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Tuesday, 31 August 2010 16:58

HAVE YOU MET "HARRY?"

FYI - HARRY FOX AGENCY

HFA is the nation’s leading provider of licensing and royalty calculation and distribution services for the music industry. With over 46,000 music publishing clients, HFA issues the largest number of licenses for the use of music in both physical and digital distribution formats. HFA makes licensing fast and easy with Songfile®, its online application. The company also offers a variety of outsourced technology solutions designed to facilitate the administration of intellectual property rights. As a technology innovator, HFA is leading the industry in establishing global data standards and is a founding member and Board member of the Digital Data Exchange (DDEX). In fact, HFA was recognized by InformationWeek on its 2009 Top 500 Relentless Innovators list, where the company ranked 182. HFA was the only music company to be included on the list. In business for more than 80 years, HFA is the music industry’s most comprehensive resource for rights management.

For more information about HFA visit our website www.harryfox.com.

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uPlaya is looking for a band to play at FutureMedia Fest 2010, a three-day event hosted by Georgia Tech to highlight technology advancements in the state of Georgia. The band will play in the Music Mix portion of the event, which will be held in downtown Atlanta on Tuesday, October 5, beginning around 6 p.m.

This is not a paid gig, but the opportunities to learn about advancements in the industry and network with major players is noteworthy:

- Network with music companies specifically chosen to present at the conference for their potential to positively impact the industry as a whole. Some of these companies may be looking for employees, so if you are on the hunt for an exciting day job, this could be a great opportunity to work for an innovative project that is ready to truly break it big.

- The opportunity to play for and network with executives from the likes of Google, The Weather Channel, HP, Coke and the White House

- The chance to see emerging technologies out of Georgia that are related to music. Be the first to see them and try them out!

- The opportunity to hear stimulating and engaging discussions and presentations from people who are in-the-know

FutureMedia Fest will be a convergence of industry leaders, academics, entrepreneurs and venture capitalists; participants will take part in provocative discussions of the impact of next generation media, panel discussions on a variety of topics (such as how content will be created, distributed and consumed), and discussions exploring disruptive business models. There will also be demonstrations from technology companies hand-picked for their innovation by FutureMedia.

For more information on FutureMedia Fest, please follow the link below are send an email to This email address is being protected from spambots. You need JavaScript enabled to view it..

FutureMedia Fest 2010 - About | Online Registration by Cvent

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(CLICK FLYER FOR PANEL DETAILS)

ADMISSION DETAILS:
EVERYONE FREE before 8:30p with RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.
$8 After 8:30p w/ RSVP
$12 After 8:30p w/o RSVP
Student Admission w/ I.D. - $10
****595 NORTH IS AN 18+ VENUE!!

VENUE INFORMATION: 595 North Event Venue & Lounge is located at 595 North Avenue, Atlanta, Ga 30318 (right off of Northside Drive and North Avenue)
CLICK HERE for Directions: http://tinyurl.com/yzvb94p

HAPPY HOUR!!!

Come early and enjoy $5 drinks and food // 8pm - 9pm
Go to http://www.595north.com/ to view the menu!!




::::WANT TO PERFORM?? $10 - SIGN UP AT 8PM::::
THERE'S ONLY A FEW SLOTS AND THE LIST WILL FILL UP FAST SO GET THERE EARLY!!

NOW you have an exclusive opportunity to get on stage without having to submit or audition in advance!! Just show-up early, sign-up, and PERFORM in our "new" open mic round!! Ten artists that participate in this segment of the show will get to do up to ONE song (under 3 minutes) and will be judged on audience response for a chance to win a FULL 10-MINUTE FEATURE PERFORMANCE at a future IdOMusic® Networking Event. (so bring all your friends!!!!!!)



::::WANT TO PLAY YOUR MUSIC??::::
PRODUCERS & SONGWRITERS BRING A CD WITH NO MORE THAN 3 TRACKS AND SIGN-UP @ 8PM TO GET YOUR MUSIC PLAYED BY THE DJ.

$10 to sign-up before 8pm and your ALL your friends get in FREE before 8:30p with RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.!
THERE'S ONLY A FEW SLOTS AND THE LIST WILL FILL UP FAST SO GET THERE EARLY!!


BUY TICKETS HERE




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Wednesday, 08 September 2010 01:10

Indie Record Label Breakdown($$$$)

Why is it such a mystery to so many people the expenses labels deal with? Check out this great article written by David Rose giving you a breakdown from the indie record label perspective. Below is a summary of the actual expenses an indie record label incurred for a new release:

Recording advance: $15,000
Tour support: $2,100
Mastering costs: $934.96
Marketing: $13,433.23
Advertising: $2,067.50
Publicity: $5,153.34
Manufacturing: $16,581.04
Artwork / photos: $200
Misc: $587.71

Total: $56,057.78

Here is an overview of each of the line item in a little more detail:

Recording Advance – The money for the recording advance is used to cover the cost of recording. Including studio rental, mixing, session musicians, sound engineer and producer.

Tour Support – Artists have traditionally sold more overall units when they tour so record labels will often times financially support a tour. Tour support money can help pay some of the expenses of touring such as gas, insurance, hotels, food and supplies.

Mastering – Mastering is a post production process that takes the final mix of the recording, edits minor flaws, adjusts volume and stereo widths, equalizes tracks, etc. It’s usually expected that the person who masters the recording will be different from the person who mixes it so there is typically a separate line item in the budget.

Marketing – The marketing line item is entirely for retail co-op marketing expenses. Co-op marketing dollars are expenses distributors incur from retailers for special product placement, in-store promotions, listening stations or advertising. The amount of co-op marketing dollars the distributor (and ultimately the label) are willing to spend on a new release has a direct correlation to the amount of product the retailer orders.

Advertising – Advertising expenses can include any print, radio and online advertising the record label incurs to promote a new release (outside of retail co-op dollars).

Publicity – It’s fairly common for a record label to hire an independent publicist for a 90 day period to help promote a new release to press, print and online media, bloggers and anyone else who can help influence music fans.

Manufacturing – The manufacturing costs for a CD with jewel case can vary but is still around $1.00 per unit for a distributor or label with measurable volume.

Artwork – The cost of custom creative and / or photos for the release.

Miscellaneous – Just like the name implies this is the catch “everything else” expense category related to a new release. For example, legal fees or video production expenses charged to a new release could end up here.

For this particular release to break even it must generate $70,072.23 in gross sales ($56,057.78 + the 25% fee of sales paid to the distributor ). The typical deductions a distributor takes on sales including return reserves and breakage (to name a few) further impact cash flow on sales back to the record label.

It’s important for artists to fully understand how the basic economics of an indie label work since they will not get paid any royalties from sales until the record label recoups all the expenses incurred in getting the record to market. This is true of both traditional record label agreements and even “50/50” licensing agreements. It is very common for artists to never receive royalties on sales from their record label since many new releases never fully recoup their expenses.

Being signed to a record label is no guarantee of sales success. Artists need to carefully weigh what a record label is going to spend on a new release to determine the level of sales that will be needed to achieve profitability before signing a recording contract. Even though the artist might sell a lower number of units on their own there is a very real chance they can actually earn more money without a record label being involved.

Most indie record label owners are simply trying to get music they love heard by fans. They aren’t in it for the money. In addition to the above mentioned costs of getting a new release to market they have to cover multiple other expenses such as insurance, rent, payroll, travel and mechanical royalties . Making money as an indie label is no easy task. Needless to say, label owners give it a great deal of consideration before signing a new artist and committing to releasing their music.

It does take a lot of money and resources to get a new release to market. However, real transparency in accounting for these expenses is still largely lacking. Inevitably this leads to conflict between the record label and artist around recoupment of expenses and payment of royalties. Hopefully, as artists better understand the economics of record labels they will be able to make more informed decisions about when it makes sense to sign with a record label and when go it alone.

Source: KnowTheMusicBiz

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Thursday, 09 September 2010 18:56

The Four Hour Work Week(Musicians's Edition)

The amount of activity that can be accomplished with focused energy is truly amazing. The Four Hour Work Week written by Tim Ferris shares some great insight that can be applied to musicians. Below is a summary of lessons to be noted.

1. Have a Low Information Diet- Tim argues that we are all taking in far too much information than we need to be – the news we watch, magazines we read, and many of the people we speak to will never benefit us in life and so it is just wasting our time. He applies an 80:20 rule where 20% of the information we take is useful, where as 80% is not, the key is to identify that 80% and remove it completely.

This is as applicable to musicians as anyone, but I think noticing the 20% of valuable information is certainly the key here – instead of looking at fancy new gear, checking out music videos, and browsing Facebook, invest your time learning and actioning the things that will help you to succeed as a musician.

2. Outsource Your Work – In reality, we as musicians spend so much time doing things that we don’t need to be doing. I know I have spent days in the past putting together spreadsheets of music industry contacts, sending demos, and designing artwork when I could have just paid someone else to do it at a cost that is less than what the final product (or my time) was worth.

The point is that you only have so many hours in a day, and there are only so many tasks that you NEED to do, many of the task you do someone else could be doing for you, so free up your time by outsourcing them and only doing what you need to do.

I would recommend websites like Fiverr for outsourcing small tasks like artwork generation, video editing, data mining, amongst other things. For outsourcing web projects I recommend oDesk, and for large scale data mining I recommend Mechanical Turk.

3. Improve Your Productivity – It’s a common misconception that if you work more then you get more results. Tim urges that we focus on effectiveness over efficiency, why sit at a desk for 5 hours getting gigs when you could get more gigs in less time by being more productive.

The trick to becoming more productive is to limit distractions, increase motivation and work in short bursts. I recommend writing on a post it note every time you go to work on your music what it is you plan to do – maybe it’s ‘contact 20 music promoters, film a video interview and get some new artwork made’, then reduce every potential distraction you can, remind yourself why you’re doing it (I find having a collage of pictures of things you want to achieve by your computer helps) and finally give yourself a short amount of time to do it – you’re more likely to get all of the above done in 2 hours, than say 6 because you will force yourself to be productive.

4. Create a Passive Income – Tim states in his book that you need the freedom and independence of an information business to be truly free and able to enjoy the four hour work week lifestlye. This is totally possible for musicians – create a product range that you can sell online and leave breadcrumbs in the form of videos, articles, and die hard fans driving people to your products so that even if you do take a two week vacation to the Bahamas, you’ll still wake up in your hammock every morning with a nice little wake up message from Paypal!

Source: The MusiciansGuide

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Saturday, 11 September 2010 05:48

Do You Have A Starting Five?(Management)

Having the right management team in place to manage your career can be the difference between making a living in the music business and working at the local fast food joint. A well established artist’s management team is usually made up of their manager, business manager, attorney, booking agent and tour manager. The challenge is that it can quite difficult to find experienced management that will be interested in working with you when you aren’t making money and once you start making money they will be lined up at your door. In the beginning stages of a music career it’s typically the managers that pick you instead of you picking the managers. The best way to get noticed by management if you are not on a label is to build a following through relentless promotion and playing shows whenever possible. It’s more important to find management that is experienced in the music business than it is for them to simply believe in your abilities. Before hiring anyone on your management team be sure to ask around the music community about their reputation and experience.

Manager

An artist’s manager is the person most responsible for managing their career. They are involved in virtually every aspect of the artist’s career including negotiating with record labels and publishing companies on your behalf, lining up the right studio, engineers and producers for a recording session. They will make sure your website is constantly updated and that your label and distributor have your material in retailers and the latest and greatest digital music outlets. A good manager will spend a great deal of their time promoting the artists they represent and work directly with the artist’s publicists to coordinate their publicity plan. They work with the marketing departments at the artist’s label and distributor on their marketing and advertising budgets and programs. Managers should handle all the artist’s personnel issues with the band and crew members and work with the rest of their management team including the attorney, booking agent, business manager and tour manager as needed.

Managers usually get paid 15% to 20% of the artist’s gross earnings. That means they get paid their percentage on all the artist’s earnings including, royalties, publishing, touring and merchandise sales before the artist gets paid. Some managers have multi-year contracts (that can be quite complicated) with the artists they represent and some just work on a handshake.

Attorneys

It is hard to overstate the importance of attorneys in the music business given the complexities of recording contracts and the various other agreements artists are asked to sign. The most important thing to look for in an attorney to represent you is experience in the music business. Just because someone has a law degree (even from a top school) does not qualify him or her to represent you in the music business.

A good attorney with experience in the music business can keep you from making contractual mistakes they have seen that have happen to other artists. Attorneys usually charge by the hour or by retainer (a set monthly fee) and in the music business it’s fairly common for them to charge a percentage of the artist’s gross earnings, 5% is typical.

Business Manager

A business manager is the person or firm that collects monies owned to the artist from royalties, publishing, touring and merchandise sales, pays the bills, band and crew, invests the profits and files the tax returns. They handle the artist’s general accounting related needs, royalty collection & auditing and tour budgeting & reporting. Many good business managers are either CPA’s themselves or employ CPA’s on their staff due to the complexities of the music business accounting and the challenges of dealing with multiple state and international tax jurisdictions that come into play when an artist is on tour. They also handle all financial aspects of the artist’s personal life including insurance, loans, mortgages, investments and estate planning.

Business managers typically charge 5% of the artists gross earnings in the music business, but some an hourly rate or flat monthly fee.

Booking Agent

Booking Agents play an important role in the success of the artists they represent by planning and booking their tours with promoters and venues. They will make sure you are playing in venues that are known for your genre of music or booked as an opening act for a bigger band. Booking agents negotiate the fee structure (guarantee, % of the door, meals, etc.), determine ticket prices and ticket availability in the market. Thoughtful route planning is critical to the financial success of a tour and a good booking agent should make sure you are not playing in Atlanta one night, Chicago the following night and Jacksonville the next. Route planning can be a challenge for even a seasoned booking agent due to the large number of competing tours and the limited availability of quality venues in highly desirable markets.

Booking agents typically collect a 50% deposit on the show guarantee from the promoter once the show is booked. They usually charge 10% of the money the band gets paid for the show for their services. For example if the booking agent negotiates a $2000 guarantee for a show, they would collect a $1000 deposit, keep $200 (10% of $2000) then send the band $800. The band or their manager / road manager would collect the balance ($1000 in this example) from the venue after the show.

Tour Manager

The Tour Manager handles all the details of life on the road for the artist during a tour. They will arrange transportation, hotels and meals for each stop, make sure the equipment is accounted for and maintained plus manage the crew. The tour manager makes sure the venue has the stage, sound and lighting set up as requested and that the band is paid per the terms arranged with the booking agent . They manage and safeguard the cash collected while on the road. The Tour Manager will work with the tour publicist to make sure the artist shows up on time for scheduled interviews, appearances and promotions in each market. It’s the tour manager who puts out all the inevitable fires that come up at each stop during the tour.

The tour manager is also responsible for maintaining the tour plan and budget set up by the manager, business manager and booking agent. They are typically paid a salary, per diem or a set amount per tour.

Source: KnowTheMusicBiz.com

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Tuesday, 14 September 2010 13:25

Who's Werking?



August 2010 Session Report


Studio 9000 Session Report

Singer-songwriter, actor, and voice actor Jesse McCartney has had several songs mixed by Leslie Brathwaite assisted by Muzzy Solis at PatchWerk Studios this past August.Jesse McCartney's fourth album will be released sometime in October of 2010. The album title has not yet been released but McCartney has declared it will have a similar sound to his 2008 release, Departure, but will be more R&B and urban-influenced than his third album. Sean Garrett produced three songs for the project. McCartney also recorded a song titled "Up". "Up" (produced by Dapo Torimiro and written by Dapo Torimiro and Ester Dean) was recorded in support of the Step Up 3D soundtrack. It will also be included in McCartney's fourth album. It was confirmed that the album finished recording and production on August 13, 2010. He also confirmed that the first single is titled "Shake" and will hit radio stations after Labor Day.

Hip Hop crooner, producer, and writer Deshon Bullock (a.k.a. Shonlock) canvasses a form of artistry which resonates into a discerning lesson in the art of translation... The former dancer and choreographer for Arrested Development and R&B princess Aaliyah is a multi-instrumentalist, serving up the type of production, lyricism, and performance stamina that leave fans yearning for more. In 2009, Lock signed a major label deal with Arrow/Universal Records and began work on his highly anticipated forthcoming yet titled CD, scheduled for 2010. While Lock continues to tour with Forefront/EMI artist Toby Mac, he released a duo of radio charted singles. Shonlock spent several days in PatchWerk studios this past August working with guest engineer Ricco Lumpkin and PatchWerk engineer Tripp Tiller, on songs for his upcoming release.

On July 13, 2010 a song called "Tongues" surfaced, reportedly the lead single from R.Kelly's upcoming album Zodiac. The song, produced by Bangladesh and featuring Ludacris was mixed by Leslie Brathwaite at PatchWerk studios. In an interview in the September 2010 issue of XXL Magazine, Kelly mentioned that he's currently working on three new albums, entitled Zodiac, Love Letter and Epic, respectively. The first single from Love Letter is called "When a Woman Loves".

Other Sessions in 9000 included those for Bones(M. Wilson), Kandi Burress (L. Braithwaite), Young Jeezy (L. Brathwaite), Sean Garrett (L. Brathwaite), Gucci Mane (K. Anders), Catarina (B. Pedersen), Breezy (L. Brathwaite), Celebrity (M. Solis), Bradie Speller (M. Wilson)

TO BOOK A SESSION IN PATCHWERK'S STUDIO 9000 CALL 404-874-9880


Studio 995 Session Report

Georgias Most Wanted is back this SeptemBURR 28th with Gucci Mane's release of his new Album "The Appeal". This past August, in addition to having several songs recorded by PatchWerk Engineer Kori Anders, Gucci also held his listening party for "The Appeal" at PatchWerk. Some notables among the crowd included DJ Greg Street and label-mate Waka Flaka Flame, who also had a listening session for his upcoming release "Flockavelli". Gucci has a new official mixtape out, entitled "Mr. Zone 6" with some of his new 2010 singles featured on the project. Gucci Mane's latest album "The State vs Radric Davis" on Warner Brothers. Records is currently in stores and the new club banger "Gucci Time" featuring Swizz Beatz is for sale on iTunes.

In a short time on the music scene, DTP Signees Block Xchange (B.X.C), have worked with artist's such as Twista, Shawnna, Ludacris and others. The duo has been featured on Disturbing The Peace's "Strength in Numbers" , Windy City", "In Love Wit The Music" , and "Head Noddin'". The duo has also been featured on Ludacris', "The Preview" Gangsta Grillz Mixtape w/ Dj Drama with a track entitled "Get up Get Out"... Their debut album "Young & Restless" was released in spring 2010 under DTP/Def Jam Recordings. This past August, B.X.C. had several songs mixed by guest engineer Ray Seay, assisted by PatchWerk engineer Dee Brown.

Lil Scrappy's third studio album, "Prince of the South 2", is set to be released on October 5, 2010 through Real Talk Entertainment. Lil Scrappy's fourth studio album, "Tha Grustle", will be released in late 2010 or early 2011. This past August Scrappy had songs mixed by guest engineer Ray Seay, assisted by PatchWerk engineer Dee Brown.

Other sessions in 995 included those for Tevin(M. Wilson), Aim (M. Wilson), Young DroLil Twist (L. Banks), Shon Lock (L. Banks), Dem Young Boyz (M. Wilson), Grade A (K. Anders), Bruh (M. Wilson), B.O.B. (D. Brown), Roam (K. Anders) (M. Wilson),

TO BOOK A SESSION IN PATCHWERK'S STUDIO 995 CALL 404-874-9880


Studio 1019 Session Report

Sessions in 1019 included those for Anne (D. Brown), Born 2wice (M. Wilson), Keelo G and Blu Moon (B. Friesen), Loopa (D. Brown), Youth Media (L. Banks), Juanitea Bynum (J. Hamm/L. Banks), Joseph Foster (T. Tiller), Cartoon (M. Wilson), Trilogy (B. Friesen), Dem Young Boyz (M. Wilson), C-Dash (B. Friesen), Sweet Tooth (L. Banks), Lady V (D. Brown), So Supreme (M. Wilson)

TO BOOK A SESSION IN PATCHWERK'S STUDIO 1019 CALL 404-874-9880

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Tuesday, 14 September 2010 17:24

Turn My Headphones Up!

Whether you want to listen to music or movies without disturbing others, get the best out of your iPOD, or drown out background noise while WERKING, there's a set of headphones for you. You can buy a portable pair for $10 or spend as much as $500 for headphones with active noise-reduction technology. Here are a few tips to keep in mind while shopping for "Sonically Superior" Headphones!

Evaluate sound quality
Headphones should feed you clear, accurate sound with sufficient volume. In general, over-the-ear corded headphones are often the best choice for serious music listening, though they're obviously not the best choice for use on the go. Models with lower sensitivity might not do well with all portable devices, which produce less power. A few of them will do best with a separate headphone amplifier. Like speakers, headphones might emphasize different parts of the audio spectrum. Sound quality can vary greatly between models and your preference will be highly personal, so it's recommended that you try them before buying. Online shoppers should check out return policies to make sure that purchases can be returned or exchanged for another model.

For the best sound, stick with corded models
Most corded models and some wireless sets are fine for use with a TV or, if you're not too critical, for listening to music. Over-the-ear corded headphones are often the best choice for serious music listening at home. While wireless headphones can be convenient, many have background hissing and/or dynamic range compression that flattens the sound to some extent. We've found that digital wireless models can provide better performance than analog, and 2.5 gigahertz models often beat 900 megahertz headphones. But all wireless headphones are susceptible to interference from other devices, such as microwave ovens, cordless phones, and computer hard drives that operate in the same frequencies. Look for headphones with multiple channels so you can switch to another frequency if you encounter interference.

Make sure they're comfortable
Many headphones or earphones that seem fine at first could become quite uncomfortable during extended use. Comfort, of course, is subjective, depending in part on the size and shape of your head and ears and how much adjustment a headphone allows. The pressure from the earphones and the weight affect how a model feels. With any headphones, prolonged listening can make your ears warm and sweaty. Many on-ear models offer a good trade-off between comfort and quality. Some people find that earphones that are wedged in the ear can become painful with prolonged use. Insert-type earphones usually come with different-sized tips to accommodate a range of ears. While less obtrusive than other types. These can pop out at times.

Choose a design suited to your expected use
Consider how you'll use your headphones, and get a model most appropriate for that application. Closed, over-the-ear models are great for listening at home but could be too large to be easily stowed when you're traveling. Portable models might sacrifice some sound quality for small size, but they are handy. Ear buds and insert models are great for listening to music during on-the-go activities. If you'll be doing a lot of flying, or listening in a noisy environment, consider headphones with active noise-reduction technology. Also, over-the-ear and insert types can block ambient noise. Keep in mind that you'll have to replace batteries with active-noise-reduction and wireless models.

What headphones do you prefer?

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Tuesday, 14 September 2010 20:01

Deliver The Goods With Drop.io

These days, most of the people you’ll be pitching your work to prefer being sent links to music rather than MP3 files. However, if they like what they hear, they’ll likely want to have it for permanent download so they can listen to it and/or play it for colleagues more readily. And there are a few people who want to be sent files in the first place.

If someone only wants a few files, you can simply send them via email. But if someone wants an entire album (a common request from music writers who are reviewing you), it can be easier and quicker for everyone if a file sharing service is used.

So, I’m here to bring one such service to your attention: Drop.io.

It was recently used to send me an album download, and it’s one of the best options I’ve seen. You can easily make a full album (along with the cover artwork) available for download in zip format. (For album downloads, I find that zip format is often favored by recipients since it automatically creates a folder of properly-sequenced tracks — fast and organized.) If the download is only meant for certain people (industry people, for example), you can opt to password protect it, an option that’s not given by many other services. If, on the other hand, you want to give an album or song(s) away to fans for free, you can also use this service, but opt to make the download public. However, in the later case, you might want to consider an option like Bandcamp.

The Dropio site should cover all the information you need to get set up, but here’s the introductory video to get you started:

Source: ArtistHouseMusic

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IdOMusic® Networking Event @ Smiths Olde Bar
EVERY 3RD THURSDAY

This event's purpose is to attract musicians looking for a band to be a part of, bands looking for additional members, and established bands looking to develop stronger fanbase & relationships.

::::ADMISSION DETAILS::::

Age - 21+

Free - Before 8:30 w/ RSVP
$5 All Night Long w/ RSVP
$8 - General Admission

RSVP to This email address is being protected from spambots. You need JavaScript enabled to view it.

Directions to The Event: http://tinyurl.com/337flfs

WANT TO JAM??????

NOW you have an exclusive opportunity to get on stage without having to submit or audition in advance!! Just show-up early, sign-up, and JAM with the Band!!

Bands & Solo Musicians interested in a FEATURE PERFORMANCE submit your youtube links to This email address is being protected from spambots. You need JavaScript enabled to view it.

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

::::THE FEATURES::::

FISHHAWK (http://www.fishhawkmusic.com/)
(http://www.facebook.com/fishhawkband

I-TEGRITY (http://www.myspace.com/itegrity)
(http://www.facebook.com/itegrity)

MICHAEL C. SMITH & THE NEIGHBORHOOD (http://www.myspace.com/michaelCSmith)
(http://www.facebook.com/mcsmithmusic)

::::THE HOUSE BAND::::
Fiasco (www.thefiascoatl.com)

PANEL DISCUSSION: PAID SESSION GIGS (LEARN HOW THESE SESSION MUSICIANS MAKE MONEY)

::::THE PANELISTS::::
-----------------------
Mike Wilson | Session Artist & Chief Engineer of Patchwerk Recording Studios

Fox | Session Artist & Professional Touring Artist

PURCHASE YOUR TICKETS @ http://idomusicatsmiths.eventbrite.com/

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