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Recording and Selling Music 101

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“Aside from the creative and technical aspects of recording an album, there are legal and contractual issues that must be considered before even entering the studio. The artist or label paying the expenses of recording must be sure that everyone is on the same page regarding whether fees and/or royalties are to be paid and, if so, how much is to be paid to each party.”

–Howard Hertz, Entertainment Attorney

Depending upon the individual focus of their practices, attorneys may take cases that involve Intellectual Property and Contracts in respect to the music industry. Very often, composers and performing artists are neophytes when it comes to the economic and legal issues of this industry. Therefore, in this article, we will address the basics of recording, manufacturing, and sales to break even on a CD of recorded music. I (Dr. Sase) will address the economic issues.

As well as being an economist, I am a musician who has released original music and has produced/engineered the music of other artists. In addition, I own and operate a small recording studio. For the legal elements in this article, we welcome Howard Hertz, Entertainment Attorney at Hertz Schram PC in Bloomfield Hills, MI.

For the benefit of our readers, we will keep the techno-speak and accounting math to a minimum. Instead, we will present the big picture and will offer a basic understanding of what is involved in this market. In this way, we hope to help attorneys to educate clients, family members, or friends who may wish to attempt a career in this field. (Some of our readers may be interested in putting out CDs, vinyl, and downloads of their own music.) Therefore, without ado, we present “Essentials of Recording Music” for your reading pleasure.

Producing Recorded Music

In starting, it is good to make a “low-fi” recording at every rehearsal and gig. Often, performers use a pocket digital recorder, the type employed to record lectures and meetings. As the newer digital models can hold six hours or more, one can turn it on and let it be. If the material and its performance sound acceptable under such primitive conditions, the recording passes the 1960s pocket-transistor-radio test. Importantly, any verbal notes about changes to song structure or arrangements will be included for future reference.

A digital video recorder serves well for the same purpose. In the world of the Digital Audio Workstation (DAW), the video recording also provides an excellent scratch track. Being able to watch and follow movement and changes frees musicians, producers, and engineers from the old mechanical-sounding click track and helps to achieve a more natural and expressive feel in the multi-track overdubbing process.

Led Zeppelin guitarist Jimmy Page acted as the band’s producer. He got massive drum sounds from drummer John Bonham by recording him in the hall of Page’s medieval home, Hedley Grange. Forests, beaches, living rooms, practice rooms, bathrooms, and other places provide wonderful places to experiment and develop new musical parts. Generally, the recording studio does not. Even if you have your own studio that allows you to work off of the clock, it is usually best to do the work-up somewhere else, just to maintain perspective.

In the early 1950s, guitarist Les Paul invented multi-track, sound-on-sound recording–with the assistance of his friend, crooner Bing Crosby–in Paul’s garage. In an interview, Paul emphatically stated, “I never walk over to that machine until I know what I’m going to do and I never use the machine to find it. I find it and then go to the machine and use it. I never let the machine tell me. I tell the machine what to do.”

Therefore, prepare all of your instrumental and vocal parts in advance and develop a work schedule that includes contingency plans when you enter the studio, which is the final place in which you may be able to maintain creative control. If you need to make last-minute changes, you can keep them to a minimum in order to avoid excessive pressure and confusion during a session.

We can borrow a good parallel of detailed planning from the motion-picture industry, the one that interfaces the most with recorded music. Filmmaker Alfred Hitchcock worked as a director in the studio system. He was responsible not only for his own time but for the time of many other professionals working together on the same project.

In advance of shooting, “Hitch” storyboarded every shot of a scene before stepping onto the sound stage. For example, in the famous shower scene in the film Psycho starring Janet Leigh, there are fifty-two individual shots in the course of three minutes and ten seconds (Famous Shower Scene from Psycho (1960) Dissected in 52 Shots, on YouTube).

The master storyboardist worked out every detail, including chocolate syrup for blood, and framed each shot in advance of rolling the cameras. A major part of Hitchcock’s greatness came from his ability to maintain creative control in exchange for tight management of budget through planning. Planning pays when time is money.

Returning to the recording studio, it is a good idea to have more material prepared than you intend to record. Life happens. Sometimes, with a bit of good fortune, you move through the tracking faster than expected. At other times, a piece does not come together satisfactorily. When this happens, the piece needs to be shelved until it can be reworked. Given the time and physical cost of preparation, travel, and coordinating the schedules of the producer, recording engineer, musicians, and other participants in a session, contingency plans constitute a valuable asset.

On this point, the Time-Is-Money factor spills over to the matter of equipment by having spare cables, batteries, and fuses available on short notice. One of Murphy’s Laws states that such items have the notoriety to fail at critical times.

When it comes to recording, experience remains one of the best teachers. Practicing against previously recorded tracks that one will hear during the actual recording session is often the most economical way to prepare for a take. Usually, sound-on-sound projects will gel best when they are built upon percussion that is recorded against a scratch and/or click track. Then, the track is followed upward through the spectrum of pitch (lowest to highest frequency) with the addition of bass, keyboards, guitars, background vocals, and other instruments before the lead instrument or vocal is tracked.

Offering an instrumentalist or vocalist a copy of the best mix to date without the scratch or click tracks (i.e., the one that s/he will record against), saves confusion, frustration, and time. This work mix allows the musician to develop parts creatively and to get acclimated to nuances of tempo, rhythm, and volume before the session. Usually, this results in more productive takes and fewer of them. The additional cost to the project for this preparation is the minor cost of burning a CD or making an MP3 copy of the mix. The benefit of time saved for all involved far outweighs this cost.

Whether or not you are paying out of pocket for studio time, you are making an investment of your own time as well as the time of other musicians, producers, engineers, and techies working together on the project. Therefore, everyone should show up, should arrive on time, and, if possible, should get there a bit early.

The studio is a professional work environment. Please give the other music professionals the same respect and courtesy that you would give to your attorney, medical doctor, or dentist. If you must delay, postpone, or cancel, please do so in a timely manner.

Professional time for postponements or cancellations is usually twenty-four to forty-eight hours. Equal to the importance of showing up and starting on time is to know when to stop work on individual tracks as well as on the session as a whole. Tiredness is a vague and relative term. However, sensing the point at which the marginal net benefit of tracking an additional take reaches zero is a professional trait worth developing.

If you are not acting as your own producer and/or engineer, make the time with this person(s) to share your vision, needs, and concerns in advance. Use this time to go over production notes, equipment requirements, and other mundane items before the session commences. Everyone involved should understand the depth and scope of their responsibilities before the session begins. Delays eat up time for all and… Time Is Money. Therefore, make sure that you are on the same page with your producer and engineer.

Furthermore, note the limitations of the studio and its equipment. It is wise to know the kind and amount of tracks, microphones, signal processors, and other essentials. If you plan to use any unfamiliar equipment, make the time to research it. If possible, work with this equipment beforehand. A recording session is no place for unpleasant surprises. For optimal planning, you should know of any limitations in case you need to simplify your planned mix.

When the red recording light goes on, it is important to be technically precise in performance in order to remain within budget. However, bear in mind that we are making art. Playing with feeling and emotion from the heart is of paramount importance. Producing art commercially requires walking a fine line between the pragmatic and the ethereal. As a result, the genius in producing music is 99% perspiration.

Work with the technology, not against it. Generally, it is best to keep playing through a flop rather than to stop and start over. Part of the art of recorded music is “punching in” a short section of retake or digitally copying and molding a few notes into the track in a seamless manner. As long as most of the take has the necessary artistic integrity, the pragmatism of “time is money” works out.

In shaping the sound, remain focused on the lead line that prevails at the time. Usually, the vocal takes the lead except during intros, outros, and solos. Developing the accompaniment against a preliminary take of the lead line is a way to achieve a fluent and natural sound. Also, such an accompaniment provides a solid understructure that gives flexibility and independence to the musician who is rerecording the final takes of the lead lines.

This being said, it remains most economical to achieve a desired sound during the original tracking. Usually, it is more costly to return to a mix in order to rebuild or repair parts of it before the final mix-down to stereo. It is better to record clean and then to add effects and other “sweetening” afterwards.

Treat the production of recorded music with the same regard with which any other successful professional or business entrepreneur would treat their concerns. As in many competitive markets, the revenue per downloaded track or CD collection remains relatively constant across the span of all artists. The album Born This Way by Lady Gaga, one of the top-ten sellers of the year, hit the market at an equivalent retail price as the album MDNA by Madonna, one of the bottom ten.

As a result, the economic task of controlling the profit per unit falls fully on the cost side of the equation. Since music production is mostly about time cost, any action that can safely shave cost without destroying the integrity and quality of the product should be considered seriously. Note: these actions include keeping guests out of the session, making backup copies of takes frequently, and keeping thoroughly written notes throughout the course of the project.

In order to finish a good product, expect editing, mixing, and other post-production work to take the lion’s share of budgeted time. When we add together all of the production and post-production time, we should anticipate an investment of forty to fifty hours per track. In other words, a total of 500 hours for the entire album can be considered the norm. This is why having open access to a home studio for most of post-production is highly valued.

Part of this value comes from the fact that ears tire easily; consequently, prolonged post-sessions that require acute listening produce diminishing returns. Any work beyond mundane cutting, splicing, and adding fades and plug-in effects demand the perspicacity of fresh ears. Tired ears usually result in a substandard mix that will require costly reworking.

When do you know when the mix is done? This question is like asking a chef if the soup is done. It is a matter of knowing. We could define that point in a commercial recording as the one at which a constrained optimum is reached. It is the point at which the artistic vision is achieved subject to practical budgetary constraints; you know that the soup is done.

For some engineers, this point comes when they play it through a pair of crappy old car speakers. For others, this point may be defined as when you play the recording for others who have not heard it previously and it feels right to them as well. In any event, you will have gotten the best vocal and instrumental takes, have used your studio wizardry to achieve maximum sound, and feel that the music is ready to be unleashed on the world.

Complementing the technical and economic side of recording is the legal perspective. My guest contributor Howard Hertz explains that a tangible contribution to a recording (known as the master) or song (the composition) may result in copyright ownership or performance rights being held by any person contributing to the work.

In order for the artist or the record label to emerge from the studio with an album that s/he or it fully owns and therefore may distribute for sale to the public, agreements should contain proper “work-for-hire” language. (Essentially, a work for hire means that the contributor relinquishes ownership claims on the master or composition by stating that all work was performed for equitable compensation.)

Hertz emphasizes that these agreements must be signed by all producers, engineers and side-person musicians who have worked on the project. Typically, the artist or label should own the copyright to the master recordings contractually. On the other hand, the copyright ownership in the underlying composition may be owned by multiple writers of that piece of music. However, if agreed to in writing by all parties involved, the artist or label may “buy out” these rights.

Often because of the potential complexity of such agreement, a “split sheet” for each work is filled out after the recording of the composition. This sheet lists the determined percentage of the song or instrumental that was written by each contributing party as well as the percentage of the publishing rights that is owned by the publisher of each party involved. Then, the split sheet is signed by all of the contributing parties, thus making the determined, assigned split a binding agreement.

This is a very important point. It is often overlooked by many casual or informal musical groups that lack the understating of business law, which will treat them as a General Partnership. Operating as such an entity implies that all partners are held to have equal shares if no written agreement exists. In respect to the business of music, Mr. Hertz iterates that, if there is no written and signed agreement to the contrary, then a composition is owned in equal shares by each writer who contributed words or music irrespective of the percentage of their actual contribution.

Hertz provides this illustration: “[I]f three writers contribute to a work and have no signing to the contrary, they each own one-third of the copyright, even if one of the writers only contributed one line of lyrics and might have likely agreed to a five or ten percent share of the song if it was put in a split sheet.” A word of wisdom to all musicians and audio producers and engineers: have a qualified entertainment attorney on your side to guide you through these choppy waters.

Replicating and Marketing the Final Product

The 500 hours of time, energy, and artistic angst discussed thus far buries itself as a sunk cost, which is the non-retrievable fixed cost associated with producing recorded music for sale. In producing recorded music, most of the cost is upfront, fixed, and sunk. This includes all costs incurred to the point of making the glass master and cover artwork that is used to replicate the CDs commercially.

The amount that an artist needs to invest to get to this point depends upon the location of the studio (New York or Los Angeles versus everywhere else in the country), its amenities, and its reputation. Reportedly, the current high end is about $3,000 per hour. Ignoring incidentals, this would necessitate a project budget of $1.5 million (500 hours x $3,000 per hour). Based upon sales expectations to recover this cost, there are not many artists who would go “Gaga” over this price tag.

The average studio cost per hour in urban areas outside of New York and L.A. seems to fall in the monetary range of $75.00 to $150.00 per hour. This brings the average cost down to about $50,000.00 for the project, assuming that the artist(s) does double duty as producer/engineer.

If an artist is also a producer/engineer, s/he may be able to get the music out for around $20,000.00. This can be done by either using a budget-conscious studio priced at $50.00 per hour or by investing the $20,000.00 in his/her own Digital Audio Workstation, some good microphones, pre-amps, and acoustic sound-control material.

For many musicians entering the field of recorded music, the latter has become a very viable option. Given the simplicity of the style of music and the musical arrangements that they use on their recordings, some artists do manage to get their music ready to go out the door for about $10,000.00. For the sake of comparative discussion, let us work with these last three figures and assume that the artist works as an entrepreneur and manages the entire release.

The replication of CDs has become a highly competitive business. The price per 1,000 copies has dropped to around $1,000.00 depending on the type of packaging chosen. This gives us a unit fabrication (making the physical CD) cost of $1.00 per CD. However, there are promotional costs involved. A major but effective promotional cost is giving away free copies strategically to radio stations, clubs, and individuals as a way of priming the proverbial pump. Also, using social media like YouTube and Facebook is “free” advertisement.

For the sake of simplicity, let us assume that the promotional cost for a CD that contains ten songs averages $.50 per CD. The more CDs that are manufactured, promoted, and sold, the more money that must be invested in the project. In other words, the manufacturing and promotion costs vary with quantity. Therefore, we refer to these costs as variable costs that, on average, total $1.50 per CD.

In our example, let us say that the artist averages net revenue of $10.00 per CD. This suggests that the CD could be priced at $14.00 for sale through one of the popular online stores, distributed as digital downloads, or sold at live performances. We can phrase our economic question as a break-even analysis. In the business world, a break-even point of three to five years is considered reasonable. Therefore, looking at our artist as a start-up business, let us anticipate a break-even point at four years, forty-eight months.

What we want to know is this: How many CDs will our artist need to sell over the next forty-eight months to break even? How many CDs will s/he need to sell per month to achieve this goal? As the variable cost per CD is taken to be $1.50, the key determinant in this calculation is the upfront sunk/fixed cost of producing the master recording. If we take this fixed amount and divide it by the difference between the price at which the CD is sold and the combined cost of manufacturing and promoting each CD, we will arrive at the break-even quantity that must be sold.

If the recording costs amount to $50,000, then a total of 5,882 CDs must be sold at a rate of 123 discs per month. If our artist economizes or sets up his/her own project studio for $20,000, then only 2,353 CDs must be sold at a rate of 49 discs per month. If our artist is able to achieve a product of marketable quality for only $10,000, the break-even amount drops to 1,176 CDs sold at a rate of 25 per month, about one per day. If an artist has sufficient musical talent, and recording skills, and experience, s/he may be able to achieve this goal at a barebones studio that charges $25.00 per hour.

The Great Beyond

We have focused on what may be called an Entrepreneurial Indie Label, one in which an artist or group does everything from production to direct sales (e.g. merch tables at gigs) except for two chores. The first is fabricating the CDs through a company such as Discmakers, Inc. The second is selling some of these CDs with the help of a music-marketing service such as CDBaby Inc. These CDs then will be sold online, as digital downloads, and at brick-and-mortar stores.

The next step up the ladder is for the small entrepreneurial music company to sign with a major or minor label. At this point, a good entertainment attorney to represent the artist(s) becomes indispensable. As Mr. Hertz stated in our opening quote, “The artist or label paying the expenses of recording must be sure that everyone is on the same page regarding whether fees and/or royalties are to be paid and, if so, how much is to be paid to each party.”

Currently, the record industry is reinventing itself in the Digital Age. This age has brought affordable means to artists in order to accomplish what only million-dollar recording studios could do previously. Online distribution has become feasible and preferable to many artists through CDBaby, iTunes, Amazon, and other venues. What these turns in events leave to major labels is what they continue to do best-finance, promote, and distribute product to large markets.

In her blog, recording artist Courtney Love, Love’s Manifesto, she states, “If a record company has a reason to exist, it has to bring an artist’s music to more fans and it has to deliver more and better music to the audience. Previously undiscovered artists benefit from the huge promotional break a major has to offer. It takes a ton of funds to break a new artist–funds most artists don’t have on their own.”

In determining which artists to sign, labels consider the sales potential of an artist. This decision usually is based on what the artist accomplished before. A rough rule of thumb remains that major labels sign artists who have made verifiable sales of at least ten thousand albums on their own. In addition, labels consider plans for touring in order to market product to a wider audience as well as feedback received on the artist’s music through social media.

Rerecording/mastering, fabrication, distribution, tour support, and other promotional investments all require capitalization. Nonetheless, the business is comparable to a roulette wheel. A wheel has thirty-six black-and-white numbers plus a green “0” and a “00.” The gambling houses win on these last two. Their odds of winning are 5.26%–the two green numbers divided by the total of thirty-eight numbers on the wheel. In the record industry, only 10% of all recordings released make it to the break-even point. Only about 5% of releases turn a profit. This subsidizes the 90% that lose money.

Therefore, cash advances bestowed upon artists are determined by the ability of the artist, the costs that may be recoverable from an artist, and the probability of success in a marketplace that ultimately relies on the 5% of releases that eventually become profitable. An advance is an ADVANCE. Essentially, it is a loan that is repaid through royalties (percentage of the sales) that hopefully are earned on future record sales. Under their contract with an artist, the record label is going to want to be paid back, and paid back first.

The label will keep all artist earnings from sales until the various costs are repaid. Furthermore, in multi-album deals, the repayment can be recovered across multiple albums and advances. This method of securitizing the investment made by the record company is known as cross-collateralization. Apart from a few exceptions, every cent invested on promoting an album, from video-production costs, radio promotions, and billboard signs to tour support, is recoupable from artist-royalty points. As a result, most artists make $0.00 from their royalty points until recoupment by the label is complete.

So, how do artists go about making money from their recordings? Very simply, they can achieve this goal by remembering that what they are involved in is a business. Furthermore, this business takes place in what economists refer to as a perfectly competitive market-the market sets the price for similarly situated products and that price is relatively constant at any point of time.

Due to this market quality, revenue increases at a constant rate as greater quantities of a recording are sold. As a result, there are only two ways to increase profits. One is to sell greater quantities of the product and the other is to decrease the costs of production, manufacturing, promotion, and distribution.

We hope that we have edified our readers about the physical, economic, and legal aspects of the recorded-music business. Thank you to my guest contributor, Howard Hertz, for his enlightening contributions to this article.

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Benefits of Bing and Yahoo Pay Per Click

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With today’s very competitive online marketing, it is important that a business creates a strong marketing effort to build qualified traffic to their website. Pay per click marketing is one great way of advertising on the Internet. It can bring a steady flow of traffic that can result to potential leads and new sales. Over the years, it has been proven profitable, especially if the business is targeting a segment of audience. Adding Bing and Yahoo to your Google pay per click marketing is worth considering.

Pay per click campaign is based on keyword selection specifically designed to revolve around search terms that are relevant for the site. They are normally the ads that show up at the top and right corner of a search page. Generally, search engines do not charge when displaying these ads, but when a visitor clicks on the ad or the link which lands back to the business’ site, only then, is the advertiser charged.

All throughout the pay per click marketing world, Google is leading all other search engines with their 67% market share. However, what most advertisers do not realize is that with the growing amount of traffic on Google, also comes a number of competitors, still making it hard to hit on search result targets.

So, what is the alternative? Over the last couple of years, Bing and Yahoo pay per click have emerged as Google’s number one competitor. Although, Yahoo’s market share only comes up to 11.6% and Bing’s to 16.7%. When combined, they total of over 30% and this can still make a dent with Google’s share. And for any advertisers who overlooks these numbers could be ignoring a large population of potential customers.

Other advantages of Bing and Yahoo pay per click, include:

  • Pay per click with Bing and Yahoo does not cost as much as with Google. – Many advertisers say that taking Google as their host for paid search is a complete campaign suicide, mainly because of their high costs. Relevant keywords being bid with Bing and Yahoo do not cost as much as $2 to $5 per click as with Google. For instance, one of the most expensive keywords in Google includes “insurance,” “loans,” “mortgage,” “trading,” which usually ranges from $30 to $50 per click. So, if you run a business about loans and need to bid on “house loans” keyword, a business can pay as much as $3500 a month for that particular keyword alone with Google. However, Bing and Yahoo give much more reasonable prices. They have the lowest cost per click, even with the most expensive keywords in AdWords that normally ranges from $0.10 to $2, but still lands in the first pages. More so, they offer long-tail keywords of four or more words, but still at a very reasonable price bid.
  • Bing and Yahoo have demographic advantages. – Although recently, Bing removed their feature to target ads by gender and age as they say they improve it to become more accurate. Bing and Yahoo still have a statistical advantage because 58% of their users are women, and their audiences are from an age group of 35-45 and 55-64, which are definite age groups that can afford to buy as much in the Internet. Furthermore, this is probably because Bing is owned by Microsoft, and they normally put default web browsers that come with the computer a user has bought, not unless of course, if they are tech savvy and knows how to change web search engines in their computers.
  • Bing and Yahoo allow their users to import campaigns from Google – most advertisers admit that they are always having a hard time running separate campaigns in Google, and with Bing and Yahoo as they do their best to update each. Now, AdCenter with Bing and Yahoo allows users to import their campaign from AdWords with Google, without even exporting a single file. This is perfect for advertisers who do not want to spend time editing, exporting, and re-uploading spreadsheets from one account to another.
  • Bing and Yahoo pay per click does not run on Internet Explorer alone – Recently, many adCenter users of Bing and Yahoo requested to expand their service outside Internet Explorer. Now, pay per click may also be run through Mac and Chrome users, including all other web browsers.
  • Bing and Yahoo for mobile – paid search through Bing and Yahoo is made easy as they launched Bing on mobile devices through WAP or GPRS connections. Not only will users enjoy “Find My Location,” applications, as well as driving directions and maps, but they will also be able to search for new information through their smart phones, and this means that pay per click campaigns will reach a much wider audience.
  • Bing and Yahoo have representatives to talk to for free, 24/7. – Microsoft has dedicated customer representatives who are specifically assigned to help Bing and Yahoo AdCenter users, even those that are starting with their Bing and Yahoo ads. They have a range of topics that they can help with, from starting up, to billing, managing campaigns, editorial questions, and campaign reports. In fact, they are even open to suggestions and comments, which is the main reason why Microsoft brought about the freedom for users to use their Bing pay per click campaign on other web browsers. More so, these representatives are always active in social media, so it could be easy to reach them in Twitter or Facebook.
  • Cross-Platform Analytic Reports – With Bing and Yahoo’s adCenter report, it becomes easy for users to compare keyword performance for their pay per click campaign with other search engines, so that they can make the most of their budget.
  • Potentially Better Return of Investments – any pay per click campaign is useless if it does not get positive results. Numerous advertisers have vouched that adCenter pay per click campaigns through Bing and Yahoo drove more traffic than keywords run with AdWords of Google, which significantly gives a better return on investment.

Even with the 67% market share of Google, if combined with costly prices for their pay per click campaign, and with their other seemingly flaws, Bing and Yahoo still strike as a better alternative to Google, and as they make a dent to Google’s ad campaign, soon more and more advertisers will realize the benefits and power of what Bing and Yahoo can offer with the increase of their sales and rapid growth of their business.

Additional Resources

  • Pay Per Click on Bing
  • Pay Per Click on Google
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Top Three Attributes of the Car Accident Lawyer You Should Retain

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Car accidents, including motorcycle and truck accidents, are serious business. They happen every day and, even if you’re the safest driver in the world, they can still happen to you. If you suffer serious injuries from a car, motorcycle, or truck accident, it is vital that you first speak to a car accident lawyer before you reach any settlement with the insurance company, which would like nothing more than to pay you the least amount possible. However, choosing the right lawyer is not as simple as the decision to consult with one. Here are the top three attributes that you should look for in a prospective car accident lawyer to retain.

Expert

One of the most critical attributes to look for in a prospective auto injury lawyer is whether he or she actually specializes in car, motorcycle, and truck accident law. As an injured accident victim, you will be relying on lawyer you retain to maximize your recovery from the insurance company. Do yourself a big favor and make sure you retain a lawyer who specializes exclusively in representing auto accident victims.

There are many attorneys in each state practicing personal injury law. However, personal injury law can cover a wide-range of injuries. You don’t want a personal injury lawyer that handles a wide variety of personal injury lawsuits. You want a lawyer that specializes exclusively in car, motorcycle and truck accident law; someone who day-to-day represents auto accident victims.

For example, if needed heart sugary, would you want a general surgeon operating on you or a heart surgeon? Retain a lawyer specializing in representing auto accident victims. This can make a significant difference in how much you recover from the insurance company. You do not have to worry about expert auto lawyers being too expensive for you, because they generally do not charge hourly fees but, rather, a contingency fee.

Experience

The second most critical attribute to look for in a prospective car injury lawyer is his or her experience level. It’s not just a matter of being an experienced lawyer, you want an attorney who is very experienced in representing auto accident injury victims.

Following a car accident, the injuries you sustain may change your life drastically. Now is not the time to put your life and the way you are able to lead it in the hands of a rookie. Try to find a car accident attorney with at least five years of experience, ideally someone with experience representing car accident victims against the same insurance company. Consult with a seasoned lawyer who has many years of experience going up against the insurance companies.

However, it’s not just a matter of experience in car accident law. You want an attorney with years of trial experience, because your case may require going to trial.

Success

Finally, when considering a prospective car accident lawyer, you want to make sure he or she has been successful in the past and in the present. There is no point selecting a specialized lawyer with years of experience if he or she has not been successful against the auto insurance companies. It should not be difficult finding out how successful your prospective car lawyer is in representing auto accident injury victims. Just ask! If he or she has a proven track record of success, they will tell you and give you examples. Ideally, they will have been successful for past clients with similar injuries that you have sustained in the car accident.

In the end, you want a car accident lawyer who is an expert, experienced, and successful with respect to auto accident law in your state. Do not settle for anything less. There is absolutely no reason why you would need to.

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Sales Force Automation Software: Business Need

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Sales Force Automation Software was a major challenge before some decades that is successfully superseded by our techno-giants. The entire business community was longing for a system that could control; and monitor the track of sales and marketing activities. Things were getting tougher for an executive or an entrepreneur to manually handle the entire sales process and organizational activities. Moreover, the interaction with the clients was worsened. The answer to all those worries came in the form of this Software.

Streamlines Sales tasks

Sales Force Automation Software basically is another name for Customer Relationship Management Software. Its prime motto is to provide one-to-one interaction of organization executives with their customers. The primitive form of this Software was just for maintaining contacts. But rapid advancement of technology and rigorous endeavors from the technocrats has made it capable of overpowering the entire sales stage.

Online Sales Software handles all the sales tasks easily and gives you accurate sales reports on time. It is easy to use software which fulfills all the needs of the organization. It saves the precious time of the sales team and sales managers.

Web Based Technology

Online CRM Software encompasses cloud computing technology to perform the sales force automation. From Cloud Computing, we basically mean data to be stored in servers that are remotely located and are connected through network. Cloud Computing uses the SaaS module to provide this technology. SaaS stands for Software-As-A-Service. That means, the software needs not to be installed at the client’s computer. It is hosted from a remote server and its complete package can be accessed from there itself.

This Software has sorted out most of the problems faced by the entrepreneurs handling small to big organizations. Its easy usability, portability and anywhere operable flexibility have proved its worth over the previously launched hosted application.

Some Benefits of Online CRM Software over the premise hosted software are:

1) Premise hosted need to be installed to a computer. Thus it gets system specific. You can’t avail the software once you change the software. It can be used anywhere and at anytime, you can access the software any time you required.

2) Online CRM Softwares are cost effective. Whereas premise hosted software are much costlier than that.

3) There is a lot of extra IT infrastructure needed to successfully run premise hosted application. Whereas online application provide all kinds of functional service on a remote access basis.

4) The entire data load in case of premise hosted is upon your system. So, any time, there are chances of data crash and hardware failure. While in case of cloud computing, entire data load is upon the server. So your system is always safe from the impending dangers.

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Addition To The Control of Asbestos Regulations 2006 Proposed By HSE

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It was only in 1983 that Asbestos (Licencing) Regulations introduced the requirement for companies or individuals working with asbestos coating or asbestos insulation products to possess a Health and Safety Executive (HSE) licence.

Another twenty years elapsed before the 2003 Regulations instructed that the relevant authority must be notified of the details to any asbestos work which required a license, at least 14 days prior to the commencement of work. The Control of Asbestos Regulations, 2006 unified all previous prohibition and licencing regulations into one comprehensive reference document.

Following correspondence with the European Commission, the HSE is presently in consultation on plans to once again modify aspects of the 2006 Regulations. The aim is to more accurately reflect current levels of health risk concerns to companies and organisations who come into working contact with chrysotile white asbestos, estimated to be still present in a half a million premises around the UK.

Despite the continuing asbestos awareness campaigns of HSE, inconsistency of working knowledge and methods by construction firms and premises owners to the necessary actions required when first inspecting site building, encountering, containing and disposing of asbestos material.

Despite being banned from the 1980s onwards, white asbestos continued to be used in insulating materials such as wall board, wall coatings and cement products found in a wide variety of commercial and domestic building applications.

Currently, there are two existing categories of asbestos work:

1. Licensed asbestos work

2. Non-Licensed asbestos work

Currently, non-licensed work is exempt from requirements to:

– Notify work with asbestos to the relevant enforcing authority

– Carry out medical (respiratory) examinations

– Maintain registers of work (health records)

– Hold an asbestos licence

– Have arrangements to deal with accidents, incidents and emergencies

– Designate asbestos areas

While the licensed asbestos work category remains unchanged, HSE propose to modify non-licensed asbestos work by introducing additional measures for short duration exposure to ‘friable’ ( fragile and disintegrating) or ‘damaged or degraded’ asbestos. A new category of asbestos work is to be introduced in addition to the two existing categories.

3. Notifiable Non-Licensed Work (NNLW).

Work under this new category will be exempt from requirements to:

– Hold an asbestos licence.

– Have arrangements for accidents, incidents and emergencies.

– Designate asbestos areas.

However, work under the new category will require employers to:

– Notify their work with asbestos to the “relevant enforcing authority”.

– Carry out medical (respiratory) examinations.

– Maintain registers of work (health records).

HSE propose that requirements for notifying work with asbestos, health records and medical surveillance will not apply where:

a) Exposure of employees to asbestos is sporadic and of low intensity.

b) It is clear from the risk assessment that the exposure of any employee to asbestos will not exceed the control limitwhere the work involves –

(i) Short, non-continuous maintenance activities in which only non-friable materials are handled.

(ii) Removal without deterioration of non-degraded materials in which the asbestos fibres are firmly bonded in a matrix.

(iii) Encapsulation/sealing of asbestos-containing materials which are in good condition.

(iv) Air monitoring/control, and the collection /analysis of samples to confirm whether a material contains asbestos.

Existing regulations do not specifically require the asbestos to be ‘non-friable’ or ‘non-degraded’ and the European Commission also seems to require a respiratory examination of industry personnel every three years due to uncertainty of not will knowing if there has been an encounter with asbestos in ‘notifiable’ situations.

Throughout the twentieth century and right up until the present day, dangers of asbestos exposure were continually ignored by building trade personnel or building owners. As a result, joiners, plasterers, plumbers, electricians and other operatives would be constantly at fatal risk of inhaling deadly asbestos fibre dust, which remains permanently embedded within the linings of the lungs and would develop into asbestosis disease or the malignant incurable cancer, mesothelioma.

The first asbestosis symptoms would not appear until some 15 to 50 years later, often at an advanced stage when prognosis would be between 4 to 18 months.

In the UK, the number of deaths from mesothelioma has risen to 2, 250 in 2008 and over 2,000 diagnosed cases are recorded each year.

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Outsourcing Your Plastic Surgery Marketing

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As a plastic surgeon you set yourself apart from other doctors. Every day you prove your expertise and skill by sculpting and shaping clients into the people they want to be. That is why it is a good idea for you to do what you do best and let marketing experts do what they do best. Hire a professional plastic surgery marketing team and let them increase your client base.

What an SEO Professional Can Do For You

An internet marketer is skilled at optimizing your website for higher search engine ranking. The whole idea behind marketing is being seen and a professional knows how to get you seen better than anyone. He has spent years creating ways to grab the attention of the consumer. Just as you have spent years perfecting your skills.

It would take you just as long to learn how to successfully market your business. You didn’t learn how to be a plastic surgeon just by watching the techniques on television or by reading a few books. You learned hands on with the guidance of a professional. A marketing expert learned in much the same way.

Don’t Try to Do Everything

When you try to do everything on your own you end up stressing out and making mistakes. A few plastic surgery marketing mistakes can cost you quite a few clients. But, if your stress causes mistakes in your practice, then you are really in trouble. You could even lose your license. Outsourcing your marketing strategies takes away all of that stress.

A marketing expert can create a social media marketing campaign, an email campaign, create online videos and a slew of other effective promotional techniques to get your name out on the internet and a high search engine ranking. An SEO expert knows how reach a targeted audience that have already shown an interest in having plastic surgery.

Another good reason for hiring a professional is that the industry is constantly evolving. Once you think you know everything about plastic surgery marketing, things change. The techniques that worked yesterday may not work today. A professional marketer stays on top these changes and changes with them.

People like getting instant answers and that is what Google is all about. They just type in what they are looking for and in an instant they see over a hundred thousands results. If your website is down near the one hundred thousand mark, no will click on your link. If you are in the top five, you will have much more success. A marketing expert can get you into that top five.

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How to Stop Being Resigned to Living With an Alcoholic

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Alcoholism is an illness that can be much harder for those living with an alcoholic than it is for the alcoholic. Those with an alcoholic parent or spouse know the hardship of constantly worrying that their loved one will drive while intoxicated, sell personal valuables in order to finance their habit or go on a binge and disappear for days.

For many living with an alcoholic means constantly worrying about paying the bills, having to clean up after their alcoholic loved one, looking out for various signs of alcoholism, dealing with abuse, and even being unable to sleep from fear of what will happen next.

Instead of allowing or becoming resigned to the situation you must fight back. This is the only way to ensure better future! Use these top 5 tips to make a positive change to your live.

1. Take an honest look at the alcoholic: Recognizing the line between social drinking and alcohol abuse is not always easy to identify. Although an individual who only drinks a few glasses during the weekend might not be considered an alcoholic, anyone who drinks to the point that it affects their regular life can be considered to be abusing alcohol.

Talk to the alcoholic parent or spouse. Sit down and ask them why they drink. Discus worrying symptoms that indicate alcoholism such as drinking to the point of blacking out, needing to drink to feel better about their life and feeling ashamed over their drinking habits.

2. Let the alcoholic accept the consequences: To get out of resignation, let the alcoholic experience the negative consequences of drinking and do not let yourself take on responsibility for their actions. When living with an alcoholic do not call in for them if they miss work, never purchase alcohol for them, do not help them to bed or cleaning up the empty bottles after they have been drinking. To stay out of debt and get them to see how bad the situation has become do not buy alcohol for them or give them money to buy more.

3. Accept the reality: To change your life with an alcoholic parent or spouse, you need to accept the reality. Do not live in denial or make excuses for the signs of alcoholism being displayed. You should also not feel guilty or try to threaten or bribe them into giving up alcohol. Instead, deal with your own emotions, because this is the only thing you have power to control.

4. Do not engage: When living with an alcoholic, you are likely to notice that when heavily drinking they may start arguments, throw items around, or become verbally abusive. Do not allow yourself to be drawn into playing mind games or involved in fights! Make sure your spouse experiences being loved by you but detach yourself from the situation. If needed, leave the house for a few hours or go out with friends. By not accepting the outburst and bad behaviours they will see even faster that they need help.

5. Get Support: The road to recovery will not happen in just a few weeks or months. For some the process can take years! To get the emotional support needed to recognize and treat the signs of alcoholism therapists, support groups, online forums and even eBook systems can be accessed.

These treatment methods are enormously helpful for both the alcoholic and the individuals living with an alcoholic.

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