There are lessons for musicians to take from the story of Instagram. A lot of people don’t know that Instagram did not originally launch as a company called Instagram. They launched as a company called Burbon, which was sort of a geolocation check-in service similar to Foursquare, if you’re at all familiar with them. And really, the concept was that since people finally have GPS on their phones, maybe it will be fun to be able to go to a restaurant or somewhere and check in.

The one little extra feature they had that made it unique was that if, for example, you wanted to take a picture of the cocktail you ordered, they had these fun little lenses that you could choose from. They looked at the data and noticed that no one really cared about checking in. Nobody was checking in, but everyone loved taking random pictures, even of things outside of where they checked in and using these fun lenses.

So what they did was shut it all down. They looked at Burbon and decided they were going to pretend it never happened. However, knowing that people loved the camera part of it, they decided they were going to relaunch their product as a thing called Instagram. It looked to the world like it was a new company, and it looked to the world like it worked overnight.

They basically went through this whole workshop of a failed product that people didn’t want and relaunched with only what they did want. It was a pivot. And you could argue that they almost make marketing irrelevant. Their marketing happened via the failed product and the feedback that they got.

There’s really no correct way or timing to do this, but you do want to think about when in the process of making music you want to do it. For example, is it important to get a lot of feedback before putting it out, and make it look like it’s perfect when it comes out? Or do you go the other route, and have the confidence in the music that it’ll just work? There’s really no universal right answer. Instead, it’s up to you to make the right call for your project.

Online music education is a good way to find out more about effective ways to approach putting out music, and a wide variety of other topics related to the music industry. If you’re like many people who may not have the resources for other forms of music education, you would be wise to consider going the online direction.

The music business begins with music, and the core of the music experience is the song, right? What’s being played by the musician. The song’s at the core of everything we do, and it’s important to understand exactly what a song is. A song is really just an idea. It’s a melodic idea, a rhythmic idea, a harmonic idea. Something that brings a bunch of information together and creates an incredible work of art that can be enjoyed by lots of people.

But the music business starts when that idea first needs to be distributed. For centuries, music was something that was essentially free. It was part of our culture, part of our environments. Songs and music began as oral tradition, as something passed from person to person, and from generation to generation.

The music business starts when the song, the idea, becomes something to sell and to buy. So that’s what I’m going to talk about right now. It’s important to remember that the music business actually starts before there’s anything like records or recording. It actually starts as just a piece of information on a piece of paper. That’s the first bit to learn in your music education.

As we move into the Industrial Revolution and to more contemporary times, it becomes possible not only to fix those musical ideas in form, but also to buy and to sell that form. So the form becomes a humble sheet of paper with that musical information written upon it.

Now, here’s the thing, and it’s really the key to understanding what the business of music is. How much would you pay me for a sheet of blank paper? Next to nothing, right? Because it’s worth next to nothing. Maybe fractions of a penny. It’s almost not even worth talking about because there’s nothing special about it.

Now, I’m going to put some random ink on this paper. How much would you pay me for it now? Still nothing, right? Still pretty much worth nothing. It’s just paper and meaningless ink. The random ink doesn’t really mean anything, so it’s not going to change the value of the paper.

But let’s say I were to write some specific symbols on it, something that you could interpret and understand as a piano player. Then it begins to be worth something, because there is something worth having that’s on this sheet of paper, and now it’s much more valuable. And what’s worth having is the idea, right? The idea of a song. It works the same way for books. Words on a page convey a particular kind of idea, and those ideas are worth money.

And essentially, the early music business was all about putting those ideas on paper. So this is worth more than nothing. It’s worth 50 cents, $1, $2, however much the market will bear for buying sheet music.

Now, it just so happens that the music business emerges and there becomes a market for music in the late 1800s, early 1900s, because there’s an emergent middle class who can afford to buy things like pianos. Well, if you have a piano, and you know how to play music, then you need the instructions for playing that music. So suddenly there is a market for these ideas on paper called songs.

So here’s the thing, if I’m a musician, I definitely know how to make and interpret these symbols. What I might not know, for example, is where to buy a whole bunch of paper to print songs on, or where to buy ink, or the names of all the music stores in America and the addresses so that I can distribute that stuff to them. So frankly, I’m a musician. I want to stay at my piano, I want to compose things. I don’t want to do all that other stuff. That’s when I need somebody else, I need a partner.

So if I’m a songwriter, what I really need is a song publisher. And that is the beginnings of the music business in America, so remember that as you continue your online music education. That’s the beginnings of a music business that started on 28th Street in New York City between Broadway and Sixth Avenue, and it was known by the nickname Tin Pan Alley. The reason it got that nickname is because when people would walk down the street and hear all the sounds of the pianos coming out of the windows as they walked down the street, it sounded like little plunking on tin cans, all these little percussive piano hits that blended into this cacophony of sound spilling out into the world.

Well, Tin Pan Alley is not just a place. It’s also a metaphor and a nickname for the first music business. And the first music business was about selling these ideas on paper, and it was a partnership between the artist and the businessperson, the person who knew how to write these songs and put the symbols on paper, and the person who knew how to distribute and sell them.

This is how folks began making a lot of money. They sold sheet music to music stores, and they also got money for artists performing them onstage called a performance royalty. So this was the nature of the early music business.

One of the most important things about revenue streams in the music industry is registering your song. Without registering your song and without having proper songs splits, there is no revenue to collect. That money just sits out there in the ether with really no place to go. That armored car is driving around the parking lot with no hope and no place to stop. How do you solve that?

Every time you write a song—whether you’re writing it with a partner, a friend or somebody else you’ve collaborated with in the past—you should never leave a songwriting session without a song split sheet. It’s a very simple sheet that just says, for example, I wrote 50% of the music, and you wrote 50%, so those are our shares. Without having an effective song split sheet, you’re opening yourself up to a lawsuit. If things go well for you and the song becomes a big hit and you have an argument later on about who owns what share of the song, that money gets held up for as long as the litigation gets held up. You don’t get paid on your song for quite some time.

Song splits can take many different forms. Two people could be a 50-50 split. It could be 95-5. Some songs have seven or eight different writers on them, ranging from 50% for one writer down to 3.5% percent for another. Online music education will show you that Kanye West famously had 21 writers on one song.

Consider “All Day” with music by Kanye West. Kanye sang: “I took a young, sweet breath. And I reached into my head. Gave him what I had left. At that moment I dispersed. At that moment I dispersed.”

Of course, that’s not even including the idea that perhaps you sampled some of a previous song or used a beat from somewhere else. Those rates need to be negotiated as well. So, without a song split sheet, you can’t even register your song. Once you have your song split sheet, and once you are clear on who did what and who contributed how much, you’re able to then go ahead and register your song with a performance rights organization like ASCAP, BMI or SESAC. It’s very important you do that.

You can also then take your song and register it online. All of this can be done online with SoundExchange, for example. SoundExchange collects all your digital royalties for you. Then, of course, when you upload your song to Spotify or Apple, all that information is given there. You’d be surprised how many artists don’t take the first step toward monetizing their music by simply registering their songs with the proper performance rights organizations and collection agencies that are able to get that money for you. It’s a vital part of being in the music industry. If you’re in a situation where you have a major label or you have an indie label on your side and you do have representation like a lawyer or a business manager, they’ll often advise you to do these things. We’re living in a day and age in which music education teaches us that the artist really must take control of their own career. And this is the first step to doing so, making money doing what you love.

Music supervisor is a term for somebody who’s in charge of finding and processing musical information for particular projects. That’s the easiest way to put it. In advertising, they will be called a musical producer or an executive musical producer. But it’s a similar process in terms of what they do.

A musical supervisor will come and say, “I’ve got this deal. This is what the structure is. This is how much we want to pay. Do you have any songs that will work?” And then, we’ll send the musical supervisor some selections.

It’s sort of like throwing darts at a dartboard. I wouldn’t say that it starts against the wall, where you don’t know what you’re doing. It’s throwing darts at a dartboard. And we say, “OK, well, we know what the supervisor wants. We can hit that. We think we can hit it well.” Then, we just basically wait for the supervisor to process it. We just have an ongoing dialogue with them to talk about whether or not it works. If it works, then we do a deal. If it doesn’t, we don’t. It’s fairly simple business, but there’s a lot of intellectual property stuff in the background that’s not quite so simple.

This position is sort of the central point in the music industry for a particular production when it comes to everything musical. Sometimes, that means that they also act as a musical director and not just as a supervisor. And what I mean by that is a musical director, being somebody who will coach actors on how to sing properly for camera, how to lip-sync, or if they need to lip-sync. We’ll work with composers, if needed, to bring together custom work that needs to be done. So there are a lot of things that a supervisor touches on. But really, if you want to think about the supervisor from your perspective, that’s the person to connect with either directly or through a sync agent, a label, or publisher or other entity, to get your music connected to a project and then possibly get it used.

In that role, the supervisor is sort of a central musical point. That’s the easiest way to understand it. Now, there’s one thing I want to talk about here when it comes to supervisors that a lot of people may not know. Basically, the supervisor is only one voice. A lot of the time, they don’t have the ultimate control of approval, or they are not the ultimate decision-maker when it comes to the usage of musical information.

A lot of the time when you’ve submitted musical data to a supervisor, or someone has on your behalf, and it seems like everything’s going well but then it stops, people naturally get really frustrated. And they’re like, “What? You know, the supervisor told us that it was great. I don’t know what’s going on. What’s wrong with these people? They’re totally crazy.”

But they’re not totally crazy. They’re not the person who’s the ultimate decider a lot of the time. The ultimate decider is the person who writes–the people who write the show, the showrunner, the director in a film, or the creative head at an advertising firm. Or it could be a producer, somebody who is at a brand for an advertising company, or somebody high up at the studio in marketing, who just said, “That’s just not resonating with us. We don’t want it.”

So there are a thousand reasons why something that you’ve submitted to a supervisor may not actually happen. I just want to say that, because a lot of people think that the supervisor is like some kind of god. However, a lot of the time, the supervisor is trying to do the best job that they can for their bosses. And the reason that I’m telling you all of this is that there’s an end game for you.

And the end game for you is to say to yourself, “How can I be of service to this supervisor? How can I help them to solve a problem?” That’s your job outside of your music education if you want to step up and deal with supervisors directly. Or a good sync agent would say the same thing, which is, “How do I solve a problem for a supervisor?” And you know what? If you can solve that problem, you’ve got to be honest with yourself about your music and about what you can do, and say, “OK, I can solve that problem!” And then you solve it.

If you can’t solve the problem, don’t send the supervisor something that will set you up for failure. I’ve seen it done time and time again. I see a lot of the time that people will know that a supervisor is busy with several tasks, and they’ll send them musical data that will never work for anything they do, which is the kiss of death in everything.

If there’s a supervisor who is working on a project where everything sounds like it’s very ’80s and you send them some current hip-hop verses, maybe something that sounds like Kurtis Blow or LL Cool J, then you’re going to set yourself up for failure because that’s not what the job of the day is. The job of the sound is to emphasize what the story is. You’ve got to take a look at what kind of stories are being told and what the supervisors are looking to enhance with your contribution. So your creation, as good as it may be, is not always going to be the best thing for the particular job.

Let’s talk from generalities first in terms of how you make your music licensable. Then, we can talk about how you present it because there are two parts of the equation. How you present is extremely important, but before that, let’s talk about what you need to do to make sure that everything is packaged correctly and that when you present it to a supervisor or somebody who’s representing you, you’re truly putting your best foot forward rather than setting yourself up for failure.

Now, the first thing is you’ve just got to create a really good sound. I’m just going to keep on saying that because that’s the most important thing that you need to do. Without really good musical compositions, nothing will happen, so you’ve got to make your sound the best it can be.

Also, you’ve got to make sure that anything that you submit is mastered and mixed correctly. You can’t give somebody something that’s a demo that you’re working on that’s really sort of a rough edit. You’ve got to have things that are ready to go and really represent you the best that they can. That’s probably the most important thing to remember as you continue your online music education, that you have to put in 100% of your effort.

Now, if you do have a relationship with somebody that has developed over time and you’re working on something, then, yeah, of course, just like any other relationship, you can say, “Hey, I’ve been working on this, what do you think? Do you think I should really go for it? Or what do you think of the direction of this?” That’s fine if you have a long-term relationship with a supervisor or with a sync agent or a label or publisher.

But let’s assume you don’t. Make sure that everything is mastered. That’s the number one rule that I’m going to say because I don’t think that people say it enough. They always talk about things like my next subject, which is metadata.

The pop music industry evolved a specific kind of artist: the recording artist. Whether you’re just beginning your online music education or you’re familiar with the industry, it’s important to remember that the journey of the recording artist begins with another invention, and that invention is called the microphone.

Not only does the microphone enable somebody to have their voice amplified in a venue, but it also enables a performer to fix that performance on a physical form, like a vinyl record.

However, the microphone also does something else: it actually alters the nature of how songs are performed. It used to be that if I were a performer onstage and there was no amplification, I would really have to project so that everybody in the venue could hear my voice. Suddenly, you have a microphone which allows for a greater dynamic range. In particular, a performer can sing very, very softly, and that voice will still carry. In some ways, it allows for a greater degree of intimacy with an artist, as if you are up close with that artist.

That really is one of the things that birthed a new kind of singing: an American singing, a popular music singing. Sometimes it’s called crooning, and there were a few figures of the early music business that really worked that microphone. Whether we’re talking about a Billie Holiday, a Bing Crosby, or a Frank Sinatra, people you might hear about when studying music education, these are some of the earliest superstars of recorded music, and they’re known especially for their subtle nuanced vocal performances.

I want to talk a little bit about performance anxiety. The truth is, it’s normal. We all have fight or flight so that means that everybody gets nervous, and everybody should get nervous if they’re getting up on a big stage in front of a lot of people or even a little stage in front of some people. Sometimes that is actually scarier.

The truth is, we should have an increased heart rate, some difficulty breathing, and perhaps some sweaty palms, but what we shouldn’t do is let that affect our performance. Practice is a really good way for us to move through this. We have to imagine that setup, that situation we’re going to be in, and be able to get through it. One thing that I really suggest is changing your thinking about the outcome of the situation. Camila Cabello says, “I remember the first show. I was so intimidated, like I was so scared. And there was a switch, I think, in the second or third show where I was like, wait a second, these people aren’t judging me.”

There’s three different ways that you can think. The first, is a positive outcome. This can be great, but it can also be detrimental. An example of that positive-outcome thinking would be, “I’m going to be amazing. I am the best singer ever.” Again, this confidence is awesome, but in reality, sometimes if we mess up, it can work to our disadvantage. The second is negative-outcome thinking, “I’m going to suck. I’m going to ruin everything. Everyone’s going to hate me.” Obviously, this is a terrible way to think. Sure, it’s low expectation so if we do well, we’ll feel really great, but it’s a terrible way to set yourself up for failure. Lastly, the third kind of thinking is just practical thinking. “I’m going to do this. This is my job. I’m going to perform.” This is really the best thinking for performance anxiety because we don’t say it’s going to be good or bad. We just say it’s going to be. This is the best way that we can be our authentic self and get through this difficult moment of nerves.

Coping Mechanisms to Overcome Performance Anxiety

One way to deal with performance anxiety is being able to mentally go through the entire performance in real time. Music education teaches, a lot of people use this technique when they can’t get together with their band. It just exemplifies a way that we can build confidence on our own in our own mind. It’s kind of like meditation. I’ll think about all the parts I need to play, all the vocalizations I need to do, and all of my choreography. After we do it once in real time, I like to do it a second time in double time. That means that I can go through everything quickly and know where I’m going to move to next. Before we finish up, we go one more time in real time. This helps us to end this process with what we are expecting to do on stage exactly. Going through this over and over again is just going to help us feel comfortable when we actually get on stage in front of the crowd.

The best way to recover from a mess-up during a performance is really the same way that you would mess up from a life experience. There’s a couple of ways that you can regain control after you mess up in a performance. According to online music education, one of those is seeing it in the scope of the entire show. Most people won’t recognize that you made an error. The only person that’s going to know that you made an error is yourself and maybe your band. Don’t acknowledge it and push through it. Take a breath and step back. This does not define your entire performance. It will not define your career. It will not define your entire life. It is only a moment to move past and it is gone now.

Everyone makes mistakes during a show. I definitely make more than one in every show. The truth is, we shouldn’t let that take over our anxiety around performing the rest of the show with confidence. One person that has made a mistake that we’re all aware of was Adele. When she performed at the Grammys and she couldn’t find her place, she actually stopped and acknowledged her mistake. I think this was really important for her to do because it created a vulnerability with her and the audience of millions of people all over the world. Showing that she was human actually made her more lovable. I thought it was a really brilliant way for her to deal with making that mistake. Other people on stage will just keep going and not care. Other people will stop the song and acknowledge it until the audience laughs. Really, there’s so many ways of doing this, but I think the most important thing is just to allow yourself to be vulnerable and authentic to your true self when you make a mistake on stage.

The role of a record producer in the music industry is multifaceted and crucial in shaping the sound and success of an artist. While the debate between documenting a performance and shaping its sound continues, it’s the producer’s relationship with the artist that often defines the outcome of a musical project. Let’s explore the different approaches producers take in working with artists and the impact of their choices on the music that reaches our ears.

 

The Facilitator vs. The Imprint

At one end of the spectrum, some record producers act as facilitators, focusing solely on bringing the artist’s vision to life. Their primary aim is to create an environment where the artist feels supported to express their creativity and produce their best work. On the opposite end, there are producers who leave a distinct mark on the music they touch, imprinting their unique sound and style onto the artist’s work. This approach can lead to a collaboration where the producer’s influence is as significant as the artist’s talent

 

Jerry Wechsler and Aretha Franklin

A prime example of a facilitative producer is Jerry Wechsler. When he signed Aretha Franklin, Wechsler recognized her potential and worked to cultivate a sound that resonated with her soulful roots. His approach was not about changing Franklin’s style but enhancing and elevating it to showcase her best qualities. This collaboration led to some of the most iconic songs in the history of soul music, demonstrating the power of a producer who prioritizes the artist’s authentic expression.

 

Phil Spector and the Wall of Sound

Contrastingly, Phil Spector became known for his “Wall of Sound” technique, a method that significantly shaped the music of the artists he worked with. Spector’s approach was to create a dense, layered sound that was unmistakable, regardless of the artist performing. This method led to groundbreaking music but also sparked debates about the balance between a producer’s influence and an artist’s originality.

 

The Role of Electronic Music Producers

In the realm of electronic music, producers like Pharrell Williams have managed to carve out a niche where their sound becomes a signature. When you hear a Pharrell-produced track, there’s an immediate recognition of his influence. This highlights a modern trend where producers are as celebrated as the artists themselves, blurring the lines between production and performance.

 

The Importance of Music Education

Understanding these dynamics is essential for anyone looking to make their mark in the music industry. Whether you’re an aspiring producer, artist, or music executive, recognizing the different roles a producer can play opens up a broader perspective on music production. It emphasizes the need for a solid foundation in music education to navigate the complexities of this relationship.

The relationship between a record producer and an artist is a delicate dance of creativity, vision, and influence. As we’ve seen through examples like Jerry Wechsler and Phil Spector, the producer’s approach can significantly affect the direction and success of an artist’s music. For those intrigued by the intricacies of music production and looking to deepen their understanding, pursuing further education in this field is invaluable.

 

Discover Your Potential With Yellowbrick

Interested in exploring the music industry more deeply? Enroll in the Music Industry Essentials course by Yellowbrick. This comprehensive course offers insights into production, management, and the business of music, providing you with the tools to navigate the music industry successfully. Whether you’re just starting or looking to expand your knowledge, this course is designed to improve your understanding of the music world.

Take the first step towards mastering the art of music production and shaping the sound of the future. Enroll now and discover your potential in the music industry!

Before you arrive at the venue, it’s great to have your set list already planned out with your band. This is a key part of your music education. You can always make changes later, but it’s good to think about the sequence of songs before you show up to the venue to make sure that you really add dynamic to the show. Perhaps you decide to juxtapose a slow song with a fast song for the most drama.

We ask Mick Jagger, “When choosing a setlist for the Rolling Stones, there really aren’t too many bad ideas, are there?”

The Rolling Stones front man, who has nearly 60 years of music industry experience, replies, “I’m sure there are. Let’s just say that some ideas are better than others. Like for instance, I believe that the opening number is kind of important. We did try ‘Sympathy for the Devil’ in some cases. And a lot of those shows in Europe were in the daylight, so I didn’t like doing that number in the daylight opening. It didn’t work, so I dumped it.

“I think it works as an opener in the dark when you’ve got full lighting,” Jagger continues. He goes on to explain that in the dark, that song really reads and works to create a mood. “So we’ve got all these kinds of factors to take into account when we’re doing set lists,” he concludes.

A set list is a list of songs that you’re going to perform that night. Everyone has a different amount of songs depending on how much time they have allotted to them on stage. This is one of many aspects of your career to consider as you continue your online music education.

The visual pillar of performance is probably the most fun. Sometimes, as musicians, we forget about this part of our artistry. That it really comes from a deep feeling.

We want to paint. We want to touch. Sometimes, with music, we don’t get that sense. We don’t get that motion. When we’re creating electronic music.

Get students to feel comfortable getting dirty. You want them to feel like the energy they’ve put into creating a set or creating costumes is going to give back to their audience. Like it is going to make them feel more connected with the work that they’re doing.

What is the story you want to tell? You must make sure that you are wearing the costume of that story, of that main character. What is the character of the set? Is that a sun setting? Or is it people in a protest?

If you never bring up the idea of people in a protest, but you’ve got images behind you of people in a protest, it evokes a feeling from the audience. It’s these subliminal messages that we’re giving to the audience that make them feel connected to what we’re doing.

There are many ways to do this for a performance with a track. For example, to feel more alive, one of those is through movement and choreography. Another one of those is creating or combining a live element with your track. Sometimes, people add live drums, and they’re not even miked.

The idea of moving their body along with the rhythm of the music is something that the audience can really connect to. They feel, oh, they’re moving. I want to move too.

That’s what we must look at. Like there’s really a mirror right there. What you are doing is what the audience feels OK to be doing back to you. If you’re dancing, they’re dancing. If you’re introspective and looking at the ground, they might be too. Decide what you want your audience to do, and they’ll mirror you.

One common question music professionals get is “how does a manager in the music industry get paid?” Historically, a manager typically gets between 10% and 20% of the gross. However, that number changes depending on what the situation is. For example, a female solo artist or a male solo artist may be paying 20%, but if you’re a rock band of five or six guys, for a manager to make 20%, they’d make more than any individual member of the band. Generally, any manager who’s smart and wants to have a good relationship with their artists is going to take less than that.

Some managers make less than touring based on a touring history, but 15% to 20% is a general rule. Any manager who’s worth their weight and has a great history and good experience is going to want 15% to 20% of the gross of everything that you make. It’s not an unreasonable amount of money because there are many times when a manager is working hard on your behalf. They aren’t making any money during the times that you’re dormant, recording, etc.

It’s hard to talk about the music industry without talking about some of the pitfalls of the business. Because there weren’t music education programs 20, 25 years ago, all of us who grew up in the music industry made mistakes and learned by either making those mistakes, getting ripped off, getting screwed over, or getting somehow cheated, unfortunately.

Thankfully, things are different today. However, the pitfalls still remain the same. That is, if it sounds too good to be true, it probably is. Don’t fall for the hype. Don’t go for the quick buck. Instead, go for the long term. So, why do I say that? Many people think that fame equals a career, but that’s not the case. The list of one-hit-wonders, flashes in the pan, people who had their short moment in the sun, is significantly longer than the list of those who have had a real career.

Always be open-minded. Always be thinking about where you want to be in five or 10 years. Don’t be thinking about how to get as many ‘likes’ as you can today. Think about how to get as many followers as you can long-term. If you think about even the arc of Facebook and how it was used, in the last five years it went from the number of followers being the most important thing to followers no longer amounting to excitement, interest, or passion.

So, if I were a manager, I wouldn’t really care how many followers you have. Instead, I want to know how many people are talking about you. It’s a very different dynamic. It’s a very different algorithm. But ultimately, having real fans is what it’s all about. Don’t go for quick fame, and don’t confuse fame with a career, because they’re two completely different things.

Another important thing is, don’t make the mistake of signing contracts without having them looked over. Standard music industry contracts are not usually in the artist’s favor. And honestly, it may never be completely in your favor; however, it should always be within the confines, norms, and boundaries of what’s acceptable among artists.

When you hear those horror stories about old artists being ripped off or selling their music, or when you wonder how Michael Jackson owns part of the Beatles catalog, that’s because artists were signing bad deals at the time. Fortunately, that’s easily avoidable now with good advice. Remember, just because somebody asked you to the dance, it doesn’t mean that’s the only person who wants to dance with you.

If you’ve got ‘the goods’ and you’ve got things going on, you don’t have to take the first deal that comes your way. Be patient and wait for the right deal to be presented to you. If what you’re doing makes a lot of sense and people really like it, there will be more than one company, one person, one bit of interest in what you’re doing. There will be a lot of it.

If you’re interested in learning much more about concepts like these surrounding the world of professional music, you should seriously consider exploring online music education.