91 post tagged

Advice 

I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions at daniellesden.com/advice/ask

   

“Can a label own the masters based on an email conversation?” 

   

Hey there! I landed on your nice blog and started reading. I’m grateful I found some nice pieces of advices! I bother you a bit more, hoping you can help me – that would be so much appreciated if you have some time to give me your opinion. Here’s our story:

I work as an A&R for a new label. We signed in February of this year an artist, with proper contract. The contract transfers us the rights for a vinyl EP. Let’s say, that on this EP the strongest track is called “Karr”. Now we were ready/going into test-pressing on last Tuesday morning. But had to stop it all. Why?

Because a few hours sooner a big known label in the Techno industry *outed* a post on their Facebook page, promoting a digital V.A. in which we were stunned to see OUR main title track of EP being listed as one of the V.A. tracks.

It appears that ‘our artist’ had been in touch with that label during 2015-2016 and had discussed a possible release for 2016. Which never took place. Basically, that label has remained sitten (sleeping on that track they now outed) for two years.

Without any renewed expressed interest after December 2016, four months later and without warning, they sent the masters to our artist per email six days ago! Thing is, neither the artist neither us never planned that previous label would have the balls to do such! That’s crazy!

We immediately emailed that label, stating the artist had signed with us. Their defense line is the following. They state they own the masters because of the fact they had previous exchange of emails (that can be indeed be seen as a kind of an agreement), but they were discussing a release for 2016. Again: never took place in two years.

My question is: can a label state ownership over the masters, basing themselves on fact they had received the pre-master (-6db Etc.) and that, *this*, is considered as “transferring” the copyrights? In my knowledge, that agreement would only be valid on the discussed year (2016!) and not after that. Are they allowed to ‘further’ exploit a file, never saying anything in four months? Just sending it over “mastered” and boom! Six days later they post and promote it?? Not asking for any renewed consent of the artist? (poor dude, he almost did a heart attack.. as he was super happy to work with us.. )

We really care for that artist and the all situation seems clearly abusive. but it’s a big, big label.

We suggested they replace the file and keep the ‘Name’ as it’s only in pre-order on their bandcamp page (for now, will be released on 26th of April). We thought showing them we were okay to try limit the hurt to their image (cuz that’s what they fear – such a big label doesn’t want to be ‘in fault’ publicly. so they don’t want to retire the track.. first people could push play, now this morning i just noticed we can’t anymore.. good sign for us?)

What do you think? We have no money to afford a lawyer, so all we have is state our points and tell them that we think no label can say that they own a track indefinitely (time) if NO contract.. and if NO release in the planned period – in what they state is their “agreement” (exchanged emails...) right? I mean – if so, means that every pre-master we get ONCE = would bind an artist to a label lifelong? WTF?

Sam

   

Sam, thanks for sharing your story. I’m not a lawyer nor an expert in this field, so before taking any legal actions I suggest consulting with one.

As far as I know, the fact an artist sending a demo saying “I would like to release it on your label” does not allow the label to actually release it. It’s basically just a letter of intent indicating an interest of one party in the deal, but not the final agreement.

Typically, most contracts work this way: “everything that not clearly specified in the contract is not allowed”. This is why we see 20-paper contracts specifying every tiny and obvious detail. A notarized email conversation could have a legal power, but all terms of the deal have to be written very precisely. So unless your artist and that big label specifically discussed having a release on a compilation, I don’t think they had rights doing so.

Don’t start a lawsuit: it might be a long, exhausting, and expensive process with a unpredicted result. And if your and that big label are registered as legal entities in different countries, that means you would need an international court which makes things even more complicated and expensive. It’s just not worth it.

I would suggest trying to solve this situation peacefully. Ask them politely to pull-off the compilation from the stores or to remove that track individually. We at JOOF had to shut down a release once too, so I know for the fact it is possible. Your argument is simple: you have the contract signed by that artist, they don’t.

   

If for some reason they won’t agree on shutting down the release, ask them to deal a sub-licensing contract. In other words, to pay you and the artist a fixed amount of money in exchange for allowing them to release that track legally. This is a standard deal in the industry.

    

“Label re-released a track without my consent”

   

As a measure of last resort, at least tell people the truth. Share this story (with the real names) in public. This probably won’t change anything, but it’ll bring some justice.

I’m keen to know what other label managers and artists think about it?

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Apr 19   Advice   Music industry

Reverb and delay 

I have a question about reverb and delays. In Psytrance, a lot of the atmosphere of a track is created with reverb and delays. Can you give some advice on using these effects and answer some specific questions?

Which devices do you use with what settings, do you use them on a send or on each channel, do you ever use reverb on kick or bass, do you ever use reverb on the master, any other tricks or general advice?

Hamish Strachan

   

I like to think of an effect, whether it’s a reverb or a delay, by its purpose. I ask myself: “What I am trying to achieve with this particular device?”. And with this in mind, I came up with two sorts of categories: general and creative effects.

The general effect is an effect basically used for mixing, you know, to put instruments into the proper space. Typically, I used built-in Ableton devices for this kind of reverb and delays because there is nothing really fancy about it, you can use pretty much any device or plugin for this purpose.

For general effects, I want all instruments to share the same settings. For example, if a bongo’s delay repeated every 3/16th notes, then a crash cymbal must be repeated on 3/16th as well. This is why I prefer to use this kind of effects via Send-Return channels: it gives more consistent mixdown, it’s easier to tweak some settings if needed, and it also saves CPU usage quite a bit.

I can’t recommend you specific settings simply because there is no one ultimate preset that works every time. I’d like to give one little tip, though, because I see many upcoming producers do this mistake: when adding a device on a Return channel, be sure to turn the Dry/Wet knob all way up to the 100% Wet, and then adjust the needed amount of effect via Sends knobs, not vice versa.

My typical Return channels are: a simple delay, short reverb, and medium reverb (coloured in green)

The creative effect is where all crazy things come in: special effects like a huge reverb tail with a sidechain compression on it panned across the stereo field. That kind of things. Check my advice on creating atmospheric effects because this is exactly the type of processing I’m talking about.

Since this kind of effect is unique for every instrument or an SFX I do, I add those reverb and delay right on top of the channel and then Freeze it. I like to use Native Instrument’s Replika for that because it has some creative features that Ableton built-in devices don’t. See also my recommended processing plugins list.

As for the other two questions. No, I typically don’t use a reverb on kick-and-bass because it would put them further in the background while should be the opposite, at least in Psytrance music. And putting a reverb on the master channel would put pretty much everything on the background, so no, I don’t think you want this either :-) Probably someday I’ll write about mixing basics to give a better understand of that concept.

The only case when I do use reverb or delay on the kick-and-bass group, occasionally, is for creative purpose as a special effect. For example, like here in “Pangea Proxima”:

Fellow producers, how do you treat reverb and delay?

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Apr 12   Advice   Music production

Capturing audio on macOS 

Hey Daniel, thanks for your great blog! Quick question: how do you capture internal audio, let’s say some streaming in the browser or a dialogue in a film? I’m running macOS Sierra.

Anton

   
 

Anton, in order to capture internal audio, you need to change signal routing using a special tool. There are quite a lot of such tools out there, but among the others, I’d recommend checking out “Soundflower” — it’s a free, open-source, and tiny system extension.

    

Soundflower by Matt Ingalls on GitHub

   

Once installed, go to System Preferences → Sound → Output, and choose Soundflower (2ch):

System preferences

Now all you need is any audio recording software, whether it’s your DAW or an app like Audacity. Just choose Soundflower (2ch) in the audio recording settings:

Audacity recording preferences

And that’s pretty much it. Once you hit the record button, it should start recording any sound that is coming from applications on your computer.

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Apr 5   Advice

“Can you review my bassline?” 

   
 

First of all, thank you for your awesome and very helpful blog, and also for your music – love your latest album!

    

I’ve just read your most recent post about making kick and bass work well together. I’m producing some psytrance for a couple of years, but still my kbbb is very far from perfect. Can I ask you to briefly review my latest attempt? (it’s a short 1 minute snippet, some synths and percussion added for context). Just like the guy from your post, I feel the kick and bass refuse to work well together for some reason. Also I would greatly appreciate if you say something about the bassline itself (the frequency balance, the groove and stuff).

    

I’ve also read your posts about how you were involved into Russian psytrance scene. I’m from Russia and remember Psyplanet ;)

    

Arseny

    

Thanks for your words, Arseny!

This bassline is fine. However, If you want to match your bassline to the current Psytrance sub-standards, you need to clear the mud and tweak up the filters. Clarity (or should I say, the lack of it) is the main issue here.

   

I suggest using a reference, it really helps a lot. It’s especially true if you working on headphones which I personally not recommend to do. Here are few tracks by other producers, also in Cm key. Compare these basslines with yours:

    

Train your ears

   

Do you hear these crispy, sharp, punchy basses? That is what you should aim for.

Earlier I’ve written about pretty much everything that could be said about the basslines, so rather than repeat myself I’ll put for you these four useful links here:

  1. Psytrance bassline synthesis
    Filter envelopes, resampling, MIDI-notes
  2. Psytrance bassline equalisation
    Boosting harmonics, clearing the mud
  3. How to make a punchy bassline
    Phase, layering, processing
  4. How to fit kick and bass together
    Read about the volume balance in particular

By following these tips you should be able to make a nice punchy bassline. But if none of this helps, let me know what exactly do you struggling with the most in the comments below and we’ll try to fix it together.

   
Mar 29   Advice   Music production

How to fit kick and bass together 

   
 

Hi Daniel! This question is the biggest problem for me when producing psytrance music, how do I make my kick and bass fit together? I have a decent bassline but it really seems to go along the kick, I have used an entire kick sample pack and no one make sense together with the bass, is it the EQ, comp? The initial attack freq? This frustrates me a lot, hope u can help me :D

    

Alberto

    
 

First things first, make sure to use a proper kick sound in the first place whether it’s taken from a sample pack or you making your own sound from scratch. Psytrance sub-genres has very strict sub-standards on that matter, you can’t make a Progressive-Psy using a Goa Trance kick, neither make a Darkpsy using Full-on kick: they all have different transient, pitch, body, length, and overall character.

    

3 ways to make a kick drum

   

Compare these kicks, for example:

Another crucial thing to keep in the mixdown, or simply the volume balance of kick and bass relative to each other. Although bassline plays a very important role in any Psytrance track, kick drum is actually the loudest element. To be more specific, I would suggest setting your kick drum level at 2-3 dB higher than the bassline.

   

At last but not least, the EQ. Usually I gently cut the kick at the frequencies of the key bassline harmonics. Let’s say, we have a bassline in A, which means its harmonics would be at 55 Hz, 110 Hz, and 220 Hz (in 440-tunning). In this case, I would slightly cut these frequencies from the kick to give bassline a little bit more space in the mix, just –1-2 dB with a narrow bell-filter.

    

Psytrance bassline equalization

   

Sometimes I also use Ableton’s built-in Glue Compressor on the kick and bass group to slightly “glue” them together, but compressor is a tricky device that can easily ruin your sound, so I wouldn’t recommend doing that unless you know what exactly want to achieve with it.

That’s pretty much it. You can hear the outcome in my productions.

Fellow producers, how do you fit kick and bass together? Post your routine in the comments box below.

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Mar 22   Advice   Kick and bass   Music production

Marketing by sharing 

A technique of creating a captivating audience by sharing your knowledge and teaching other people about your domain

   
Jason Fried, the co-founder of Basecamp (formerly known as 37signals), is the advocate of marketing by sharing. Photo © Intercom
   
 

Hi Daniel. I’m learning audio engineering and I would like to offer mastering services. My question may sound odd for your blog, but how to get clients? Maybe you have some advice from the producer’s perspective and your experience in social media and all? How do you find mastering engineers as an artist? Is it worth setting up a Facebook ad campaign or Google AdWords?

    

Edward Hansen

    

Edward, I believe there is a better way of getting clients than advertisement — by sharing your knowledge and creating an audience. Tell other people about what you doing, teach them, show your expertise. I know there are some people thinking that others might steal your ideas if you share them, but it’s a paranoid, defensive way of thinking.

I would like to quote Jason Fried’s talk at The Chicago Convergence in 2008 because I couldn’t say any better:

“I think this [marketing by sharing] is especially relevant for small business and especially in creative industry because it’s really expensive and difficult to break out: there is a ton of small design shops, there is a ton of video shops. And how do you get known, how do people find out who you are? Of course you can hire a PR firm but it’s a waste of money and I wouldn’t do that, you can advertise somewhere but I don’t think it’ll work either because it’s hard to advertise design to kind of right people and it’s expensive. You can try some more traditional marketing ideas but I don’t think those generally work either.

What I think you should be doing is thinking about how can you teach people about your domain. If you are a web designer, for example, you can teach people about what it’s like to be a web designer, about CSS, HTML, what it’s like to land a client, you can talk about what it’s like to prepare a proposal or respond to an RFP. And these the things you can do on your website.

So, when you start sharing and start teaching other people, the great thing about it is all of a sudden you create an audience, which is a kind of a secret weapon when it comes to promoting your business. If you don’t have an audience, you have to constantly spend money to tell more and more people about your service, and after they buy something they go away and they don’t coming back until they want something else. But when you build an audience, when you generate a useful content, people keep coming back to you every day for more information. Eventually, when they’re ready to sign up or they need a web designer or whatever you do, they will have you in mind because they been coming back to you every day. And that’s a really effective way of reaching people without spending a lot of money.

Or, let’s say, you a writer. A freelance writer, or a journalist, or someone like that who needs to find more gigs and looking for more people to hire them. You should be talking about what it’s like to be a writer on your site. Most sites simply have a ‘Portfolio’, ‘About us’, and ‘Contact us’ page and that’s pretty much it, but you should have a section where you share drafts that were rejected, words that you left out. You should share one sentence you’re working on, share all different iterations and talk about why you left this one out, why you change these words, why you transpose these two words, what’s difference between final version comparing to the initial one. You need to share this process because people who read this are gonna go like: ‘This guy knows his shit. He cares enough about the words, he cares enough how words sound and structured to share with me the process he went through’. And that mean a whole lot more than someone who simply shares a series or essays or articles they’ve written. That’s how you begin to build your audience.”

The best thing about this technique is it can be used for pretty much any small businesses or services, even in music industry. I highly suggest watching the full video above whether you are a songwriter, a mastering engineer, a film score producer, a journalist, a label owner, a visual artist and so on.

Read also:

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Mar 15   Advice   Marketing

“Should I quit job?” 

 

Hi Daniel, I inspired a lot by many music producers and thinking to start a music career too, but my day-job is holding me back. Should I quit? I have some savings which would allow me to sustain life for a bit, not much but I guess half a year or so. Do you think it’ll be enough to make an album and make some progression?

    

Adam K.

    
“I’ll quit the job and will be free! I could make an album and quickly become a successful artist!”... No.

Adam, the short answer would be “no”, you shouldn’t quit your day-job just for sake of starting a music career unless you have some other source of income to pay your bills. And here is why.

I don’t know whether you already have some experience in music production or not, but I’ll assume you don’t. In this case, you’ll have to spend at least two-three years just learning the basics and getting your skills to a decent quality level. I spoke to dozens of producers and for none of them the learning process was fast. Even if you see some new name with great music appearing out of the blue, it always turns out he or she had years of music background prior to that release.

   

Another thing you have to keep in mind is that income in the music industry may be very indirect and not always match your expectations. Music sales give pennies, and it might take years before you’ll start touring on a regular basis. Just like in any business or entrepreneurship, you have to invest both time and money first and there is always a risk to never return it back.

    

The truth about music sales

    

At last but not least, what are going to do with the free time? You see, there is a catch: the more of something we have, the less we appreciate it. There are some wisdom phrase for that, I don’t remember exactly but it’s something like this: “If you want something to get done, give to the busiest person”. The truth is you probably don’t need 12 hours a day to make it, because if you do have all days long available for doing something, at some point you’ll find yourself sitting on the couch watching the fifth season of “Lost”.

    

Re-energizing for music production after 9-6 work

    

What you need, however, is to be consistent. Be sure to learn stuff, to make small but frequent steps. And while you still have a day-job to back you up financially, keep music production as a hobby.

    

John 00 Fleming recent Q&A where, in particular, he also advised to treat music as a hobby

    

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Mar 8   Advice   Career

“Is it worth releasing on a compilation?” 

 

Do you think it’s worth to sign a track on a compilation? I’ve got a message from one particular label that interesting in signing me up, they said they’ll do the mastering and stuff but I’m not sure whether I want it in the first place because that compilation seems to be a multi-genre medley. Perhaps you have some experience releasing on compilations?

    

Radio Dynamica

    

To answer this question, you have to make a research to see what kind of compilation it is because not all compilations are equally good.

Due to my nature, I often organise things by categories, so I came up with three tiers of compilations.

“Shitty” compilations

“Techno Trance 2014 – 30 Top Best Of Hits, Acid, House, Rave Music, Electro Goa Hard Dance, Psytrance” by EDM Records; “Space Trance Vol. 2 State of Universe, an Ultimate Voyage into Electro Trance” by GR8 Trance Music

The first and probably the most common compilation type I call “shitty compilations”, as you guess the name is self-explanatory. You can easily identify a compilation from this category by its terribly bad cover artworks and the titles like “100 Top Best Future EDM Psytrance Hits”.

The only reason why such compilations exist is because their labels want to make money. Artists, decency, and reputation are not the things they care about.

“Recycling” compilations

“Goa Culture Vol. 34” by Yellow Sunshine Explosion; “Universal Frequencies Vol. 2” by Digital Om Productions

These compilations usually curated by the label’s DJs, and basically they recycling tracks from the previously released albums and singles. Don’t get me wrong: recycling is a good thing. It gives listeners an opportunity to catch up some tracks they probably missed, and also gives some extra income and exposure to the label and the artists.

As you can see, these compilations typically has much better visual look as well. They also often hit the top charts because over time they’ve built a reputation of a quality content provider.

“Featured showcase” compilations

“JOOF Editions Vol. 3” by JOOF Recordings, “Full On Fluoro Vol.1” by Perfecto Fluoro

Featured compilations are long-awaited releases that showcase the label where it currently stands and where it heading to. The tracks selection is picked very carefully, sometimes artists make new track specifically to get into tracklistings so the compilation often includes previously unreleased works.

Typically, such compilations generate a solid buzz in social media and press and also hit the top charts. That’s the reason why most artists want to be featured on a compilation like that, but not everyone can get there.

***

I want to say it again, do your research first, see what kind of compilation is it, check the label and their previous releases. Is it a credible name? What other artists are released there? Otherwise you may end up on a compilation from the first category which would give nothing but a bad reputation. Or, perhaps, you should make a solo release instead?

Read also:

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Mar 1   Advice   Music industry

Feedback for “Vibrations” by MKZ 

 

Hello Daniel, my name is Adrian and I’m from Argentina. I started producing Psychedelic music about 3 years ago. I would like you listen to my track and get some advice and your opinion about my track based on you knowledge. Sorry for my English :) thanks for your time and hope you like it :)

    

Adrian

    

Adrian, I have to say this is a fantastic track I enjoyed a lot, reminds me of the good old days of Full-on Psytrance and also gives slightly reminiscent of Electric Universe. Well done! I have just a few comments.

   

First and foremost, the track progressed in a very strange way, sometimes by eight bars and sometimes by twenty. I can’t stress enough that most electronic music should progress by 16-bars sections, otherwise you not only make it weird but also make DJs job much harder. I’ve written about it earlier in the “Criteria of professional production” mini-series, make sure to check it out.

    

Criteria of professional production. Part 3. DJ-friendly arrangement

   
Extra four measurements at 49—53 Bars (highlighted in red) messes up the structure of the track
   

Now, maybe it’s just me, but I have a feeling that the kick and the bass are not quite in sync. You know, It’s like when you mix two tracks on CDJs and the beat is mismatched just a little so you hear those phassy high-end clicks? It’s like the bassline is somehow rushing (or dragging? :-).

    

Are you rushing or are you dragging? scene from “Whiplash” (2014)

   

Perhaps, you have some processing plugins causing latency of the channel? If that’s the case, I would suggest either using phase alignment plugin like Voxengo PHA-979 or manually adjust the individual track delay.

I also think that the mix can be improved. At the moment it seems like you’re trying to push everything at the front, as the result making all elements compete with each other rather than support and create several layers of depth. You can hear it especially at 2:18—2:45 minute.

Other than that, with some more effort it can be a really nice track. Keep ‘em coming!

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   

What should I post on social media as a music producer 

 

What should I post on social media? Do you have any ideas? I’m also trying to find someone who can help me with posts.

    

From the previous question of Timothy

    
Bedroom producers be like: “Ok so it’s Wednesday, let’s see what I can post on Facebook today”. Illustration by Alexander Nanitchkov

Before answering these questions, I’d like to make one thing clear first.

There is no one ultimate winning strategy for social media content that would work for everyone. Some people engage their audience by posting funny pictures, others prefer to make it strictly business.

Whatever way you choose, I suggest being genuine. I know words like “be yourself” sound cheesy, but once you accept where you currently are it’ll be much easier than pretending to be someone’s else. Music producers are different from corporate companies in a way that our communication is much more personal. Behind every alias and track is a real human being, and people feel that too.

Nevertheless, I know where this problem comes from. Look at any successful artist’s social feed and most of the time you’ll see either his upcoming gig announcement or photos and videos from the past gigs. But what if you don’t have twenty gigs a month yet? And obviously you can’t upload a new track every week either, so “I don’t know what to post on social” can be a real issue.

Well, here are some ideas for you. Keep in mind this is not an instruction but rather general categories of a content that you could possibly post as a bedroom producer:

Making-of’s Show what you currently working on or tell how some of your previous works were made of. It always goes nicely, especially with the videos.
Studio Demonstrate your workplace, gear, and tools you use. I find that this type of content attracts both listeners and producers.
Mentions Did some credible DJ played your track? Have your track climbed at the top chart? Did you give an interview? Tell about it.
Share Shout-outs to the other producers you enjoy. Share their music, give them a credit, tell why you like that particular track or song.
Trivia Some episodes of your daily life. Remember that something that seems ordinary to you as a producer might be interesting from the fan’s perspective.
News Official announcement such as signing on a record label, release dates, new track’s preview; milestones in your career.
Hashtags Share content on specific day of the week with a trendy hashtags, like #ThrowBackThursday or #FridayFunday.

But you can go further and create your own sort of series of content. For example, I host a monthly radio show, run a weekly advice blog, and plus occasionally share “Track of the week”, “Weekend readings” and other blogs. It helps to fill the gap between releases as so I always have some content to share. And people know that too so they have a reason to keep an eye on my updates.

Here are some of my posts just to give an example:

As for you trying to find someone who could post on your behalf, read the advice on artist’s manager if you haven’t yet because it’s a quite similar story. If you have no idea what to post on Facebook, how do you think someone else would know it unless you expect some generic phrases and producer’s memes? It might be a good idea to put social media management on someone’s else shoulders later, but I wouldn’t recommend doing that in the beginning because that’s how the learning curve goes, you have to get that experience from the first hand before hiring someone.

I also highly suggest checking out my experience of managing social media using Amplir. If you have the right tools and know how to use them, turns out, managing social media isn’t that hard and time-consuming. In fact, you can have several active social accounts just by spending hour a week if you work efficiently, so time is no excuse even for busiest persons.

   

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

   
Feb 15   Advice   Facebook   Marketing   Social media
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