International Songwriting Competition (ISC) Announces 2007 Winners - Grand Prize Awarded to Kazakhstan and USA Songwriters for Their Song "I'm Not Yo

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Everything You Need To Start and Operate a Record Digital Label

Anyone with a talent for music - particularly writing and recording songs - is now sitting on a potential gold mine.

What would have been unthinkable just a few short years back – is now not only possible, it’s being done with enormous success by individuals across the globe. What am I talking about? A digital record label.

Before I discuss the advantages of running your own digital label - I'd like you to imagine what it would have been like starting a physical label just ten years ago. A minimum investment of $350,000 would have been needed. This would have enabled you to rent an office sufficient to hold yourself plus a secretary, an a&r manager, a talent scout, a plugger/ promoter, and a receptionist. You would also need a copyright and royalty manager.

Your next task would have been to acquire good commercial recordings - with emphasis being on the word "commercial". Finding recordings was one thing, (as is the case today), finding good commercial product is something else. Unless you were able to acquire ready made masters under license from a third party, you would have had to pay for your artists to record the masters yourself. In addition to hiring a recording studio, you would also have had to pay a producer - plus a recording engineer (although the engineer's costs were usually included with the studio hire) - thus eating further into your $350,000 budget.

Assuming your product proved to be commercial (after heavy promotional costs), and sales from your first album had started to feed back from around the world. Eighty percent of your income would have been taken up in overheads through royalty payments to the artist, producer and the music publisher (mechanical license). Then, there would have been your general overheads: salaries, expenses, office rent and so on.

But we're getting ahead of ourselves. Before selling any records you would have needed a reliable manufacturer and a distributor to create and disperse your cds, (and maybe some dvds to promote the records), to the shops.

Getting a distributor in the first place was one of the most difficult things for any new record label. Ever watchful of stores and outlets unwilling to give shelf space to unheard artists, (i.e. artists yet to achieve a playlist position on radio), many would refuse to get involved with a new untried label. Not surprising when, given the choice, retailers could choose from any of the big selling artists such as Nickelback, Beyonce, Pussycat Dolls, Justin Timberlake, James Blunt etc against the poor new artist. So, you with your new label and new artists, would be forced to plough more money to promote your record, in the hope of getting on the playlist – in the hope of securing that elusive distribution deal. At this stage you would be wondering why you had started a label in the first place.

So, what enormous monstrosity of a thing happened in the music industry to change the old physical method of selling records? Enter, the golden dawn of digital music. Now, suddenly every artist, songwriter, producer, engineer and, even manager who once had a notion of starting his/her own physical label but didn't have a $350,000 budget - is able to start and operate his/her own digital label for about the price of a new laptop.

For the first time - individuals have a great opportunity of developing their own label from zero up - and making a very healthy living. Unlike the older physical system of starting and operating a label - with all the huge overheads - the digital label operator can start a catalog and operate it at his own pace without the need to employ several individuals. You can start with as little as two tracks - and build a catalog at your own pace - concentrating on your niche in the music industry, testing and probing the markets as you go along. Compare that to a physical label spending wads of money hoping their records chart. Failure to chart would often spell disaster for many a physical independent and domestic label - leaving only the majors to compete. Not so for a digital label. If a particular recording isn't selling over a period of time - you simply delete the product from your site. Updating your catalog can be done in minutes. Some digital labels regularly update their catalogues every few days.

If you're not an artist yourself - but someone who is drawn to a special style or genre - or just someone interested in music in general - here's what you can do to start your digital label: Firstly, you'll need a good web host. Basic as this sounds, some people go with an outfit they think is good - then, six months later they vanish into cyber space - leaving you and your site high and dry. So, please do homework before opening a web host account. I recommend you check for independent reviews on hosts you're thinking of going with. Once your web host is confirmed, you should get a confirmation email from your host confirming your space is ready so that you can move forward and publish your site.

Some people are very creative and skillful in being able to create their own web site. Others, like me, are not. I was contemplating having someone design my web site for me when, by chance, I came across a web design system called Xsitepro, but there are many to choose from. As with the web host, look for independent reviews before making a decision.

Next, make sure you have an up to date digital contract - one you can offer artists (or the owner of the masters). If you're not an artist yourself, you can enter into a license deal with any artist or production company willing to have you promotes and sell his/her product. By knowing a particular field or style of music well, will help you no end build your catalog faster than if you're someone learning as he/she goes along. However, enthusiasm will go along way. What you need to do when you start off is to ask yourself this question - "Why would an artist license his/her rights to me and not someone else?"

Firstly, to have an artist (or production company) freely license his rights to you - you need to convince him/her that you have a powerful distribution system. Unlike physical labels, with a web site, you have the ability to create your own "built in distribution system". Having a digital distribution account is an excellent idea - but you will still need to promote your product if you want to draw large numbers to your site. In my view, a newsletter, blog or e-zine, is the one of the best ways of drawing a high reading audience. Ten thousand plus is a good target to work toward. This will help you pick up more recordings from artists looking for a site attracting thousands of hits - assuming of course artist's genre works well with your label. There are some excellent publishers, blogs and newsletters hungry for good topical articles, presenting you with another outlet. Keep your articles fresh and original, and your audience will grow steadily with each article.

Since distribution is the key to your success - this is where you need to concentrate if you want your label to expand and prosper. Obviously, if your newsletter or e-zine readership is increasing, it's because people are enjoying the articles and information you're publishing - and more people will want to buy your product. A healthy situation all round.

Now, a note on your digital agreement, you can use a contract repeatedly for different artists. I would recommend you acquire rights non-exclusively. Keep in mind that a contract may need to be updated from time to time as new copyright laws come into effect to deal with technological changes. As a rule of thumb you can check back every six months to see if your contract needs updating.

Next, ensure you have a terms and conditions policy on your site. Anyone starting off a digital label, should have a general list of conditions, setting out criteria for accepting product online, together with a privacy policy.

Next, you'll need a strong accounting system. No matter how effective you are selling product online - if you're not accounting to your artists accurately and to the letter of your contract - you're dead in the water. In my view there is nothing worse than a company with a bad reputation for paying royalties. For me, trust and reputation is everything.

Work closely and be up front with the artists who put their faith and trust in you. Your good reputation and name will spread.

Since 1997, Songsalive! is the largest international non-profit membership organization dedicated to the nurturing, support, promotion and education of songwriters and composers worldwide.

Founded in 1997, by songwriters Gilli Moon and Roxanne Kiely in Sydney, Australia   Songsalive! is run by volunteer songwriters for songwriters and has reached the far corners of the globe with over 25 chapters worldwide (International head office in Los Angeles, CA, USA) We provide a "home", a family, for songwriters and composers through our programs, resources, community and support, all focused on the art and business of songwriting. It acts as an epicentre, a heart of the international songwriting community and music markets, bridging the gaps, tapping songwriters into the pulse of the business and at the same time giving them and their music the support they deserve. Through Songsalive!, songs and songwriters can be accessed by the whole world and when the hunt is on, Songsalive! is a one-stop song shop! Songsalive.org

(PRWEB) April 10, 2008 -- The International Songwriting Competition (ISC) is pleased to announce its 2007 winners. Renowned for its prestigious celebrity judges, ISC received over 15,000 songs from amateur and professional songwriters from 100 countries worldwide, confirming ISC's status as the leading global songwriting event. More than $150,000 in cash and prizes is shared among the 59 winners, including an overall Grand Prize of $25,000 (US) cash, the largest cash Grand Prize of any songwriting competition in the world, and $30,000 in merchandise and services.

For a complete list of 2007 ISC winners and to hear the winning songs, go to www.songwritingcompetition.com/winners.htm

It is with great pleasure that ISC bestows its highest honor, this year's Grand Prize, to Eduard Glumov (Aktobe, Kazakhstan) and Z. Mulls (Swarthmore, PA, USA) for their song "I'm Not Your Friend." The song, entered in the Rock category, was lauded by the ISC judges for its originality, arrangement, and compelling melody.

The collaboration between Eduard Glumov and Z. Mulls - from Kazakhstan to the USA, from one side of the globe to the other, perfectly reflects ISC's mission of creating a competition that is inclusive of songwriters worldwide. Glumov, a singer/songwriter, and Z. Mulls, a lyricist, met each other on MusesMuse.com, a songwriting resource website, and their musical collaboration produced the winning song.

Candace Avery, the founder and director of ISC, states, "It is amazing the way technology and the Internet allow songwriters from different parts of the world and cultures to collaborate, culminating in international partnerships such as this. I'm very proud that "I'm Not Your Friend" is the ISC Grand Prize winner because it epitomizes the core intention of ISC, to foster songwriting around the world."

Eduard Glumov, born in a small province town in the Soviet Union, started writing songs very early but became serious about songwriting at the age of 13 when his father was arrested and imprisoned for anti-Soviet activity. Later in the '80s, the era of political turmoil and unrest gave way to Perestroika, enabling Eduard to tour with his rock band. In the '90s, he began a studio career, writing, recording and producing songs and instrumental music for different artists, for theaters, and TV. He plans to release an indie CD in the USA in the near future.

Z. Mulls professes that writing lyrics is not a profession, but an avocation, stemming from a lifelong love of musical theatre and songwriting in general. He posts his lyrics on various websites, looking for collaborations with artists. He calls himself "a wordsmith in search of a melody."

In addition to the Grand Prize winner, many other deserving songwriters also share in the prestige and kudos of winning their respective categories in ISC 2007. With a total of 19 categories and First, Second, and Third Place in each, (along with a list of Honorable Mentions), ISC covers all genres of contemporary music, including rock, jazz, r&b/hip-hop, blues, and much more.

For the first time in the competition's history, the majority of winners (59%) come from outside the USA. The winners represent diverse cultures and come from all corners of the globe, from Brazil to Senegal, Scotland to Iceland, New Zealand to Brazil, Canada to the USA, and beyond. Receiving more international entries than any other songwriting competition, ISC is recognized as the pinnacle of excellence in rewarding achievements in songwriting throughout the world.

The big news for ISC this year is the dominance of Australian songwriters as winners in many different categories, including a clean sweep of the Rock category. This is the first time that songwriters from a country outside the USA have won First, Second, and Third Place in a specific category. It is especially remarkable that Australia, a country of only 20 million residents, has produced ten winners in this year's ISC, attesting to its dynamic music scene. Aussie winners range from up-and-coming, unsigned songwriters to established award-winning artists such as Gotye, Eskimo Joe, Clare Bowditch, Abby Dobson, and more.

Applauded for its high caliber of judges, ISC compiled a stellar panel of judges for the 2007 competition, including: Tom Waits; Loretta Lynn; Julian Casablancas (The Strokes); Nelly Furtado; Ray Davies (The Kinks); Kenny Wayne Shepherd; Ornette Coleman; Youssou N'Dour; Sean Paul; Jerry Lee Lewis; "Weird Al" Yankovic; Black Francis (Pixies); Robert Smith (The Cure); Cassandra Wilson; David Cross; Craig Morgan; John Mayall; Joe Satriani; Toby Mac; Michael W. Smith; Chris Hillman (The Byrds); John Scofield; Hinder; Amy Ray (Indigo Girls); Cheech Marin (Cheech & Chong); Darryl McDaniels (Run DMC); Macy Gray; Peter Hook (New Order); Paulina Rubio; Tiesto; Charlie Walk (President, Epic Records); Monte Lipman (President, Universal Records); Mona Scott-Young (President, Violator Records); Cameron Strang (President, New West Records); Steve Lillywhite (Producer); Bruce Iglauer (Founder/President, Alligator Records); Cory Robbins (Founder/President, Robbins Entertainment); Betty Pino (DJ, WAMR Miami, pioneer of Latin radio); Angel Carrasco (President, 605 Discos and Sr. VP A&R, Sony BMG Latin America); Thomas Brooman (Co-Founder/Artistic Director, WOMAD); Dan Storper (President, Putumayo World Music); Nancy Wolpert (VP Home Entertainment and Nick Records, Nickelodeon/BMG); Leib Ostrow (CEO, Music For Little People); and Paul Majors (CEO/Founder Majors Music).

2007 Sponsors include: Electro-Voice, ASCAP, Berklee College Of Music, Cakewalk, Shure, D'Addario, Thayers, Sam Ash, Hear Technologies, Disc Makers, Sonicbids, Musician's Atlas, Sibelius, Karian Studios, OnlineGigs, The Music Business Registry, Mediaguide, ArtistMonitor, Platinum Blue Music Intelligence, Alphabet Arm Design, George Stein, Esq., SongU, Shari's Berries, The Indie Venue Bible, and Taxi.

Go to www.songwritingcompetition.com/winners.htm for the complete list of ISC 2007 Winners. ISC is now accepting entries for 2008. Go to www.songwritingcompetition.com for more information and an entry form.

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