The previous installment of this series dealt with how sound must be represented as electricity for us to work with it in the modern, pro-audio context. Mostly, we talked about the transducers you’re likely to encounter – microphones, that is.
The next step is to get that electricity passed along to the input stage of a console or other device.
“Wire” You Looking At Me Like That?
The simplest and most robust connection possible is a single cable carrying analog electrical signals. Analog cabling is subject to many problems, of course, including noise induced by electromagnetic interference. However, its simplicity reduces the number of ways that an outright failure can occur, and the connection tends to degrade “gracefully.” In other words, the cable will continue to pass some kind of signal unless it’s completely unable to function.
A cable is a bundle of conductors that have different roles in a successful connection. Audio connections require a minimum of two conductors: Signal (Hot, +) and Ground. It is, of course, entirely possible to bundle more conductors into a single cable, with the extra conductors having different roles. A three-conductor system might be used for a balanced connection, with Signal (Hot, +), Return (Neutral, -) and Ground…but this isn’t the only possible configuration! A three-conductor cable might also be unbalanced stereo, with two “hots” and a shared ground.
Cables do not have brains, and don’t “know” which application they are meant for – although certain cable constructions are better for different situations. The application, or interpretation of the carried signals is up to the manufacturers of input and output devices.
In pro-audio, there is a definite preference for “balanced” connections. As stated above, a balanced connection requires Signal and Return conductors for each audio signal being carried (along with a proper Ground conductor scheme as needed).
Balanced connections are helpful because of their ability to suppress induced noise. Interference gets “into” a balanced cable just like any other cable. All cables function as antennae, and the longer the cable the more functional it is. With a balanced connection, though, the induced noise is the same on both conductors, whereas the actual signal is inverted on one conductor. Balanced input stages are meant to accept only what is DIFFERENT between the two conductors, while – to some degree – canceling anything that is common. If the signal on one conductor is inverted, but the noise is the same on both, the signal should be preserved while the noise largely disappears.
Because of what I said above (that cables are unaware of how they’re supposed to be used), you can theoretically put connectors on any cable with the appropriate number of conductors, and use that cable in a balanced situation. However, cable made specifically for balanced connections will use “twisted pairs,” so that the noise exposure for any given conductor is the same along the length of the cable. Cables built for unbalanced use may not have any twist, which can cause one conductor to be more susceptible to noise. If the noise on one conductor is greater than on the other, the differential input stage will happily amplify the difference and pass the noise along.
I’m A Terminator
In a pro-audio context, we have a strong tendency to name cables by referring to the connectors attached to the ends. (We could connect everything via bare wire, but that wouldn’t be quick or convenient.) It’s important to note that cable termination does not necessarily guarantee that the cable will function a certain way.
For example, I can terminate an unbalanced cable with a connector generally meant for balanced operation. The cable will never actually be capable of carrying a properly balanced signal, even though the connector is capable of doing so.
Some common termination types – and thus, cable names – are:
— 3-Pin XLR, commonly referred to as XLR, or “mic-cable.” XLR connectors offer robust construction, with relatively large electrical contact points arranged in a triangle, and the ability to latch built in at both ends. Please note that XLR is actually a reference to an overall connector form-factor. An “XLR cable” might have connectors with 5 pins instead of three. 3-Pin XLR is most often used for mono, balanced audio, but there’s nothing to prevent the connector from being utilized in other applications. (Some older equipment even used 3-Pin XLR for loudspeaker connections.) XLR cables are most often wired with a male end and female end.
— TS (Tip-sleeve), often called a phone cable or guitar cable. TS connectors and their variants are available in various sizes, with 1/4″ and 1/8″ diameters being the most common. TS and other similar connectors are not quite as heavy-duty as XLR, because their “all in a line” construction can be more easily damaged by sideways force, and also because TS connectors are not often built with latching capabilities. The tip being larger than the sleeve offers some protection against accidental disconnect, though, and some manufacturers have also created latching jacks. TS cables are often seen with two male ends. TS cable finds applications in mono, unbalanced audio applications, along with certain switching operations.
— TRS (Tip-ring-sleeve), also called a phone cable (confusingly with TS), or stereo phone cable. TRS can be used for stereo audio, balanced, mono audio, and switching applications where two switches are to be addressed with one connection.
— TRRS (Tip-ring-ring-sleeve), which ALSO may be called a phone cable (causing even more confusion), or headset cable. TRRS, due to having four connection points, commonly finds use where stereo, unbalanced audio travels to a receiving end, and a mono, unbalanced signal travels from a sending end located on the same device – such as a headset with a built-in microphone.
Multiple TS variants can be physically inserted into a mismatching jack, with varying results. Cables with “too few” connection points will often seem to work normally when plugged into a jack with more connections. The opposite, however, is much less certain. TRRS-equipped headphones, for instance, can’t be counted on to pass audio as expected if mated to a TRS headphone output.
— RCA, also called a pin-jack. Any single RCA connector only has the electrical capabilities of a TS connector, limiting it to unbalanced, mono audio or single-point switching. Two or more cables with RCA termination are often combined by the manufacturer for convenience. RCA connectivity is even less robust than other types, especially as simple friction is the only barrier to a cable being inserted or removed. Many RCA cables are wired with male connectors at both ends.
A cabling “super-type” is that of the snake, or multicore. These are effectively a cable of cables, meant to help collect and run a number of connections in a single, physical bundle. Snakes come in many varieties, with many combining cables with different termination types. Some include a stagebox for one end, which may be removable if the snake is a high-end model.
At some point, you will very likely encounter a situation where a device producing an audio signal is incompatible with the receiving device, such as a mixing console. In certain cases, this is a purely physical problem, such as a balanced output on TRS faced with a balanced input on XLR.
In such a situation, the only conversion necessary is a simple adapter. There’s no problem to be solved with the signal itself. Rather, the connection for the signal needs to be reconfigured. A simple adapter has no electronics, but only the necessary wiring required to pass the audio straight through to a different connector. You must be careful that the wiring is as you expect, however. Some TRS to XLR adapters don’t actually include all three conductors!
Simple adaption is also all that’s necessary in many situations where you are reducing electrical complexity, such as mating a balanced output to an unbalanced input.
The problem gets a little more complex when you need to convert an unbalanced signal to a balanced one, and/ or where the signal producing device can’t effectively drive the console input. (The latter case is an impedance problem. A real discussion of impedance is beyond the scope of this series, but a tell-tale sign of an impedance issue is a connection where the signal seems surprisingly weak and sounds VERY poor.)
When you need to improve/ upgrade the ELECTRICAL part of the equation, a simple adapter is insufficient. You will need intervening electronics in the form of a DI box or similar device.
Some of these converters are very bare-bones, stuffing an electrical transformer into the body of an adapter and doing nothing else. Others may be a bit more full-featured, operating as an actual DI box with, perhaps, a pad for high-level signals, a pass-through, and a ground-lift on the output. In both cases, though, the internal transformer does all the real work. The signal is converted to a balanced output, and a reasonably broad range of impedances can be successfully handled.
These simple devices are especially easy to use because they are passive, requiring only the input signal to be present in order to function. They can’t handle every possible input situation, though, because their transformers have inherent limitations regarding input impedance.
Active direct boxes are more flexible at the cost of complexity. The core of an active DI is a circuit involving an op-amp which requires some sort of steady power supply to operate. The op-amp can be effectively driven by almost any input, though, making active DIs compatible with pretty much anything you’re likely to encounter. A reasonable rule of thumb, then, is to use an active DI box whenever you’re in doubt about what kind of DI is appropriate.
Too many musicians just want to have the business stuff done for them.
But that’s a privilege you’re only entitled to AFTER you’ve achieved significant success.
The music biz is a relationship game. So no one is going to build your career for you as well as you can for yourself.
Besides, the only way to make sure that the people you hire are doing their job properly is to learn to do it yourself first.
Once you have systems in place you can make responsible decisions about whether you want to outsource certain tasks (which you’ll still have to supervise), and how much of your income you really want to give up to middlemen.
There are a LOT of shady people in the music in-DUH-stry.
So if you insist on ONLY paying attention to making music you’ll get screwed over… a lot… with no vaseline.
I laugh out loud when musicians accuse me of being shady because I focus on education instead of managing and building careers for people who don’t want to learn.
They say stuff like, “if your stuff really worked you’d do it FOR me in exchange for a percentage of future profits”.
The truth is if you’re not willing to work you’ve got no chance, no matter how much anyone else does for you. So I would never waste my time on someone that comes at me with that attitude.
There are plenty of people out there who will sell you broken promises. And that’s what you’re gonna get if you don’t take ownership of your career.
Speaking of taking ownership, one way to get the education you need in order to do that is to go to university and get an MBA specializing Entrepreneurial Small Business. Then spend a few years applying the theories and processes you learned to a wide variety of musicians so that you can distill your knowledge down to the most potent and universal principles.
That’s what I did. It cost me about $40,000.
Another option that’s available for a fraction of that price the Musicpreneur Apprentice Program.
That’s where I teach you everything you need (and nothing you don’t need) to know about building your own community of raving, paying superfans and turning your dream into a real-life business.
To-Do lists can be a lot like the “Bog of Eternal Stench”!
The longer you spend on them, the deeper you get…
As I was building my business, I was constantly taking in new information and applying it.
Although taking in as much information as possible is important at a certain stage, it will eventually sink you.
I found out he hard way that there is FAR more information on the inter webs than you could ever possibly apply.
I reached a point where I was rolling out of bed at 7am and heading straight to my computer. Then I would sit there, zombified, ticking off things from my to-do list until 11 at night.
Not only that…
Since I was subscribed to ALL the music biz blogs, podcasts, and websites I could find, my to-do list was longer by the time I went to bed than it was when I got up!
I didn’t eat well. I didn’t exercise. I didn’t spend time with my wife. And eventually I sunk into a deep depression that nearly ended my career.
Even though I was making a living, I wasn’t living life.
But I WAS able to climb out of The Bog and solve The Labyrinth.
And now I get more (important) stuff done in 6 hours than I used to in 16 hours.
1: I Unsubscribed From Almost Everything.
I figured out which source of information was giving me the MOST powerful information and unsubscribed from everything else.
There were some good sources that I came back to later. But I made it a point to focus on learning from one teacher at a time.
That way, I wasn’t spending time on redundant or conflicting strategies. And I stopped adding more things to my to-do list than I was able to check off each day.
2: I Set Time Limits.
I STILL have an egg timer that I have on whenever I’m Facebooking. It starts at 30 minutes when I get up. And when it reaches zero I’m DONE Facebooking for the day.
I also set up an 8-hour timer. When that ran out, I was DONE working for the day, whether things were finished or not.
It freed up time to actually take care of myself and enjoy life. It forced me to look critically at my to-do list and delete a LOT of stuff I realized didn’t need to be there. And it helped me stay focused and stop procrastinating.
It helped so much that now I’m down to 6 hours per workday 😉
3: I Started Planning Ahead.
Instead of looking at my list each morning and cherry-picking what I was in the mood for, I started taking time at the end of the week to look at my list and slot tasks into my schedule for the entire upcoming week.
That way, I couldn’t get distracted by the easy (and usually unimportant) stuff. I knew WHAT I had to get done each day when I got to my desk and HOW MUCH time I had to do it in.
Within a couple of weeks I was able to accurately predict what I could get done in a week. It also helped me knock a BUNCH of other pointless stuff off my list.
4: I Prioritized.
I decided on 4 things that were crucial for me to get done on a regular basis and created a system to reward myself for doing those things using a wall calendar and fun stickers.
Those are the most important tools I used to get my to-do list under control and take back my life.
Of course I go deeper into the all of that and a LOT more in vivid detail in the Musicpreneur Apprentice Program
Time Management is an overlooked subject in most music biz (or ANY biz for that matter)courses. Which is why I’ve dedicated an entire module to it in the MAP 2.0, which is set to release next month.
The price of the MAP will also be going up when 2.0 get’s released. So if you’d like to get in for the 1.0 pricing (and the free upgrade when I launch 2.0) you can join us here:
Here’s a question I’m starting to hear quite a bit:
“What’s the difference between the Musicpreneur Apprentice Program 1.0 and the MAP 2.0?”
There are actually a few differences. So here they are:
1: The lessons in the MAP 1.0 were presented as live webinars and currently live as replays in the classroom. For 2.0 I’m breaking down those lessons into smaller, bite-sized bits and recording more polished (scripted) videos.
2: There is a LOT more homework. Each lesson will include an assignment. They won’t be graded. Rather, most of them will be submitted for peer review in our Student Lounge (FB Group) so that we can ALL learn from and be inspired by each other’s efforts.
The community aspect of the MAP is one of the key benefits that makes it stand out from any other program. So this is a great way to leverage that advantage.
3: I have updated the lessons based on over a year’s worth of learning from dozens of MAPers testing out and improving upon our ideas.
4: I have added new modules based on things that we have learned and discovered are important over the last year. The new modules include:
-The Musicpreneur Mindset
-A Greatly Expanded Monetization Module
-A Pilot Program For Patreon
5: More Bonuses! In addition to the bonuses offered in the MAP 1.0 I will be adding:
-MORE One-On-One Coaching
-1 Year of Free Access to TweepMaster (our “SFMers Only” Twitter App which handles targeted growth, auto-dm, AND advanced messaging like nothing you’ve ever seen).
-Discount on Web Design Services
Yeah, the MAP 2.0 is going to be a pretty big deal. I’d say about twice as big of a deal as the MAP 1.0. And the price will reflect that.
Anyone who’s part of the MAP 1.0 will get upgraded for free.
If you want the extra bonuses, wait until I launch the MAP 2.0 in December to join.
But if you’re happy with the current bonuses and want to get in at a lower price, time is running out to join the MAP 1.0.
The door is closing on October 31st so that I can spend November putting together the final touches for the grand reopening!
You’ve done some playing and singing. You’ve written some songs. You’ve got this whole “music” thing down to some degree, and now you’re thinking about gigging or recording.
But you’re bewildered. You don’t know how to get started with the maddening, intimidating, even terrifying pile of hardware and software that gets used in modern production. This series is for you. It should help you understand a little more about what’s going on, so you’re not as mystified.
We’re Going In!
Obviously, what we’re working with is sound – a vibration in something physical that we can hear. Any real dive into the physics of sound is beyond the scope of this series, but you should be aware that all sound:
1) Has an intensity, or amplitude.
2) Has a rate of vibration, or frequency.
Sound has other properties as well, but these two will be the most important for a basic understanding.
Now, then. The fundamental key to all audio production is that we MUST have sound information in the form of electricity. Certain instruments, like synthesizers and sample players don’t produce any actual sound at all; They go straight to producing electricity.
For actual sound, though, we have to perform a conversion, or “transduction.” Transduction, especially input transduction, is THE most important part of audio production. If the conversion from sound to electricity is poor, nothing happening down the line will be able to fully compensate.
Transducers come in various forms, but the most commonly recognized sound-to-electricity transducers are microphones.
Microphones come in a large array of sizes, shapes, and behaviors. They all derive from one of two basic flavors, though:
1) Dynamics, which use wire coils and magnetism to generate current.
2) Condensers, which create a “variable capacitor” to produce current.
You should be aware that there are sub-categories for each basic flavor, such as moving-coil dynamics, dynamic ribbons, “active” dynamics, electret condensers, tube-amplified condensers, and whatever else the industry can cook up. However, in the most common scenarios, what you can keep in mind as a baseline is that dynamic mics don’t fundamentally require a steady supply of electricity to work, whereas condensers do.
Another generalization that can be made is the overall character of the microphone flavors. Although all microphones react quickly by human standards, dynamic microphones have moving parts which tend to be “heavy.” The moving portion of a condenser microphone can have far less mass, which makes for a vibration sensor that can start and stop moving very easily. Condenser mics are a common choice for the transduction of quiet, “delicate,” or “complex” sounds, and condensers can more easily be extremely accurate – but this does not necessarily mean that condensers are correct for what you need to do. There are plenty of dynamic mics which sound very pleasing on a tremendous variety of sound sources, and they tend to be more resistant to accidents and mishandling (although dynamic ribbons can be very fragile indeed).
Microphones also differ from one another in terms of their directionality, or the relative sensitivity of the microphone at different angles around the microphone element. This is also referred to as the “polar pattern,” in reference to how this directionality is commonly plotted on specification sheets. In terms of the basic microphone types, any directionality is possible. There are omnidirectional dynamics and ultra-selective condensers, and the opposite is also true. A list of common polar responses includes:
1) Omnidirectional, which has essentially the same sensitivity at all angles around the element.
2) Figure-Eight, which is sensitive to the front and rear, and tends to reject sound from the sides.
3) Cardioid, which is highly sensitive to the front, somewhat less so at the sides, and has a point of very low sensitivity at the back.
4) Super-Cardioid, which is highly sensitive to the front, less sensitive than a cardioid at the sides (with a particular side angle which is very low sensitivity), and has some sensitivity at the back.
5) Hyper-Cardioid, which is like super-cardioid, but narrower and with a more pronounced “sensitivity bump” for sounds coming from behind.
In many applications, mics with strong directionality are often preferred and even necessary. However, omnidirectional transducers see quite a bit of utilization as well, especially when accuracy is needed or tonal consistency at varying distances is required.
To close this installment, it’s worth talking about another kind of transducer, the “contact mic.” Contact transducers aren’t really microphones at all, in the sense that they are not designed to work well with sounds in air. Rather, they are intended to be fixed to a vibrating surface, which causes the element to deform or flex and thus create an electrical current. This is a piezoelectric effect, and so these pickups are often referred to as piezos.
Contact transducers generally sound rather artificial when compared with microphones, but most microphones aren’t in direct physical contact with a sound source. At the same time, piezo pickups can be very handy for dealing with certain problems, like instruments which need to be made disproportionately loud with minimal feedback.
Here’s an interesting question that I found in my inbox recently:
“I’m a keyboardist but my vocals are not the greatest. What part of the industry should I be looking to get into? And how?”
This is the kind of question that a LOT of musicians are asking. So it’s important for me to address it.
But what I want to point out about it is the fact that this is fundamentally the wrong question to ask.
First of all, this question is laden with false assumptions.
If your vocals are not the greatest, that doesn’t automatically disqualify you from doing what you want to do and relegate you to being assigned to a particular part of the industry by someone else.
It may just mean you need more vocal training.
Secondly, I’m not here to tell musicians what they should be.
That’s not my bag, baby! **cheeky British accent**
I’m here to help you realize your full potential in doing what you WANT to do. That’s where satisfaction and happiness come from.
Let me tell you a story:
I should NOT have been an athlete.
I come from a long line of short, chubby, nerds. And I’m not particularly coordinated. “Clumsy” is pretty accurate.
But after watching Greg Louganis dominate the 1988 Olympics in Seoul, I KNEW I wanted to be a diver.
We didn’t have any youth diving programs in my area so the opportunity didn’t come until I got to high school, where we had a team but no coach.
The older divers taught the younger divers. And we watched the training video “World Class Form” pretty much every day.
Needless to say I didn’t become a world class athlete in high school. I became proficient (at best) on the 1-meter springboard.
Then, when I decided to go to the University of Michigan for college, I wrote the diving coach a letter asking if I could walk on to the team there.
I had no idea at the time that I was writing to one of the most renowned coaches in the history of the sport. Dick Kimball coached divers in EVERY Olympics between 1958 and when he retired in 2003. Including several gold medalists.
And I definitely wasn’t at a skill level that warranted joining the winningest team in NCAA history (in ANY sport).
But Kimball didn’t care. He only cared that I give it my full effort, and was coachable. So he graciously allowed me to join the team and he treated me just like anyone else.
By the time I graduated, I had not only learned to do the same dives as the Olympians on the 3-meter springboard, I had come to specialize in the 10-meter platform.
I finished as high as 4th at the Big Ten Conference Championships and as high as 17th at the U.S. National Championships. (I bet you didn’t see THAT coming)
Kimball even told me that turning me into a REAL diver was one of his proudest accomplishments.
Of course none of that would have ever happened if I had asked somebody else which sport I should participate in. They would have probably told me to join the mathletes or the debate team.
I decided to pursue what I WANTED to do and worked with a great coach who helped me realize my full potential. And I accomplished a lot more than I ever thought was possible.
I realize that’s a pretty long-winded answer as to why I can’t tell you which area of music you should pursue. So I’ll keep the answer to “How?” short and sweet:
Work with a world-class coach who helps you realize your full potential.
Which is exactly who I am to musicians in the Musicpreneur Apprentice Program.
As it turns out I’ve had a LOT of the same excuses hold me back over the years. So I reckon it would be useful for you to know how I put them behind me.
Interested? Here we go!
1 – I’m Tired/Out of Shape:
This one hits REAL close to home. On a road trip last summer, I got to the point where I couldn’t even sit in my car comfortably. And every time I ate, I felt an unearthly pressure in my chest.
At one time in my life I was a near Olympic level athlete. And my wife was antsy to start having kids (our first is due THIS December!). So hitting a low point like that was a real eye-opener.
One thing I can truly attest to is that “you ARE what you eat”. That didn’t mean so much to me when I was in my 20’s. I must have been eating steel and adrenaline. But now that my “grown up” body has taken over, it’s time for me to think in longer terms as far as my health.
After I got home from that trip I discovered a book called “The End of Dieting: How To Live for Life“. And this book has changed my life. Within a few days of eating the recipes from Dr. Furhman’s website my CONSTANT heartburn, which had been plaguing me for decades went away. I also lost 20 pounds and gained a TON of energy within the first month after changing my diet.
2 – I Don’t Know What to do Next:
Who HASN’T been there? Especially with the OVERWHELMING amount of information online, it’s way too easy to get stuck in “learning” mode, which ultimately prevents you from taking action.
If you don’t know what your next step should be, look around for someone that’s where you want to be and follow their lead.
You can ALWAYS ask me what your next step should be. And I will ALWAYS have an answer for you. So the only question that remains is: “Will you listen AND take action?”
3 – I Don’t Have Enough Money
Hey, you’re talking to a guy that was homeless and unemployed when I decided to take ownership of my future. I KNOW about not having money. It’s practically my scientific speciality 😉
How did I do it? I sold my blood plasma to pay for my website and email list. Then, I got a job. Yes, a J-O-B! And instead of getting an apartment, I continued to live in my van and invested that money into a $1,000 training course on how to build entrepreneurial businesses online and OTHER business related investments.
Call center jobs are pretty easy to come by in the U.S. and they are pretty easy to leave, which makes them GREAT opportunities for Musicpreneurs.
And even if there weren’t any call centers in my area, I would have sold fruit by the side of the highway or showed up at the Home Depot parking lot at 5am everyday to stand in line with the rest of my people looking to improve their lives.
Why? Because I wanted it THAT bad. How bad do YOU want it?
Already have a job, but a bunch of bills and responsibilities to go along with it?
Here’s a little something I learned more recently that made it so I had the $3,500 I recently invested into my business: PAY YOURSELF FIRST. It’s pretty simple. For EVERY dollar you make, AS SOON AS it hits your bank account, take a dime (10%) and use it to either pay down a credit card or stuff it in a piggy bank until you need it for your business.
It will force you to get creative about fulfilling your other financial obligations. But they will still get met AND you’ll have money to invest in yourself when you need it.
4 – I Don’t Have Enough Time
There was a point when my business was growing but I was still tethered to my day job to make ends meet. So I hit a glass ceiling in the growth of my business because I didn’t have enough time to put into scaling it up. Then I discovered “The 4-Hour Workweek” by Tim Ferriss. It’s seriously the best $15 ANY entrepreneur can invest in their career. Within 4 months of buying that book I left my last-ever day job for good.
Also, “Pay Yourself First” applies to time just as much as money. Before I do any client work, or marketing, or even write you these emails, I spend 1-2 hours working on building my business. Currently I spend that daily time working on the 2.0 version of the “Musicpreneur Apprentice Program”.
If that means taking a later shift at the factory, do it. If that means getting up at the butt-crack of dawn, do it. Again, how bad do you want it?
5 – Location
Technology trumps geography. Anyone with an internet signal has access to BILLIONS of potential fans.
Sure you can move to Nashville. But you’ll face an INSANE amount of competition in a horrifically “cliquish” environment.
OR you can set up a comfortable music space in your home out in the forest and use the interwebs to grow > engage > and monetize your fanbase.
I love my home and wouldn’t want to be anywhere else. And I certainly didn’t leave the backbiting, childish, political, corporate world just to get into the same type of environment. In fact, I stay away from anything “Music In-DUH-stry” related as much as possible. I’ve personally found that success is much more attainable without all that BS.
6 – It’s Not Perfect Yet
In an artistic field, like music, perfection is an illusion. It’s entirely subjective and everyone who consumes your music has their own idea of what “perfection” is.
As a Musicpreneur, you don’t have to get it perfect. You just have to get it going.
Lack of ACTION is what’s holding you back, not lack of perfection.
7 – Technology is Hard
Seriously? You’ve probably already learned to operate musical equipment and recording programs that are MUCH more complicated than WordPress.
Sure, technology might have been “hard” in the 90’s. But nowadays it’s quite user-friendly and any software company worth their weight in bubbles has Tech Support and Customer Service that will help you overcome any obstacles you encounter.
And there’s always the option of hiring some help with all that money you saved by paying yourself first.
8 – No One Buys Music Anymore
That’s a myth. I just bought some music TODAY. But don’t take my word for it. Here’s Vlad’s comment from that post:
“I believed this for a long while. Oddly enough it’s when I started CHARGING for my music that I realized it wasn’t true at all. Someone paid me $20 for my $3 EP on Saturday. And a majority of buyers have paid OVER my asking price. People are awesome.”
Welp. I’m out of excuses. And I hope you are too 😉
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