Starting your business:
- Using the Internet take 20 minutes to remind yourselves about the Music Promoter job role.
- Keep a note of your findings.
- Feedback your results to the group.
Business model
Promoters are typically hired as independent contractor by music venues, earning an agreed-to fee or royalties (colloquially known as a "cut"). The royalty structure is often a simple percentage of admission fees (called "the door") and/or food and drink sales, but like other royalty arrangements many variations are possible such as minimums or maximums, allowances for various expenses, or limitations (e.g. only drink sales after midnight). Other promoters operate independently, renting venues for a fixed fee or under a revenue sharing arrangement with the building owner or tenant, and keeping all of the additional profits from a successful event. One common arrangement for small venues is for the promoter to earn all of the admissions fees, while the venue earns all of the food and drink revenue.
Some venues have exclusive arrangements with a single promotion company; others work with multiple promoters on a rotating schedule (one night per week, for example) or on an event-by-event basis. Promoters often work together, either as equal partners or as subcontractors to each other's events. Several promoters may work together for a large special event, e.g. a New Year's Eve party in a hotel ballroom. They may also deputize "hosts", who are essentially socially influential or desirable non-promoters who will market the events to their circle of friends in exchange for special treatment or free admission to the event.
At a minimum the event promoter manages publicity and advertising. Depending on the arrangement they may also handle security, ticket sales, Admission to an event or establishment (door policies), decorations, and booking of entertainers. Many promoters are DJs or musicians themselves, and perform at their own event. Conversely, many musicians act as de facto promoters for their own concerts, either directly or through their manager or booking company. Historically, promotion has been a cottage industry, with companies operated by one or several well-connected charismatic individuals, often working part-time. However, with the rise of corporate ownership of live entertainment assets several large companies have emerged in the field, most notably Live Nation via its acquisition (indirectly, via Clear Channel), of Bill Graham Presents. The larger companies tend to promote more traditional mainstream music in exclusive contracts with concert halls. Alternative music and events and nightclubs remain in the hands of independent promoters.
Contracts and disputes
There are often disputes over money in the promotions industry because it is largely cash business with a history of corruption and uneven recordkeeping. In addition there are many accounting complexities to manage, particularly for large events: revenue, expenses, and oversight of parking, coat checks, concession vendor sales (e.g. CDs and t-shirts), box office so-called "convenience fees", in kind trades, promotional give-away items used to lure guests (e.g. free drinks), costs for insurance, cleaning staff, and so on. One area of frequent contention are quid pro quo cross-promotions, where the promoter or some other party connected with the venue will obtain a favor (for example, a price discount) in exchange for giving a future favor to the vendor. If the existence of the scheme, or the relationship between the parties, is undisclosed this may become a form of bribery. Another opportunity for misunderstanding are the various "lists" of guests who will be admitted for free or with VIP treatment, and the "door policy" used by bouncers to decide who will be admitted and at what price. To deal with these complexities event contracts can become quite long and detailed. Whether written or not, these arrangements tend to favor the party with the greater sophistication or the more control over the production of the event. Even the most detailed, professionally written and negotiated contracts can become the subject of lawsuits over interpretation.
Because nightclubs are often associated with drug and alcohol consumption, rowdiness, and other late-night behavior, promoters may become entangled in various criminal disputes as well.
Promotions methods
Promoters bring crowds through a variety of methods. The most direct are guerrilla marketing techniques such as plastering posters on outdoor walls, flyposting, and distributing handbills on windows of cars parked in entertainment districts. Promoters also keep mailing lists, usually email lists, of their preferred guests and their wider list of potential customers. Recently, many promoters have taken advantage of online technology such as online social networks and event listing sites to handle publicity, invitations, mailing lists, and so on. Clubs and promoters are among leaders in SMS text message advertising to their own lists as well as sponsored snippets on 3rd party lists for daily content to subscribers. Many fans promote events,products through their Facebook/Twitter/Myspace on their own free will.
Promoters often build a brand out of their own personalities and the parties they host, marketing the events under a consistent name, style, type of program, and social experience that downplays the branding of the venue or artist. They may develop a loyal clientele that will follow them from one location to another.
Music Promoter:
one of the most entrepreneurial roles in the music industry.
Roles: To sell as many tickets as possible and deal with advertising and organisation of one of gig to an international tour.
- Book artists to perform live at particular venues.
- May negotiate with artists / booking agent direct.
- May be responsible for one venue, a festival or several venues.
- Provide artist with venue, ticket facilities and basic security arrangements and guest lists.
- Provide (as agreed) equipment, personnel, mixing desk, Engineer.
- Provide (as agreed) backstage facilities, dressing rooms, toilets, meeting and VIP areas.
- Provide insurance cover against injury or death caused to members of the public.
- Provide (as agreed) working permits for performances abroad.
- Provide (as agreed) backstage and technical riders.
The Job:
- Very long hours.
- An office job by day and out to venues in the evening.
- An entrepreneur.
- A promoter buys up all the tickets cheaply and then tries to sell them to the public at a higher price.
- Can be very lucrative if established with popular live acts.
- Can be very high risk.
Class Excersise:
Promoter Excersise. Find info. About two well known promoters by the names of Harvey ‘Brit’ Goldsmith & Bill Graham.
Harvey ‘Brit’ Goldsmith Career History:
Harvey Goldsmith began his career in the Entertainment Industry in 1966.
In 1973 he formed Artiste Management Productions Limited to produce and manage Artists in the Music Industry.
In 1976 Harvey Goldsmith Entertainments Limited was formed which became the UK’s leading Promoter of Concerts and Events.
In 1985 Harvey Goldsmith produced Live Aid with Sir Bob Geldof, which raised £140 million for the starving in Africa.
Harvey Goldsmith joined the Princes Trust in 1982 and produced the first Princes Trust Rock Gala. Harvey then became a member of the Princes Trust Board and Vice Chairman of Princes Trust Trading Limited.
In 1990 Harvey produced the first of three major Arena Opera productions – Aida, Carmen and Tosca.
In 1991 Harvey produced Pavarotti in Hyde Park, which was the first concert in 20 years to be held in Hyde Park.
In 1995 Harvey produced the MasterCard Masters of Music show in Hyde Park, which raised £1 million for the Princes Trust.
In 1995 Harvey joined the Red Cross Communications Board producing Pavarotti and Friends
In 1996 Harvey was honoured with a CBE in the Queen’s birthday Honours List in recognition of his work in the entertainments business.
Harvey Goldsmith has produced and promoted shows with most of the world’s major Artists including The Rolling Stones, The Who, Bruce Springsteen, The Eagles, Sheryl Crow, Shania Twain, Bee Gees, Jools Holland and Sting to name but a few.
In 1999 Harvey produced Net Aid the largest awareness campaign for Extreme Poverty for the United Nations Development Program and Cisco Systems.
In November 2000 Harvey produced the first Teenage Cancer Trust event at the Royal Albert Hall with The Who and guests raising over £1 million for the charity.
In summer 2001 Harvey was hired by Safeway Stores to present Pavarotti, Charlotte Church, Vanessa Mae and Russell Watson in Hyde Park.
In October Harvey produced Unite For The Future at The Old Vic raising $1 million for victims of the World Trade Centre Disaster and their families living in the UK.
In February 2002 Harvey promoted five more shows for the Teenage Cancer Trust with Marti Pellow, Oasis, The Who and Paul Weller at The Royal Albert Hall raising £500,000 for the Teenage Cancer Trust.
In June 2002 he followed the Safeway event with another hugely successful show featuring Rod Stewart, Diana Ross, Shirley Bassey, Ronan Keating and Gabrielle.
In October 2002 Harvey promoted Bruce Springsteen at Wembley Arena, the tickets for this show sold out in 40 minutes making it one of his most successful yet. This was followed by three sell out stadium shows in May 2003.
In March 2003 Harvey and Roger Daltrey co-produced another run of shows at the Royal Albert Hall raising money for Teenage Cancer Trust with six nights featuring Richard Hawley, Coldplay, Nigel Kennedy, Eric Clapton, Richard Ashcroft, Noel & Liam Gallagher, Paul Weller, Ash, Asian Dub Foundation, Supergrass, Doves, Madness and Aswad.
In August 2003 Harvey produced Fly To The Past, an historic revival and flight display at Blenheim Palace. Based on the success of this unique event plans are underway to make this a biannual event.
In August 2003 Harvey produced for the Mayor of London the inaugural concert of the renovated Trafalgar Square with David Gray and five guest artists.
Harvey currently produces an annual 32-city tour for Jools Holland and is currently working with artists such as The Who, Bruce Springsteen and David Gilmour.
Harvey has also created and produced The Smash Hits Poll Winners Party and The Disney Kids Awards.
In 1994 Harvey commenced a relationship with Cirque du Soleil. This has been one of most successful shows ever to perform in the UK. Returning to London’s Royal Albert Hall every January to date, the show is seen by around 183,000 people and sells to around 98% of capacity. In 2005 Harvey managed the show in London, Birmingham and Manchester, which marked a first time in Europe for Cirque in having two different productions in the same Country.
April 2004 saw another successful run of the Teenage Cancer Trust Concerts at the Royal Albert Hall.
In May 2004 Sting sold out a run of six nights at the Royal Albert Hall.
On July 6th 2004 Harvey produced for the Crown Estate and Westminster Council the first ever parade of Formula One cars in the centre of the West End- Regent St. Over 500,000 people attended this event. Regent St. was transformed into a 3 KM. Circuit and the top eight Formula One cars and drivers each completed a circuit.
Harvey is also a consultant to Anschutz Entertainment Group on the re-development of the Dome. This will be a new entertainment district with a 24,000 capacity arena as its centrepiece.
In December 2004 Luciano Pavarotti appointed Harvey to be the worldwide producer of his Farewell Tour. To date 37 sold out concerts have taken place. Using Harvey’s worldwide contacts and associates; The Tour has spanned six continents performing in North America, South America, Europe, Middle East, Asia and Australasia.
In May 2005 the Band Aid Trust asked Harvey to produce Live 8 worldwide. The event took place on July 2 2005 and presented the biggest collection of artists (225) all on one day in eight locations around the world. In addition to the Hyde Park concert in London, Harvey also executively produced Paris, Berlin, Rome and Philadelphia. The TV coverage set world records with 160 TV networks around the world showing the event live, plus 400 radio stations. In addition Harvey secured the partnership of AOL and Nokia. AOL’s coverage of the five key events were ground breaking and have become a benchmark for global events.
Harvey is passionate about promoting London as The Greatest City In The World. Harvey became a director of the London Tourist Board and was part of the group which transformed LTB in to Visit London. Harvey is currently a member of the Mayor’s Tourism Advisory Group.
In January 2006 Harvey was awarded the Chevalier des Artes et Lettres from the French Minister of culture. Harvey is currently chairing the British Music Experience to be built at the new O2 Dome in Greenwich with AEG and the BPI.
In October 2006 Harvey was honoured with the 15th Music Industry Trust’s Award (MITS), one of the highest accolades to be awarded in the music industry, in recognition of his contribution to the music industry.
Harvey is Chairman of Ignition, an Experiential Marketing Company, who are industry leaders in brand activations at events all over the world. Ignition was the winner of the 2006 Field Marketing and Brand Experience award.
Harvey is currently presenting the fantastic dance spectacular The Merchants Of Bollywood; the first ever Bollywood production to tour straight from Film City in Mumbai. The show is currently touring the UK and will open at London’s Hammersmith Apollo on 21st December 2006, followed by a six month tour of Europe in 2007.
In November 2006 Harvey produced the UK Arena dates of Bruce Springsteen’s sell-out tour with the Seeger Sessions band.
Harvey is Executive Producer of Nokia New Years Eve 2006, which will see five concerts run simultaneously in Hong Kong, Mumbai, Berlin, New York and Rio. The concerts will be broadcast live across the globe and mark the biggest ever New Years Eve Music extravaganza, featuring Black Eyed Peas, John Legend, Nelly Furtado, Scissor Sisters and many more.
Interviews:
The Legend Harvey Goldsmith - Music Education
http://www.youtube.com/watch?v=-ZlNlhhS4bQ
Harvey Goldsmith on Community Festivals
http://www.youtube.com/watch?v=4bQ3E-WrR-I
Bill Graham Career History:
Was an American impresario and rock concert promoter from the 1960s until his death.
He opened certain weekday nights for unknown bands, like Santana, to get exposure. Graham promoted the West-Coast leg of the legendary The Rolling Stones American Tour 1972, also known as S.T.P. Tour (for Stones Touring Party), as well as parts of the Rolling Stones 1975 and 1978 tours. He would then promote the entire Rolling Stones American Tour 1981 and Rolling Stones European Tour 1982. When the Stones returned to touring in 1989 with the Steel Wheels tour.
Some of the other artists who signed with Graham were Rod Stewart, Elvin Bishop and Cold Blood.
He also appears as a promoter in the 1991 Oliver Stone film, The Doors.
Interviews:
Bill Graham interview part 1:
http://www.youtube.com/watch?v=9Nq1UEIwFaI
Friday 18 November 2011
Friday 4 November 2011
Chris's class week 5
Music In The Freelance World:
- Benefits of starting your own business
- Risks in starting your own business
- Getting started (research, idea, name)
- Online CV
Entrepreneurship benefits:
• Earn more money. Self-employed people generate their own income and profits.
• Freedom to do projects that you enjoy, movie in different directions and take new approaches.
• Use a particular talent such as a technical aptitude or creative skill.
• Be your own boss.
• Chose your hours of work.
• Take charge of your own future. Working for someone else makes you vulnerable to redundancy, closures or mergers.
• Work from home or operate out of your own separate premises or move round different locations as a contractor.
• Free yourself from the stresses of the conventional workplace – office politics, targets, meetings and constant demands.
• Live off your wits and your own efforts rather than depending on an employer.
• Receive extra tax benefits.
Entrepreneurship benefits:
• You cannot guarantee a large salary or income of any kind! Competition, economic fluctuations, and changing tastes can all affect this.
• When you start out, you may not be making much money or it might not be arriving at a predictable rate.
• You must earn enough to live, so you might need to support yourself in another way while seeing your idea take off.
• Working on your own means you are responsible for the day-to-day running of the business. This may mean doing tasks that you dislike.
• You need a product for which there is a demand. This might depend on having a certain image, technique or product.
• To obtain tax benefits, you usually need to pay out money first. You’ll also have to make your own pension and health insurance arrangements. The buck stops with you! Taking an unwise decision could dent your income.
• Expanding to rapidly or conversely not being quick to seize a chance might be detrimental.
• Your customers and clients will often dictate your hours. You have to respond to their needs or forfeit money and good will.
• Working from home is most effective when you have the space and facilities to do so. If you work out of other premises, you will have to pay rent and other overheads.
• It’s impossible to escape some pressure, especially the kind coming from clients and customers.
• By not being employed you are potentially losing a range of benefits and a support infrastructure, such as computer help.
• Setbacks may impact on your confidence and profits. Be realistic, learn from
Starting your own music business plan
• Overview: information about the sector (s) in which you will be operating, showing an understanding of the market and of the competition.
• Product: what are you offering? What differentiates it from similar items? What unique factors can you bring to the end result?
• Objectives: What qualities and quantities targets do you have in mind?
• Marketing plan: demonstrate that you know your customer base, that you have identified a niche for yourself and you have a clear idea o how to move forward and corner a share of the market in the immediate, medium term and longer term future. You should describe a well-rounded strategy for promoting your business using an appropriate range of methods and media.
- Benefits of starting your own business
- Risks in starting your own business
- Getting started (research, idea, name)
- Online CV
Entrepreneurship benefits:
• Earn more money. Self-employed people generate their own income and profits.
• Freedom to do projects that you enjoy, movie in different directions and take new approaches.
• Use a particular talent such as a technical aptitude or creative skill.
• Be your own boss.
• Chose your hours of work.
• Take charge of your own future. Working for someone else makes you vulnerable to redundancy, closures or mergers.
• Work from home or operate out of your own separate premises or move round different locations as a contractor.
• Free yourself from the stresses of the conventional workplace – office politics, targets, meetings and constant demands.
• Live off your wits and your own efforts rather than depending on an employer.
• Receive extra tax benefits.
Entrepreneurship benefits:
• You cannot guarantee a large salary or income of any kind! Competition, economic fluctuations, and changing tastes can all affect this.
• When you start out, you may not be making much money or it might not be arriving at a predictable rate.
• You must earn enough to live, so you might need to support yourself in another way while seeing your idea take off.
• Working on your own means you are responsible for the day-to-day running of the business. This may mean doing tasks that you dislike.
• You need a product for which there is a demand. This might depend on having a certain image, technique or product.
• To obtain tax benefits, you usually need to pay out money first. You’ll also have to make your own pension and health insurance arrangements. The buck stops with you! Taking an unwise decision could dent your income.
• Expanding to rapidly or conversely not being quick to seize a chance might be detrimental.
• Your customers and clients will often dictate your hours. You have to respond to their needs or forfeit money and good will.
• Working from home is most effective when you have the space and facilities to do so. If you work out of other premises, you will have to pay rent and other overheads.
• It’s impossible to escape some pressure, especially the kind coming from clients and customers.
• By not being employed you are potentially losing a range of benefits and a support infrastructure, such as computer help.
• Setbacks may impact on your confidence and profits. Be realistic, learn from
Starting your own music business plan
• Overview: information about the sector (s) in which you will be operating, showing an understanding of the market and of the competition.
• Product: what are you offering? What differentiates it from similar items? What unique factors can you bring to the end result?
• Objectives: What qualities and quantities targets do you have in mind?
• Marketing plan: demonstrate that you know your customer base, that you have identified a niche for yourself and you have a clear idea o how to move forward and corner a share of the market in the immediate, medium term and longer term future. You should describe a well-rounded strategy for promoting your business using an appropriate range of methods and media.
Chris's class week 4
Music in the freelance world:
Music Business Negotiation
Negotiation:
1. What is meant by the term negotiation??
2. Why do you think that it’s particularly important for freelance musicians?
NOTE: Everything is negotiable, apart from death, taxes, and the price of apple products.
- Freelance musicians ALL need an understanding of the negotiation process.
- DEFINITION: Bargaining process between two or more parties seeking to discover a common ground and reach an agreement.
- Negotiation skills are valuable in all walks of life.
- A 5-year management agreement or a recording contract it is so important that you get it right.
- Poor negotiation in the short-term can mean massive problems in the long term.
- Non-enforceable contracts can result in a loss of assets, or worse, losing your life’s work and savings.
- Negotiation by its very nature means to compromise.
- When two parties enter into an agreement, a contract between the parties outlining the terms and conditions of the agreement is mutually agreed.
- It is unlikely that both parties expect exactly the same terms and conditions.
- Hence there is the need to negotiate.
- Strong negotiation skills are fundamental to achieving and sustaining a career.
- Those who want to get better results need to develop effective negotiation skills.
- Poor negotiation skills prevent people getting what they want.
- Negotiation is vital to direct events to your advantage.
Class Exercise
1. When do your negotiate in your personal life?
2. When do you think you will need to negotiate in your music business life?
3. Take your time to think and give some examples.
Especially when your freelance and your selling a product the important thing to remember is that you are going to negotiate and people like negotiating.
PLANNING TO NEGOTIATE _ YOUR TEAM:
- It can be a good idea to allocate a negotiator e.g. your music business lawyer.
- Be aware of the cost of employing someone to negotiate for you.
- You may wish to have people supporting you ‘negotiating team’
- The best results begin with effective preparation.
- Find out whom you are dealing with.
- Ask yourself some fundamental questions before you enter into negotiation.
PLANNING TO NEGOTIATE QUESTIONS:
1. What do they want from you?
2. What do you have?
3. Do you need them?
4. Who else might want it?
5. Does anybody else have what you have?
6. What might someone else be prepared to give for it?
7. Are you willing to concede anything and why?
Other considerations:
- Estimate the importance of negotiation in the first place.
- Determine what the effects will be if no agreement is reached.
- This will make you think about what you have got to lose.
- Consider if you are in as a strong position.
- E.G. if you are an artist how many management companies are interested in representing you.
Estimating your position:
- How many labels are attempting to sign you?
- Are you really in a position to take on this responsibility?
- Can you deliver what is required?
- And appreciation of value of what is your buying or selling is vitally important?
Formulate a strategy:
- Creating/agreeing objectives.
- Allocating roles – e.g. chairperson etc.
- Prepare your case and consider the opposing teams position.
- Create an agenda..
- Have a plan B or even C & D.
- If both parties agree on their Plan B, it can be much more beneficial as both sides feel as though they have achieved something of value.
Conducting Negotiation
- Each side has goals, interests, personalities and persuasive abilities.
- Don’t assume you are strong and they are weak or vice-versa.
- The goal is to complete the deal you want.
- Draw up an outline of what you want to discuss.
- This ensures that you do not miss any vital points.
- Take notes.
- Keep clear what you’ve already agreed to.
- Only make concessions in reverse order importance.
- But only in order to gain something from them.
Dos and don’ts:
- Don’t negotiate unless you need to.
- If you think what you have to offer is such good value then stick to your guns.
- Always evaluate your needs honestly and buy/sell hard.
- Work out your ideal position, don’t be afraid to state it straight away and stick to it unless you feel you need to move never ever accept the first offer.
- There is almost always a different to better offer behind it.
- If you accept to quickly they will think they should have asked for more.
- Listen more and talk less. Good negotiators lead by listening not talking.
- Let them ramble on even if its rubbish and frusterating.
- Don’t offer free gifts. Always ask for something in return, as no one values a free gift for long.
- A free gift today becomes tomorrows starting point.
- Never disclose your bottom line, not before you start. (Don’t give your game away)
- Never make a quick deal.
- Check your understanding.
The way, Keep people talking! Engage in conversation they will gradually soften to your way of thinking. As long as you can keep it going they will soften to your level.
Concluding:
- Closing – make sure you sense it, but don’t rush begin to summarise.
- When the terms have been agreed y the parties they represent, can the negotiating process be considered complete.
- A verbal agreement is legally binding, its just more dofficult to prove.
- Get it in writing. Signed and dated.
- State that the agreement is subject to contract.
- If you address the above points the result should be a competitive agreement.
Music Business Negotiation
Negotiation:
1. What is meant by the term negotiation??
2. Why do you think that it’s particularly important for freelance musicians?
NOTE: Everything is negotiable, apart from death, taxes, and the price of apple products.
- Freelance musicians ALL need an understanding of the negotiation process.
- DEFINITION: Bargaining process between two or more parties seeking to discover a common ground and reach an agreement.
- Negotiation skills are valuable in all walks of life.
- A 5-year management agreement or a recording contract it is so important that you get it right.
- Poor negotiation in the short-term can mean massive problems in the long term.
- Non-enforceable contracts can result in a loss of assets, or worse, losing your life’s work and savings.
- Negotiation by its very nature means to compromise.
- When two parties enter into an agreement, a contract between the parties outlining the terms and conditions of the agreement is mutually agreed.
- It is unlikely that both parties expect exactly the same terms and conditions.
- Hence there is the need to negotiate.
- Strong negotiation skills are fundamental to achieving and sustaining a career.
- Those who want to get better results need to develop effective negotiation skills.
- Poor negotiation skills prevent people getting what they want.
- Negotiation is vital to direct events to your advantage.
Class Exercise
1. When do your negotiate in your personal life?
2. When do you think you will need to negotiate in your music business life?
3. Take your time to think and give some examples.
Especially when your freelance and your selling a product the important thing to remember is that you are going to negotiate and people like negotiating.
PLANNING TO NEGOTIATE _ YOUR TEAM:
- It can be a good idea to allocate a negotiator e.g. your music business lawyer.
- Be aware of the cost of employing someone to negotiate for you.
- You may wish to have people supporting you ‘negotiating team’
- The best results begin with effective preparation.
- Find out whom you are dealing with.
- Ask yourself some fundamental questions before you enter into negotiation.
PLANNING TO NEGOTIATE QUESTIONS:
1. What do they want from you?
2. What do you have?
3. Do you need them?
4. Who else might want it?
5. Does anybody else have what you have?
6. What might someone else be prepared to give for it?
7. Are you willing to concede anything and why?
Other considerations:
- Estimate the importance of negotiation in the first place.
- Determine what the effects will be if no agreement is reached.
- This will make you think about what you have got to lose.
- Consider if you are in as a strong position.
- E.G. if you are an artist how many management companies are interested in representing you.
Estimating your position:
- How many labels are attempting to sign you?
- Are you really in a position to take on this responsibility?
- Can you deliver what is required?
- And appreciation of value of what is your buying or selling is vitally important?
Formulate a strategy:
- Creating/agreeing objectives.
- Allocating roles – e.g. chairperson etc.
- Prepare your case and consider the opposing teams position.
- Create an agenda..
- Have a plan B or even C & D.
- If both parties agree on their Plan B, it can be much more beneficial as both sides feel as though they have achieved something of value.
Conducting Negotiation
- Each side has goals, interests, personalities and persuasive abilities.
- Don’t assume you are strong and they are weak or vice-versa.
- The goal is to complete the deal you want.
- Draw up an outline of what you want to discuss.
- This ensures that you do not miss any vital points.
- Take notes.
- Keep clear what you’ve already agreed to.
- Only make concessions in reverse order importance.
- But only in order to gain something from them.
Dos and don’ts:
- Don’t negotiate unless you need to.
- If you think what you have to offer is such good value then stick to your guns.
- Always evaluate your needs honestly and buy/sell hard.
- Work out your ideal position, don’t be afraid to state it straight away and stick to it unless you feel you need to move never ever accept the first offer.
- There is almost always a different to better offer behind it.
- If you accept to quickly they will think they should have asked for more.
- Listen more and talk less. Good negotiators lead by listening not talking.
- Let them ramble on even if its rubbish and frusterating.
- Don’t offer free gifts. Always ask for something in return, as no one values a free gift for long.
- A free gift today becomes tomorrows starting point.
- Never disclose your bottom line, not before you start. (Don’t give your game away)
- Never make a quick deal.
- Check your understanding.
The way, Keep people talking! Engage in conversation they will gradually soften to your way of thinking. As long as you can keep it going they will soften to your level.
Concluding:
- Closing – make sure you sense it, but don’t rush begin to summarise.
- When the terms have been agreed y the parties they represent, can the negotiating process be considered complete.
- A verbal agreement is legally binding, its just more dofficult to prove.
- Get it in writing. Signed and dated.
- State that the agreement is subject to contract.
- If you address the above points the result should be a competitive agreement.
Chris's class week 3
Music in the freelance world:
Music Business Planning
Why write a music business plan?
- Clear the way for creative thinking.
- Pinpoint strengths and weaknesses.
- Identify problems & obstacles.
- Expose hidden opportunities.
- Set priorities.
- Coordinate marketing.
- Take guesswork out of budgeting.
- Allow meaningful review & revision.
Business Plan:
A business plan is a universal an international document with some ‘adjustment’ depending on your industry type.
Why plan your music Business?
- All successful musicians will have to plan their business at some point.
- To acquire funding from financier or private investor.
- To map out how you will run your business on a daily, monthly. Yearly basis.
Business planning:
- A business plan is a standard format document that is required when seriously considering ANY business.
- A Good business plan is a work in progress.
- The act of competing the plan helps you think things through thoroughly.
PAGE 1: Executive summary
- It should be written last.
- Once all the sections of the plan are complete you summarize/describe the main points.
- Usually once perfectly write page.
- Inserted after the table of contents.
- State what you want to achieve upfront.
Answer the following:
1. Who are you?
2. What do you sell? /your service?
3. What do you want?
Company Description
- Prove why an investor should be interested funding your idea.
- Describe your product or service
- Include the area of the music industry you are in and how you will become profitable.
Your pitch:
- Each of you should write a ‘pitch’ for your business.
- This is a ‘mission statement’ that captures the imagination of investors.
- Your ‘pitch’ will be a statement lasting about 30 seconds.
Pitch Exercise”
- Each of you will take 20 minutes to write an emotive, well thought out pitch lasting no less than 30 seconds on a subject of your choice.
- Each of you will address your pitch to the group.
Article contd:
Products & services:
- This is where you discuss your product/service in more detail.
- Most music entrepreneurs will have more than one revenue stream.
- Describe your competitive advantage and why your business will succeed.
- You may also include future products & services.
- REVENUE STREAMS-SOME IDEAS:
Playlists, flash/micro drives, ring tones, games, apps, subscriptions, social sharing, videos, teaching materials, bogs, live streaming, ringbacks, branding, licensing, remixes, widgets.
Marketing plan:
- you will explain the current state of the market you are entering taking account of customers & competitors.
- List features, advantages * benefits of the product or service you offer.
- Know what your product or service will do for your customers.
- Explain your niche – explain what is special about your business.
Markiting mix:
1. PRODUCT: how will it meet or create consumer demand?
2. PRICE: is it low enough for your customer to but and high enough to make a profit.
3. PLACE: Where will your product or service be sold? Online? Offline? Both?
4. PROMOTION: What is your advertising & publicity strategy? What programs will you use to get your business moving?
Marketing
- End this section with a specific measurable description of how you will reach your goals
- List how many calls, emails, performances you will carryout to achieve success
- Attatch any diagrams/artwork that corresponds to your business in the appendix at the back of your plan.
- The majority of the plan should be in black & white, easy to read & professionally written
Management description:
- List each member of your management team and describe what they do to make the business successful.
- Explain specific duties of your manager, layer, agents, band members etc.
Financial plan:
- Create a spreadseet forecasting the best and worse case scenarios including potential sales.
- Include ALL income and expenses.
- Prepare a BREAK EVEN analysis showing exactly when you intend to become profitable.
- Finish your plan with chart that highlights these figure for the next 3-5 years.
Music Business Planning
Why write a music business plan?
- Clear the way for creative thinking.
- Pinpoint strengths and weaknesses.
- Identify problems & obstacles.
- Expose hidden opportunities.
- Set priorities.
- Coordinate marketing.
- Take guesswork out of budgeting.
- Allow meaningful review & revision.
Business Plan:
A business plan is a universal an international document with some ‘adjustment’ depending on your industry type.
Why plan your music Business?
- All successful musicians will have to plan their business at some point.
- To acquire funding from financier or private investor.
- To map out how you will run your business on a daily, monthly. Yearly basis.
Business planning:
- A business plan is a standard format document that is required when seriously considering ANY business.
- A Good business plan is a work in progress.
- The act of competing the plan helps you think things through thoroughly.
PAGE 1: Executive summary
- It should be written last.
- Once all the sections of the plan are complete you summarize/describe the main points.
- Usually once perfectly write page.
- Inserted after the table of contents.
- State what you want to achieve upfront.
Answer the following:
1. Who are you?
2. What do you sell? /your service?
3. What do you want?
Company Description
- Prove why an investor should be interested funding your idea.
- Describe your product or service
- Include the area of the music industry you are in and how you will become profitable.
Your pitch:
- Each of you should write a ‘pitch’ for your business.
- This is a ‘mission statement’ that captures the imagination of investors.
- Your ‘pitch’ will be a statement lasting about 30 seconds.
Pitch Exercise”
- Each of you will take 20 minutes to write an emotive, well thought out pitch lasting no less than 30 seconds on a subject of your choice.
- Each of you will address your pitch to the group.
Article contd:
Products & services:
- This is where you discuss your product/service in more detail.
- Most music entrepreneurs will have more than one revenue stream.
- Describe your competitive advantage and why your business will succeed.
- You may also include future products & services.
- REVENUE STREAMS-SOME IDEAS:
Playlists, flash/micro drives, ring tones, games, apps, subscriptions, social sharing, videos, teaching materials, bogs, live streaming, ringbacks, branding, licensing, remixes, widgets.
Marketing plan:
- you will explain the current state of the market you are entering taking account of customers & competitors.
- List features, advantages * benefits of the product or service you offer.
- Know what your product or service will do for your customers.
- Explain your niche – explain what is special about your business.
Markiting mix:
1. PRODUCT: how will it meet or create consumer demand?
2. PRICE: is it low enough for your customer to but and high enough to make a profit.
3. PLACE: Where will your product or service be sold? Online? Offline? Both?
4. PROMOTION: What is your advertising & publicity strategy? What programs will you use to get your business moving?
Marketing
- End this section with a specific measurable description of how you will reach your goals
- List how many calls, emails, performances you will carryout to achieve success
- Attatch any diagrams/artwork that corresponds to your business in the appendix at the back of your plan.
- The majority of the plan should be in black & white, easy to read & professionally written
Management description:
- List each member of your management team and describe what they do to make the business successful.
- Explain specific duties of your manager, layer, agents, band members etc.
Financial plan:
- Create a spreadseet forecasting the best and worse case scenarios including potential sales.
- Include ALL income and expenses.
- Prepare a BREAK EVEN analysis showing exactly when you intend to become profitable.
- Finish your plan with chart that highlights these figure for the next 3-5 years.
Tuesday 4 October 2011
Chris's Class Week 2
Today Chris gave a pretty hefty presentation and i must say i really enjhoyed it!. It opened my eyes a little and it really inspired me about my future decisions as a musician and honestly i just enjoyed it so thank you Chris for giving the lecture!
Music in the Freelance World:
Music Industry – New Models
Kevin Kelly (Journalist, weird magazine editor, new thinker)
1000 True Fans
Some artists have discovered this path without calling it that (Wired)
In a nutshell, 1,000 True Fans can be satisfied simply, a creator-musician, photographer, craftsperson, performer, animator, designer video, maker needs to acquire 1000 fans to make a true living
(Magazine called ‘Wired’)
(www.kk.org)
DEFINITION – someone who will purchase anything and everything you produce,
Will drive 200 miles to see you perform
Will but box set of your stuff even though they have the low-res version
Have a Google alert set for your name
They have you sign their copies
They buy the t-shirt, the mug and the hat
They can’t wait till you issue your next work
They are true fans
You need to connect to your True Fans directly
Another way to state this to you, you need to convert a thousand lesser fans into a thousand True Fans
Assume conservatively True Fans will each spend one day’s wages per year in support of what you do
That ‘one-day-wage’ is an average, because your Truest fans will spend a lot more than that
True Fans spends at least $100 per year
If you have 1,000 fans that sums up to $100,000 per year, which minus some modest expenses, is living for most artists.
One thousand is a feasible number
If you added one fan a day, it would take only three years
True fan ship is doable. Pleasing a true fan is pleasurable, and invigorating
Is rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that true fans appreciate
The key challenge is that you have to maintain direct contact with 1,000 True Fan
The key challenge – you have to make direct contact with your 1,000 true fans
They are giving you their support directly
Maybe they come to your house concerts
They are buying DVDs from your website
They order your prints
As much as possible you retain the full amount f their support
You also benefit from direct feedback and the love
The technologies of connection and small-time manufacturing make this circle possible
Bogs and RSS feeds trickle out news
Upcoming appearances of our new works
Website host galleries of your past work, archives of biographical information, and catalogs of paraphernalia
MySpace, face book, twitter and the entire digital domain conspire to make a duplication and dissemination in small quantities fast, cheap and easy
You don’t need a million fans to justify producing something new
A mere one thousand is sufficient
Some circle of diehard fans, which can provide you with a living
Surrounded by concentric circles of Lesser Fans
LF’s will not purchase everything you do, and may not seek out direct contact, but they will but much of what you produce
The processes you develop to feed your true fans will also nurture lesser fans
As you acquire new true fans, you can also add many more lesser fans
If you keep going, you may end up with millions of fans and reach a hit
Who is not interested in having a million fans?
Classroom Exercise 1
In 2007, the year of its release, global revenues in recorded music were $19.4bn.
In 2009, global recorded music revenues dropped to $17bn.
In July Thom Yorke warned apocalyptically of its being “simply a matter of time – months rather than years – before the music business establishment completely folds”. His advice to young bands: “Don’t tie yourself to the sinking ship, because believe me, it’s sinking.”
“More and more managers are having to take more responsibility to put money up front,” Message says. Adam Tudhope, for example, began his career managing the platinum-selling Keane. Two years ago he put £40,000 of his own money into Mumford & Sons, a fast-rising London band now signed to Island Records. “Every band is going to need £20,000-£40,000 for the first two years of their life, and then they’re probably going to need £200,000 for the next stage of their career,” he says. He didn’t want to risk his own money on the £200,000 stage with the Mumford’s: thus the record deal.
In the United Kingdom, where the album also hit the top spot, it sold 208,000 copies in its first week making it the biggest-selling January release in five years. In mid-February 2011, after a performance at the Brit Awards, the album track "Someone Like You" went straight to number 1 on the UK singles chart, while the album 21 also remained at number 1. According to the Official Charts Company, Adele is the first living artist to achieve the feat of two top five hits in both the Official Singles Chart and the Official Albums Chart simultaneously since The Beatles in 1964. It is the first time that one act has held the top two places in the UK albums chart since The Corrs in 1999.
The point of this strategy is to say that you don’t need a hit to survive
You don’t need best – seller Dom
There is a place in the middle where you can at least make a living
That mid-way haven is called 1,000 true fans
It is an alternative destination for an artist to aim for
Young artists starting out in this digitally mediated world have another path other than stardom
A path made possible my technology
Instead of trying to reach the narrow and unlikely peaks of platinum hits they can aim for direct connection with 1,000 true fans
It’s a much saner destination to plan for
You make a living instead of a fortune
You are surrounded not by fad and fashionable infatuation, but by true fans
And you are more likely to arrive there
This formula – one thousand direct true fans – is crafted for one person, the solo artist
What happens in a duet, a quartet or movie crew
Obviously you’ll need more fans
But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group
In other words if you increase your group size by 33%, you need add only 33% more fans
As your true fans connect with each other, they’re more likely to increase their average spending of your works.
Class exercise 2
The standards Project Summer 2011
Bob Brookmeyer
Jazz
In this new project Bob will explore the American songbook through fresh arrangements of eternal standards for the New Art Orchestra in association with BR-KLASSIC and the award winning vocalist Fay Claassen
Receive prominent credit listing on the new Standards LTD Edition CD
An exclusive look into Bob's musical journey as it unfolds with the creation of the recording
Play a major role in the creation of the new music as this new project comes to life
Take an audio journey through the American songbook: a compilation of Bob Brookmeyer's favourite performances of his favourite standards.
Receive a dedicated iPod containing all the videos from the project experience and music chosen specially for you by Bob Brookmeyer
Receive a personalized handwritten letter from the artist
Receive personalized video welcome message from the artist
We were asked to research ''Artist Share'' and what it does for musicians with a strong fanbase and this is what i came across in my research!
ArtistShare is a business model for musicians and other creative artists which allows them to fund their projects outside of the traditional recording industry model. It utilizes a "fan-funding" model to allow the general public to directly finance, watch the creative process of the recording, and in most cases gain access to extra material from an artist. It was founded in 2000 by Brian Camelio, a professional musician/producer in response to the threat of digital piracy and the futility of digital rights management for music. The ArtistShare model ensures that artists are compensated for their work before it is released. It is widely recognized as the first model of its kind for the purpose of funding artistic works through the Internet.
Buisiness Models Are Artists post projects which announce the creation of a new artistic work. The project consists of "Project Experience" which is the documentation of the project and "Participant Offers" which are priced from low to high. "Participants" (fans) buy Participant Offers of various levels in order to finance the project and gain access to the "creative process" behind the scenes. Depending on the level of participation the fan receives anything from credit listing on the CD at the end of the project to an invitation to the recording studio.
Since 2005, ArtistShare fan-funded releases have received a total of 5 Grammy awards, 17 Grammy nominations and one Latin Grammy nomination.
We were then asked to research a band called ''Marillion'' and their involvement with ''Artist Share'' and this is what i came accross in the short time i had!
Marillion are a British rock band, formed in Aylesbury, England in 1979. Their recorded studio output comprises sixteen albums generally regarded in two distinct eras, delineated by the departure of original vocalist & frontman Fish in late 1988, and the subsequent arrival of replacement Steve Hogarth in early 1989.
The core lineup[2] of Steve Rothery (lead guitar, and the sole 'pre-Fish' original member), Pete Trewavas (bass), Mark Kelly (keyboards) and Ian Mosley (drums) has been unchanged since 1984. The band has enjoyed critical[3] and commercial success with a string of UK Top Ten hits spanning their career, an estimated fifteen million total worldwide album sales and even an entry[4] into the Guinness Book of World Records.
Marillion's music has changed stylistically throughout their career. The band themselves stated that each new album tends to represent a reaction to the preceding one, and for this reason their output is difficult to 'pigeonhole'. Their original sound (with Fish on vocals) is best described as guitar and keyboard led progressive rock or "neo-prog", and would be sometimes compared with Gabriel-era Genesis.[5][6]
More recently, their sound has been compared, on successive albums, to that of Radiohead, Massive Attack, Keane, Crowded House, The Blue Nile and Talk Talk, although not consistently comparable sonically with any of these acts. The band themselves in 2007, tongue-in-cheek, described their own output merely as: "Songs about Death and Water since 1979..."
Marillion are widely considered within the industry[7] to have been one of the first mainstream acts to have fully recognised and tapped the potential for commercial musicians to interact with their fans via the Internet circa 1996, and are nowadays often characterised as a rock & roll 'Web Cottage Industry'.[8] The history of the band's use of the internet is described by Michael Lewis in the book Next: The Future Just Happened as an example of how the internet is shifting power away from established elites, such as record producers.
The band are also renowned for having an extremely dedicated following [7] (often self-termed 'Freaks') with some fans regularly travelling significant distances to attend single gigs, driven in large part by the close fan base involvement which the band cultivate via their website, podcasts, biennial conventions[9] and regular fanclub[10] publications.
Some say it has "all the elements of Led Zeppelin orchestrated by Schubert in space", others might describe it as "beautifully crafted and exquisitely performed adult rock" and you wouldn't be far off saying "it's reminiscent of Pink Floyd during their most creative period, without the inflated pig".
Rock
Part of Marillion's new deal for fans involves letting them get their hands dirty, by choosing set lists and even joining the band on stage. Taking this one step further, they're now inviting anyone to have a go at remixing a song from their most recent studio album, Anoraknophobia. For the modest fee of £10 or £60 for all nine, they will send you compiled tracks as WAV files, meaning stereo drums, individual guitar/keyboard/bass tracks, a stereo mix of the vocals with fairy dust sprinkled over, and dry versions of the individual vocal tracks for you to immerse in your own brand of reverb. As far as they're concerned, the more radical you get the better.
An album of the best remixes will be released and the lucky dozen or so remixers will receive £500 (and more importantly, the opportunity to have their own artistically pure, full-blown reworking heard by the world). Of course, if you're just a fan who has no interest in looping, cutting, splicing, and track mashing, but would simply like to play along with the band minus the guitar, bass, vocals, or you want to listen to just the bass on its own, all you have to do is line all the tracks up on your computer at the same start point, press Play, then mute or fade at your leisure.
Marillion are considered with many types of genre but they are closely to rock but the other category’s they fall under range from Progressive rock, neo-progressive rock, art rock, acoustic rock, alternative rock, pop rock. A wide range of musical genre’s.
Music in the Freelance World:
Music Industry – New Models
Kevin Kelly (Journalist, weird magazine editor, new thinker)
1000 True Fans
Some artists have discovered this path without calling it that (Wired)
In a nutshell, 1,000 True Fans can be satisfied simply, a creator-musician, photographer, craftsperson, performer, animator, designer video, maker needs to acquire 1000 fans to make a true living
(Magazine called ‘Wired’)
(www.kk.org)
DEFINITION – someone who will purchase anything and everything you produce,
Will drive 200 miles to see you perform
Will but box set of your stuff even though they have the low-res version
Have a Google alert set for your name
They have you sign their copies
They buy the t-shirt, the mug and the hat
They can’t wait till you issue your next work
They are true fans
You need to connect to your True Fans directly
Another way to state this to you, you need to convert a thousand lesser fans into a thousand True Fans
Assume conservatively True Fans will each spend one day’s wages per year in support of what you do
That ‘one-day-wage’ is an average, because your Truest fans will spend a lot more than that
True Fans spends at least $100 per year
If you have 1,000 fans that sums up to $100,000 per year, which minus some modest expenses, is living for most artists.
One thousand is a feasible number
If you added one fan a day, it would take only three years
True fan ship is doable. Pleasing a true fan is pleasurable, and invigorating
Is rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that true fans appreciate
The key challenge is that you have to maintain direct contact with 1,000 True Fan
The key challenge – you have to make direct contact with your 1,000 true fans
They are giving you their support directly
Maybe they come to your house concerts
They are buying DVDs from your website
They order your prints
As much as possible you retain the full amount f their support
You also benefit from direct feedback and the love
The technologies of connection and small-time manufacturing make this circle possible
Bogs and RSS feeds trickle out news
Upcoming appearances of our new works
Website host galleries of your past work, archives of biographical information, and catalogs of paraphernalia
MySpace, face book, twitter and the entire digital domain conspire to make a duplication and dissemination in small quantities fast, cheap and easy
You don’t need a million fans to justify producing something new
A mere one thousand is sufficient
Some circle of diehard fans, which can provide you with a living
Surrounded by concentric circles of Lesser Fans
LF’s will not purchase everything you do, and may not seek out direct contact, but they will but much of what you produce
The processes you develop to feed your true fans will also nurture lesser fans
As you acquire new true fans, you can also add many more lesser fans
If you keep going, you may end up with millions of fans and reach a hit
Who is not interested in having a million fans?
Classroom Exercise 1
In 2007, the year of its release, global revenues in recorded music were $19.4bn.
In 2009, global recorded music revenues dropped to $17bn.
In July Thom Yorke warned apocalyptically of its being “simply a matter of time – months rather than years – before the music business establishment completely folds”. His advice to young bands: “Don’t tie yourself to the sinking ship, because believe me, it’s sinking.”
“More and more managers are having to take more responsibility to put money up front,” Message says. Adam Tudhope, for example, began his career managing the platinum-selling Keane. Two years ago he put £40,000 of his own money into Mumford & Sons, a fast-rising London band now signed to Island Records. “Every band is going to need £20,000-£40,000 for the first two years of their life, and then they’re probably going to need £200,000 for the next stage of their career,” he says. He didn’t want to risk his own money on the £200,000 stage with the Mumford’s: thus the record deal.
In the United Kingdom, where the album also hit the top spot, it sold 208,000 copies in its first week making it the biggest-selling January release in five years. In mid-February 2011, after a performance at the Brit Awards, the album track "Someone Like You" went straight to number 1 on the UK singles chart, while the album 21 also remained at number 1. According to the Official Charts Company, Adele is the first living artist to achieve the feat of two top five hits in both the Official Singles Chart and the Official Albums Chart simultaneously since The Beatles in 1964. It is the first time that one act has held the top two places in the UK albums chart since The Corrs in 1999.
The point of this strategy is to say that you don’t need a hit to survive
You don’t need best – seller Dom
There is a place in the middle where you can at least make a living
That mid-way haven is called 1,000 true fans
It is an alternative destination for an artist to aim for
Young artists starting out in this digitally mediated world have another path other than stardom
A path made possible my technology
Instead of trying to reach the narrow and unlikely peaks of platinum hits they can aim for direct connection with 1,000 true fans
It’s a much saner destination to plan for
You make a living instead of a fortune
You are surrounded not by fad and fashionable infatuation, but by true fans
And you are more likely to arrive there
This formula – one thousand direct true fans – is crafted for one person, the solo artist
What happens in a duet, a quartet or movie crew
Obviously you’ll need more fans
But the additional fans you’ll need are in direct geometric proportion to the increase of your creative group
In other words if you increase your group size by 33%, you need add only 33% more fans
As your true fans connect with each other, they’re more likely to increase their average spending of your works.
Class exercise 2
The standards Project Summer 2011
Bob Brookmeyer
Jazz
In this new project Bob will explore the American songbook through fresh arrangements of eternal standards for the New Art Orchestra in association with BR-KLASSIC and the award winning vocalist Fay Claassen
Receive prominent credit listing on the new Standards LTD Edition CD
An exclusive look into Bob's musical journey as it unfolds with the creation of the recording
Play a major role in the creation of the new music as this new project comes to life
Take an audio journey through the American songbook: a compilation of Bob Brookmeyer's favourite performances of his favourite standards.
Receive a dedicated iPod containing all the videos from the project experience and music chosen specially for you by Bob Brookmeyer
Receive a personalized handwritten letter from the artist
Receive personalized video welcome message from the artist
We were asked to research ''Artist Share'' and what it does for musicians with a strong fanbase and this is what i came across in my research!
ArtistShare is a business model for musicians and other creative artists which allows them to fund their projects outside of the traditional recording industry model. It utilizes a "fan-funding" model to allow the general public to directly finance, watch the creative process of the recording, and in most cases gain access to extra material from an artist. It was founded in 2000 by Brian Camelio, a professional musician/producer in response to the threat of digital piracy and the futility of digital rights management for music. The ArtistShare model ensures that artists are compensated for their work before it is released. It is widely recognized as the first model of its kind for the purpose of funding artistic works through the Internet.
Buisiness Models Are Artists post projects which announce the creation of a new artistic work. The project consists of "Project Experience" which is the documentation of the project and "Participant Offers" which are priced from low to high. "Participants" (fans) buy Participant Offers of various levels in order to finance the project and gain access to the "creative process" behind the scenes. Depending on the level of participation the fan receives anything from credit listing on the CD at the end of the project to an invitation to the recording studio.
Since 2005, ArtistShare fan-funded releases have received a total of 5 Grammy awards, 17 Grammy nominations and one Latin Grammy nomination.
We were then asked to research a band called ''Marillion'' and their involvement with ''Artist Share'' and this is what i came accross in the short time i had!
Marillion are a British rock band, formed in Aylesbury, England in 1979. Their recorded studio output comprises sixteen albums generally regarded in two distinct eras, delineated by the departure of original vocalist & frontman Fish in late 1988, and the subsequent arrival of replacement Steve Hogarth in early 1989.
The core lineup[2] of Steve Rothery (lead guitar, and the sole 'pre-Fish' original member), Pete Trewavas (bass), Mark Kelly (keyboards) and Ian Mosley (drums) has been unchanged since 1984. The band has enjoyed critical[3] and commercial success with a string of UK Top Ten hits spanning their career, an estimated fifteen million total worldwide album sales and even an entry[4] into the Guinness Book of World Records.
Marillion's music has changed stylistically throughout their career. The band themselves stated that each new album tends to represent a reaction to the preceding one, and for this reason their output is difficult to 'pigeonhole'. Their original sound (with Fish on vocals) is best described as guitar and keyboard led progressive rock or "neo-prog", and would be sometimes compared with Gabriel-era Genesis.[5][6]
More recently, their sound has been compared, on successive albums, to that of Radiohead, Massive Attack, Keane, Crowded House, The Blue Nile and Talk Talk, although not consistently comparable sonically with any of these acts. The band themselves in 2007, tongue-in-cheek, described their own output merely as: "Songs about Death and Water since 1979..."
Marillion are widely considered within the industry[7] to have been one of the first mainstream acts to have fully recognised and tapped the potential for commercial musicians to interact with their fans via the Internet circa 1996, and are nowadays often characterised as a rock & roll 'Web Cottage Industry'.[8] The history of the band's use of the internet is described by Michael Lewis in the book Next: The Future Just Happened as an example of how the internet is shifting power away from established elites, such as record producers.
The band are also renowned for having an extremely dedicated following [7] (often self-termed 'Freaks') with some fans regularly travelling significant distances to attend single gigs, driven in large part by the close fan base involvement which the band cultivate via their website, podcasts, biennial conventions[9] and regular fanclub[10] publications.
Some say it has "all the elements of Led Zeppelin orchestrated by Schubert in space", others might describe it as "beautifully crafted and exquisitely performed adult rock" and you wouldn't be far off saying "it's reminiscent of Pink Floyd during their most creative period, without the inflated pig".
Rock
Part of Marillion's new deal for fans involves letting them get their hands dirty, by choosing set lists and even joining the band on stage. Taking this one step further, they're now inviting anyone to have a go at remixing a song from their most recent studio album, Anoraknophobia. For the modest fee of £10 or £60 for all nine, they will send you compiled tracks as WAV files, meaning stereo drums, individual guitar/keyboard/bass tracks, a stereo mix of the vocals with fairy dust sprinkled over, and dry versions of the individual vocal tracks for you to immerse in your own brand of reverb. As far as they're concerned, the more radical you get the better.
An album of the best remixes will be released and the lucky dozen or so remixers will receive £500 (and more importantly, the opportunity to have their own artistically pure, full-blown reworking heard by the world). Of course, if you're just a fan who has no interest in looping, cutting, splicing, and track mashing, but would simply like to play along with the band minus the guitar, bass, vocals, or you want to listen to just the bass on its own, all you have to do is line all the tracks up on your computer at the same start point, press Play, then mute or fade at your leisure.
Marillion are considered with many types of genre but they are closely to rock but the other category’s they fall under range from Progressive rock, neo-progressive rock, art rock, acoustic rock, alternative rock, pop rock. A wide range of musical genre’s.
Chris's Class week 1
Today we started Chris’s class.
We started going over the now given 5 assignments we had been given today. At first I was really worried because 5 assignments sounds like a lot for one sitting but we soon found out that their all a part of the same assignment there’re just different units.
We then started talking about the upcoming Christmas show that will be taking place before the end of the term in December. We have had a huge brainstorming session all day and its been great because we are seriously going to give it our all for this one. We were having in depth conversation about the theme of the show and we came to the decision that it will be Christmas themed. We were then talking about all the different things we can do to make it one of the greatest shows here.
Planning for The Christmas Show:
Evening social event: Ie. Christmas party.
Non-Traditional Christmas Theme.
Dj’s & Live performances from the 1st years & us.
Collabreration with the first years to havew one big show rather than the tedious 2 shows.
Art students collaberation for stage design and props.
PRESENTABLE Dress code. Making an effort
Decent more themed lighting scheme
Themed decoration’s
Christmas multimedia IE themed backdrop
Confettii & cotton wool for snow stage design
Contact Jonathan Cox for event guidance
Raffle prize
Prize contribution
Snowman backdrop
1st year host
Improved speech
Caberat event
combination set up
Joint job roles
Alternative Christmas songs/NO. 1 hits
different genres
audience invovement
dance competition
drinks bin
budget
facebook event
Job roles:
Malachi: Production design
Jean: Sound eng.
Davi: Poster design
Me: Backdrop design/Promotion
James: Programming
Tamara: Security
Peter: Advertising/Promotion
Margaret: Project liason
Daliya: Set list
We started going over the now given 5 assignments we had been given today. At first I was really worried because 5 assignments sounds like a lot for one sitting but we soon found out that their all a part of the same assignment there’re just different units.
We then started talking about the upcoming Christmas show that will be taking place before the end of the term in December. We have had a huge brainstorming session all day and its been great because we are seriously going to give it our all for this one. We were having in depth conversation about the theme of the show and we came to the decision that it will be Christmas themed. We were then talking about all the different things we can do to make it one of the greatest shows here.
Planning for The Christmas Show:
Evening social event: Ie. Christmas party.
Non-Traditional Christmas Theme.
Dj’s & Live performances from the 1st years & us.
Collabreration with the first years to havew one big show rather than the tedious 2 shows.
Art students collaberation for stage design and props.
PRESENTABLE Dress code. Making an effort
Decent more themed lighting scheme
Themed decoration’s
Christmas multimedia IE themed backdrop
Confettii & cotton wool for snow stage design
Contact Jonathan Cox for event guidance
Raffle prize
Prize contribution
Snowman backdrop
1st year host
Improved speech
Caberat event
combination set up
Joint job roles
Alternative Christmas songs/NO. 1 hits
different genres
audience invovement
dance competition
drinks bin
budget
facebook event
Job roles:
Malachi: Production design
Jean: Sound eng.
Davi: Poster design
Me: Backdrop design/Promotion
James: Programming
Tamara: Security
Peter: Advertising/Promotion
Margaret: Project liason
Daliya: Set list
Tuesday 20 September 2011
Boot Camp 2011 Show Review:
Firstly i would like to give a shoutout to the first years for setting up the gear in the early start that they had so well done for that dudes & dudettes!!!
The show went really well. Had a few mistakes but hey thats just rock & roll!
When i got at the college i was given a friendly greeting by my group but as soon as that Pete had apprached me earliar yesterday asking me to play on both his tracks because he thought it was seriously lacking the thickness it needed so he wanted my help to play bass on his tracks so i aggreed and just asked him what key they were in because to be honest thats all i needed to know really.
We were the first group on and its rather challenging to be the first act up but to be honest i prefer it to just get it done with and enjoy the other groups afterwards is a real treat for me. As soon as we finished our track which went really well we got a good reception from the crowd...well what was of the crowd anyways..And Pete's group was the second on so i stayed on stage so we started his first track I kissed a girl by katy perry and honestly i rather enjoyed the track because i just went all out on it. No mercy!!! played a proper thick & dirty bass line underneath everything else and it sounded really good considering ive never played the track before in my life. So that went really well. When that finished i sat back and watched the other groups perform and i must say i was pretty impressed to what they had done. All of it was very tight. By the time it was our turn again it was our main track Faint and i just wanted to go all out on it i wanted to go nuts on it!!! But for some strange reason when i picked up my bass and started the track my bass was horribly out of tune every single string was almost like elastic and all the pegs were de-tuned sabotage?? I think it may have been foul play seeing as i tuned it myself with a TUNER and placed it behind everyone right before the group before us started playing i left the hall to go to the toilet i come back and it was like that i wasn't pleased at all and not only that my volume & tone nobs had fallen off my bass..im not to sure if that was because it was simply knocked it may be the case because i think someone would've noticed someone knocking the nobs off my bass but the whole de-tuning thing?? Its pretty possible that it was sabotaged. Theres no way that it was an accident. Anyway most of the song i was trying to tune my bass back up while playing & singing it was not easy at all..so i had to find a different way to play it while playing infront of a live audience. Then when the breakdown part came i screamed (as i do) and everyone stopped!!! It turns out that Davi got a little excited and flung his stick half way across the stage by complete accident i dont blame him at all for it seeing as he bounced right back within a few seconds but on stage during a song that may seem like a good while. Anyway we bounced back and finished it with a good reception. Straight after that i was playing bass for Petes group again this time it was their second track Flo Rida Travis Barker Remix and it was SICK!!! Again i'd never played it before but me & Pete just went crazy on it filling the instrumental parts with bass & drum solo's but the highlight for me was when the build up towards the end came and i did a crazy solo when it went quiet and me and pete just bounced straight back in with the progression of the track i love working with Pete its so easy to play music with him because we blend really well together. SO once that finished we got roars from the crowd i was rather proud of myself i then sat down and enjoyed the rest of the show. It ould have gone alot better i think in terms of audience because i felt it really wasn't enough seeing as the usual boot camp crowd is usually 200+ people honestly dont know what happened there but hey it was fun!! We packed up the gear and headed over to the park to celebrate and have a good time it was an excelent day!!!
WELL DONE GROUP ONE & TWO!!!!!!!!!!!!!!!
Bring on the new Term!!!
The show went really well. Had a few mistakes but hey thats just rock & roll!
When i got at the college i was given a friendly greeting by my group but as soon as that Pete had apprached me earliar yesterday asking me to play on both his tracks because he thought it was seriously lacking the thickness it needed so he wanted my help to play bass on his tracks so i aggreed and just asked him what key they were in because to be honest thats all i needed to know really.
We were the first group on and its rather challenging to be the first act up but to be honest i prefer it to just get it done with and enjoy the other groups afterwards is a real treat for me. As soon as we finished our track which went really well we got a good reception from the crowd...well what was of the crowd anyways..And Pete's group was the second on so i stayed on stage so we started his first track I kissed a girl by katy perry and honestly i rather enjoyed the track because i just went all out on it. No mercy!!! played a proper thick & dirty bass line underneath everything else and it sounded really good considering ive never played the track before in my life. So that went really well. When that finished i sat back and watched the other groups perform and i must say i was pretty impressed to what they had done. All of it was very tight. By the time it was our turn again it was our main track Faint and i just wanted to go all out on it i wanted to go nuts on it!!! But for some strange reason when i picked up my bass and started the track my bass was horribly out of tune every single string was almost like elastic and all the pegs were de-tuned sabotage?? I think it may have been foul play seeing as i tuned it myself with a TUNER and placed it behind everyone right before the group before us started playing i left the hall to go to the toilet i come back and it was like that i wasn't pleased at all and not only that my volume & tone nobs had fallen off my bass..im not to sure if that was because it was simply knocked it may be the case because i think someone would've noticed someone knocking the nobs off my bass but the whole de-tuning thing?? Its pretty possible that it was sabotaged. Theres no way that it was an accident. Anyway most of the song i was trying to tune my bass back up while playing & singing it was not easy at all..so i had to find a different way to play it while playing infront of a live audience. Then when the breakdown part came i screamed (as i do) and everyone stopped!!! It turns out that Davi got a little excited and flung his stick half way across the stage by complete accident i dont blame him at all for it seeing as he bounced right back within a few seconds but on stage during a song that may seem like a good while. Anyway we bounced back and finished it with a good reception. Straight after that i was playing bass for Petes group again this time it was their second track Flo Rida Travis Barker Remix and it was SICK!!! Again i'd never played it before but me & Pete just went crazy on it filling the instrumental parts with bass & drum solo's but the highlight for me was when the build up towards the end came and i did a crazy solo when it went quiet and me and pete just bounced straight back in with the progression of the track i love working with Pete its so easy to play music with him because we blend really well together. SO once that finished we got roars from the crowd i was rather proud of myself i then sat down and enjoyed the rest of the show. It ould have gone alot better i think in terms of audience because i felt it really wasn't enough seeing as the usual boot camp crowd is usually 200+ people honestly dont know what happened there but hey it was fun!! We packed up the gear and headed over to the park to celebrate and have a good time it was an excelent day!!!
WELL DONE GROUP ONE & TWO!!!!!!!!!!!!!!!
Bring on the new Term!!!
Day 6 of rehearsals (Thursday)
Today was pretty hectic,
We had rehearsals non stop all day and we only had a couple of breaks not like the usual days where half the time we're in the production suite doing nothing or the keyboard lab. Shadae was a no show again same as yesterday we saw her around in the morning she'd say she'd be up in a minute then we wouldn't see her until we finished for the day and she'd say those words ''Are we finished then??'' To be blunt its like a rusty nail being slowly drilled into my brain when i hear that its so retarded...Anyways The entire day we were focused on making sure that the tracks were as note perfect as we thought and they were honestly we were very bored of the tracks by today which isn't a bad thing because 9 times out of ten if your bored of a song you play it better when you actually perform it because you know the structure like the back of your hand. The show's tomorrow and im very excited about it but at the same time i want it over and done with.
Its gonna be good
We had rehearsals non stop all day and we only had a couple of breaks not like the usual days where half the time we're in the production suite doing nothing or the keyboard lab. Shadae was a no show again same as yesterday we saw her around in the morning she'd say she'd be up in a minute then we wouldn't see her until we finished for the day and she'd say those words ''Are we finished then??'' To be blunt its like a rusty nail being slowly drilled into my brain when i hear that its so retarded...Anyways The entire day we were focused on making sure that the tracks were as note perfect as we thought and they were honestly we were very bored of the tracks by today which isn't a bad thing because 9 times out of ten if your bored of a song you play it better when you actually perform it because you know the structure like the back of your hand. The show's tomorrow and im very excited about it but at the same time i want it over and done with.
Its gonna be good
Day 5 of rehearsals: (Wednesday)
Today was a pretty chilled day nothing to rushed it was all pretty laid back most of the time. We carried on rehearsing our tracks the whole day and to be honest nothing eventfull happened we've got the songs sorted now note perfect all the way through.
Tomorrow is the final day of rehearsals. Then the show on Friday
Tomorrow is the final day of rehearsals. Then the show on Friday
Tuesday 13 September 2011
Day 4 of rehearsals:
Today was a fairly average day for me and the group. We were in the Live Room first thing so it was an awesome feeling to get stuck into rehearsals straight away. Something amazing happened at around 10:20 Shadae turned up relitavly on time...I was really suprised because after yesterday where she assured me that she was going to step up and work harder she was actually here kind of on time and ready to work. It was good until we actually started rehearsing she realized that because she spends so much time away from our rehearsal time she didn't actually know how to play the songs..None of the group was pleased by this especially Rebecca seeing as she's had to take over all keyboard duties on her own and has wasted hours trying to teach Shadae the songs. So of course natual Shadae behavior the phone came out and she didn't do anything apart from that until rehearsal finished. The songs are so tight right now i counted 1 mistake they are so solid everyone knows what they are doing apart from the one exeption but hey i've talked about that alot over the past few days. Once rehearsal time finished we were in the Drum Room straight away so we basically just carried on we managed to get the stops and starts in Gary's track perfect this time around. Shadae left the rehearsal room after 5 minutes and we never saw her for the rest of the day. We finished really early today because we all had other stuff to do for example i had keyboard stuff to do and the first years which are Hana, Gary & Becca had to do their target skills gold so we had 2 rehearsal slots today but to be honest we don't need to many as we are getting bored of playing the two songs already.
In terms of progress it was a good day.
******END OF REPORT******
In terms of progress it was a good day.
******END OF REPORT******
Day 3 of rehearsals:
Today was a productive one conidering we had alot less time there as a whole. We started off the day again as usual in the production suite..we were fine with this because our tracks were coming along to the point where we can play them at will with minor mistakes. When we actually started rehearsing an hour or so later we were making great progress working as a musical ensoumble its getting to the point where we understand eachother as musicians and work buddy's really we were always talking about our blogs and what we have individually written in them about our time there as an ensoumble, We're always comparing and sharing ideas Me & Davi especially as we've done this before. Once again today Shadae was nowhere to be seen by anyone during the day. Me and Gary saw her cross the road at about 11:00 in the morning just before we started rehearsals but not to the college rather in the oppisite direction but to be honest we were not suprised by this because her attendance & punctuality has been disgusting since last week. When we finished for the day she came over and said ''are we rehearising or what? are we finished?'' I got extremely frusterated at the amount of stupidity that i saw and heard at that moment...The thing is aswell she seemeed to be completely oblivious to the fact that we start at 10:00..Its really frusterating for the group because on the day of the show she'll mime play and take credit then get her grades..Where as in reality she does absolutly nothing to contribute in rehearsal time even in non-rehearsal time the only things she does do is reccomend playing songs that are not our tracks and just ''piss about'' as it were..im actually sick of it and whoever reads this must think ''man your bullying her'' Where really im not the entire group doesn't like what shes doing im sure all their blogs have mentioned it. Anyway i confronted her about why she did not turn up on time and her excuse was ''I had things to do'' I wouldn't mind but this what has been happening since we started last week..she either walks in the room and sits on her phone for the duration we rehearse or she doesnt turn up i am sick of it.
Anyways rehearsals were good we're on the right track for friday
hope tomorrow will be as productive or even more so.
******END OF REPORT******
Anyways rehearsals were good we're on the right track for friday
hope tomorrow will be as productive or even more so.
******END OF REPORT******
Friday 9 September 2011
Day 2 of rehearsals:
All in all today was a very productive day.
We started the day in the Keyboard Lab but to be honest the group was not to bothered about this. We then moved to the Production Suite we could do absolutly nothing in there because there aren't any AMPS In the room and all the ones that you could take in there were already being used by a other groups, This made it very hard to make any real musical progress seeing as 2 hours we made none but, We did make the most of it.
Shadae was nowhere to be seen it was already 12:00 and no one had seen her and we were then due in the live room to rehearse for the first time today. This rehearsal slot was a very productive one by the time we ran through it a couple of times we had finally mastered playing ''Faint'' as a group. I started singing the chorus of the song and i was occasionally joining in with Gary's rap vocals and it made it very fun for me and everyone else. Although, I found it very hard to scream the breakdown and play the breakdown riff simmutaniously. I eventually found a way around it by letting Hana play the riff and i just play one note while the breaking is occuring. Rebecca also played along during the breakdown to put more into it so it'd sound heavier to the audiences ear. It was fine by the time we were comfortable enough to play it without the backing track although, We found it a whole lot easier to play it without the backing track funny enough. So when ''Faint'' was done we decided to move onto our second track ''Lyrical Tantrum'' By Gary we found this one alot easier than faint but the only problem we had was the timing/correctness with the Drums & Keyboards. After much time and effort it finally came to them, Me and Hana were pretty set because we had already sat down and worked it out together during the time we were in the Keyboard Lab. Shadae finally turned up at 2:30 and honestly neither me or the rest of the group were pleased in the slightest i mean, 10-20 minutes for traffic sure thats not a problem but four and a half hours is absolutly disgusting. She came in and sat on her phone barely did a thing and then she asked me to play my bass and due to past experiences i politley said no and she got very offended and walked out the room. She then came back when we were packing up to leave 30 minutes later. I don't even know why shes here to be honest. But anyway rants aside both the tracks are ready to perform next week we as a group will be perfecting the tracks for the audience nest week Friday. I can't wait.
So happy with my group with the one exeption. We're all getting on really well musically & socially (:
Love you guys <3
Bring on Monday i say!!!
*****END OF REPORT******
We started the day in the Keyboard Lab but to be honest the group was not to bothered about this. We then moved to the Production Suite we could do absolutly nothing in there because there aren't any AMPS In the room and all the ones that you could take in there were already being used by a other groups, This made it very hard to make any real musical progress seeing as 2 hours we made none but, We did make the most of it.
Shadae was nowhere to be seen it was already 12:00 and no one had seen her and we were then due in the live room to rehearse for the first time today. This rehearsal slot was a very productive one by the time we ran through it a couple of times we had finally mastered playing ''Faint'' as a group. I started singing the chorus of the song and i was occasionally joining in with Gary's rap vocals and it made it very fun for me and everyone else. Although, I found it very hard to scream the breakdown and play the breakdown riff simmutaniously. I eventually found a way around it by letting Hana play the riff and i just play one note while the breaking is occuring. Rebecca also played along during the breakdown to put more into it so it'd sound heavier to the audiences ear. It was fine by the time we were comfortable enough to play it without the backing track although, We found it a whole lot easier to play it without the backing track funny enough. So when ''Faint'' was done we decided to move onto our second track ''Lyrical Tantrum'' By Gary we found this one alot easier than faint but the only problem we had was the timing/correctness with the Drums & Keyboards. After much time and effort it finally came to them, Me and Hana were pretty set because we had already sat down and worked it out together during the time we were in the Keyboard Lab. Shadae finally turned up at 2:30 and honestly neither me or the rest of the group were pleased in the slightest i mean, 10-20 minutes for traffic sure thats not a problem but four and a half hours is absolutly disgusting. She came in and sat on her phone barely did a thing and then she asked me to play my bass and due to past experiences i politley said no and she got very offended and walked out the room. She then came back when we were packing up to leave 30 minutes later. I don't even know why shes here to be honest. But anyway rants aside both the tracks are ready to perform next week we as a group will be perfecting the tracks for the audience nest week Friday. I can't wait.
So happy with my group with the one exeption. We're all getting on really well musically & socially (:
Love you guys <3
Bring on Monday i say!!!
*****END OF REPORT******
Day 1 of rehearsals:
Today was officially the first day of rehearsals for the upcoming boot camp show. The first room we were put in for the day was the Production Suite. Before we got in there we thought it'd be an ideal time to disscuss in depth about the song choices but when we got in there we soon realized that there was no internet, It was really needed because Gary's Original was on youtube and we couldn't listen to it so, There was really nothing we could do for the first hour of the day apart from talk about the tracks/show we made some progress verbaly but we were ambitious to start practicing. We changed rooms and we were then in the Keyboard Lab being in here made it a little more entertaining for example we had the internet so we could listen to Gary's track and get a rough idea of the track itself. Me and Hana the groups guitarist were playing along to the youtube track when i found a simple yet effective chord progression that would blend with the track. Rebecca the group's Keyboard player gave us the notes and we pretty much just followed with the tempo after we knew the notes and it sounds pretty good for a rough guess to be honest. Shadae the groups....Not quite sure what she does really she said she sings & plays keyboards but she ''Doesn't sing infront of people'' And decides to go on her phone when she needs to play keyboards so not much has changed since last year when i was placed in her group so somehow im in this again. She made a decent effort during the course of the day when we were finally put into the Live Rooom (The first time we had actual rehearsing time together seeing as we were put in the keyboard lab & the production suite twice) She was following Rebecca with the keyboard playing side of things but of course she would be on her phone most of the time. Anyway Once we actually started rehearsing together it was pretty much a breeze for me & Hana we work pretty well together i taught her the progression of ''Faint'' & she picked it up relitivaly quickly so i was pleased about that. The only thing that took quite a long time was Rebecca working out the right notes for the synth into in ''Faint'' And Davi trying to figure out the correct drum pattern for the track, Its quite a fast paced track so i can completely understand why he was struggling keeping in time. The final rehearsal time for the day we decided to carry on working on ''Faint'' with the rapped vocals and Gary had it from the start he struggled alot on the second verse its pretty tongue twisting to be fair and we were more than willing to give him the time he needed to be able to rap it at will with the rest of the group. I pushed the group pretty hard to get it right for example as soon as the backing track finished i re-played it almost straight away just to make sure we could get it to the point where we knew it well enough to play without the track. I'm hoping it will be as fresh in their minds as it is in mine when it comes to playing it tomorrow but other than that Well done Group 1!!!! <3
*****END OF REPORT*****
*****END OF REPORT*****
Wednesday 7 September 2011
Boot Camp Show: Group meeting and organizing
At 2:00 we were put into groups and i think everyone was as curious as i when we were finally put into the selected groups for the upcoming 2011 Boot Camp show. I had my doubts at first but once i was put into my group (Group 1) I was very pleased with the results seeing as within the first ten minutes or so we already decided on the two tracks we are going to do for the show. Me and Davi suggested to the first years the easiest way to decide on potential material was to choose one cover and an original track, Either we write one together as a group or an induvidual of the group reccomends a track of their own that they think will be suitable for the show. We had quite a breif disscussion about what we were going to choose. It was breif mainly because the members of the group were into similar music, Although Gary is into Hip-Hop but he also likes rock music so we decided as a group to pick a track from a band that used the best of both worlds Hip Hop & Hard Rock Linkin Park's Faint was the first choice reccomended by me & Davi. Everyone really liked the idea of playing it live especially seeing as everyone will be able to take part by incouperating what they do best to make the track a good'n to play live. We then decided who will be playing what on the track:
Me - Bass Guitar & lead vocals
Davi - Drums
Hana - Lead Guitar
Gary - MC Vocals
Rebecca - Keyboards/Synths
Once we finished deciding the cover Gary then reccomended one of his own original Hip-Hop tracks so we listened to a few of his originals and picked out the one we liked most and more importantly picked the one that would give everyone in the group an oppertunity to take part in the track. We then made our way to the Live Room to start rehearsing the tracks although, We decided that we should give ''Faint'' The most amount of attention first seeing as its a little more complex than Gary's original. [ ] Fount it quite hard to get the right notes for the Synth intro on the track so we all chipped in and helped her until it was completely right and honestly no one had to reccomend ''We should help her'' It was all very natural. Me and Hannah took some time to get the our Rythum synchronised but once we got it it was fine. Davi had a little trouble keeping the beat right but it is quite a complex beat and he assured us he will get he just needs more practice time.
So at the moment so far so good. I hope tomorrow will be as progressive as this afternoon was.
******END OF REPORT*****
Me - Bass Guitar & lead vocals
Davi - Drums
Hana - Lead Guitar
Gary - MC Vocals
Rebecca - Keyboards/Synths
Once we finished deciding the cover Gary then reccomended one of his own original Hip-Hop tracks so we listened to a few of his originals and picked out the one we liked most and more importantly picked the one that would give everyone in the group an oppertunity to take part in the track. We then made our way to the Live Room to start rehearsing the tracks although, We decided that we should give ''Faint'' The most amount of attention first seeing as its a little more complex than Gary's original. [ ] Fount it quite hard to get the right notes for the Synth intro on the track so we all chipped in and helped her until it was completely right and honestly no one had to reccomend ''We should help her'' It was all very natural. Me and Hannah took some time to get the our Rythum synchronised but once we got it it was fine. Davi had a little trouble keeping the beat right but it is quite a complex beat and he assured us he will get he just needs more practice time.
So at the moment so far so good. I hope tomorrow will be as progressive as this afternoon was.
******END OF REPORT*****
Tuesday 15 March 2011
I guess the thing that gets to me the most is that we get 4 hours or less a WEEK to rehearse everyones tracks over the course of 8 weeks which in my opinion is disgraceful i hate the way we're expected to put on a full show without proper rehearsal time its retarded and after all this we're expected to blog about everything and summerise rehearsals in this blog firstly:
1. I'm performing on almost every track theirs at least 14 tracks and the original idea was 2 tracks per person so not only did i have to learn their first track but their backup aswell so time has not been a luxury
2. I'm having alot of personal issues at home and at college with a certain someone in my class its been really getting to me because theirs just shit everywhere i go and all i wanna do is play music and people in my class giving me shit for not doing this certain part right the thing about that us i like adding my own input to the tracks if i do exactly what the original musician did it would be pointless and i was always being pressured about being late or whatever but thats mainly because im always too busy learning EVERYONES track and rehearsing with them and ive been trying to keep my own creativity level at a high for everyones tracks ive been extremely busy at college over the ast 8 weeks and i wont lie it has been incredibly stressfull and all the drama ive been through hasnt helped either i play on if you may call me being dramatic but im being real i cant be expected to do all these things because im not the average person in terms of mentality.
Lastly all i wanna say is i tried and if it aint good enough then im sorry but its the best i could do.
1. I'm performing on almost every track theirs at least 14 tracks and the original idea was 2 tracks per person so not only did i have to learn their first track but their backup aswell so time has not been a luxury
2. I'm having alot of personal issues at home and at college with a certain someone in my class its been really getting to me because theirs just shit everywhere i go and all i wanna do is play music and people in my class giving me shit for not doing this certain part right the thing about that us i like adding my own input to the tracks if i do exactly what the original musician did it would be pointless and i was always being pressured about being late or whatever but thats mainly because im always too busy learning EVERYONES track and rehearsing with them and ive been trying to keep my own creativity level at a high for everyones tracks ive been extremely busy at college over the ast 8 weeks and i wont lie it has been incredibly stressfull and all the drama ive been through hasnt helped either i play on if you may call me being dramatic but im being real i cant be expected to do all these things because im not the average person in terms of mentality.
Lastly all i wanna say is i tried and if it aint good enough then im sorry but its the best i could do.
show
It's going to be a complete disaster in terms of certain people havent rehearsed its getting to the point where im going to leave ive had enough that is all
Wednesday 12 January 2011
1st official rehearsal's
*Blog for the 11th of Jan 2011*
Today when the rehearsals officially started i went through a breif runthrough of 4 tracks:
For Daliya:
1. Violet stars happy hunting by janelle monae was one of her choices. With this track it is a very different, weird track its really funky and i enjoyed playing it with the selected band of course where this is only the first rehearsal some people were getting rather confused with the chord progression & way to play it most notibly was Louise she was getting rather frusterated with it and i didn't really understand why she didn't have any patientce with what we were doing. This is something she needs to get over along with her shyness in order to play not only this song but all the others aswell or she will ultimately come un-stuck in the end.
The only other person i have my doubts with is Pete while we were learning and trying to rehearse the track i thought he was being quite lazy about it only sorta playing when he thought was right dont get me wrong i like pete but as a musican to another musician he needs to get his game face on.
All in all the track will need some major work done to it in the further weeks of Daliya's rehearsal time. And i am yet to find out about her other choice.
Pete: Drums
Daliya: Vocals
Louise: Guitar
Solomon: Keyboards/Synths
Me: Bass
The next person i had a rehearsal with was Jon:
1. Whats my name by Rihanna was actually a suprising success musician wise Jon took my aside breifly and played me the first note and i pretty much knew where to go for the rest of the song. The chord progression didn't stray to far from the usual progression in R&B so for me it wasn't difficult. Daylia's vocal performance was rather supurb even though it was the first rehearsal of this track it was sung very nicely. As for drums once again i felt Pete was being lazy with it. I also felt that i couldn't follow him very well as a bass player and he's a drummer which are of course two key elements of band driven music. We'll have to see what happens in later rehearsal times
Jon: Keyboards
Pete: Drums
Daliya: Vocals
Malakai: Vocals
Me: Bass
2. Broken Hearted Girl by Beyonce was also an easy-ish track to follow for me and it was a pretty good rehearsal in this track the only instruments present were Piano, Bass, Vocals and a few violins's (which we dont have to worry about) drums come in a little later on in the track which we will have to see about because we didn't have drums for that track *ahem* other than that im sure this will be one of the easier ones.
Jon: Keyboards
Pete: Drums
Daliya: Vocals
Me: Bass
And finally James's selected track:
1. Juno by Funeral For A Friend i was more than happy with James's song choice mainly because the band that perform this song are one of my favs and the song is my fav song by them so i was pretty open minded about the track seeing as i already knew how to play the song in full. The only thing i will say is that James needs serious practice time for the strumming pattern for the track which he finds really difficult but im sure he will nail it with loads of practice. I'm playing bass plus im singing/screaming on the track.
James: Guitar
Gary: Guitar
Pete: Drums
Me: Vocals & Bass
END OF TRANSMISSION...
Today when the rehearsals officially started i went through a breif runthrough of 4 tracks:
For Daliya:
1. Violet stars happy hunting by janelle monae was one of her choices. With this track it is a very different, weird track its really funky and i enjoyed playing it with the selected band of course where this is only the first rehearsal some people were getting rather confused with the chord progression & way to play it most notibly was Louise she was getting rather frusterated with it and i didn't really understand why she didn't have any patientce with what we were doing. This is something she needs to get over along with her shyness in order to play not only this song but all the others aswell or she will ultimately come un-stuck in the end.
The only other person i have my doubts with is Pete while we were learning and trying to rehearse the track i thought he was being quite lazy about it only sorta playing when he thought was right dont get me wrong i like pete but as a musican to another musician he needs to get his game face on.
All in all the track will need some major work done to it in the further weeks of Daliya's rehearsal time. And i am yet to find out about her other choice.
Pete: Drums
Daliya: Vocals
Louise: Guitar
Solomon: Keyboards/Synths
Me: Bass
The next person i had a rehearsal with was Jon:
1. Whats my name by Rihanna was actually a suprising success musician wise Jon took my aside breifly and played me the first note and i pretty much knew where to go for the rest of the song. The chord progression didn't stray to far from the usual progression in R&B so for me it wasn't difficult. Daylia's vocal performance was rather supurb even though it was the first rehearsal of this track it was sung very nicely. As for drums once again i felt Pete was being lazy with it. I also felt that i couldn't follow him very well as a bass player and he's a drummer which are of course two key elements of band driven music. We'll have to see what happens in later rehearsal times
Jon: Keyboards
Pete: Drums
Daliya: Vocals
Malakai: Vocals
Me: Bass
2. Broken Hearted Girl by Beyonce was also an easy-ish track to follow for me and it was a pretty good rehearsal in this track the only instruments present were Piano, Bass, Vocals and a few violins's (which we dont have to worry about) drums come in a little later on in the track which we will have to see about because we didn't have drums for that track *ahem* other than that im sure this will be one of the easier ones.
Jon: Keyboards
Pete: Drums
Daliya: Vocals
Me: Bass
And finally James's selected track:
1. Juno by Funeral For A Friend i was more than happy with James's song choice mainly because the band that perform this song are one of my favs and the song is my fav song by them so i was pretty open minded about the track seeing as i already knew how to play the song in full. The only thing i will say is that James needs serious practice time for the strumming pattern for the track which he finds really difficult but im sure he will nail it with loads of practice. I'm playing bass plus im singing/screaming on the track.
James: Guitar
Gary: Guitar
Pete: Drums
Me: Vocals & Bass
END OF TRANSMISSION...
Tuesday 11 January 2011
song plans
For my track i am stuck between ideas. The songs i have chosen are:
Rise from your grave by Glamour Of The Kill:
http://www.youtube.com/watch?v=y0vIvdk5p9M
& Day in Day out by Architects:
http://www.youtube.com/watch?v=0OOeP51WZO8
The band:
Pete on drums
James on guitar
Gary on guitar
This is the band that i want for either of my tracks but for the Architects track i would need someone to play bass for i want to completely front the band with just vocals but if the Glamour of the kill is chosen as the track i will play Bass and Sing for the track.
I've got a feeling i will be playing on most of the tracks for the performance (which im fine with)
I know i'll be playing Bass on Daylia's track, *Violet stars happy hunting*
Vocals & playing bass on Petes track, *The metal by Tenacious D*
Bass on Louise's track, *For a perssimest im pretty optimistic by Paramore*
On Gary's track possibly vocals & Bass *either Kasabian or Gary's Original*
Vocals & Bass on Davi's track *The pretender by foo fighters*
Vocals & Bass on Semaj's track *Escape Artists Never Die By Funeral For A Friend*
To be continued...
Rise from your grave by Glamour Of The Kill:
http://www.youtube.com/watch?v=y0vIvdk5p9M
& Day in Day out by Architects:
http://www.youtube.com/watch?v=0OOeP51WZO8
The band:
Pete on drums
James on guitar
Gary on guitar
This is the band that i want for either of my tracks but for the Architects track i would need someone to play bass for i want to completely front the band with just vocals but if the Glamour of the kill is chosen as the track i will play Bass and Sing for the track.
I've got a feeling i will be playing on most of the tracks for the performance (which im fine with)
I know i'll be playing Bass on Daylia's track, *Violet stars happy hunting*
Vocals & playing bass on Petes track, *The metal by Tenacious D*
Bass on Louise's track, *For a perssimest im pretty optimistic by Paramore*
On Gary's track possibly vocals & Bass *either Kasabian or Gary's Original*
Vocals & Bass on Davi's track *The pretender by foo fighters*
Vocals & Bass on Semaj's track *Escape Artists Never Die By Funeral For A Friend*
To be continued...
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