Category Archives: Cakewalk

The Four Hands of EntreMusicianal Networking

Mastering the Art of Consistent Networking is Foundational & Essential if we are to Succeed as EntreMusicians. Advancement eludes us when we consider ourselves islands and isolate ourselves from community. Albeit, We bear the bulk of the Responsibility for our Careers, True Achievement is Not Created in a Vacuum.

Many EntreMusicians swallow the Myth of the “Self Made Artist,” who Writes Everything, Arranges, Produces & Plays Everything, but never ascends from his/her basement studio because they’ve eschewed human social skills and ignore establishing relationships with other bands, artists and creatives.

Even Musicians who’ve been fortunate enough to secure management, booking or some significant ‘deal’ which somewhat sets them apart from their contemporaries, find they have a much rougher ride and eventually hit a wall because they have set themselves (or allowed others to place them) above or outside the Collective Visibility  of the Creative Culture. The Truth is that even at the Highest Level of Triumph, Connectivity Still Rules! So here are a Few Rules to Perfect the Practice of Networking at whatever Position You Currently Occupy.

1. Reach Out!

Take the Initiative to Find Other Artists of Like Mind/Spirit/Heart whether within your musical genre or not. Arrange a Coffee or Jam Session or Gig that’s Mutually Beneficial. Without Becoming a Pest, Be the One Calling, Texting or Messaging Periodically to Let Them Know You’re Interested in Them and What’s Happening in Their Career.

2. Give Out!

EntreMusicians are Extremely Generous. Any Valuable Information, Resources or Viable Practicality which can be freely offered, Give It! Go Out of Your Way, Be On the Look Out and Intentionally Create Opportunities to Be A Blessing to Another. Is there any Old Gear hanging around that you’ll likely never fire up again? Don’t Pawn It, Find an Up & Coming Hopeful and Give The Thing(s) Away!

3. Help Out!

Everyone Needs Help at Some Point in Time. EVERYONE! Even & Especially National Recording Artists. Find Out How You Can Assist – Yes You! Graham Cochrane, an Engineer/Producer I Follow & Highly Respect once said that every time he attends NAMM or some other Industry Function, he abstains from strolling up to higher profile Artists/Producers/DJs with Business Card & CDs in Hand, asking THEM to either Listen to His Stuff, Get Him a Deal or “Hook Him Up” in whatever way. Instead, He ASKS How HE Can HELP Them!!

Chances are They will be playing his City soon (he asks) and perhaps there may be some assistance they might need when they arrive and/or before they depart that he may be essential in accomplishing on their behalf. He Never asks for anything in return and Graham’s (and now my own) methodology is 85% More Effective that the ‘Star’ will remember His Name…There are a Million Ways to Help – Find Yours!

4. Throw Out!

Discard ALL Negative Motives, Attitudes, Thoughts, Words & Actions!* Live By The Mantra that You NEVER Compete, NEVER Compare & NEVER Criticize!**

Throw Out ALL Feelings of Envy & Pride! Concentrate on Doing Your Best Work and Find Ways to Assist Your Peers in Doing Theirs. Hold The Door Open and Help Balance The Ladder for Other, Again Expecting (And Not Asking For) Anything In Return! Overtime You Will See, by Osmosis, the Law of Sowing & Reaping bearing Fruit and Your Life & Career Blessed because You have Blessed So Many Others!

I would Love to Hear How You Utilize Networking in Your EntreMusicianal Pursuits and the Profound Results. Leave Your Comments Below.

Download My Free E-Book “50 Engaging Ways to Transform Your Fans Into Family” and Subscribe at for More Ways to Engage, Encourage & Empower Each Other!


I was listening to Spyro Gyra’s “Incognito” on Vinyl while writing this post.

* &** Quotes of Bishop David L. Thomas

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7 Reasons Why P-Funk is its Own Genre

Last week we explored 6 Reasons Why  Motown is its Own Genre and what EntreMusicians can learn from their stellar examples. Today we open up the can of Maggot Brains and uncover the stanky P-Funk that only continue to get stronger!

1) Crazy Wisdom. Both Words Aptly Apply to the visionary George Clinton who has been able to juggle Multiple Concepts, Rhythms, Personalities (as many as 60 simultaneous band members) & Record Labels and remain Active, Relevant and Viable at 75 Years Old.

Yes, he’s also equally endured Multiple Business Failures, Drug Use and Almost Inappropriate Everything, but just when you think he’s going to Lick His Wounds from a Rocking Chair, He’s Back On Stage, Leading the Charge for The Funk of it.

2) Uncanny Innovation. Early On, George surmised that the quickest way to get the attention P-Funk needed was to separate from the Motown Melting Pot and Trash the Suits and eschew Doo Wop after a few years of trying to fit in. Taking a cue from Hendrix, Clinton formed Funkadelic and put the guitars on the front burner. Enter Singers, Horns and the first Major Bass Line to be dominated by a Moog.

Experimentation took center stage as the band destroyed traditional ‘verse-hook-chorus-bridge’ composition and pursued The One, first and foremost, using whatever sounds were available and took studio production to extreme levels.

3) Comedic Cast of Characters. Every Member of P-Funk was a Star and George arranged for most everyone to Shine by creating multifarious acts within the band. From Eddie Hazel to Bernie, Bootsy, Glenn Goins, Gary Shider, Bigfoot, Catfish, Junie, Skeet, Fratengelo, The Brides, Horny Horns, Parlet, Blackbird, Hamp, Boogie, Fuzzy and On & On, You Cheered for Each and looked forward to their Contribution to the Funk.

George introduced Imaginary Characters into the dramedy which held as much (or more) court as their human bandmates. Dr. Funkenstein, Sir Nose (and Sir Nose, Jr.), Mr. Wiggles, Star Child, Sir Lollypop Man (alias The Long Haired Sucker), Casper & Bootzilla (who were actual aliases of Bootsy) extended the Imagination and Mythology of P-Funk.

It’s a little know fact that George’s production of The Red Hot Peppers’ Freaky Styley that truly put the rockers on the map. His offshoot groups like Jimmy G & The Tackheads, various guest appearances with artists like Xavier and Thomas Dolby and P-Funk’s long standing association with Prince help solidify their into the souls of Funkateers forever.

4) Expanding Narratives. Along with the creatures, real and imagined, are the vivid stories of a Chocolate City & its Vanilla Suburbs,an excursion through Downtown Bimini Road, the humiliation inflicted on Sir Noze utilizing the Bob Gun, the Essence of the Flashlight, the horror of America Eating its Young, Vietnam atrocities outlined in the Electric Spanking of War Babies, the sterile work ethic of the Children of Production in Dr Funkenstein’s laboratory and ultimately, the Landing of The Mothership continue to engage those new to the notion of Funkadelica.

5) Vital Visuality. Cementing the P-Funk Brand are the Neo-Psuedo, Part Comic Book/Part Novel Album Covers, designed by Pedro Bell and Overton Lloyd which carried over to the Chaotic Circus-like Concerts, where the clothing ranged from the Diaper Laden Shider to any number of Indians, Furry Space People, at least one Indistinguishable Animalistic Alien and a Sheet Wearing Clinton dominating the Stage.

6) Enchanting Motifs. Stopping the Show and shouting “Think…It Ain’t Illegal Yet!!” for 37 non-stop minutes reminded You of Where You Were and Why You Were There! “Gagagooga, gagagooga, gagagoogaga!” “Ha da da dee da hada hada da da!” “One Nation Under A Groove, Gettin’ Down Just For the Funk of It!” and countless chants uttered under the breath of bankers and executives in boardrooms, is foundational to the genius of P-Funk! You Can’t Help BUT Sing Along.

Equally Disturbing are the Infinite Infectious Bass Lines guaranteed to move ANY Head & Foot within 15 Feet! You Can NOT Resist (Even if You Don’t Particularly Appreciate the Song!) You Simply MUST Move! And With the Ever Present Spiraling Squigly Synth Lines Hypnotically Weaving Repetitive Motifs In & Out of the Groove, it’s Irresistible!

7) The One! Finally and Equally (if not most) Important is the P-Funk Approach to The One! Adapted from James Brown, who also accented the eagerly anticipated ‘3,’ P-Funk Stomped The One So Hard & Nasty, They Had to Write a Song About It! The One is the Nucleus of Every P-Funk Anthem.

A Famous George Clinton Chant is “It Would Be Ludicrous to Think We Are New To This, We Do Do This, This is What We Do!” Which is Precisely Why We’ve Been Diggin What’s Been Done for Decades and Why P-Funk is its Own Reward and remains in a Category of its Own!

I was Listening to George Clinton’s “R&B Skeletons in The Closet” while Composing this Blog.

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If You Were Unable to check out last week‘s post or perhaps even the week prior, you may wish to begin there to understand the need for the New Plan…

The Problem is too well known. Music Lovers have been Conditioned to Believe that Music is (or should be) Free. The CD is Dead. The Download is Dying. Presently, Streaming is King and the Existing Platforms are controlled by Corporations earning Billions of Dollars via $9.99 Subscription Fees with music served up ‘Buffet Style’ or what Dave Kusek long ago termed “Music Like Water.” This practice is now a decade old…

BUT, to quote his Royal Purple Lateness, “The Baker ain’t makin’ No Bread!”  but The Corps are and this particular EntreMusician is long growing weary of hearing moans & groans of heroes past and present protesting, instead of rerouting the flow of their own dough.

The Plan is Simple. Systematically Remove Our Music from Places that Don’t Pay and Replace in Our Own Formats, On Our Own Platforms and Do The Hard Work of Rebuilding & Re-Educating Our Own Tribes to Gather & Party in Our Own Backyards.

Every Musician has a Website, and Every Website hosts a server which allows Us to Upload & Sell Our Media. Most Allow Us to Set Our Own Prices and since we generally pay them a fee, they do not take a Percentage of Our Earnings (Most go directly to a PayPal Account).

With that said, the technology exists for the EntreMusician to begin offering a Personalized Streaming Service. This May Sound Oversimplified. But It’s Definitely Doable.

Three Key Components are Needed to Construct the Foundation.

The First Component is Confidence. Bands, Musicians, Artists, Creatives MUST Know & Understand that Our Work is Important and Fulfills a Major Need in Life which has been earning Multi Billions since the 1970’s – but for whom? Anyone of Us who’ve taken the time to learn all of those Major 9th Chords and spent Countless Hours Practicing Counter Para-Diddles can buy a copy of Quick Books and do a little accounting! We Can Do This!

The Second is Unity. As with Any Call for Solidarity, there will be the Silence of those who Wish to Wait & See, all the while bemoaning the $0.0007 royalty check sent to them by Spotify!

The Final Component is Bloody Knuckled Hard Work. An EntreMusician is a Forward Thinking, Effective Creative with “Results” as our Main Focus! Nothing Less Will Do. Perseverance, Endurance and Sweat. The Fans Won’t Just Flock to Our Website. They Won’t Just plunk down the Micro-Payment to PayPal. BUT, If Our Music is Important Enough to Us and We Develop the Courage, Determination and Marketing Ability to Persuade, WE CAN Engage and Create Our Own Thing and Not Need to Answer to Anyone.

That’s How It Get’s Done!

Let’s Begin the Real Conversation or Quit Crying!

My Old Sony 200 Disc CD Player was spitting out the Funk at Random upstairs, while I was posting this – I was also engrossed in the Free Webinar by Dave Kusek who was interviewing Dave Cool from Bandzoogle – and I presented the question to the chat room which was asked On Air. Thanks Chelsea! 

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The Art of the Interview

Inevitably, all EntreMusicians will need to interact with Multimedia to Promote an Event or Project. I have been blessed to be able to have access to Radio, TV & Print in my region due to my involvement as a former Radio Producer for the legendary, late Dan Ryan Talk Show on WKBN’s 570AM. Although this has been decades ago, the Tips & Tricks I picked up by being on “both sides of the glass” have been invaluable in helping me spread my message. Here are a few things I have learned:

1) Have a Voice. 

Be Able to Stylize a Tone, Sense of Enunciation and a Presence that whether People are Able to See You or Not, they are Sure that You are You! I will Never Forget the Excitement that My Brother-in-Law, Phil The Beat & I felt as Teenagers when we heard our hero, Roger Troutman being interviewed on Cleveland’s Power 108, WDMT. And, he had his Talk Box with him on the Radio! This left an Indelible Impression on Us and We Could Not Wait to get his New Album and go to the show. Listening to Bootsy Collins was More Exciting than hearing Frankie Beverly interview, although Both of their Music remains as some of the Most Enduring of the Soul era.

Also, Intelligence Does Not supercede Style On the Air – if this is in line with Your Overall Imagery. Some Artists prefer to appear Downright Stupid, ala Favor Flav, because their image is what Moves the Sales. The important thing is to Know Your Voice and Always employ it while Branding Your Art.

I developed a “Radio Voice” before going to work on the Dan Ryan Show, as I was previously an On Air Gospel DJ at WGFT 1500-AM. When I am being interviewed on Radio, I often, ‘go there’ by default – but it sounds trite on Stage and on TV, so I’m more comfortable in my natural voice.

2) Possess a Look

Tape (Hard Drives) & Cameras are most unforgiving. Ditto everything I said above, but apply it to the Visual. Have Your Concept DOWN and make sure you get plenty of opinions and a consensus if you can’t afford a fashion designer. Not all Colors, Blends and Fabric are You – again, unless Your Act is Stark, Shocking or downright Disgusting. Making Absolutely Sure that You are Captivating on TV is far different than Your Stage Persona (unless you’ll be performing live on TV!) often EMs dress according to the Artisry, just keep in mind that People will be Looking a Lot Closer to You on their Big Screen, Deciphering Everything about You – a mole, crooked teeth, earrings, etc., because these features/flaws either bring Your Fans closer to you or alienate them. 

I recall how crazy I looked going on TV once to Interview with Sunglasses on. I was Naive. It Was Stupid! I think I destroyed the VHS!

3) Have Fun!

Once You’ve Established Your Voice & Your Visual, it’s time to Relax, Have Fun, Be Confident and Engage Your Artist. Too Many Musicians come off as if their Guitar Chops are as Serious & Important as the next missile strike in the Middle East. They present themselves as aloof, unapproachable with devoid of a funny bone. These decisions contain poison that both the Interviewer and their Public repel. It’s Not That Serious! Your Mission is to Make a Connection, not Create a Chasm. Even Prince learned to smile.

4) Share a Story.

Personal. Profound. Transparent. Everything is Not Perfect in Your World and No One Expects it to be. Identify Your Humanity and Relate to Others. Reveal  Mistakes that have happened on Stage or in the Studio, Your Daughter’s Favorite Artist (which is definitely not you) or why your Bass Player really needed stitches right after the show are all great topics. By All Means, Share Your Dreams. I Always Do. They Compel Others to Dream With Me!

5) Ask Questions

Yep. The forgotten Secret. Every Interviewer wants to be Involved in the Process. Some will out talk their guests. Others will be straightforward and just fire away (after all there are time restraints), but Don’t be Afraid to Trade Places. Don’t Make the Interview just about You & Yours! Expressing a Genuine care in those kind enough to give You Airtime gets You repeated visits, puts all the participants at ease and provides the Audience additional insight to the program’s host.

I frequently turn tables on Interviewers, especially when I am feeling nervous. It causes me to build some confidence when I see how others handle the unexpected question. I am able to Relax.

6) Know What You Are Talking About

There’s Nothing Worse than Radio Silence or the Proverbial Deer in the Headlights look. You Avoid these discomforts by knowing Your Art, Abilities and Industry. Keep the Dialogue Limited to What You Do Know and If You Don’t Know, Do Not Pretend. Also, Do Not Avoid the Question or Play Politician, Be Honest and Say You Don’t Know, You May Not Have Heard or are Simply Uninterested in Answering that Particular Question. And Smile.

I put my Size 10 & A 1/2 in My Mouth Twice On Radio when I Pretended to Know More about the subject matter. I tried to Play Expert in a Den of Experts and the World knew (at least that one) I Was a Fraud. I Avoided Mirrors for Two Weeks. 

7) Don’t Lie


This includes Exaggerations. Read My Experience Above – Again. 

If You’ve Only Sold 1000 Downloads, don’t make it 2000. How Many Accurate Unique Hits do you get per week? Be Accurate. Stay Honest. Avoid Hype.
8) Get Over Yourself

At the End of the Interview, the Conversation should not be “about” YOU, albeit concerning You, Your Projects, etc. You’ll Gain More Ground and Respect by Intentionally Making Your Airtime about Your Host, Sponsors, Fans and Most Definitely other Artists You Admire and have influenced Your Career. If there is a Ministry, Charity or Cause You Champion & Support, mention them. Always Be Charitiable & Generous in Your Positive Comments of Others.

Hope This Helps. Below are a few links to Interviews I’ve done, including my Very First TV Interview.

Explaining SounDoctrine on Loose Change:

Once Upon A Madonna:

My First Time:

Radio – Randy Allar, The Fusion Show:

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Cloudy Collaborations

I Am Not The First to Ask these Questions, but EntreMusicians Should Ask them Frequently & Loudly.

Who Owns the Cloud? 

Who Manages/Controls the Cloud? 

Most Importantly, What is Happening to My Intellectual Property when I Upload to this Cloud?

As we already (or should) know, All of Our Pictures & Posts Uploaded to Facebook and other Social Media No Longer belongs to Us once we hit “Enter” on our keyboards. The Banking Industry is slowly, gingerly getting us used to Taking Pictures of our Hard Earned Checks and Depositing them, via their apps, while having No Idea How Many Eyes Monitor Our Accounts. And Are Our Smart TVs Watching Us?

I don’t think I sound like a Completely Wacked Out Conspiracy Nut…Or Do I?

As an Avid Collaborator with various Songwriters & Musicians, I am growing wary of a trend that most Music Software Companies, including my beloved Propellerheads (Reason) are beginning to engage in. Users of these various Composition/Sequencing Tools can now Collaborate, Interact & Upload their Music Online, much like Gamers have been doing for years. 

The difference here is that these Songwriters are leaving their Intellectual Property on the Servers of the Software Companies who can now claim the Songs as their own, since the Songwriter’s activities are being created in their sphere, using their products. Remember, You, the User, only License the Rights to Use their Software, You Do Not OWN It.

My Co-Writers & I utilize Old School Methods of Sending Files to Each Other, be it Online or Snail Mail. We Construct Appropriate Agreements with Each Other regarding Shares, Publishing and File the Composition with the Copyright Office and our PRSs accordingly. We Collaborate on assuring Every Single aspect of our “baby” is Protected & Provided for according to Traditional Industry Standards, albeit We Live in a Digital World. 

If You are an EM who sees a Stronger ROI in employong Cloudbased Collaboration, feel free to chime in and let me know Your Thoughts. I do appreciate a few aspects of Open Source Initiatives and Creative Commons Licenses. I understand that there are literally Thousands of Musicians who involve themselves at this level and I Am Most Definitely Not Above being Called an Outdated “Fuddy Duddy!” 

My Primary Concern remains in what happens to the Intellectual Property I am poised to leave in my Estate to my daughters and their subsquent survivors during the life of my copyrights.

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The No Comfort Zone

If Music is anything at all, it’s an Adventurous Journey into Amazement! Music is an Oasis of Emotions which ofttimes teasingly, lovingly, spiritually and at other times, violently causes the Listener to Experience a moment they could never imagine on their own. My definition is Completely Melodramatic, I know, but not without reasonable consideration for what usually happens in the Musician’s mind…or at least in my own.

Interestingly, in the course of time, that same musician, if not intentional, begins to Slide into the Frontier of the Familiar. They recycle Chord Changes, Patterns, Harmony Structures, Beats and Choruses that meander subconsciously without the least bit of explorative engagement. Usually this happens once the Artist’s fan base is well established and the season of scratching and hoofing out gigs while tearfully begging people to download their music has become a distant memory.

While it’s always important to maintain your own DNA and promote your unique style of singing, playing and performance antics that make you You, the moment you quit learning, taking risks and expanding your palette for the minds, hearts and souls of your tribe is the very moment you’ve filed for retirement. A Musician’s laurels never look as cute to their fans as they do to themselves and they can always smell when you’ve phoned in a gig.

A true EntreMusician graces the tender tightrope of keeping their identity while stimulating advancement, growth and progress in their art. No “cookie cutter” formulas and presumptuous phrases which undermine the intelligence of your audience will last for long. They will remember and they will defect in time. It’s an uncomfortable position to be in, but well worth the music that results if you stay on your toes!

Finally, an EM realizes that his/her music is not just for the entertainment of others. Our souls are also fed when The Spirit downloads into us the wellspring of New Life in Song. The more we return, the more deliciously refreshing we find the water and the more prone we are to resist pondscum.

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8 Reasons Why I Did Not Upgrade to Reason 8

As You may know, I am pretty much an Insane PropHead Fanatic!

I have incredible respect for their genius and imagination. I’ve blogged on their latest app “Take” and I thoroughly enjoy “Thor” and “Figure” on my iPad. Propellerheads‘ Reason software IS the core of my studio environment. I’ve been utilizing Reason since v3 and cannot see myself using anything else. Ever. In previous posts, I’ve shared about my longstanding feud with Producing/Engineering partner, Jerry Thompson, who stands by Sonar X3 which I also own so that we stay on the same page while working through various projects. I also employ Sony Creative’s Acid, Soundforge and Vegas where applicable. But, I must reiterate, that my first, fifth and twelfth choice is always Reason. I have produced two major projects in Reason and the one I am currently working thru is in the Reason domain entirely, from conception to final master.

Additionally, I’ve only experienced one (1) crash on an older computer with Reason 5 and once when the ignition key did not retain the entire download, their support staff was prompt, courteous and extremely helpful. I can tell you horror stories about Cakewalk! So what I write below is absolutely in no way a slam or a show of disrespect to the PropHeads team.

When I first received the email on Reason 8 (R8), I was curious as to how they would improve and amazing system. They steadily listen to forum comments and tweak accordingly. So what could be next? But after watching the promo video, I’d decided eight seconds into it that there was no reason for me to upgrade. Added to my well worn upgrade checklist, I’m listing 8 Reasons why I’m not moving to R8.

Before I do, please note that this is not a technical review of this software of how it performs, because I obviously don’t know. My explanations here are personal and philosophical for the EntreMusician who may be on the upgrade fence if he/she already uses Reason.

1) Never Upgrade for the sake of Upgrading. EntreMusicians know that Cashflow is King. If what you have works for you, whatever it is, keep it working for you. I have an engineering friend who always said, if you want to upgrade, learn a new feature on your current software! I remember going to New York to work with a major label artist who has dinosaur gear and is producing chart topping stuff. I’ve only read the charts…

2) No True Feature Upgrades.
The New R8 is all about workflow, but adding a new browser to support drag and drop, in my humble opinion, could have been a 7.5 offering for a lot less money. Most musicians develop their own shortcuts while working to find their groove.

3) No New Instruments.
This is tricky, but true. Using the Combinator & Spider while being able to rewire everything in Reason brings unlimited benefits of creating your own signature sounds, so perhaps by NOT offering anything new wouldn’t have helped…but it might’ve.

4) Rack Extensions
The addition of RE into the Reason Platform kinda takes care of #3 above. I see that the new Softube Amps are included in R8, but are also for sale separately, which means if I only needed one or the other, I could grab it. Furthermore, the plethora of choices in RE means that for the $129 I would otherwise spend upgrading, I could buy and build some cool additions in 7.1

5) No Real Improvements
The promo video did not mention a faster engine or improved CPU usage. I could see that the GUI is a sleeker design, but you would expect that. Merging Reason & Record was an answer to prayer and in 7.1, having the ability to marry Reason to my old hardware gear was a game changer. I was expecting “The Next Big Thing” which does not seem to be here.

6) Need a Faster Computer
What’s hardly ever mentioned in any software requirement list is that you may need to purchase a faster computer to accommodate the program. While you may not need it to operate the software alone, when you begin to employ all of the new features or rewire it to another software (such as Reason & Sonar) they may not play nicely together and the reason (no pun) is generally that your computer needs more Ram or is outdated…

7) New Suggestions
One of the things I was hoping the PropHeads would tweak would be the screen environment. I am cool with the Blocks they added, but in my opinion, there needs to be Editable Markers for Verse/Chorus/Bridge that you can fly to in a session. The Need to to add New Note Lanes in the Audio Tracks would greatly improve auditioning takes while editing and since we are all on two screens now, resizing the windows to edit wave files in full screen mode is a valuable asset. An added bonus is being able to add an effect in real time to a clip is very useful. I must admit that these are places where Sonar X3 has it right.

8) New Library System
Finally, the ability to email reason files across the world and work with various producers not only broadens the community, but strengthens the musical output. The setback becomes when the collaborators due not have the same instruments. It would seem a step ahead that if both were online within a given session, as long as one of them owned what was in the session rack, they could “share” while working. Obviously, after the session ended, the door would close. Furthermore, when I take my project to another studio where Reason is employed, I should have access to all of my Refills & RE gear without having to comb the studio’s library for my exact sounds. When I save a project and put it on my hard drive for transport, I’d like everything to remain intact for further editing and mixing.

Well fellow PropHeads, I would LOVE to get Your Feedback on this. This weekend, I will be loading up on a few new RE’s that I’ve been trying out, which I’ll share with you later.

Let’s talk. If You Agree/Disagree or have any tips or suggestions as to why You Chose to / or not to Upgrade, let me know!

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You’ve Got IT!


You’ve always known that You had IT! 


In fact, many people have told you You So!


They recognize IT immediately and just as immediately are able to tell when others don’t.


You know IT when You see IT!


IT comes naturally. You don’t have to tug, shove, push or pull at IT! 


Some Realize IT! Others Fantasize about IT! Still More Wish They Had IT!




IT has been abused, mishandled, repressed, ignored, cussed out, laughed at, ridiculed, insulted, manipulated, underestimated and vilified. A few even put IT to death…


However, IT has Never Once experienced a single regret by those who’ve Maintained IT, Refined IT, Practiced IT, Polished IT and Shared IT with others for a cause larger than their own life.


IT Comes with Responsibility. IT provides Privileges. IT establishes Dynasties. IT leaves Legacies.


IT is meant to Add & Multiply. Never to Divide & Subtract.


You Were Chosen to Possess & Protect IT!


Now What Are You Going to Do With IT!? 

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Talkin It Out!

One of the most profitable things an EntreMusician can do, especially if she is the band leader is to hold regular meetings with her group. When embarking on a new recording project, every pertinent item should be discussed on the front end – outside of the recording studio – with no instruments in hand, so there are no emotional attachments.

If the bandleader is also the guy running the indie label, then you have to come correct, show transparency and reveal exactly what will happen before it does. Discuss collaboration, the agreements that will need to be signed and how royalties, if applicable, will be dispersed.

The four major topics of discussion include:

PRODUCTION: Who will actually Produce the Project? Is it a Collaborative Effort? Who has Final Say on a Song’s Arrangement? Who’s Paying for the Project? Picking the Studio(s)? Setting Rehearsal/Recording Times? Hiring Extra Musician/Vocalists? Paying Them? Construct The Flow from Conception to Manufacture to iTunes and then Pick the Person who will Oversee the Entire Project.

SONGWRITING: Are there One or More Writers in the Band? How will Song Collaboration Be Split? It gets confusing in the middle of the groove when you’re jamming and everyone is contributing to the main idea. Everyone should talk about it and then be fearless – Write the information down on a Collaboration Agreement – Sign It! – Don’t wait till you’re filing copyright online and an argument ensues. Do It Now!

PUBLISHING: How is this animal split? If you’re self publishing, with multiple interests among the group of writers, do as stated above: TALK, WRITE & SIGN the document. File Appropriately. Then Make Assignments so everyone is involved with the proper exploitation of the song.

ROYALTIES: How will the CD Sales be split, if at all? Does the One who shelled out the big bucks get reimbursed first? She Should – but she should also keep detailed records as to her expenses so that disbursement of funds begin once ground zero is attained. And it’s always better to talk in Dollars and Cents rather than percentages here – Ex. “We each receive $1.00 each from a $10 sale – $5.00 goes in the bank until we reach 2000 sales then we split $1.50 each” – whatever – just keep it simple, plain and in writing.

The Point is – being very direct and clear on the front end of a project will help you make better music together once you hit the studio and the street!

I’d love to hear from you if I have forgotten something or perhaps what your band has done before approaching big projects.Hit Me Up!

Oh Wow! This is my third post in a row where I wasn’t listening to music as I wrote…something must be wrong with me!

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B’ing VS Doing!!!

A few Saturdays ago, I was in Pittsburgh where I was delighted to participate in Kevin Amos‘ annual “Each One Teach One Radio & Music Conference.”

Kevin is a dynamic radio personality on WRCT who plays Music that Matters! He has been wonderful to me personally and professionally. He often extends invitations to SounDoctrine to come on his show and when he began this conference several years ago, he welcomed me aboard as a panelist, although I was just a “newbie” then.

Having had the recurring opp to meet and dialogue with great minds like Jerome “Hawk” Freeman, DJ GoodnightJoanne Quinn-Smith (who has a great new marketing eBook available at Amazon), Soul Patrol’s Bob Davis and others is worth more than two platinum albums! I look forward to returning next year!

My topic was: “Winning Traits of the EntreMusician!”

But I twisted it up a little by discussing ‘The B’ ing vs The Doing.’  It’s very easy to just talk shop and bark about what a musician Could, Should and Must Do to have that slightly elusive Edge, but it’s ultimately WHO & WHY we are, that causes us to DO what we’ve chosen (or meant) to Do!

A Man or Woman of Integrity, Intuition & Initiative seems to gain a healthy advantage over the Irreverant, Indecisive person in the long run, even if the latter is a better musician or has more money backing them. A Man or Woman who practices honesty and sincerity as a lifestyle automatically watches it spill over into their crafts and eventually emerge as the most enduring artists.

Certainly, there are artistic exceptions to the ‘wholesome’ rule and it’s quite ironic, almost humorous, because those artists who are committed to practicing behaviors or lifestyles others may disagree with, are, in fact, indelible to their fanbase, because they are being – honest and sincere – and it shines through in their music.

To B or not to Jere B is never the question! I always am…

A few of the traits I espouse and live by include these I discussed from the podium:

B You

B Clear

B Teachable

B On A Team

B Intentional

B Courageous

B Healthy

I unpack a few of these in my next posts, but I would love to know what YOUR Winning Traits Are! and how You Live Them!

Post Them Here!

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