(Part 2) Reddit mentions: The best music business books

> is someone who knows theory well actively thinking about tonics, dominants, subdominants, seventh's, etc on the fly? Or is it more like, the progression is "G, C, G, D" so I know I can play an E minor scale when G is being played as long as I resolve on G? Or am I way off base?

I guess yes and yes. You might get different answers depending on who you ask and their skill level. For me, after playing rhythm bluegrass for 6 months you start getting better at picking up chord progressions by ear, and the more you start practicing flatpicking notes vs just strumming, you slowly but surely start adding licks and recognizing patterns of notes over each chord. You start learning how some notes resolve better than others over a certain chord progression, pick up a few licks along the way, etc.

Learning theory only helps you understand what the hell you're doing and why things sound good sometimes and why the might not other times.

> So the question is if I learn enough bluegrass songs flatpicking style will that same concept show through? Like I can make sure the melody notes are ringing and I'm playing in the correct scale at the time, is that basically flatpicking?

I would say so. I'm not a finger picker myself (though I've always wanted to get better at it), but it does sound familiar.

> And once I have enough practice and a solid song repertoire it will all kind of come to fruition with the understanding of how I can jam with others?

Yeah - it takes a while to build up a good repertoire of songs. And to be honest, a lot of flatpicking songs can sound the same.

As far as building a repertoire of licks, I got this book when I first started out which I thought was helpful as well:

https://www.amazon.com/Licks-Bluegrass-Guitar-Orrin-Star/dp/0825602912/ref=sr_1_1?ie=UTF8&qid=1467386209&sr=8-1&keywords=bluegrass+licks

Additionally, I have this video on VHS and when I had a VHS player, I remember enjoying it:

https://www.amazon.com/DVD-Bluegrass-Slow-Jam-Total-Beginner/dp/B000BGPL1G/ref=pd_bxgy_74_2?ie=UTF8&psc=1&refRID=3VQAGPQD7CW13S94N4QP

I also remember that DVD teaching good jam etiquette, which I thought was important. Going to a jam can be like playing golf in some ways. People always love new members in a jam circle, it's what makes bluegrass great, but I always thought having good etiquette is important (picking songs to play that most people are familiar with, not playing obnoxiously loud when others are playing a lead, when you play rhythm and take a lead, when to start and stop, etc.).

I just bought the intermediate DVD and will be here this weekend - I'm curious if it's good. I'll report back and let you know if it's any good. I've never paid for Banjo Ben's site before, but I've watched a handful of his free videos back in the day and just remember picking up a lot of info. I don't think you'd necessarily need to pay for an account if you're doing everything else mentioned above (learning songs, trying out the DVD, etc), but maybe it's more up your alley.

The first song I got half decent at improvising to was Foggy Mountain Special, a really good song to practice improvising to IMHO if you're starting out. Here's a video playing this 7 years ago when I was starting out. The two leads I play are mostly a combination of licks I've learned, put together over the I-IV-I-IV chord progression.

https://www.youtube.com/watch?v=BzPYLk_LME0

Hope that helps! All that aside, if you just practice flatpicking a lot, practice with a purpose, and practice often, it doesn't matter whose advice you listen to, you'll get better.

Listening to a lot of mixes is certainly a great idea, I didn't even think about DJing for years, I just love music so much, I realized after a while I had a serious collection going and people seemed to like my taste in music.

I started using Virtual DJ without a controller for a LONG time, just putting together mixes with a mouse and keyboard (painful, but it works). I'm always listening to music, always looking in various places for music new and old. Beatport is a great finger on the pulse of electronic music, but certainly don't limit yourself to one place. Did you hear a song, a band or producer you like? Type that shit into pandora and have a listen, you won't find gold every time, but it's a good way to discover new stuff.

My buddies in the IRC channel (look how to access this room on the right hand nav bar dealie, we'd love to talk to you about getting into DJing) are usually linking this book and this one as well to newcomers. I haven't read them myself though.

Your passion for music will drive you forward, just keep listening and do some practice transitions, keep mixing, all the time. The different styles and techniques you can employ in your DJing can be overwhelming, but just focus on the basics. Learn your style, your niche, your SOUND, work on blending tracks and whatever else you want to do will.. present itself in time. Good luck homie and I hope to see you in #r_djs!

1. Here's a book from 2011 that I think is a solid resource http://www.amazon.com/Music-Money-Success-7th-Insiders/dp/0825673690/ref=sr_1_1?s=books&ie=UTF8&qid=1459449778&sr=1-1&keywords=brabec Lot's of stuff like Publishing and Licensing among a million other things in here. Written in 2011.
   
   
2. Charging for beats... uhhh... What you can do is lease beats out which means you send the beat out with your tags on it or something for a cheaper price, or sell the beat in it's entirety for a higher price. Try and look at producer's pages and see what they do. Try and replicate that. The price is up to you but it should be negotiated.
   
   
3. It's your call. I haven't heard your stuff. What's the demand for your stuff like? If it's high, charge a price. If not, charge little or free. But again, it's your call.
   
   
4. Again. Based on the quality of mixer and master engineer. I'd say if you have the programs on your computer already, you can mix and master yourself.
   
   
5. Royalties are always tricky. Producers can get songwriting credits since they wrote the backing beat/song. Which is really good because songwriting credits will keep you paid. The split is all based on negotiations between producer, lyricist, publisher, etc.
   
   
6. Getting signed... you can do it all DIY style which will require the most work, but you will get the most benefits and royalties if you do it... Write your own stuff, pick who you work with, publish your own stuff, create your own website, imaging, etc. An Indie label is more about getting some funds and people will help you out along with putting stuff out, imaging, etc. A major label is the stuff the big acts are signed to and they usually help with everything with a lot of funds, branding, imaging, etc. Check this article http://www.musicthinktank.com/blog/major-vs-indie-what-really-happens-when-you-sign-a-record-de.html
   
   
7. Make what you feel. If you're working on all those different genres, it's good. It means you're versatile. Don't sweat it about being genre specific. There's a gazillion different genres today because of all these subgenres and whatever. So just make what you feel.
   
   
8. Try and go for an internship. Maybe see if your school has an audio minor or classes that dive into Pro Tools and live recording.
   
   If anybody else would like to chime in or correct any info, that'd be great. I'm just trying to come up with stuff off the top of my head.
   
   Just keep doing research on it. There's a million different sources for info on YouTube now.
   
   Source: Music Industry student

Holy shit, 888s? Man, those are old. What version of OSX and ProTools are you using? Those are generation one hardware.

Anyway, I think you really need to read these books:

http://www.amazon.com/Behind-Glass-Record-Producers-Softcover/dp/0879306149/ref=sr_1_1?ie=UTF8&qid=1449791777&sr=8-1&keywords=Behind+the+Glass

http://www.amazon.com/Behind-Glass-II-Record-Producers/dp/0879309555/ref=sr_1_2?ie=UTF8&qid=1449791777&sr=8-2&keywords=Behind+the+Glass

Those 2 books seriously affected me when I was just starting out.

A list of tips on mixing wouldn't really help you. I could tell you things I typically do, but that's not necessarily the right answer. I might say something like "For vocally driven music, I like to throw up my drums and vocals first, and fit everything else around them.". But is that the right way to mix? No. It's how I do it.

You need to get a sense of the craft and art behind mixing. The different ways to approach this problem, and how the best among us have discovered it works for them, so that you may stand on their shoulders and hopefully reach just a bit higher.

These books cover extensively this topic by serious in depth interviews with some of the best engineers, mixers, and producers that have ever walked the face of the planet. I would start there, and come to reddit with more specific questions once you've covered the basics with the guys who invented the art.

Enjoy, if the bug bites you you'll keep going. I will say this, you are running on VERY old hardware and software. Not that it's not possible to make good records on this stuff, as it's been done before, just be aware of this. You may run into certain limitations and frustrations that would be solved easily with an upgrade. And to be honest, I don't know what resources you're using to learn PT, but be aware that a large number of the features you'll be learning about simply don't exist for you, shortcut keys may be different, I honestly don't even remember what ProTools version 7 was like, and I'll bet you're way earlier than that. Those 888's are more than 15 years old.

Your music has to end up in some sort of Indie film that does good, some kind of commercial, etc. It's a lottery, not a ladder to the top.

I've played every major music fest in the world (Montreux, NorthSea, Pori, Riverfront in Memphis to 80,000 people) and seen "the top of the mountain".

When I got home from that tour, I had a gig at a stinky little blues bar in San Diego, CA.

The point behind all that is to illustrate that, no matter how high you go, staying that high is the challenge. It's relatively easy to get to the top of the mountain, but staying there is a bitch.

It just takes tenacity, good management skills, and a whole lot of faith or hope or whatever you wanna call it....most of all, you really better love what you do because sometimes... more often than not... all you end up with is "love for what you do".


Go get a copy of the Songwriter's Market for this year and start honing your press package.

Good luck and better preparations.

EDIT- clarity

Well my situation is rather unique. I have a good friend who was a very prominent rave promoter in the mid 2000s in Baltimore. The first rave I went to was one of his back in 2009. He wrote a memoir about his time as a promoter and I was one of his test readers.

After reading it I was convinced that he should get back into the game and I wanted to help him. We decided the first party should be a release party for his book.

I have a really dope job and I was able to fund it all out of my own pocket. I also found the venue after asking on r/Baltimore for suggestions.

He has a huge social media following and is a legend in the scene so he was able to gather a bunch of really great local DJs to do the show for free. He was also instrumental in promoting online by using his platform and getting the DJs to also promote.

We designed a flyer and printed it out and handed them out at other shows in the weeks leading up to the party.

On the day of the party we went to venue and helped the owners get it set up for the party and building the stage. We then had the sound techs we hired set up the sound systems.

This process took about 3 months start to finish and cost around 3k.

Here is his book.

I stumbled on this TV documentary on the U.K.'s Rough Trade record label many years ago on BBC. It was based on a book released about the same time, but I can't seem to remember the name. There seems to be a dozen books written about Rough Trade, but it's probably this one:

Rough Trade: Labels Unlimited (2006

"Rough Trade: Labels Unlimited tells the engrossing story of one of England's most groundbreaking record labels. It is 30 years since the Rough Trade Shop first opened its doors in Notting Hill, London. Disco and soft-rock ruled the airwaves, The Clash had just signed to CBS and Geoff Travis set up the company with some friends as a communistic, DIY alternative to the increasingly stale mainstream. Over the ensuing years the Rough Trade Shop, Rough Trade Records and Rough Trade Distribution profoundly altered the landscape of modern music. Rough Trade looks back on three fascinating decades of innovation, noise and change, taking in ups and downs, twists and turns and some of the best music ever committed to vinyl. The label released many of the most important records of the late 1970s and 80s by artists including: The Smiths, Scritti Politti, Mazzy Star, The Go-Betweens, Aztec Camera, Robert Wyatt, The Fall, Arthur Russell and Linton Kwesi Johnson. Rough Trade profiles these artists and much more, as both the history of Rough Trade, and by proxy the story of independent music over the last 30 years are engagingly chronicled. Visually stunning, Rough Trade is filled with archive images, interviews and previously unseen photographs and artifacts."

.

Anyone who listened to 90s alternative is probably familiar with the name, Rough Trade, but I never knew there was such a spectacular but turbulent time with them. They basically discovered the "Who's Who" of 90's Brit music for me like Pulp. If you want a book about Shoegaze, try to find a biography about the record label 4AD. I don't know if one exists, but they seem to have dominated that genre with their artists.

• He did not sleep mainly with boys, there are instances of him sleeping with other adults and girls as well, robson's own sister admits to sleeping in his bedroom.
  
  • "Instances". Exactly. Random rare situations in which he slept with other people.
    
• His fingerprints were never found on the books and they were sent to him by fans.
  
  • Nobody looked for fingerprints on the books. They would have been permanently damaged. Read the court transcript once in your life.
    
• There was no gay porn found at his house and even if there was how does that relate to pedophilia?
  
  • I said "gay erotica". This is common stuff in the houses of gay pedophiles. You know, some pedophiles like girls and some like boys. Those who like boys do have gay erotica in their houses as well.
    
• What's wrong with having vaseline? Many black people use vaseline a lot to stay moisturized.
  
  • And pedophiles use it to put their fingers into little boys.
    
• I am not aware of the cocaine story but even if it's true what does cocaine have to do with pedophilia?
  
  • Ask Aaron Carter.
    
• Michael's room was used by other people when he wasn't there, anyone could sleep in there. It was also only stated that male DNA was found, you are assuming it was sperm. And either way, what does grown adult DNA being in his bed have to do with pedophilia?
  
  • It was never said that it was "adult DNA". Just male. How many males have you seen in his private bedroom? Let me know.
    
• Michael does not have a yearly income, and no one was ever silenced. We know about all the cases, they were not silenced.
  
  • This guy made an in-depth research about how much MJ had earned every single year (and that's called "yearly income"). MJ was estimated to have earned $34 millions in 1993. Almost $25 millions went to Jordan Chandler and Francia.
    
  • Chandler was silenced. There was a secrecy deal btw Jackson and Chandler's family. That's why you've never heard of them since then.
    
• Why are saying little boys are cute?
  
  • Tell me the name of three fat ugly boys you saw sleeping with MJ.
    
• What relatives have accused him? If you are talking about Latoya you should know she admitted she talked bad about him because her husband was abusing her and made her do it.
  
  • And she casually guessed that one of the guys receiving a huge cheque was working in the waste disposal industry (Safechuck senior). She even talked of some letters by MJ's mother and Jermaine confirmed that the letters exist.
    
• Michael and Lisa were romantically talking to each other before the allegation ever happened and had known each other for years. They got divorced because she did not want to have his kids.
  
  • They were just talking, because sex was happening with little boys. In fact, when she filed for divorce, MJ was already befriending the Cascio brothers.
    
• Many of your points are wrong or simply irrelevant.
  
  • Okay.
    
    ​
    
    Listen, I've had enough of you stans. MJ was an incredible talented man, generous beyond belief and definitely one of the most inspiring man in the world. That has nothing to do with the fact that he was attracted to kids. One doesn't exclude the other. Whether you want to accept it or not, I am satisfied with the fact that you find normal for an adult man to possess books with naked kids displaying their genitals to pedophiles. Oh, it was a gift? Would you keep a book with naked boys, whose pics were taken and collected by pedophiles? Pls.
    
    Sure he had a hard life being a pedophile and being a superstar at the same time, but you can't call a conspiracy every single person who has testified against him and then trust a Macaulay Culkin who said he had never worn a pajama before 18, although he actually made 3 movies wearing pajamas before he had turned 12. PLS.

I took a course in college that surveyed types of music careers. You might be interested in the textbook we used https://www.amazon.com/Self-Promoting-Musician-Strategies-Independent-Success/dp/0876391390
If you're looking to start a career in music it's important to understand how to market your content to people and how to find your audience. A lot of musicians think the best thing to do is to just keep practicing and improving their musical knowledge. You obviously need to know how to use a DAW if you want to compete in the industry and learning theory would definitely help. But investing time in building your image on social media will help immensely. Also, if you're looking for a free DAW I know Pro Tools First is free. It allows you to create up to 16 tracks which should be enough for your early career. If you're looking for recording equipment here's a list of stuff I've been using:
https://www.amazon.com/gp/product/B01N5QDQOF/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
https://www.amazon.com/gp/product/B06ZZCR6P4/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
https://www.amazon.com/gp/product/B000CZ0R3S/ref=oh_aui_detailpage_o00_s00?ie=UTF8&psc=1
https://www.amazon.com/gp/product/B06WVFRW4H/ref=oh_aui_detailpage_o00_s01?ie=UTF8&psc=1
https://www.amazon.com/gp/product/B003CLIPHO/ref=oh_aui_detailpage_o00_s01?ie=UTF8&psc=1
If you're looking for tutorials on Pro Tools and Sibelius my professor has some on his channel https://www.youtube.com/user/dtoddsorensen/videos
I hope this helps

>hile it was arguably first, it's not the only way. Last I checked, Apple Lossless does not employ DRM. the files can be copied and played by anyone. Apple does not go out of their way to make this easy, but they don't stop you either. And I see more and more online releases offering FLAC, which also does not employ DRM.

​

iTunes did use DRM on music sold for the ipod at first, from 2001-2009, but I think other music stores didn't employ DRM. They don't anymore, or any other download music store, (and the quality is better). However, with streaming apps now, all the music is DRM and cannot be played or taken from the app at all by the user (easily anyway), which is another reason the industry is moving to streaming, it has the most control on the content.

​

I remember reading that music industry actually wanted to do digital music streaming around the time Apple was launching iTunes in 2001, but Steve Jobs convinced the music executives that people still wanted to buy music, and that's why iTunes popularized the .99 cent per song download. (I think I read about it in this book about the history of the mp3). But the selling of digital music files never equaled the juggernaut success of the CD in the '90's and most of the money made was by Apple.

​

​

>it makes far more sense for most people to pay Spotify (or Google, Apple, et al) $10/month, than to try and buy all the music they want. $10 buys you about one new CD, but that same $10 can rent you unlimited playback of 90% of the music you want to hear.

I agree, like anybody on this subreddit, I have tried to buy all the music I want. My pocketbook has seen the light and found a home on Google Play Music, which at least allows me to upload my own collection as well. I can hear stuff I haven't heard before, 98% of which I'm glad I didn't have to pay $12 just hear it. The other 2% I do purchase, because I actually want to own a copy.

​

Each country is different, but there are often advocacy groups for musicians, labels, etc to help fund the projects. In your case you would apply, show a business plan, your recent success, etc -- and if you're accepted, they'll give you a couple grand. If the grant is for x-months, you reapply.

A lot of small labels operate off of these grants. I don't know about the US, but in Canada you can get specific grants for everything from travel, operating expenses, and more.

It's definitely worth looking into. I think Donald S. Passman's book, All You Need to Know About the Music Business touches on this... but its been about fifteen years since I read it.

edit: fixed a middle initial

Simon Reynolds' "Generation Ecstasy" is the big one about 90's dance music. It was like required raver reading back in the day. Big focus on UK hardcore/early jungle.
http://www.amazon.com/Generation-Ecstasy-World-Techno-Culture/dp/0415923735/ref=asap_bc?ie=UTF8


Co-sign "Last Night a DJ saved my life" also a really good one.
http://www.amazon.com/Last-Night-DJ-Saved-Life/dp/0802146104/ref=sr_1_1?s=books&ie=UTF8&qid=1421350101&sr=1-1&keywords=last+night+a+dj+saved+my+life


Dan Sicko's "Techno Rebels" is great one with a big focus on the early detroit techno scene
http://www.amazon.com/Techno-Rebels-Renegades-Electronic-Painted/dp/0814334385/ref=sr_1_1?s=books&ie=UTF8&qid=1421350046&sr=1-1&keywords=techno+rebels


Kai Fikentscher "You better work" is a great one about the early NYC dance scene. The loft, the paradise garage etc.
http://www.amazon.com/Better-Work-Underground-Dance-Music/dp/0819564044/ref=sr_1_1?s=books&ie=UTF8&qid=1421350247&sr=1-1&keywords=you+better+work


Mireille Silcott "Rave America" is an awesome one about the 90's US rave scene. Big focus on Midwest hardcore/hard techno. Also has a super early interview with Tommie Sunshine before he became a DJ.
http://www.amazon.com/Rave-America-New-School-Dancescapes/dp/1550223836/ref=sr_1_1?s=books&ie=UTF8&qid=1421350330&sr=1-1&keywords=rave+america


Brian Belle-Fortune "All Crews" is a good one about the UK 90's D&B
scene.
http://www.amazon.com/All-Crews-Journeys-Through-Culture-ebook/dp/B00HJ6SPPU/ref=sr_1_1?s=books&ie=UTF8&qid=1421350448&sr=1-1&keywords=all+crews

If you're into digging for old dance records. There's a series of books called "the rough guide" that was distributed by Penguin that are basically little mini-encyclopedias of 90's dance artists/releases. I found them REALLY helpful back in the day before the internet was a thing.


I've got the rough guides to house, techno & d&b. Here's a link to the house one. http://www.amazon.com/Rough-Guide-House-Music/dp/1858284325/ref=sr_1_1?s=books&ie=UTF8&qid=1421350616&sr=1-1&keywords=the+rough+guide+to+house

EDIT. Forgot to add. THE MANUAL by the KLF is fucking hilarious read & kind of an amazing historical artifact. It's like a $100 on amazon (Ugh, a friend borrowed my copy back in the day and never gave it back) but there's text/pdf versions floating around the web
http://www.amazon.com/Manual-How-Have-Number-Easy/dp/1899858652/ref=sr_1_1?s=books&ie=UTF8&qid=1421350795&sr=1-1&keywords=KLF+the+manual

In Spite (Rock or something)[Themed]

​

So I just finished reading David Byrne's How Music Works and was inspired by his work with the Bernie Worrell/Adrian Belew version of Talking heads. In the book, Byrne talks about the power of building the band's songs around a central repeating theme and usiing non traditional percussion to enhance the sound of a former post punk band. The ultimate manifestation of this formula is the concert movie Stop Making Sense - which I think is must viewing for any musician.

​

I first built the main riff and the solo about 10 days ago mainly as an exercise in creating a backing track to jam to but then left it to work on other stuff.

​

When I saw the theme today I wrote the lyrics and constructed the chorus sections. The song is about someone who hangs onto a 'nightlife' lifestyle too long.

​

the main part of the beat is created by combining a trip hop sample loop with bongos and the Logic Drummer Jesse.

​

What resulted is a the mutant love child of Some Girls era Stones, Santana and ????

​

Anyway - I really liked the way the bass riff just builds tension thru the song. And I highly recommend that book for anyone that is interested in hearing one of music's true pioneers explain his philosophy of music.


Thanks for checking it out!

Perfecting Sound Forever by Greg Milner

The book details a history of recorded music, and how changes in recording technology, from Edison cylinders to vinyl to tape, to computers, have changed how music is made. It is a really surprising and interesting look at how technology has changed our perception of music, and it's a really great read if you're into that sort of thing.

David Byrne's How Music Works is also an interesting read as he talks about his own process on various albums, and how he took different approaches to the albums, as well as a number of other aspects of music and the music industry in general. If you're a Talking Heads, or just a David Byrne fan, you'll definitely enjoy it, but even if you're not, it's a worthwhile read. Hope this helps!

Not OP but I am a jazz musician. Yes and no. Be aware that a music career doesn't just automatically happen because you are a good enough musician, unless you're incredible or incredibly lucky. I HIGHLY recommend reading the book Beyond Talent before deciding on music as a career. You will have to act as your own booking agent, social media manager, and tons of other bullshit until you are a self-sustaining business. Or get picked up by someone already nationally known if you want to be a sideman, but that doesn't happen as often as it used to 50 and even 25 years ago. Also, be ready for private lessons to be a major part of your income for a while, possibly forever.

Just grabbed a few links from amazon for books on the subject that might benefit you.

Music Marketing Book 1

Book 2

Book 3

Book 4


Here is the basic steps I would take

1. Find the audience for the album you are promoting.
   
2. Look for examples of how other SUCCESSFUL band/artists in this category attract their market.
   
3. Use these examples as a start for your campaign.

Can i suggest a book? "Beyond Talent" https://www.amazon.com/Beyond-Talent-Creating-Successful-Career/dp/0195382595/

also "Savvy Musician" by David Cutler

------------

It's rough. I know at least a few players who went to top schools getting by teaching, playing house concerts, weddings and in the pit and daytime music retailer job. For wind, piano and percussion people being a manufacturer's rep isn't such a bad job. The guy who sets my bridge and soundposts has a masters from Indiana. There's probably at least a few at your local big box band and orchestra retailer.

Those books stress an enterpreneurial mindset, always promoting yourself, networking, starting with high quality youtube videos and website, professional appearance and demeanor. Also the unavoidable fact that you're going to be playing/recording things you'd really rather not but you have to look happy anyway

I'd recommend Bill Graham's autobiography, thoroughly enjoyed it. Not specifically the Dead, but lots of interesting stuff. Probably not in the 'special' bracket you're asking for either!

Not specifically about movies, but regarding music piracy and piracy in general

http://www.amazon.com/How-Music-Got-Free-Industry/dp/0525426612 ..a great book

Would also like to know. Haven’t come across this one yet but has to be quite interesting.

Edit: quick google search says it’s called Bill Graham Presents: My Life Inside Rock and Roll

This is a great place to start, if you're talking about hip hop commercially.

That's not at all what he said, he says it's more convenient. His book is a fairly good, and well researched, history of digital music.

Cant reccommend enough the book How Music Works by David Byrne. It provides an excellent foundation for understanding how music fits in nature and how we discovered this.

https://www.amazon.com/How-Music-Works-David-Byrne/dp/1936365537

How Music Works

Not a book, but also recommend you check out Cherie Hu's blog, water and music

Check out the book Six Figure Musician. Lot's of good advice to be had.

This book would be helpful.

I highly recommend "How Music Got Free" by Stephen Witt. It explains the switch from recorded to streaming media via piracy from the perspective of someone who grew up on mp3s.

I think you need to understand the business side of things. If you make the wrong deal, like a co-publishing deal, you will get an advance, and backend royalties with will go against the advance until it is paid off. check out what an Administration deal. Get an entertainment lawyer. Check these resources out:


https://www.amazon.com/dp/1480354627/ref=cm_sw_r_tw_dp_U_x_WCY0Bb2MZXCMA

​

https://www.youtube.com/channel/UCJ1RVDuSiJncq6VQYiqpzLA

https://www.youtube.com/user/OfficialBeatStars

​

The Manual. https://www.amazon.com/gp/aw/d/1899858652/ref=mp_s_a_1_2?ie=UTF8&qid=1501027140&sr=8-2&pi=AC_SX236_SY340_FMwebp_QL65&keywords=The+Manual+Drummond&dpPl=1&dpID=410ACVVCF2L&ref=plSrch

There is a book
which is proven to work by the authors.

• https://en.wikipedia.org/wiki/Warez_scene
  
• https://en.wikipedia.org/wiki/Warez
  
• About the mp3 scene: https://www.amazon.co.uk/How-Music-Got-Free-Industry/dp/0525426612
  
• BBS Documentary (where the scene originated from before moving to FTP) - https://en.wikipedia.org/wiki/BBS:_The_Documentary

https://www.amazon.com/How-Music-Got-Free-Industry/dp/0525426612

If you were ever part of the early mp3 scene, this is a great read: https://www.amazon.com/How-Music-Got-Free-Industry/dp/0525426612/

If this is not a joke, you may be intrested in How Music Works by David Byrne

Lots of good theory/terminology in that bad boy.