In the earlier days of the music industry, few performing and recording acts wrote their own material. Thus, publishers were an important source of songs for artists and an attractive home for the non-performing writer.
Today, many publishers have broadened aspirations, assuming roles that in former times were not typically their domain. Continue reading
For many emerging artists today, “partners” has come to be a lot less about traditional conduits to the masses – i.e., terrestrial media and, most importantly, record companies – than about Internet and mobile-based allies and services. This is due in part to the inability of the label pool to absorb the torrent of acts now spilling onto the music scene, and also because an increasing number of artists see digital media/technology as a viable alternative to relying on the industry machine, especially in view of the evident difficulties various high-profile record companies have had adapting to life on the digital frontier.
In this regard, some people in the industry no longer see it as the manager’s responsibility to be concerned, short term or long term, with actively trying to get their client signed to a label. Continue reading
There are some important digital-related property rights that should remain with the artist but which a record company may want thrown into the deal, perhaps hoping they will slip under the radar. Continue reading
If you happen to be in the market for a label deal, or you think that’s on the horizon for you in the not-too-distant future, you might want to keep the following in mind as you pursue all the options. Continue reading
It’s a sad reality that far too many bands are remiss when it comes to housekeeping, and one of the things that has come back to haunt more than a few groups and former mates is an unfortunate propensity for untidiness when it comes to song material written by members. Continue reading
About three years ago I wrote a blog titled “Whither The Ad-supported Free Music Sites?”, in which I made mention of the streaming service Spotify that was struggling to establish itself in North America. I seriously questioned the viability of its business model at the time, but then I wasn’t privy to just how far the company would go to curry favour with the major labels. Continue reading
This month I decided to add Bitcoin to the forms of payment I accept for the consulting and career coaching services I offer music artists and others in this business. I also recently made my first purchase of the digital currency–1.06847855 of it, to be precise–at the sole Bitcoin ATM, located in downtown Vancouver. The procedure was quite easy, actually, and I was able to instantly deposit it into my already-created digital wallet.
If you have no clue what I’m talking about, you’re not alone. Here’s a quick and dirty primer of sorts on Bitcoin. Continue reading
Nothing is forever. This we all know. When we think about copyright duration, which is a lot less than forever, most of us in this business tend to think of it more in relation to compositions, not so much as it pertains to sound recordings. That’s why I believe you’ll find what you’re about to read especially interesting. Continue reading
Some songwriters are gung ho about getting a music publisher on board, without affording much thought to the pros and cons. Others are trepidatious. Still others are dead set against the idea. Whatever the case, the degree to which publishing can and should be important to an artist-writer’s long-term financial well-being cannot be overstated. Neither can the ramifications of failing to understand the hows and whys of it. Continue reading
This spring, SOCAN published on its website “A guide to digital music platforms”. The subject of distribution and retail in the online sphere is an important one to a lot of independent artists and I applaud Canada’s performing rights organization in its efforts to assist recording acts with this kind of information. However, when it comes to choosing a digital distributor (“aggregator”) Continue reading