besides the one it already has.

Therefore, differentiation strategy is by far the most effective in gaining competitive advantage for CCM, though some elements of cost leadership, including lowering the price for music purchase in the Internet, or elaborating saturated pricing structure, is also possible. These two strategies are elements of competitive advantage based on the position of the firm, also called positional advantage. There is also another approach for gaining competitive success, called resource-based view, which stands for utilizing by the firm its resources and capabilities for gaining competitive advantage over the company’s rivals. In this viewpoint, CCM has to focus on such success factors as installed customer base, reputation of the firm and brand equity, which altogether form distinctive competencies enabling innovation, quality, efficiency and customer responsiveness.

BCG matrix

BCG growth-share matrix deals with allocation of resources among the company’s business units. The business units which may be identified within CCM are recording department, promotion department, distribution department, finance and accounting, management and human resources department. Currently the company doesn’t have such functional units, since its staff is not numerous and Darren Skanson, top manager, performer and producer, simultaneously works as accountant, desktop publisher, database manager, newsletter editor, website designer, copywriter, leading artist and manager. But the company aims at growing from microlabel into independent recording studio and for that it will certainly need more staff and division of working directions among functional units. According to BCG matrix, almost all units of the company are dogs and question marks, since the market share the company occupies are rather small relative to its rivals, the company has acquired a distinct niche which has limited customer base. Such units as recording, finance and accounting and management may be defined as dog sectors, while promotion, distribution and human resources are question marks.

For other parts of this series, please check Music Recording Company Case Study

Anastasia Kurdina is a person of manifold gifts. Almost every her writing is followed by lavish testimonials from satisfied customers. Anastasia specializes in marketing, management, world cultures, and art. Anastasia is not an essay writer in a common sense. She is a Poet, an Analyst, an Artist, a Critic… Get to know her better now at Custom Research Assistance Try new custom-writing service online. Our job is to make your time spent the way you want…

The STEP analysis of the Colorado Creative Music aims at analyzing macro-environmental factors of the music business the company is engaged into. These factors fall into political, economical, social and technological groups (Pearce, Robinson, 2000).

Political factors affecting music business in whole and CCM in particular: strong political stability in the United States; regulatory and legal issues concerning music business including copyright laws for copyright protection of both music writing and recording, copyright-related legislation touching upon the issue of virtual internet promotion and distribution, such as The Audio Home Recording Act (1992), No Electronic Theft (NET) Act (1997), “The Digital Performance Right in Sound Recordings Act (DPRSRA) 1995, The Digital Millennium Copyright Act, “Pending legislation: Music Online Competition Act and the Consumer Broadband and Digital Television Protection Act (CBDTPA)” and others. Environmental regulations and employment requirement do not affect business CCM is engaged into. As for the tax policy, in 2000, from total income of $216,614.05 the company had to pay $4,744,97 of taxes, which is not high rate and amounts to nearly 2 percent from the total income. In whole, it should be noticed that political factors are favorable for music recording industry and for CCM particularly.

Economic factors include indexes in the macro economy that can affect music recording industry. Here also, macroeconomic factors, such as economic growth, interest rates and inflation rate are favorable for CCM. Thus, the U.S economy kept growing steadily since 1995. CPI falls down in 1997, 1998. Unemployment rate decreased gradually from 1995 to 2000.

Social factors, covering demographical and cultural aspects of the environment external to music recording industry are rate of population growth, age distribution and carrier attitudes. The population growth in the United States is steady and age distribution also favors the music recording industry. It should be noted that for music industry in whole, teenagers and 20-years-olds are primary customer segment, but CCM aims at attracting people of 40-60 age range. Thus, the considerable share of American population fits this target market.

Technological advancements in music recording, promotion and distribution have several effects on the recording industry. One aspect of the issue is that musicians are no longer dependent on major recording labels to create or distribute their products. (Viljoen & Dann, 2000) The MP3 software alternative to the CD becomes more popular since 1998. In the space traditional audio can fit 12 to 15 audio tracks; MP3 software can store approximately 150 music tracks. “The move towards MP3 as the new format to replace CD just as the CD replaced vinyl albums have been accelerated by the rush of new portable MP3 players on the market – some for less than conventional Sony Discmans.” (Viljoen & Dann 2000, p. 173). On the other hand, new digital technologies which appeared in late 20 century not only facilitate the process of music recording, but make it considerably cheaper, providing the possibility for multiple firms with limited resources to enter the market. Thus, if in 1980s, professional recording studio with all recording equipment, working on vinyl or tape carriers, cost several million dollars and therefore was a domain of 5 or 6 major recording companies, in 2000, assembling professional recording studio could be carried out at cost of only $5,000. All the equipment and hardware, due to the global advancements in technology, are much more affordable for an average artist or businessman.

SWOT Analysis

Strengths

* Cost advantages with new technology arising from the digital revolution. Not only assembly of studio with all necessary equipment and hardware is cheaper, but duplication of CDs, storage and shipping are less expensive as well. Low cost of production, duplication (duplication of 500 CDs ranges from $1.90 to $3.63, duplication of 2000 CDs costs about one dollar per CD), shipping and storage makes the final product less expensive and more affordable for the customers, thus widening the range and scope of the target market.

* Positioning of CCM in a distinctive market niche. CCM is microlabel recording company which specializes on classic and traditional instrumental music.

* Growing customer base and customer loyalty within target group. Customer base growth due to expansion of product lines (4 already, each year 2 new product lines emerge), and geographical coverage of listeners.

* Good customer service shown through the direct contact between Darren and his fans.

Weaknesses

* No clear strategic vision: CCM needs a long term vision which includes all areas of the business, from marketing and management to distribution and human resources. At the moment the company faces a dilemma of further strategic development, which will be focused on either enhancing or developing the recording company or more active promotion and distribution of the products through the possibilities of other companies (the company is currently regarded by its management as potential object of acquisition or investment)

* Competitive disadvantages: CCM are not able to enter the retail market due to its current level of sales. Competitors such as major labels have advantage because they have major market power and influence. Such firms can specify when their music should be played on radio and negotiate large contracts with distributors and retail outlets, hence giving themselves broader appeal.

* Limited channels of distribution: at present moment the company heavily relies on such distribution sources as direct sales, which include sales at the gig, shopping mall distribution and sales in the back end (800 number order, website order processing and mail orders). These channels are major sources of profit for the company. Nevertheless, to expand its consumer base, the company needs to acquire formal distribution channels, such as sales through traditional music distribution networks and others.

* CCM is short in financial resources to pursue new opportunities. Profits are thin, meaning new opportunities may be unobtainable and long term improvements may not be afforded due to initial costs. To conclude a contract with major labels, which would provide the company with the access to traditional product distribution, the firm needs to sale at least 15,000 copies of its products per year. From the other hand, high sales numbers are impossible to obtain without good traditional distribution channels.

* CCM is losing ground to larger firms because of limited exposure. CCM at present does not reach global or national audience like independents and major labels. CCM needs to broaden its reach and widen its customer base.

Opportunities

* Serving additional customer groups by expanding co-operation with other artists and enlarging the Acoustictherapy and other product lines with new marketing strategies.

* Internet through expanding e-commerce and releasing MP3s.

* Expanding sales nation wide.

* Acquiring channels of traditional distribution to reach wider customer base exposure

* Developing new technologies to cope with the driving forces of the industry.

* Releasing compilations with other artists has proven popular. One strategy could be to assembly the songs (such as Accoustictherapy) at the studio, and sell the completed disks at a discounted rate back to the performing artists in their hometowns. This method would cover the costs up front and give the players a financial incentive to push the product.

* Pushing sales into non-traditional areas such as weddings, shopping center music etc.

Threats

* High number of new entrants and growth of other smaller labels due to the digital revolution. In addition, major labels or independent labels could decide to enter into CCM’s domestic markets and try to drive the smaller labels out of the market.

* Lose sales to substitute products like mp3s or internet downloads

* Vulnerability to industry’s driving forces because of CCM’s weak position in its industry, taking into consideration the fact that the company occupies microlabel segment of the market and is profitable primarily due to the low costs of digital recording.

Five Forces Model of Competition

Michael Porter’s model of competition (Porter, 1980), if applied to music recoding industry, comprises the following components: Rivalry among sellers of recorded music (competition for better market position and competitive advantage); artists and other suppliers of music to producers or sellers of recorded music; distributors, retailers and individual customers of the music; competitive pressure coming from substitutes of recorded music towards winning customers; and threat of new entrants to the industry of recorded music.

Perhaps, the strongest competitive force belongs to such factor as Rivalry among producers and sellers of music products. The music recording industry has 4 clearly identifiable segments: major recording studios, independent labels, microlabels and vanity labels.

Major, or first-tier, companies have large quantities of artists under contracts, reaching the number of 100, specialize on multiple types of music – rock, country, jazz, classical, traditional and other, and have formal and reliable national and international channels of distribution. The examples of such companies are Columbia, Sony Music, EMI, GMG, Warner Brothers, Atlantic Records and some others. As the mater of fact, such companies are not numerous and their recording equipment is rather expensive, amounting to no less that couple million dollars, since these studios record music with analogue and not digital equipment, thus receiving three-dimensional, saturated, rich sound, instead of correct but plain digital sound.

Independent labels have 10-100 artists under contract, focus on recording of one or two major music styles and have either national or most often regional distribution channels. Examples of independents are: Higher Octave, Metal Blade Records, Rhino Records, WAR, Windhan Hill, Soundings of the Planet. Such companies are more numerous than first-rank companies and can use analogue equipment as well as digital. Generally, independent labels strive to grow into major ones, but for that they need to invest large amount of money into amelioration of their equipment.

Microlabels have less then 10 artists under contract and are tightly focused on definite style of music. They are characterized by small staff and manager performing as the leading artist of the studio. Microlabels have rarely formal distribution system and heavily rely on direct sales to fans and wholesale to clubs and specialty retailers. On American market, microlabels are presented with Etherian, Evol Egg Nart, Cuneiform Records, CCM and a large number of others. Generally, such companies survive competition due to low cost of digital recording.

Vanity labels are the fourth, the last and the most specialized segment of the music recording industry. They are founded by independent artists for recording and selling their products. Examples of vanity labels are Bob Culbertson, Watson and Company, Lao Tizer, Esteban Ramirez and many others. (Darren & Winn , 2003). At present, CCM is the microlabel that strives to convert into independent label.

In the first place, the competition among rivals is carried out on the basis of popularity of the performer and songs recorded by their companies. Recording studios intensively compete to attract popular of promising artists to sign contracts with them. If the songs or artists are highly popular, price is secondary factor which may influence the competition. However, if the artist is lesser-known or songs recorded are not very popular, price does play role as the competition and strategy factor. In the distribution process of the rivals, the particular importance is attached to getting access to traditional channels of music distribution, such as retail musical stores, major chain record stores, independent record stores and Internet distributors such as Amazon.com. These means are very important for selling CDs of the artists apart from direct sales on their performances. Also, another factor that greatly influences CD sales is advertising of songs and radio promotion and transmission.

For CCM, rivalry is by far the most important competitive pressure source. The strong competition from rival producers and sellers of music can be explained by the fact that the performers of CCM are not known to the wide public in comparison with the artists of the first-tier and independent labels.

The competitive threat of new entry, is, to the opposite, by far the weakest competitive force, ranked between weak and moderate. Barriers for entry are not high for the new producers of recorded music, especially those targeting limited segment of the market and employing cheap digital technology of recording. CCM can serve the brightest example of such entry. Such cheap digital recording technology can be assembled nowadays for no more than $5,000. Still, expensive analogue technologies keep costing hundreds thousand or even millions. The technology employed by the firm automatically determines its resources and rank in the music recording industry. Besides cost of the equipment, the main subject of the competition for new entrants will be distinct market share and sales volume. Considerable sales volume, in its turn, depends on the ability of new entrants to attract famous, popular or widely known performers and singers whose songs are able to get to the top of the popularity charts. Given the fact that virtually all popular artists have already signed contracts with major recording studios, this is significant barrier for new entrants. Another important barrier is gaining considerable channel of distribution. Generally, large distribution centers and music CD retailers are interested in selling the music of famous performers and unwilling to accept the products of relatively unknown artists. For the CCM, the threat of new entry is not very strong, since the company targets rather narrow market segment. Though, if the new entrant uses the same recording technologies, distribution channels and targets the same niche in the market, the fact may become an issue of major importance.

Competition from substitute products can be considered moderate competitive force in the music industry. Such substitute products are be presented in the form of providing consumers with possibility to listen music with other that CD means such as radio, cable TV music channels, live concerts, local bars or night clubs with live performances or recorded music, and internet. Internet has become by far the most important and strong substitute to traditional buying CD, since music provided on the web is most often cheaper or completely free and is not much inferior in quality than .wma format of CDs. Therefore, for certain amount of people these means serve as effective substitutes, but for music fan, buying official CD is obligatory. In the case of Colorado Creative Music, people can enjoy the performance on live concerts of these artists and decide not to buy their CD. Therefore, from CCM’s viewpoint, this may be regarded as fairly significant competitive force.

The forces left are bargaining power of suppliers and bargaining power of buyers and collaborative buyer seller relations, which are both strong competitive force.

The first, bargaining power of suppliers depends on the popularity and reputation of artists. Those who are popular and whose recordings sell well, have strong bargaining power, they can chose among numerous recording studios. CCM specializes on recordings of infamous artists, and therefore it enjoys weak bargaining power, since artists involved with CCM do not have many alternatives for studio record and CD distribution.

Bargaining power of buyers and collaborative buyer-seller relations is very strong competitive force. The major distributors of recorded music supply CDs to the leading music stores and other retailers of music, these leading distributors stock about 40,000 copies of a CD and work on 60-90 working schedule retaining the privilege of full return of investments for the unsold copies. So called “one-stops” are distributors which provide products for the independent music stores in smaller quantities and very often with limited range of music types. Generally such distributors prefer to handle stock CDs of the very popular artists or at least well-known artists and often they are not interested in going into distribution of CDs of unknown performers. Therefore, CCM faces great difficulty in acquiring decent and formal distribution, especially in getting its products sold by such music stores as Sam Goody, Tower Records, Borders Books and Music, and Barnes and Noble.

Also, a great role in the distribution process is played by getting the music heard by people so that they would be more willing to buy the CDs. This includes playing the music on the radio stations, on TV music channels and including soundtracks into movies. Until the performers and artists of CCM become so famous that they are asked for in retail music stores, the company has little chances to receive considerable representation by major CD distributors. The manager of the company, Darren Skanson, has contacted some retailers on his own and found out that it is very time-consuming and onerous task to get his CDs distributed by retailers in his own local area. The people he hired to tackle the problem had little luck either. CCM has had some experience of selling the CDs through one-stop distributor, but it was not very successful due to high markup imposed by the distributor on the CDs of CCM. In the long run, Darren plans to make his product lines such as Darren Curtis Skanson, Music for Candles and other artists, popular enough to have their CD distributed through major music stores. But at the present moment, predominant part of CCM sales volume stems from direct sales such as sales at the gig, shopping mall distribution and internet, mail and telephone orders of the musicians’ CDs.

Anastasia Kurdina is a person of manifold gifts. Almost every her writing is followed by lavish testimonials from satisfied customers. Anastasia specializes in marketing, management, world cultures, and art. Anastasia is not an essay writer in a common sense. She is a Poet, an Analyst, an Artist, a Critic… Get to know her better now at Custom Research Assistance Try new custom-writing service online. Our job is to make your time spent the way you want

Can you imagine a world without music? No songs, no tunes, no rock, no roll, no jazz, no hymns, no boogie-woogie, no country-western, no symphonies. No singing in the shower. No whistling Dixie.

Lovers wouldnt have songs to romance to. There would be no such thing as our song. Sinatra couldnt fly to the moon. Elvis couldnt complain about people stepping on his blue suede shoes. Tony Bennett would have to write a letter about how he left his heart in San Francisco. Willie might go on the road again, but without a guitar. And Ray Charles would look pretty strange up on stage without a piano telling us that Georgia is on his mind.

Then when the wedding day arrived, what would the bride march down the isle to? A poem? Silence? Applause? And when the happy couple marched out of the church together, would they do it to the bark of neighborhood dogs, or perhaps all the wedding guests talking at once?

And at the reception, what would they dance to? The Funky Chicken just isnt the same without music. Since rhythm is part of music, no drums would even be allowed.

And the honeymoon I suppose would take place with radio news on, or perhaps the educational channel accompanied by the drone of an air-conditioner.

When baby arrives, do we lull her to sleep with a reading from Shakespeare? Or perhaps random readings from the dictionary or encyclopedia? Could we bore her to sleep with words?

Nursery rhymes would have to be chanted or recited instead of sung. School music programs would of course be non-existent, as would school choirs and orchestras and bands. When the school football team plays, there would be no school fight song. Cheerleaders would have to cheer and dance minus any music.

And when those birthdays roll around, we would have to all recite together in a monotone happy birthday to you.

And when duty calls, what would soldiers march to? What would take the place of music in parades, since there would be no marching bands? John Philip Sousa would have had to get a day job.

And on the 4th of July there would be no patriotic songs just speeches. At Christmas time there would be no Christmas carols. No rousing gospel music at Easter, no hymns in church.

And can you imagine radio without music? Nothing but news and talk shows and bla bla bla bla.

I dont know about you, but Ive had it up to here just thinking about it. Im heading for the piano now to celebrate the fact that our Creator gave us the wonderful and inspiring and uplifting gift of music that we all take for granted.

I think Ill play a nursery rhyme or two, then the wedding march, then Silent Night, then Auld Lang Syne, then Fur Elise, then the blues, then a little jazz, then and then…

Duane Shinn is the author of over 500 music courses for adults including “How To Add Runs & Fills To Your Piano Playing” He is also the author of the popular free 101-week online e-mail newsletter titled “Amazing Secrets Of Exciting Piano Chords & Sizzling Chord Progressions” with over 63,400 current subscribers.

Lets say you are a high-brow lover of classical music (OK, that may be a stretch, but play along you might learn something). Youre really into your Bach and Chopin, but you may not appreciate heavy metal or hip hop. To you they may be empty random sounds devoid of meaning. To you the beauty of classical music seems obvious not like that other stuff.

However, the young urban kid feels the same way about their hip hop. To them hip hop is real and relevant. The lyrics are not just words, they convey a meaning that speaks to their fears, plights, and dreams. The music touches them in a personal way a way that little else in their daily life can.

The fact is that music is an emotional experience that reflects the type of person that we are. What draws us to a certain genre or musical style is in essence the desire for understanding and acceptance. Each of us is a hand in search the glove that will make us feel the emotional support that we need inside.

For one person they may need to feel normal and understood. They will likely search out music that fills this void. They will appreciate lyrics that are a reflection of their lives and choices. For another, they may seek out music that makes them feel inspired. Some are drawn to love songs, while others to the blues.

Each of us needs to feel connected in life, and that is more important today than in any time in the past. Our society moves so fast, and the stability of family and community of yesteryear may not be present in our lives today. Each of us is searching for that musical soul mate that will make us feel completed.

Music is personal. The type of music we appreciate does not depend on the music itself, but how the music fits us as individuals. No one type of music is better than another. Each is a unique personal experience that will touch some people in a way that makes them feel whole. All types of music are valid. You may or may not appreciate a style in fact, you may be bored by it or even offended. But you can not dismiss any type of music. Each represents a voice which must be heard in our society.

Since no type of music is better than another, that ultimately means that no song is better than another, and thus no musician or singer is better than another. Each artist has something to bring to the table, an individual perspective that is different than everyone elses. Sure we all have our preferences, and a particular singer may have better projection or be able to hit a note better. But those are technical elements. Music is an emotional response to a variety of acoustic elements. Its not about how a song sounds, its about how you hear it, its about how it fits you.

Dont be narrow in your appreciation of music. Search far and wide for songs that speak to you. Listen to the lyrics, feel the rhythm, let the music envelope you. Music can create understanding across cultural barriers. Stretch beyond your comfort zone. Listen to artists and styles that may seem foreign to you. You may just find a glove that fits your hand better than you ever imagined.

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You know the phenomenon, everytime you hear music playing in the background you think about the clip associated to the song.

Many years ago, music was just about sounds. Skilled people with beautiful, at times selfmade, instruments entertained other people. Back then, music was a gift.

But with the introduction of MTV and various other tv-broadcasters, clips are now a must for artists. If you don’t have an attractive, high-tech clip you know you’ll fail on the billboards. People associate these clips to the quality of the music. If the clip they see is bad they’ll stop listening to the song and turn off the screen.

Sexy girls dancing with little clothes on, rappers acting tough, ..It’s all been done before. Artists now look for computerized video images, with special effects which match with the sound they produced. It sweeps the watcher along for about 3 minutes, enough time to hear the song and perhaps like it.

Music needs the images, but needless to say the images definitely need the music. You could even say that music videos are a modern version of opera. In an opera, you have music and acting together as a package. It tells us a story, just like most music videos do. As we all are curious at times, people tend to like stories. Makers of music videos know this and try to make a story with their music videos.

The story symbolizes the music: if a song sounds sad, the story will not be a happy tale.

In the future, artists will have to keep on spending much time in developing their attractive clips, perhaps even more time than they dedicate to producing music.

So I’ll give you a good tip: don’t always see the music, hear it..

Webmaster of http://www.discoverclips.com&all-around-music-lover!

This is probably one of the most serious questions I will be asking you, and you should ask yourself. How are other areas in your life being affected by your upgrading purchases. Are you noticing you don’t have the money to do other activities? Is your entire day more concerned with getting the latest technology offering by a camera manufacturer? Are you jealous of other friends and acquaintances because they have the latest toys? Are you correlating the quality of your photographic experience by what you own, versus what you produce? Are you noticing you have less time for your friends and family, and spend more time scouring the net for the latest gadget?

Let’s pause for a moment so you can think about this.

If you are nodding your head to at least one of those questions to the above, upgrading is probably not the issue. The issue, is why you think you need to purchase something when all the signals are going in the opposite direction.

Will Your Photographic Life Change?

If you were to get that new and improved digital camera, do you expect your current photographic situation to change? Can you honestly say that once you spend another chunk of money on the latest camera, you will suddenly be transported to the photographic world of fame and fortune? Probably not. Many of us who upgrade, have this little “Lottery Logic” in the back of our minds that we are going to be escalated to new heights and adventures if we upgrade. The only time I would agree is if you’ve owned a pinhole camera for your entire life and are upgrading to digital. But I am going to assume, and you should as well, that your life is not going to change. It will stay the same. This isn’t a bad thing, it’s just the way it is, as it relates to your potential upgraded camera purchase.

Upgrade Your Skills, Not Your Camera

Don’t like your current photographic situation? Try something new. Ever went to a high school sports event and just took a few pics for the heck of it? No? Well, do it then. Ever went to a local political event that was controversial? Go there and take some pictures. When you do things like this, you will come to realize what your needs of photography are, and you will be much more qualified to make a decision on upgrading. In addition, you will begin to have CONFIDENCE in yourself. The more photographic situations you put yourself in, the more experienced you will become. In fact, you may come to realize that upgrading to a different camera is not what you need, but more accessories FOR YOUR CAMERA, which will enable you to become a more experienced photographer.

Make A Pros/Cons List

Nothing is better for clearing up fuzzy thinking, than a pen and paper. If you have doubts as to whether you should upgrade, make a list of the pros and cons. When I upgraded from my Olympus E-10 to Nikon D100, I made such a list. Include not only the mechanical advantages and disadvantages, but also include the issues and subjects we have discussed in this article. You will be surprised how the real motives and assumptions come out on paper. When you keep your justifications in your brain, out of sight from your conscious, it’s much easier to believe misinformation and be misguided with emotional buying.

2005 by Jason Busch (http://www.digitaldingus.com)

Upgrading Digital Cameras: Should I Do It? (Part 2)

A part of The DigitalDingus Guide To Photography series.

Synchronization Royalty: A licensing fee paid to the owner of a piece of music for the right to synchronize the music with your audio and/or visual works. Many music libraries will charge this fee each and every time you synchronize a song in your work. On the contrary, Studio Cutz Music Library offers a Lifetime Synchronization License, also known as a royalty free license or a buyout license. This means that we charge a one-time fee, and allow you to synchronize the music as frequently as you like.

Performance Royalty: Royalties paid by a broadcaster on an annual basis to a performing rights organization such as Ascap, Bmi, or Sesac. It is important to note that 99% of all broadcasters pay a fixed amount each year for performance royalties. The same broadcasting fee applies whether the music was a buyout, standard license, a popular hit song, or a relatively unknown piece of production music. As a general rule, unless you are the actual broadcaster (ie; television station, cable network, etc.), performance royalties are not something you should ever have to pay for.

So where do cue-sheets fit into the picture? A cue sheet is merely a form filled out with the details of all the music used in a particular program; the composer name, publisher name, how many minutes and seconds of each track was used, etc. Cue-sheets are required for each program that is broadcast. If your work is not being broadcast, no cue-sheets are required.

The purpose of a cue-sheet is so that the composer and publisher can properly collect their performance royalties from that fixed amount the broadcaster has already paid to Ascap and Bmi. No money is saved by not filling in a cue-sheet, and no extra money is paid by anyone as a result of properly filling in a cue-sheet. It is simply a means to make sure that the money already paid by the broadcaster is properly dispersed to the deserving writers and composers.

People often ask how a music library is able to create high quality music and license it at such low prices. Much of the answer lies in cue-sheets. If a cue-sheet is properly filled out, our composers get their fair share of the broadcast royalty pie and we can keep our licensing fees low. If cue sheets are not properly turned in, the money goes into a surplus account, which eventually gets distributed out to the most played artists like Britney Spears and Garth Brooks.

So the next time you work on a production for broadcast, dont buy Garth a new belt buckle. Take a moment to fill out a simple cue-sheet. Youll be helping a composer collect a buck or two that are rightfully his, and youll help keep the cost of production music affordable!

Scott Meath is a co-founder of Mediatone Music and publisher of Studio Cutz Music Library and Blue Fuse Music.

During my time at the Guitar Institute in London, and Sandown College Of Performing Arts in Liverpool, I met many guitarists who had been playing for 10, 15 or even 20 years, and yet, unbelievably, couldn’t show me where to find an A# on the 2nd string or a B natural on the 5th string. My amazement prompted me to write the “Fretboard Master” ebook.

The “Fretboard Master” ebook contains all you need to know in order to become a master of the fretboard. What do we mean when we say master of the fretboard? Well, it doesn’t mean that you will suddenly start sounding like Steve Vai, Segovia or Jimi Hendrix! A fretboard master is somebody who feels comfortable with their guitar, Somebody that can find any note on any string within a second and somebody that can transpose a piece of music on the spot. That is a fretboard master.

Many guitar players are usually only interested in learning hot licks or funky chords. That is good, as long as they also take time out to study the layout of the fretboard. The old saying “The proof is in the pudding,” is so true when it comes to stating the importance of fretboard mastery. Once you start familiarising yourself with the notes on the neck of the guitar you will quickly discover how important it is. It will be like somebody has switched on a big musical light that shows you exactly what you have been missing. You will feel like a better player, look like a better player, inevitably sound like a better player and more importantly…..WILL BE a better player!!

Imagine learning a really cool chord progression, a red hot lick or a head turning funky guitar riff. You have spent hours practising it and you are now ready to unleash it on your band members. You play it, and they are all amazed at your stunning technique. They shake your hand, ruffle your hair, maybe even give you a shoulder lift around the rehearsal room. You feel great! Then when the fuss dies down, the bass player asks “Can you play that again in F#?” What? F#? You begin to sweat, your palms itch, your head races. Where’s F#? you ask yourself. Too late! The drummer drops you from the shoulder lift and you hit the earth with a bang!! Ouch!! You blew it! You should have learnt your fretboard.

Take a tip from me. Whether you are just starting out or have been playing for a number of years, you need to learn you fretboard. There’s no way round it. Do it today and who knows, maybe the next time you learn a cool guitar lick your drummer want drop you on the floor!

The amazing “Fretboard Master” ebook and other great (some rare) guitar books can be found at WWW.Jack-Sky.Com – visit us today! We are based on the banks of the River Mersey in the great city of Liverpool. We are also proud to offer you the world’s greatest chord book! Yes, you heard me correctly, the WORLD’s greatest chord book. It contains 3 positions of every chord you need to know. Our site is devoted to helping you become the best guitar player you can possibly be. Check us out, we know you will not be disppointed.

WWW.Jack-Sky.Com

To date no one has exceeded the levels of accomplishments that MAESTRO has achieved. To date, 7 music awards, 7 albums, 11 JUNO nominations, Gold and Platinum albums, Gold singles and a mixture of other awards in film/T.V and personal achievements. All of this, plus a film and television career? No wonder his latest album is called Urban Landmark 1989-2005 – its obvious he has made his mark, now lets see where he goes from here!

One of my very first interviews on radio was with MAESTRO, back when I was working at York University radio, he was a special guest on a show called, The Cutting Edge. I realized back then after our brief hour together on the show, that this is one hell of a passionate man! He is passionate about what he does, whom he speaks to, what he involves himself with and most of all passionate about MUSIC. It is the same passion I saw and felt when we (Liesa Norman and I) sat down with him the day before his CD release party. He truly is conductin thangs now more than ever, his life a full blown Symphony in Effect – just goes to show you he is Built to Last

HAVIN WORDS WITH WES

You seem to have a love affair with Canadian contemporary and rock artists? This is not the average approach to hip hop is it?

WES- Janet Jackson sampled Joni Mitchell, that is a lot farther apart than me, a Canadian artists, sampling another Canadian artist. See?

Yes, but you are the only one that has been acknowledged for doing it.

WES- No, Swollen Members did it too, but not a lot of people know they did a track with Sarah MacLachlan that was HOT. This was off their last album..I dont know WHY those guys did not make it the single, it was so hot!

To date you have worked with HAYWIRE, GUESS WHO and now Gowan!

WES- It is just something I like to do. Take Canadian rock records and just revamp them. I have these albums, I like them- I collect them.

So, within the song that you are listening to, you hear another song?

Orlena, Hip Hop up n’comer Subliminal, Liesa WES- yeah, yeah. Like when I heard Stick to Your Vision (track off his last album, that sampled The Guess Whos – These Eyes)- I was like.Whooooo! That was a nice reflective song to talk about what you been through and inspirational at the same time.

So that was a favourite?

WES- Hell, yeah! (chuckles)

Lyrically do you find that the words come first or does the music?

WES- There is no specific formula. A concept may come first and then the music after. You know I never try to assimilate – I try to innovate.

So your latest track, Criminal Mind with Larry Gowan- was that something that you heard within the song, or was that something you conceptualized on your own?

(l-r) Orlena, Actor-Richard Leacock, Liesa WES- Nah. It was more like the original version was talking about being a criminal and having a criminal mind. I had the take on it of the justice system being more criminal. But, at the same time, we as a community not being in a position where we are more followers, rather than being the leaders that we should be. In life you have to be a leader and STOP MAKING EXCUSES for whatever! With the song I just put my own little spin on it. What I love is that Randy Bachman and Larry Gowan, both like what I did with the song.

Were you in the studio with Larry Gowan?

WES- Nah. I was in his living room when I played him the track when it was done and I saw the hair stand up on his arms. Then we went downstairs to watch his video from Criminal Mind and then my new one, that he is in. The video is full rotation now – its just BANANAS!

Do you find the violence is accurate to what the media portrays? Or do you really feel that there is a surge of violence within minorities?

The Showstoppers(ctre) Maestro

and Kardinal Offishall WES- Yeah, Yeah (as he sighs). It is a bit of both. A bit of sensationalism still occurs though. But, to me it is embarrassing for all people that we carry on like that with each other. We dont have to be like that. We have lost our ability to talk to one another. My question is how did the guns get here in the first place? Who is bringing them into the country? That is the last line in my song Criminal Mind. I come from a good place and I hope that people gravitate toward what it is that I am doing.

The album, which came out August 23, has 5 new hits?

WES- The album does not really have five NEW hits, but 5 previously unreleased songs. These tracks have been out before, but just on radio and more as singles that were unavailable for purchase.

Well, your greatest hits album, is going cover the span of your career – are you prepared to do any of those moves you used to spin for Let your Backbone Slide.

R&B Sweetie Melanie DurrantWES- Oh yeah. I am going to have a full-blown show! Choreography, the works..it is going to be hot to death!

You are still hot to death after all these years. You still have the same fever and flavour that you had when you were younger. It is good to see! What are you listening to in your car right now? Do you have any music influences?

WES- Right now I am listening to myself (outbreak of laughter from us all). I have my show CD in and I am practicing that over and over again.

Laughter aside, you have a reputation to upkeep, if you dont come correct you know people are going to be writing about it! Watching and waiting for you to fall..or just all off the stage!

What a night!WES- Thats finewatchjust keep watching!

We will!

FYI- The next day MAESTRO came with it and blew the roof off the MOD CLUB! The place was packed, people were bumpin to his hits and when he let us have the final trackit was all over. Hey! When MAESTRO left the stage – everyone else left.

Forget checking for a business license (anyone can get one), or endorsement by some far removed, “official” DJ association. Send them their fee and you they will endorse you too.

Whether your entertainer is “certified” on paper or not, how his or her system sounds is critical. Most DJs are not experts in the technical realm of sound specifications. They may not even know what signal to noise ratio, total harmonic distortion or frequency response is. The truth is, DJs often put together a sound system that is limited by how much they can afford to spend. The resulting sound may turn out to be shrill (too many highs), unclear or “muddy” and even distorted.

This is where your ears come in. Ask for a live audition so you can gage for yourself how the DJ’s equipment looks and sounds. We always offer a live listening experience to our clients. This is the only way to know if you like it. If your DJ is not willing to “audition” for you, it may be because he is embarrassed by the look or audio quality of his rig. This is a red flag.

Have your prospective DJ play a song you know. Think of one that that incorporates bass, drums, keyboards and vocals so you get a full range of sounds. Dance songs are usually good. Ask the DJ to turn it up for a moment. Now close your eyes and listen.

You don’t have to be an acoustic expert to know if you like it. Is it full and warm or hollow and “tinny”. Does it sound like an AM radio or more like what you might hear in a movie theatre? Is the base “punchy” but not overwhelming, allowing room for the mids and highs? Are the highs too brassy, making dogs howl and babys cry? Are the mid-range (vocals) present enough? Is the overall sound flat or is there “depth”?

Remember, this is what you and your guests will be hearing all night long.

While the sound can be enhanced by the use of equalizers and sonic enhancers, the right speakers are key. Whether it’s JBL, Yamaha, Mackie or others, speakers have their own sound characteristics. And off-brand, budget speakers are often lacking in sound quality.

Ask the DJ why he chose the speakers he has. Often great sounding, name brand speakers are not much more expensive than low-end, budget cabinets. If the DJ is scrimping here to save a couple of bucks, what else is is he cutting corners on?

I personally dislike “hissing” brass or cymbal sounds (highs) or too much bottom end (bass). For me, the midrange is where the melody is and I like to hear it. Warm and full vocals, keyboards and guitar with the highs and lows serving as complimentary bookends. For example, I’d rather hear emphasis on Sinatra’s voice over his bass player.

Now go find the sound YOU like. You’re already an expert as you’ve been listening all your life. Do a little homework and you will feel confident as your event approaches, knowing your guests will experience complete sonic satisfaction!

-DJ Craig

http://www.djcraig.net

Craig has performed in clubs, on the air and now works exclusively for private parties. Upwards of half a million people have enjoyed his sound and lighting at special events for the past 15 years. He has been a guest speaker at classes on wedding and event coordination. Craig has been featured in the Los Angeles Times and has written articles for many wedding and party related web sites.