Vampr Publishing was officially announced in May 2020 and was always designed to be disruptive.
We’re not trying to reinvent the wheel, but we’re not doing what everybody else in the sync industry are doing.
We’ve positioned ourselves as an enablement for independent artists with commercial catalogues to compete more effectively with library/production/stock music.
The concept of Vampr Publishing started when we realised we have over a million music-making users on our app, a number that only ever gets bigger, and their individual catalogues only ever get bigger too.
That means two things to us:
1. Artists need help being represented for sync. Especially in this DIY era where artists already have to look after extensive highly-demanding record releases and their promotion/marketing.
2. We have a very unique opportunity as a partner with those who need to use licensed music. A never-ending, exponential-growth, diverse catalogue and extremely easy mobile submission system that helps quality control, metadata management and reduces friction to the sync market.
We launched the first version of Vampr Publishing in the app and watched 10s of thousands of artists submit over 50,000 songs to be considered in a record-breaking amount of time.
Meanwhile, we quickly onboarded interest from a network of over 300 music supervisors, sync partners and a publishing admin partner.
Launching during the pandemic was both a blessing and curse. A curse because the sync industry was one of the hardest hit by the pandemic (filming stopped). And a blessing because it allowed us to take a macro view of the sync industry, where it’s struggling and where our strengths lay.
Too much/the wrong information being submitted is not helpful to anybody
We’ve had to find a careful balance of exactly what information is important to help a track get sync attention and being the most user-friendly mobile sync submission system available.
Some music is more sync-friendly than other
There’s a saying in sync that there’s a “home for any song”, but the reality is that there are trends, preferences and standards. We’ve invested more and more attention and energy into research in this respect to ensure we’ve got what Music Supervisors need.
Human interaction at the wrong stages of the submission process is deceptively not helpful to anybody
We’re always cautious with automation and being “just an app”, not a team behind it, but this operation called for more effective systems to ensure artists aren’t being left in the dark about the status of their submission, and in this instance, removing people from some stages of submission and introducing better technology allows us to be much more efficient with communications and status updates.
The sync market just doesn’t work without very granular metadata tags
There are always multiple stakeholders involved with what music is chosen for sync, and way back at the pitching and searching stages specifically, music is being searched for with an obscure “theme” language. To be prepared for these searches, operations need to be based around that language.
At this scale, music and metadata needs to be managed with technology
Systems, even those used as standard in the music industry, just aren’t well-prepared for dealing with bulk (read: mass) quantities of metadata. We tried our best to work within our initial means, but eventually we realised that we weren’t going to be able to achieve our vision without technical intervention.
Urgent end-of-day turnaround search normality isn’t the kind of behaviour you’d see in FTSE companies outside of the creative industry and needs disrupting
Nobody seems to want to say it but… Last minute rushing is because somebody, somewhere in the procurement process, is disorganised. This would not be practical in most business situations, and it only is in sync because “it’s the way it’s always been.”
We want to make the music industry more lucrative, so we have to start behaving like more lucrative businesses. Therefore, we’re going to do our bit to ensure we’re organised and ready when a search comes in. Reactive chasing should not be the standard.
How you organise and categorise music ready for searches is extremely important. How you make sure music is being distributed into that organisational environment is equally so
Following above; we’re committed to organisation. Making sure we’ve got what’s needed and know where to find it quickly and efficiently is our overarching strategy.
Getting syncs is all about distributing music as far and wide as possible to reach opportunities through routes of relationships.
We are absolutely buzzing for this next stage in Vampr Publishing and can’t wait to help more of you with your sync efforts! 🚀📽
There are many different avenues to follow when it comes to music promotion. Typically, you should focus the majority of your music promotion efforts on fans and prospective future fans. However, as part of building your online music community, you may find opportunities to promote your music within the music industry as well as beyond it.
There are some good communication skills you can keep in mind and develop when you want to promote your music to people in the music industry. Here’s a full A-Z of them!
The best way to communicate and build rapport with somebody is to ask questions. If you talk AT people and don’t invite them to talk about themselves, your conversation won’t last very long. Asking a question is also an extremely effective way to break the ice.
Breaking the ice is the gateway to a good conversation. But ice-breaking isn’t just about having some canned openers (although these can be helpful as a backup). Use questions, observations, situations and your imagination! On Vampr, this would mean using something mentioned/auditioned on another user’s profile. Or, it could be something they’ve said in a Room. Using the actions of others is a powerful way of opening a conversation.
Make your interaction about the conversation and about the potential for friendship. When you first open conversation with somebody, you shouldn’t be trying to get something out of them. Your goal should just be to have a good conversation so you have left a good impression for the other person to welcome you in to talk again.
Whilst you need to be “conversational”, it’s not just about having a conversation for conversation’s sake. Don’t waste people’s time. Only open a conversation with them when you’re ready to talk about something meaningful. Until then, it’s better to “follow” them than connect with them. You can send out that connection and a great deliberate message when you know what you want to talk to this person about.
Putting the effort in to know about who you’re talking to, how you can help them and what you find interesting about them is essential to starting a relationship. If you don’t put the effort in, such as with copy & pasting messages, you won’t be rewarded. This also applies to trying to use Vampr for music promotion by pasting your links in Rooms, connection requests and messages. What you receive from the world is relative to the effort you put in.
It’s not all business, business – especially in the music industry. Have fun with people! See them as potential friends, not just as associates you want to exchange something with.
People are more likely to take you seriously if you take the time to make sure you’re writing in a way that is coherent and readable. Try to avoid shortening words or formatting your message in a weird way. Do this at least until you’ve already made a good impression and already have a solid relationship with the people you’re messaging.
One fast way to get ignored is just to write “hello”, “hey”, “hello sir”, “sup” etc. Your messages should always carry some intention behind them. Let people know why you want to open a conversation so you give them a hook to work with.
Invitations to connect should always be supported with a message. And this message should be tailored for that person you’re trying to connect with. People are far more likely to chat with you if you have put some effort into learning something about them, or listening to their music.
A bit of humour can go a long way to breaking the ice. But keep it clean and don’t make it personal.
Remember to be kind.
Listening is the greatest skill in communication. If your goal is to promote your music, it might seem backwards using “listening” as a strategy for music promotion. But, everybody gravitates to a good listener because it’s validating to know somebody is devoting the time to let you express yourself. This is, ultimately, what every musician wants. Start with listening and pretty soon you’ll find that people want to hear about you too.
Don’t start conversations by talking about money. Opening a conversation saying you’re selling a beat for $100 isn’t an effective way to start a communication. It’s OK and necessary to tell people what your rates are. But wait until you’ve built a bit of a relationship, trust and have an indication of interest first.
If you really want to put some effort into building a strong network, take notes about people you want to network with and conversations you have. In business, this is called “CRM” (customer relationship management) and it’s an important way of keeping track of who to speak to and when.
If a conversation hasn’t gone the way you’d have liked – own the responsibility to try and have a better conversation next time. Sometimes, people are just rude. But other times, there’s something you can learn from the way you approached a conversation you can improve upon next time.
Taking a second to read your messages a couple of times before pressing the send button will do you big favours, especially publicly!
Try not to waffle. Be polite, but sharp and efficient with your messages (until you’ve built a good rapport). Be conscious of other people’s time. Very few people have time to read a huge paragraph from a stranger.
You’re best off trying to connect with people who share common interests with you. This could be favourite artists or genres. This is much better than just trying to connect with everyone. Keep a relevant network and it’ll be a stronger source of success for you.
Don’t just send your links out expecting people to listen. In a contested world where everybody wants to be heard, you have to earn your listens. Music promotion to a new music industry network requires a very different approach to an engaged fanbase. Start with conversations – lead to links when the conversation allows.
There’s a lot more value to conversations than sharing links with each other. But generally, if you give somebody value (such as feedback on their music) you’re likely to get something back from them in return down the line. Just don’t expect it or you’ll end up bitter and that’s doing yourself harm you don’t need.
Make sure your profile and bio really highlights the things about you that you want people to know about you. Show yourself in a good light. Then, carry that confidence into your conversation. Believe you can bring value to people you interact with – and back it up by doing your research on them so you know where they have gaps you could fill.
People will never know about you if your profile is pretty empty. Make sure your captions explain your work. And when you converse, tell people about what it is you think is important they should know about you. Make it a point to describe your strengths.
Networking can take a lot of work – especially if you’re doing it properly by learning about people who you might not even engage with for a long time. Stick with it though, it’s always worth it! The people you meet along the way become an important part of your life story.
Well… We are a music network 😬
If you can’t meet in person, get a video call arranged when you both feel comfortable to chat. Putting a face to name and having an actual conversation really helps solidify a strong connection.
This post is a collaboration with: PosterMyWall – a free album cover maker
Releasing an album is a strenuous, but fun, process!
You’ve created the music, considered music publishing and prepared for release – but you’re still getting started! Finally it’s time to bring all that hard work to fruition and make sure your music reaches the world!
Before you jumping into free music distribution to Spotify and other digital stores, you must create an enticing album cover.
This should not only represent your music, but also appeal to your audience.
Here are some great tips on how to make the perfect album cover for your music.
Whether you’re a Pop artist or Hip Hop rapper, there are different expectations from fans.
When thinking about how to create an album cover, start with some research. Assessing work by your favourite artists is a great first step.
A great piece of album art can help tell an overall story conveyed by an artist.
An album cover Hip Hop artists would use (like Drake’s album cover for Nothing Was The Same) would take a different approach to creating an album cover if you were Taylor Swift.
Going beyond “generic” and telling a story (whilst appealing to your target audience) is the way to make your album cover part of your art.
In the examples below, both artworks depict a profile view of each artist. The differences between each are subtle but are the key details that speak to their audience.
In Drake’s album cover we see the shaving in his haircut, his gold chain and the graffiti font, which are indications to a Hip Hop/RnB audience.
The painted portrait and the blue sky, tell a bit of the album’s story.
In Taylor’s album cover, we see:
These subtleties speak to a different audience to the Drake album.
The shadow over her face, what she might be looking at and the why? of the art start to tell a story of the album.
Bands or musicians typically have a special color palette. Their fans automatically associate these colors with them and their music.
When designing your own album cover, it’s important for you to go for colors that represent both your music and your personality as a musician.
When selecting the perfect color palette for your album cover, ask yourself the following questions:
Once you have the answers to these questions, you’ll be able to create a mood board of colors and create the perfect combination to add to your album cover.
For instance, if you want people to dance and feel happy, use warmer, brighter colors together. If the album is melancholic, use blue or some variation of cooler colors, or go with a single, dark-colored tone.
The images you add to your album cover will be the most central aspect that people take note of.
To create an album cover that catches people’s attention, you need to place specific focus on the sort of imagery you will be adding to it.
Ideally, the visuals on your album cover should be representative of you as a musician and the kind of music you’re creating for your fans. They should also encompass the image you want to portray to your listeners.
Some artists like to go the old school route and add in their own picture as the primary visual on an album cover. This is especially the case if this is your debut album. Others like to add in a visual that best portrays the sort of music they create.
If your music is more melancholic with a slow beat, go for some minimalistic imagery with a blend of colors. If your music is upbeat and chaotic, go for a maximalist image or a collage that showcases everything you want your listener to feel.
Streaming platforms and stores can be strict about what they display. There are some things to avoid in your album cover design. Avoid:
Nudity, violence or illegal activity will also be contested. So, if you want to depict these in a creative way you will have to be really careful and potentially work with your distributor to get this right.
Your album name, like everything else, should be presented in a way that best represents what it’s about.
This will be much easier to figure out once you’ve planned out your aesthetic by following the first three tips.
If you’ve made a hip hop album, a loud font would be a good fit. On the other hand, if you’ve made an indie album, a simple sans serif font would do a good job if you want to depict a more sombre vibe. For some softer, feel-good music, try out a nice cursive font.
Once you’re done designing your album cover, the next step is to get it ready to be marketed. This means releasing your album on multiple other platforms, both online and offline.
Your cover will have to be high resolution and look good as a small box in the corner of a screen. At the same time, your cover also needs to work on large vinyl records, CDs, and billboards.
So, before you finalise your album cover, adjust your design style accordingly.
Keep in mind different places your album will be visible and ensure it still stands out. Adjust your design according to different sizes and see if everything is still visible and aesthetically sound.
You can also resize your album cover into social media posts to amp up your online presence and get your followers excited.
The dimensions for album covers are:
For digital releases, such as to Spotify or Apple Music, your artwork needs to be at least 1600×1600 pixels. Although, 3000×3000 is recommended.
When it comes to making artwork for print, you must consider the dpi (dots per inch). A higher dpi produces a higher quality image when printed. Therefore, you should work with at least 300dpi.
A CD cover dimension is 4.72×4.72 inches. This in pixels at 300dpi is 1416×1416.
As with CD, vinyl covers must be printed.
At 300dpi, a 12 inch album cover would need to be 3600×3600 pixels.
Your music deserves to be heard, which is why it’s so important to get the album cover right.
The key takeaway here is to focus on individual elements and make sure each one is perfect.
Online design tools like PosterMyWall’s album cover maker include a lot of fabulous album cover templates. These will help inspire you to get started on your own.
Throughout the designing process, remember to stay true to yourself as an artist. Show people what your brand is like and what your music represents.
Itttt’sssss Chrrissssstmassss! Want to make and release a Christmas hit? Want to know the best Christmas song release dates? Read on! 🎄🎶
Christmas is a time considered especially difficult to release music as an independent artist. If it’s not a Christmas song or album you’re releasing, it’s generally recommended not to release in November or December. However, considering Christmas song release dates will be essential if you are releasing Christmas music.
This article will tackle how to release music in the holiday season. Firstly though, it will outline some pointers for how to make Christmas music…
You’ll want to do some serious Christmas music bingeing to think about what it takes to make a hit Christmas song. Get yourself in the mood by putting on your Santa hat and playing a huge playlist of Christmas songs.
You have a few different options when it comes to making Christmas music:
In any instance, you (and your producer) will need to follow some rules to make a song feel “Christmassy” beyond just the lyrics…
And yes, it does include bells. 🛷🔔
Approaching Christmas music, it might seem obvious to put your own spin on a tried-and-tested hit.
Advantages of this include:
Disadvantages of covers include:
Christmas songs in the public domain are another choice if you don’t want to write the lyrics/music. You must be really sure they are in the public domain. Otherwise you could end up, at a minimum, having to pull the release, at worst a court case.
If you’re a composer who doesn’t write lyrics or sing… Or, if you’re a singer who needs a composer/producer to make a backing track for your Christmas lyrics… You need to find music contacts to work with and make your Christmas hit a reality! 🤶🎶
Alternatively, if you’re in contact with a record label or music publisher you can ask them about their roster. If they have anybody who would be able to help you finish your song, they may connect you. They’ll likely want a piece of the action, but it can often be work it to get your music finished and out there in the world.
If you’re not working with a music publisher, sign up and submit to Vampr Publishing through the app now!
There are increasing numbers of sad songs being made about Christmas. But generally, Christmas music is going to be lyrically covering topics such as:
There are no rules about what you write your original Christmas song about. However, when you open up your DAW ready to write a song, it is worth considering that generally people are looking for an escape. A period of belief in the sentiment that people are generally good, and hopeful happy endings exist.
You’ll want to wrack up on Christmas words to use in your lyrics. As well as the obvious options like Santa, reindeer, snow and decorations, really get into all of the elements of Christmas. From emotions felt during festive events to wrapping up in coats and scarfs.
Yes, get your bells and sleigh-bells out, plus anything else that may sound Christmassy. Shakers that give the effect of snow can work too!
Once it’s done, you’ll definitely want to submit your song to be considered for sync opportunities.
If you’re trying to be ahead of the curve, you probably needed to release Christmas last year 😂
Many people in the industry advise that around August is a good time to start preparing for your Christmas release.
The fact is, if you’re trying to release music for around the Christmas period and you try and outpace the market – you’ll probably end up releasing too early. This may leave your potential listeners feeling like it’s not a good time for them to listen to that music.
You want listeners to be discovering and listening to this music at times when they’re relaxed and trying to find Christmas music. You’ll also want your marketing, promotion and presence to coincide with that.
Having said that, if you want to be in the Christmas spirit when you create the music, you’ll want to be writing and recording in season. That means last Christmas really was the best time to start making the music!
Traditionally, record labels would release Christmas albums in late October/early November. In past times, stores wouldn’t be open close to Christmas. But now, the internet means people will be still active and in “consumption mode” right up to the day, some people even on the day itself.
And it’s not just Christmas music. Labels tend to hone in on the 4th quarter of the year because of the retail spike associated with sales and Christmas gifts.
The major labels are particularly active in this time. This means bigger marketing budgets are being thrown around. It’s a harder time to compete for attention than the rest of the year.
The fact is though, things have changed since the old industry norms. If you have a following that you feel will be actively online on and around Christmas, the lines are now more blurred. If you know your audience will be watching you at this time of year, give it a shot!
With that in mind, staff at music companies still have time off at the holidays.
DSPs ask that releases are submitted within specified time windows in order for your music to reach the store in time.
If you want to release your music by the end of the year, please make sure your Christmas song release dates align with the following:
It’s usually more about the campaign around the release than purchasing time windows these days.
With that in mind, next year you may want to think about planning and scheduling your release campaign earlier in the year.
A promotion campaign for a release is advised to be at least 6 weeks for a single, and at least 3 months for an album.
Releasing with Vampr distribution allows you to set the date of your release well in advance.
Using tools like Hootsuite, you can also schedule your social media content. This will mean it’s ready to go live and support the campaign without you having to panic and rush everything together near to the release.
Of course, you can also post supportive content around the time. People will want to see you doing festive things, so ensure the vibes of your content really fits with the season!
Wishing your happy holidays and a successful release! 🎄
Want to publish your music? Keep reading to learn how to publish a song and earn royalties – whether it’s on your own, with your team or to get a publishing deal.
In the digital age of being a DIY artist, many songwriters are asking how to publish a song. This is a valid question. The purpose of a music publisher is continually evolving. It needs to be in an ever-changing technological landscape!
To some extent, artists and songwriters can publish their own music, but – they may find it gets harder as their catalog and network grows.
There’s a growing list of technology platforms using music in new and disruptive ways. Examples such as TikTok, Twitch and gaming platforms like Fortnite and Roblox mean it’s important that music publishing keeps up.
The metaverse will be the next huge disruption to the music industry, but it should bring a lot of “micro sync” royalties. Music continues to become a more algorithmic lean-back experience and so the importance of back catalog management and constant music pitching is becoming even more important.
Changes in the use of music with technology demand new approaches to the publishing business. The music industry must ensure artists and writers are being paid properly for the use of their work.
This can make efficient music publishing tough for an independent artist, even with a team to support them.
Whether you’re looking to cover it alone, with your team, or looking to work with (or get signed by) a bigger publisher, this post will help you understand the ins and outs of music publishing and how you can publish a song.
A publisher is a person or company that tries to place your music on different markets to find spots for your song or album. That spot can be a TV commercial, a song for a video game, a melody for a movie, a jingle for a radio station and so on.
Additionally, music publishers normally handle all the paperwork to ensure that your song is properly credited to you, so you’re compensated for it.
Music publishing has existed since the beginning of the music industry – way before recorded music. It is the business of generating and collecting royalties for the composition and lyrics of music and it works around the licensing of the publishing right.
All recorded music has 2 associated copyrights: master and publishing rights. These copyrights are licensed to people who want to use the music, in exchange for a license fee or royalty.
Essential reading: all about music licensing.
Royalties received for music publishing include performance royalties. These are granted when your music is played live and when your music is broadcast on radio or television. You also get what’s called mechanical royalties for sales (and streams) of recorded music.
Even though it isn’t strictly necessary, the truth is that having a publisher can be beneficial for your music and allows you to focus on other things.
If you were to do the job of a publisher, you would have to build a contacts list, send emails with music and album links, follow up, fill in all the forms when submitting your songs, and so on. That would leave you with less time to focus on making music.
Additionally, collaborating with a publisher is a great way of networking and can open provide many opportunities for your music.
People new to the music business often confuse music publishing and music distribution. Let’s better understand their differences.
Music distribution is the business of releasing a recording of music to be bought (and streamed) by listeners and fans. Released music generates master royalties, subject to how many records are sold or streamed.
Music publishing, on the other hand, is the business of generating, collecting and managing royalties for musical compositions and lyrics. As mentioned above, it involves 2 types of copyrights (master and publishing) that are collected from television, movies, radio, games, and other sources.
A major area of interest for a musician, songwriter or composer is sync licensing. When your music is used in films, TV, games, adverts and more, the person using the music will have to pay for a sync fee.
Some broadcasters will also have to pay ongoing royalties whenever the show, film or documentary is played to the public.
As there are 2 copyrights in recorded music, the sync license is also made up of 2 licenses: the sync license and the master license. The former would be granted by the publisher of the song, and the master the owner of the recording.
Typically, somebody “pitching” the music will be able to sign off for both the sync and mastering licenses. They could own both rights or have special contracts to act on behalf of the rightsholder. This is known in the industry as “one-stop”. Want to know how to publish a song? One of the easiest ways is to pitch one-stop music.
Read more about how to tag your music as “one-stop”.
Micro syncs are small payments paid for small usages of music. Examples include YouTube videos with limited viewers and short-run web adverts.
Micro syncs can accumulate and result in bigger payments as the traction of the content picks up.
There’s a growing interest in music publishing towards micro syncs. This is because of the hugely growing “content creator” market.
As these huge tech companies get used to paying for licenses for the use of music, revenues in these areas grow for rights holders.
Music publishers manage the registration of songs and collect royalties from these platforms. But, for the DIY artist managing their own publishing, you could contact content creators directly:
With permission from the publishing owner, anybody can record their own version of a song.
Sometimes songwriters (or, more likely, their publishers) pitch songs to labels and artists. The original songwriter takes songwriting credits (and publishing royalties), but not typically the fame.
Additionally, a song being performed and recorded by an artist and becoming associated with that artist doesn’t make it their song.
Music publishers pitch for or accept offers from other artists who want to use the song. When this occurs, it is called a cover version.
Covers can be very valuable. You can use cross-genre or era to create new attractions and audiences for the original song.
New recordings of cover songs also generate new publishing royalties.
A lot of the work and business involved with music publishing is about creating and managing relationships.
Music publishers help “work your catalog”. Firstly, this means doing things like pitching a song you write for other artists to perform and, secondly, pitching your music for sync placement opportunities.
Traditionally, publishers would work with composers and songwriters. But now, recording artists and producers are also frequently on a music publisher’s roster. This means that a publisher can always be ready to create work to a brief from:
If you want to publish your own music, there are some steps you can take to act as your own music publisher in the most basic form.
The first thing you will need to do is sign yourself up with a Performance Rights Organisation (PRO):
Performance Rights Organisations (PROs), also known as Collection Societies/Agencies, are bodies that exist to:
There are different PROs for different territories. They all come with different costs, processes and effectiveness. Some territories have multiple PROs, so you have to do your research and choose which is best for you.
PROs are typically networked with other PROs so that cross-territory collection can take place. However, the relationships between PROs vary. If you are performing well outside of your own territory, it may be worth signing up with other PROs.
It’s important to sign up as a songwriter to a PRO and register your works, especially if you’re already getting broadcast or live exposure to the public. You can also register as a publisher of your song. Our advice is to do this using a publishing admin partner.
Publishing rights are split into two parts – the songwriter and the publisher. You may have signed up to a PRO as a songwriter, but if you are unpublished you can also register the song to collect publishing royalties.
NOTE: Always make sure you discuss this with your publisher when you take a publishing deal. They will need to re-register the song with them as the publisher, which will require you to remove yourself as the publisher.
You can do this directly with your PRO. But, another way to take full control of all of your publishing royalties is to work with a Publishing Administrator.
Publishing Administrators manage and collect royalties on behalf of a rights holder. They do not claim any rights, and usually just take a small cut of the royalties they manage as payment for their work.
One of the biggest and most easy access to Publishing Admin companies is SongTrust. The advantage of using them over only your PRO is their collection network.
Vampr users get a big discount when they sign up with SongTrust.
Enter VAMPR as the discount code to receive a 20% discount on the one-off registration fee.
If you’re not yet signed up for a PRO, this is probably a cheaper alternative. You don’t need to sign up for a PRO if you’re collecting with SongTrust!
The cost of publishing a song depends on several factors, including:
Many services charge you to publish a song, but there are some solutions that are free.
If you want to know how to publish music for free, you should check out a service like Vampr Publishing. It’s free, non-exclusive and the deal is particularly favorable to the artist (65%-35% split in favor of the artist instead of the 50%-50% split that most companies offer). More on this below.
A traditional publishing deal gives a publisher a percentage of the publishing rights. This is sometimes called a co-publishing deal.
Co-publishing deals can be very complex. They can involve:
The potential benefit of co-publishing is, of course, that advance. This is a lump sum paid to a songwriter or composer upfront.
Sub-publishing is a partnership with another publisher. They will look after pitching, collection and administration in other territories. Different from a co-publishing deal, sub-publishers act more like overseas agents for their partner’s catalog. They take a cut of the royalties they collect but don’t own any of the rights.
Sub-publishing is very useful because there are lots of overseas royalties that aren’t covered by generic “international” collection agencies. It also gives you a team on the ground who knows the popular artists or is connected with the local film or advert agencies.
Of course, in the digitally-empowered era, the DIY approach can get you a long way.
This is especially true if you work with a partner who brings you opportunities and doesn’t limit you or lock you in.
Whilst working with music publishers or record labels isn’t always the best idea, with Vampr Publishing we’ve taken a different approach.
We’re listening to submissions and accepting music we’d like to be represented as part of our sync catalog. 💿🎧🔥
Rather than following the traditional publishing models, we’ve discovered the magic sauce:
If you want to be considered as one of our roster artists and represented for sync – sign up for Publishing and submit some music on the Vampr app now!
We’re a location based social app for musicians. So, it goes without saying… We sometimes want to talk about locations! For this post, guest writer Holly Lucas has covered one of the music industry’s most iconic locations – Las Vegas. 🎰
Guest Post Written by Holly Lucas
Residencies in Las Vegas have been popular attractions since the days of The Rat Pack, Elvis Presley, and Liberace.
The city’s high-level entertainment scene has long offered fun ways for guests to take breaks from the poker tables and slot machines. Therefore, it has naturally become a reliable source of revenue for casinos and musicians alike.
For a time in the ’70s and ’80s, people considered the desert city as a retirement home for musicians in decline. Musicians who stopped attracting big-money tours salvaged an income here. Thus, they could leave the limelight gracefully with music jobs in Las Vegas.
However, today’s Vegas could not be any more different from that of decades past.
Las Vegas music job potential now rivals the best music cities in America. It has become a shining beacon both for working musicians and others in the industry.
Las Vegas has seen an uptick in top-quality headliners buoyed by high-profile appearances from A-lister musicians. They rout tours through the city, or engage in long residencies that gross millions. Posters and advertisements are plastered to the sides of skyscrapers. Shows like these attract visitors from around the globe.
There are a few reasons the likes of Beyoncé, Drake, Lady Gaga, and Eminem have all capitalized on this. Firstly, they’ve found opportunities to create once-in-a-lifetime showcases. Secondly, they can earn money while staying in one place, avoiding the headaches and overhead of travel. Lastly, they can also lean on the existing infrastructure and talent pool of Vegas. This results in what are often career-defining shows.
Musicians travelling to Las Vegas, or fortunate to get a booking there, can utilise their free time away from the slots and tables networking. This could be to meet other travelling musicians or locals. To do this, just open your Vampr app on the discovery screen and adjust the location settings to your current location. This might be a chance to get lucky and catch a high rolling Las Vegas music job! 🃏
The major casino resorts in Vegas are still best known for their games. Endless streams of guests at slot reels and poker tables provide the bulk of the resorts’ revenue. At the same time, Vegas visitors take breaks amidst their hours-long gaming sessions. These visitors often venture into lobbies, lounges, and bars alongside casinos. Lesser-known artists often play in these and can attract new fans.
It is in the casinos’ interest to make sure these side spaces are entertaining as well. So, it is perhaps not surprising that many of the best poker rooms in Vegas reside mere steps away from bars and other smaller venues. Here, musicians are taking their shots at recognition.
The casinos intentionally place entertainment in “side” or “break” areas alongside their primary gaming offerings. Places like:
…and any number of even smaller spots are great places to spot less famous artists or pick up Las Vegas music jobs.
Behind any good event, whether in a lounge or a world-famous arena, there is always a team of unsung heroes working hard.
There are plenty of people helping shows to get off the ground.
These Las Vegas music jobs are often taxing and can involve long hours. But, it’s these jobs that make Vegas a perfect place to find steady work and settle down in one place.
Networking with music bookers, musicians and other music industry workers in Las Vegas is simple using Vampr.
It’s not all big budgets and glamor. Like most big cities across the country, there is a thriving alternative music scene in Las Vegas. – Perfect for all the purists out there keen to explore beyond the beaten path. In fact, there is a huge undercurrent of venues where small-to-medium-sized acts can get their time on the stage to woo new fans.
Venues in Vegas like:
…regularly host bands.
Record shops in Vegas like:
…have enough vinyl to satisfy even the most demanding of collectors.
Particularly in the downtown area, almost any night of the week you can stumble across bars with scrappy young indie, punk, country and folk bands organizing their own gigs and taking their shots at building a fan base. DJs easily find Las Vegas music jobs at hotels and parties. Furthermore, there are plenty of opportunities for other genres of music to be showcased.
The old saying of “it’s not what you know, it’s who you know” rings true in the music industry. And Las Vegas is undoubtedly a good place for musicians to network. The tables, bars, and dining areas of some of Vegas’s best casinos are busy hives of activity. Musicians can meet people with shared interests and aspirations.
When they’re lucky, they might just meet the right person who can make a difference and launch a career.
All in all, the history and legacy of Vegas combined with its diverse indie scene makes Sin City an exciting destination for people seeking Las Vegas music jobs.
It has become a must-visit destination for hungry musicians and others in the industry.
Written for vampr.me by Holly Lucas