Music Industry RoundUp – March 22nd, 2012

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INDUSTRY NEWS: EMI Sues Cash Money Records.
EMI has sued Cash Money Records over late payments. According to a complaint filed by the major in the U.S Federal Court in the Southern District of New York, Cash Money has failed to make payments due to the major for undisclosed music it licensed, which apparently was connected to “Tha Carter III,” the only Cash Money release named in the complaint.According to the court documents EMI first sued Cash Money on Nov. 29, 2009, for “direct, contributory and vicarious inducement of copyyright infringement, unfair competition and breach of contract,” in a case that was ultimately settled on Feb. 17, 2010.
Read the entire article at

Kid Rock with Carson Daly
Kid Rock & Carson Daly

ARTIST DEVELOPMENT: Fan Friction – How The Internet is Failing Artists.
“Where the f*ck am I gonna go now to sell my records?”
That’s a musing from Kid Rock, as quoted by Carson Daly, after the final episode of TRL. Most people would instantly reply “the internet.” The internet, however, despite being a great tool for music discovery, has been poor, at best, at turning that discovery into actual fans.

The way things are set up now with Facebook and Twitter, very few artists have fans. Artists have plenty of “likes” and “followers,” but they don’t have the artist-fan relationship that’s needed to be as big as the acts of previous generations. Fans buy albums, concert tickets and t-shirts. Fans tell their friends about artists. The person who “liked” a Facebook page, who are they in relation to the artist? Are they really a fan?
Read the entire article at Adam’s World.

The Rise of Indie Bands in Advertising

MUSIC MARKETING: The Rise of Indie Bands in Advertising.
While musicians and brands have long had a symbiotic relationship, the use of indie groups in advertising seems to be fast on the rise. Call it a marriage of convenience. Marketers in search of millennial currency, their growing need for digital content and a music industry still in chaos have helped create a scenario in which two once polar opposites are now happily attracted. And it’s not just for flashier categories like auto and fashion. Indie artists (read: obscure bands connected or not to major labels) are now peddling life’s less-sexy products, like hardware, detergent and health insurance.

Mega corporations using under-the-radar acts in TV spots is not a new phenomenon. During the 2000s, Apple, for one, cultivated a countercultural image when it became practically synonymous with breaking new artists, such as Feist with her “1234.” But that was the exception, not the rule.
Read the entire article at

MUSIC PRODUCTION: Putting a singer at ease in the studio.
If you’re doing vocal overdubs, and doing them right, it’s going to take some time. If you have an inexperienced singer the best place to start is by making them feel at ease in the studio.
Read the entire article here at

MIXING TIPS: Surround Sound Mixing. Guest post by Unne Lilijeblad, Part 2 of 6.
This is a guest post by mix engineer, Unne Lilijeblad over at This is the second article in a six part series about his experience with mixing in this still under utilized medium for listening to music. In the last article Unne talked about the basics of surround formats and standards. This week he talks about some of the disappointments with DVD Audio discs.
Read the entire article here at

Achieving the 'mastered sound'
Achieving the 'mastered sound'

MASTERING TIPS: Achieving the ‘mastered sound’ while keeping a wide dynamic range.
One common definition of dynamic range is the difference between the peak and the RMS level of a signal. Since the peak level in a commercial release is always at full-scale, then the mastering process will level out the peaks then bring up the RMS level, thus reducing the dynamic range.If the difference is less than 12 decibels, then the music will start to suffer. Less than 8 dB and the sound will be aggressive and harsh. 14 dB (or DR14) is thought to be a reasonable difference to aim for, to preserve dynamic range.But…
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Fostex T20RP mkII
Fostex T20RP mkII
Gear Recommendation – Fostex T20RP mkII headphones
Having been a recording engineer for many, many years I’ve used quite a few different types of headphones for tracking and overdubbing. A pair of AKG K-240’s were my session standards. I felt they had the best  frequency response with the most comfort out of any headphones I used. That is until I started using the Fostex T20RP mkII.

IMHO, they are more comfortable and sound much better than the AKG K-240’s. Plus the Fostex’s are modular so you can purchase any part of the headphones separately.

This is a big deal because you don’t want to have to buy a new set of cans if the only problem is that the ear cushion is a bit tattered. But don’t take my word for it. Here’s a 5 star review from J. Beck that can be found on
“My all-time favorite headphones
“As a professional audio engineer who does both studio recording and live sound reinforcement as well as an audiophile, a great pair of headphones is one of my most important pieces of gear. They must be accurate, reasonably comfortable, have excellent high and low frequency response, block out a reasonable amount of outside noise, and must have the ability to play loud enough without distortion so I can hear what I’m listening to on them over the sound of a live band. They must also have the transparent, detailed sound I require for critical listening as an audiophile.

Wishing you all the best and happy music making.


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