The Basic’s of Music Publishing

I thought this was very helpful and wanted to re share it

I would suggest that with anything you need to learn and study what you can. If your trying to go at making music a career or make any kind of money of your music you should always do what you can to understand the business. There is SO much to learn and many other folks out there with more info that you have no excuse for not teaching yourself.

THis article is by no means and end all but merely a starting point to educate yourself in the music business. I would also like to share with you a few places to visit at the end of this BLOG posting that you may find some helpful tools and insights along with some encouragement. Follow the links at the bottom be sure to share all things withthose in your world of influence for you never know who is listening. Peace

 

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Mark Allan Wolfe and Wolfies Music radio interview

Be sure to tune in this evening at 9 pm est for a very informative and fun time!!

Life has ups and downs, highs and lows yet it is the music we follow within our heart that will ultimately define who we are and what we become. Tonight, we present to you, the gifted composer, Mark Allan Wolfe.

Mark Allan Wolfe is a composer and an artist in the truest sense. His film and TV compositions run from thought-provoking, high energy, laced with adrenaline and  atq times sincerity. Combining heart-pounding Rock ‘n Roll with tributaries of Electronics, World, Hip-Hop, Pop and Americana, Mark’s songs draw on his 25 years of striving for professionalism and musical merger of sound and genre.

His fans span the world and the 1500+ compositions verify that diversity on TV, internet, film and commercials. You may have hummed one of Mark’s tunes not even realizing the tunesmith behind the music. Web site: MarkAllanWolfe

Grace Peterson is an author, garden columnist and blogger. Depending on the weather, she can be found either pecking on her laptop or puttering in her garden. She is a member of the National Association of Memoir Writers and the Association For Writing Excellence and her work has been published in several anthologies.

Tonight we will speaking of her first book, Reaching. Is it Demon possession or mental illness. A personal descent into cult extremism and the aftermath,.

Grace lives in western Oregon, sharing a home with her husband and four furry felines while their four grown children come and go. REACHING is her first book. Her gardening memoir is slated for publication later this year. Web-site: Gracepete.com

Your There

Your There.

The song starts out some what slow with pads and solo guitar then builds into this emo powerhouse of a metal rock song with a intense lead guitar through out. Filled with a few hooks, prog- metal. The video is somewhat of a visionary experience for more info and license information please visit markallanwolfe.com

More tips on getting music placed

I have been enjoying the feedback and questions from the previous posts I thought I would elaborate a little more and share a few more thoughts with you. Now before I begin I must say that you may not think what I share is perhaps a tip, but these have been things that have and still do help me out. These thoughts and ideas have come from experience and from certain folks I know in the business who are either A&R people, other Music Supervisors, Composers and if I may GATE KEEPERS Muahahaha!

Now some of this MAY hurt your heart and get you angry, but if you are sick you go to the DR to find out whats wrong. If you are trying to get music placed or make some money in the music biz you are reading this humble attempt at a BLOG. I do NOT have all the answers NO ONE does but here we go…

Ok so you have made some music, you are trying to be FAMOUS, you are trying to share with the world your most incredible song that has ever graced the ears of man….now what do you do? How do you go about trying to get it to the right people? Some of you who read this may have years of experience and this will all seem silly or maybe a review of sorts.

To some this will be strange and you have never heard of these things or even contemplated them. Some of the terminology may seem foreign and strange but if you take the time to learn and read up on  these things they will benefit you in years to come.

How do you explain something that has taken a life time to learn and put into practice with in a few senteces? How does one reveal the truth to someone when they do not want to hear it? Wait a minute what? Yes thats right many people do NOT want to hear what I am saying. You want OTHER people to do all the work for you but you want to reap the rewards of THEIR labor? Yes Mr Anderson this is true. I have seen it time and time again. On one hand there are a group of people who will bust their butts and do what ever they can to try to make it in the busness and then there are those who will go half way and expect the same results. Does not happen.

You have to do your homework no matter what you have to study, force yourself to do things you would not neccessriy do as a musucian such as read, educate yourself. I cannot begin to tell you how many people will email me or call and they have NO clue as to how things work and how this business end works, they think that you make the music place it on itunes, or make a youtube video and people will stop in there tracks. Not that there is anything wrong with not knowing for we are all learning. It is the fact that this is all they think needs to be done. That some one beyond the great expanse will hear them and sign them and their music as in the days of old, or the movies.

Ask yourself a few of these questions, and write them down on paper or on your laptop….

Where do you want to be in a year?

Where do you want to be in 5 yrs?

How do you get there?

Who can help you get there?

Why do you want it?

These are your goals, your blue print for what your trying to do.

Where is music used? EVERYWHERE

Who provides them with that music? How can I get my music to them, or that person?

Why do you write your thoughts and ideas down? If you do not have some form of direction YOU WILL NEVER go anywhere. You have to set out a course a plan. You have to put yourself in the right places at the right times. I believe it was Walt Disney who said  “The way to get started is to quit talking and start doing.”

You need to identify and try to start meeting filmmakers and music supervisors. A few things to try to remember when meeting and establishing ANY new relationships with in this business are as follows;

Composing is primarily a relationship-driven business. If you are not one who likes to work with people you may have trouble working in this field. Not impossible just something to work on. Be seen as a solution NOT a problem.
Be someone who’s easy to do business with and approachable. Do not be arrogant be a little humble. Like with in ANY relationship building, remember to consider others time and thoughts not just YOURS.

Respect their time – when you call, get to the point and always listen. Don’t take anything personally. If someone gives you their thoughts or ideas (like this BLOG) do not trip out just realize that it is just their views. RESPECT, relax, do not stop making music because you got rejected EVERYONE gets rejected.Edison the dude who helped discover the light bulb failed like hundreds of times I think even 206 times!
Always inspire confidence in you and your music. Always remember the unique aspects about you and your music.
Do your homework – learn as much as possible about the person & projects.

I will always share when I can to try to help out everyone. I would humbly ask that if you like this posting and have benefited from it that you write us back share your music with us if you want. I am always looking to network with people of like mind and collaborate so feel free to email. I would also like to ask that you share this with anyone you feel would benefit. It is like we are trying to put into practice what I have been writing about these past few articles. Lets build relationships. ROCK ON!

Tips on getting music placed and listened to

A lot of people email me and ask questions about how to get their music heard, do I have some time to listen and perhaps can I give them some advice? So I decided to put this together as a little posting to try to pass along some VERY IMPORTANT info. I hope it helps it is very basic but sometimes that is all that is needed to do. .

Do your research, find out what shows fit your music. Check the credits. Some of us may respond to Linkedin, Facebook, etc. If I have heavy metal or hard rock songs and cues I am not going to send them along to a show that primarily uses Hip Hop? or Reggae?

You may think this is silly that I say this but I cannot begin to tell you how many times I might post a listing or song search and I get back the totally opposite results. I will post something like I need Hip Hop, or Urban rap tune and someone will eventually send me a singer songwriter or jazz, even once I got a classical score piece. I am not mocking you or making fun of them for I have done that even in the past a long time ago but you need to do your research and find out what shows use what or what have they licensed before. Nothing will get the Music Supervisor to NOT listen to something more than when someone says, “I know your not looking for this at the moment but I feel this will be the best fit for your show…”  Not tripping but if the director wanted something other than what is listed we would have asked for it.

When sending someone an email asking them to listen to your music be sure you make the process as simple as possible. Links to stream with a link to download next to it. Keep it clean and accessible. Something like SoundCloud or Drop Box You Send it, Reverbnation EPK something easy.

Try to think of it like a million folks are trying to get the Music Supervisor or A&R agent to listen to their music. If the one listening needs to fill out forms or go searching on some website then that is NOT going to happen.

“What is the best way for me to get your attention to their music or take a moment to listen?” Be honest about presentation. Be professional yet humble. Try not to tell me you’re the NEXT so and so..Let your music and image do the talking. You maybe working out of a garage or a one room apartment or you may have a great band rocking out every night. THe thing is that if you have great music and great attitude you WILL be heard, your music WILL get you to where you need to be. Might take a while but it will. LOL

Finally BE ENCOURAGED!! and Keep on keeping on. No ONE believes more in your music than YOU! No one will promote it as hard, talk it up as much or try to sell it more.If you send a package out give it some time say 4-6 weeks. I cannot tell you how many times I might have sent something out and not heard nothing back then WHAM when you’re not thinking about it like sometimes months later you get the call, “We LOVE YOUR MUSIC!!” So just because someone does not call you or email you with in a month or so does not mean you’re not being heard.

We live in an age of FAST..somethings take time and for the RIGHT time. If you hold steady and do not quit and believe, make great music SOMEONE WILL notice.

With that I say CHEERS and have a safe summer, stay in touch.

Wolfie’s Music Publishing

The music players on here are from Wolfies Music Publishing and Mark Allan Wolfe

Music Fans Are Prepared To Spend Up To $2.6 Billion More Annually For Premium Content

Nielsen has unveiled the findings from “The Buyer and the Beats: The Music Fan and How to Reach Them,” an unprecedented music study created especially for the 2013 SXSW conference attendees that provides beneficial insights about music fans, defined as those who are passionately invested in music. Co-presented by Nielsen and SXSW during this year’s conference in Austin, the report explores how music listeners engage with music and technology, utilize their smartphones, tap into free content, and engage in crowdsourcing; as well as how companies, artists and fans can be better served.

“The Buyer and the Beats: The Music Fan and How to Reach Them” reveals that 40% of U.S. consumers � those classified as “Fans” � are responsible for 75% of music spending. These Fans, who spend between $20 billion and $26 billion on music each year, could spend between $450 million and $2.6 billion more on music if compelling content is made commercially available. Additionally, the study finds that that the most avid of “Fans” have downloaded the most tracks for free–approximately 30 digital songs per fan over the course of a year.

“It’s encouraging to see such strong demand for content from music fans,” says David Bakula, SVP Client Development & Analytics for Entertainment, Nielsen. “We are finding that there’s a lot of untapped demand for additional content, which can translate into beneficial and profitable opportunities for artists, labels, and advertisers.”

A majority of “Fans” want greater engagement with their favorite musicians and would be willing to pay considerably for that access. They want to know more about what they’re like as people, and get a better understanding of the creative process. These “Fans” are prepared to pay more for exclusive or premium content, autographed products, and special merchandise. In addition, these fans would consider paying about $30 for an “online ticket” to view an exclusive live webcast.

Neilson data on music fans

Nielsen identifies the difference between a casual music consumer and a music “Fan,” and the best way to reach them. The core music fans include “Aficionado Fans,” “Digital Fans,” and “Big Box Fans.” Fans who don’t meet the criteria to be classified as one of Nielsen’s core music fans are the “Occasional Concert Consumers,” “Ambivalent Music Consumers,” and “Background Music Consumers.”

* Aficionado Fans (14% of respondents) – the most avid and engaged music fans are spending about $400 per year on music, concerts and artist merchandise through retailers such as iTunes, Amazon and independent record stores. These fans prefer alternative rock, are active social network users, attend live concerts and listen to music via computer.
* Digital Fans (13%) � the smartphone is the entertainment hub for these fans, who discover music via technology and listen to music via Facebook. They spend over $300 per year on music and share music more than other fans, giving music as gifts and sharing their playlists.
* Big Box Fans (13%) – these fans shop at mass retailers, are partial to pop and country music, and listen to music through a CD or mp3 player. They are highly influenced by bargains, respond well to brand endorsements, and spend about $200 per year on music.
* Occasional Concert Consumers (14%) and Ambivalent Music Consumers (22%) are less engaged with music than the “Fans,” and they spend less (about $100 and $70 per year, respectively). Nonetheless, the Ambivalent Music Consumer is open to discovery (60% use Pandora) and expressed some willingness to pay for exclusive content.
* Background Music Consumers (24%) are the least engaged of all music consumers, spending only $40 per year on music.

sxsw LOGO

“The Buyer and the Beats: The Music Fan and How to Reach Them” presenters included Barbara Zack, Chief Analytics Officer, Entertainment Measurement for Nielsen; David Bakula, SVP Analytics for Nielsen; Benji Rogers, Founder & CEO of PledgeMusic; and Shawn O’Keefe, Interactive Festival Producer, SXSW. During the panel, Bakula projected On-Demand streaming to exceed 100 billion by the year’s end.

Data for “The Buyer and the Beats: The Music Fan and How to Reach Them” was collected via 1,000 consumer surveys using Nielsen’s proprietary, high-quality ePanel in the United States; 1,800 PledgeMusic contributors; and 1,200 SXSW attendees.

Types of Music License

.Types of Music License

Well once again we have compiled a little more info on some catagories of music licensing. we are trying to help promote music and the education of our artist. If you would like to collaborate maybe share some thoughts feel free to add a comment.  Would love to hear from our fellow artist, music libraries

Master Use Sound Recording Licenses
Usage: License master audio recording with no use of visual synchronization.
License Types:

  • Audio Projects
  • Composition and Sound Recordings
  • Master Ringtone (Pre-Recorded music which play actual clips from sound recordings.)
  • Music Compilation (CD, DVD, PC Audio)
  • Public Space (Restaurants, Trade shows, Retail spaces)
  • Radio Ad or Production
  • Sampling, Remixes, Covers and Derivative Works
  • Telephone or Music On Hold

Print Rights Licensing
Usage: Generally sheet music, song folios, scores or notation in any printed or digital form released for sale. Once sold, printed music earns royalties from the print rights license which the publisher negotiated.
License Types:

  • Scores or notation
  • Sheet music
  • Song folios

Sync and Master Licenses
Usage: Use of master in synchronization with visual for film, games, video, etc.
License Types:

  • Corporate, Theater and Competition (unless no visual media is used)
  • Film Sync License
  • Games and Software
  • Internet Website, Flash
  • Products and Toys
  • Single Units (Wedding video, small quantity for profit)
  • Slide Show or PowerPoint
  • Software – Multimedia, All platforms, any use
  • TV Advertising
  • TV Show Sync License
  • Video (Music for Video, DVD or CDROM)

Composition Licenses
Usage: No sync or master, only license to record and sell the song’s composition.
License Types:

Basic Mechanical Royalty application: A mechanical right is the right to record and distribute (without visual images) a song on a phonorecord (e.g. CD) for private use. Mechanical rights or a mechanical license must be obtained in order to lawfully make and distribute records, CD’s and tapes.

  • Phonic Ringtones – Ringtones using standard MIDI sound files

There are two basic types of ringtones:
Phonic Ringtones and Pre-Recorded Ringtones.

  1. Phonic Ringtones are (most commonly) standard MIDI sound files that are either monophonic, where the ringtones are recreated using standard single notes, or polyphonic where notes can be played simultaneously creating harmony and/or counterpoint.
  2. Pre-Recorded ringtones play actual clips from sound recordings. It should be noted that the term ‘Pre-Recorded ringtone’ is not the standard (industry wide) term. They are also known as Trutones, Songtones, Master Ringtones, etc.

Personal Use Licenses
Usage: Non commercial usage, may be sold as retail product, offered for promotion or evaluation for commercial licensing purposes.
License Types:

  • Free Demo – for promo or commercial project evaluation only.
  • Personal Use – typical retail sales application. May not be used for any commercial projects OR purpose requiring other kinds of licenses.

Performance Rights Licensing
Application and Usage: The public performance rights most commonly collected via the Performance Rights Organizations such as ASCAP, BMI, SESAC, SOCAN, PRS and other PROs around the world. Their fundamental job it is to keep track of every single performance or broadcast of all works protected under copyright. Common uses include Film, TV and Radio broadcasting among many other public and live audience venue performances.

Mixed Usage, Special Licenses

  • Custom License – publisher/buyer negotiated according to exact usage, for example, blanket, per-program, exclusive or foreign rights deals, etc.
  • Stock Music License – some restrictions normally apply and vary according to publisher

If your looking to get an idea on some music to use feel free to visit one of the many places to utilize our music. There is a small guitar oriented library and catalog as well as a larger cata log to sample thru with more genres. Please also feel free to add your thoughts, comments and ideas that might help your fellow musical brothers and sisters in the journey to get their music out there.

Wolfies Music Publishing Store

 

More Licensing Terms

Now I know I have posted a whole page on Music Licensing Terms I thought I would make a quick one for those of you who have NO clue as to what is going on. I am trying to help everyone get a better understanding as to the craft you are trying to get into.

For all of you out there who have the whole understanding maybe you can today or sometime do the right thing and try to share that knowledge with someone who has no clue. Pay it Forward so to say. Enjoy!

All Broadcast Rights

Includes Non-Broadcast, TV and Radio, Basic Cable, Internet, Premium Cable, Common Carrier, In Context and DBS

All Media Rights

(excluding Theatrical) Includes All Broadcast Rights as well as Pay-Per-View and DVD/Home-Video – unlimited copies and “all devices now known or hereafter devised”

Audio/Visual Production

Any production such as corporate, educational, government, etc. which is not for broadcast, sale or public showing where a fee is charged.

Infomercial

A commercial no longer than one minute Internet Production
Any production released on a networked telecommunications system (i.e. On-line) such as the World Wide Web through services such as Compuserve, MSN, AOL, Netscape, etc.

Local Commercial

A commercial spot aired in less than three markets, none of which are New York, Los Angeles or Chicago

Network Commercial

A commercial spot aired nationwide

Pay-Per-View

A individual production released on Cable which is paid for by the viewer separate from the normal cable fees

Productions For Sale

Any production sold via catalog, special order, Internet, educational or government auspices as well as mass marketing to the general public

EZ Drummer Drums for your DAW!!

EZDrummer Drums for your DAW!!

This is a product that I highly recommend. I used this and other variations of it in a lot of my productions. I like it so much i thought i would let you know about it thru a friend of mine. If you would like to hear some samples of it visit markallanwolfe.com and sift thru some music samples or click here as well as this  click here

This is a classic and timeless piece of software regarded by many professionals worldwide as a ‘must have’ in the staple diet of any music producer’s plugin menu.

EZDrummer from Toontrack is a fast and ultra reliable way of creating professional sounding drum grooves for your production tracks straight out of the box.  As a drum sampler –  EZDrummer sounds fantastic, the GUI is top notch, looks great and there is nothing complicated about the way EZDrummer works at all.  Getting started, in simple terms, is as easy as loading the plugin into a host channel – choosing a preset kit – selecting a groove from the midi pattern window and pressing play to audition the sounds.

Building a linear drum part for your song using EZDrummer involves:  Auditioning and choosing your grooves, intros, outros, fills e.t.c.  then use a drag & drop method to flesh out the midi files as an extended drum part in your DAW.  You can then edit the midi parts to create variations if need be – mix the kit parts using EZDrummer’s dedicated mixer and you’re done!  EZ!  Of course, there are many more dimensions to explore in EZDrummer especially its custom kit design options and multi-outputs for processing the individual drum sounds through a host DAW mixer, but in essence, that is the workflow in a nutshell.

Kit Pieces:  EZDrummer as a VSTi is reflected through 3 feature user interfaces:  Default Drum kit  window –  Grooves Window, which stores the midi groove/pattern lists – and the plugin’s Mixer.  When first loaded  the default kit consists of 5 drums 4 cymbals with room and overhead mics.  Individual kit pieces are auditioned by clicking in the instrument areas and on the edges of kit pieces to audition rimshots and sound variations where applicable.  Or, by pressing the relevant key on a midi controller to trigger the drum sounds.   EZDrummer allows you to create custom kits  by changing the sounds of individual kit pieces and saving them as user presets.  On the edge of each kit piece in the interface is an arrow which indicates a drop down menu.  Use this menu to choose the different sounds you want on each drum.   For the kick drum, for example,  you could choose a different size of drum using a different type of beater.  The enhanced professional sound quality of EZDrummer is  generated through the several thousand expertly crafted multi-velocity samples of kit pieces taken from leading brand names, like:  Rogers – Tama – Ludwig – Sabian –  Zildjian (and more) – which provide a full and complete dynamic range to this remarkable VSTi instrument.

Grooves: In the Grooves interface of EZDrummer there are a whole bunch of midi pattern libraries representing thousands of captured professional performances translated into midi files.  There are a host of different genres in each midi library, and, depending on the EZX(Expander) packs  you own, the range of genre varies from Pop/Rock – Funk – Ballad – Metal – reaching across into the fields of  Electronic and  Latin percussion.  The detail of the midi patterns comprising the EZDrummer midi library is a producer’s dream.  Each pattern pays close attention to the dynamic in the rhythmic phrase and towards a performance nuance by including ghost notes and live performance hit velocities.  There are a refreshing amount of different time signatures with many different interpretations of the groove, such as: 6/8, 3/4, 7/8 – either played straight, with  swing or with shuffle.  Each EZ midi library is completed with tons of fills to decorate the phrase endings.

EZDrummer also provides 2 sweep dials at the foot of the interface: Humanize & Velocity dials.  The setting of these dials introduces a random element to the number of ghost notes and additional hits included in the rhythmic cycle of a midi pattern while also increasing or decreasing the hit velocity density and amplitude of the hits.  Again, these sweep dials add further detail and production options when working with EZDrummer.  Finally, when you drag and drop the midi patterns from EZDrummer to the DAW channel – all velocity information you program with a midi pattern is fully retained ensuring total replication of the performance.

The Mixer:  EZDrummer has a dedicated mixer interface which provides 9 mixer channels for all kit pieces including seperate channels that adjust the ambience of the room and overhead mics.   Interesting to note that the snare sounds from the default kit in EZDrummer have 2 dedicated channels (top & bottom)  with an adjustable mic bleed control affecting the amount of bleed from the bottom snare sound and from the overheads.  There are a limited number of mixer presets available from a drop down menu to the upper left of the mixer interface that switches the mixer interface into a variety of different panning and mix states.  However,  you can randomly generate mixer states by clicking the ‘randomise’ button –  useful when looking to get a feel for a final mixdown.

The mixer also allows channels to be grouped together by a simple shift & click on the number of channels required to form the group.  Once created, the actions applied to a fader on one channel will affect all faders  within the group.  However, the pan of each channel within a group remains independent and can be adjusted seperately, which is cool.  Finally, the mixer channels can be  assigned to 8 seperate stereo outputs and routed to the mixer of a host DAW where the individual kit sounds can be processed using the host DSPs or third party plugins.  All in all, EZDrummer’s mixer is detailed enough to create a flexible mix environment.

As a drum sampler/VSTi plugin –  EZDrummer, with its ready to go finished drum sounds, provides an incredibly simple creative workflow for drum part tracking.  The immediacy and speed of workflow enhances its qualities as an excellent song writing tool.
Further, all of its samples load into memory so there no clicks or pops on playback and the sound quality will always sit well in any professional mix.   For those in need of more processing power within the plugin itself I would recommend you check out Toontracks big brother of drum sampler/romplers – Toontrack Superior 2.0!  Either way, EZDrummer is a cool piece of kit and coupled with the numerous EZX expansion kits supplemented by Toontrack over recent years it could easily develop as THE ultimate ‘go to’ plugin in your production tool kit.

Whether professional or hobbyist –  since the  launch of the product in 2006 you must have of heard of EZDrummer? – if you haven’t –  welcome to planet Earth!

EZdrummer® Facts & Features
• 7000 sound files at 16-bit / 44.1kHz equivalent to 5Gb of uncompressed wav files.
• Instant access to more than 8000 midi drum patterns with prelistening, quick browsing and drag’n’drop functionality.
• Same extensive layer depth on all drums and cymbals as in EZdrummers big brother Superior Drummer®.
• EZdrummer® ranges from entry level usability to pro handling
• Features multiple microphone control
• TPC II reduces system requirements to a minimum
• Operates in General MIDI
• Internal mixer allows stereo and multitrack routing into the host through one single plug in
• Preset mix modes for quick sound changes
• Interface visualizes the drums loaded and combines auditioning and kit construction
• Drums recorded at Avatar Studios, New York by worldclass drummers and producers
• The humanizer function combines drum hit randomizing and non-cycling
• Velocity sweep allows instant changes to MIDI data, extending groove context relevance
• Possibilities for the user to add their own MIDI files to the library

For more information about EZDrummer go here…

Brought to you courtesy of Soundwrx Digital

Music Production and Mastering Tips

As we gear up for this new year and start considering all the things we are getting involved in we wanted to share a few things with all of you that might help you all in your production and music creation.

Mastering is often considered to be something of a dark art, being thought of as almost unattainable. Although it is a complicated process it is not something that is not  unattainable and it is not an unlearn-able skill. A few places where you can find help would be ; Computer Music Has a bunch of tools available as well as a beginners’ guide to mastering. You can also visit http://www.recordingmag.com/ For a LOT of helpful tips and video links and articles to get you going.

Now, lets look at the things that we have found to be very helpful…..

Notch the kick

Try not to use shelving EQ to boost your kick. For you do this, and you are going to be boosting all the harmonics in there as well. Start by notching the EQ with in the freq of the Bass Drum, so you can just control the thud of the kick. I have found that if I just tweak the lower end of the EQ I can get that DEEP thud effect that hits you in the chest but sits right in the mix.

Ramp up the vocals

If the vocal track seems dry or is not cutting through, I will use EQ. I go to the center and add some mids in a bell shape all the while being mindful not to change the dynamic of the track. I boost around the 2, 2.7, 3kHz range , depending on the vocal tone. I will also use a mid/side processor to make the center channel louder or send it through a plug in that makes it spread out a bit I know I am weird but one thing is just because your plug in may have preset that says it is made or designed for this or that instrument does not always mean it is the best. Explore your sound and try to find those dynamics that make your track jump out and grab you by the throat and say “HEY LISTEN!” You understand do not limit yourself by what others put on you.

STAY BALANCED!

Now just because you may have these great tools and plug ins does not mean that you have to use them on everything. If the track or instrument is well-balanced, maybe you do not need a compressor. It is all about the gain structure and tone. You may want to turn your track up but you don’t want to ruin the vibe, so use wisdom. I always say STAY BALANCED Do not let your A.D.D get the best of you stay on track but at the same time explore your options. For some of the best tracks have been found totally by accident by exploring but you should always back up EVERYTHING and always save the original un the event you make a mistake.

Compression can affect the width

A narrow mix can be widened using mid/side processing, as compression and gain on the outer frequencies will accentuate them. Just be careful not to hid or cover up the important parts in the center, like bass and vocals. If your mix is too wide you may be able to bring it in by compressing the center signal, then raising its level back up. Always try to find a perfect place for every instrument, this is another beast all in itself though right?

Lower the output

When you are ready to make a mp3 from your mix you will get a better result by converting a WAV that has been mastered to a slightly lower output level than 0dB. Some engineers will recommends starting with a WAV that is about -0.5dB or -1.5db Try it out and see for yourself the difference is unbelievable.
If your mix is still some what not where you want it despite your best EQ efforts, you might want to try an exciter or enhancer. Where EQs can accentuate noise, and only amplify what’s already there. Exciters raise the harmonics of the fundamental tones found in the recording, brightening dull mixes. As with everything in mastering, though, don’t overdo it remember STAY BALANCED!
Do not forget to visit the websites and dign up for email list. Big news coming in a bit so if your looking to maybe find placements for your music be sure to stay connected. Things have been so busy it has been hard to stay up to date with everything. Please be patient.