Presentation on theme: "WORKSHOP 2 Kim McInnis, Steve Nicodemo, Byron Pascoe, Lawrence Qaqish, Caia Wojnarowicz."— Presentation transcript:
WORKSHOP 2 Kim McInnis, Steve Nicodemo, Byron Pascoe, Lawrence Qaqish, Caia Wojnarowicz
Kim McInnis – Mcinnisk@uwindsor.ca Steve Nicodemo – Nicodems@uwindsor.ca Byron Pascoe – Pascoeb@uwindsor.ca Lawrence Qaqish – Qaqish2@uwindsor.ca Caia Wojnarowicz – firstname.lastname@example.org@uwindsor.ca http://www.uwindsor.ca/cel/
1. Establishing Your Act 2. Getting Your Music Out There 3. Engaging Your Audience TODAY’S TOPICS
ESTABLISHING YOUR ACT What agreements should I have? How can I create an identity for my music? What makes a musician professional?
Band Partnership Outline the responsibilities of each band members Management role, financing role, songwriter Who owns the music? Who owns the equipment? Duration of partnership? How are decisions made? Majority vote? Unanimous vote? Which decisions require a unanimous vote How will profits/revenue be split?
Breakdown of the Partnership When does the partnership end? Can the band name continue to be used after a member leaves the group? What are the rights of a replacement members/ new member? Who has ownership when a band member leaves? Dispute Resolution Solutions
Band Manager Agreement: Overall Notes Read it. This is to define the relationship. Simplicity is good. Mutually beneficial to give motivation to all. Trust is better than a great contract Know what you want. Be realistic about what you can achieve together in stage 1. Be on the same page with manager. Milestones can get complicated; sales, success, etc. Signatures of all band members and manager. Read it!
Duration Term Extension Role of Manager Authority of the Manager Role of Band Exclusivity Payment – 360 Manager’s Expenses Breach? Payment Process No Work? Paid Work After Contract Ended What Legal Jurisdiction? Let’s Keep Contract Alive! Band Manager Agreement: Potential Contractual Clauses
What other music do they listen to? What clothes would they wear? What restaurants would they eat at? What might their political orientation be? What jokes would they find funny? Your Act As A Brand Imagine your ideal fan.
Your Brand Is Your Identity It shows people who you are, what you do, and what you believe in Let’s talk food.
Applying this to music… The industry likes to call this your ‘image’. It doesn’t have to be a dirty word. Think of your brand as an extension of your artistry.
Knowing your audience Professionalism Conduct Treating Your Art As A Business
Knowing Your Audience Who are they? Understanding where your art fits in the music world Who do I sound like? Understanding those who enjoy that genre Who are they? Establishing relationships with show attendants Word of mouth via recognition and rapport Say thank you!
Professionalism Public Behaviour What is a professional appearance? How can my behaviour affect first impressions? Limitations/sophistication Web Presence Major factor of audience’s discovery of new music How should I invest into my website? Easy on the details – bios, flashiness, general info What are forums? How can they affect my reputation?
Conduct Punctuality Be on time Fans are aware Due diligence/care Demos to Radio stations, Booking Agents, Labels Deliver quality product Deliver it on time Maintain grammatical integrity when communicating
Questions??? What do you think are the most important aspects of professionalism & conduct in music, and why?
GETTING YOUR MUSIC OUT THERE How do I turn my music into a product? What distribution options exist for indie artists? Can I sell-out without “selling out”?
So, You’ve Got Some Cool Songs...now what? Here are some of your options: Record them yourself, or with some friends Record them with a studio engineer Don’t record them (focus on live playing)
Going Pro vs. D-I-Y PROS - Low/no costs - Work at your own pace - More street cred CONS - Time-consuming learning curve - Time spent mixing = time not playing - More critical of self PROS - Learn from someone experienced - Quick, quality product - Network with their contacts CONS - Expensive - Schedule pressure - Trusting someone else can be difficult Recording Yourself Going to a Studio
High-quality, in either WAV or FLAC file format. Stereo (unless you’re really indie), at 44.1 kHz sample rate, and 16bit. Whatever you decide, you want make sure that your recordings are: Who gets credited - songwriters, performers, arrangers, producers, etc. Who owns the master tracks - you or the studio? If you pay your engineer an hourly rate, you probably own the masters...but it never hurts to ask The above is very important for digital distributors. Also make sure you’re clear on:
Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights Step #1: Create an Industry Canada User Account
Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights Step #2: Application For Registration of a Copyright in a Work 1. Title of the Work 2. Category of the Work – Literary, Musical, Artistic, Photograph, Dramatic Literary (works consisting of text, i.e. books, pamphlets, computer programs, etc.) Musical (musical compositions, with or without words) Artistic (paintings, drawings, maps, sculptures, plans, photographs, etc.) Photograph (select if the artistic work is a photograph) Dramatic (screenplays, scripts, plays, films, etc.)
Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights 3. Publication The Work is Published or The Work is Unpublished Date of First Publication, Place of Publication Owner: Name, or name of other legal entity, Address, Optional Info (Phone, Fax, Email) Is this owner also an author? Yes or No 4. Author: Same as above, plus “If deceased, date of author‘s death.”
Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights 5. Declaration: I/we hereby declare that the applicant is: The Author of the Work; The Owner of the Copyright in the Work; An Assignee of the Copyright; A Licensee of the Copyright. 6. Payment: $50: You receive a file number.
Step #3: Review After the application is submitted, a reviewer checks each application to ensure that complete and clear information has been provided. If there are any questions, the reviewer will send a report to the applicant or their agent requesting clarification. Fastest avenue is online; takes 3 days for response and costs $50. Mail/Fax costs $65, can take 10 days. Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights
Step #4: Registration When an application is considered complete and the appropriate filing fee is received, a registration number is assigned. At this point a registration certificate is printed, a quality check performed, and it is mailed to the agent or applicant. Registering a Copyright www.cipo.ic.gc.ca/copyrights www.cipo.ic.gc.ca/copyrights
Manufacturing There’s no rule that you have to manufacture physical configurations of your music. But, if you’d like to, make sure you consider: Album artwork Again: d-i-y, find a friend, or go pro? Album design Layout. Will you have a jewel case with booklet, a cardboard gatefold Digipak, vinyl sleeves...? Liner notes Will you print lyrics? Who are you thanking? Do you need an editor to go over your writing? (Hint: YES) UPC code + other markings Are you SOCAN members? Does your recording qualify for a MAPL stamp to certify CanCon?
Something I Wish Someone Had Told Me Sooner There is a very important difference between CD DUPLICATION and REPLICATION DUPLICATION - Data is burned into the disc, creating a CD-R - The underside of the disc will have a green or bluish tinge - Burn as many or as few copies as you like; great for short-run and limited releases - Inexpensive services widely available - Is believed to have a limited life cycle, estimated ~10 years - CAN NOT BE DISTRIBUTED IN EUROPE REPLICATION - A glass master of the data is pressed into the disc at the time of original manufacturing - The underside of the disc is silver - Can only be produced in large quantities (300-500+) - Larger quantity = higher expense - Fewer services - Life cycle limit is estimated at 100 years - Accepted everywhere Generally, the more professional option
DON’T BOOK YOUR ALBUM RELEASE SHOW UNTIL YOU HAVE THE ALBUM PHYSICALLY IN YOUR HANDS!!! Seriously. Nothing is worse than a CD Release Party with no CDs.
Distribution Now that you have your songs in digital and/or physical configurations, you need to make it accessible to people. Digital distribution is a quick, simple, and relatively inexpensive way for independent artists to distribute their music everywhere. A La Carte - iTunes - Amazon MP3 - 7digital - MediaNet - Tradebit - GreatIndieMusic Subscription - Rhapsody - Napster - eMusic - Zune - MOG Streaming - Spotify - Last.fm - MySpace - iHeartRadio - Deezer Mobile - VCast - Nokia - 24-7 - Myxer... and many more There are a myriad of services out there that will handle digital distribution for you, but you can only choose one.
Physical Distribution By hand At shows By snail mail The average indie artist distributes physical configurations of their recordings on a personal basis With medium quantities, this can be tiresome and time-consuming. With large quantities, it’s downright impossible. If you get to a point where you might be selling mid- to-large numbers of CDs or LPs, you may consider seeking out an indie distributor to help. Of course, you can expect to give them 15-25% of your sales.
ENGAGING YOUR AUDIENCE How can I find and keep fans? What’s the big deal about social media? Is there a right way to get people’s attention?
Press Kits What is a Press Kit? Promotional and Marketing material to make you known in the industry Used by Artists when launching a new band or album Essentially a band resume/business plan for a new product 2 types – Traditional and Electronic format Recommended is Electronic format
Biography Music clips High resolution press photos Tour dates Promotional videos (music videos/live shows) Press Kits What is in an Electronic Press Kit?
Advantageous to rising and established artists Can get you heard and seen on a mass scale. Harder to ignore visuals Band needs to justify the video creation Music Videos
Advantages Exposure Not limited geographically Does not cost in time Conveys your visual style Incentive to see you perform Music Videos
Digital Presence Web Presence What’s your medium? Purpose? What’s your financial investment budget? Time constraints/practicality Attraction/retention Facebook Spamming Privacy concerns
Digital Presence Active participant Keep things up to date Careful not to over post Monitor what’s being posted on your site or about you Maintain integrity
Digital Presence Do I need all these sites? Youtube, Twitter, FB, Bandcamp, Myspace Necessity and purpose Time constraints, how are yours? Question: Which social networking/media sites do you currently find to be the most useful, and why?
Questions??? How many of your favourite artists were discovered via internet?
WHERE TO LEARN MORE Kim’s Favourite Blog: D-I-Y Musician http://diymusician.cdbaby.com/ On Registering Your Copyright: CIPO www.cipo.ic.gc.ca/copyrights Promoting Your Music: Ariel Publicity http://arielpublicity.com/
Kim McInnis – Mcinnisk@uwindsor.ca Steve Nicodemo – Nicodems@uwindsor.ca Byron Pascoe – Pascoeb@uwindsor.ca Lawrence Qaqish – Qaqish2@uwindsor.ca Caia Wojnarowicz – email@example.com