Coldwave Blog - Music Tips For Independent Artists

Blog post by Coldbeat. Updated on October 1, 2016 Heey! What's up people? Coldbeat here again with a new 'Highlight'/ 'Artist Spotlight' this week. This one we must say, is totally insane and deserved, of course, and we kinda saw that coming. If you're going to ask me how did we "saw that coming", it's because if you haven't heard the new ' #complexure ' EP by Patos yet, right? The Poland based producer has a solid history of Electro House/ Complextro tracks, with some of the best releases Coldwave Records and Ehtraxx have shared so far. But when it comes to Patos ' musical productions and compositions it's not all about Electro House, is safe to say that whatever he does, any genre, he does it with an amazing quality and creativity. From sound design and his unique bass tones to incredible melody compositions, Patos , alongside his side project Tomorrow (PL) , goes from Electro House/ Complextro to Dubstep, Glitch Hop

With his most recent 3 track EP release “Beautiful Faults” being featured in the Juno download recommendations, we recently had the chance to sit down with one of EHTraxx’s well-known electro house producers Kid Optimus. We talked about his inspirations and his journey through his music and his career. Check it out. Q: What were some of your first experiences with music? A: I started taking drum lessons when I was in the 4th grade. I started playing guitar in 8th grade and writing my own music when I was 14, playing in bands etc. that was my real starting point in making original music. Q: How has your music taste developed over the course of your life and what was some of the music you were into at an early age and how as that influenced your music now? A: I’ve always had very eclectic tastes. I played in a lot of alternative rock bands throughout high school. Major influences during that time range from psychedelic bands such as Pink Floyd, the Beatles & Phish, to grung

Blog post originally from the SymphonicBlog . The music industry means that every individual has rights to productions that they create. The rights and ownership that you have over a production means that you can further monetize and exploit your material in many areas. As with everything in the music industry, there are a lot of complexities, but we’ll attempt to highlight some of the important factors of publishing administration that you can take advantage of while continuing to educate. In this first part of this series, we’ll be talking about publishing. In the music industry, publishing refers to the ownership, control and commercial exploitation of musical compositions. It further refers to the collection of all royalties ensuing from the usage of musical compositions. As a couple of examples, if your song is publicly played by a band in a concert and/or used in a commercial or movie, you will be making publishing income but only if you are registered with a PRO or a per

Blog post originally from the SymphonicBlog . Beatport has created new genres to distinguish EDM and underground electronic music. You may already know that Beatport has been working hard on the re-classification of their genres. Here’s what you need to know about the new Beatport genres: - Two new genres will be added to the store, “Big Room” and “Future House“ - Pop/Rock is becoming Dance, which is already in effect - Chill Out  has been phased out as a genre and merged with Electronica to become Electronica/Downtempo - Nearly all 4/4 music from Electronica Top 100  will be classified as Deep House - Electro House will be phased out as a genre and become the sub-genre of Big Room - Progressive House will remain as a main genre but it will be realigned as Progressive in the style of Sasha/Digweed - EDM style Progressive will be merged into Big Room - Incoming Electro House content will be mapped to Big Room | Electro House. And incoming Electronica and Chill Out will

Post originally from Symphonic Blog . Symphonic has teamed up with MetaPop to turn “Fan Remixes” into brand new revenue opportunities for labels. Today there are millions of fan remixes that are not being monetized by original rights holders. Remixes made by fans are taken down haphazardly by “anti-piracy” services with no regard for the value they create. Creativity is stifled and money is lost. MetaPop is turning this “crowd-sourced” remix behavior into a win-win situation through an innovative and unprecedented licensing model; allowing labels to create entirely additive revenue, increase marketshare, and broaden their audience. About MetaPop A new venture from Matthew Adell (former CEO of Beatport) and Michael Mukhin (former CTO of Boomrat), MetaPop is the premier global provider of remix rights management, licensing, tracking, distribution and royalty services for remixers and rights holders. Adell has a long track record of making money for both rights holders and DJs.

Post originally from the Symphonic Blog . The next part of our rights management series will focus on  Neighboring Rights. Neighboring Rights refer to the right to publicly perform, or broadcast, a sound recording. Sound recording owners (record labels and performing artists) collect Neighboring Rights royalties whenever their sound recordings are publicly performed on satellite radio (such as Sirius XM), internet radio (such as Pandora, BBC), cable TV music channels, TV outside of the USA, terrestrial radio outside of the USA, and much more. Neighboring Rights royalties are collected by Neighboring Rights collection societies. In order to collect the neighboring rights royalties you are owed, registering your individual master recordings directly with each collection society in the territories you are getting radio play in is absolutely essential. Something worth noting, the Neighboring Rights law differs internationally. Basically, in almost all territories outside of the U