You know I am into my recording, right? :)
One of my friends Mahesh, an excellent singer and songwriter, has started a blog all about creating music.
He's just posted an excellent introduction to Recording In Ubuntu.
For those unfamiliar with Ubuntu, it is a popular Debian based operating system.
It's a new blog, but I think it will be well worth subscribing.
Friday, 29 July 2011
Saturday, 16 July 2011
5 Critical Elements Of Your Band Bio
One of the fundamentals of the modern band and band web site is the Band Bio. Many bands struggle to write an effective bio.
With a little thought and by paying attention to the following guidelines your bio will stand out by it's quality alone.
5 Critical Elements Of Your Band Bio
1. Who Are You?
The most important elements to include are fundamental to any bio. You should include:
Friday, 1 July 2011
What To Do Before Posting Your Songs On The Internet
There are millions and millions of songs posted on the internet by aspiring artists that have failed to take the simplest steps BEFORE posting their song.
So what do you need to do?
3 simple steps to protect your rights, and any income from your music.
Step 1: Register Your Songs With The US Copyright Office and National Libraries
If you are not living in the United States, this section STILL APPLIES TO YOU. As soon as you put your music on the internet in any form they will be crossing copyright regions into the United States as soon as a US visitor plays or downloads your song.
If you plan to sell your songs registration with the US Copyright Office is absolutely essential.
The US Copyright Office is part of the US government. They maintain a database of songs with copyright claims of ownership on a certain date. It's cheap at about $35 per submission. Submissions don't need to be a solitary song, you can submit an album worth of material and the cost will still be $35.
There is an online submission site for the US Copyright Office:
Electronic Copyright Office
For further information please visit the US Copyright Office.
Write out Lead Sheets for your songs and then submit them to your national and other important libraries. Submit your lead sheets to, for example: the British Library, Oxford & Cambridge Library, The National Libraries of Scotland and Wales, in the UK, Trinity College, Dublin; and in the USA: the U.S Copyright Office - Library Of Congress etc.
Note:
I would strongly suggest that you write out lead sheets for your songs and then submit your works to the big libraries before sending anywhere.
Step 2: Create An ISRC Code And Encode It Into Your Recording Master
An ISRC (International Standard Recording Code) unique to you and the recording and is added to your track master. It identifies the specific recording of the song as being yours. This makes the job of logging radio airplay and that makes royalty collection much easier.
The RIAA no longer supplies ISRC codes. US citizens should now apply for ISRC registrant codes to the USISRC
USISRC Website: https://usisrc.org
In the UK you should request your unique base ISRC Code from the PPL.
PPL Website. http://www.ppluk.com/
From the base ISRC code you can create an entirely unique code for each recording you intend on releasing.
For general ISRC information please visit
http://www.ifpi.org/content/section_resources/isrc.html
When you send your music (in any recorded form) to a radio station, make sure you include a TYPED PAGE containing the ISRC codes for the submitted songs.
Notes:
Sending someone a mastered CDR does not automatically provide them with your ISRC codes. You need to supply accompanying documentation.
To encode an ISRC yourself yo uwill need a redbook capable CD authoring program. Both Wavelab 7 Retail
and CD Architect 5.2
are capable of doing this. Adobe Audition CS5.5 I understand no longer supports this format but they are reconsidering reintroducing it. Make sure you review the specifications before you buy a product as specifications DO change!
Step 3: Register Your Songs With A Performing Rights Society
Depending on exactly what country you are in will make a difference to which rights society you register your songs with.
To start off with you will need to register with the appropriate performing rights society , and then register your songs with them. When you register your songs you will be able to include your ISRC codes in the song registration.
Many performing rights administrators provide software to easily allow you to register your songs and edit any song information that you place in their database.
In the US ASCAP, BMI and SoundExchange in the UK PRS For Music are common collection agencies. Each country has one or more collection agencies representing songwriters and publishers. There are many more. You can find a list of collection agencies here:
Professional Bodies
Recommended Links
If you would like to talk about this article or any of the points raised please go to:
Songstuff Songwriting and Music Community
Thanks for reading! Feel free to leave a comment below!
So what do you need to do?
3 simple steps to protect your rights, and any income from your music.
Step 1: Register Your Songs With The US Copyright Office and National Libraries
If you are not living in the United States, this section STILL APPLIES TO YOU. As soon as you put your music on the internet in any form they will be crossing copyright regions into the United States as soon as a US visitor plays or downloads your song.
If you plan to sell your songs registration with the US Copyright Office is absolutely essential.
The US Copyright Office is part of the US government. They maintain a database of songs with copyright claims of ownership on a certain date. It's cheap at about $35 per submission. Submissions don't need to be a solitary song, you can submit an album worth of material and the cost will still be $35.
There is an online submission site for the US Copyright Office:
Electronic Copyright Office
For further information please visit the US Copyright Office.
Write out Lead Sheets for your songs and then submit them to your national and other important libraries. Submit your lead sheets to, for example: the British Library, Oxford & Cambridge Library, The National Libraries of Scotland and Wales, in the UK, Trinity College, Dublin; and in the USA: the U.S Copyright Office - Library Of Congress etc.
Note:
I would strongly suggest that you write out lead sheets for your songs and then submit your works to the big libraries before sending anywhere.
Step 2: Create An ISRC Code And Encode It Into Your Recording Master
An ISRC (International Standard Recording Code) unique to you and the recording and is added to your track master. It identifies the specific recording of the song as being yours. This makes the job of logging radio airplay and that makes royalty collection much easier.
The RIAA no longer supplies ISRC codes. US citizens should now apply for ISRC registrant codes to the USISRC
USISRC Website: https://usisrc.org
In the UK you should request your unique base ISRC Code from the PPL.
PPL Website. http://www.ppluk.com/
From the base ISRC code you can create an entirely unique code for each recording you intend on releasing.
For general ISRC information please visit
http://www.ifpi.org/content/section_resources/isrc.html
When you send your music (in any recorded form) to a radio station, make sure you include a TYPED PAGE containing the ISRC codes for the submitted songs.
Notes:
- Radio stations do not extract ISRC codes from wav files, MP3 files, CD's or CDR's.
- ISRC Codes are not embedded into the audio files on a CDR
- ISRC Codes are not embedded in MP3 Files when they are converted from wav files
- ISRC Codes can be included in MP3's using ID3 Tags to add information about the song name, artist, copyright etc to be embedded.
Sending someone a mastered CDR does not automatically provide them with your ISRC codes. You need to supply accompanying documentation.
To encode an ISRC yourself yo uwill need a redbook capable CD authoring program. Both Wavelab 7 Retail
and CD Architect 5.2 are capable of doing this. Adobe Audition CS5.5 I understand no longer supports this format but they are reconsidering reintroducing it. Make sure you review the specifications before you buy a product as specifications DO change!Step 3: Register Your Songs With A Performing Rights Society
Depending on exactly what country you are in will make a difference to which rights society you register your songs with.
To start off with you will need to register with the appropriate performing rights society , and then register your songs with them. When you register your songs you will be able to include your ISRC codes in the song registration.
Many performing rights administrators provide software to easily allow you to register your songs and edit any song information that you place in their database.
In the US ASCAP, BMI and SoundExchange in the UK PRS For Music are common collection agencies. Each country has one or more collection agencies representing songwriters and publishers. There are many more. You can find a list of collection agencies here:
Professional Bodies
Recommended Links
If you would like to talk about this article or any of the points raised please go to:
Songstuff Songwriting and Music Community
Thanks for reading! Feel free to leave a comment below!
Monday, 20 June 2011
The Power Of Song Hooks
Many songwriters don't understand hooks. I have seen arguments between writers about the importance of melody versus lyrics to the extent that some claim that lyrics are not important at all while melody is king. Producers that aren't aware that production hooks exist, even though they accidentally create them! Hooks come in all shapes and forms and the more you understand what a hook is and how it works them more easily the hooks can be used in future compositions and recordings.
What Is A Song Hook?
A song hook is in essence something that grabs you and makes you want more. You can have good hooks, bad hooks, weak hooks and strong hooks. You can also have no hooks! A good, strong hook for example is something that gets your attention, something that is memorable and something that makes you want more.
Hooks can compliment each other, the sum of parts being less than the whole, and hooks can compete with each other and so dilute their strength.
Most individuals only have a vague understanding drawn from their life experience of liking and not liking but there are formulae that govern hooks (although some are more like loose guidelines). By "vague" I mean that they don't have a formal understnding of hooks. They have not been taught about them, and perhaps have not thought about them.
Genre
Genre has a large effect on the relative importance of lyrics, but the same is true for all aspects of a song. All have to be at least of a good standard and deliver on some level. What you are looking for in essence is something that supports or compliments the emotional mood the song sets, be that happy, sad, joyous or mournful.
Many writers and bands think of hooks as being the main melody but listeners factor in all kinds of things and each of these attributes and associations can be honed. Each of them can have a hook.
Lots Of Song Hook Types
Lyrics can be thought of on a multitude of levels, roughly divided into:
Each of these aspects of lyrics has the possibility of being a hook. Each hook has the chance to grab a listener.
the same is true of melody:
or a specific singer and their voice
Not a complete list by far (even for those listed) but you get the idea. All have their hooks.
The same is true for each instrument, for the arrangement and the production.
That's a lot of potential hooks.
Make The Most Of Your Song Hooks
As mentioned before, hooks are in part genre dependent and so is the emphasis that is placed upon them. Not so much that an individual types of hook stops working altogether, more that according to genre the emphasis that appears to be placed on them in that context is less. When writing songs it's the writer's job to create appropriate hooks, in the appropriate place. Some hooks work out better when used only once, most however benefit from multiple repetition. Think of chorus hooks. Melodies and key lyrical phrases are repeated to emphasise and reinforce the strength of the hook. Repetition of course helps the hook to be remembered.
A completed song may contain many types of hooks. Ideally you want those hooks to combine in a way that they compliment each other strengthening the link between the song and the listener.
Hooky Songs
Songs are sometimes decribed as "hooky" or "catchy". In the pop market hooky tends to equate to instantly catchy, whereas in other genres there is more of a leaning toward more subtle, longer acting hooks. While changing taste does account for begining to like songs that previously you didn't get, but not always. Sometime the hooks themselves are slower acting, but sometimes just as powerful as the more instantly catchy.
More instantly catchy songs also tend to age faster. Their popularity declines faster. The opposite is also true with songs that take a while to get into tending to keep their popularity longer. There is absolutely nothing stopping songwriters and arrangers from using a mix of hooks to achieve a song with more balance to it.
Lyrical Hooks
In lyrical terms more instantly catchy hooks tend to use common phrases that reflect very common ideas and aspirations. Slower acting hooks tend to be hooks with multiple levels of meaning where the levels of meaning are slowly revealed. Similarly hooks that are more abstract fit into this category. For example, one line that always stays with me is from David Bowie's "Life On Mars":
"It's on America's tortured brow
That Mickey Mouse has grown up a cow"
It might not seem like a hook, but it is. It is memorable. It provides something you think about and chew over the meaning, yet at the same time it is an abstract and silly image. It is a strong hook yet not the main hook of the song (arguably). It isn't repeated and it is in the middle of the verse. This is because a hook can be pushed on the user by repetition or by placement or both, as in choruses, but abstract hooks don't often work as well like this because the act of pushing them cheapens them. In keeping this hook buried and not repeating it David Bowie left the listener with a long burning thing that could be chewed over and smirked at for a long time. Had it been a main line in the chorus it's appeal would have dissipated far more quickly. Luckily he was full of ideas so the song has hooks of most kinds.
In looking at many new songs across a broader range of genres there is undoubtedly a trend towards shorter term hooks, the more instantly appealing. Many songwriters on songwriting forums regularly state that lyrics are not important and point to this hit or that hit as an example, but they are simply wrong. The lyrics, either by intention or accident, in those hits were appropriate to the market they were selling to. The same is true where lyricists sometimes believe that the lyrics are the be all and end all. Breaking news, they are not.
The Whole Is Greater Than The Sum Of The Parts
Songs are a unique combination of music and words. Their strength and appeal lies completely in the phrase I used earlier "the whole is greater than the sum of the parts." At least a song has the potential to be greater than the sum of the parts! Combine the wrong parts in the wrong way and exactly the opposite can be true.
Take Control Of Your Song Hooks!
Due diligence. The songwriter's craft is in part to do exactly this. So the next time you are writing a song take some time to review the hooks in your songs. Don't rely on accidents happening.
The first step is to become aware of song hooks. Take alook over a range of hit songs from across the years. Look for the hooks. Look for how they have been used to attract attention and to keep it, and how they can create in the listener an appetite for that song. Look back over your material and see where you have used them and where you have abused them. Observation and analysis is a big part of more rapid improvement.
You will only understand song hooks and how they work together if you take some time to look at them and understand them. If you do you can place them with intention, understanding their effect. This makes for muc more effective songwriting and songs that, for the right reasons, are more memorable, more attention grabbing, that make the listeners want more.
Simple huh?
Useful Links
If you would like to discuss this or other songwriting and music related issue, please visit Songstuff, an essential resource for songwriters and musicians. Take part in the songwriting and music community and exchange ideas and views with you r fellow writers!
More next time, until then, take care!
What Is A Song Hook?
A song hook is in essence something that grabs you and makes you want more. You can have good hooks, bad hooks, weak hooks and strong hooks. You can also have no hooks! A good, strong hook for example is something that gets your attention, something that is memorable and something that makes you want more.
Hooks can compliment each other, the sum of parts being less than the whole, and hooks can compete with each other and so dilute their strength.
Most individuals only have a vague understanding drawn from their life experience of liking and not liking but there are formulae that govern hooks (although some are more like loose guidelines). By "vague" I mean that they don't have a formal understnding of hooks. They have not been taught about them, and perhaps have not thought about them.
Genre
Genre has a large effect on the relative importance of lyrics, but the same is true for all aspects of a song. All have to be at least of a good standard and deliver on some level. What you are looking for in essence is something that supports or compliments the emotional mood the song sets, be that happy, sad, joyous or mournful.
Many writers and bands think of hooks as being the main melody but listeners factor in all kinds of things and each of these attributes and associations can be honed. Each of them can have a hook.
Lots Of Song Hook Types
Lyrics can be thought of on a multitude of levels, roughly divided into:
- story / meaning
- deeper meaning
- evocation of emotion
- rhythmic
- imagery
Each of these aspects of lyrics has the possibility of being a hook. Each hook has the chance to grab a listener.
the same is true of melody:
- rhythm
- evocation of emotion
- repetition
- range / tone
- variation
or a specific singer and their voice
- evocation of emotion
- tone
- quality
- image
Not a complete list by far (even for those listed) but you get the idea. All have their hooks.
The same is true for each instrument, for the arrangement and the production.
That's a lot of potential hooks.
Make The Most Of Your Song Hooks
As mentioned before, hooks are in part genre dependent and so is the emphasis that is placed upon them. Not so much that an individual types of hook stops working altogether, more that according to genre the emphasis that appears to be placed on them in that context is less. When writing songs it's the writer's job to create appropriate hooks, in the appropriate place. Some hooks work out better when used only once, most however benefit from multiple repetition. Think of chorus hooks. Melodies and key lyrical phrases are repeated to emphasise and reinforce the strength of the hook. Repetition of course helps the hook to be remembered.
A completed song may contain many types of hooks. Ideally you want those hooks to combine in a way that they compliment each other strengthening the link between the song and the listener.
Hooky Songs
Songs are sometimes decribed as "hooky" or "catchy". In the pop market hooky tends to equate to instantly catchy, whereas in other genres there is more of a leaning toward more subtle, longer acting hooks. While changing taste does account for begining to like songs that previously you didn't get, but not always. Sometime the hooks themselves are slower acting, but sometimes just as powerful as the more instantly catchy.
More instantly catchy songs also tend to age faster. Their popularity declines faster. The opposite is also true with songs that take a while to get into tending to keep their popularity longer. There is absolutely nothing stopping songwriters and arrangers from using a mix of hooks to achieve a song with more balance to it.
Lyrical Hooks
In lyrical terms more instantly catchy hooks tend to use common phrases that reflect very common ideas and aspirations. Slower acting hooks tend to be hooks with multiple levels of meaning where the levels of meaning are slowly revealed. Similarly hooks that are more abstract fit into this category. For example, one line that always stays with me is from David Bowie's "Life On Mars":
"It's on America's tortured brow
That Mickey Mouse has grown up a cow"
It might not seem like a hook, but it is. It is memorable. It provides something you think about and chew over the meaning, yet at the same time it is an abstract and silly image. It is a strong hook yet not the main hook of the song (arguably). It isn't repeated and it is in the middle of the verse. This is because a hook can be pushed on the user by repetition or by placement or both, as in choruses, but abstract hooks don't often work as well like this because the act of pushing them cheapens them. In keeping this hook buried and not repeating it David Bowie left the listener with a long burning thing that could be chewed over and smirked at for a long time. Had it been a main line in the chorus it's appeal would have dissipated far more quickly. Luckily he was full of ideas so the song has hooks of most kinds.
In looking at many new songs across a broader range of genres there is undoubtedly a trend towards shorter term hooks, the more instantly appealing. Many songwriters on songwriting forums regularly state that lyrics are not important and point to this hit or that hit as an example, but they are simply wrong. The lyrics, either by intention or accident, in those hits were appropriate to the market they were selling to. The same is true where lyricists sometimes believe that the lyrics are the be all and end all. Breaking news, they are not.
The Whole Is Greater Than The Sum Of The Parts
Songs are a unique combination of music and words. Their strength and appeal lies completely in the phrase I used earlier "the whole is greater than the sum of the parts." At least a song has the potential to be greater than the sum of the parts! Combine the wrong parts in the wrong way and exactly the opposite can be true.
Take Control Of Your Song Hooks!
Due diligence. The songwriter's craft is in part to do exactly this. So the next time you are writing a song take some time to review the hooks in your songs. Don't rely on accidents happening.
The first step is to become aware of song hooks. Take alook over a range of hit songs from across the years. Look for the hooks. Look for how they have been used to attract attention and to keep it, and how they can create in the listener an appetite for that song. Look back over your material and see where you have used them and where you have abused them. Observation and analysis is a big part of more rapid improvement.
You will only understand song hooks and how they work together if you take some time to look at them and understand them. If you do you can place them with intention, understanding their effect. This makes for muc more effective songwriting and songs that, for the right reasons, are more memorable, more attention grabbing, that make the listeners want more.
Simple huh?
Useful Links
If you would like to discuss this or other songwriting and music related issue, please visit Songstuff, an essential resource for songwriters and musicians. Take part in the songwriting and music community and exchange ideas and views with you r fellow writers!
More next time, until then, take care!
Monday, 13 June 2011
How Do Modern Promoters Manipulate The Market?
So, just how possible is it for a modern promtion company to manipulate the market to buy their product?
Well, let me tell you a little story...
Getting Started With Talent Show Promotion
Imagine your promo company started by setting up a television based talent competition with national coverage. Eventually international, but that comes later.
That automatically gets you lots and lots of promotion just by being broadcast. That is of course the tip of the iceberg. You also go for magazine articles and interviews, coverage by news programs. Fans get behind individual performers, which of course you harness in many ways. For example by setting up the ability for the fans to select the winner by voting on the phone line (which of course you earn a few milllion based on this alone), you set up a website where fans can talk about their acts. Magazines and TV magazine shows have their own chat rooms spreading the buzz too. Lets not forget the social networks. You create a Facebook page so the fans of the show and fans of the acts can interact and be kept up to date.
Sound familiar?
Onto The Next Stage
Yet again you can start releasing recordings of the winners and make a lot of money there, add in releasing recordings of final contestants and a tour of the competitors. Releasing free videos onto a YouTube channel provides some basic viral spreading content, food for the social networks.
This all sounds predictable. You know the message is going to be pushed, pushed, pushed, but at this point manipulation of the market is understandable (if in your face). Is this the extent of what you can do?
Of course not!
Creating Competition and Using It
You underline competitiveness between contestants, creating controversy, polarizing fans, creating more conversation, more buzz, more activity. This increases phone voting with fans voting for people they don't/do like with a frenzy to demonstrate for one singer, against another.
So you develop consecutive independent love hate polarized competitiveness with other acts. They all benefit too with the "Keep ******* from winning!" going strong. In fact highlight an act you would nevver want to win because that motivates the public to vote for even the worst, most terrible acts. Freak show style promotion is used.
This is ideal as there is an "anti-show" campaign running and this gets all the people who hate the show to phone in and vote for these acts to win, ensuring you make even more money!
The Competition Winner! But Wait...
This of course works right up until a winner is announced and you are faced with trying to get a Christmas number one single.
Of course you have had the biggest promo campaign in the country rolling for several months so you definitely have an advantage. You have lots and lots of fans that you can contact fairly easily through TV, radio, internet, magazines to the point you saturate the market place.
How can you squeeze even more from this?
Squeezing Out Some More Money
By underlining some acts that your act will compete with! It pulls out your fans in force to buy the song! fantastic!
So you develop a love hate polarized competition with this other act. They of course benefit too with the "Keep ******* from Christmas number 1!" going strong.
Facebook wars ensue with "make them No.1" and "keep them from No.1" campaigns dominating the network (or at least some neighbourhoods).
This is all done in a very visible way with misdirection being used to keep the target moving in regards the public being certain what is going on, or that they may in any way be being manipulated!
Chinese Bloggers
But wait! Surely there are ways to maximise even this? To make the word spread further?
Of course there is. You can, behind the scenes, hire people to set up blog profiles to blog about what is going on, people to set up facebook pages and interact on social networks. These people are professionals. They can set up multiple "character" pages. Male, female does it matter? They are after all just personas.
This collection of people heighten the excitement, add to the buzz and fuel debates, especially the love / hate campaigns and the freak show campaign. It's simple. They start a campaign, or find a small campaign that normally wouldn't have gone past 10 likes and turn it into a national campaign. It seems everyone and their dog are talking about this show and it's artists!
Surely there can't be that many people doing this though? Well in China alone there were 10 million english speaking students working in this industry and that is only one of the countries with a significant english speaking tech savvy populus.
Of course you have a huge budget, and the investment in 1 million bloggers setting up many accounts and personas really isn't that large in comparison to the return on the investment.
Feeling manipulated yet? These people are not buying records or downloads so there is no direct manipulation of the charts! Amazing isn't it?
Of course your persona bloggers are involved in both campaigns, to the extent that your promo company controls both ends (within a margin of error). No one knows! Ideal.
I mean would you feel manipulated by all this?
But I Want More Money!
But wait, you've missed an opportunity to earn money. Back at the christmas single competition... that's it.. you'll have a share in the market of the anti competition show act so that NO MATTER WHO PEOPLE VOTE FOR OR BUY, YOU WIN!
You're Rich! Richer than rich.
And you all live happily ever after. The End.
Manipulating The Market
Would you feel manipulated by this level of market control by this ficticious show? By this level and type of promotion?
Of course the only way to not be a part of it, to vote against it is not to watch, not to like on facebook, not to phone at all, and not to buy the records.
At least, this for the cynically minded is how it is possible to do such a thing and bears no resemblance to any actual shows or how they operate. This sentence is of course not added to stop someone trying to sue me but it does have that handy side effect. *whistles*
The Lesson For The Independent Musician
There is a lesson here for the less money grabbing promoter. Coordination and timing are so important. Modern campaigns run across multiple media types. Don't rely on people to form opinions based on just the music. Interact, talk to them and don't be afraid to encourage them to help you in your quest to further your career.
Where you draw the line is as much an ethical decision but lets be honest, for many it is simply a financial decision. What is outlined above is an example of what you are up against when you compete against at least some larger organizations.
When you are only interested in the beauty and integrity of your own music it is however a bit of a body blow. At least you might think that if there were great opportunities that so far yo uwere not taking advantage of correctly. More on this to come for the musicians among you.
To Sum It Up For Fans
If you are a fan and stumble across this I encourage you to forward this on so that your fellow fans can be equally well informed!
If you find this article interesting, useful, informative etc then please share it! Like it! Like my blog and please post comments :)
Well, let me tell you a little story...
Getting Started With Talent Show Promotion
Imagine your promo company started by setting up a television based talent competition with national coverage. Eventually international, but that comes later.
That automatically gets you lots and lots of promotion just by being broadcast. That is of course the tip of the iceberg. You also go for magazine articles and interviews, coverage by news programs. Fans get behind individual performers, which of course you harness in many ways. For example by setting up the ability for the fans to select the winner by voting on the phone line (which of course you earn a few milllion based on this alone), you set up a website where fans can talk about their acts. Magazines and TV magazine shows have their own chat rooms spreading the buzz too. Lets not forget the social networks. You create a Facebook page so the fans of the show and fans of the acts can interact and be kept up to date.
Sound familiar?
Onto The Next Stage
Yet again you can start releasing recordings of the winners and make a lot of money there, add in releasing recordings of final contestants and a tour of the competitors. Releasing free videos onto a YouTube channel provides some basic viral spreading content, food for the social networks.
This all sounds predictable. You know the message is going to be pushed, pushed, pushed, but at this point manipulation of the market is understandable (if in your face). Is this the extent of what you can do?
Of course not!
Creating Competition and Using It
You underline competitiveness between contestants, creating controversy, polarizing fans, creating more conversation, more buzz, more activity. This increases phone voting with fans voting for people they don't/do like with a frenzy to demonstrate for one singer, against another.
So you develop consecutive independent love hate polarized competitiveness with other acts. They all benefit too with the "Keep ******* from winning!" going strong. In fact highlight an act you would nevver want to win because that motivates the public to vote for even the worst, most terrible acts. Freak show style promotion is used.
This is ideal as there is an "anti-show" campaign running and this gets all the people who hate the show to phone in and vote for these acts to win, ensuring you make even more money!
The Competition Winner! But Wait...
This of course works right up until a winner is announced and you are faced with trying to get a Christmas number one single.
Of course you have had the biggest promo campaign in the country rolling for several months so you definitely have an advantage. You have lots and lots of fans that you can contact fairly easily through TV, radio, internet, magazines to the point you saturate the market place.
How can you squeeze even more from this?
Squeezing Out Some More Money
By underlining some acts that your act will compete with! It pulls out your fans in force to buy the song! fantastic!
So you develop a love hate polarized competition with this other act. They of course benefit too with the "Keep ******* from Christmas number 1!" going strong.
Facebook wars ensue with "make them No.1" and "keep them from No.1" campaigns dominating the network (or at least some neighbourhoods).
This is all done in a very visible way with misdirection being used to keep the target moving in regards the public being certain what is going on, or that they may in any way be being manipulated!
Chinese Bloggers
But wait! Surely there are ways to maximise even this? To make the word spread further?
Of course there is. You can, behind the scenes, hire people to set up blog profiles to blog about what is going on, people to set up facebook pages and interact on social networks. These people are professionals. They can set up multiple "character" pages. Male, female does it matter? They are after all just personas.
This collection of people heighten the excitement, add to the buzz and fuel debates, especially the love / hate campaigns and the freak show campaign. It's simple. They start a campaign, or find a small campaign that normally wouldn't have gone past 10 likes and turn it into a national campaign. It seems everyone and their dog are talking about this show and it's artists!
Surely there can't be that many people doing this though? Well in China alone there were 10 million english speaking students working in this industry and that is only one of the countries with a significant english speaking tech savvy populus.
Of course you have a huge budget, and the investment in 1 million bloggers setting up many accounts and personas really isn't that large in comparison to the return on the investment.
Feeling manipulated yet? These people are not buying records or downloads so there is no direct manipulation of the charts! Amazing isn't it?
Of course your persona bloggers are involved in both campaigns, to the extent that your promo company controls both ends (within a margin of error). No one knows! Ideal.
I mean would you feel manipulated by all this?
But I Want More Money!
But wait, you've missed an opportunity to earn money. Back at the christmas single competition... that's it.. you'll have a share in the market of the anti competition show act so that NO MATTER WHO PEOPLE VOTE FOR OR BUY, YOU WIN!
You're Rich! Richer than rich.
And you all live happily ever after. The End.
Manipulating The Market
Would you feel manipulated by this level of market control by this ficticious show? By this level and type of promotion?
Of course the only way to not be a part of it, to vote against it is not to watch, not to like on facebook, not to phone at all, and not to buy the records.
At least, this for the cynically minded is how it is possible to do such a thing and bears no resemblance to any actual shows or how they operate. This sentence is of course not added to stop someone trying to sue me but it does have that handy side effect. *whistles*
The Lesson For The Independent Musician
There is a lesson here for the less money grabbing promoter. Coordination and timing are so important. Modern campaigns run across multiple media types. Don't rely on people to form opinions based on just the music. Interact, talk to them and don't be afraid to encourage them to help you in your quest to further your career.
Where you draw the line is as much an ethical decision but lets be honest, for many it is simply a financial decision. What is outlined above is an example of what you are up against when you compete against at least some larger organizations.
When you are only interested in the beauty and integrity of your own music it is however a bit of a body blow. At least you might think that if there were great opportunities that so far yo uwere not taking advantage of correctly. More on this to come for the musicians among you.
To Sum It Up For Fans
If you are a fan and stumble across this I encourage you to forward this on so that your fellow fans can be equally well informed!
If you find this article interesting, useful, informative etc then please share it! Like it! Like my blog and please post comments :)
Tuesday, 7 June 2011
EQ Holes
A common issue with mixing is coping with tracks where there is a frequency overlap. A good example of this is with vocals and a string pad. When the strings are turned up it makes the vocals sound muddy and indistinct, so you boost the vocals and now they are just too loud in comparison to the rest of the mix. You bring the strings and vocals down and the strings are too quiet again. It's a frustrating loop.
The solution is pretty straight forward. Using EQ you cut holes in the less important instrument, in this case the strings, in order to let the vocals pop through. You only need to know what frequencies to cut and by how much.
Both can be worked out by ear but most DAWs now include a spectrum analysis. This allows you to see exactly where the vocal frequencies lie. Then using EQ you cut those frequencies, using a notch filter, in the string track. Use your ears to set the cut level.
This will allow the strings to be turned up without making the vocals muddy.
You will notice the effect on the strings when the vocals aren't singing. You can either manually go through the track applying the effect or a better solution is to only apply the EQ to the strings when the vocals are being sung using a noise gate to trigger the EQ.
You might also find this EQ Frequencies article a useful guide when using EQ. It doesn't exactly cover instrument rangesbut it does give you a guide to frequencies targetted at specific characteristics of each instrument and EQ holes can of course be applied to just those specific frequencies too.
Just a quick post to mention a topic that really deserves a fuller article to explain it properly. With limited time however a quick post is all yo uwill get today with a promise to re-visit the topic at a later date.
The solution is pretty straight forward. Using EQ you cut holes in the less important instrument, in this case the strings, in order to let the vocals pop through. You only need to know what frequencies to cut and by how much.
Both can be worked out by ear but most DAWs now include a spectrum analysis. This allows you to see exactly where the vocal frequencies lie. Then using EQ you cut those frequencies, using a notch filter, in the string track. Use your ears to set the cut level.
This will allow the strings to be turned up without making the vocals muddy.
You will notice the effect on the strings when the vocals aren't singing. You can either manually go through the track applying the effect or a better solution is to only apply the EQ to the strings when the vocals are being sung using a noise gate to trigger the EQ.
You might also find this EQ Frequencies article a useful guide when using EQ. It doesn't exactly cover instrument rangesbut it does give you a guide to frequencies targetted at specific characteristics of each instrument and EQ holes can of course be applied to just those specific frequencies too.
Just a quick post to mention a topic that really deserves a fuller article to explain it properly. With limited time however a quick post is all yo uwill get today with a promise to re-visit the topic at a later date.
Monday, 30 May 2011
Audio Mixing and the Home Studio
Audio Mixing
Audio mixing is one of those tasks that I think works best when done spread over several sessions.
The reason is fairly simple, to help keep perspective on the track. Working too long causes your ears to become tired and before you know it that tiredness skews your mix. Apart from that it's good to leave a track and come back to it to see if the ideas you have been working on truly are working out.
When working on mixes I regularly make a mixdown that i can play on a number of systems, checking that it sounds pretty good whether you listen on an ipod or a car stereo or your home hi-fi. It's amazing how much this simple process of listening on different systems can reveal. The differing frequency responses of the systems and the differing listening environments have an effect, coloring your mix and highlighting potential issues.
Closing the loop you then return to your mix at some later point with fresh ears and fresh perspective ready armed with the lessons learned from listening to your mix on a variety of audio systems.
The Home Recording Studio
More and more now I work on arrangement as I mix. That's the flexibility of having your own recording system. I dread to think about how much it would cost to do something comparable in a professional studio. True it has cost me up front to set up a decent home recording system (and believe me there is still much room for improvement!) but the overall benefit is the luxury of being able to spend time experimenting with recording, mixing and arrangement. Sometimes I write a song and at the same time record it, which for me is definitely a luxury worth paying for. Especially as it is actually cheaper in the long run.
The benefit to my mixes and to the song over all is, in my eyes / ears, like night and day. Creatively it is far more fulfilling and the finished product is far more likely to make it as a "keeper".
Songstuff author Cheryl Hodge captures the evolution from recording studio through home studio towards a professional home studio very well in her article "Protools And Me (The Singer / Songwriter)"
If you write your own songs I can honestly say that the investment of time and money in setting up a professional standard home recording studio is well worth the effort. Go on, benefit your songs and invest in some gear!
Audio mixing is one of those tasks that I think works best when done spread over several sessions.
The reason is fairly simple, to help keep perspective on the track. Working too long causes your ears to become tired and before you know it that tiredness skews your mix. Apart from that it's good to leave a track and come back to it to see if the ideas you have been working on truly are working out.
When working on mixes I regularly make a mixdown that i can play on a number of systems, checking that it sounds pretty good whether you listen on an ipod or a car stereo or your home hi-fi. It's amazing how much this simple process of listening on different systems can reveal. The differing frequency responses of the systems and the differing listening environments have an effect, coloring your mix and highlighting potential issues.
Closing the loop you then return to your mix at some later point with fresh ears and fresh perspective ready armed with the lessons learned from listening to your mix on a variety of audio systems.
The Home Recording Studio
More and more now I work on arrangement as I mix. That's the flexibility of having your own recording system. I dread to think about how much it would cost to do something comparable in a professional studio. True it has cost me up front to set up a decent home recording system (and believe me there is still much room for improvement!) but the overall benefit is the luxury of being able to spend time experimenting with recording, mixing and arrangement. Sometimes I write a song and at the same time record it, which for me is definitely a luxury worth paying for. Especially as it is actually cheaper in the long run.
The benefit to my mixes and to the song over all is, in my eyes / ears, like night and day. Creatively it is far more fulfilling and the finished product is far more likely to make it as a "keeper".
Songstuff author Cheryl Hodge captures the evolution from recording studio through home studio towards a professional home studio very well in her article "Protools And Me (The Singer / Songwriter)"
If you write your own songs I can honestly say that the investment of time and money in setting up a professional standard home recording studio is well worth the effort. Go on, benefit your songs and invest in some gear!
Subscribe to:
Posts (Atom)