Ayoba Music Mag August 2013

AYOBA MUSIC MAG AUGUST 2013

SONG BIRD

Diviniti

EXLUSIVE: Dj Sue singer and a Dj, Marlon Dee, Dj Bongs, Logic X Review, How royalties work, All about SAMRO, CD reviews and much more

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August 2103

CONTENT: 3. CD Reviews 4. How royalties work 14. The Song Bird Diviniti 16. PIONEER Monitors 18. LOGIC X, A Smarter way to work 28. Dj Sue 30. Music Brand Licensing 32. SAMRO, South African Music Rights Organization.

35. Dj Bongs, Emabalabala 37. How to Be Recognized As a Good Female DJ. 39. Marlon Dee 41. Demor Sikhosana

Ayoba Music Magazine Previous online issue’s

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Ganyani's house grooves 8 album that

CD Reviews Ayoba Music Magazine was started in 2012 and the first issue came out in August the same year. Its focuses on the legends that brought us dance music, young and upcoming dj’s, producer’s, singer’s and songwriters in South Africa and international, Studio gear, sound equipment, latest music and so much more.

reached gold status and still going strong with hit tracks like "Be There" feat Mlu and Big Nuz and "Xigubu" feat FB (Fiesta Black). Every single song has a unique feel about it, it has been the number 1 selling album in the country for the past 10 weeks at Musica.

Dj Ganyani feat FB - Xigubu The track has been number 1 on the Top 40 local best played and In the world its Number 4 after Robin Thicke, Justin Timberlake & Daft Punk! It's all because of DJ Ganyani and friends. Dj Ganyani feat Mlu and Big Nuz - Be There was the first single and paved the way for the album and took it to the top with the electrifying performance at the Metro FM awards. It also stayed one the number 1 spot for weeks on radio stations around South Africa.

Candi Roots V3

This will be the Third installment of the ever growing series, which selects the best upcoming talent around the local house music scene. DJ Vincemo has featured on past Soul Candi compilations including last years House Of...release in December with the remix of DJ Game's hit anthem, Destiny.

I remember my first contact with Deep Xcape’s music, during their time at “Do it now recordings”. Their Morning glory E.P, Sweet Kisses remix and oh the explosive Ngawe remix, man I’ve been hooked ever since. And it’s been evident from then that Deep Xcape is going to change the S.A Deep sound to another level.

Deep House Chronicles is no exception; it’s on a whole different level. Journey of soul, then a climax of laidback to this dance grooves that only they can capture so well.

He'll be releasing most of his production with one or two remixes. Magic Soul have been making music for a while now, have released stuff on labels such as Peng Records, Solid Ground Recordings and Offering Recordings and are finally ready to release their sweet sounds on this album. Soundquest is a young producer from Kwa-Zulu Natal and featured on last year's Mixwell Addictiv album by Fistaz and will be serenading us with his groovy sounds.

The highly anticipated solo album by Dj Whisky is finally here, after a tragic incident that!happened late 2012 when Whisky came home from a video shoot and found his studio!equipment stolen, he’s back. While some people may have given up after having 3year’s worth!of their work stolen and sold for a “fix” Dj Whisky made it his album title “The Rebirth”, a 12!track album 100% produced by him which features some of the our country phenomenon Hit!makers such as Brickz and International sensations like Jonny Miller & Zaki Abrahim legendary!known for soothing soulful sounds. It’s an all round Artist album with a variety of house music’s sub genres deep, soulful, afro&!urban dance.

“It caters for everyone and will definitely make your soul move” he says. Dj!Whisky’s The Rebirth is out in stores now, get yourself a copy.

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Music royalties Unlike other forms of intellectual property, music royalties have a strong linkage to individuals – composers (score), songwriters (lyrics) and writers of musical plays – in that they can own the exclusive copyright to created music and can license it for performance independent of corporates.

Recording companies and the performing artists that create a "sound recording" of the music enjoy a separate set of copyrights and royalties from the sale of recordings and from their digital transmission (depending on national laws).

With the advent of pop music and major innovations in technology in the communication and presentations of media, the subject of music royalties has become a complex field with considerable change in the making.

A musical composition obtains protection in copyright law immediate to its reduction to tangible form – a score on paper or a taping; but it is not protected from infringed use unless registered with the copyright authority; for instance, the Copyright Office in the United States, administered by the Library of Congress. No person or entity, other than the copyright owner, can use or employ the music for gain without obtaining a license from the composer/songwriter.

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Inherently, as copyright, it confers on its owner, a distinctive "bundle" of five exclusive rights: (a) To make copies of the songs through print or recordings (b) To distribute them to the public for profit (c) To the "public performance right"; live or through a recording (d) To create a derivative work to include elements of the original music; and (e) To "display" it (not very relevant in context).

Where the score and the lyric of a composition are contributions of different persons, each of them is an equal owner of such rights.

These exclusivities have led to the evolution of distinct commercial terminology used in the music industry.

They take four forms: (1) Royalties from "print rights" (2) Mechanical royalties from the recording of composed music on CDs and tape (3) Performance royalties from the performance of the compositions/songs on stage or television through artists and bands, and (4) Synch (for synchronization) royalties from using or adapting the musical score in the movies, television advertisements, etc. and

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With the advent of the Internet, an additional set of royalties has come into play: the digital rights from simulcasting, webcasting, streaming, downloading, and online "on-demand service".

In the following the terms "composer" and "songwriter" (either lyric or score) are synonymous.

The Origins of Music Copyright and Royalties Until the mid-18th century, American popular music largely consisted of songs from the British Isles, whoĘźs lyric and score were sometimes available in engraved prints. Mass production of music was not possible until the movable type was introduced. Music with this type was first printed in the US in 1750.At the beginning the type consisted of the note head, stem and staff, which were combined into a single font. Later the fonts were made up of the note head, stems and flags attached to the staff line. Until that time, prints existed only on engraved plates.

The first federal law on copyright was enacted in the US Copyright Act of 1790, which made it possible to give protection to original scores and lyrics.

America's most prominent contribution is jazz and all the music styles which preceded and co-exist with it – its variations on church music, AfricanAmerican work songs, cornfield hollers, wind bands in funeral procession, blues, rag, etc. – and of innovations in church music, rhythmic variations, stamping, tapping of feet, strutting, shuffling, wailing, laments and spiritual ecstasy.

Until its recent sophistication, jazz was not amenable to written form, and thus not copyrightable, due to its improvisational element and the fact that many of the creators of this form could not read or write music. It was its precursor, minstrelsy, which came to be written and royalties paid for the use of popular music.

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Blackface minstrelsy, in which white men parodied black music of the day with makeup-blackened faces, was the first distinctly theatrical form. In the 1830s and 1840s, it was at the core of the rise of an American music industry. For several decades it provided the means through which white America saw black America.

The blackfaces were not products of the American South, but first prevailed in the Midwest and the north, starting in lowlevel white establishments, and later moving to upscale theaters. White, working-class northerners could identify with the characters portrayed in early performances with images of "white slavery" and "wage slavery".

In 1845, the blackfaces purged their shows of low humor. Christy's Minstrels, formed by C.F. Christy, among the major minstrels of that time, was to epitomize the songs of its best-known composer, Stephen Foster.

Stephen Foster was the pre-eminent songwriter in the United States of that time. His songs, such as "Oh! Susanna", "Camptown Races", "My Old Kentucky Home", "Beautiful Dreamer" and "Swanee River") remain popular 150 years after their composition and have worldwide appreciation.

Foster had little formal music training.

While he was able to publish several songs before he was twenty, his sophistication came from Henry Kleber and Dan Rice. Kleber was a classically trained German immigrant, and Rice was a popular blackface performer who befriended Foster. But it was his joining the Christy Minstrels that made him, and his songs, favorites in North America.

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W.C. Peters was the first major publisher of Fosterʼs works, but Foster saw very little of the profits. "Oh, Susanna" was an overnight success and a Goldrush favorite but Foster received just $100 from his publisher for it - in part due to his lack of interest in money and the free gifts of music he gave to him. Foster's first love lay in writing music and its success.

Foster did later contract with Christy (for $15 each) for "Old Folks at Home" and "Farewell my Lilly Dear". "Oh, Susanna" also led Foster to two New York publishers, Firth, Pond and Co. and F.D. Benson, who contracted with him to pay royalties at 2 cents for every printed copy sold by them.

Minstrelsy slowly gave way to songs generated by the American Civil War, followed by the rise of Tin Pan Alley and Parlour music,[23] both of which led to an explosion of sheet music, greatly aided by the emergence of the player piano. While the player piano was to make inroads deep into the 20th century, more and more music was reproduced through radio and the phonograph, leading to new forms of royalty payments, but leading to the decline of sheet music.

American innovations in church music also provided royalties to its creators. While Stephen Foster is often credited as the originator of print music in America, William Billings is the real father of American music. In 1782, of the 264 music compositions in print, 226 were his church-related compositions.

Similarly, Billings was the composer of a quarter of the 200 anthems published until 1810. Neither he nor his family saw any royalties, although the Copyright Act of 1790 was in place by then.

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Church music plays a significant part in American print royalties. When the Lutheran Church split from the Catholic Church in the 16th century, more than religion changed.

Martin Luther wanted his entire congregation to take part in the music of his services, not just the choir. This new chorale style finds its way in both present church music and jazz.

Print royalties (music) The royalty rate for printing a book, or its download,(a novel, lyrics or music) for sale varies from 8–20% of the suggested retail sales value, typically 12–14%, for a new writer. The payment is made by the publisher and corresponds to the agreement (license) between the writer and the publisher as with other music royalties. The agreement is typically non-exclusive to the publisher and the term may vary from 3–5 years. Established writers favor certain publishers and usually receive higher royalties.

All of the royalty does not occur to the writer. It is shared with the publisher on of book sales income on a 50:50 basis.

If a book involved is a play, it might be dramatized. The right to dramatize is a separate right – known as a grand right. This income is shared by the many personalities and organizations who come together to offer the play: the playwright, composer of the music played, producer, director of the play and so forth. There is no convention to the royalties paid for grand rights and it is freely negotiated between the publisher and the mentioned participants.

If the writerʼs work is only part of a publication, then the royalty paid is pro-rata, a facet that is more often met in a book of lyrics or in a book of hymns and sometimes in an anthology.

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Church music – that is, music that is based on written work – is important particularly in the Americas and in some other countries of Europe. Examples are hymns, anthems and songbooks. Unlike novels and plays, hymns are sung with regularity. Very often, the hymns and songs are sung from lyrics in a book, or more common nowadays, from the work projected on computer screen. In the US, the Christian Copyright Licensing Incorporated is the collection agency for royalties but song or hymn writers have to be registered with them and the songs identified.

Foreign publishing Foreign publishing involves two basic types of publishing – sub-publishing and co-publishing occurrences in one or more territories outside that of basic origin. Sub-publishing, itself, is one of two forms: sub-publishers who merely license out the original work or those which make and sell the products, which are the subject of the license, such as, print books and records (with local artists performing the work).

Sub-publishers who produce and market a product retain 10–15% of the marked retail price and remit the balance to the main publisher with whom they have the copyright license. Those sub-publishers who merely license out the work earn between 15–25%.

Mechanical royalties The term "mechanical" and mechanical license has its origins in the "piano rolls" on which music was recorded in the early part of the 20th Century. Although its concept is now primarily oriented to royalty income from sale of compact discs (CDs), its scope is wider and covers any copyrighted audio composition that is rendered mechanically; that is, without human performers:

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• Tape recordings • Music videos • Ringtones • MIDI files • Downloaded tracks • DVDs, VHS, UMDs • Computer games Musical toys etc.

The United States treatment of mechanical royalties is in sharp contrast to international practice.

In the United States, while the right to use copyrighted music for making records for public distribution (for private use) is an exclusive right of the composer, the Copyright Act provides that once the music is so recorded, anyone else can record the composition/song without a negotiated license but on the payment of the statutory compulsory royalty. Thus, its use by different artists could lead to several separately owned copyrighted "sound recordings".

The following is a partial segment of the compulsory rates as they have applied from 1998 to 2007 in the United States. The royalty rates in the table have two elements: (i) a minimum rate applies for a duration equivalent to 5 minutes, or less, of a musical composition/song and (ii) a per-minute rate if the composition exceeds it, whichever is greater.

In the predominant case, the composer assigns the song copyright to a publishing company under a "publishing agreement" which makes the publisher exclusive owner of the composition.

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The publisher's role is to promote the music by extending the written music to recordings of vocal, instrumental and orchestral arrangements and to administer the collection of royalties (which, as will shortly be seen, is in reality done by specialized companies). The publisher also licenses 'sub-publishers' domestically and in other countries to similarly promote the music and administer the collection of royalties.

In a fair publishing agreement, every 100 units of currency that flows to the publisher gets divided as follows: 50 units go to the songwriter and 50 units to the publisher minus operating and administrative fees and applicable taxes. However, the music writer obtains a further 25 units from the publisher's share, if the music writer retains a portion of the music publishing rights (as a co-publisher).

In effect, the co-publishing agreement is a 50/50 share of royalties in favor of the songwriter if administrative costs of publishing are disregarded. This is near international practice.

When a company (recording label) records the composed music, say, on a CD master, it obtains a distinctly separate copyright to the sound recording, with all the exclusivities that flow to such copyright. The main obligation of the recording label to the songwriter and her publisher is to pay the contracted royalties on the license received.

While the compulsory rates remain unaffected, recording companies in the U.S. typically will negotiate to pay not more than 75% of the compulsory rate where the songwriter is also the recording artist and will further (in the U.S.) extend that to a maximum of 10 songs, even though the marketed recording may carry more than that number.

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This 'reduced rate' results from the incorporation of a "controlled composition" clause in the licensing contract since the composer as recording artist is seen to control the content of the recording.

Mechanical royalties for music produced outside of the United States are negotiated – there being no compulsory licensing – and royalty payments to the composer and her publisher for recordings are based on the wholesale, retail, or "suggested retail value" of the marketed CDs. Recording artists earn royalties only from the sale of CDs and tapes and, as will be seen later, from sales arising from digital rights.

Where the songwriter is also the recording artist, royalties from CD sales add to those from the recording contract.

In the U.S., recording artists earn royalties amounting to 10%–25% (of the suggested retail price of the recording depending on their popularity but such is before deductions for "packaging", "breakage", "promotion sales" and holdback for "returns", which act to significantly reduce net royalty incomes.

In the U.S., the Harry Fox Agency, HFA, is the predominant licensor, collector and distributor for mechanical royalties, although there are several small competing organizations. For its operations, it charges about 6% as commission. HFA, like its counterparts in other countries, is a state-approved quasi-monopoly and is expected to act in the interests of the composers/song-writers – and thus obtains the right to audit record company sales. Additional third party administrators such as RightsFlow provide services to license, account and pay mechanical royalties and are growing.

RightsFlow is paid by the licensees (artists, labels, distributors, online music services) and in turn does not extract a commission from the mechanical royalties paid out.

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In the UK the Mechanical-Copyright Protection Society, MCPS (now in alliance with PRS), acts to collect (and distribute) royalties to composers, songwriters and publishers for CDs and for digital formats. It is a not-for-profit organization, which funds its work through a commission on aggregate revenues. The royalty rate for licensing tracks is 6.5% of retail price (or 8.5% of the published wholesale price).

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It is useful to treat these royalties under two classifications:

Mechanical societies for other countries can be found at the main national collection societies.

(a) Those associated with conventional forms of music distribution which have prevailed for most part of the 20th Century, and (b) Those from emerging 'digital rights' associated with newer forms of communication, entertainment and media technologies (from 'ring tones' to 'downloads' to 'live internet streaming'.

In the United Kingdom, the Church of England is specifically exempted from performance royalties for music performed in services because it is a state-established church.

Traditionally, American music publishers have not sought performance royalties for music sung and played in church services–the license to perform being implied by distributors of church sheet music. ASCAP, BMI, and SESAC exempt church worship services from performance royalties, but make no exemption for church-hosted concerts.

The mechanical royalty rate paid to the publisher in Europe is about 6.5% on the PPD (published price to dealers).

Conventional forms of royalty payment

In Europe, the major licensing and mechanical royalty collection societies are: SACEM in France GEMA in Germany SFA in Italy SACEM acts collectively for "francophone" countries in Africa. The UK society also has strong links with English-speaking African countries.

Record companies are responsible for paying royalties to those artists who have performed for a recording based on the sale of CDs by retailers.

Performance royalties "Performance" in the music industry can include any of the following: • A performance of a song or composition – live, recorded or broadcast • A live performance by any musician • A performance by any musician through a recording on physical media • Performance through the playing of recorded music music performed through the web (digital transmissions)

In the conventional context, royalties are paid to composers and publishers and record labels for public performances of their music on vehicles such as the jukebox, stage, radio or TV. Users of music need to obtain a "performing rights license" from music societies – as will be explained shortly – to use the music. Performing rights extend both to live and recorded music played in such diverse areas as cafés, skating rinks, etc.

Licensing is generally done by music societies called "Performing Rights Organizations" (PROs), some of which are governmentapproved or government-owned, to which the composer, the publisher, performer (in some cases) or the record label has subscribed.

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The diagram on the right titled "The Performance Rights Complex" shows the general sequences by which a song or a composition gets to be titled a "performance" and which brings royalties to songwriters/publishers, performing artists and record labels. How, and to whom, royalties are paid is different in the United States from what it is, for example, in the UK. Most countries have "practices" more in common with the UK than the US. In the United Kingdom there are three principal organizations: (i) Phonographic Performance Limited (PPL) (ii) PRS for Music (formerly the Performing Right Society) (iii) Mechanical-Copyright Protection Society (MCPS) 10

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who license music (to music-users) and act as royalty collection and distribution agencies for their members.

PPL issues performance licenses to all UK radio, TV and broadcast stations, as well as establishments who employ sound recordings (tapes, CDs), in entertaining the public.[37] The licensing company collects and distributes royalties to the "record label" for the sound recording and to "featured UK performers" in the recording. Performers do not earn from sound recordings on video and film. PRS, which is now in alliance with MCPS,[38] collects royalties from musicusers and distributes them directly to "songwriters" and "publishers" whose works are performed live, on radio or on TV on a 50:50 basis. MCPS licenses music for broadcast in the range 3 to 5.25% of net advertising revenues.

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MCPS also collects and disburses mechanical royalties to writers and publishers in a manner similar to PRS. Although allied, they serve, for now, as separate organizations for membership.

The next diagram shows the sequences in the licensing of performances and the royalty collection and distribution process in the UK. Every song or recording has a unique identity by which they are licensed and tracked.

Details of songs or recordings are notified to the PROs directly, or through Catco, an electronic tracking system. It needs to be clarified that while blanket licenses are commonly issued to music-users, the latter are responsible for "usage returns" – the actual frequency of performances under the license – which then becomes the basis for the PRO to apportion royalties to writers, publishers and record labels. ("DIY indies" are "do-it-yourself" independent song-writers – and, often, the performers as well – who record and publish under their own labels). In the UK, music is licensed (and royalties paid on it) at the track level.

There is also a separate organization in the UK called VPL, which is the collecting society set up by the record industry in 1984 to grant licenses to users of music videos, e.g. broadcasters, program-makers, video jukebox system suppliers.The licensing income collected from users is paid out to the society's members after administrative costs are deducted.

There are different models for royalty collection in the European countries. In some of them, mechanical and performing rights are administered jointly. SACEM (France), SABAM (Belgium), GEMA (Germany) and JASRAC (Japan) work that way.

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In the United States, in contrast, the ASCAP, BMI (Broadcast Music, Inc) and SESAC (Society of European Stage Authors & Composers) are the three principal Performance Rights Organizations (PROs), although smaller societies exist. The royalty that is paid to the composer and publisher is determined by the method of assessment used by the PRO to gage the utilization of the music, there being no external metrics as in mechanical royalties or the reporting system used in the UK. Very basically, a PRO aggregates the royalties that are due to all of the composers/songwriters "who are its members" and each composer and publisher is paid royalties based on the assessed frequency of the musicʼs performance, post deductions of charges (which are many). The PROs are audited agencies. They "directly" pay the songwriter and the publisher their respective shares. (If the songwriter retains part of the publisherʼs share, the publisher pays the songwriter that part of the publisher's share).

Typically, the PRO negotiates blanket licenses with radio stations, television networks and other "music users", each of whom receives the right to perform any of the music in the repertoire of the PRO for a set sum of money.

PROs use different types of surveys to determine the frequency of usage of a composition/song. ASCAP uses random sampling, SESAC utilizes cue sheets for TV performances and ʻdigital pattern recognitionʼ for radio performances while BMI employs more scientific methods.

In the United States only the composer and the publisher are paid performance royalties and not performing artists (digital rights being a different matter).

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Likewise, the record label, whose music is used in a performance, is not entitled to royalties in the US on the premise that performances lead sales of records.

Where a performance has co-writers along with the composer/songwriter – as in a musical play – they will share the royalty.

Royalties in digital distribution The term "digital music" typically applies to Internet and wireless (mobile) technologies.

Digital music files can be identified by serial numbers embedded in the data ('watermarking') or natural patterns in the data ("fingerprinting").

Digital music have begun to give music a different direction by their capacities to internationally distribute the music for instant hearing or storage by private and public persons. Digital music is generally expected to become the predominant form by which music is 'used' in the longer term.

Nonetheless, compact discs will continue to be the major form of musical reach and storage for the present. For example, revenues from the sales of CDs in the US in 2007 far outweighed that from digital downloads, representing some 85% of music sales, or 81 million units per quarter. Also, as the following data illustrates, the amount of music (tracks) available on CDs (stored music) is extremely large compared to what is available in digital format: • PPLʼs CatCo holds details of over 7 million recordings • There are 15 million published works with ISWC codes (and many more without) • The Gracenote database (CDDB) holds details of 51 million tracks Around half a million new tracks are formally released every year.

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In contrast to: • RealNetworks license 60,000 albums for home entertainment services.

• The USA digital jukebox suppliers license about 200,000 tracks.

• There are over 2 million on XM Satellite Radio (Sirius has over 500,000).

• UK Inspired Broadcast Network jukebox THE music offers 2 million tracks.

• RedDotNetʼs kiosk system has over 2.5 million tracks online.

• There are about 20 million retail tracks on iTunes Music Store.[44] • Kazaa has about 1 million tracks.

Last.fm has a music-discovery database of 60 million titles.

Nonetheless, there has been a decline in CD sales since 2000 in the US (perhaps less so in the EU). At the same time, digital tracks legally downloaded from the internet continue to be a growing force, track downloads totalling 417.3 million units in the first half of 2007 – a 48.5% increase over the corresponding period last year according to Nielsen SoundScan. Apple Inc's sale of over 100 million iPods and the strong presence of iTunes and eMusic (a subscription service) in the US, and now in EU and in other 18 countries, testify to the strong emergence of digital music. This is further emphasized by the large presence of internet broadcasts of live and internetonly radio stations ("streamed music").

They represent the "buy" and "listen" choices.

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Synchronization royalties According to Joel Mabus, The term synchronization "comes from the early days of the talkies when music was first synchronized with film". The terminology originated in US industry but has now spread worldwide.

In the UK and elsewhere, with the exception of the US, there is apparently no legal prohibition to the combination of audio and visual images and no explicit statutory right for the collection of synch royalties. In the US, however, the Copyright Act defines the audiovisual format as that of combining images with music for use in machines but there is no explicit rate set such as the "compulsory royalty rate" for copying music but there are instances of courts implying the synchronization right, fuller version at but even so, it is an amorphous colloquial commercial term of acceptance.

Synchronization royalties ("synch licenses") are paid for the use of copyrighted music in (largely) audiovisual productions, such as in DVDs, movies, and advertisements. Music used in news tracks are also synch licenses.

Synchronization can extend to live media performances, such as plays and live theatre.

They become extremely important for new media - the usage of music in the form of mp3, wav, flac files and for usage in webcasts, embedded media in microchips (e.g. karaoke), etc. but the legal conventions are yet to be drawn.

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It is useful to note in this connection the concept of the "needle drop" (now laser drop) in that the synch royalty becomes payable every time the needle drops 'on the record player' in a public performance. All openings and closings, every cut to advertisements, every cut back from ads, all re-runs shown by every TV company, in every country in the world generates a "synchro", although a single payment may be renegotiable in advance.

There is a category of royalty free music in the field of synchronization. This refers to the use of music in a "library" for which a onetime royalty has been negotiated. It is an alternative to needle-drop negotiation.

In terms of numbers, royalties can range from, say. $500–2000 for a "festival-use license" to $250,000 or more for a movie film score. For low-budget films, which are deemed less than $2 million, the royalties range from 3%–6% or could be per song per usage.

Synchronization royalties are due to the composer/song-writer or his/her publisher.

They are strictly contractual in nature and vary greatly in amount depending on the subjective importance of the music, the mode of production and the media used. The royalty payable is that of mutual acceptance but is conditioned by industry practice.

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Diviniti Please tell us a little about yourself? Who is Diviniti?

I am a vocalist and songwriter from Detroit, Michigan How have you gotten your songs out to the industry that should hear them?

Sounds like you've been pretty successful with this. Do you have any tips to offer other songwriters in this regard?

Part of the success I have seen is because of connections I have made with different people. Because I have been able to collaborate with producers who are also well-respected DJs, people from all over the world have been able to hear the songs I help to create.

What is your musical background? Do you have a musical family or did you just fall into songwriting all on your own?

Everyone in my immediate family is very talented musically. My father played saxophone and sang. My mother sang in church for many years - and still sings around the house.

Because my parents knew the benefits of being involved with music, they ensured that all of their children learned to play an instrument. I learned to play the violin when I was very young, probably about 3 or 4 years old. I played with several youth orchestras in the Detroit Metro area until I was in my teens. Playing the violin was a wonderful experience and learning opportunity, but I have always wanted to sing. Even when playing violin I would make up songs to sing and write lyrics. So in the long run, both of those things worked together to get me to this point.

How do you feel about online stores? Do you think online music will play a large part in where the industry heads in the future? Where do you see songwriters fitting into that?

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I appreciate all of the legitimate online stores. They help spread the music globally by making it available to anyone with internet access and a means to pay for it.

They also help “level the playing field� when it comes to newer producers getting their work out to the masses. With many DJs switching from playing vinyl to playing digital files (whether it’s a program like Traktor or using flash drives) I think the online stores are in direct alignment with where things are headed.

Do you ever experience writer's block? I imagine this would be particularly annoying if you were in a collaboration situation. If you do, what do you do to get over it?

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I think every writer experiences writer’s block at some point or another. When I get stuck, I usually just step away from the song for a while. I’ll go do something else and try coming back to it. If I need to I’ll let it rest for a few days and then try it again. Luckily, the people I collaborate with respect me as as artist and respect my songwriting process. They give me the time I need to complete the project and make sure it’s the best it can be.

You write all of your own music; where do you draw inspiration from when you write songs and what’s your favorite part about the process?

I appreciate all of the process. I get very excited when it comes to being creative. I love the flow of energy and the spirit of connecting and collaborating with someone.

It’s exciting to me. I do draw inspiration from a piece of music I am writing to, of course. I write about things I see, what I experience, and things that I feel. I have also written lyrics about people I love and the things I see them going through. Inspiration really can come from anywhere.

What sorts of things have you done to improve your songwriting since then?

I have been looking closely at word choice in my writing.

Words are so powerful and just one word can mean many different things. I also listen to what others are writing and singing about. Listening back over my body of work and reading the lyrics I have previously written helps me to improve also.

For our readers who have never heard your music, explain your sound in 5 words.

My music is authentic, harmonious, heartfelt, powerful and beautiful.

So, what’s your favorite thing to do when you aren’t writing/singing etc?

I enjoy taking photographs quite a bit. I have been working on developing my eye when it comes to photography for a little while now. I also like to write - poetry, essays, etc.

What are the five things you can’t live without?

1. Music 2. Friends and family 3. A sense of humor 4. Faith 5. My iPhone :-)

Facebook www.facebook.com/pages/DIVINITI/40862354711 www.facebook.com/diviniti Twitter - www.twitter.com/DivinitiDivine Soundcloud - www.soundcloud.com/diviniti Contact Diviniti: Booking or other inquiries: divinitimgmt@aol.com

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Pioneer S-DJ05 Monitor Speakers.

Pioneer SDJ-05 Pioneer Monitor Speakers Review By: DJ D-Mac The S-DJ05 Active Reference Speakers are Pioneer's 5 inch sub monitors, which are sold in a set of two speakers along with a wired remote.

According to Pioneer the S-DJ05 speakers are meant for DJs and Producers as well as nonprofessional listeners simply looking for quality sound in a home or office setting. In our testing we found that they do a very good job of satisfying the varying needs of all 3-consumer groups.

Pioneer is known for making DJ equipment that looks modern yet professional and the S-DJ05s continue that trend. The speaker cabinets are all black but the 5-inch sub-woofers are surrounded by a chrome bezel. On the front of the unit are small lights that indicate if the unit is off, on (blue), or in standby (red) as well as a set of lights that indicate which input is selected.

Setup was very easy and intuitive. I simply plugged each of the speakers in (both speakers have independent power sources), connected my mixed, and turned the unit on. The S-DJ05s have a power switch which channels power to the unit as well as an on button that takes the unit from standby mode into ready mode.

As I mentioned earlier, the Pioneer S-DJ05 is marketed as Reference Speakers / Monitors for DJs, Producers, and non-professionals looking for high-quality sound for their office, living room, etc.

Other products such as the KRK VXT4 have claimed to do this, but come up short when it comes to meeting the needs of the nonprofessional consumer. However, Pioneer has done an excellent job of including features that make the S-DJ05 an ideal choice casual users as well as DJs and producers.

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First of all each speaker has its own EQ where you can adjust the highs and lows. Many DJs and producers would find this to be redundant as they would probably prefer to adjust the sound on their mixer than the speakers themselves. However, in a non-professional setting this can be a very useful feature as it gives the casual user more flexibility when they hook the speakers up to an MP3 player or computer. As I mentioned earlier, even though the S-DJ05 is sold in a set, each speaker has its own power source and control switches. This enables a producer or DJ to fine tweak the volume on each unit. However, the casual user may just want an easy way to adjust the volume on both speakers without having to reach behind each of them.

This is where the nifty wired remote control comes into play. Connecting the remove overrides on-unit volume controls and instead allows the levels to be adjusted via a smooth-feeling rotating knob.

Furthermore, the remote allows you to change the selected input of BOTH speakers with a simple push of a button. Lastly, the speakers can be muted or the EQ can be bypassed via a second button on the remote. The remote just feels great in your hand and gives you full control over both speakers.

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Our only gripe with the S-DJ05 is that we believe it should have included a headphone output and 1/8 inch input on the unit. While DJs and Producers would most likely not be interested in these additions, they would be very useful for non-professionals. Not everyone owns an eight-inch to RCA cable, but unfortunately this would be required to hook up a MP3 player to these speakers.

Sound Quality The Pioneer S-DJ05 speakers provide great sound quality. I tested them using a quarter-inch connection and 3 songs – Musiq - “Just Friends”, Nas - “It Aint Hard to Tell” and Bob Marley “Three Little Birds”. Each songs played very well on the S-DJ05s, which provided very crisp highs and no distortion even at high volume levels. The bass is punchier than deep and reverberating, which is ideal for mixing and mastering. I prefer the sound of the S-DJ05s to the Alesis 520s, but I believe the KRK VXT4s offered a slightly fuller sound.

The Pioneer S-DJ05 comes highly recommended for their chameleon-like ability to adapt to studio, club and home use. Often when companies try to please everybody they end up pleasing none, but in this case Pioneer has created a product that should appeal to professionals and non-professionals alike.

The remote enables you to get the high quality sound of individually powered speakers without the need to independently adjust volumes on each. In addition the fact that they are sold as a set as a competitive price makes them very appealing.

Features 5 inch 2-way powered speaker with 1 inch soft-dome tweeter Dynamically curved waveguide enclosure provides a wider pattern for better imaging and staging Bass Reflex enclosure extends the lower frequency range to provide more mid-bass and bass output Includes a control knob accessory to allow users to simultaneously operate the volume, power, and switchable input channels for both speakers S-DJ05 speakers features four types of inputs for various devices Also available in 8" GENERAL SPECIFICATIONS Type: Bi-amp 2-way powered speakers Tweeter: 2.5 cm soft dome tweeter Woofer: 5 inches Frequency characteristics: 50 Hz to 25 kHz (-10 db) Maximum external dimensions (W x H x D): 7.28" x 11.85" x 10.16" (including heat sink) Weight (for pair): 29.54 lbs Accessories: controller x 1, link cable x 1, power cables x 2, rubber feet x 8

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Logic Pro X has more than just a new look — it gives you new options you’ve never had before. You can work the way you always have, with the full power and depth of Logic Pro. Or if you’re exploring ideas, you can choose to work with a more streamlined set of controls to keep things moving right along. You can also personalize Advanced Tools to make your workflow match your creative flow.

The new design also makes it easier to get things done. Transport controls are now located right at the top of the main window. You can easily browse and add more sounds from the Sound Library, conveniently placed next to other track-related controls. Visual snap guides help you quickly align and edit regions. A more responsive, more accurate tuner is just a click away. And Autosave keeps all your work safe and sound. Want to know how something works? Just hover your cursor over any part of the interface for Quick Help tips.

To dive deeper, pull up the relevant section of the user manual with a single keystroke.

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Keep your sessions better organized by consolidating multiple related tracks — for example, all the drums or vocals — into a new track format called a Track Stack.

Choose to have your Track Stack routed to a new auxiliary for quick and convenient submixing.

Or use Track Stacks to create rich, layered, or split instruments that are easy to manage, save, and reuse. And your Track Stack can be collapsed for simplicity or expanded at any time for more control. Other new track-based features add even more functionality. Choose a track as the Groove Master for your song, then select any other track to follow and adapt to its timing.

Use the new Arrangement Track to quickly move or delete the verse, chorus, bridge, or any other section of your song. Now that volume, pan, and send controls can be right in the track

Finish tracks faster with the more intuitive Mixer. Now you can simply use your mouse to select, open, close, bypass, or re-order plug-ins. No need to reach for a modifier key. And channel strips serve up more useful information at a glance. Plug-in and routing menus have been re-ordered to better reflect signal flow. A new gain-reduction meter helps you keep an eye on dynamic processing. And the nonsegmented metering design gives you more accurate and higher-resolution level feedback.

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The Score editor has been enhanced to improve visibility and functionality. With the new track-based design, it’s easier to see and edit notes on tracks with multiple regions.

Notes within looped sections are also displayed. And empty staves fill the space between regions to help you stay oriented within a project.

The Wrapped view makes maximum use of space by dynamically reflowing the staves to conform to the window size. The new design of the Staff Style editor shows the results of your settings before you apply them in the preview window. New tab symbols for string bends let you indicate just how far a string needs to bend.

Getting your music out there has never been easier. You can now share songs to your SoundCloud account right from Logic Pro. And the Media Browser lets you seamlessly move Logic Pro X assets to Final Cut Pro X or other Apple apps. Thanks to new support for the MusicXML format, scores with markings and ornamentations transfer to other notation applications completely intact.

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Introducing the first virtual session player that sounds so realistic, everyone will think you worked with a real drummer in the studio. Created using some of the industry’s best session drummers and recording engineers, Drummer delivers impeccably performed, naturalsounding drums. It can listen to any selected track and come up with the perfect complementary groove. And it takes your direction.

Choose one of 15 drummers from the rock, alternative, songwriter, and R&B genres for your song. Each drummer has a custom kit, delivers his or her own signature sound, and can perform over a million unique groove and fill combinations. Simple controls let you adjust everything from the drums they play on to the intensity and complexity of their playing style.

So you get exactly the performance you want.

While Drummer does the playing, Drum Kit Designer provides deeply sampled, realisticsounding drum kits. Thousands of varied strikes were recorded from each piece. The result?

Extensive layers of samples that faithfully re-create the character and sound of the originals — including how they respond to the nuances of a drummer’s performance.

Open Drum Kit Designer and select a kit. You can swap pieces to build a custom kit, choosing from a diverse variety of snares, kicks, toms, hi-hats, and cymbals. Finesse the sound of each drum by adjusting the tuning, dampening, and gain. And enable stereo or mono room and overhead mics. Each kit comes with its own unique mix designed by an industry hit maker.

Choose a more elaborate Producer Kit and it loads with a Patch that gives you access to the full multi-channel mix, along with all the processing and routing the producer used. Once you see how the pros get their signature sounds, you can go with their techniques — or tweak away.

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Find the perfect tone with a new plug-in that accurately models some of the most popular vintage and modern bass amps and cabinets. Bass Amp Designer gives you plenty of ways to customize your sound. Mix and match cabinets and amps. Position one of three microphones on different speaker cones. And blend between amp and DI box signals, just like in the studio.

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Logic Pro X adds seven classic stompboxes to your collection. Looking for dynamic pitch transposition or dive bomb effects? Go with Wham. For iconic distortion, there’s Grit. Crank up the woolly blues or a sizzling lead with Tube Burner. Get funky with Dr. Octave, which produces tones one and two octaves below what you played. Capture the classic sound of ’80s flangers with Flange Factory. Tweak the tone with the Graphic EQ stompbox. And for a psychedelic backwards delay effect, turn to Tie Dye Delay.

The vintage keyboard collection is better than ever, thanks to beautiful new interfaces and sonic refinements that bring a new level of authenticity to your sounds. The most important interface controls on the Vintage B3, Vintage Electric Piano, and Vintage Clav are now front and center, while the full depth and flexibility of the real-time models are just a click away.

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Re-create the sound of classic vintage synthesizers with an intuitive set of controls. Get the rich warmth of a vintage synth in Analog mode — perfect for dense basses, sweeping pads, and smooth leads. Analog Sync mode gives you the thick, fuzzy metallic character of ’80s synth pop. Wavetable mode lets you generate airy pads, glassy leads, and complex evolving sounds. And FM mode produces the bells, plucky bass, and brash leads of digital synthesizers from the ’80s.

A powerful, full-featured arpeggiator opens up a world of possibilities for creating contemporary electronic and urban music tracks. Easily shape the performance by selecting professionally designed presets. Or tweak it yourself by adjusting the rate, note order, octave range, and scale. You can also choose a note order mode — up, down, back and forth, inside out — or create your own. For more rhythmically interesting grooves, use the Step Grid editor to create patterns with up to 128 steps that can alternate between single notes or full chords at different velocities. And you can create variations spontaneously using the remote keyboard features, which let you control it all directly from your MIDI keyboard.

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Now it’s even easier to transform simple MIDI input into fresh sounds and ideas, thanks to nine new MIDI plug-ins that can help you generate and shape MIDI notes and controller data. Scale velocity, generate a rapid-fire series of notes, transpose incoming notes or conform them to a scale, and more. You can also chain multiple MIDI plug-ins together to quickly create sophisticated interactive performances. Or use Scripter to create a completely original MIDI generator or processor using JavaScript.

Powerful Tools

Logic Pro X gives you even faster, smarter ways to create your songs — and perfect them.

Now you can fine-tune notes in a vocal performance long after you recorded it. Shape sounds in multiple ways by turning a single knob. And dive into thousands of entirely new sounds to spark your imagination.

FLEX PITCH HIT THE RIGHT NOTE. EVEN IF YOU DIDN’T With Flex Pitch, there’s no reason to get hung up on a performance that’s less than ideal.

Roll over any note you want to edit and all of the Flex Pitch parameters show up, ready to adjust. You can fine-tune pitch. Smooth out, add, or increase vibrato. Or even create or remove pitch slides between notes. All without having to constantly switch between tools.

To make performances more consistent, simply adjust the gain of individual notes — no need for excessive compression or meticulous automation editing. You can also snap selected notes to a definable key and scale.

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If you use the Piano Roll editor, then you know how to use Flex Pitch. Out-of-tune notes are shown with the offset from perfect pitch, so it’s easy to identify problem areas. And Convertto-MIDI lets you double or harmonize a vocal or any other monophonic audio track with your favorite software instrument.

Logic Remote, Control Logic Pro right from your iPad The Logic Remote app lets you wirelessly pair your Mac and your iPad — giving you the freedom to control Logic Pro from anywhere in the room. Swipe and scroll through the massive Logic Pro Sound Library. And play any of the software instruments with your choice of several Multi-Touch musical interfaces. Smart Controls are located just above the instrument you’re playing, so you can easily shape your sound. To get to any location in your song, simply tap the transport and drag the playhead. Ready to record or mix?

Logic Remote gives you all the controls you need to do it from the vocal booth — or from any sweet spot in the room.

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dj sue Tiisetso Motaung, but well known in the entertainment industry as DJ Sue, is in the forefront of house music. Unlike other ordinary DJs, Sue is not just a deejay and producer but a vocalist who lends her voice to her own tracks.

She began her journey as a deejay in mid 2003, using her friend’s equipment, to show off her skills at birthday parties and braais in and around Johannesburg, South Africa.

From early 2005 she began building a name for herself as a resident DJ at pubs and clubs namely Mo’s Pub in Norwood, Ozone, Sochila, News Cafe Maponya Mall, Panyaza, Capitol in Rosebank, Zambezi, Cappello’s, Far Out in Midrand, JL lounge in Mthatha, Chaf Pozi and Change Room to mention a few. The multitalented Sue has shared the turntables with some of South Africa’s most celebrated DJs including Vinny Da Vinci, Christos, QT, Ganyani, Black Coffee, Claude, China, Pepsi, Kent, Cleo, Clock, Zinhle, Mahoota and Vetkoek, Euphonik, Thobs, Tira, China as well as international DJ and producer Abicah Soul. In the same year she was a back track DJ for Hip Hop artist Jub Jub until September 2009.

Her musical journey keeps taking her to places as far as Pretoria, Swaziland, Lesotho, Mthatha, East London, Durban, Mpumalanga, Rustenburg, Mafikeng, Venda, Limpopo and as far as North of Africa in Algeria. She has been featured and interviewed on a variety of shows both radio and television namely, Oskido’s House Grooves show on YFM, Glen Lewis and Unathi’s drive time show on Metro FM, Vinny Da Vinci and Christos’ Urban Beat show with lady Zeal on Metro FM, Umhlobo Wenene FM, SABC 1’s Jika ma Jika and the “Just Music Show” with Lerato Kganyago as well as the Nimrod Nkosi show on Soweto TV. Sue is driven by her passion to unite all female DJs and musicians through what she has dubbed as “an unforgettable night life experience”.

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Having mastered the art of turntabalism, DJ Sue is also the brains behind The Night Life Experience as well as The Sound Evolution events.

As a vocalist she has worked with DJ Qness, Infinite Boys, Gigs Super Star, T-­‐underground and V-­‐ underground from Soul Candi Music. DJ Sue is also the lead vocalist on the theme song of SABC 2’s comedy series titled "Garedumele". In 2009 till 2011, when she was not entertaining club hoppers around the country with her electrifying mixes, Sue shared her know-­‐how as a DJ Lecturer as well as Assistant Lecturer for Music Production at the Soul Candi Institute imparting valuable knowledge to South Africa’s next generation of turntable gurus.

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In May 2011 she clinched a radio show on internet radio station Rhythm100 radio.

“My goal is to break boundaries while continuing to work with other creative minds,” says DJ Sue. Currently she is a regular on Channel O’s Celebrity Bassment, Vuzu’s Hit Refresh live show and can be seen performing with her band in some of the country’s biggest night spots like Cocoon, the VIP Room alongside DJs Black Coffee, Ganyani, Culoe de Song, Vinny Da Vinci to mention a few.

DJ Sue is currently working on her debut house album and already it promises to be a big success as two of the singles from the yet-­‐to-­‐be-­‐titled offering are currently being played on rotation on YFM.

For more info: Lelo Ndzimela Cell: +27 83 5396 575 Email: lelo.ndzimela@gmail.com For DJ Sue’s latest scorching mixes log on to:http://soundcloud.com/suexperience and http://suethedj.podomatic.com/entry/2012-0318T13_35_10-07_00 Follow DJ Sue on twitter @DjaySue Join DJ Sue’s facebook fanpage: http://www.facebook.com/groups/326068394097727/

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Brand licensing Licensing means renting or leasing of an intangible asset. Examples of intangible assets include a song (“Somewhere Over The Rainbow”), a character (Donald Duck), a name (Michael Jordan), or a brand (The RitzCarlton). An arrangement to license a brand requires a licensing agreement. A licensing agreement authorizes a company which markets a product or service (a licensee) to lease or rent a brand from a brand owner who operates a licensing program (a licensor).

A company may choose to license its brand(s) when they believe there is strong consumer acceptance for brand extensions or products.

For example, when Apple launched the iPod there was an immediate need for accessories such as headphones, charging and syncing stations and carrying cases. Apple decided not to manufacture these products and instead chose to have a licensee make the products. By doing so, Apple could offer branded “Earbud Headphones”, “iPod docking stations” and “iPod socks.” Each is made by a separate company but together offer the consumer an elegant solution. All of these accessories are sold by licenses.

Apart from benefits to licensors, there are benefits to licensees as well. Licensees lease the rights to a brand for incorporation into their merchandise, but do not share ownership in it.

Having access to major national and global brands, and the logos and trademarks associated with those brands, gives the licensee significant benefits. The most important of these is the marketing power the brand brings to the licenseeʼs products. When brand managers enter or extend into new 30

product categories via licensing they create an opportunity for a licensee to grow their company. For example, Crest several years ago extended its brand from toothpaste into whitening (Crest Whitestrips). Below is an example of the licensed product process steps: • Licensor chooses the product categories to be licensed • Licensor finds and negotiates a license with the best licensees • Licensees develop concepts, prototypes and final production samples and submit for approval • Licensor approves licensed products for sale Licensees sell licensed products to authorized retailers.

Licensees expect that the license will provide them with sales growth. This sales growth may be in the form of growth within existing market or the opportunity to enter a new market. To achieve this, licensees expect that the brand they are licensing has significant brand preference, that it will open doors and ultimately help them meet or exceed their business objectives.

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The licensing contract forces the licensee to achieve certain sales targets and royalties; therefore, the goal of the licensee is to quickly meet their business objectives, thereby achieving their contract obligations. Royalties are the monies paid to a licensor by the licensee for the right to use the licensed property. It is calculated by multiplying the Royalty Rate by the Net Sales.

Brand licensing is the process of creating and managing contracts between the owner of a brand and a company or individual who wants to use the brand in association with a product, for an agreed period of time, within an agreed territory. Licensing is used by brand owners to extend a trademark or character onto products of a completely different nature.

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Brand extensions later made the brand licensing marketplace much more lucrative, as companies realized they could make real dollars renting out their equity to manufacturers. Instead of spending untold millions to create a new brand, companies were willing to pay a royalty on net sales of their products to rent the product of an established brand name. Armor All auto vacuums, Breyers yogurt, TGI Friday's frozen appetizers, and Lucite nail polish are only a handful of the products carrying well-known brand names which are made under license by companies unrelated to the companies who own the brand.

Brand licensing is a well-established business, both in the area of patents and trademarks. Trademark licensing has a rich history in American business, largely beginning with the rise of mass entertainment such as the movies, comics and later television. Mickey Mouse's popularity in the 1930s and 1940s resulted in an explosion of toys, books, and consumer products with the lovable rodent's likeness on them, none of which were manufactured by the Walt Disney Company.

This process accelerated as movies and later television became a staple of American business. The rise of brand licensing did not begin until much later, when corporations found that consumers would actually pay money for products with the logos of their favorite brands on them. McDonalds play food, Burger King t-shirts and even ghastly Good Humor Halloween costumes became commonplace.

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About SAMRO The Southern African Music Rights Organisation (SAMRO) is a leading regional copyright administration business, dealing primarily with the administration of music composers’ and authors’ Performing Rights.

SAMRO was established in 1961 under the stewardship of Dr Gideon Roos Senior, to protect the intellectual property of composers and authors and to ensure that their creative output is adequately accredited and compensated both locally and internationally.

Today, SAMRO has grown into an internationally recognised collecting administration business representing more than 12 000 music creators. It has built up a solid reputation as the primary representative of music Performing Rights in Southern Africa, and is well respected among its global peers as a leading music rights society.

SAMRO’s scope has also expanded beyond the administration of Performing Rights to include Mechanical Rights and Needletime Rights.

Performing Rights royalties are earned by music composers, lyricists and publishers when their musical works are performed in public – for example, on radio or TV, in a business environment or at a concert.

Mechanical Rights royalties are earned by composers, lyricists and publishers when their musical works are physically reproduced on a CD, DVD, tape, video, MP3 or computer hard drive, or as cellphone.

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Needletime Rights royaltiesare earned by recording artists (such as musicians, singers or backing vocalists, and studio producers, who do not necessarily have to be the authors of the work) when one of their recorded performances is played or performed in public, for example, on a radio station.

SAMRO’s primary role is to administer copyright in music creators’ and publishers’ intellectual property (i.e. their Performing Rights). It does so by licensing music users (such as television and radio broadcasters, live music venues, and establishments that play music, such as retailers, restaurants and shopping centres), collecting licence fees and distributing royalties to music creators.

SAMRO also plays a vital role in funding and supporting music and arts education through the SAMRO Foundation. It also boosts the local music industry by hosting regular seminars and workshops, and supporting conferences such as MOSHITO, to help foster and develop creativity across all categories and genres of music.

SAMRO is committed to being a world-class African copyright administration business that upholds the highest standards of corporate governance, business ethics and management in its quest to make a valuable and lasting contribution to the lives of its members, to South African cultural heritage, and to the music industry in general.

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Rights administration and licensing SAMRO administers the copyright and royalties of its members – being primarily music composers, authors and publishers.

Members who are composers and songwriters assign the rights of their musical works to SAMRO to administer. SAMRO, in turn, uses the assignments to license individuals and businesses that use music for business or commercial purposes. This includes shopping centres, nightclubs, television and radio broadcasters, and so on.

SAMRO collects these licence fees from music users, which are paid out to members in the form of royalties during annual distribution cycles (after administration costs are deducted).

By following simple procedures and paying the appropriate fees, individuals and businesses can use musical works administered by SAMRO. This will ensure that creators are rewarded for the public use of their intellectual property.

SAMRO’s purpose To create value for the creators and users of music; To protect the intellectual property rights of writers, composers and music publishers by licensing music users; To ensure that members whose works are broadcast and played commercially are paid their royalties from licence fees collected by SAMRO; and To actively promote the value of copyright.

SAMRO on the global stage Through its relationships with international collecting societies, SAMRO provides a valuable service to over three million music creators worldwide.

SAMRO is a member of the International Confederation of Societies of Authors and Composers (CISAC), enabling it to represent the interests of its composers, authors and publishers on a global scale.

Several of SAMRO’s senior managers and officials serve on various committees of CISAC – thereby representing the interests of South African composers, authors and publishers within this important international body.

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SAMRO’s CEO, Nicholas Motsatse, was voted as one of the two vice-chairmen of the CISAC Board of Directors in 2007. At the CISAC General Assembly in June 2010, Motsatse was re-elected to the position for a further three-year term.

SAMRO is involved in various CISAC initiatives in the SADC region and elsewhere in Africa, which also involve the World Intellectual Property Organization (WIPO) and the United Nations Educational, Scientific and Cultural Organization (UNESCO).

SAMRO has been a member of CISAC’s African Committee since 1994, and held the chairmanship of the African Committee from 2000 to 2005.

Motsatse also serves as a member of the African Committee’s Executive Committee, while former SAMRO CEO Rob Hooijer serves as CISAC’s Director of African Affairs.

In addition to SAMRO’s activities in Africa through CISAC, its Board of Directors is always looking for ways to become proactively involved in assisting fellow African societies in the development of collective administration in their countries. SAMRO aims to ensure that members receive the correct royalties for the use of their music on the African continent.

SAMRO is also accredited with BIEM, the primary international organization representing mechanical rights societies.

These reciprocal agreements and affiliations enable SAMRO to collect music royalties from 225 societies in 150 countries around the world, on behalf of its members.

Furthermore, SAMRO administers – in its own territory – not only the music rights of its members, but also a massive repertoire database of music from all over the world.

As a significant player in the global music arena, SAMRO supports international industry trade fairs and music showcases such as MOSHITO in Johannesburg, MIDEM in France and the World Music Expo (WOMEX). It is also closely involved with bodies such as the South African Music Export Council (SAMEX).

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The value of copyright Copyright is a set of exclusive rights granted to the original songwriter or composer. These rights ensure the author receives his or her due in the form of royalties earned from the reproduction, distribution and adaptation of his or her work.

South Africa is a member of the International Copyright Union. All member countries are committed to ensuring reciprocal copyright protection for each other’s musical works.

South Africa is also a signatory to the Berne Convention for the Protection of Literary and Artistic Works, which is administered by the World Intellectual Property Organisation (WIPO) and was first accepted in Switzerland in 1886.

Each signatory to the Berne Convention is required to recognise the copyright of the works of authors from other signatory countries, in addition to the copyright of its own nationals. The convention also stipulates that member states must provide for strong minimum standards for copyright law.

In South Africa, copyright is regulated in terms of the Copyright Act (No. 98 of 1978).

Music has always had a big effect on culture throughout history. From struggle songs to sports anthems, music has the power to move people. Influencing politics, faith, fashion and popular culture. Music doesn't just make for a better dance scene - it’s the soundtrack to our past and our future. So it’s incredibly important that we protect our musical talent and heritage. And encourage new music creators to join the party. Since 1961, SAMRO has been South Africa’s music rights champion. We protect the rights of composers and authors (music creators) both locally and internationally. Collecting licence fees from music users – television broadcasters, radio stations, instore radio stations, pubs, clubs, retailers, restaurants and all other businesses that broadcast, use or play music. Five decades of experience managing music rights has given us a high-definition picture of the way music is used out there. And we use this knowledge to assess fair and reasonable royalties on a track by track basis – looking at when and where each piece of music is used. We pass on these royalties to the talented folks who play a

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Dj Bongz is a is Household name in the South African Music circles His real name Bongani Dlamini, born and bread at KwaNdengezi Pinetown.

After his matric he finished his highest education at Natal Technikon now know as Durban University of technology.

He started his music career late 90s where he use play at 21st birthdays ,weddings etc..

In 2006 he realized his first compilation “No retreat no Surrender” which sold double platinum.

He has won best dance compilation award at Metro FM Awards.

He is the only SA DJ to sell double Platinum that is over 88 000 copies sold for each album.

He has also sold Gold which is 22 000 copies He received a South African Music Award nomination for the best dance album.

One of his famous song “thina Sobabili, was voted Song of the year on SABC uKhozi FM. And the following year “Sobuye Sbonane” was the runners up on the song of the year.

Dj Bongz has attracted fans from all over the world, which he has been playing in Australia every year from 2010 to date.

He has also toured all England cities.

He will be performing in China this year at Club Rock Café, which is one of the biggest clubs in the world.

He has also been invited as a guest Dj at Indaba 2012 which is the one of the most tourist attaction event in SA. He will also be part of Big Brother Africa guest Dj this year.

Most artist call him the deadly stinger, meaning once he plays, it will surely be difficulty to play after him.

He is indeed a versatile DJ, he can play from House music, deep house, hip hop, old school and kwaito.

He has tremendous experience having shared desks with the likes of dj fresh, tira, tweety ,Dj Sbu, Glen Lewis, Chynaman, Fistaz Mix well, Dj sox ,Euphonic and many more to mention a few.

Countries played Ò Australia Ò England Ò Botswana Ò Namibia Ò Angola Ò Swaziland

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BHEKO SOKHELA HEAD OF MARKETING EMABALABALA ENTERTAINMENT TEL: 031 303 3520 FAX: 031 312 8421 CELL: 073 696 5463

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Ò Ò Ò Ò Ò Ò Ò Ò Ò

FIFA 2010 WORLD CUP 2010 SABC RUGBY WORLD CUP FANPARK 3RD SA GAMES KWANALOGA GAMES ILEMBE YEAR END BEACH FESTIVAL LIRA LIVE IN CONCERT MTN HEZELMERE JAZZ FESTIVAL VODACOM BEACH FESTIVAL AND MANY MORE

Ò Ò Ò Ò Ò Ò Ò Ò Ò

· Name-Bongani Dlamini · Aliases-Dj Bongz · Birthdate-13 July 1977 · Bases-Johannesburg · Management-Emabalabala Entertainment

Ò Ò · Recording Label-Emabalabala Entertainment Ò Ò · Music Style-Soulful Vocals Ò Ò · Influences-Bob Mabena, Oskido and The Late Mathenjwa Ò Ò · Email-sapcebongz@gmail.com Ò Ò · Facebook-Deejay Bongz Ò Ò · Twitter-@ Bongani Dlamini Ò Ò · Achievements-3 Platinum,1 Metro FM award, 1 SAMA Nominee.

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How to Be Recognized As a Good Female DJ

1. First, you need to be good. Just because your friends tell you that you are; if you are a DJ, you know they usually can't tell the difference between a good mix and if you “Train Wreck.�

2. Get the right mix and know your crowd. Second and probably the most important aspect of being a DJ. Programming, Programming, Programming.

Knowing what to play and when to play it. When you are playing at a gig and you have the dance floor packed, all it takes is 1 record and you can clear the dance floor. Then all the work you did up to that point is gone and you have to start from scratch.

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3. Remember, a DJ's job is to encourage people to dance, not force feed them some music that they don’t like or don’t want to hear. Too many DJs make statements like 'I’m a House DJ or Trance DJ'. If you can spin all music types and you are trying to get a gig against one of those other DJs, then they can say "Oh I am an out-of-work House DJ." So that’s it for the actual mechanics of spinning, now to the way to get booked.

4. Exposure. Go out to every club that you can, as many nights that you can.

5. Get to know the staff (the staff, not the DJ). VIPs, hosts, doormen, most importantly the General Manager. The last person you want to go to in a club and try to get a hook up from is the DJ; as far as they are concerned, you are just competition.

6. When you go out, have demo CDs with you.

Make sure that you have listened to it and had someone else who know about mixing listen to it and to make sure that it is something that you want to have out there representing your ability as a DJ. Make sure that all of your booking info is on the CD and your name. Once you have a design in mind and have recorded the mix master, burn it and take it to a professional and let them make your duplicates.

Don’t try to do it yourself because it will end up costing more and usually looking like you made them yourself.

7. Consider a manager. If you are too nice, you won't get good bookings or decent pay. Managers are paid to be 'not nice' when required. It also takes a load off of your shoulders and is one less thing that you have to worry about. However, be sure it is someone you can trust (and even then, don't trust blindly).

8. Know that your gigs might be short at first. At first, you might only get a like a half hour here and an hour there; take them, just make sure you blow up the dance floor. Once you get your first paying job, never play for free again. Just in case you missed it, never play for free again.

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Marlon Dee

-Please tell me a little about yourself? Who is Marlon Dee? Just a regular dude who loves music.

-When did your career start?

My music Career began in 1987 -How did you get your start in the music business?

I used to help out other dj's back in the day for house parties, and block parties, they were the ones that really broke my interest wide open.

From there the sky was the limit.

-How had the Internet changed your relationship with and to music and the industry?

Internet changed everything because of its advanced technology and its ease to facilitate access to songs and music production software that allows people such as myself to be more creative and have more fun, however it has also damaged our scene a great deal because of the fact that people can now download music free aside from many things and has left the artist(s) struggling on how to overcome this issue without compromising sound because of cost issues.

3. which countries have you visited through being booked and which one is your favorite?

Been all around the world but my favorite country is definitely Colombia SA. It's an entirely new country as opposed to the negative stigma of the 80's.Those days are officially gone and only beauty, positivity and stronger people are left.

-Do you use loops or prefer to program your beat from single hits?

I use a variety, but I mostly record live especially when it comes to my drums. I have spent the past 4 years trying to figure out ways to record drum sources in different ways with natural fx added fopr example recording a drum through a garbage can with distinct items placed inside, it gives it a sound that no one will ever have and is unique to your liking. You can hear it on my last release "Cristo Redentor" on Underground Collective Recordings.

-What is the key ingredient in a track? breakdown? Style of production? Bassline?

Source is key. I always try to get my source in as clean as possible then from there I always start with drums first and work my way around that.

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-Do you mainly use analog or digital soft synth sources? Do you think analog makes a different?

I use both, I'll keep searching for the sounds that pleases my ear and sometimes it will be analog and sometimes digital all depends on what I'm writing but yes there is a big difference from analog or digital.

-Any advice on monitoring? Quiet? Loud? Do you prefer flat and boring Speakers, headphones or Big, Phat and chunky monitors?

I usually listen to my music low but when mixing I will test run a few louder versions just for variation, I have both regular studio monitors as well as big club speakers and I usually just wind up listening to everything on my studio monitors.

-What are the biggest barriers new producers faces?

The hate ‌ Unfortunately there is a lot of hate in this world and that can deter some people in moving forward thus leading them to feel uninspired. And then of course there is the education of music business in general, if you don't have an idea of the business, a new producer will easily get distracted and shocked my current record sales and they way they are treated as rookies and that can be one of the biggest barriers that a producer will encounter because then they just don't feel like continuing to produce or feel it's just not worth it.

-How important do you think it is to have your music mastered commercially? Can you do it yourself as effectively and what tools would you recommend?

Mastering as well as your overall mix of a record is the key ingredient to your sound. Your sound is your business card. You can walk up to any world renown engineer with a cd of your music production and without saying one word he will now what level of producer you are with just your music, mastering and mix is THE most important thing to any producer.

-What do you believe is the secret to your success as a producer?

It's all about sounding different, being set aside from everyone else. And I don't mean listening to another producer for inspiration then taking those ideas to the next level, which is cool and I believe most producers do this on the regular, but to be really set aside you have to create your own sound and be known for that particular sound. For me I have been fortunate and blessed to be set aside for my drums and people know me for the drum.

-Any advice for the aspiring producers out there?

Yes concentrate on your overall sound (mixing and mastering.)Study your processors and don't just throw up any record on a digital site and call it a release. Treat every single as if you were being judged for a Grammy Award.

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Demor Sikhosana: The One Thandukwazi Sikhosana was born on the 11th of July, sometime in the mid-seventies, in the Bruntville Township of Mooi River, KwaZulu-Natal, a small town located about 150km North-West of Durban on the way to Johannesburg.

I grew up in Mooi River but I have been moving around KZN a lot you know. My parents got divorced at an early age, so I had to live with relatives now and again but mostly with my late grandmother who I can proudly say is my second mother. I moved a lot; Mooi River, Pietermaritzburg, Durban...

At the age of 21, Demor made a more definite move towards Durban to take his passion for music one step further. The time had come to embark for the journey that would eventually lead him to the summit, where he stands and shines bright at the moment; the time had come to fill the tank with musical knowledge.

I got my Musical Diploma from a College called Tech Union Natal, which is now called DUT. It is [a type of institution that could be positioned] between College and University. I studied Jazz there and how to run the business of music. In that College I was a hard worker you know. I can say I was one of the best student they had. So they offered my a job as a lecturer for the younger students. I was teaching them how to play the piano, how to approach the harmony and stuff like that... When I graduated [in 1998], I moved to Johannesburg where I landed a job as a music lecturer full time. Then later on, I left this job to fully concentrate on my business which is Demor Music and to focus on my music productions.

But it is not an easy thing, even for the best prepared candidate, to initiate a career in the music industry. So it took Demor a few years before any opportunity for a breakthrough came his direction.

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It's not easy man to break into any industry but especially this music business. For the first few years, I spent most of my time teaching until in 2004 I met a great Producer/DJ going by the name of Christos. At that time, Christos was working on an album for our late superstar Lebo Mathosa.

That was my breakthrough! We made such a great team Christos and myself collaborating on productions. We produced albums for Lebo Mathosa, DJ's @ Work (which is Christos's duo with Vinny da Vincy) and I found myself working with these superstars that I have always looked up to!

I asked Demor if he remembered which track was his very first contribution for Lebo Mathosa, the one he could qualify as his breakthrough in the industry; Yes of course I remember clearly, it was a song called Brand New Day. How is Demor music doing?: Demor Music is doing great in recent years. The label has really really grown since I signed a new artist called Bucie back in 2007. We released her first album and then, I allowed Bucie to work with Black Coffee on the songs Turn Me On and Superman as a way of promoting her and my label.

Bucie has been doing very well ever since and she has been doing well for the label too. This is the artist that Demor Music decided to focus on for the futur, so that eventually other artists could be uplifted through this superstar that Demor Music created. 2013 tends to be a very rich and beautiful year for Demor Music. I have recently released my own album as Demor, my first solo album [The Real Me] and I am very excited with the result. For this album I worked with a lot of my industry friends, people that I had worked with behind the scenes as a producer, as a writer, as a keyboard player... On the album I have Black Coffee, Zakes Bantwini, Bucie, Professor, Big Nuz, Uhuru and I worked also with my new talent at Demor Music, his name is Sun-El Sithole. On this album I am really trying to push the collaboration between artists in South Africa because it doesn't happen often enough. So this is the concept around the album; if we collaborate we can be stronger and do so much more and do better.

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Is there any particular source of inspiration for this album?

It's life around me and it's personal experiences. I always believed that if you write about your personal experiences, it is something that is going to apply to another person cause we always go through the same things as human beings. For example, the song titled The One, is about something I was feeling at that moment and I simply decided to speak about it. The album title is The Real Me, so you can just tell by the title that this guy is trying to deliver an Audio-Biography. So I hope people are enjoying the singles that I have released so far. The One is a beautiful single, where I'm hanging out with Bucie, Zakes Bantwini and Black Coffee. I hope people are warming up to that! There is a whole lot more in store for them.

On the morning of the interview, when I called Demor on his cellphone, he was at his house waiting for Bucie to join him.

At the moment I'm actually waiting for Bucie to come through, she is like a few minutes away from my house right now. We are heading in the studio to work on her new album for this year. We already have a couple of tracks recorded, unmixed though, and I must say that they sound really really great! She [Bucie] has matured. She already has a new single with Louie Vega called Angels Are Watching Me; its a burning single! She also has recently collaborated with Atjazz and Julian Gomes, and the result is a beautiful track as well, so we are really looking forward to exciting moments this year!

Now I have great expectations... and honestly, I have no doubt that Demor Music will succeed in pushing Bucie one step higher!

The album is planned to be released sometimes in August.

Also, Demor Music is planning to release in September or October an album of a new group called Sticks and Stones formed by Sun-El Sithole, Less Ego and Oristo Cratic.

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The industry described by Demor I am always curious to hear from the main actors in the industry, what is there evaluation of the industry, their appreciation of its growth and the direction its taking: South African House music is exciting at the moment cause I can see that it is rising up. It is like people involved had all awaken to the idea that it is our time to shine, in terms of sharing our music to the rest of the world. There are so many young artists rising up, it is really amazing! If young people are working together on a sound, such as House music, the future to me looks very bright, because they are the future. Then the industry is going to grow, this sound is going to grow, we all want this sound to break all the barriers and becomes big! I want to hear my songs on BET or MTV you know, we all want to get to that level! But at the moment, right now, if you are a House music fan, South Africa is really the place to be!

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