98 posts tagged

Advice

I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions at daniellesden.com/advice/ask

“Is this standard practice for a label to share profits 10/90%?”

I have recently been contacted to submit a track for a compilation by a small label, Ghost Label Records. I know you have covered this before, but I have some questions about it. The contract I have been sent to sign seems a bit ‘dodgy’, specifically:

“a) All profits from sales of physical CD’s, digital downloads will be splitted 10% for the Licensor and 90% for the Licensee.
...
c) Payments may be withheld if sum does not match or exceed withholding amount of 1000 euro. The label’s accountant department will only contact the artist in the event their dues have reached 1000 euro. The label is not responsible for contacting the artist should their royalties not reach the withholding amount. ”

1, it seems a bit one-sided. Artist gets 10% label gets 90%? Is this a usual split? 2, it seems like they are saying that they will only pay me if the sales reach over 10,000 euros (highly unlikely). Is it standard practice to have a clause like this in a contract?

Having already been asked to re-do my mix as he wasn’t happy with the eq on the kick, which I did twice, I was then asked to re-write the first minute of the track because “the start of your track is very insufficient and poor. Till 01:10 the track has no meaning and sounds poor because only the kick/bass is playing”.

Is this standard practice for a label to ask for a rewrite of a track they have asked to include on a release?

Hamish Strachan

Hamish, it’s good you questioned the contract because the terms you’ve mentioned doesn’t seem promising at all.

Typically, labels and artists have a 50-50% split share. That’s the industry standard. I heard some purely commercial labels offer 60–40 and even 70–30 split deals, but never 90–10. It’s a nonsense. Here is one of the contracts I previously signed to give an example:

One of the contracts I signed. The standard 50-50% split is highlighted

But in this case the split share doesn’t really matter because of the second term:

“Payments may be withheld if sum does not match or exceed withholding amount of 1000 euro. The label’s accountant department will only contact the artist in the event their dues have reached 1000 euro.”

Some labels indeed withheld the sum until it reaches $50 or $100 just to make their accountant’s work easier, but $1000 is a scam. Don’t forget that stores and distributors also take their commission, so typically labels get only half of the price tag you see in the cart.

Let’s say, if an average price per track is €1, then the label’s share is 50 cents, which means your share would be 5 cents in this case. And that, in turn, means they would need to sell 20 000 copies just to reach that payable threshold of €1000 that suppose to go the artist. Basically, it means that’ll never gonna pay the artists, and I mean it — never, literally.

Don’t get me wrong, you should’t expect a solid income from music sales alone anyway. Releasing on a label has a marketing purpose. For example, I didn’t get a penny from my debut EP released on Ovnimoon Records back in 2012: they sent me a nice pack of CDs instead. That was a part of the original deal so that was fine by me, clear and simple. But when those guys from Ghost Label Records say they will pay you some money whilst in reality they won’t, I think it’s a scam. It’s up to you whether you want to deal with the people like this or not.

The truth about music sales

As for the second part of your question when a label asks to re-do the track, well, it depends. Generally speaking, I would say it’s a good sign, it means the label care. You can get an idea of what kind of feedback I give as an A&R at JOOF in the Tim Bourne’s success story. But looking at the contract terms above, I don’t think give a shit about the artists.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

Jun 14   Advice   Music industry

What do you need to play a live set

I have a couple of questions about playing a live act because I’m quite confused now about this topic. What do you need to do if you finished a few tracks and want to play them as a live act?

I watched some videos but I only saw people launching a few clips in ableton but I don’t understand how to play for example an hour long live act with many of your tracks. How to prepare your tracks? Chopping into kick, bass, leads etc? What about the arrangement? Sorry for the loads of question but I got lost in this.

Thanks for your help and also for this amazing advice blog I think it helps a lot for us!

Viktor

Viktor, I cannot answer your question in details saying like “chop it here” or “map this to that” because there are a plenty of things I don’t know, giving any specific advice without knowing your music or setup as least would be unprofessional.

First of all, the question is what do you want to achieve. Why do you want to play live sets in the first place? How exactly do you want to make your tracks played live different from playing a record? How would you like to build up the set, both musically and energy-wise?

The next big question is the musical genre you playing because there are some differences too. For example, is it a Techno or Progressive that slowly builds up over time? Or it’s a fast-paced Psytrance with several melodic layers played simultaneously? Compare these two snippets:

I would say, the more intense, complex, and fast-paced your music is, the less freedom you have on the stage. Well, no surprise: supposedly you have only two hands, so the numbers of things you can manipulate in a given time are pretty limited. And it’s important to understand your limitation because it allows to think of possibilities.

The next is equipment. Various gear allows to play and map things differently, hence your Ableton setup would be different as well. Let’s say, do you have a drum machine, sequencer, sampler, synthesiser, effects rack? Or you have just a MIDI-controller with 8 rotary knobs and that’s it? I’m not saying that having a MIDI-controller isn’t enough to play a live set, but again it’s a limitation that you have to be aware of to prepare the set accordingly.

At last but not least, where are you going to play a live set is another thing to consider because live sets require a certain type of event and audience. Most clubs don’t give artists time for changeover and sometimes there are simply no space in the booth for any extra piece of equipment. You have to negotiate and discuss it with promoters first, these are the real things you have to deal with if you are going to play live, it’s even more important that thinking of what button you should map on a controller to launch a clip.

I’m sorry that this blog gave you more questions that answers. We can theorycraft about preparing tracks for a potential live set of course, but I’d advise answering these questions to yourself first to get a bit of real-life sense.

P.S. Watch this amazing video by Minilogue playing a live jam studio session. They also have another video explaining this setup: what each piece of equipment does, how the signal flows is set, what’s going on in Ableton of each of their computer, etc. I find it inspiring. Perhaps, it’ll answer some of your questions.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

May 31   Advice   DJing and performance   Music production

EQing individual bass notes

After reading your bassline equalisation advice, I’m curious because of the different harmonic positions relative to the note frequency, if you have a baseline that changes notes, should you / would you gain any benefit from having each note on a unique track with separate EQ, or automating the EQ to respond based on the note sequence? Or is that just overkill?

Michael Roy

To EQ or not to eq each individual note depends on the genre you working on and the results you’re aiming for.

For example, if you have a kind of a soft, smooth, and groovy bass like typically used in Full-On or House music, it’s probably not worth it:

On a contrast, if you aiming for a really crispy and punchy bass that typically used in Progressive-Psy or Uptempo Psychedelic, then I would say a yes to extra EQing:

Now I would like to share some tips on how to use different bass notes with each individual EQ.

First of all, having several MIDI channels with different bassline notes is certainly an overkill. For every tiny change in the bass sound you would need to change it manually on the other channels as well. It’s also not convenient working with MIDI that way and not efficient for the computer resources.

Picture 1. Having multiple MIDI channels for each bass is a bad idea, don’t do like that

And what if your bassline MIDI pattern is going crazy with changes every 1/16th notes? In case of having a unique track for each bass note, it’s simply impossible:

Picture. A pattern like this is impossible if you have several MIDI channels for the bass

A good solution that I’ve been personally used for years is using resampling. Just put an EQ on the bass channel, resample that one note as a piece of audio. Then put an EQ with different settings for another note, resample it. And repeat for any other notes. I know it sounds like a huge amount of work when you read it, but in fact, it takes just a few minutes tops if you know your DAW well.

Eventually, you should audio samples for each note. Like this:

Picture. Resampled notes, each with EQ tailored for its frequency

Now create a new MIDI channel and add these samples into a new Drum rack:

Picture 4. Bass samples loaded in the Drum rack

And now create a new MIDI clip and draw any pattern using these samples, as easy as it gets:

Picture 5. MIDI pattern played by different samples, all within one clip

You can hear this technique in action in any of my productions which has that kind of “jumping” bass pattern, for example like in Structured Chaos:

I hope it makes sense.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

May 24   Advice   Kick and bass   Music production

Insights on sending a demo to a record label. Part 2

It’s safe to say that my previous advice on sending a demo is one of the most popular articles on this blog: there are thousand of upcoming producers looking for a proper way to reach out record labels, and I hope these insights helped to shed some light.

Today, I would like to continue that topic and share five more short tips on sending a demo to record labels based on my experience of A&R.

“Void — A Sector To Avoid” art by Kuldar Leement. So as this artwork title suggests, in this blog we’ll talk about things to avoid

Send only finished track

People often say something like this: “here is a 15-seconds draft of my new track, I’ll finish if it fit your label”. What? How can label approve something that doesn’t exist yet? What if this 15-seconds snippet is fine, but then you will suddenly come up with something entirely different that not suits the label?

Demo is a demonstration of your best skills. So show a finished track, not a half-assed product.

Double-check your links

You’ll be surprised how many broken links labels see in their inboxes! From my experience, roughly every third link is broken due to incorrect privacy settings of the track or just because of copy-pasting a wrong URL.

Apparently, I’m not alone with this. Here is what Basil O’Glue, a manager of Saturate Audio, wrote on Twitter:

Producers! Please, double-check your links, be sure another person can open it.

Simplify your signature

Have you ever received an email with a signature that includes full sender’s address with ZIP code, fifteen links to all of his social pages, several international phone numbers, fax (who the hell still use fax nowadays?), and a huge wall of text of “dont-print-this-email-save-the-trees” and other bullshit? If so, you probably know this feeling: it’s annoying.

Such signature is nothing but a visual noise, it takes extra effort to scan the email searching for some meaningful text. Please, don’t do that. Keep it simple, your name and one link to your website are totally fine.

Don’t brag too much

Ah, this is my favourite: listing the entire discography, every single DJ’s support, and all chart appearances. Why, just why are you doing that? What the logic behind it? Every time I receive an email like this, I imagine two label managers having this conversation in my mind:

— A quite mediocre demo, not for us...
— Yeah indeed, not good enough...
— Hold on, he said his previous track has been supported by David Buretta!
— Seriously? Sign him up!!!

Jokes asides, please don’t show off all that stuff unless it’s relevant to the label or that particular track, it’s not cool.

“Please suggest some label where it might fit”

Sometimes, when I say that the demo doesn’t fit the label, some smart guys come back asking “can you suggest some labels where it might fit?”. This question sounds harmless at first sight, but just think about it for second. Imagine if you would fail a job interview and then ask: “do you know other companies that might be interesting in hiring me?”. Sounds, erm... not quite appropriate, don’t you think?

if you don’t make any attempts to learn the industry by yourself, how are you going to work in this field? This is where we came back to what Part 1 begins with: do your research first.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

May 17   A&R   Advice   Music industry

Phase cancellation explained

Earlier in the blog you mentioned “phase cancellation” as one of the reasons why bassline may sound flabby and not punch enough. Could you explain that please? 

Ivan

Let’s take some simple audio sample. I’m going to use a kick drum from some sample library. Just a regular kick, nothing fancy:

Now I’m going to duplicate the channel, add Utility tool to reverse the poles of the phase and flatten this channel into a new piece of audio. Here is what’ve got:

Two audio samples with inverted phase

Take a closer look at the waveforms: their peaks go in the opposite way. And now listen what happens when I’ll playback both of these samples at the same time:

No, your speakers are fine. The result of these two samples playing together is silence — no sound, literally. This is what called a phase cancellation.

Typically, in the real production your sounds’ phases won’t be exactly the opposite causing silence like in the example above, but even a subtle miss-phase will cancel some frequencies out. You should keep it in mind especially when dealing with low-frequency signal such as bassline.

Watch also this excerpt from Lynda course. It demonstrates phase cancellation of an acoustic signal but the principle applies pretty much in every production:

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

May 10   Advice   Music production

Making a robotic texture sound in Spire

Could you explain how you got to producing that arp on Machinery (Preview) at 0:02 sec?

Mohammed Sharook

I’m glad you asked because I love that sound and quite satisfied with it :-)

In few words — it’s all about a comb filter. That particular filter type is what make the sound so badass and “robotic”. But let’s try to recreate this sound entirely from scratch.

Comb filter

First things first, we need to use a synthesiser that has a comb filter. For instance, Sylenth1 which I know many Psytrance producers use a lot, won’t work in this case since it doesn’t have that filter. So, for this example I’m gonna use Spire.

Recommended synths

Let’s create a new MIDI channel, put a new instance of Spire with initial preset, and draw a MIDI note. Keep in mind that actual note on a piano roll doesn’t matter because we gonna use noise as a waveform which obviously doesn’t have a tone.

Picture1. A new instance of Spire synthesiser with init preset

Now let’s do some tweaks. In the oscillator section, change Classic mode which is set by default to Noise. Right next to it, turn off oscillator key tracking and turn the Wide knob all way to the right.

By default, Envelope-3 in Spire is mapped to a filter cutoff. We don’t need it here, so set it to “Off”. Here is what we’ve got so far:

Picture 2. A simple noise with no envelopes

Nothing fancy so far, just a basic noise sound. Now, turn on the arpeggiator at 1/16 notes to add some rhythm. Map Envelope-1 section to the filter resonance and crank up its amount to a maximum position, and also slightly adjust the Release parameter for 15~20% of its total volume.

Now comes the most interesting part: in the filter section, which is off by default, choose the combo (Mono+) filter type. You should notice a pretty dramatic change as soon as you done it. What’s interesting about this filter is that its cutoff frequency determines the actual tone of the sound. For example, at cutoff about 235~240 (Spire’s value, not Herz), we get the sound at G# — that’s the root key of Machinery since you asked about that track:

Picture 3. Arpeggiator, comb filter, and filter envelopes

That’s pretty much the basics. Now you can add EQs, compression, delays, reverb, more filters, play around with arp gate parameter, and more. With this in mind, you should be able to make something like this:

Or add any twist to this sound, as you like. I hope it helps.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

May 3   Advice   Music production   Sound design

“Should I post in every social media?”

As a music producer, should I post on every social media? Is it worth posting the same content on different social channels? Should I treat them differently? How frequently to post?

Mike L.

I used to think that as many social websites you use as better. Several years ago I would say “yes”, you need to be on Facebook, Twitter, Vk, LinkedIn, Pinterest, Instagram, Telegram, Snapchat, Viber, YouTube, Vimeo, HearThis, ReverbNation, Google+... did I forget to mention anything?

Now, I’m saying this: you should to be only on those social websites at which you certain you can handle it at 100%. And by that I mean constantly posting and working with the audience — not just once in three months when your new EP is out, but daily or at least weekly. Consistency is the key here.

Let’s say, could you post on Snapchat few times a day, every day, without sacrificing your other duties? If the answer is “no”, you probably shouldn’t even start then. Remember that semi-alive public pages are even worse than their absence.

The importance of building a fan base

From my experience, here is what different social channels best for:

Social media Best for How frequent
Facebook Central hub for your social presence 3-5 times a week
Twitter Mentions and interactions with other artists and fans 1-3 times a day
Instagram Studio, travel, and behind the scenes pictures 4-7 times a week
Snapchat Daily life, mostly for a younger demographic 1-3 times a day
Telegram Quick news for mobile users 2-4 times a week
Vk Russian-speaking audience from Russia and CIS 3-7 times a week

If you just started building your web presence in social media, I’d suggest starting off with two: Facebook and Twitter. This is essentials. The rest depends on your time, your audience demography, and your creativity.

If you still have any question, feel free to drop a line in the comment box below.

Read also: my experience of managing social media with Amplifr

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

Apr 26   Advice   Marketing   Social media

“Can a label own the masters based on an email conversation?”

Hey there! I landed on your nice blog and started reading. I’m grateful I found some nice pieces of advices! I bother you a bit more, hoping you can help me – that would be so much appreciated if you have some time to give me your opinion. Here’s our story:

I work as an A&R for a new label. We signed in February of this year an artist, with proper contract. The contract transfers us the rights for a vinyl EP. Let’s say, that on this EP the strongest track is called “Karr”. Now we were ready/going into test-pressing on last Tuesday morning. But had to stop it all. Why?

Because a few hours sooner a big known label in the Techno industry *outed* a post on their Facebook page, promoting a digital V.A. in which we were stunned to see OUR main title track of EP being listed as one of the V.A. tracks.

It appears that ‘our artist’ had been in touch with that label during 2015-2016 and had discussed a possible release for 2016. Which never took place. Basically, that label has remained sitten (sleeping on that track they now outed) for two years.

Without any renewed expressed interest after December 2016, four months later and without warning, they sent the masters to our artist per email six days ago! Thing is, neither the artist neither us never planned that previous label would have the balls to do such! That’s crazy!

We immediately emailed that label, stating the artist had signed with us. Their defense line is the following. They state they own the masters because of the fact they had previous exchange of emails (that can be indeed be seen as a kind of an agreement), but they were discussing a release for 2016. Again: never took place in two years.

My question is: can a label state ownership over the masters, basing themselves on fact they had received the pre-master (-6db Etc.) and that, *this*, is considered as “transferring” the copyrights? In my knowledge, that agreement would only be valid on the discussed year (2016!) and not after that. Are they allowed to ‘further’ exploit a file, never saying anything in four months? Just sending it over “mastered” and boom! Six days later they post and promote it?? Not asking for any renewed consent of the artist? (poor dude, he almost did a heart attack.. as he was super happy to work with us.. )

We really care for that artist and the all situation seems clearly abusive. but it’s a big, big label.

We suggested they replace the file and keep the ‘Name’ as it’s only in pre-order on their bandcamp page (for now, will be released on 26th of April). We thought showing them we were okay to try limit the hurt to their image (cuz that’s what they fear – such a big label doesn’t want to be ‘in fault’ publicly. so they don’t want to retire the track.. first people could push play, now this morning i just noticed we can’t anymore.. good sign for us?)

What do you think? We have no money to afford a lawyer, so all we have is state our points and tell them that we think no label can say that they own a track indefinitely (time) if NO contract.. and if NO release in the planned period – in what they state is their “agreement” (exchanged emails...) right? I mean – if so, means that every pre-master we get ONCE = would bind an artist to a label lifelong? WTF?

Sam

Sam, thanks for sharing your story. I’m not a lawyer nor an expert in this field, so before taking any legal actions I suggest consulting with one.

As far as I know, the fact an artist sending a demo saying “I would like to release it on your label” does not allow the label to actually release it. It’s basically just a letter of intent indicating an interest of one party in the deal, but not the final agreement.

Typically, most contracts work this way: “everything that not clearly specified in the contract is not allowed”. This is why we see 20-paper contracts specifying every tiny and obvious detail. A notarized email conversation could have a legal power, but all terms of the deal have to be written very precisely. So unless your artist and that big label specifically discussed having a release on a compilation, I don’t think they had rights doing so.

Don’t start a lawsuit: it might be a long, exhausting, and expensive process with a unpredicted result. And if your and that big label are registered as legal entities in different countries, that means you would need an international court which makes things even more complicated and expensive. It’s just not worth it.

I would suggest trying to solve this situation peacefully. Ask them politely to pull-off the compilation from the stores or to remove that track individually. We at JOOF had to shut down a release once too, so I know for the fact it is possible. Your argument is simple: you have the contract signed by that artist, they don’t.

If for some reason they won’t agree on shutting down the release, ask them to deal a sub-licensing contract. In other words, to pay you and the artist a fixed amount of money in exchange for allowing them to release that track legally. This is a standard deal in the industry.

“Label re-released a track without my consent” 

As a measure of last resort, at least tell people the truth. Share this story (with the real names) in public. This probably won’t change anything, but it’ll bring some justice.

I’m keen to know what other label managers and artists think about it?

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

Apr 19   Advice   Music industry

Reverb and delay

I have a question about reverb and delays. In Psytrance, a lot of the atmosphere of a track is created with reverb and delays. Can you give some advice on using these effects and answer some specific questions?

Which devices do you use with what settings, do you use them on a send or on each channel, do you ever use reverb on kick or bass, do you ever use reverb on the master, any other tricks or general advice?

Hamish Strachan

I like to think of an effect, whether it’s a reverb or a delay, by its purpose. I ask myself: “What I am trying to achieve with this particular device?”. And with this in mind, I came up with two sorts of categories: general and creative effects.

The general effect is an effect basically used for mixing, you know, to put instruments into the proper space. Typically, I used built-in Ableton devices for this kind of reverb and delays because there is nothing really fancy about it, you can use pretty much any device or plugin for this purpose.

For general effects, I want all instruments to share the same settings. For example, if a bongo’s delay repeated every 3/16th notes, then a crash cymbal must be repeated on 3/16th as well. This is why I prefer to use this kind of effects via Send-Return channels: it gives more consistent mixdown, it’s easier to tweak some settings if needed, and it also saves CPU usage quite a bit.

I can’t recommend you specific settings simply because there is no one ultimate preset that works every time. I’d like to give one little tip, though, because I see many upcoming producers do this mistake: when adding a device on a Return channel, be sure to turn the Dry/Wet knob all way up to the 100% Wet, and then adjust the needed amount of effect via Sends knobs, not vice versa.

My typical Return channels are: a simple delay, short reverb, and medium reverb (coloured in green)

The creative effect is where all crazy things come in: special effects like a huge reverb tail with a sidechain compression on it panned across the stereo field. That kind of things. Check my advice on creating atmospheric effects because this is exactly the type of processing I’m talking about.

Since this kind of effect is unique for every instrument or an SFX I do, I add those reverb and delay right on top of the channel and then Freeze it. I like to use Native Instrument’s Replika for that because it has some creative features that Ableton built-in devices don’t. See also my recommended processing plugins list.

As for the other two questions. No, I typically don’t use a reverb on kick-and-bass because it would put them further in the background while should be the opposite, at least in Psytrance music. And putting a reverb on the master channel would put pretty much everything on the background, so no, I don’t think you want this either :-) Probably someday I’ll write about mixing basics to give a better understand of that concept.

The only case when I do use reverb or delay on the kick-and-bass group, occasionally, is for creative purpose as a special effect. For example, like here in “Pangea Proxima”:

Fellow producers, how do you treat reverb and delay?

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

Apr 12   Advice   Music production

Capturing audio on macOS

Hey Daniel, thanks for your great blog! Quick question: how do you capture internal audio, let’s say some streaming in the browser or a dialogue in a film? I’m running macOS Sierra.

Anton

Anton, in order to capture internal audio, you need to change signal routing using a special tool. There are quite a lot of such tools out there, but among the others, I’d recommend checking out “Soundflower” — it’s a free, open-source, and tiny system extension.

Soundflower by Matt Ingalls on GitHub

Once installed, go to System Preferences → Sound → Output, and choose Soundflower (2ch):

System preferences

Now all you need is any audio recording software, whether it’s your DAW or an app like Audacity. Just choose Soundflower (2ch) in the audio recording settings:

Audacity recording preferences

And that’s pretty much it. Once you hit the record button, it should start recording any sound that is coming from applications on your computer.

P.S. This post is a part of the weekly “Advice” series. I’m happy to advise on such topics as production, performance, management, marketing, and design in the music industry and beyond. Send me your questions, too.

Apr 5   Advice
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