The Best Free Digital Audio Editors

The best free digital audio editors can help anyone with a computer become a music composer in minutes. But where can these programs be found, and which one is right for you? Let’s take a look at the most popular choices in 2017.


The best free digital audio editors must be led by the ultimate in free Digital Audio Workstation software, Audacity.

Audacity has been around for years and runs on Win, Mac, and even Linux. It can be used to do virtually everything any other DAW editor can do, and boasts many, many more features than the average music producer knows how to use.

What’s the catch, then? Why are there even competitors? Because Audacity doesn’t hold your hand at all. Even if you do know what every little knob on a pro- soundboard is for, Audacity still challenges most people just starting to use it.

It’s everything you need at a fair price: plenty of frustration.

Get it HERE.

DVDVideoSoft Free Audio Editor

For those looking to make basic edits to sound but not to produce a professional release, there’s DVDVideoSoft’s Free Audio Editor.

You can get an idea of its streamlined, no-frills format by the straightforward name DVDVideoSoft gave it: Free Audio Editor. Don’t expect much more.

Don’t get the wrong idea, though. It’s still useful for making simple edits to audio files, like cutting silence from podcasts, adding metadata to song files, and converting between different file formats. Its only filter is a volume control.

It’s a handy little tool, but it’s a little tool.

Get it HERE.


Ocenaudio has far more capability than the above Free Audio Editor, but very little of the confusion that comes with Audacity.

It doesn’t have all of Audacity’s features, either, though. Ocenaudio doesn’t let you stack sound effects, for example.

What it does have, it has in spades: easy user interface, precision selection tools, plenty of standard effects, additional plugins, keyboard shortcuts, and a real-time preview that lets you see what you’ve altered before needing to save your changes. You can even export your file as a ringtone.

Available on Win, Mac, and Linux.

Get it HERE.

Acoustica Basic Edition from Acon

The best free digital audio editors also include Acoustica Basic Edition.

Acoustica Basic Edition hasn’t been updated in years because Acon released newer versions of its paid counterpart (and didn’t release a freeware version). That doesn’t mean it doesn’t belong on this list, though.

Acon’s ABE can make recordings, import and edit tracks from CD, and combine multiple sound files. It can do all that with zero frustration, too. Having unlimited UNDO and REDO functionality, you can revert to an earlier or later version of your current project at the touch of a button.

However, it’s intended to sell you on the paid version, so don’t expect a multi-track editor, support for 7.1 surround sound, nor tools for digitizing vinyl or cassette recordings.

For a balance between minimalism and professional functionality, a basic DAW could do worse than Acoustica Basic from Acon.

Get it HERE.


Now that you’ve got all the software you need, make sure you know how to use your voice to garner fame and fortune by reading last week’s MondoBlog DIY post!

And cheers to all of you from the MondoCrew!

Become a Famous Singer!

Become a famous singer by following these sensible, tried and true instructions.

Become a famous singer through persistence and determination.

Singers and rappers like Chance the Rapper (above) have been climbing to the top by simply never giving up since the beginning.

It’s true, too, that some artists have a style so undeniable they get launched into the spotlight, but for each of them there are twenty more who made it by sheer grit and perseverance.

Become a famous singer for your best song.

Whichever song you sing best, perfect it and stick to it.

Know it better than your name. Work out all the kinks, polish every angle to a high shine, and if it’s not a song you wrote, sing it better than anyone else can.

It doesn’t have to be the last song you’re famous for, just the first one you’re famous for.

Become a famous singer by breathing deeply.

Breathe deeply, breathe more, become an expert breather. Vocal range, volume, texture and timing all depend on the amount of air you can expel.

Even though he’s screaming half the time he’s singing, Axl Rose can still rank at the very top of the world’s best singers. The man has startling lung capacity.

Breathe as deeply as you can when you sing. It can be as easy as that.

Become a famous singer by choosing great songs.

Writing great music challenges artists much more than simply singing great music.

Of course, singing songs you wrote yourself can feel better than anything (and if you write songs to match your personality and voice, that’s important, too).

But if you can’t or don’t write your own music, take time to really research the kind of music you want to cover and pick a real knockout.

Pick one nobody knows, if you can. If you can make a forgotten, wonderful song famous again, it will do the same for you.

Lavender Fields (photo: Mekael Dawson)

Become a famous singer by playing live as often as you can make it happen.

Singers become famous because great singing arrests people where they stand. It’s a law of nature.

If you want people to know you for your voice, you need to let them hear you.

Don’t wait for the phone to ring. Make it happen, and make it happen as often as you can. Create your own shows, if you have to. The other performers will thank you.

Become a famous singer by creating a YouTube channel.

Make an official YouTube channel for yourself and sing live music on it once a week.

This may seem like an amateur move, but consider the list of people who’ve broken big virtually without doing anything else at all: Charice Pempengco, Austin Mahone, Greyson Chance and the undisputed king of Internet fame, Justin Bieber.

Become a famous singer by getting good at publicity.

Finally, you’ll need to make publicity and manage it well.

Make stickers of your professional name and give them to anyone who will put it on their car, notebook, or anywhere else. Make flyers for your performances and post them on telephone poles. Make business cards. Get online and make a social media page every place you can be regularly active. Get your name out there.

Network. Meet people. Know their names. Have coffee or beer with them. Make friends in the music industry, as many artists as you can, as many professionals as will welcome you.

And last but not least, make sure you accept every shred of advice and criticism with gracious thanks and a winning smile.

You might have the best voice in a thousand miles, but unless you have a friendly smile and a humble attitude, expect to sing to your bedroom mirror the rest of your life.


That’s what we’ve got for you this week, you beautiful, brilliant artists, you! Don’t miss last week’s crash course on recording your music, and see you next time!


The best recording order: a crash-course on studio recording

The best recording order? It’s a smart question. You have a Digital Audio Workstation, a great song and all your instruments. But in what order should you record them? Here’s a crash course to get you good to go.

     Step One: Programmed Beats (or a click-track)

The very first thing laid down in professional studios are programmed beats.

If you’re recording hip hop, EDM, electronica or some other genre using digital drums and percussion, programming these beats will be your first step. Other instruments and vocalists will use these beats to keep time.

If you’re recording a traditional band or other form of analog music, your drummer will need a click-track to help keep time.

A click-track is just a metronome.

Most modern recording software has a click-track setting somewhere. Set the tempo to the speed of your song and you’re ready to lay down drums.

     Step Two: Drums and Percussion (skip this step if you programmed beats)

The drummer should play right on top of all the sounds the click-track makes. If you can hear the click-track as the drummer plays, it means the drummer is playing between the intended beats and has to do it over.

When you’re happy with the drums you’ve recorded, take out the click-track so just the real drums are left. If the percussion section has done their job, you shouldn’t need it, anymore. Everyone else is going to use the drums to keep time.

Note: some music groups have a “live” feeling. Their sound fluctuates in a way fans like. A drummer may have a hard time playing to a click-track, and forcing him or her to play to the click can result in a forced, mechanical-sounding album or single. Consider setting up mics around a room and recording the band playing together. The result will be much more messy and hard to mix, but you’ll preserve that spirit which a click-track can kill dead.

Step Three: Bass Instruments

Bass instruments should come after drums. Often this means electric bass guitar, but it can also mean cello, tuba, double bass (stand-up bass) or even saxophone.

Traditionally the bass should follow the bass drum so the bassist times notes to land on the kick of the drummer.

However, the recording engineer should not instruct instrumentalists in how to perform on their own recording. (That’s the producer’s job…).

Step Four: Melody Instruments (Body Instruments)

Once you have bass lines recorded, lay down the instruments which play out the main chord progression of the song.

Often this means the so-called “rhythm” guitar, the one playing the body structure of the song.

In hip hop it may be a loop of synth chords, or a sample taken from somewhere with a chain of notes.

In Latin music it’s often a duo or trio of trumpets.

Other common instruments used to form the body over the bass lines include keyboard, some violins, or a chorus of singers.

Lead guitarist Karl Caleb of Caveman Voicebox

Step Five: Harmony Instruments (“Lead,” Head or Solo Instruments)

Home stretch!

By the time you get to leads and heads, recording sequence matters much less.

Traditionally solo instruments which play harmonies — nearly always using single notes — are recorded before vocals or other finishing touches. This is not a concrete rule. If the lead singer or lead guitarist is having a baby the day of recording, feel confident swapping dates.

Lead instruments can include electric guitar, clarinet, violin, flute, trumpet, runs on the piano, or really pretty much anything.

G Funk Supreme at Rec Your Mind Studios, Long Beach (Photo by Stephen Carr / Daily Breeze)

Step Six: Vocals

Usually by the time the engineer and producer call for the vocalist, everyone wants to go home.

That’s OK, though, because when the producer says, “That’s it! I think that’s good,” the musicians can go home.

Of course, the lead vocalist quite often provides vocal harmonies, too. Record these right after the lead vocals go down.

From here on out, the engineer and producer will often steer everything else — unless…

Step Seven: Knick-Knacks, Bells-n-Whistles, Other Finishing Touches

The producer may decide to throw in some surprises at this point.

Hip hop often throws in a few additional samples for style or laughs. Other forms of music may lay down some tambourines, castanets, maracas, “egg” shakers, or sound effects like breaking glass, doors slamming, or any other cool, creative thing.

Step Eight: Mixing, Mastering and Distribution!

After the recording artists go home, the engineer and producer get all the levels audible.

That’s mixing.

Mastering is done by professionals.

And so is distribution!


That’s all for this week’s MondoBlog. Be sure to check in next time for more how-to’s from the crew who help you do you.





Rappers should use SoundCloud. Here’s why.

Rappers should use SoundCloud. Hip hop is dominating SoundCloud while SoundCloud fuels hip hop with new artists.  Read on to see why every modern hip hop artist should use SoundCloud.

Rappers should use SoundCloud. That’s a given today, when hip hop artists like Chance the Rapper get big enough breaks by using the platform that they can actually turn around and save the platform itself with profits from their original music.

Of course, these talents needed to distribute their music professionally, too — not just sell it on SoundCloud — but Chance the Rapper and Trinidad James still supply examples of hugely popular artists who can get signed and go on tour without even an LP album to sell while they’re touring.

A couple years ago, nobody would think that possible.

Today, though, the number of SoundCloud titans grows every day.

These popular artists include names like XXXTentacion, Lil Pump, Ski Mask the Slump God, Smokepurpp, Lil Yachty, Princess Nokia, Lil Uzi Vert, WifisFuneral, Gold Saint, and SIDMFKID.

The enormity of rap on SoundCloud even pushed the prior genre giant, EDM, right out the door.

According to, “The imbalance between the consumption of singular hip hop and dance music tracks has become so great that as of this morning’s chart, there is not one song from the ‘Dance & EDM’ or ‘Electronic’ categories in the Top 10. Or Top 25. Or literally the entire Top 50. And it isn’t a fluke. This complete absence of dance and electronic music from SoundCloud’s most played songs has occurred on numerous occasions over the past six months.”

The point is, rappers should use SoundCloud because SoundCloud is where all the new hip hop is coming from.

On the other hand, though, rappers will still want to move up from SoundCloud to more professional means. While it acts as a great stage for amateurs, it’s not as legit as distributing your own singles through real distribution networks like MondoTunes.

Denver’s says of this, “…garnering a SoundCloud following is important, but it’s not the end goal. ‘You can get a lot of clout from it,’ [Gold Saint] said. ‘You can win a grammy from SoundCloud now, because of Chance the Rapper. There’s a lot of sh-t you can do on SoundCloud… however, I don’t want that to be my limit.’ This is something that most artists would probably agree with. SoundCloud is more of the track itself than the finish line.”

Gold Saint photo by Jonina Diele

So, rappers should use SoundCloud. That’s obvious.

But they should never take it as a replacement for real studio recordings, mixed and mastered by the pros, distributed to over 600 quality music vendors online worldwide.

The fact remains that just a few people listen to music on SoundCloud.

And most of them are aspiring music artists, too.




What Do Great Musicians Listen to?

What Do Great Musicians Listen to, you ask? Luckily for us, nearly every legendary music artist has been asked, and nearly every music legend has answered. Here are the top names from the top five genres on what music they love best.

What Do Great Musicians Listen to: Hip Hop Edition — Kendrick Lamar

Kendrick Lamar may not have been the best-selling rapper of 2016 (that was Chance the Rapper) but his socially aware lyrics and tough-love straight talk reach right through his albums to seize the listener, arguably making him the most inspirational hip-hop star of today.

According to, Lamar cites as main influences many of the titans of the 1990s you’d expect. These include Tupac Shakur, Dr. Dre, Ice Cube, the Notorious BIG, and Snoop Dogg. He also names some less obvious selections, though, including several DJ Quik records and “The Miseducation of Lauryn Hill.”

Kendrick Lamar says of the Lauryn Hill album, “That [record] probably had the most hits on it than I’ve ever heard. Even going back and listening to it now. Crazy, I think she was way ahead of her time—just the feeling and the cohesiveness and the concept behind it. It was just genius to me.

“[I] Really just [remember] the videos, how dope the videos were. They were cool and it was just a different feel. It had a natural organic feel. Back then the videos coming out, everybody had the high-class, high-end type look, hers was more natural, being-herself type look. I thought that was dope, and it’s dope that I recognized that at a young age.”

What Do Great Musicians Listen to: EDM Edition — Deadmau5

Yes, that’s what he looks like! and his name is Joel Zimmerman.

When you think of the best-selling EDM artists of all time, names like Avicii, Steve Aoki and David Guetta probably come to mind, but it’s usually Deadmau5 who takes the crown.

Nevertheless, Zimmerman is a man of the people and likes to make playlists for his fans. His popular 2014 list includes EDM tracks from the likes of Dillon Francis, Aphex Twin, Plastikman, James Holden, Pryda, Eekkoo and Spor.

What Do Great Musicians Listen to: Country Edition — Garth Brooks

Garth Brooks isn’t just the reigning king of country music, he’s actually the top-selling solo artist in the history of recording.

But he doesn’t open up often about the music he loves best. He once mentioned on the ‘Today’ show his love for James Taylor’s “New Moonshine” record, and talked up George Strait, too.

“George Strait‘s ‘Strait Country’ just was fantastic,” he said. “I think I’ve worn that thing out. I bought it in eight-track, album, cassette and CD.”

Finding additional comments from him on other artists he likes is more difficult, but America’s beloved genre-bending cowboy has recorded covers by artists including Billy Joel, the Allman Bros., Huey Lewis and the News, Bob Dylan, and even Kiss.

What Do Great Musicians Listen to: Pop Edition — Adele

Deciding on who should represent the best-selling genre of all, pop music, wasn’t hard. Adele had the best-selling album of 2016, and she had the best-selling album of 2015. Billboard also announced recently that her 2011 album, “21,” has registered more weeks on the Billboard 200 chart than any other album by a female artist.

All of which begs the question, what does Adele listen to? As it turns out, some very surprising names.

According to the Guardian in 2015, Adele’s noted favorites were Alabama Shakes, Karen Dalton, the Maccabees, and Macklemore.

What Do Great Musicians Listen to: Rock Edition — David Bowie

Also breaking records in 2016 next to Adele was David Bowie, the man, the myth, the Earthling.

Bowie’s infamous collection of prized vinyl albums had 2500 names in it 15 years before his death in 2016. Thank goodness Vanity Fair saw fit to ask him about some of his favorites back in 2003 when his health had not yet deteriorated.

Perhaps unsurprisingly, Bowie’s selections are the most unpredictable of all.

He mentions 1970 hip hop group the Last Poets, ’60s proto-punk comedians the Fugs, and a 1972 Chinese collezione of traditional music called “The Red Flower of Tachai Blossoms Everywhere: Music Played on National Instruments.”

More intuitively, Bowie cites the Velvet Underground, John Lee Hooker, Charles Mingus, Toots and the Maytals, Little Richard, James Brown, and Pink Floyd founder Syd Barrett, as well as many others.


That’s it for this week’s MondoBlog! Don’t miss last week’s bit on drug use in songwriting, and meet me back here on Tuesday for more talk on rock, rap, rhythm, and the rest.



Do Drugs Help You Write Music?

Many great music artists have used drugs, but do drugs help you write music? In this week’s MondoBlog, we look at some facts and decide for ourselves.

Do drugs help you write music? In the US and Europe, the debate goes back to the early 20th century.

In 1933, Cab Calloway sang “Reefer Man.” Swing and jazz artists often had references to pot smoking in their songs. But the Great Depression and WWII shifted the focus of the world’s lyrics, and drugs didn’t openly come back into music for about 30 years.

The sixties and seventies turned drug use into a fertile field of music from artists like Janis Joplin, the Doors, and the Beatles. John Lennon told Rolling Stone in 1972 that, “‘Rubber Soul’ was the pot album and ‘Revolver’ was the acid.”

More recently, Miley Cyrus admitted she supports “happy drugs” like pot and MDMA. “They make you want to be with friends,” she said. Madonna said on the Tonight Show that MDMA causes “euphoric feelings of love” and defended her lyrics about it.

And of course, artists often use more than just heavy-hitting drugs like hallucinogens. Coffee and cigarettes may seem mild as creativity enhancers, but millions of artists use them.

Stephen King, one of the world’s most prolific writers (and frontman of the Rock Bottom Remainders) says in On Writing, “I think it was quitting smoking that slowed me down; nicotine is a great synapse enhancer. The problem, of course, is that it’s killing you at the same time it’s helping you compose.”

Which brings us to the obvious counterargument: even if drugs help you write music, should artists use them?

Chris Cornell’s wife probably doesn’t think so.

The Soundgarden singer, who committed suicide in 2017, may have died of depression, not drugs. His wife said at the time, though, “I noticed he was slurring his words; he was different. When he told me he may have taken an extra Ativan or two, I contacted security and asked that they check on him.”

When Cornell died, all the songs he could have written died with him. Other artists whose drug use may have contributed to their deaths include Jimi Hendrix, Kurt Cobain, Scott Weiland, and scores more. That’s a ton of unwritten music.

Artists whose tobacco use contributed to their deaths include Louis Armstrong, Count Basie, Nat “King” Cole, Duke Ellington, Lou Rawls, Serge Gainsbourg, George Harrison, Roy Orbison, Frank Sinatra, and even the great Russian composer Shostakovich.

Let’s not even get into alcohol.

But when we ask, do drugs help you write music? we do need to consider that many of the very best musicians have been stone-cold sober.

The Melvins make an interesting argument for sober music because totally sober singer/songwriter “King Buzzo” Osborne grew up as close friends with Kurt Cobain. They have shared band members including bassist Krist Novoselic and drummer Dale Crover.

Kurt Cobain even produced many sessions of one Melvins album, “Houdini,” until the band fired Cobain for being “out of control” on drugs.

In the end, the Melvins have recorded nearly 10 times as much music as Nirvana.

Is Nirvana 10 times better than the Melvins? That’s a hard sell.

Other sober music artists include Calvin Harris, Anthony Kiedis, Ozzy Osborne, Trent Reznor, Tom Waits, James Hetfield, Ringo Starr, Elton John, Eric Clapton, and the legendary David Bowie.

So do drugs help you write music? Artists need to answer that for themselves. Finding reasons to use them might prove difficult with titanic minds proving it can be done sober, though.

After all, everyone in the above list of sober musicians is still making music except Bowie. And our beloved Bowie died of liver cancer, decades after he beat alcoholism.

Hear him talk about the importance sobriety plays in his music here.


That’s enough about drugs in music for now. Don’t miss last week’s bit on putting live instruments in EDM, and stay tuned next week for another MondoBlog you beautiful, brilliant people, you.








Live instruments in EDM and why they make sense

Live instruments in EDM make more sense than many DJs realize. Here’s why.

Live instruments in EDM may seem contradictory, but the music world can expect more and more of them. Digital composers looking for success in 2017 and beyond should see live instruments as an opportunity, therefore.

This is because the trend of live instruments in EDM has been coming for a long time.

In 2012 The LA Times quoted Deadmau5 as saying, “People assume there’s a guy on a laptop up there producing new original tracks on the fly. None of the ‘top DJ’s in the world’ to my knowledge have. Myself included.”

This caused a huge debate among EDM artists, themselves, while everyone outside the scene nodded in agreement with Deadmau5.

EDM moved on.

Then in 2014, Saturday Night Live’s “When Will the Bass Drop?” skit lit up the discussion again. How can we consider EDM live music unless it has an obvious live component?

In that article, Autograf’s Jake Carpenter said of the SNL skit, “Build up, raise your hands, insert Lil Jon vocal drop and everyone starts jumping like pogo sticks. We’re starting to see a reaction to that.”

Now let’s skip ahead to 2016. This is four full years after Deadmau5 pointed out the problem.

Connor Jones writes for Magnetic Magazine: “The DJ model set the standard in the culture and helped foster the current era of prosperity in the scene, but it always felt as though the live aspect was a missed potential. A few artists broke the mold over the years as the EDM movement developed, but this just wasn’t the mentality driving the live scene.”

This mentality can be easily understood in terms of music evolution. Fans and artists who consider EDM to have been a brand-new invention of the year 2000 are mistaken.

EDM came from electronica, trip hop, industrial music and other genres. To get it, all you needed to do was take out the live instruments.

Naturally, that left a hole.

Today, the roster of artists who blend live instruments in EDM thrums with new blood.

It includes Gramatik, Empire of the Sun, the Chainsmokers, Calvin Harris, Disclosure, the Glitch Mob, Emancipator, Modestep, Octave One, KiNK, Detroit Swindle, Destroid, Opiuo and many, many more.

Let’s remember, too, bands that helped pioneer the sound in the 1990s like the Prodigy, KMFDM, and Pop Will Eat Itself.

But the point is: what’s the difference between live instruments in EDM and great digital dance music alone? How can EDM artists use this to their advantage?

As far as live performances go, the answer is plain. Live instruments add to the entertainment factor. Music fans get more. The end.

What about the sound, though? And what about EDM artists who never play live?

True music fans can be very hard to fool if you’re trying to synthesize a live solo. The sound of live music is worth the trouble, but recording a live instrument is often easier than successfully imitating one.

Millions of people play instruments all over the world. Most of them enjoy a recording session, even an unpaid one.

Never underestimate the power of a vocalist, either. Good singers love nothing more than a microphone. The most popular EDM tracks in history include live vocals.

Should the EDM artist not want to share creative responsibility, there’s nothing stopping him or her from sampling live instruments. After all, samples of live music represent the original heart of EDM.


Comments and questions on this topic or others are welcome here or at Also be sure to check out last week’s post in which we explored the advice of Rolling Stone’s top ten songwriters on writing great music.


Write a Good Song: Ten Lessons from Top Songwriters

We’ve been talking about how indie musicians can make an impact without playing live, and a huge part of that is making great music. You can’t get very far without knowing how to write a good song. Here are ten lessons from Rolling Stone’s top ten songwriters.

1. “You want to write songs that are bigger than life. You want to say something about strange things that have happened to you, strange things you have seen.” — Bob Dylan

Write about what you know. Be honest with your audience. Don’t fake anything.

All these statements are great advice, but it’s not enough to simply be autobiographical. If you want to know how to write a good song, the secret is in living a life worth writing about. Make some memories.

Or, take some time to look at the mundane around you in a new way. See differently.

Say something about the strange.

2. “The truth is the problem’s always been the same, really. When you think about it, when you’re writing a song, you’re always trying to write something that you love and the people will love.” — Paul McCartney

Are you, though? Or are you just trying to write something that you’ll love? Or are you just trying to write something the people will love?

In the first case, you’re best playing alone in your room. In the second case, you can justifiably be called a “sellout,” someone whose mind is on fame and fortune, not on making great music.

Keep in mind, too, that Sir Paul McCartney has written about 800 songs.

You want to know how to write a good song? Write a lot of them.

3. “I’m interested in something that means something for everyone, not just for a few kids listening to wallpaper.”

Writing a good song means saying something that might be bigger than you, bigger than the song, bigger than music, itself.

Music communicates. Let it communicate something worth getting across to people. “Turning Japanese” by the Vapors might be a kick in the pants just for fun, but Lennon’s “Imagine” asks us all to think about what peace on Earth might actually look like.

How’s that for a standard of excellence?

4. “Music should be made to make people forget their problems, if only for a short while.” — Chuck Berry

The quote speaks for itself.

Let’s look at something else Chuck said, though, while we have him in the room:

“Charlie Christian … was the greatest guitar player that ever was. But he never looked up from the guitar. I put a little dance to it. They appreciate seein’ something along with hearin’ something.”

Once you figure out how to write a good song, it’ll be time to learn how to perform your good song.

If you’re going to be onstage, you’d better put on a show.

5. “My theory of writing is to write a song that has a complete idea and tells a story in the time allotted for a record. It has to be something that really means something, not just a bunch of words on music.” — Smokey Robinson

Bob Dylan called Smokey Robinson “the greatest living poet.” Rolling Stone calls him, “the most influential and innovative R&B tunesmith of all time.”

That he’s talking about meaningful music — just like John Lennon does — should seem important to anyone studying how to write a good song.

6. “People … like partnerships because they can identify with the drama of two people in partnership. They can feed off a partnership, and that keeps people entertained. Besides, if you have a successful partnership, it’s self-sustaining.” — Mick Jagger on working with Keith Richards

In other words, writing a good song can often mean doing it with other people.

All kinds of writing are lonely. There’s no reason to make songs alone, though. The perspective of another person can be extremely helpful, especially if you like the music they make on their own.

If you can find somebody who helps you carve a song out of thin air you both like, then write another with that person. And another. And another.

If you learn to hate each other, but keep writing anyway, you’re probably making great music.

7. “Once I start to create a song, even if commerce is the motivation, I’m still going to try to write the best song and move people in a way that touches them. People know when you do that. They know that there’s an emotional connection, even if it’s commercial.”

Carol King has been called the most important female music artist of all time.

It’s remarkable hearing her talk so candidly about writing good songs having money as her chief motivation.

Dig it, though — even if she’s just trying to make a buck, she makes a point of touching and moving the listener.

If you’re not affecting your audience, your audience is going to go someplace more interesting.

(Also important to note: she wrote most of her early hits with her husband. After they split up, they kept working together because the music was good. See #6.)

8. “One of my deficiencies is my voice sounds sincere. I’ve tried to sound ironic. I don’t. I can’t. Dylan, everything he sings has two meanings. He’s telling you the truth and making fun of you at the same time. I sound sincere every time.” — Paul Simon

If you want to know how to write a good song, you need to know what you can’t do.

Nobody can do everything.

If you can’t hit a note, you need to know what note that is before you put people through the pain of hearing you miss it.

You don’t have to be Jimi on guitar or Mercury on mic.

Just do your music the very best you can, every time, even when you’re alone, and you’ll be surprised how great you can sound.

9. “I went, ‘Oh my God, a lot of people are listening to me. Well then they better find out who they’re worshiping. Let’s see if they can take it. Let’s get real.’ So I wrote Blue, which horrified a lot of people, you know.” — Joni Mitchell

Don’t be afraid to scare people.

In fact, scare people.

Just try it.

It’s harder than you think.

10. “Like a painter, I get my inspiration from experiences that can be painful or beautiful. “I always start from a feeling of profound gratitude — you know, ‘Only by the grace of God am I here’— and write from there. Most songwriters are inspired by an inner voice and spirit.” — Stevie Wonder

And what do you know? This is a whole lot like No. 1, what Bob Dylan said.

Find your inspiration, know what it is that fills you up emotionally and wants to come out in sound.

Try to imagine what that sounds like.

Don’t try to write a good song. Try to hear a good song that hasn’t been written yet. Once you can hear it, listen to it. Love it.

Then do your best to help other people hear it, too, by writing it down, playing it on an instrument, and maybe recording it.

If you’re writing songs before you hear them, you’re working backwards.


That’s all for this week! Make sure also to see last week’s piece on how to choose a great song title. You’re going to need one soon.

Good band names, good song titles: how to make them

In the 21st century, good band names and good song titles help move your music online. Here are five points to keep in mind when you want to make good band names and song titles.

  • Make sure it doesn’t already exist online

When you want to make a good band name or song title, the least you can do is check to see if someone’s already got it.

You should do it every time.

Even though they started in the 1960s, Mott the Hoople picked a great band name. Who the heck is Mott? What the crap is a hoople? They might not be making much of a statement with a name like that, but forty years later the intertubes will shoot you straight to their music.

The point is, don’t pick a name that sounds similar to anything else. Not even a little.

This rule is even truer for song titles. If you want people to be able to find your music easily, then don’t be the 50,000,000th person to upload a song called “For You,” or “Freedom,” or “Let’s Party.” Make your lyrics anything you like (of course!) but call your songs something unique so people can look them up.

  • Band names and stage names should attract listeners

The second consideration for good band names and good song titles is your intended audience.

When people who would like your music hear your name, it should make them smile.

If you can make your listener smile before they even hear your music, then you’ve probably got a new fan. They want to like you.

Think about the audience you want. Who are they? What are they like? What kind of attitudes do they have? What sorts of names do their favorite music artists have?

The Irish-American rock band from Los Angeles, Flogging Molly, did a great job picking a name their audience would like. ‘Molly’ is a traditional Irish first name. ‘Flogging’ is a nautical term, and boats are intrinsic to the Irish-American experience. They’re a punk-rock band with an aggressive sound, so the S&M motif makes sense, too. Chances are good that people who like punk rock with Irish overtones smile (and maybe even laugh) when they hear the name ‘Flogging Molly’ for the first time.

That’s how you hook a new fan. Pick a name to make them smile.

  • Don’t use obscure punctuation

Having an online presence means you need to have names the Web understands.

If you title an album “Black / White,” you may successfully make a social point, but you’ve failed to make it online because Google doesn’t treat special characters like slashes the way it does regular characters.

According to the official Google Help Page, any song, album or artist name with any of these: @ # $ % ^ & * ( ) = + [ ] \ is going to run into trouble.

“The Artist Formerly Known as Prince” illustrates this point because he changed his legal name to an unpronounceable symbol in 1992 to escape his music contract. He didn’t get out of the record deal, but he definitely made it uber hard for the media to report on him. Don’t be that guy.

Prince changed his name back around 2000 when his contract ended, and it’s a good thing he did for his online presence. That symbol he made up isn’t even on a keyboard. Talk about unsearchable.

And what of the band called ‘?!‘ Have you ever Googled them? Good luck with that.

  • Use unusual and memorable words

“Mary Poppins” is a remarkable musical in many ways, but when the songwriters decided to invent a ridiculously long word and use it for their title, they were especially brilliant. “Supercalifragilisticexpialidocious” can’t be anything but itself. Fans don’t even have to know how to spell it because just seven letters should be enough.

What about the ’60s rock group called The Band, though?

Google will ignore ‘the,’ so all you’re really searching is, ‘band.’ It’s so unsearchable it’s like they did it on purpose.

  • Don’t be afraid to use several words

Go ahead and use whole strings of words for your song titles and artist names, if you like.

More words means more room to communicate, and longer phrases are far easier to look up online, too.

People aren’t turned off by longer phrases so long as they’re meaningful or entertaining. In fact, Wired Magazine did an article on this two years ago.

Nobody has a hard time finding “Tiptoe Through the Inferno” by MC 900 Ft. Jesus, and that track is a quarter-century old.


Those’re enough rules to follow without squishing your artistic liberty. I promise that the more you follow them, the less trouble you’ll have making good band names and good song titles. After all, it doesn’t matter how great your music is if nobody can find it. Be sure also to see our short guides on getting fans without playing live  and how to get signed to a label.

More next week!


Get Fans Without Playing Live Using Only the Internet

In last week’s MondoBlog, we looked at ways to get fans as quickly and predictably as possible. But some of us can’t play live or don’t want to. Here are ways to get fans without playing live using only the Internet.

Plenty of musicians today use the Internet as both their primary studio and their only performance venue. How do they form a fan base without needing to leave the house? The short answer is, today’s online studio music artist needs to have as large an Internet presence as possible.

That’s what we’ll be talking about.

For many of you, some or all of the below will not be news. Even so, only the most driven and dedicated few of you will have taken all of the below steps. That’s why today’s MondoBlog is about how to get fans without playing live, using only the Internet.

#1. Have an active Facebook page for your music project

Does this seem obvious? You might be surprised how many musicians go through the painstaking trouble of writing, recording, mixing, mastering, and distributing a music project without even making a social media account to advertise it.

Facebook is free and famously claims it always will be. It has a potential reach that spans the globe. It does not have a limit on how many legitimate social media pages a single person can operate.

Not only is Facebook an obvious go-to for advertisement and music news distribution, but seeing how many “friends” follow you is a great way to measure the growth (or decline) of your fan base.

Keep in mind, though, that artists must be active on these pages or they work in reverse. A silent band page on Facebook is the same as a vacant, closed storefront. They look awful and are bad for business.

#2. Showcase your music on BandCampSoundCloud and ReverbNation

You don’t have to put your whole catalog online for everyone’s free listening, but you do need to give the public a considerable sample of what you do.

It’s incorrect to think people will invest their attention (let alone their money) in music they haven’t heard. Very few music listeners will buy an album on faith alone.

If your music is good, people will find themselves drawn to it like ants to sugar — but you’ve got to put the sugar out, first.

“I’m on one of those sites, and one’s enough.”

Enough to what? Make it harder for potential fans to find you? Besides, you don’t want to make three identical sites, either. Have a little something exclusive on each page to encourage people to pay attention to all your webpages.

Regularly update all of them with new music and stage banter. You can’t effectively use social media and be antisocial at the same time.

#3. If you want to get fans without playing live using only the Internet, you need an official website

Ground your Internet presence on an official website. There are sites like, and many others which make website creation and maintenance incredi-simple.

Use one of them to make a site with a URL like “”

If your band name is already taken, you might even want to rebrand your music with a less common name. Redundancy hides you online. You don’t want to hide.

You don’t necessarily have to pay to have a site, but “” looks a lot more legitimate than “”

#4. Be active on the webpages of other indie musicians

If you make noise on the pages of your music friends and acquaintances, your acquaintances will make noise on yours. If you don’t have a large (or existing) music circle, this is a great way to make one.

To get fans without playing live using only the Internet, you’re going to need to make friends using only the Internet.

It’s fantastic that the Information Age has made this possible. It behooves us artists to take advantage.


Simply following the above four precepts is a lot more work than most online musicians do to make their music available. Start here, and we’ll have more for you to do later.

Watch this space!