Let us know what you think.
If music downloads were priced ridiculously cheap, would you opt to pay for it in support of the musicians/artists or would you still insist on freebies?
If you say you'd pay for the music, do you mean:
- supporting your favorite band? (yes or no)
- supporting the musicians and artists in general? (yes or no)
If you say you'd pay for the music, how 'cheap' would you want it to be?
If you say you'd still go for free music downloads, why do you prefer it this way?
We need your valuable and honest opinion. Copy paste the questions and post it in the comment boxes with your replies. There are no right or wrong answers.
Showing posts with label cebu music scene. Show all posts
Showing posts with label cebu music scene. Show all posts
Saturday, February 14, 2009
Friday, October 10, 2008
The Benefits Of Working With A Record Producer
My sister once said that no one in his/her right mind would ever admit that he/she is ugly (or at least to that effect). I suppose this is true. I mean who would want to be ugly? Do you? More so admitting it. Would you?
So one day my curiosity lead me to a little fun-filled, less scientific yet empirical experiment hoping to satiate my sister’s theory. True enough, those that were relatively “unattractive” – well, to me at least (and I have this insecurity too), compensate beauty on confidence – a great deal of it in fact.
But what does this have to do with music and bands?
Because many bands don’t agree that their music sucks. Many bands don’t agree that their quality of recording isn’t good enough (yet). Many bands don’t agree that the song and musical arrangement needs polishing. That the vocal tracks were badly laid in. That the guitars are louder than everything else. That the lyrics was poorly written. That the band’s album in general sounded like an Urbandub wannabe.
Many bands don’t want to hear these comments.
Why is that?
Because it most often hurts to know the truth… and my theory is that most band members have egos bigger than their heads. You probably won’t feel that in normal situations but trust me, it blows out of proportions in the studio (and on stage).
The point of what I’m driving at is that, recording a song isn’t just about putting the tracks in. It isn’t just about being part of the current band wagon and in that “popularity spectrum”. Recording is an art. It’s about putting a musical concept in print.
Recording is also about the continuous and never ending learning of your songs and your creative songwriting as well. Surely you can do this on your own. But optimizing a song’s potential is another story. Every serious band needs a record producer…
Brain Eno did U2’s breakthrough on Joshua Tree. Ric Ocasek shaped Weezer’s dorky debut album Blue. Desmond Child magically moved the world in Bon Jovi’s Slippery When Wet. And so on… so...
Every immortal hit song involved a record producer’s creative input.
Record producers are somewhat like music consultants and project managers for an album. They work closely with the band manager (presuming your band has one), recording engineer, the songwriters, and of course the band. If a band is about to sign a record deal, then record executives and producers transact a lot. They also keep track of logistics on time, cost, and quality.
They define and redefine the sound of a band… enhance it, reduce some, add some, reinvent some, and other creative out-of-the-box ideas they could think of. All for a good cause. It’s always for a good cause.
Ultimately, the goal is always to bring a musician’s new creation into the mainstream - or at least acceptable enough for an average listening person - hopefully to convert one purist into an avid fan. All for a good cause. It’s always for a good cause.
Another good reason why a record producer is essential in the studio is because when conflicts of ideas come, which happens inevitably by the way, he/she levels things up, stands on a neutral ground, and leads everything back on track.
Not many bands see this benefit I suppose. In my experience, conflicts in the studio can be emotionally exhausting.
But it’s all for a good cause. It’s always for a good cause.
Anyhow…
Unlike people, recorded songs cannot be equally compensated with confidence. A band may be able to pull off its act in live performances but not the record…
Never.
Why?
Because sound recordings are audio prints of concepts, ideas, philosophies, whatever intellectual field you may classify it with. That record will be played over and over again… perhaps forever if the song’s powerful enough to last that long. The best defense to everlasting enjoyment of the record is by doing things right the first time. Record producers are one of those right-things-for-you in the list. I must say there are still so many great and exciting things a record producer can do for your band or your songs. As I said if you’re serious about your music, look for that guy who can help you.
Get a record producer.
Cut a deal with him (and it doesn’t have to be monetary all the time).
Next time you do a record, work things through with someone who knows more in this field and discover what you both can do and improve on.
Lastly, when someone tells you again that your song sucks, trust that remark and be grateful someone was honest enough to tell you. In the process, this may hurt a bit but it’s actually a good sign.
So one day my curiosity lead me to a little fun-filled, less scientific yet empirical experiment hoping to satiate my sister’s theory. True enough, those that were relatively “unattractive” – well, to me at least (and I have this insecurity too), compensate beauty on confidence – a great deal of it in fact.
But what does this have to do with music and bands?
Because many bands don’t agree that their music sucks. Many bands don’t agree that their quality of recording isn’t good enough (yet). Many bands don’t agree that the song and musical arrangement needs polishing. That the vocal tracks were badly laid in. That the guitars are louder than everything else. That the lyrics was poorly written. That the band’s album in general sounded like an Urbandub wannabe.
Many bands don’t want to hear these comments.
Why is that?
Because it most often hurts to know the truth… and my theory is that most band members have egos bigger than their heads. You probably won’t feel that in normal situations but trust me, it blows out of proportions in the studio (and on stage).
The point of what I’m driving at is that, recording a song isn’t just about putting the tracks in. It isn’t just about being part of the current band wagon and in that “popularity spectrum”. Recording is an art. It’s about putting a musical concept in print.
Recording is also about the continuous and never ending learning of your songs and your creative songwriting as well. Surely you can do this on your own. But optimizing a song’s potential is another story. Every serious band needs a record producer…
Brain Eno did U2’s breakthrough on Joshua Tree. Ric Ocasek shaped Weezer’s dorky debut album Blue. Desmond Child magically moved the world in Bon Jovi’s Slippery When Wet. And so on… so...
Every immortal hit song involved a record producer’s creative input.
Record producers are somewhat like music consultants and project managers for an album. They work closely with the band manager (presuming your band has one), recording engineer, the songwriters, and of course the band. If a band is about to sign a record deal, then record executives and producers transact a lot. They also keep track of logistics on time, cost, and quality.
They define and redefine the sound of a band… enhance it, reduce some, add some, reinvent some, and other creative out-of-the-box ideas they could think of. All for a good cause. It’s always for a good cause.
Ultimately, the goal is always to bring a musician’s new creation into the mainstream - or at least acceptable enough for an average listening person - hopefully to convert one purist into an avid fan. All for a good cause. It’s always for a good cause.
Another good reason why a record producer is essential in the studio is because when conflicts of ideas come, which happens inevitably by the way, he/she levels things up, stands on a neutral ground, and leads everything back on track.
Not many bands see this benefit I suppose. In my experience, conflicts in the studio can be emotionally exhausting.
But it’s all for a good cause. It’s always for a good cause.
Anyhow…
Unlike people, recorded songs cannot be equally compensated with confidence. A band may be able to pull off its act in live performances but not the record…
Never.
Why?
Because sound recordings are audio prints of concepts, ideas, philosophies, whatever intellectual field you may classify it with. That record will be played over and over again… perhaps forever if the song’s powerful enough to last that long. The best defense to everlasting enjoyment of the record is by doing things right the first time. Record producers are one of those right-things-for-you in the list. I must say there are still so many great and exciting things a record producer can do for your band or your songs. As I said if you’re serious about your music, look for that guy who can help you.
Get a record producer.
Cut a deal with him (and it doesn’t have to be monetary all the time).
Next time you do a record, work things through with someone who knows more in this field and discover what you both can do and improve on.
Lastly, when someone tells you again that your song sucks, trust that remark and be grateful someone was honest enough to tell you. In the process, this may hurt a bit but it’s actually a good sign.
Sell Songs Not Albums
Recently in the past weeks, I had been approached by bands asking about where, how, and the what-to-do-next questions on CD replication and distribution.
My presumption is that these questions were asked not because these bands don’t believe that the CD industry is dying but perhaps because they lack faith in online distribution. Or at least, they don’t understand the commercial and economic advantages of it completely.
I don’t blame them. This is Cebu and we are in the Philippines.
From what I have observed, it appears to be a bit more difficult to just digest the concept overnight of considering online distribution more than pressing CDs if one’s perspective and intention to sell music is limited only to a national audience.
But let me try and display in words the new basic platform in today’s behavior in music buying.
It is a fact that today’s fans do not buy albums in the same way as they did in the past decades. This is because today’s technology allows bands and fans to share or sell singles first before ever bringing the entire album out.
This not-so-new trade becomes an easy deal between the artist and fans.
While it is important in any endeavor to set goals (and foresight is king), it is also important to acknowledge that things change all the time. Because of the internet and media players like iPods and mobile phones, the buying habits of people changed with it.
The constant here however, is adhering to the idea of bringing forth one song at a time. Yes – one song at a time just as how the singles in the 60s and 70s were done in vinyl records.
Unless if you have a huge fanbase, music buyers generally remember songs not albums. Sometimes, they don’t even care about the artist at all.
So why spend money on pressing CDs if you can launch the entire album online? This way, you are making multiple ends meet – (1) you have an album, (2) you don’t spend that much, (3) it removes the trouble of shipping costs and labor, (4) and most importantly, you are allowing your fans the option to buy on a per song basis – a huge plus.
Another advantage with singles is that if you’re an unsigned band, you can now freely move around for gigs without having to carry CDs with you. Just play and tell the audience your songs – I repeat SONGS, not album – can be found online.
Or how about bringing a laptop in your gigs and have someone take charge. Tell the people who may be interested in your songs that they can have a free MP3 transfer to their media players.
Another option is by giving out CDs with say 3 of your songs for free in your gigs. Put the URLs in the CD jacket so people could check out the rest of your music online. Of course this involves cost.
There could be more innovative ideas. Be bold. Be brave. Be creative. Be always open to options. If one idea fails, move on to the next. If it succeeds, embrace it. I think this should be the indie mantra.
The consumer’s general priority today is to know first the value of what they hope to buy.
Globalization is about retail. Singles are retail goods from the album. Sell them piece by piece. Heck you can give these singles for free if you want to. Your fans will love it and you'll get the biggest smile at the end of the day.
Some may think that perhaps giving out your songs for free may seem like you are stealing your own music. Perhaps your fans will do the same. But just because people can steal music doesn’t mean you cannot sell them anymore.
My presumption is that these questions were asked not because these bands don’t believe that the CD industry is dying but perhaps because they lack faith in online distribution. Or at least, they don’t understand the commercial and economic advantages of it completely.
I don’t blame them. This is Cebu and we are in the Philippines.
From what I have observed, it appears to be a bit more difficult to just digest the concept overnight of considering online distribution more than pressing CDs if one’s perspective and intention to sell music is limited only to a national audience.
But let me try and display in words the new basic platform in today’s behavior in music buying.
It is a fact that today’s fans do not buy albums in the same way as they did in the past decades. This is because today’s technology allows bands and fans to share or sell singles first before ever bringing the entire album out.
This not-so-new trade becomes an easy deal between the artist and fans.
While it is important in any endeavor to set goals (and foresight is king), it is also important to acknowledge that things change all the time. Because of the internet and media players like iPods and mobile phones, the buying habits of people changed with it.
The constant here however, is adhering to the idea of bringing forth one song at a time. Yes – one song at a time just as how the singles in the 60s and 70s were done in vinyl records.
Unless if you have a huge fanbase, music buyers generally remember songs not albums. Sometimes, they don’t even care about the artist at all.
So why spend money on pressing CDs if you can launch the entire album online? This way, you are making multiple ends meet – (1) you have an album, (2) you don’t spend that much, (3) it removes the trouble of shipping costs and labor, (4) and most importantly, you are allowing your fans the option to buy on a per song basis – a huge plus.
Another advantage with singles is that if you’re an unsigned band, you can now freely move around for gigs without having to carry CDs with you. Just play and tell the audience your songs – I repeat SONGS, not album – can be found online.
Or how about bringing a laptop in your gigs and have someone take charge. Tell the people who may be interested in your songs that they can have a free MP3 transfer to their media players.
Another option is by giving out CDs with say 3 of your songs for free in your gigs. Put the URLs in the CD jacket so people could check out the rest of your music online. Of course this involves cost.
There could be more innovative ideas. Be bold. Be brave. Be creative. Be always open to options. If one idea fails, move on to the next. If it succeeds, embrace it. I think this should be the indie mantra.
The consumer’s general priority today is to know first the value of what they hope to buy.
Globalization is about retail. Singles are retail goods from the album. Sell them piece by piece. Heck you can give these singles for free if you want to. Your fans will love it and you'll get the biggest smile at the end of the day.
Some may think that perhaps giving out your songs for free may seem like you are stealing your own music. Perhaps your fans will do the same. But just because people can steal music doesn’t mean you cannot sell them anymore.
Thursday, October 9, 2008
Starting Up A Band
A friend is putting up a new band. His last update was that he has three musicians who expressed their interest. He added that what he’d like to do first was to start off with cover tunes and then move up to songwriting before finally recording them. Sounds like a good plan.
I got an email from him a week ago. He was asking for help. I wasn’t really sure what he wanted me to do but I suppose he was asking some inputs on how to start his new band (or whether his plans would work). This is probably the most difficult question I’ve ever been asked of. I didn’t know exactly what to say.
In all tasks, the most challenging part is usually the first few steps. But then, those steps lead to another series of steps leading to another first step and so on. One time I consulted Mr. Junks Muaña, one of the owners of The Outpost, on what I need to do first when putting up a business. He simply said “Just start with whatever you have and you will learn from there. Everything else will follow.”
I’m still hanging. All of a sudden, it got me thinking - if I were to start up a real live band today, what should I do first? What should I next? What do I need to get myself from point A to point B. Barred by these preliminary FAQs, I allowed my mind to teleport to 1990, the year when my first band in college was formed.
My selective memory showed me images of a laundry room (our practice studio for a time), a karaoke, two acoustic guitars, and a wooden box. Just like any start up band, we didn’t have any money and our options were only limited to these tools so we decided to improvise.
We would plug the microphone jack into the karaoke and the other end into one of the acoustic guitars. The amplified strings would serve as our bass. There were four of us - Blair Kriekenbeek, Antonio Mesa (Oniot), Mitchello Simbajon (Mich), and me.
I insisted that I play the bass. Oniot was still new to the 6-string instrument and at that time couldn’t get the notes right. Later, Oniot and I decided to change places (today he’s one of the finest bass players I know). Mich sat on the box and provided the beat. Blair, with his strong and powerful baritone voice married with that good diction, became the musical voice.
We tried jamming (still with improvised tools) in other places like Mich’s aunt’s house in Maria Luisa village. Sometimes we would just hang out at the “Bukid” (yes for those who grew up with us during these years, you know where this place is) and all we would do was talk, play, talk, play, write, talk, play, write, and beer.
Our little sacrifices and late night sessions lead us to Las Piñas recording studio wrapping up the very first ditty Blair, Mich, and I wrote together. The song was “Desolate” and we called our band The End. Our song enjoyed heavy rotation in Y101's airplay back then.
Today, with the many great and talented bands sprouting like weeds in a playground, the challenge is steeper and the goals are higher.
I guess my college band worked because we all share the same passion. We all wanted to do the same thing. Apart from that, Blair had a fetish for high standards. One time he said, “I will not play on stage or sing a new song if we feel we have doubts about it.”
It all started with me looking for souls who may be interested in making good music with me. Now I’m thinking… if I were to put a band together today, how will I do that? Where do I start?
I guess an important thing to look into is not to look too much on the skills of a potential band mate (although this is a huge plus). Me? I usually look more on the level of interest and the personality (and someone that understands discipline). Skills can be developed and when that happens, talent will surface.
What makes a good band is not how good the musician plays. A good band comes when there is the understanding that one musician is not any better than the other. Good music is made because each musician allows their personalities to merge.
Music is an extension of one’s personality. There is greater output when every musician in the band listens soulfully to what the other member is playing. We become better musicians with teamwork. Everyone must compliment each other. We become a great rock 'n' roll band when we start understanding the benefits of a collective effort. That’s how I think a good band is formed.
In any start up band, there are no clear-cut rules. But there’s always the drawing board in your head. A vision of what you need to happen, how you would like it to happen, and what you would like to see happening in years to come.
I guess the next thing to do is stay firm with that vision of your band and keep an open mind. Oh and keep your music as honest as you can – meaning keep it close to your soul.
I got an email from him a week ago. He was asking for help. I wasn’t really sure what he wanted me to do but I suppose he was asking some inputs on how to start his new band (or whether his plans would work). This is probably the most difficult question I’ve ever been asked of. I didn’t know exactly what to say.
In all tasks, the most challenging part is usually the first few steps. But then, those steps lead to another series of steps leading to another first step and so on. One time I consulted Mr. Junks Muaña, one of the owners of The Outpost, on what I need to do first when putting up a business. He simply said “Just start with whatever you have and you will learn from there. Everything else will follow.”
I’m still hanging. All of a sudden, it got me thinking - if I were to start up a real live band today, what should I do first? What should I next? What do I need to get myself from point A to point B. Barred by these preliminary FAQs, I allowed my mind to teleport to 1990, the year when my first band in college was formed.
My selective memory showed me images of a laundry room (our practice studio for a time), a karaoke, two acoustic guitars, and a wooden box. Just like any start up band, we didn’t have any money and our options were only limited to these tools so we decided to improvise.
We would plug the microphone jack into the karaoke and the other end into one of the acoustic guitars. The amplified strings would serve as our bass. There were four of us - Blair Kriekenbeek, Antonio Mesa (Oniot), Mitchello Simbajon (Mich), and me.
I insisted that I play the bass. Oniot was still new to the 6-string instrument and at that time couldn’t get the notes right. Later, Oniot and I decided to change places (today he’s one of the finest bass players I know). Mich sat on the box and provided the beat. Blair, with his strong and powerful baritone voice married with that good diction, became the musical voice.
We tried jamming (still with improvised tools) in other places like Mich’s aunt’s house in Maria Luisa village. Sometimes we would just hang out at the “Bukid” (yes for those who grew up with us during these years, you know where this place is) and all we would do was talk, play, talk, play, write, talk, play, write, and beer.
Our little sacrifices and late night sessions lead us to Las Piñas recording studio wrapping up the very first ditty Blair, Mich, and I wrote together. The song was “Desolate” and we called our band The End. Our song enjoyed heavy rotation in Y101's airplay back then.
Today, with the many great and talented bands sprouting like weeds in a playground, the challenge is steeper and the goals are higher.
I guess my college band worked because we all share the same passion. We all wanted to do the same thing. Apart from that, Blair had a fetish for high standards. One time he said, “I will not play on stage or sing a new song if we feel we have doubts about it.”
It all started with me looking for souls who may be interested in making good music with me. Now I’m thinking… if I were to put a band together today, how will I do that? Where do I start?
I guess an important thing to look into is not to look too much on the skills of a potential band mate (although this is a huge plus). Me? I usually look more on the level of interest and the personality (and someone that understands discipline). Skills can be developed and when that happens, talent will surface.
What makes a good band is not how good the musician plays. A good band comes when there is the understanding that one musician is not any better than the other. Good music is made because each musician allows their personalities to merge.
Music is an extension of one’s personality. There is greater output when every musician in the band listens soulfully to what the other member is playing. We become better musicians with teamwork. Everyone must compliment each other. We become a great rock 'n' roll band when we start understanding the benefits of a collective effort. That’s how I think a good band is formed.
In any start up band, there are no clear-cut rules. But there’s always the drawing board in your head. A vision of what you need to happen, how you would like it to happen, and what you would like to see happening in years to come.
I guess the next thing to do is stay firm with that vision of your band and keep an open mind. Oh and keep your music as honest as you can – meaning keep it close to your soul.
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