{"id":3420,"date":"2014-07-22T00:00:00","date_gmt":"2014-07-21T22:00:00","guid":{"rendered":"http:\/\/srdevsite.soundreef.com\/stefano-maggio-the-most-important-thing-of-all-is-the-passion\/"},"modified":"2021-05-07T12:49:39","modified_gmt":"2021-05-07T10:49:39","slug":"stefano-maggio-the-most-important-thing-of-all-is-the-passion","status":"publish","type":"post","link":"https:\/\/www.soundreef.com\/en\/blog\/stefano-maggio-the-most-important-thing-of-all-is-the-passion\/","title":{"rendered":"Stefano Maggio: \u2018The most important thing of all is the passion\u2019"},"content":{"rendered":"

<\/p>\n

Stefano Maggio<\/a> works
\nas a composer, producer and singer, creating music in many different styles for
\nfilm, TV and other licensing work. He is also the vocal coach on the TV talent
\nshow Popstars in Germany. He told Soundreef about how he started out in the
\nmusic industry, how he gets paid for his music and how got started in music
\nlicensing.<\/i><\/p>\n

\u2018I began to play piano when I was very young, six or seven
\nyears old.\u2019<\/p>\n

Unfortunately the piano was quite the hit it later became,
\nand he found the lessons boring. But it wasn\u2019t long until he got interested in
\nmusic again.<\/p>\n

\u2018When I was 13, 14 I saw what rock music was, and then the
\nreal passion began. And I began to buy keyboards, to play with the first
\ncomputers, so I think I\u2019m the first generation of modern songwriters and
\nproducers\u2026 I began to work at 16 or 17 with the first computers and today I
\nwork with computers. It\u2019s very funny! I never worked analogue \u2013 I always worked
\ndigital.\u2019<\/p>\n

Never used a tape?<\/p>\n

\u2018I went through it, because I went to studios, I saw the
\nsituations in the studios, but my own studio was always different\u2026 I always did
\nmy work with just a mouse, unlike others who wanted more analogue stuff and the
\nbig mixer.\u2019<\/p>\n

How did he find out about Soundreef?<\/p>\n

Stefano already had his music on Soundreef\u2019s sister company Beatpick<\/a>, so when Soundeef was launched he was enthusiastic.<\/p>\n

\u2018Davide [founder of Beatpick and Soundreef] explained the
\nidea, which I found brilliant, excellent. I think that the world is changing
\nand it\u2019s becoming faster. And to have a company like Soundreef that is able to
\ngive to his partners a very fast response and lots of their publishing money is
\nreally great. Soundreef artists know that, if his song is played somewhere in
\nthe world, like a supermarket in Australia, or Sweden etc., he knows it with his
\nGoogle Maps and I find it really great.\u2019<\/p>\n

He\u2019s also excited about the idea of Soundreef Live<\/a>.\n<\/p>\n

\u2018I knew Davide was making a great thing with live gigs, so
\nin Rome there was the first live gig and the band played, and after some time they
\nknew exactly how much they earned from that show.\u2019 <\/p>\n

\u2018It\u2019s great because with other collecting societies this whole
\nprocess is not so fast!\u2019<\/p>\n

What have his experiences with collecting societies been
\nlike?<\/p>\n

\u2018I have to say, my experiences in SIAE are on the one side
\nvery good, on the other side, not so good.\u2019 <\/p>\n

\u2018Very good is, for example, ten years ago I produced many
\nringtones, and SIAE phoned me and said there is an significant amount of money coming
\nfrom one ringtone that is blocked \u2013 I don\u2019t remember the reason. So we fixed
\nthe situation and the money came and I have to thank SIAE for contacting me.
\nOtherwise the money would have been left in some black box.\u2019<\/p>\n

\u2018On the other hand, it\u2019s the same situation with all these
\nbig companies. Unfortunately, payment can\u2019t be very fast. Another problem is
\nthat it\u2019s always difficult to have full control and to know when and where your
\nsongs are played. And I know that I will not be paid for many of my songs
\nbecause of simple typos by somebody in collecting societies or in television
\ncompanies.\u2019 <\/p>\n

\u2018But, like other musicians, I cannot control every use of my
\nmusic on TV and radio. It\u2019s impossible. This is the big problem for every
\ncomposer: we lose more or less 50% of our money because of both big and small
\nmistakes.\u2019<\/p>\n

What kind of effect does that have on you and your career? <\/p>\n

\u2018Like many musicians, I have to do many things \u2013 mainly because
\nthe royalties for composition, publishing and so on are sometimes good, and
\nsometimes bad.<\/p>\n

\u2018So, twice a year, in January and in July, every composer
\nand songwriter will be a little nervous. I work very much with television and
\nwith compilations. I produce title and background music, and this is royalties
\nstuff.\u2019<\/p>\n

How did you get into that kind of thing?<\/p>\n

\u2018Sending CDs. Nothing else! I didn\u2019t know
\nanybody in the music industry when I began. Some A&Rs heard my CDs and
\nphoned me. They said, \u201cWe like what you do \u2013 come and meet us.\u201d Then we began
\nto work together. Davide d\u2019Atri, Beatpick, it was more or less like that. I
\nheard from him, and I searched on the internet, and then I wrote a mail… It\u2019s
\nvery easy sometimes!\u2019<\/p>\n

In Part 2, Stefano tells us about<\/i> how he got the Popstars gig,
\nhow TV talent shows have changed the music scene and artists going it alone.<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"

Stefano Maggio works as a composer, producer and singer, creating music in many different styles for film, TV and other licensing work. He is also the vocal coach on the TV talent show Popstars in Germany. 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