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  • February1st

    1 Comment

    Music Publishing & Distribution

    Posted in: Articles, Music

    Hey folks,

    Here’s another batch of bullet points & notes taken from ‘FACE THE MUSIC CONFERENCE’.
    Once again, I’m simply relaying what was said. Don’t use this as Gospel, it’s just a guide.
    When it comes to all that lovely legal talk, always ask a professional!

    “Legalities of Publishing, Recording and Distribution”

    Copyright

    There’s two components to Copyright.

    FIRST COMPONENT
    Musical work in the song, the ownership of the song, the composer of the song,
    composer of music (melody) and composer of lyrics (writer).
    Ownership is generally 50/50 each way.

    SECOND COMPONENT
    Sound recording of song(s) copyright.
    Whoever makes the sound recording owns it.
    Better put, whoever pays for it is generally the owner.

    So if a label asks you to get back in the studio, they’ll pay for the time in there, in which
    they’ll own the sound recording. With that said, you may consider adding to the contract (or they may)
    something that outlines they have the sound recording ownership for a period of time eg, 25 years.

    If your album is ready for the shelf and there’s no need to revisit the studio then there will be
    a period of time allocated to the label for ownership. In the end there has to be, no point in
    them having you on board if they can’t earn themselves some royalties from your work.

    COPYRIGHT GIVES ARTIST/OWNER EXCLUSIVE RIGHTS
    You have the right to duplicate it and/or earn royalties from public performances whenever
    its performed (APRA looks after this for artists) and so on..

    Moral Rights

    • Non tradeable rights
    • Usually for the composer
    • Work is protected and keeps its integrity
    • You have the right to be attributed for the song etc.

    Rights of Integrity

    This is a bit of a ‘grey area’.
    The right to maintain the integrity of the music.
    eg remixing a song – changing the verse of the original song may not be allowed, depending
    on the clause, etc..

    What is a music publisher?

    Basically you want a publisher to be active in exploiting your music so it’s out there.
    A publisher works your copyright which will get you more earnings.
    eg, used in tv commercials, tv shows or movie soundtracks etc.

    A PUBLISHERS ROLE
    • Control / protect copyright
    • Exploit song through licensing
    • Administer income (collect and distribute to those involved in the contract)

    TERM PUBLISHING
    • Writer signs with publisher for a period of time.
    • Admin deal – publisher will administer the rights.
    • Assigned copyright – all rights given to the publisher for a term
    • You can withhold certain rights

    PUBLISHER AGREEMENT
    • Royalties clause – percentage you’re entitled to.
    • The territory clause
    - You can give publisher only certain rights eg, can exploit in another country Australia and New Zealand only.
    • You can find another publisher and get another deal

    ADVANCE
    • Paid a fee on signing.
    • Publisher can recoup advances on future royalties.

    GENERAL PERCENTAGE BREAKDOWNS
    This all depends what contract you sign, but you should be working around these figures.
    Remember before you sign, get a lawyer to check it out!

    10% of NET – artist gets back from label (royalties)
    20% (ish) goes to the publisher (artist receives most of this)
    Royalty rate 10% (ish) – profits that finally gross after debt (’Advance’) is finally paid.
    Gross is distributed between label and artist (10%)

    Publishing is where artists make a lot of their cash.
    Publishers don’t (or shouldn’t) squeeze too much out of the contract and labels shouldn’t be asking for
    any percentage of the publishing rights. However, thanks to illegal downloading and the loss of profit
    it’s brought (accompanied by other factors) labels are trying to sneak their way into this area.

    more on this to be continued in the next blog…..

  • January4th

    2 Comments

    Part III: The Role of Records Labels

    Posted in: Articles, Inspiration, Music

    continued from Part II….

    What is the A and Errrr…?
    Artist & Repertoire (A&R) <--- This dude is your go between. The scout.
    Apart from finding you and/or being 'assigned' to you, this helpful third person 'bridges' the gap between
    you and the label. Hooray!

    A&R helps you with the process once signed. The may assist in the consistency of tracks on an album
    and or that of the transition from one album to the next. Making sure that if it goes right and not too far
    off course, you're happy, label's happy, fans are happy and still following!

    These guys are the middle ground for you and the label, when you want to talk about things.
    They know who to go to within the company. You need to keep them in the loop in order
    for things to progress!

    Here Have Some Cash…
    So you’ve been signed, everyone is on the same manuscript page, but they want you to
    spruce up your recording. They give you some money, NICE!

    Don’t get too chirpy, you’ll have to pay that $15k back! It’s an ‘Advance’ aka loan,
    not a generous offer of love and devotion to your art. Once the album hits the shelf,
    online or in-store, and the first official sale hit’s the till, you’ve just started paying the
    debt off. When that clears, you’ll get royalties from then on in. If sales aren’t high and
    the ‘advance’ isn’t paid, there’s obviously alternative methods to pay the debt, which may
    be in the contract you signed.

    Be Sociable…
    When it comes to connecting with your fans, it’s not just the music that keeps them
    coming back for more. Social networks are a gateway and the perfect ‘free’ opportunity
    to let fans in to your life!

    Use social networks, like Twitter, to let them know things about you.
    Make it funny and be personable!
    • “There’s a fly in my beer!” –> Tell them!
    • Woke up with a hangover from last night’s gig & look like death warmed up? –> Twitpic photo op!

    Setting boundaries with your fans and making it only about ‘the music’ isn’t gonna cut it in this
    technological age. Everyone wants to know what everyone is up to, that’s why these ‘networks’
    were set up. It’s online gossip. Using it as tool to only let people know when you’re gigging is plain old boring.

    Cameo Two: My personal advice…
    Don’t Underestimate the Power of ‘Hello’….
    You’re still nervous having just finished playing a gig.
    Wound up like a top, not sure how it went. You pack up and leave the venue….
    Get back in there NOW!!
    Don’t leave if you don’t have too!!

    Head to the bar and grab a lemon squash if you must. You don’t have to be a socialite, but use the time
    to interact with who’s there. Get feedback and ask questions, ‘Hello, you’re cute, sooo… whadya think?‘
    Interacting and networking the ‘old fashion’ way is mighty!

    Someone may let you know that your music was good, but hard to enjoy because the sound engineer sucked
    at his job. It was too loud or too low. You’ll never know if you don’t ask!

    Someone may want to grab a copy of your album or you may be talking to someone that can help you on
    your journey. Who knows who’s lurking in the corners!

    No one at the conference can or could ever give the winning answer. There’s not set rules or successful game
    play to work through and cross off as you go. Everything varies from label to label.

    MUSIC CHECK LIST

    • Figure out which songs are your best and record them. Only your best!
    • Get professional recording, mixing, producing (if possible) and mastering done!
    • Cover art* – That’s my job! I’ll make you look pro!
    • Merchandise*  Get tshirts, posters, sign copies of your ep (add an extra charge eg $2)!
    • Promotions  – Leg and finger work is needed! Paste your posters, pre-sell tix, hit the social networks!
    • Play live! Probably one of the most important things of all. 1 live gig = 5 rehearsals!
    • Stay at the Gig! Be sociable and say hello!
    • You’ve been handed a contract. Get a lawyer to look at it!
    • Be honest with the label about what you want. If it doesn’t’ work don’t sign!
    • Be respectful with what they offer and have a good relationship!
    • Be realistic about what you’re after. —> 1st time artist contracts won’t receive 90% royalties!

  • January4th

    No Comments

    Part II: The Role of Record Labels

    Posted in: Inspiration, Music

    Continued from Part I: The Role of Record Labels….

    Think U2.. ONE
    Music is one of the hardest industries to crack.

    We’ve got a small population is Australia. Look at our charts, we’re competing with an abundance of
    internationally acts. Make the job for scouting and decision making ‘easier’.

    If you’re planning a mission to hit all the labels with your music, please, for goodness sake, be professional!
    You get one shot.

    Get It Right…
    I was foolish to think and at times even suggest, “Hey, send a demo to the label!”
    If it’s not ready to go, then don’t bother. That’s what ‘they’ said, quote “It has to be your best work.”
    You’ll get tired of reading this, but it’s not always the case. I like a nice acoustic recording, but you should
    be prepared. So don’t slump over the keyboard depressed, keep reading and learn!

    When mailing a demo, the receiver is expecting something of high quality. You may think the
    acoustics were ‘rad’, but they don’t want to listen to songs you’ve recorded in the bathroom!
    The ‘product’ needs to be as finished as possible.
    Again, not always the case (I need to always reiterate that), but it’s a more common train-of-thought and
    most practical way of getting a foot in the door.

    Lovely Stories Were Shared…..
    Demo was sent.
    Artist was great!
    Songs were brilliant!!
    Label’s ears pricked up!!!
    They want more information!!!!
    IT’S A DREAM COME TRUE!!!!!

    No contact details attached… (dorks)….

    Please, don’t embarrass me.
    It can simply be your myspace or website address. Make sure there’s a way of contacting you.
    So many artists have missed out because they forgot the most basic and essential piece of information!

    How Does This Sound?
    So you can write like Shakespeare and play like a hero, good for!
    Make sure you know WHAT you want to sound like.
    If your music is all over the shop then step back and take some time out.
    There needs to be consistency in your music.
    The album you’re creating is a book, every song a chapter bridging the next.
    Starting with a pop/acoustic track and finishing with rock/metal isn’t versatile, it’s confusing.
    With that said, if you can manage a hybrid of styles, knowing when to accelerate and when to pull back
    without it being conflicting or ‘mashy’, awesome. Sign me up.

    Last metaphor:
    It’s like a river, it can flow with a few highs and a few lows, but the tide needs to pull you in one direction.

    Mirror, Mirror On The Wall, What Look Will They Adore..?
    What image are you after?
    Are you the pin-up country singer in leather, donning a cowboy hat or the country singer looking
    like you’re part of a bikie gang? Figure it out.
    The label can’t ‘comfortably’ help you with the image if you have no clue yourself.

    Continued in Part III….

  • January4th

    No Comments

    Part I: The Role of Record Labels

    Posted in: Inspiration, Music

    Welcome to the first part of my ‘constructive notes’, penned whilst attending ‘Face The Music 09′ Conference. I transcribed as much information as possible, so I can help you develop as an artist/band and give you some sort guidance as to how to get your music out there.

    Blogs to be posted are about the following:
    • ‘The Roll of Record Labels in Developing Artists Careers’
    • ‘Music Publishing and Distribution’
    • ‘Business Models For Indie Artists’

    PLEASE remember, these are guides only. My shorthand is rusty and I don’t own a dictaphone. Don’t go suing me for misleading information, I’m just the messenger with cockroach handwriting.

    There’s a lot of info so I’m breaking it up in several blogs over the next week or so.
    Feed back welcome!

    Part I: The Roll of Record Labels In Developing Artists Careers

    Once Upon A Sound Booth….
    In the good ol’ days, the more traditional approach for labels was to find the talent and help develop them. Someone who could sing a good song, through them into a studio and fund the entire project. Though it’s not a step that’s completely scrapped, it’s simply rare form (more so for major labels – apparently).

    Most labels nowadays don’t simply listen to a demo you’ve mailed, then make the big decision to sign you based on that alone. Fair enough too, it’s a business investment in the end, so there’s more to it.

    DIY: Earn Your Stripes..
    Though labels assist you to build a public profile, the more you do, the better and easier the relationship will be. They can help in other areas you can’t reach, whilst working on what you’ve already put in place. Most importantly, labels will help you connect with the one thing you want the most, the market! They have the links, distributors and networks, nationally and internationally.

    Aretha Sang it: “R.E.S.P.E.C.T”
    We all want it. If the opportunity to sign with a label, independent or major, comes along, put your cards on the table. Don’t breakdown the five year plan you’ve put together since you were thirteen. Be realistic and explain what you would like for your first release.
    They’ll tell you what they expect from you and vice-versa. Listen to what assistance they’ll provide. If it’s not what you’re after then don’t sign. If you agree on things that aren’t your cup of tea, DON’T SIGN and think that you can try negotiate later. That’s the start of a rocky friendship. Be honest.

    Get Unplugged….
    I mentioned that it’s rare for a label to sign talent based on the listening of a demo they’ve received in the mail. It’s like buying a car, looks good in the showroom but how does it handle on the road? They need to make sure you’re versatile. Can you cut it performing live? Are you focused and connecting with the crowd? Or are you too busy trying to get the bar tender’s attention for that third and final free beer the venue owes you for the night?

    Cameo One: Here’s my personal advice to all of you.
    I’m gonna throw it in, take it or leave it:
    Each time you play to a live audience do all of the following:
    1. Perform like it’s your first gig.
    2. Perform like it’s your ‘farewell to the world’ gig.
    3. Perform like you’ve been doing it all your life.
    4. Perform not because you need to but because you believe in the music and what you wrote.
    5. Sing the song like you mean it!
    6. Perform like it’s the ONLY SHOT YOU GOT!

    Play every dive, keep yourself propped up on a stage and your name on the chalkboard outside the venue!
    Word gets around. Do it right and some A&R may come around to check you out eventually.

    Part II of ‘The Roll Of Record Labels to follow in next blog…

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