Rough to Release

 As a follow on to Part 17 - Distribution Strategies I have started to experiment with some of the approaches. First on my list to throw money at was Playlisting, and to test this I put $50 into the pot with SubmitHub , which is I think the largest of the third party playlisters . Step 1 was researching playlisters and trying to find ones who had a good overlap with my music, then working out which songs to pitch to which lists. Step 2 was throwing that all in the bin because SubmitHub had a very different view of my genres than I did and very few of the playlisters I was interested in came up as options. Nevertheless, I persisted… Week 1 So I picked 4 songs as starters and sent them through to 4 playlisters . I initially picked a few with fairly high rejection rates because, 1) if you don't believe in your stuff then who will? And 2) start high then taper down is an easier way to navigate the system. Four rejections later… Two rejections were basically long winded ways of sayin...

Some video content for you to wrap up the series. In the video below I'll show you how I worked through the process we've talked about, and used a lot of the tools and techniques we've discussed, to create the song Some Things Break.  And that's it from me, but I'll leave you with one last thing. You'll remember back in Part 10 we talked about the recording hierarchy and how the material and the performance trumped everything further down the line? Well as proof I present to you The Mountain Goats, The Best Ever Death Metal Band in Denton . Now go finish your song.

Links to all the posts in sequence. Part 1 - the pitch: from ideas to completion Part 2 - Space and Permission Part 3 - Spark and Spice Part 4 - More Spark and Spice Part 5 - Beyond Verse and Chorus Part 6 - Story Arcs Intermission - Tackling Writer's Block Part 7 - More Tension and Release Part 8 - It's not all about you! (Co-writing) Part 9 - Define 'finished' - a summary so far Part 10 - Recording Basics - The Hierarchy Part 11 - Recording Basics - Making the most of what you've got Part 12 - Production Part 13 - Demo, Dub, Delete Part 14 - Arts and Crafts Part 15 - Beyond Self-Recording Part 16 - 'Finishing' or 'mastering for cheapskates' Part 17 - Distribution Strategies Part 18 - Problem Solving Part 19 - The End - and a worked example Part 20 - Appendix 1 - Experimenting with SubmitHub. Part 21 - Appendix 2 - Experimenting with paid promotion

Over the last four months(!) we've introduced a number of tools and techniques, but we need to use them to get something finished. Then we need to keep going. The sports scientists will tell you it takes 66 repetitions to build muscle memory and create a habit; I'm not saying you need to sit down and write 66 songs (though that's not a bad target) but you do need to go and flex those new metaphorical muscles. So here are a few suggestions, some of mine and some from my friends at the Sound On Sound forum, to help unblock the process and finish the job. Tackling preventative behaviours. The first step is recognising this as a problem. If you're not sure what I mean by a preventative behaviour, this cartoon by Asher Perlman should explain it adequately:  https://www.instagram.com/asherperlman/p/C0b7oCwuyMj/?hl=en Do you suddenly find yourself gripped by a compulsion to re-wire your studio? To write to your estranged aunt in Bogota? Do you convince yourself that you can...

So you've 'finished' your song up to a standard and loudness that you're happy with, now you just lob it up on your website and let it go viral right? Depending on your definition of 'finished' then potentially, yes. If our objective is to get something written, recorded and released then our job is done and we can give ourselves a pat on the back and move on. Seriously, that's a piece of art that is out in the world that didn't exist until you turned your hand to it. You created something from nothing, and that's a kind of magic.  But if we're hoping to attract a few more listeners, and we don't have the same levels of 'brand recognition' as Taylor Swift, then we're going to need to put in a bit of work. This work is 'marketing'. It's a dirty word, and a dirtier business, but at some point you're going to have to face into it.  Well, it's not really. Basically marketing is just letting potential customers (you...

Hang in there buddy, we're nearly at the end, but I have had to split this into two parts. We'll get to copyright and distribution next time. Mastering On the wider internet there is a fair bit of nonsense spoken about what mastering is and why it is, or isn't, important. Let's unpack some of that now (in a somewhat simplified way) so we can get to our goal of finishing and releasing our song. In the Good* Old Days (TM)  a mastering engineer's primary job was to take a recording and make sure it was in good shape to be transferred to the physical medium it was going to be distributed on. With vinyl this meant understanding a great deal about the physical limitations of the medium and how that affected things like low frequency extension, loudness and even where on the record certain songs needed to go because of the difference between the edge and centre of the record. They would also, therefore, need to understand how to work within these limitations without ruinin...