Latch Music's Ezine #31
Connections: Blog Feed
FaceBook
MySpace
Twitter
Google Buzz
iLike
ReverbNation
LastFM
PodCast Feed
My Music @:
iTunes
Amazon
Napster
Rhapsody
ShockHound
LimeWire
iTunes Japan
iTunes UK/European Union
* "The Zine" content is contributed by Dave Latchaw and colleagues who use the Internet to promote their musical projects. You can check out previous issues at "The Zine" Archives.
- Article: "Your Own Record Label" by Dave Latchaw
- Guest Artist: Dick Schalk from "SingleZero" - Groovy world electric vibe.
- Featured Web Site: World of Jazz
- Featured Web Video: Hugh Ferguson
- CD Pick: Joni Mitchell "Travelogue"
Your Own Record Label
by Dave Latchaw
The dream of getting a record deal surely has crossed the mind of most musicians. Getting a record deal has always been challenging, and is even more so with each passing day. One sometimes forgets that for every record deal that works out, many more don't. The record business has changed in the last few years so that unless you make big fast bucks for the label, they will be on to the another artist who might be the next big thing. The support that a label used to give to their artists to help them develop just isn't there anymore. If your first recording doesn't make enough money for a label, your chances of making the next recording are not very good. With the creative accounting that goes on in the record bizz, there's also a good chance you won't even have any money to show for your efforts when all is said and done. It would be cool to be on MTV and do that whole scene, but it's just not going to happen for everyone. With technology being so affordable, and with the Internet to use for distribution, it's become easier to start your own record label than to get signed to an established label.
Part of the process of starting your own label is to develop your own sound and keep developing your musical craft. If your music is mediocre you are going to have mediocre results. Nothing beats the time spent developing your own voice and the quality of the presentation of your work, you have to do your musical homework. Study successful artists in your field and work at your craft so your musicianship is not an issue, hindering your possible success. Realize that each project is just one step on your musical path and learning curve. If you never let go of a project, you can't move on to the next one. It's easy to get caught up with the endless refinements of trying to improve a project, but there comes a point where the project is as good as it is going to be at this moment in time. Take what you have learned and improve the next project. You have to have product to start learning what kind of response you will have on the Internet. A balance between the creative side and the business side of your label is necessary. You can have all the greatest musical ideas ever, but if you don't know how to promote your music and get people to buy it, you won't gain enough financial compensation to keep funding and improving your projects. Making money with your music can buy you the time and equipment to keep creating more new music.
It's not the easiest thing for a creative mind to think in a business-like fashion, and of course lack of money is always a problem for a start-up label. Try to have a sense of reality. It is easy to start thinking one's music is cool and everyone should want to buy it. Try to look at your marketability objectively. For example, if you spend $10,000.00 on a recording project, can your company ( You ) sell a thousand units at $10.00 each in order to break even? If you can, great, but is that realistic for you? Some artists don't like to concern themselves with making money because they think that would be "selling out". Well, they need to get over that if they are going to be able to have any success with their own label. A label needs to make money to finance the next project, get new gear, and possibly even pay some bills and all that. Starting with a smaller budget will allow time for an artist to develop their label and learn which steps to take to be able to make money. When there is money coming in, it will be easier to justify spending more money on the next project. Making your business financially solvent and profitable takes time and patience.
Back in the 80's when I was hanging out with record bizz types I was told many times, "yeah, you can get a record deal, but it's the distribution deal that really makes or breaks a recording." If your recording isn't available in every chain store and mom and pop record store, it isn't going to be successful. That's why the Internet is ideal for artist's independent record labels, because of the global distribution the Internet provides. When the Internet started to take off there was a lot of money made by some artists, but that wasn't sustainable. MP3.com used to have a "pay for play" feature that allowed artists to receive compensation for getting their music played at the MP3.com site. When the Internet financial bubble burst it was just a matter of time before they had to discontinue "pay for play". In the beginning, a lot of computer people with music software were able to be successful because they knew how to work the Internet, and would compose pretty simple electronica tunes. That was and still is the most in-demand music on the Internet. Eventually so much music became available on-line, and so many people tried to cheat the "pay for play" system that it became unfeasible for MP3.com to maintain it. Like any business, MP3.com needs to maintain their bottom line. I'd rather have MP3.com in business than not, it's still one of the easiest ways for people to hear my music and buy my cds. Not that there aren't other sites for one to distribute their music on, but MP3.com is one of the biggest draws for music consumers. The reason so many Internet companies have gone out of business is because they were not presenting tangible goods. The only way independent musicians are going to make money is to be able to sell CDs and/or sell individual downloads. We have to give up the thought of getting paid to let people listen to our music on-line, there's just so much free music to listen to on the Internet that fans are going to go where they can check out the music first (for free) before they buy.
Try to find a balance between your creative side and business side. If you believe in your music, start your own label. Be sensible with your investment in your company. The idea is to make money so you can keep making your music. Make a plan and be willing to tweak it as you go. Be patient, it will take time to see results. Who knows, you may end up having a pretty good time having your own record label. Could be pretty cool being your own boss and having control of your artistic destiny and not leaving it to some one else to meddle with. Good luck and give it a go!
Dick Schalk from "SingleZero"
#1 Where on the Internet can people learn more about your artistic activities?
I currently have two internet sites for SingleZero:
My MP3 site at
www.mp3.com/singlezero and my CD BABY record distribution site at
www.cdbaby.com/singlezero
#2 Who are your main influences, and how have they inspired you to find your own creative voice?
My parents influenced me a great deal, because music was always a part of our home life. One of my earliest musical memories is of my mom and dad with some of their friends, gathered around an upright piano. My mom was playing the piano, my dad was playing a concertina, and everyone was singing. My dad gave me a ukelele when I was 4, and my mom got me involved with the trumpet when I was 7. Later on, besides playing classical, pop and music in our public school system, I listened to lots of rock, soul and R&B on the radio. Some of the bands and musicians that have inspired me are Pink Floyd, Alan Parsons, 10cc, Santana, Eric Clapton, Richy Blackmore, Jimi Hendrix, Robin Trower, Segovia, The Beatles, The Raiders, The Wailers, The Sonics, Ray Charles, Bach, Beethoven, Straus, and various cultures and life experiences. Besides SingleZero, I've played with The Executives, Atlantis, Phoenix, Orchid Storchy and the Equalizers, The Wayds, and various orchestral ensembles, stage bands and marching bands.
#3 What is your compositional process, and how do you incorporate technology into the process?
I've always been interested in sound in general, and as a child was fascinated by our ability to locate a sound source, just by listening, even with our eyes closed. The concept of creating stereo mixes came naturally to me, because of playing in various bands and ensembles, with instruments and players spread over a wide space. As you listen to my music, I've tried to incorporate "sound stages" and movement into the compositions. I tend to think of music graphically, as the classical composers did, painting a "picture" of a story or event with sound and instruments. So, depending on the piece, there are several ways that I create music. I may start out with a story or event in my mind, write an arrangement based upon this story or event, and express it with various sounds and instruments. After deciding on the general arrangement of a piece, I begin recording the various sounds and instruments as individual elements. The sounds can be anything from breaking a glass on a tile floor to the sound of a ChrisCraft motorboat, or a frying pan lit hitting a stone counter top, whatever element adds depth and definition to the piece. The instruments (including acoustic and digital instruments and vocals) are also recorded individually or as a section, and are "assembled" digitally, much like a quilt, into a song, with the sound elements coming in for accent and texture. Then again, some songs are written and recorded in a more conventional manner, recording drums, percussion and bass first, as the foundation of the song. Then recording the supporting instruments, vocals, and solos. In any approach, mixing and mastering the songs with the "sound stage" and the "sonic picture" in mind is very important, because I believe it conveys the feel of the piece.
#4 What do you want listeners to get from your recording "SingleZero"?
SingleZero was written and recorded as a concept album to express how different world cultures (new, old and ancient) and life experiences have touched my life and left their indelible impressions in the fabric of my soul. With the use of conventional instruments, digital samplers, and all sorts of old and new technologies, I've attempted to fuse many different cultures, sounds, instruments, rhythms, emotions and "soundscapes" into the eight songs on SingleZero. It covers the full audio spectrum too, so if you've got a subwoofer, you'll be able to experience the depth as well as the width of this CD.
Also being a graphic artist, I've tried to visually convey the feeling and spirit of this music through the CD artwork. The graphic on the outside of the SingleZero CD symbolizes a single eye, or window, looking out on the world. The graphic on the booklet back is an image taken during a trip to Japan two autumns ago. I was in a small coastal town near Lake Hamana, just outside Hamamatsu. Their local autumn festival was in full swing, and I was lucky enough to capture this image of the children dressed in their ceremonial costumes, marching while playing their flutes, horns and drums in front of a "waterfall" of fireworks. It was quite spectacular, and ethereal at the same time. The graphic on the outside of the CD tray is an image that I took during a trip to the southwest, at Chaco Canyon, one of the largest and most sophisticated Anasazi ruins in North America. It's quite eerie to stand among the ruins during the middle of the day, let alone during the twilight hours and the pitch-blackness of the evening. I hope that this music moves the listeners in the same way that my life experiences have touched, awed and inspired me.
#5 Do you get to play your music out?
Because of the complexity of these songs, they require many musicians (including myself) to play live. Alan Parsons and Pink Floyd have successfully toured, but it required a large ensemble for them to do so. With that being said, a SingleZero tour is in the planning stages for later this year.
#6 What have been some of the highlights of your musical adventures?
I've been very fortunate to have met and worked with many musicians and bands all over the world. I've also toured and traveled extensively, throughout the U.S., Canada, and Japan. Meeting people and learning about their customs and cultures have enriched my life, both on a musical and a spiritual level.
#7 How has the Internet affected your musical activities?
The Internet has opened many doors for me musically, and has enabled my music to reach people throughout north America, Japan, Australia, the U.K., Germany, Finland, Russia, the Caribbean Islands, and the South Pacific Islands. It really brings home how small the planet is, and how important it is to preserve and foster world peace. Music truly is the universal language.
#8 What upcoming projects should people look for from you?
Since SingleZero was released less than one month ago (January 1, 2003), my primary focus is on supporting this new CD. Live performance of the CD is planned for later this year, with another SingleZero CD release expected in January 2004.
World of Jazz
This month I was looking for a web site that would help students with practicing and reading rhythms. World of Jazz is proof that the Internet can be a cool place for music and music education. They have an eight-level rhythm exercise program for all grades. Each exercise has an audio file to listen to while working with the rhythms. There are 78 exercises in total, which can be checked out here. There are also 311 play-along MIDI files of different styles, difficulties, and levels that can be downloaded. There's a great variety of jazz standards and different styles of jazz to play along with. Great if you have a sequencer program to read the notation and be able to slow things down to practice with. Check out the midi download page here. World of Jazz is the creation of Swiss saxophonist Stefan Hugi. Stefan also promotes his record label "Odem Records" here. Stop by the World of Jazz and see what this creative musician is up to.
Hugh Ferguson
**Update - December 2003**
Unfortunately, Hugh's site and the video seem to no longer be available,
but you can still read his interview here.
Hugh Ferguson is a brilliant guitarist who is a master of riffage. In the early 80's in the Boston area, Hugh started the first rendition of the Mr. Wizard band and in 1982 was featured in Guitar Player Magazine. The Mr. Wizard band received notoriety in 1984 opening for Allan Holdsworth, Til' Tuesday, and other acts. In 1986 Hugh landed a great gig as guitarist for Graham Nash, where he also covered David Crosby's vocals and toured the U.S. Recently, Hugh finished his first fusion CD, "The Jungle", and is currently recording his second CD, "Off The Cliff", with Joel Talyor on drums and his long-time bass player Rich Thomas. Hugh was the featured artist for Latch Music's "The Zine" #17, check out his interview here. You can find out more about Hugh at his website www.hughferguson.net. Check out the video of Hugh's great trio live at the Coach House in San Juan Capistrano, December 13th 2002. A great way to check out some real cool playing.
Joni Mitchell
"Travelogue"
I can't think of any artist in any medium who isn't hip to Joni Mitchell. Joni is a brilliant songwriter, singer, musician, poet and painter. Her ability to create divergent, personal, unique interpretations of her own music and other compositions has mesmerized listeners for over 30 years. She has kept the pundits guessing throughout her career because she is the epitome of an artist, ever exploring and expanding her voice. "Travelogue" is great fun to check out, especially if you are familiar with the original versions of these songs. (Of course one should have every Joni Mitchell recording made.) On Travelogue, Joni is combined with a huge orchestra and amazing arrangements and orchestrations by Vince Mendoza, making this a stunning work of art. Hearing how Vince handles Joni's music makes it obvious why he is one of the most important arrangers and orchestraters today. Joni performs her music with the new arrangements with such grace, expression and purity, especially notable in this day and age when the music industry is more consumed with fast money than art. Brian Blade, Herbie Hancock, Wayne Shorter, and Kenny Wheeler also perform on this collection of great music. Travelogue is a must for all music collections. Get it now!!!!!!!!!!!!!!!!!!
Tracks for "Travelogue"
Disc #1
- Otis and Marlena
- Amelia
- You Dream Flat Tires
- Love
- Woodstock
- Slouching Towards Bethlehem (based on a poem by W.B. Yeats)
- Judgment Of The Moon And Stars (Ludwig's Tune)
- The Sire Of Sorrow (Job's Sad Song)
- For The Roses
- Trouble Child
- God Must Be A Boogie Man
Disc #2
- Be Cool
- Just Like This Train
- Sex Kills
- Refuge Of The Road
- Hejira
- Chinese Cafe / Unchained Melody
- Cherokee Louise
- The Dawntreader
- The Last Time I Saw Richard
- Borderline
- The Circle Game
Click here to learn more about "Travelogue"
Home
Site Map
Twitter
FaceBook
MySpace
Free Mp3 Downloads
Contact Dave
Satisfaction Guarantee
Free Radio
Recordings
Blog
Bio
Hire Live Jazz
Lessons
Copyright © 1999-2011 Latch Music All Rights Reserved