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GigRight Song Music Publishing - MusicPublishing@gigright.com

GigRight is now accepting new original songs to expand our professional song catalog repertoire. Song submission is FREE...

All Genres needed: Pop, Alternative Rock, Rock, Blues, Country, Jazz, R&B, Rap, Hip Hop, Urban, Latin, Reggae, Folk, Classical, New Age, Metal, Techno/Electronica/Dance, Christian/Gospel, International, Movie Soundtrack Music, Vocals & Instrumentals…

Have YOUR original song played on radio, TV or in a major movie, and get paid!

We are looking for new original songs. *** All lyrics and/or music must be your own original creation ***

Unsigned songwriters, composers, artists and bands... don’t let your songs go unheard. We don’t get paid until YOU get paid. Fair enough? Submit your songs to us online FREE...

GigRight is a music publisher, and signs music publishing deals which manage and administer the copyrights and royalty payments of songs. This can potentially lead to music label, Film/TV/Advertising/Video Game song deals, radio play by major artists, and other musical career success. GigRight is not a music recording label or a music recording studio. However, we want to promote your musical career and are looking for potential 'HIT' songs to publish. We encourage you to submit your song(s) to us and we will listen to and assess each one for possible professional representation.

Song submission formats and instructions:

- Email us your mp3 file attachments to:      MusicPublishing@gigright.com
                                           (or)
- Email us a website link with your song to: MusicPublishing@gigright.com
                                           (or)
- Upload your mp3 files through our MUSIC page

Do not mail us physical CD disks!
Do not mail us written music scores/sheet music!

Include in your email:

- Your first and last name. Note: if a songwriting team include all member full names
- Song Title
- Your email address and/or website
- Indicate if your song is currently registered with a performing rights organization and if so which one. Is it currently under contract with a music label or a music publishing company. Include brief details.

To be eligible for submission, you must be one of the following:

- Song writer individual
- Song writing collaboration team

This may include individual song writers, song writing teams, song writing musicians, bands or composers.
Submitting writers/composers must be over the age of 18.
Song submissions may include lyrics with or without accompanying music, or, music without lyrics (instrumental).

Examples of songs to submit for publishing include but are not limited to:

- Radio airplay type songs
- Movie/television soundtracks
- Advertising ‘jingles’

Please submit only your best, high quality song(s). Do not send us dozens of songs, as they may not be considered. GigRight gets dozens of song submissions regularly. We are only looking for a few really good songs from our artists to submit for professional representation. This will allow our staff to spend quality time promoting your song, which potentially could become a ‘hit’ song.

Any good-sounding song recording, including home computer-made recordings are acceptable, provided they sound clean and professional. Expensive commercial recording studio recordings are not required, unless you already have them.

Recommended Song Structure:

Keep lyrics and/or music consistent to a ‘theme’. Songs need to tell a story and spark emotions.
Introductions should be short.
Lengths:
- Radio airplay type songs: between 3 and 4.5 minutes.
- Advertising 'jingles': between 30 seconds and 2.5 minutes.
- TV/film score soundtracks: between 1 and 8 minutes.
Having multiple versions available is encouraged. Examples: a radio airplay type version; an advertising 'jingle' version; a movie sound track version.
Do not mention celebrity names or commercial name brand products in your lyrics.
No explicit lyrics. Exceptions: we may accept minimal cursing , but no vulgarity.

After submission we will review your music and contact you by email. Replies may take several weeks.

Note: If your song(s) are selected, they will eventually need to be copyrighted for your protection. You may submit your uncopyrighted songs to GigRight and if selected, we will assist you in the process of applying for or transferring copyrights. To copyright a song contact:

U.S. Copyright Office
www.copyright.gov

If you are international please copyright your song through your country’s copyright office respectively.

GigRight is a member of:

- Broadcast Music, Inc. (BMI)

- Association of Independent Music Publishers (AIMP)

Disclaimer: GigRight does not guarantee that your song will become successful or generate money. However, we will do our best to promote your song(s). GigRight reserves the right to reject any song, especially if is offensive towards people including age, race, color or sex; society, religion, government or politics. Please limit profanity in your song lyrics. Also, if your song is currently under music label and/or music publishing company contract, it may be rejected depending on competing company contract restrictions. Song submission merely indicates to GigRight your consent for us to review and consider your song(s) for possible legal publishing, in order to promote your musical career.
User monthly membership mp3 file upload fees are only to help pay for our site server/advertising expenses. This cost is not a music publishing fee.
GigRight is not responsible in any capacity for lost song material after submission. Be sure to retain your original copies. FAQ about music publishing & copyrights

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Welcome Musicians / Bands / Singers / Composers-Songwriters / Music Labels-Agents-Management / Studio Production Professionals…

"I wanted to be the perfect artist. I'd do three hours of media interviews a day, going to every radio station I could squeeze in. I'd sign autographs after the show until everybody left." - Clint Black

Gig Tips, Articles and Music Career Advice:

GigRight proudly supports membership for non-profit talent organizations:

Music in Schools Today (MuST)
Keeping music and arts alive in schools and community centers.
San Francisco, CA
www.mustcreate.org

San Francisco Jazz Organization (SFJAZZ)
www.sfjazz.org

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Common Music Industry Careers:

Musician
Composer/Songwriter
Artist Manager
Music/Event Promoter
Music Agent/Scout
Record Producer/Studio Engineer
Cover Art Designer
Music Journalist

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The Music Marketing Model:
Copyright 2007–2011 GigRight

Musician/Band

+

Management/Agent/Attorney
Performing Rights Organizations/Unions/Associations
Record Label
Studio Production Staff
Song Writers/Composers
Music Publisher
Press
Media
Radio/Television
Internet
Venues/Live Performances

=

Fans/Sales

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Music Articles:

Formula for Expanding into the Music Industry:
(These general tips apply to all performing arts entertainers)

Have Talent:
You must know what your true talents are. Focus on your strengths. Pick your best skills. Today’s artists often are multi-talented. However, you should concentrate on your best talent. If you are an excellent guitar player and singer, but only an average drummer (even after years of practice and struggling), then it probably is better to go with your gut instinct and do what you do best…play guitar and sing. Lets be honest…no one can do everything perfectly. We’re only human, and we all have strengths and weaknesses, so focus on what you can do well.
Putting you top skills on your resume will get you much further in your career.

Dedication:
Be willing to work harder, longer hours, be more determined, and be willing to make more sacrifices than your competition. Success could happen overnight. However, the lucky few that actually do make a name for themselves in the business, typically spend many many years struggling, often almost giving up along the way.

Attitude:
Develop a strong business mind, a good attitude, be patient, be a team player, and have excellent customer service/PR skills.

Set realistic goals:
Know that success is a long, hard road with many bumps, turns and potholes along the way. Eventually if and when you do achieve status in the business, understand that the business never stops moving forward. You must continually move ahead, always staying one step ahead of your rival competitors. Also keep in mind that entertainment is a young person’s game, which caters to youth. New up-and-coming artists popup weekly. Older performers, very much like in the modeling, acting, and sports industries, must continuously compete with young performers in their teens and 20’s. Even already established artists still of very young age, must also compete to keep up with the never ending influx of new talent. That’s not to say of course that older age performers just starting out do not have an excellent opportunity in making it in the industry, and they often do. Furthermore, many older artists enjoy regular income playing the nightclub circuit as a steady career. Many older aged musicians also enter into the recording studio engineering field becoming music producers, go into music management, or song writing after many years of touring as a performer.
The major record labels and smaller indie labels both have contractual standards that every artist must adhere to. Time is money. Labels are in business to make money. They set rigid requirements regarding concert circuit touring, meeting song composition/recording time deadlines, and numerous PR radio/TV interviews and photo ops.
These are the rules dictated by the industry, in which the artist has no say so in or control over.

Understand AND accept the afore mentioned facts about the entertainment business. Now that you have the overall industry picture, here are some general guidelines to follow which will help you or your band network your way into the community and make an established name for yourselves:

Make yourself visible. Get heard. Get seen. Get the picture? Take advantage of every tool in the business that will help you get your name out there.

Start small. Begin locally, then regionally, then nationally, then internationally. We all have to begin somewhere, so start in your hometown.

Create a Demo CD:
Having at least a dozen well-rehearsed, professionally done tracks on disk is your first ticket to getting to the next level.
Shop around, check the local ads, invest some time and money and find an affordable yet professional recording studio who will produce you a demo CD. Do some research, compare prices, hourly vs. flat rates. Most importantly, do not attempt to do this yourself. The exception of course, is if you yourself are a professional level record producer with pro equipment. However, if this were the case, you more likely would be busy recording other artists and making a name for yourself as a studio producer.
You don’t have to spend outrageous bucks on cutting a demo, but you do want it to sound pro. Any professional music person has an ear for pro vs. armature sounding music. Most likely you have already invested at least a few years and tons of your hard work and money getting this far. Don’t throw it all away by distributing a pathetic sounding armature-like album.
Equally important as the sound of your CD is how it is presented. Have your CD label done impressively. Ask around and find someone who does album cover art. Find a good price deal on a full package, including the photography, art illustration and label printing. The Internet has tons of ads out there for album label art. Your CD label should contain your basic contact information too. Likewise, get some quality business cards printed. Never make too many though, in case you need to change your contact info. Only make small batches of labels and business cards. Inevitably, you will at some time in the future have to change your email address, phone number, etc. Always be thinking 6 months to a few years ahead.

Distribute your CD:
Once you have spent some time and money cutting your first pro CD, its time now to get it out there to be heard.
There are different schools of thought on this. Some say it’s a bad idea just to hand out your demo CD everywhere you go. There is merit here. Handing out your CD, including randomly mailing into any record label company has risks. Other musicians or studios can steal your music. They could redistribute it by other artists under different names. They could steal samples of your lyrics, tunes, melodies, and rewrite and re-record it. Then, they could come back to you later down the road and drag you into court insisting that you stole their musical ideas.
Yes, handing out your music is very risky. An artist or photographer run the same risks. Someone could steal their art or photos. Either way, it’s a gamble. One way of helping to protect your work is to seek a legal copyright. This however can be very expensive, particularly for someone just starting out who probably is already a starving artist and who does not have big bucks to spend. Again, shop around. Entertainment lawyers are costly, but there are copyright sites that will copyright each of your songs at a reasonable price. Its worth researching.
The other school of thought about distributing your CD, is to just cast all legal worries to the wind and simply handout your demo CD to anyone and everyone. There is really no right or wrong choice here, but rather a personal choice on the part of every artist. The bottom-line is, if a struggling artist does not distribute their music to a vast audience and as often as possible, they never will amount to anything in the industry. Attaining success is going to involve taking risks. So you decide. Maybe seek some legal counsel, and consider the copyright option.
Don’t forget about radio stations. Visit all of the local radio stations in your town. Consider mailing them your CD. You may get lucky and get some air play. Radio is one of the most powerful advertising tools, so take advantage of radio.
Most importantly, get heard, so do whatever it requires to get your music out there.

Internet Tools:
Join music/talent social networks. Many sites are free to join and setup a profile. This is critical. You need to be on at least one large, well-known and reputable talent website. This will help you advertise.
Optional but not necessary, if you can afford it you may want to consider having an Internet Provider host your own personal website. Please keep in mind that this can be costly. You also have to pay for search engine ranking placement which is expensive. This is why having a free profile on one of the big talent sites is the first choice.
Obviously once an artist is well established and successful, things like website costs will be paid for under the recording label contract. But this article is dedicated to helping new talent get past the first level of their career.
Another very important Internet tool is using blogs, forums, and posting on talent classified ads. Please remember to always present yourself professionally. Sound intelligent, knowledgeable and personable. Be aware that something you blog today could come back at you 10 years from now, so again always be thinking of future repercussions and think with a business mind.
The Internet is one of the most important tools for distributing your music. Like distributing your demo CD’s, post your music on music/talent sites. Some sites will also let you sell your tracks.

Representation/Management:
Eventually you will need to seriously consider hiring a manager and/or joining a union. Research this carefully. Ask around, get names and opinions from experienced artists. You don’t want to get locked-in to a needless, long term, expensive contract. Read the fine print on any potential contract offer. Getting advice from other experienced artists is probably the best route here. Be smart and learn from other people’s mistakes, so that you can avoid getting ripped-off. Unfortunately, there is a percentage of immoral/shady business representatives out there who only want your money, and could care less about your career. Equally important, bad representation even with honorable intentions, could ruin your name and reputation early in your career.

Keep good records of your yearly expenses:

Items like musical instruments, travel, hotel, restaurant and advertising costs are partially tax deductible, but only if you have a declared business. Consult your tax advisor.

Playing Gigs:
The last and probably the must important step in getting heard is playing live gigs. All of the Internet tools and CD’s combined cannot equal the live performance. Play every opportunity you get, within reason of course. Be selective and use good business judgment and your instinct when accepting live work. Ask around, do your homework. Checkout the venue’s reputation.
Expect to play some gigs for free without pay in the beginning years. Do some charity gigs. Charity work looks impressive on any resume and to your local community, and often they are tax deductible. Be sure to inquire about what the charity is for. You do have the right to refuse, even if it seems like a great offer. People will remember that you did a charity gig for such and such charity organization. If the charity is not something that you want to be associated with, then consider refusing the offer. Again, consider the repercussions for years later. Your reputation will remain with you throughout your career, so respect it, and others will respect you. Maintain business sense and your sense of dignity.

These are some of the most basic yet most important factors in building one’s entertainment career. Explore these tips further. The Internet is an excellent tool for research. However, probably the best tools for advancing your career are basic common sense, developing a business mind and having excellent customer service skills with an outgoing personality. After all, you are entertaining people for a living, and entertainment is a business.
Even if you are one of those musicians who do not perform/tour in front of live audiences and only compose/record your music, that is still a business and still requires that you get yourself heard out there.

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Here is some no-nonsense advice on preparing for a music performance…

Before The Gig:

Finalize all last minute business details…verify performance dates/times, contact names, phone numbers/email addresses, venue website, travel directions and meeting plans. For local gigs, physically drive to the venue before the performance day, to become familiar with the location, travel distance and parking situation. For out of town jobs, this often is not possible, but when it is, take advantage of it. Don’t forget about written contract signing when applicable. Some venues require a contract. If you are represented by a talent agency/music promoter, be sure to confirm everything with your agent/manager and the venue promoter well in advance.

Getting To The Gig:

As with any performance regardless of the brand of talent, the golden rule in entertainment is… BE ON TIME!
When possible, try to be at least an hour or so early. Allow ample time for travel, parking, equipment setup, sound check, and a few minutes to relax before the show starts. If other bands are performing also, know your exact show time for setting up equipment and walking out on stage to begin your set.
Directions… be sure to clarify travel directions, such as with www.MapQuest.com, verbal phone directions, or a GPS car directional device. Don’t just rely on one means of directions…these travel mapping sources are sometimes incorrect. Know exactly where you are going, when you need to be there, and approximately how long it will take to get there!
If you are playing a small nightclub type venue, these are all fairly quick and easy to book and setup. However, large venues such as festivals or stadiums can be a nightmare. Entrance passes, permits, and parking/unloading/setup times/directions are usually required well in advance. Be sure to have first and last names/phone numbers of your assigned contact people. Showing up unprepared to a large venue can result in your performance being missed or canceled.
Note: venue owners will remember negative experiences such as a band being late or missing a gig, so please be organized. Remember, you are building your resume and your reputation, so keep it professional.

Setting Up Equipment:

Arrange parking, both for unloading/repacking equipment and during the performance (some gigs last hours so arrange a place to park your vehicles during the show).
Have a solid checklist of equipment. Basic gig tools, cell phone, maps, flashlight, duct tape, spare batteries, digital camera, drum sticks, guitar picks, strings, straps, tuner, cords, amplification cables, amps tubes, long heavy duty extension cords, pocket knife, pliers and anything else that you can carry with you that is lightweight/portable for unexpected emergencies. Remember…gigs are a fast-paced fluid environment, and your audience will be watching and listening. Many gigs are played during late night hours…if you forgot to bring something with you, you can pretty much forget about playing the gig. Most music stores will be closed after hours, so bring everything that you need with you.
Dress accordingly…if you are playing an outdoor stadium arena or festival such as a County fair, dress for heat/sun or cold/rain. Bring rain tarps to cover amps.
Keep your stage area clean and safe, not only for the band, but for other venue staff, vendors and visitors. Securely duct tape loose cables to the stage floor. Anything that can cause accidental tripping, or equipment falling off into the audience must be avoided. Keep in mind the legalities of the venue owner, your paying audience and you the band.
Don’t get so caught up in the excitement and anticipation of your performance that you forget to bring or do something critical during your show.

During the Performance:

Having your songs well rehearse down to the last note and second is paramount. No time to rehearse now, you allowed time for that before the gig, remember? Now the venue is filling up with excited, noisy (and paying) people. They expect to be entertained, so on with the show…have your song sets and breaks timed to the minute. Know ahead of time approximately how long the venue owner wants you to play each set and how long to allow for breaks. Don’t keep your anxious audience waiting during breaks. If people get bored or angry due to long delays, that can be just as disastrous as arriving late to your gig. A good rule for keeping an audience happy and interested is to simply imagine you being the audience. Common sense. Look for queues in the audience of boredom or restlessness. Watch their body language, it speaks volumes. Also listen for verbal comments about your songs, tempo, and even your amplification volume. If your music is too loud, or not loud enough, too slow or too fast a tempo for a certain crowd, change it up immediately. If you are a tribute/cover band, you may need to change your song listing/order around, or even take some requests for your audience. If you don’t know that requested song, don’t panic, simply offer to play something similar instead. Just keep them entertained continuously. Oh yeah, and have fun. Don’t forget to smile, and also chat with the audience a little in-between songs. Make them feel special and part of your overall performance. If this is a dancing venue, get them up and dancing. Having a digital camera available is important...current photos/videos of you performing at any venue are priceless. You can refer back to them as a part of your resume. Some venues will post your photos on their website if you submit them.

After the Gig:

Don’t forget to thank your audience, and praise them for coming out. Now, be aware of your limited time by the venue owner to break-down your equipment, move your cars around back, and repack. Again, large venues may require special instructions.
Lastly, don’t forget to allow some mix’n mingle time with your audience and the venue owner. Be aware of any possible talent agents who may approach you after the show, or even before or during your performance. Be ready to hand out your professional business card with full contact information. Have a pen and paper handy to note names, phone numbers, email addresses and website links. Hey, you may even be asked to sign a few autographs, you just never know.
Most important of all, thank the venue owner for allowing you to perform at his/her venue. Do this the day of the show. Afterwards, follow-up with a thank you phone call and an email, letting them know how much you appreciated playing there, and that you cannot wait to perform again soon.
Be professional. After all, this is a business.

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How To Find Work In The Music Industry:

The most important and frustrating task for any talent artists is finding work. The competition in every city is fierce. The number of bands vs. the number of available gigs is very un-proportional. Establishing a name and reputation can take years of hard work, ‘paying your dues’ in the industry. It is difficult enough for a solo artist, but trying to coordinate a multi-member band can be a major struggle. Conflicting work schedules, personal/family commitments and other issues often place a strain on a band. Most of us have day jobs to pay the bills.

Lets break it down…think about your short and long-term goals. Is playing merely a fun weekend hobby with maybe a few extra bucks in your pocket now and then? Or, is your dream to truly make it in the entertainment industry? These are tough questions every artist faces in their career. However, keep in mind that many people do make it. Tons of determination, patience and realistic goals could eventually open doors for you.

Where to begin? Well, start small, and local. Oh, and park the ego in the garage. A humble and determined attitude is what employers are looking for.

Be prepare to play for low wages and even doing an occasional freebie. Getting exposure is what you need. Charity gigs look good on resumes. Everyone will love you if you support a good community cause.

The first priority is to record a CD. Get your music on disk for distribution. Many affordable home studio/computer track recording/editing software systems are available. You also can shop around and get reasonable rate quotes at local recording studios. As long as it sounds professional that’s all that matters. Check around town/online and compare hourly rates. Some studios will charge hourly, others a flat rate for the completed job, depending on the hours/days involved. Many small studios have quality sound/recording equipment, and are hungry for work and will be happy to negotiate a fair price.

Most medium to large cities have many venues available for potential work. Some establishments may pay low and not be the most desirable gigs, but hey, its work. Remember, you are building your professional resume. The work will not come to you. Rather, you have to go to the work.

Many established nightclubs have a website. Often, bands can submit a request directly through a venue’s website either through their online form or via email. You may need to setup an in-person interview/audition. Be prepared to meet their interview requested date/time. Be sure to dress accordingly. Bring your CD and some business cards. You may be asked to bring in your gear and play a few tunes during the interview.

Local radio exposure can go a long ways too. Contact your local radio stations. Visit them online and in person, leave them your CD and business card. Setup an actual interview date/time. Many radio stations welcome new artists and if they are impressed with your sound, they just may give a few of your songs some airplay. Don’t forget about television stations either.

The internet is a powerful networking tool. But use it wisely and respectfully. Run ads on the internet to find work. Include a photo when possible.

Consider joining a musicians union. Some venues require union membership. Research unions carefully, and do not lock yourself into something that will not allow you flexibility for getting hired elsewhere. You may want to consider advertising for a manager/agent to manage and represent you. However, be very wary of signing contracts so research this thoroughly.

Print and post fliers around town. When you do a job, spread the word to friends/family. Invite them out, get that house packed with people. Impress the crowd and the venue owner.

This is where you begin. We all start here. Never get frustrated or give up on your dream of performing. A music producer/agent, even a recording contract with a major record label could be a reality someday. However, be practical and set realistic goals. Many musicians become completely happy in their careers with just weekend gigs. Other artists reach for the big neon lights on the horizon. Either way, have fun playing.

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The Importance of Hearing Protection:

Hey guys, here is a valuable article about protecting your ears:

Metallica drummer struggles with ringing in ears

By Stephanie Smith, CNN
December 28, 2009

Albany, New York (CNN) -- The noise in the concert hall is loud, throbbing. The crowd chants, "Metallica ... Metallica!"
Lars Ulrich holds a drumstick high above his head. For a split second, the frenzy quiets to a dull roar. Ulrich brings his drumstick down with a crash and is swallowed by astonishing noise -- wailing guitars, thumping bass and his own furious banging on the drums.
"I've been playing loud rock music for the better part of 35 years," said Ulrich, 46, drummer for the heavy metal band Metallica. "I never used to play with any kind of protection."
Early in his career, without protection for his ears, the loud noise began to follow Ulrich off-stage.
"It's this constant ringing in the ears," Ulrich said. "It never sort of goes away. It never just stops."
Except the ringing is not spurred by actual sound. It is a condition called tinnitus, a perception of sound where there is none.
"It's a phantom auditory sensation like phantom limb pain when an arm is cut off, and you feel pain in that missing limb," said Richard Salvi, a leading tinnitus expert and director of the Center For Hearing and Wellness at the University at Buffalo in New York. "Much the same seems to happen when you have tinnitus."
Tinnitus can be persistent or intermittent. It often is perceived as a high-pitched ringing in the ears but also can sound like buzzing, whistling, whooshing or clicking.
More than 50 million people in the U.S. experience some degree of tinnitus, according to the American Tinnitus Association. For 12 million of those afflicted, the noise is disabling.
At first, Ulrich said the ringing in his ears was barely perceptible. He said the problem got worse during a 1988 concert tour, oddly while he slept.
"I would fall asleep often with the television on, and I would wake up in the middle of the night to go turn the TV off," Ulrich said. "Except it wasn't actually on. When I realized that I was doing that frequently, actually getting up to turn the TV off that was not on to begin with, I realized that maybe I had some issues."
Watch more on tinnitus
Theories abound, but scientists do not know precisely what causes tinnitus. There is a common thread: loud noise.
"The most reported known cause is noise exposure, excessive noise levels," said Norma Mraz, a doctor of audiology in Atlanta, Georgia. "That can be from machinery, lawn equipment, children's toys, iPods. Things that people are exposing themselves to repeatedly and not taking the proper precautions to protect their hearing."
Mraz said tinnitus may begin with damage to hair cells in the cochlea, a structure in the ear that turns outside sounds into nerve impulses that are sent to the brain.
"It's like walking through the grass," Mraz said. "As you walk initially it lies down, but it bounces back up. If you keep [walking] that same path over and over again, those hair cells, or the grass, will stay down. Then you begin to rip the blades of grass out, and now you've hit dirt. The same thing happens with hair cells. We don't regenerate hair cells."
As hair cells deteriorate the brain may be compensating, generating the perception of "ringing" or "buzzing" in the ear.
Salvi said the easiest way to understand how the brain may do this is to imagine listening to an AM radio station while driving several miles out of town. Eventually, the radio signal begins to fade.
"I reach down to my radio and turn up the volume control. I hear a signal but also noise and static," Salvi said. "With tinnitus, the ear is damaged; it's no longer picking up a signal and sending it to the brain, so the brain basically turns up the volume. You start hearing static electrical activity in the brain that normally is dampened down or suppressed."
Exposure to loud noise is only one of several possible triggers for tinnitus. According to the American Tinnitus Association, head and neck trauma, certain tumors, wax buildup and medications such as aspirin and certain antibiotics may also be to blame. Hearing loss that is typical with advancing age also could lead to tinnitus.
Ulrich said his issues developed over time -- after several long, loud tours with Metallica.
While Ulrich experienced sustained loud noise in big doses, a single, jarring noise can trigger many cases of tinnitus such as those heard on construction sites or during gun blasts and roadside bombings suffered by war veterans. A recent study by the Department of Veterans Affairs' Office of Policy and Planning rated tinnitus as one of most common disabilities among returning war veterans.
"The military is generating a tremendous number of tinnitus patients," Salvi said.
Treatments to manage tinnitus include sound therapy and counseling sessions that help patients to understand, even ignore, the ringing in their ears. Salvi said that merely convincing some patients that they don't have a brain tumor can alleviate anxiety about tinnitus, which may mitigate some of the noise.
As he began suffering with hearing loss and tinnitus early in his career, Ulrich protected himself with earplugs while performing. While his condition still nags him, he said the tinnitus could have been worse, and over the years he's learned to tolerate it.
Ulrich said he is concerned about young people, the so-called iPod generation, who listen to loud music, and may not be as vigilant about protecting their ears.
"If you get a scratch on your nose, in a week that'll be gone," Ulrich said. "When you scratch your hearing or damage your hearing, it doesn't come back. I try to point out to younger kids ... once your hearing is gone, it's gone, and there's no real remedy."

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General Music Articles:

Excellent Advice For Musicians/Bands About Touring...
11/2/2010 - by Wendy Fonarow

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Music Resources:

Disclaimer: GigRight maintains no relationship with these websites. References to specific services, trademarks, copyrights, products, ideas, text, audio, photo images or videos on these or other links found herein are not controlled by the GigRight company, and do not constitute or imply any association, endorsement, recommendation, sales, profit or business relationship. GigRight is not legally responsible in any capacity for any material or information found within these web sites. These websites links are merely miscellaneous public links found in common web search engines, that represent supply vendors or information, advice or current events related to the general talent, entertainment, music, art, fashion, photography, or other related or non-related industries.

Management / Production / Support / Representation / Legal:

U.S.A.

Representation:

BMI - Broadcast Music, Inc.
www.bmi.com

ASCAP - American Society of Composers, Authors and Publishers
www.ascap.com

SESAC - Society of European Stage Authors & Composers
www.sesac.com

HFA - Mechanical Song Licensing
www.harryfox.com

Sound Exchange
www.soundexchange.com

Public Domain Song Licensing
www.pdinfo.com

AFM - American Federation of Musicians
www.afm.org