Apr 21, 2010

Is the CD Dead or just demoted? Part 5 with Adam Hoffman



Adam Hoffman from the Adam Hoffman Revival chimes as part of this on-going series:

1) Do you think it is important to have your music available to fans on Compact Disc?

I think that having music available on CD is fading. I do think it is important to have some tangible media available at shows. But with download cards and USB recording -- I think CDs are fading.
2) What are the reasons you do or don't make CDs?

I released my most recent album on CD for two reasons: 1) It was inexpensive to do so and easy to mail CDs 2) Ignorance. Well, ignorance is a little harsh, but I wasn't aware of all my options. If I could do it again -- I'd release on USB to provide more content for fans. Maybe include a rad AHR game.

3) If you have CDs available, what price do you sell them at?
The CDs I have are for sale for $10 -- but catch me at a show and I'll give it to you.

4) Have you seen the iTunes LP yet? What did you think?
I haven't seen the iTunes LP -- although I'm about to google it!!!

5) Do you offer FLAC downloads? Can you play a FLAC file on your system?
I don't currently offer a FLAC download. I run my own website -- so gotta keep it rather basic. The trouble with the Indie musician movement is being your own manager, promoter, booker, agent, PR, web designer -- and on and on. Too many hats, I guess -- so I'm not sure how to work a set up for downloadable FLACs.

6) Does your act participate in any carbon credits or green programs to offset the environmental impact of CDs?
Currently, we do not as an act. Personally, I do for my home -- and I am interested in purchasing Renewable Energy Credits for the Adam Hofmann Revival. Not only would it offset the impact of CDs, but it would also promote global cooling since we do enough global warming running electricity for gigs and driving around.

7) Why has there been a resurgence of interest in vinyl records?
For me, vinyl is the perfect vehicle for music. You can have a nice big artwork heavy recording. The package itself is substantial and just plain old feels good to hold. The sound is warm -- I believe it is more of a collectors piece. If you love the music, love the band, and want to really be involved and invested in the music -- vinyl is the way to go.
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Apr 19, 2010

Artists! -Don't take an advance, here's why.


Your manager will push you to take an advance from anyone and everyone who will pay it, Record label, publisher, merch co. etc. Why? They look like a champ for getting you an easy fat paycheck and they barely needed to do any work to get it. So you think, "Wow" this person is really looking out for me!" but in reality they just lost you a lot of money.
How?
When someone pays you an advance they will do everything and anything possible to be sure you never see another penny...even if you deserve hundreds of thousands of dollars.
How do I know this? I almost fell into the trap of doing this to someone this week.


We were contacted by an artist manager this week who was looking for Aderra to record every show on their next tour. The artist is a heritage act that draws about 2500-4000 a night, a pretty good size tour.
We made what I think was a pretty good offer. It would have amounted to about $1,000,000 to the artist by the end of the tour in December. But the manager wouldn't do the deal without an advance of $75,000. We went back and forth, back and forth but at the end of the day he wanted $75k for his artist.
So I started thinking, "I can pay this idiot $75,000, do some tricky accounting and pocket nearly a million bucks!"
Because it would be easy to do. I could suddenly inflate the cost of being on the road and come up with a bunch of excuses why we "weren't making money". But then my conscience got the best of me (as always). I've never fucked anyone over and I am not about to start now. You can call me a sucker or whatever, but I know what I am doing. No way I am going to let that karma swing back on me.
So here is how I would have screwed them...
Simple, make sure my expenses are always almost exceeding sales revenue plus the advance. Target= $1,000,000 minus $75,000. I would have found large expenditures on labor, transportation or cost of goods, let alone for administration costs to fulfill online orders and manage publishing royalties. We would have negotiated away origination fees at venues but quoted book rates back and of course we could always play fast and loose with cash payments from fans.
Have I discovered a truly evil and immoral way to take money out of the pockets of fans and Artists?!
No, nothing that exciting. This is just the way that things have been done since the "advance" has become customary. It is a bit like the relationship between the United Auto Workers Union(UAW) and the big three automakers in Detroit (weird analogy but stick with me): The entire relationship is built on a foundation of animosity and the supposition that either side will take no quarter to screw the other folks over. What does that lead to? Screwing each other over to prevent being screwed themselves. So everyone loses. To the extreme that 2 of the big three auto companies faced bankruptcy without the grace of the U.S. taxpayers after the finacial meltdown in 2008-2009.
If the relationship is built on the belief that "the other guy is going to fuck you." No one wins.
Oh, there may be some short term gains but long term both sides never make as much as if they had collaborated to some degree.

So really, the manger who called me wasn't an idiot at all. After decades in the business he just assumes that I am going to do all of the tricks necessary to screw him and his artist out of money so
of course he demands an advance. That at least ensures he'll gets a few thousand. Even if he loses $1,000,000 in exchange for it
.
My advice to artists is think once, think twice and then figure out how much money you can make long term without an advance.
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Apr 10, 2010

Is the CD Dead or just Demoted? Part 4 Johnny from Killola Responds







Here is Johnny from Killola discussing their take on CDs:

1) Do you think it is important to have your music available to fans on Compact Disc?

I do. We're not quite out of the CD woods yet, media wise. It's still a comfort to hold a CD in your hands and read a booklet. As long as CD players are the standard dash-imterface in cars, people will probably want CDs.


2) What are the reasons you do or don't make CDs?

We still make them because it's a reliable and tangible music item. You can leave 20 CDs at a radio station after you do an interview... And those discs are a physical reminder of your music/visit. It's an item that a DJ can look at, and remember to play you, and give away to listeners, etc. That element, combined with the fact that people still want it.... Pushes us to still make em.


3) If you have CDs available, what price do you sell them at?

$5 for anything not new... $10 for a new release.

4) Have you seen the iTunes LP yet? What did you think?

Huh?

5) Do you offer FLAC downloads? Can you play a FLAC file on your system?

If someone wants a wav/aif ... I'll get it to em somehow. I haven't messed with FLAC much.

6) Does your act participate in any carbon credits or green programs to offset the environmental impact of CDs?

Nah.

7) Why has there been a resurgence of interest in vinyl records?

They're classicly cool. Music is a ritual when the playback is a process... Just like coffee making. A French press takes a while to make the coffee, and it's not simple... But some people fiend that process. I know I do. The coffee tastes better to me when I make it slowly and mind the process. That's my vinyl analogy. Vinyl=coffee press. Mp3=redbull. Both work and both have merit. Its just: what are ya feelin?
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Apr 5, 2010

Is the CD Dead or just demoted? Part Three Alex Pfender from Yoya responds


I spent the morning today listening to the mixes of the new yOya album, "nothing to die". Great songs, great recording. As the band gets ready to unleash this acoustic/electronic masterpiece on the world I thought Alex might have an interesting take on the current status of the Compact Disc.
1) Do you think it is important to have your music available to fans on Compact Disc?
Yes, because people are still very used to it. The ipod might be the most common way for people to listen to their music collections, but they're used to putting music that they've stolen or ripped or borrowed or whatever on there. It's not like bands are going out selling ipods. The CD, for most people, is still the most current physical representation of music that you buy.

2) What are the reasons you do or don't make CDs?
We make em because that's all we've ever made so, we're not sure if other stuff will work better but we know that our fans have bought CDs in the past. And because practically all releases, major or indie or self, are released on CD

3) If you have CDs available, what price do you sell them at?
$10

4) Have you seen the iTunes LP yet? What did you think?
I saw it briefly about 5 months ago or something, when they did a big press release for it. It seems cool, at first I thought it'd be lame to sit on a computer and look at the art for an album but the more I thought about it the more I thought it'd be cool to check out my favorite new releases that way. I think it's cool. isn't it super expensive though?

5) Do you offer FLAC downloads? Can you play a FLAC file on your system?
No and no. I'm not sure there are enough people that really want it. One of my friends that's got huge online presence says he was hesitant to offer them even after many people requested it, because it was just too much work. I'm not sure if he ever did it.


6) Does your act participate in any carbon credits or green programs to offset the environmental impact of CDs?

Nope. I'd like to learn more about that. I'd also like to just buy non-plastic CD stuff but it's way more expensive to do.

7) Why has there been a resurgence of interest in vinyl records?
There's also been a resurgence of interest in cassette tapes, and I think it's just because there's a lot of confusion about what format is best, or whether formats are any good at all (i.e. should everything just be files). I've also gathered that many people think vinyl sounds better no matter what (this confuses me), and as far as cassettes i think they just have some sort of kitsch value, both in just buying and holding a cassette tape, and in the poor sound quality. A friend of mine that's really into recording onto cassette does so because he thinks modern recordings are too homogenized in their sound due to DAWs and stuff. I also think that because they are linked to classic music in people's minds, that increases their perceived value.


Click Here for some pictures of yOya tracking harmonium and autoharp in my studio.
And you can preview the new tracks on Garageband.com
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Apr 4, 2010

Is the CD Dead or Just Demoted? Part Two - Mike Madill from MadSound/NPFC Responds


Mike Madill from MadSound and Nineteen Point Five Collective responds to my questions about the current and future status of the Compact Disc.

1) Do you think it is important to have your music available to fans
on Compact Disc?

no.

2) What are the reasons you do or don't make CDs?

cd's are expensive to make and hard to distribute and involve
several-to-many different steps/vendors/shippers, whereas something like
tunecore can allow one person to distribute their music globally for $50
without leaving their bedroom. (i love tunecore)


3) If you have CDs available, what price do you sell them at?

$10

4) Have you seen the iTunes LP yet? What did you think?

yes. about time.

5) Do you offer FLAC downloads? Can you play a FLAC file on your
system?

no, just mp3. FLAC is the digital equivalent of the audiophile system. it's
a niche. yes i can play FLAC files.


6) Does your act participate in any carbon credits or green programs
to offset the environmental impact of CDs?

i haven't manufactured any cd's for many years now. and no i don't purchase
green credits.


7) Why has there been a resurgence of interest in vinyl records?

vinyl is unique. it represents the best of analog quality, and sounds better
in many instances than digital formats. there's also a huge DJ culture who
still want to spin real vinyl, not to mention DJ hero video games. vinyl has
a cult of personality all its own.


Here's the MadSound reel:

VH1 - "Titanic" from Madsound on Vimeo.


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Is the Compact Disc Dead or just Demoted? Part One


I sent out this brief survey to a dozen indie artists to see whether they still plan on releasing music on CD.
  1. Do you think it is important to have your music available to fans on Compact Disc?
  2. What are the reasons you do or don't make CDs?
  3. If you have CDs available, what price do you sell them at?
  4. Have you seen the iTunes LP yet? What did you think?
  5. Do you offer FLAC downloads? Can you play a FLAC file on your system?
  6. Does your act participate in any carbon credits or green programs to offset the environmental impact of CDs?
  7. Why has there been a resurgence of interest in vinyl records?

I'll post responses as they come in.
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Mar 11, 2010

Interview: Sarah Saturday - Founder of Earnityourself.com Resource Website for Indie Artists





Sarah Saturday opens up about earnityourself.com and the E.I.Y. philosophy.


CAC: What goals do you have for EIY?

SS: There is one main goal for the EIY movement, under which is an endless number of smaller goals, and that is: to offer a moral alternative to the mainstream, morally corrupt way of life that has become the "norm" in our society. It's a movement that I've attached to the music industry, because the music industry is a manageable microcosm where the philosophy can be applied in a practical manner, and can produce successful results quickly; but really, once you learn the EIY tenets and approach, you immediately understand how it can be applied to all areas of one's life.

The basic tenets are:

(1) You don't have to cheat, lie, steal, or compromise with evil in order to reach your goals. There is another, alternative route. It may take a bit longer, but your conscience will be clean, and therefore the things you earn will be rightfully yours, and will bring you true joy. Aim to reach your goals by being honest, truthful, hardworking, and steadfast.

(2) Always be developing a clear idea of what you believe, and what you stand for, by constantly asking yourself why you want the things you want, do the things you do, think the things you think, etc. Continue to ask yourself "why?" for each answer you give yourself, until you can't answer "why?" anymore. These "end of the line" answers are, in essence, your "values."

(3) Never go against your "values" in the face of temptation, or in order to get something you think you want. If you do go against your values in order to skip a step, you will not have truly earned the thing, and therefore you will lose it (because it was never really yours), or you will only receive unhappiness and a feeling of unsettledness from it.

(4) Strive to bring meaning to whatever you do, in your daily effort to achieve your goals. At the end of your life, the most important thing is that you were honest in your attempts (your means) to reach your goals -- NOT whether or not you reached the goals (the end). The end does not justify the means; the means justify the end.

The goal for the EIY movement is to show by application in the world of independent music that the "earn it yourself" philosophy is the right way to live your life, and the only way to be truly happy in your life.

CAC: What artists will benefit most from what you are offering?

SS: As it applies to the life of a band, the EIY philosophy, movement, and website helps independent bands at every level, from bands that are just getting started, to bands that tour and release their own music on a regular basis. Bands can learn everything from how to start a band, to a fans' point of view of what constitutes a good show or proper band-to-fan interaction, to booking tours, to doing your own taxes as a business. There are already so many tools, resources, and people on the site that can help bands -- all free and ever-growing.

Promoters, venues, and booking agents can also benefit from the website, via the booking tools, databases, and show trading features. We have the biggest online community of active DIY, underground, and independent bands, promoters, and small venues -- plus our ever-growing venue database that outnumbers other sites' venue lists by the hundreds.

Fans of independent music, and anyone interested in getting more involved with the music industry from a non-artist perspective, can also benefit from the website. It's a way for kids to get involved with local and touring bands in a very tangible way: actively interacting with the bands, helping book shows, finding them places to stay, promoting shows, and actually working with the bands in a personal way that makes them feel more invested in a band's success than just adding them as a friend online and maybe going to a show. Bands and fans really connect on the EIY website, creating working relationships and friendships that will last a lifetime.

I think the thing that makes the EIY community so different from all these other websites that try to offer similar resources and functionality under the guise of "promoting independent music" is that you can take our website offline, and apply it to real life, and actually see real results from what we are talking about online. You will meet people on our website who are actually working hard in their daily lives, making things happen, and genuinely working on building their careers and working towards their goals. We're not just a bunch of "talkers" who are sitting online posting things because we are bored. We're producers. We're real people and we all have goals and ideas. So you can log off of the EIY website and still be actively involved in it. The movement has very deep roots, from our ties to the BYOFL community, to the accomplishments and personal experiences of the people who are behind the website, to the actual people who are on the site every day, using it and applying the philosophy to their lives. The people on the site are real, and it's all very honest and very human.

CAC: What new initiatives do you have in the works for 2010?

SS: The thing I'm most excited about - well one of them - is that we have decided to apply for non-profit status for Earn It Yourself. We (meaning: myself, Ernst, Wyatt, and Dean) have been working so hard, for years, to make this an amazing website. But we never really figured out what kind of company we wanted to be. I kept thinking we should push to incorporate the company and get investors and do the typical business-y stuff with it, but then it dawned on me: none of us are in this to make money. We have been pouring our time and energy into the site because we all love it, and we think it's a damn good idea, and we think we are offering something to the underground music community that nobody else is offering. Why complicate it? We're all artists and creative people ourselves; we are not old men in suits, or washed-up A&R guys trying to make a last grab at whatever money is left to be made in a dying industry. We're too busy trying to apply the EIY philosophy to our own lives, so we might as well just be part of the community we are building, rather than try to capitalize on it. So I'm hoping that we'll have non-profit status by next year sometime, and I feel really good about the decision to move the company in that direction.

Other really exciting stuff: our second year sponsoring the Kevin Says Stage on the Warped Tour, with the daily "EIY Spot" that will feature an EIY band in each city on the tour. (More info: http://earnityourself.com/kevinsaysstage)

Not only will we have EIY bands playing every day on Warped Tour, but Kevin Lyman has offered me an amazing opportunity to really spread the word about the Earn It Yourself philosophy and movement, by inviting me to run a daily EIY Workshop & Scene Meet-Up for local bands, promoters, venues, and kids in the scene in each city! I will be out on the tour all summer, running these awesome meet-ups backstage where a select group of active members in the community will get together, meet each other, talk about what's going on locally, learn more about the EIY movement and how they can get involved, and then have the opportunity to talk with bands, staff, crew, and other people who are out on the tour! I'm putting together an EIY Handbook to give out at these meet-ups as well, filled with interviews and profiles on people and artists who I consider to be good representatives of the EIY approach to building their careers. The idea here is to do something constructive, that will help to rebuild and kick-start local music scenes by bringing people face-to-face and really talking about the meaning and purpose behind what they're working on at a local level. If we can get the underground music scene active again, we can really start to build up a network that can support itself entirely outside of the mainstream -- like our DIY forefathers did it, 20 years ago.

CAC: What key experiences from your background do you draw on for EIY?

SS: I think it was a gradual evolution. Definitely being in my first band(s) from when I was 16 to 19, and all the things I learned during that time, had a huge impact on me. I had a short stint as a solo artist from about age 17-18 where I was hauling this embarrassing setup to a coffee shop 20 minutes from my house and performing outside every single day for an entire summer. I released my own three-song EP and learned a lot about recording, mixing, producing, etc, from that experience. Interning as an engineer (pre-ProTools) at a recording studio when I was only like 20 helped me develop a new understanding about sound and production that I've applied to writing and recording ever since.

Discovering the punk/DIY scene when I was 19 was a major turning point in my life, and unbeknownst to me was when I started to subconsciously develop my personal philosophy. Starting my band Saving Face -- and probably the entire 5 years that band was around -- was just one big lesson after another. It was during that time that I really finalized who I was as a musician and an entrepreneur in terms of being in a band.

But it was also during that time that I started reading a lot more, and rediscovered philosophy as an integral part of life, not just a subject taught in school. Once my mind was opened to seeing the world from the point of view of my values, my beliefs, my goals, and what I stood for, everything in my life got a lot clearer. So discovering and understanding the practice and purpose of philosophy in my daily life is probably the most important turn I've taken.

Of course, the six years I spent living in Los Angeles, touring and working only on the business side of the music industry, was the icing on the cake of experiences in my life that I draw on for EIY. I witnessed, heard about, learned, watched, and met everything and everyone that a person coming from the underground music scene could ever want or need to know. It was like going to college to get my masters or something.

So now, doing music again as Gardening, Not Architecture, is the easiest and most enjoyable thing I've done as an artist or an entrepreneur, simply because I have a full, objective understanding of what to do, how to do it, and the comfort of knowing what to expect, and what is realistic for me to achieve with it. It's like I've learned enough from other people, and I'm ready to just go through it myself, for my own enjoyment, and to learn what's left to learn by doing it myself. I'm my own student, now.

CAC: How was the business funded? Are you currently raising additional capital?

SS: We've paid for everything out of our own pockets. We've sold a tiny bit of advertising through Google. We're going to introduce the ability to donate on the site and become featured contributors, and once we get non-profit status, we'll be able to apply for grants, and allow people to write off their donations. We don't expect to make money on the site, but if we could get to a point where we have a small staff that we can pay for their time, and we could cover our overhead, and maybe put some real money into marketing efforts or promotional events for the community -- well, that would be amazing.

CAC: If funds and resources where unlimited what would be the first thing you would implement?

SS: An annual tour with amazing headliners that exemplify the EIY ethos in their careers; a team of programmers to help execute the rest of our amazing ideas and visions for the website; and EIY book that would be available at all bookstores; a ground-breaking record label (the business model for which is locked away safely in my brain, don't worry); a management company that would put all other management companies out of business; and a mandatory annual meet-up for everyone on the website, so we can sit around and talk about our ideas and all the things that drive us , and get all inspired and make a million plans with each other, and start a million companies and side projects, before passing out by a campfire somewhere, probably in a field, under an open sky filled with stars.

###

Learn more about the Earn It Yourself movement at www.earnityourself.com
Learn more about Gardening, Not Architecture at www.gardeningnotarchitecture.com


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