5 Things…

Top five lessons i’ve taken away from Design Studio 1 this semester

1. Time management skills:  Using the bullet journal proved to be useful for organising my days, when trying to fit in both my work she dual and study for uni. I got lazy with it in the end but I do plan to bring it back into my life, with a few adjustments to the structure to fit myself.
2. Escaping resistance: The Steven Pressfield reading on resistance in week two was really insightful into my own practice as well as understanding others. When reading through the text I could easily find many points applicable to myself and useful ways to tackle them. I think i’ll keep that reading close by.
3. Steal like an artist: Being something I think we all do subconsciously, It was definitely and important lesson in knowing where your influences are coming from and how you can best engineer and utilise ‘stolen’ skills, ideas, ect and take them to another level.
4. Self promotion: Something I’ve been wanting to get ontop of, Learning how to promote not only myself but others. Looking at who your targeting, how to get their attention, owning your niche! As well as, Improvising and experimenting with online marketing.
5. Fans as workers: This idea that was presented in the Jeremy Wade Morris reading in week 8, of fans willing submitting some kind of work of their own to an artist that they are a fan of, was interesting to me. Something I didn’t think would work, however, Imogen heap clearly uses this marketing technique to her advantage. Not only that fans would submit their work, but that they do it in a complementary manner, just wanting to be apart of the process of the art/music that they love.

Creative plan pt2 – New Skills

In this weeks tutorial we looked at what particular tasks we will need to focus on throughout our creative project over the summer break. As part of wanting to record and produce works for a new creative set-up, I will need to further my skills on Ableton live. I have a rudimentary knowledge in the program, however, other projects and assignments this semester have not only given me a genuine interest in production but have showed me that my skills could use a great deal of improvement. I intend to regularly practice my skills at these programs as I go along recording and producing the works as well as properly researching techniques for mixing via online tutorials and ‘the mixing engineer’s handbook’.

Creative Plan

Introduction draft:

This year I have found it very hard to balance my creative practice with my paid work and study, having had hardly anytime to sit down and write and record – as well as the fact that basically live in a dorm room with paper thin walls – feeling restricted has limited me. Thus, over the three month summer break I plan to re-invent my creative process, organising set times and practices for writing and recording.  I want to document my progress as I go on my tumblr, which is already set up. I do not intend for the mixing period of the music to be finished by the end of summer but merely focus on the process of creation and recording and have a plan set up to carry on throughout the next year of study.

I plan to have set up 3 songs by the end of summer, ready for mixing/mastering. The purpose of the music will be to post on free music sites such as sound cloud for reception and feedback. I will also be expanding my knowledge of Ableton, putting it to use with the recording and production of my own music as some of the instrumentation for my music will be electronic.

EDITED BY GEORGIA FARRY

This year I have found it very hard to balance my creative practice with my paid work and study, having had limited time to process musical ideas – as well as the fact that basically live in a dorm room with paper thin walls being a large restriction. Thus, over the three month summer break I plan to re-invent my creative process, allocating times and practices for writing and recording. I aim to document my progress as I go on my tumblr, which is already set up. I do not intend for the mixing process to be complete by the end of summer as I wish to focus on the process of creation and recording and have a plan set up to carry on throughout the next year of study.

I plan to have set up 3 songs by the end of summer, ready for mixing/mastering. The purpose of the music will be to post on free music sites such as sound cloud for reception and feedback. I will also be expanding my knowledge of Ableton, utilising it with the recording and production of my own music as some of the instrumentation for my compositions will be electronic.

Democratisation in the Music Industry

David Hesmondhalgh described democratisation as three notions:

The democratic media system is characterised by participation and access

Today’s online culture has democratised the conventional media systems creating opportunity for all to access the absorption of media as well as participate in the creation of music. This allows for artists who may be less skilled, lacking in confidence and/or belonging to minorities to be accessible online to all. This has allowed for more music to infiltrate the industry, inspiring the rise of minorities as well as new genres, scenes and sound which can all be shared and accessed around the planet. In this way mainstream medias are not in control of the what we see and hear, but rather they are decentralised for anyone who is online can have an influence over their networks and therefore the power of influence has shifted and can lie with the artists them selves.

Technologies and organizations in the democratic media system are decentralised.

The advances in technology has decentralised the power major organisations hold due to the ability individual artists now have to create, distribute and promote their own works – an avenue of which once may have been out of the capacity of the artist or too expensive. The Internet gives artists new promotional and marketing abilities, and new technologies provide cheaper alternatives to the recording and production process. This decentralisation makes the path for musician potentially a lot easier, more flexible and more affordable. Also, artist’s are no longer geographically tied down essentially turning the world into a global market where no place is out of the artist’s reach further extenuating the democratisation of the music industry and its decentralisation of power.

Collectivism, collaboration and co–operation (amongst media workers)

With our ability to connect and communicate quickly and easily through online medias, collectivism and co-operation among creatives has become a part of the culture of a creative. Instead of looking at the music industry as one of hierarchy, the democratised media system allows for a more equal playing field. This ultimately leads to less of a division in the pattern of rewards and status for all artists. With the decentralisation of power within the media system there is also more of a fluid distribution of power and rolls. In essence allowing independent artists, those without major label representation, to get their foot in the door or to simply get there music out into the world where it can be viewed and responded to equally.

Imogen Heap and her online presence

Imogen Heap is quite dedicated to her online presence with constant up dates on the progress and the international releases of the album. Because of this, she has been able to have a large build up of fans of the past few years. She has a very active Facebook and twitter account, often replying to fans where she can, apologizing to fans, acknowledging their eagerness to hear the album, and asks for their patience. Though YouTube fans can watch as she produces her album – and generate feedback on the process. Heap certainly experiments with her presence on social media and her relationship to her fans. Fans take on duties that publicists, graphic designers, and producers are trained and paid to do but rather as an act of complementary work. Expanding on this point again with her album Sparks, she incorporated fan submitted recordings in her production process. Here, she is taking the effort to create a relationship with fans and followers that will serve as a starting point for further involvement in the production process or a deeper connection during consumption. Also, encouraging certain hashtags, fan photo submissions as well as contests. Heap’s social presence is of course savvy marketing, incorporating fans into the project for both her gain and theirs.

Getting in contact with music services

Whether you’re contacting magazines, music blogs, radio shows, record labels, music distributors, or promotional services, you have to check THEIR SPECIFIC submission guidelines before getting in touch. These will tell you exactly what they are looking for and what information they need from you to help them with their job; such as what style(s) of music the service is after, what formats they accept, and what information they need.

General Guidelines

• When sending a mail, include a link to a bio, contact info, release details, tour and member details. Make it easy for someone to get familiar with you and write about your music. Be concise and direct.
• Make sure contact details on your website – email and phone number. You want to be contacted right? This applies to all media.
• Double check for correct spelling in all correspondence. Especially the names of the people you are addressing. It looks unprofessional otherwise.
• Don’t send CDs to bloggers and online magazines. 99% of the time a digital link will do and you’re only wasting your own money sending a CD (unless requested).
• If sending your music digitally for review, have options – Host it as a stream on a private Soundcloud and Bandcamp and use a site like Dropbox or FTP on your website to send a download link of the zipped release. Try to reduce the number of clicks it takes for someone to download and listen to your music.
• Keep self-promotion light and regular. A band whose name keeps cropping up will be checked out on curiosity but a constant barrage will just put people off.
• Include links to your social media profiles: Breaking Tunes / Soundcloud / Facebook / Twitter / Myspace etc
• The tiniest bit of personalisation in your emails makes a HUGE difference. Do some research about who you’re sending your promo to. Be sincere.
• Get some good images. Bloggers don’t care about appearances but when there’s good music involved, they’ll want a picture to post on their site along with your track.

• If contacting a blogger or online music publication, send a link (don’t attach) to a press photo or album artwork JPG of about 800px wide, no larger than 1000px for use on the site. Online publications do not need massive 4MB hi-res images.
• If you don’t hear back from a blogger, politely follow up your initial enquiry. However, do not harass them. The worst thing you could do is repeatedly ask “did you get that email?” or “did you listen to that track yet?”

The submission guidelines not only tell you how to make FIRST CONTACT, but more often than not, they also tell you how to follow up (or not). The follow-up can often be as important as the first contact.

Media Outlets Contacts list

1) BEAT MAGAZINE
Print/online/ street press

Digital Director & Online Advertising
Kris Furst

P: (03) 8414 9703
E: kris@furstmedia.com.au

Gig/Club Guide Manager
Lizzie Dynon
P: (03) 8414 9700
E: gigguide@beat.com.au

Print Edition

Publisher

Furst Media
P: (03) 9428 3600

Managing Director

Patrick Carr
P:(03) 9428 3600
E: patrick@furstmedia.com.au

Music Editor

Cara Williams
P: (03) 8414 9711
E: cara@beat.com.au

Arts & Associate Music Editor
Tyson Wray
P: (03) 8414 9717
E: tyson@beat.com.au

Print Advertising

Bands/Tours/Record Labels

Cara Williams
P: (03) 8414 9711
E: cara@beat.com.au

Indie Bands

Soph Goulopoulos

P: (03) 8414 9712

E: soph@furstmedia.com.au

Backstage/Musical Equipment
Aleksei Plinte
P: (03) 8414 9751
E: mixdown@beat.com.au

Distribution 
Nicholas Ohlson
P: (03) 8414 9731
E: distribution@beat.com.au

2) Mess+Noise
PO Box 475
Prahran VIC 3181, Australia

General Enquiries & Feedback
hello@messandnoise.com

News, Press Releases & Publicity
news@messandnoise.com

Events Listings and Venue Details
events@messandnoise.com

Advertising Enquiries
Please contact Sound Alliance

Staff Contacts
Check out the Mess+Noise team for our details.

3) THE 59TH SOUND

Email – contact@the59thsound.com

Old fashioned mail

The 59th Sound
PO BOX 2013
Spotswood 3015
VIC

4) SAMPLESIZE

Music : music@semplesize.com

5) YOUR MUSIC RADAR

in connection to The Hype machine (US) and Shuffler.FM (EURO)

yourmusicradar@gmail.com

6) FASTERLOUDER

Get in touch

Got a hot news tip, a gripe, or just want someone to talk to? Hit us up at hello@fasterlouder.com.au

Advertise on FasterLouder

Spend your money here – find out how at advertising@fasterlouder.com.au

Online Ticketing

Selling your tickets online at http://www.fasterlouder.com.au offers unique promotional opportunities. We are a partner of Moshtix. Simply visit http://www.moshtix.com.au/faq/about_sellingtix.aspx and advise Moshtix you are keen to list your tickets for sale on fasterlouder.com.au.

7) TONE DEAF

How To Get Your Record Reviewed

1. Both EPs and LPs are eligible.
2. The record must not have been released yet. If your record has already been released, we cannot review it.
3. We must have a digital or physical copy of your album for review ahead of release.
4. Our production team must approve all reviews, so don’t solicit our writers directly.

How To Get Your Show Reviewed

We don’t take solicitations for gig reviews directly, however to ensure your show is on our radar please make sure to send press release announcements to us by emailing press@tonedeaf.com.au

How To Get Your Song Reviewed/In Our Mixtape

1. We must be able to embed your track on our website
   2. The track must be recent
   3. Our production team must approve all tracks, so don’t solicit our writers directly

If you meet the above criteria, please email a link through to tracks@tonedeaf.com.au .

8) CASUAL BAND BLOGGER
no email, phone number or address is given only the following links embedded in the text.

 

GENERAL ENQUIRIES
: Send though an email to Hello at Casual Band Blogger, and we’ll get back to you as soon as possible!

MUSIC SUBMISSION: 
Want us to hear your new tunes? Head to the contact form here to share with us your tracks. Don’t send them.
Live, breathe and love Soundcloud instead.

CONTRIBUTE
: You want to be part of the CBB team? Sweet! Head here for more details and to send us an application.

MEDIA AND PUBLICITY: 
For all you industry peeps, if you’re interested in adding CBB to your distribution list please send an email through to the Hello account. Our editorial team will get in touch.

ADVERTISING: 
If by any chance you like us, what we’re doing and would like to pour some money into us – our advertising door is always open. Please email the Hello account and we will provide you with more details. (Includes site reach, statistics and demographic details).

9) MUSIC FEEDS

Music Feeds
PO Box 3311
Marrickville Metro,
NSW 2204

Email: contact@musicfeeds.com.au

10) TRIPLE R

Phone: +61 3 9388 1027
Fax: +61 3 9388 9079

Email: 3rrr@rrr.org.au

Week 6 task

This week, while on holiday in Queensland I decided to get familiar with popular DAW Ableton live. I have only briefly used the program last semester whilst attempting to make a remix. The end result of my short encounter with the program left me unhappy at my ability to remix a piece of music as well as hating Ableton live for not understanding my simplistic work style and thus declaring it the devil in an earlier post. Looking at it again I realise this was only due to my lazy attitude towards the task and not bothering to learn the full abilities of the program.

And so, I took to remixing again.

I took only the vocal stem of the local natives song breakers and created the rest of the arrangement myself. I wanted to have some of my own recordings on it, however being on holiday at my parents place I was limited with my equipment so I gabbed some field recordings that I already had and took some samples of a friend of mine doing a drum solo to create my own drum rack, of which I was pretty proud, being a newbie and all. Its definitely not perfect and it needs work but overall I’m happy with my progress.

Online Task

 

 

 

 

 

Some Gooooood Social media, guys!

 

 

 

Little Dragon – staying personal with their fans letting them know where that have been and what they have been doing keeping up anticipation for possible future collaborations and tracks. They then include a link to show they’re fans around the world what they’re show was like in Japan.

Young Turks for SBTRKT – Promoting one of their artists with both their upcoming events – live radio set and weekend gig. Large notable visual aid were you can clearly see the post is about SBTRKT along with a link to where fans can listen to the live radio set.

SBTRKT – promotion of their live album gives all the details; including video, vinyl + dvd. Good visual aid of  the album art, along with where to purchase the album from.

Week 5 Reading

on: How to Call Attention to Your Music – Sivers, D

 

This weeks reading was long with many notable segments.

 

• What do they really want. (they- anyone your trying to reach) and reach them how you would want to be reached. welcoming, friendly, personal.

• Target people that will be interested in what you have to offer and don’t be afraid of rejection and/or Proudly exclude some people. Obviously not everyone is going to love what you have to offer, by proudly excluding those who don’t, those who do may feel more particular/individual/exclusive. 
• Own your niche – target sharply, precicely. “Have the confidence to find your Niche,define who you are, then declare it again and again.”

• Always Have visual aids – a picture with every fb post. A Video with a press kit. Gabs peoples attention.
• Leave ‘em wanting more – “bring people to the point where they start searching.”

• Test marketing idea: become a huge success on a lower level/ in a small area, then approach larger companies for financial resources. Shows that their money is being well invested in an artist who knows how to do well with what they have.
• OR Start now, with whatever resources you have to make a release an EP if its successful on its own they won’t need a record deal.
• 90% of your career is up to you make all the big decisions yourself and these days we have all the tools to make it happen.

• Bring your creativity over into your business and marketing. Improvise/ break the rules/ do what your not meant to do and catch people attention.