Katy McAllister

Every now and then you come across someone with such an amazing voice that you can’t help but to keep hitting the replay button. For us Katy Mcallister is definitely one of those artists. From the way she carries her notes to the passion in her voice, Katy is the epitome of raw talent. Under the guidance of Tyler Ward she has managed to gain a significant following as well as hone her vocal skills. Amid everything else her confidence seems to draw us in the most, and with that alone we are certain she will make fan out of everybody. It’s always a little more refreshing to get to know the human side of an artist you like, so we did just that.

How did you discover that you can sing?

Katy: Ever since I was little my three sisters and I made up dances and songs and put on shows for my parents all the time. My family has an annual Christmas party every year since before I was born and we used to put shows on for all of our family and friends. We still sing a couple songs each year. I also used to sing in front of my mirror and pretend I was performing on stage, I sang in choir for 10 years and eventually started writing songs on the piano around the age of 15.

In regards to music, who had the most influence on you growing up?

Katy: My Mom and Dad. My Mom started teaching me piano when I was 3 along with all my sisters. My Dad was the lead singer in a country band who played around Dallas before I was born and can play fiddle like nobody I’ve heard. He also plays guitar, mandolin, etc. They both introduced me to music and had me growing up listening to great musicians who’ve also influenced me.

Do you think you can handle being famous?

Katy: I’m not sure what that would feel like. I’m assuming it would be very overwhelming but pretty exciting to have all that attention.

What is your most embarrassing moment?

Katy: Embarrassing moments are a regular thing for me. I’m talking every other day, I embarrass myself, so it’s definitely hard to say which one tops them all. Probably the time I was playing spin the bottle and I had to kiss a guy friend that I had a crush on and was so nervous I accidentally bit him. He won’t let me forget it. I was a lot younger then…

What’s your favorite love song?

Katy: There are many interpretations of the song, but “Wonderwall” by Oasis is definitely top 10 for me.

Have you ever had your heart broken? If so, how did you cope?

Katy: All of my music is reality. Things that have actually happened and things I have actually felt. I love to run. After my first big heartbreak at 16, I focused all my energy on running and working out. Every time my love life is on the rocks, my body becomes healthier than ever. It’s strange how that works. After that first heartbreak is also when I wrote my first real song. (Not counting all the amazing songs I wrote in elementary school, of course.) There are many things I don’t have the guts to say, so if say it on paper and sing about it it almost feels like I am saying it to someone.

What’s the last song or album you bought?

Katy: I recently bought the album “Sand & Snow” by A Silent Film and the album “Heartthrob (Deluxe Version)” by Tegan and Sara at the same time. I’m very pleased with both purchases.

What is your 5 year plan?

Katy: I don’t really make plans, I kind of live my life month to month. But I guess in 5 years I hope I am playing live music all around the world, will have released several albums, and will have collaborated/co-written with many different people.

What’s your favorite TV show?

Katy: Parks & Recreation hands down.

In regards to your music career, who would you say has helped you progress the most?

Katy: Tyler Ward got my music to be heard by producing it and sharing it online, he gave me the courage to get over my stage fright by putting me up on a stage to open for him in Denver, he talked me through it even when I wanted to back out. He believed I had a future and real talent, even during rough times when I didn’t think I had it in myself. He’s always been a great friend, as well as producer and mentor.

How long does it normally take you to write a song?

Katy: Sometimes an idea comes to mind and I can get a song out in 10-15 minutes. Other times, I have to go back and revise it later. Sometimes it can be frustrating trying to finish one song because I always feel like I have more to say, and then I end up with a 6 minute song flooding with too many lyrics.

If you could pass on any piece of advice to your fans or even a

stranger, what would it be?

Katy: I would say with anything in life, even if it sounds cheesy, if you have a dream or a big idea in mind of what you want to do with your life, it’s not impossible even when people tell you you’re nuts. If you see it and believe something can happen, it CAN happen. But all this talk of the universe and luck are just excuses to be lazy. The ‘universe’ will only do so much, I believe you have to make things happen yourself. Don’t sit back and wait around for things to work themselves out. Also, don’t be afraid to be heard. I’ve embarrassed myself millions of times because I show my feelings and say what’s on my mind and I put music out on the internet for people to judge. If you are an aspiring musician, then put your music out there. In any situation, if you don’t put yourself out there, you won’t be found.

Any performance lined up we can look forward to?

Katy: There is a mini tour in the works hopefully for the end of Summer 2013.

Now that you got to know a little more about her, we’ll let Katy’s music vouch for itself. After you watch the video you can buy her latest project “Take Me Away” right HERE on BandCamp or right HERE on iTunes.You can also check out her profile right HERE. Enjoy, and don’t forget to let us know what you think by commenting below!

April 17, 2013January 12, 2021

Top 5 Sites to Host Your Music On and Grow Your Fan-base (2021)

When we first wrote this 7 years ago, streaming was nowhere near where it is now. We have some work on our hands!

As an artist, you should be reaping the rewards for your hard work, and regardless of what genre of music you make, you should not be giving your music away for FREE. That doesn’t mean you have to necessarily sell it, but exchanging a download for an email can be just as valuable in the long run. So we’ve compiled a list of the best websites to host your music on – which allow you to do just that. Excluded from this list would be sites such as Itunes, Google play store, Tune Core, CD Baby, Soundcloud, HNHH, Datpiff and PureVolume. The reason being is that you either get NO fan contact information or you get one hell of a commission taken out of your sales. So unless you’re up there in popularity with the likes of Adele, or Rihanna, and know your music will go viral on its own, you should undoubtedly be using one of these sites to distribute your music and strategically grow your fan-base.

Updated: July 24, 2017 – Bonus platform added for profitable musicians

1. TuneCore

“Before TuneCore, artists needed a label to get their music sold online. In 2006, we changed the game by partnering with digital stores to allow any musician to sell their songs worldwide while keeping 100% of their sales revenue. Today, TuneCore is the world’s leading digital music aggregator. Upload your music, complete the checkout, and we’ll do the rest. Your music will hit digital stores like Spotify and Apple Music in no time.”

Website: www.tunecore.com

Features:

Advertising on website
Widgets
Social & Email Sharing
Upload up to 20 songs
Name your price tips
Gather fan information

Pros:

Cons:

See It In Action:

Our Thoughts –

2. United Masters

“UnitedMasters comes with a premium suite of products designed to help you distribute music, get more streams, and everything in between. Take your career to the next level now.”

In the News:

Website: unitedmasters.com

Features:

Pros:

Cons:

Our Thoughts:

3. BandCamp

“We’re a publishing platform for bands, or, anthropomorphically/arthropodically-speaking, your fifth, fully geeked-out Beatle — the one who keeps your very own website humming and lets you get back to making great music and building your fan base.”

Website: www.bandcamp.com

Features:

Multiple file formats
Name-your-price downloads
Real-time Statistics
Search Engine Optimization
Viral distribution
Mobile friendly
Physical + Digital sales
Sell within Facebook
Fulfillment Partner integration
Discount codes
Bonus downloads
Design customization
Multiple currencies
Soundscan reporting
Pre-orders
Metadata
Build your mailing list
Support

Pros: 200 download credits. Free basic account.

Cons: 15% Revenue sharing. Tacky design.

Our Thoughts: Well if you’re reading this you probably know that everyone and their Momma’ uses Bandcamp. It definitely serves it’s purpose very well, but the interface isn’t as snazzy as others on this list. It also doesn’t offer as many of the features as others do. I think bands just use it because, like we said, everyone and their momma’ uses it. Chances are it was probably the first of it’s kind which gives it so much popularity.

4. StereoLoad

“Stereoload helps you increase your Twitter and Soundcloud followers by requiring your fans to follow you before they can download your music.”

Website: www.stereoload.com

Features:

SoundCloud Integration
Unlimited Campaign Creation

Pros: Clean design. Social sharing. It’s FREE. No download limit.

Cons: Only utilizes Twitter and Soundcloud.

See It In Action: Click Here

Our Thoughts: StereoLoad is a pretty new platform as far as we know. While it doesn’t allow you to grow an email list, it does offer the ability to grow your social media followers which at the end of the day, is still better than giving your music away completely free. With it being a free service, there’s really no downside to using it. The cool thing about it is that if you make really good music and know how to market it correctly, SteroLoad can help you gain a significant amount of new followers on Twitter and SoundCloud.

5. ToneDen

“Create awesome marketing campaigns that help you get more followers, shares, and likes while building a rich database of your audience at the same time.”

2020 Update:

Website: www.TenDen.io

Features:

Facebook Advertising
Contests
Email & Messenger marketing
Social Unlocks
Landing page creator

Pros: Intuitive design, convenient customer support,

Cons: limited social & streaming platforms, marginally high monthly cost if you’re not making an ROI.

See It In Action: Click Here

Our Thoughts: ToneDen is a true gem for artists who have the means to invest in their careers. It provides a simple to use platform for acquiring, engaging and activating new fans. The fact that it acts as not only an advertising platform but a “lead capture” platform as well is why we decided to include it in the article.

In conclusion, if you’re serious about making a living doing what you love, you need to focus on growing your fan base, because in the future those numbers will need to convert to dollars. Anyone of these sites can definitely help you do that by capturing a simple email. I don’t know about you but most people check their email very often and are much more likely to hit play on a track that is sent directly to them via email compared to hitting play on the social media posts. you tag them in.

If there’s any other notable music hosting sites you think we missed and should add, please feel free to comment below. Make sure you like our Facebook page for valuable updates!

April 7, 2013May 22, 2013

Splyt: Rise to the Top

Doing what we do and doing what he does, it was only a matter of time before our paths crossed. Twenty-two year old Chris Vigil a.k.a. Splyt is definitely a Colorado artist to look out for. He’s been opening up for some pretty big names, and after every performance few can deny that he walks away leaving a huge impression on everyone in attendance. Not only is he “doing it”, but he’s “doing it” the way it’s suppose to be done, and I’m sure he’s doing what plenty never imagined he could. His latest project REMADE has already gotten more than 500 downloads, which is a pretty big feat when you consider most artists on the rise will be lucky to hit 200. With that, it’s our privilege to introduce you to an artist with momentum…

How did you come up with your Moniker “Splyt”?

S: [laughs] I have to take you through the process. In high school, I was originally a “singer” (a bad one) and I would write rhymes on the side that a homie of mine would use for his rapped verses. This was before Drake really did his thing so when my first song was recorded I was asked what my name was for the credits. I thought “singer that writes raps, that’s like a split personality of subject matter” so in the interest of being unique (and young) I decided to put a Y instead of the i, and that stuck. I soon realized I didn’t have the overwhelming talent for singing so I decided to stick with rapping and it’s starting to look like a great idea.

Do you remember what the first rap you ever wrote was about?

S: My first rap, damn this is definitely hard to think back to. I think I was 14 and I found an instrumental of Jadakiss’ ‘Why” track and wrote a remix. The first lines were like “why are some kids born rich/ why can’t my family ever seem to afford shit/”. [laughs] I thought I had it so hard…

Who in the music industry do you think you would vibe with the most, and why?

S: Artist-wise: I’d probably say Wale. His lyrics really resonate with me on a personal level and I feel he’s an artist that really reflects his personality in the music like myself (not to say that I’m on the same level as Wale at all, dude’s a straight-up genius).

Producer-wise: I’d say either Timbaland or Ryan Lewis. I think their wide range of versatility would be awesome for me to kind of run wild with. I don’t just write party bars, I write a lot of R&B tracks and deep shit as well that I’m feeling more and more comfortable with so I’d really like to have somebody that is willing to produce outside the box as well.

What was your first big show?

S: My first big show was opening for Hoodie Allen on his All-American tour-stop at Bluebird Theatre in Denver (May 3, 2012). It was sold out and packed by the time I was supposed to go on and my R&B singer/hype man bailed at the last second.

Backstage about 5 minutes before I was supposed to go on, Dan (this was the first show of mine he had ever booked) and Stryker (this was the first show of mine he had ever been to) both said they would go out there, run music and introduce me to perform. This is the show I refer to in the track “Anything” as us running sound out of an iPhone on airplane mode. I think it was such a bad show for us (by no fault of Dan or Stryker, both not really having anything to do with the show until five minutes prior) but it sparked the partnership we have today and we only continue to get better as we go along.

With skill just being one part of the equation, what else would you say has been a significant contribution to your growth/success?

S: The most significant contribution is by far the team I have with me. My manager Dan Hargrove and graphic designer Stryker have had such a huge impact on my career trajectory that I literally don’t even put anything on my résumé that happened before them cause that was practice.

Although I write and perform all of the music, they are truly a huge asset to the business and creative side of things. I can bounce ideas off of them, and if they don’t like it then I move on or make it better. It’s a bigger help than I can put into words for real. It’s also a feeling of more confidence to push my own personal limitations that has also contributed heavily. When you’re comfortable with what you do then other will be comfortable receiving it.

On your latest project REMADE you have a song called “Teeter” with a miss Sunday Lane. What was the inspiration behind that song, and how did you initially hook up with Ms. Lane for the collaboration?

S: My inspiration for that track was actually a relationship of a friend’s that was very destructive but neither of them could bring themselves to leave the other. Sometimes there are just people meant to be together, and I think this track really depicts the tougher side of that “fairy tale”.

Dan actually grew up hanging out with Sunday’s sister. So when he jumped on as manager, one of his first suggestions was to get a collaboration with her and that was a golden idea. Sunday’s an insanely talented artist and such a great person.

Speaking of girls, you seem to have a lot of ladies rooting for you. Do you think they’ll have a big part in your success?

S: I think ladies have a huge part in the success of pretty much ALL things out there. I love the ladies of the Squad, they’re by far some of the biggest supporters of what we’re trying to do for Colorado.

When girls claim Squad then guys may just follow to stay with the same interests as them, you know? Every fan is important to me so I never value somebody over another.

But, being that I started really dedicating my life and drive to music after a failed relationship, it’s dope to have as strong of support as we have from the ladies. Kind of a “told you so” moment to my ex haha.

You’re opening up for Macklemore on April 20, how the hell does that feel?!

S: In one word: surreal!

When me and my team first linked up, I thought it would take 3-4 years to do a show with a major artist, let alone the biggest artist of right now. We got the news on Chrismas (before Home Stretch or Remade) so it only took us 7 months…truly amazed but not surprised considering the amount of work we all put in.

What is your goal with this whole music thing?

S: My goal is to keep getting better, make the best music I possibly can, give my team and family a comfortable life, make my home state proud and be respected for what I do.

I know not every single person will like what I make or do for a living, but as long as they respect me as a person the same way I respect others, that’s all I can ask for.

A selfish goal of mine, real quick, is to prove all those people that laughed at me when I first started, wrong. Nothing drives me more than that hate.

What do you think needs to happen next to get you to the next level?

S: I think I need to put out quality music videos. Which is something that we’re invested in at the moment. Our philosophy is to never do something until it’s gonna be done at 100%. We can shoot a video tonight but if it isn’t up to a standard that we laid out for our fans, then it’s nowhere near being worth it. Consistent improvement is our aim.

Are there any other Colorado rappers you listen to?

S: I listen to pretty much every Colorado rapper I can, like Lebron watches other NBA games, to keep track of the competition. I’m super competitive, I want to be the biggest artist in the world but to get there I have to hold down the state that I’m from and rep harder than anything else.

The artists I listen to regularly though are my homies D-Stylz and Pizzie, they keep me on my toes for sure. Shows with all three of us are going to absolutely crack in the future, can’t wait for that! Coming up though, my favorite Colorado rapper though is C-Notesche (who’s actually Stylz’ labelmate now). I still bump his tracks all the time shout out to C.

What’s your favorite song to perform and why?

S: I have to pick two, Settle Down and Youth.

Being that settle down has some fun back and forth with me and Stryker and it’s usually on the front end of the show, I don’t think a lot of people expect for it to be so fun.

Youth is always close to the end and seeing how many hands go up when we ask for the “ones up” kind of proves to me “yes, we came in as an opener and now this crowd is partying with us”. There’s no better feeling than to have nobody know who the hell you are 30 minutes ago, then be a huge fan now. It’s awesome.

When can we look forward to your next project?

S: End of 2013, I already have the name for it and the concepts, way more social issues to accompany the party tracks I love to do. The Home Stretch 2 will come out before the actual project so people will begin to expect the trend I hope. I started writing actually the night Remade came out so I’m ready to get back at it, after these shows of course.

Anything you want people reading this to know?

S: First and foremost a sincere thank you from the bottom of my heart for all the support of the work that I put in. It never feels like work cause I truly do love it but to see that what I love brings others so much joy and helps them get through something in their life, it’s such an awesome feeling.

My music is me, it’s what I think, it’s who I am, it’s who I’m trying to grow and become. The people that connect with that are people that connect with me, think some of the same things I do, and go through the same things I do. I’m just honored to be the voice y’all listen to and ride with.

This is why I try every way I can to connect with the fans, yeah I’m busy now but I’m never too busy to respond to anything I can.

– Chris Vigil aka Splyt

You can stay connected to Splyt by liking his Facebook page HERE, and by following him on Twitter HERE.

Keep your eye on this guy and just… WATCH

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October 9, 2012October 9, 2012

How To EQ Vocals Correctly

One big difference we notice between home studio recordings and professional recordings is the quality and clarity of the vocals. Not only does the quality of the microphone you’re using matter, but what also matters is cutting out the sound that the human ear can’t hear as well as adding presence to your vocals. These two videos will show you how to do just that(given that you have the basic software). Enjoy!

September 4, 2012July 11, 2015

Multiple Rights Deals in the Music Industry

By Jay Rosenthal
Edited by Julian Bentley, 2009
Published by the International Association of Entertainment Lawyers

360 Deals and Music Publishing

By Jay Rosenthal, Esq.*

New concerns continue to arise as record labels try to expand the scope of the “360” deal to include what otherwise would be sacrosanct income streams of the artist. Regarding music publishing, record labels have always focused on limiting their financial obligations to the artist/songwriter via the controlled composition clause. However, as economic pressure pushes labels toward actually acquiring a financial or even equity share of the singer/songwriter’s overall publishing income, new issues emerge and unintended consequences will ultimately result.

The overall “360” concept seems to be a financial winner for the record labels, and ultimately a loser for artists and managers. In fact, the Copyright Royalty Board in the United States has recently noticed this phenomenon in their recent Mechanical and Digital Phonorecord Delivery Rate Determination Proceeding (“The CRB Ruling”). The CRB refused to accede to the RIAA’s request to decrease the mechanical penny rate or switch to a percentage of revenue formula, for a number of reasons, including the Publisher’s contention that the record labels improved their financial condition by adopting the “360” model.

One can understand why a record label would try to secure a publishing share from their singer/songwriter. While mechanicals are down, public performance and third party licensing income is holding steady. Publishing is one income stream that has a chance of actually realizing a sizeable return, even in this age of piracy.

As a preliminary matter, publishers would almost always protest or reject any attempt by a signed songwriter/artist to enter into a “360” deal assigning a significant songwriter publishing equity share to their record label. But the dynamic changes if the artist has not signed a publishing agreement. Without the protection of a publisher, a songwriter/artist faces a tough choice – give into what essentially is a contract of adhesion without excising the publishing grab or pass on perhaps a once in a lifetime opportunity.

So without a publisher involved, the artist attorney must address some fairly serious issues:

Cross-Collateralization: Generally, if asked, a major label would not cross-collateralize mechanical royalties against other artist expenses in a traditional
Artist/label agreement. In a “360” deal, however, the label will try to cross-collateralize the entire label share, as well as the full artist/songwriter mechanical share, if possible. Artist attorneys should try to minimize the record label’s natural tendency to cross-collateralize everything.

• Controlled Composition Clauses: Labels already force many singer/songwriters to accept the draconian limitations on the statutory royalty rate and the number of compositions paid on each album. If the label will now control or own a significant portion of the composition, the impact of the reduced rates and other limitations seem particularly inappropriate. Perhaps seeking a full repudiation of the controlled composition clause is a proper goal for the singer/songwriter forced into a “360” arrangement.

• Approval Rights: If a label controls and/or owns a significant share of the musical composition, approval rights issues will ultimately arise. For example, will a label have the right to enter into non-exclusive third party licensing arrangement without the authority of the co-owner, i.e., the singer/songwriter or their publisher?

• Late Fees: The CRB Ruling established, for the first time, a 1.5% monthly late fee to be paid by the record labels if mechanical royalties are not paid to the publishers within the statutory time requirements, i.e., 20 days after the end of the month of distribution of the phonorecord. Ironically, the record labels may now have more incentive to pay before the late fee accrues, since they now co-own or control the composition. What should not happen is that the record labels somehow waive or attempt to waive the late fee.

These are just some of the problems and issues needing attention from the singer/songwriter attorney when faced with a grab of publishing rights in the ever expanding “360” deal world. I am sure many more will arise as the “360” deal becomes the norm, instead of the exception.