Industry Tips: Crowdfunding

When you really want to make a change, you will find a way to make it happen. De La Soul did just that by turning to Kickstarter to fund their newest album. Now I would say this may be the worst example I could use being that this is De La Soul, but more musicians are doing the same thing. One album that I myself backed would be from Angie Johnson (Sing for You). Which was back in 2012, so you can already say that the community has grown and there are more people willing to be apart of anything they enjoy. 

So when we go back to De La Soul, they were out of the game for so long, and to think out of 11,000+ people. They still managed to obtain $600,874, which is somewhat unheard of for an independent project backed by the fans. 

Now I am simply using De La Soul and Kickstarter as examples, but there are already many artists and different crowdfunding websites around. Now with the pros come cons, meaning while there are musicians looking for help to fund their projects. There are also con artists looking to taint the community. The only way to filter them out would be contact information and the rewards given for the levels of backing. Sadly, there are people that fall to those games, but it happens frequently.

Now doing research on the types of crowdfunding online, I came across different categories of sites. You have sites like Indiegogo, RocketHub, and Kickstarter that are set up for a simply investments or donation. Then you have the sites like SoMoLend and Endurance Lending Network where people are lending to you based on you paying them back. Last but not least, we have Equity Investments level sites, which in itself are just a more complicated why to put you in more debt.

Overall, crowdfunding exist about anywhere online, and it doesn’t matter how current you are or not. If people are willing to be apart of your movement, the money will follow. So there is no excuse to why you cannot fund a project.

Industry Spotlight: J-RUM

Before you get the chance to finish reading this interview I would like to help you all understand J-Rum. He is a very humble human being that loves to give back to his music/gamer community. Whether it was by sharing a couple of simple tutorials on his YouTube channel, or for selling drum kits throughout producer-consumer sites (such as Superstar O’s Industry Kits). No matter what the circumstance he is always looking to progress the industry. He is a person I would consider a friend and a rival. So without any more hold up, let's jump into the mind of J-Rum.

  

SD: Now before we start, could you help give some insight into who you are and what you do in the entertainment industry? 

JR: My name is Joe Byrom better known as J-Rum, and I am a 27-years-old professional music producer and mixing engineer hailing from Daytona Beach, FL.

SD: So I understand, you just like Superstar O sell leases to your instrumentals online. How is business going for you? How has the market been in the last five years?

JR: Business has been a complete 180 to be honest. About 5 years ago, I believe I was riding a tidal wave and didn't realize it... Meaning sales were AMAZING years back. The past few years have truly been a test for me as far as continuing music as a career. It has been rough... I had to serve tables again for a few months last year just to keep up with bills. People underestimate the expense of running your music business... taxes, graphic design, web design, hosting, promotion/ads, monthly fees for websites, mixing plugins, virtual instruments, drum kits, accounting/CPA's, etc.. Many of the things listed above are a monthly expense as well, not one time expenses. 

SD: When it comes to payment, how would you help a stubborn client agree to your terms and avoid the possibility of being underpaid?

JR: Very good question, this has happened before. "No deal is better than a bad deal," my father told me that. Meaning not doing business is better than being obligated in a contractual agreement to something you don't like. But I am a very understanding individual so I would do my best to try and make the deal fair for all parties involved, but ultimately if the client was very stubborn I would just pass on the deal if it's not best in my interest. That would, of course, be my last move, I would try to make a deal work, I do have rent to pay

SD: When working with multiple songwriters/producers on a single project. What do you do to avoid any backlash when it comes to percentages?

JR: Can't we just make music and be happy, sadly no.Which is why the music business is called a business for a reason. And it took me a while to understand that... Even though I just want to make good music and vibe out, there is business things that need to be handled. I try to be as open and flexible as I can be regarding splits and percentages, ESPECIALLY if its a larger project that could help my business and brand in the future.

SD: If an incident occurs while you are in the process of making that said project, how would you help turn things around and get your counterpart to focus on the end goal (payment/potential clientele)? 

JR: I would approach said parties with respect but also with urgency. If my name is attached to the project, I need to dot I's and cross my T's. I would do my best to reassure and encourage the co-producers and writers that the project is important and worth finishing. 

SD: Do you have any tips to combat people who use dirty tricks trying to get what they want in a deal; such as renegotiating a verbal agreement trying to get more out of the deal? 

JR: My manager before he passed away blessed me with many ideologies and thought processes that help me to this day, one of those is that... Just because you get a contract does not mean it's final and you can't negotiate. I know this doesn't answer your question, but it's not a bad thing trying to negotiate to terms you're happy with. Any tips for those kinds of people though... I guess just be open-minded, they are investing in your music, paying you for services so they do feel they should be getting something in return, Just know once ANY disrespect or attitude comes from this process quickly brings my open mind to close-minded. 

SD: Now before we conclude this interview, I had the liberty of coming across some gaming footage of yours. How would you compare negotiating an agreement to keeping your viewer happy while trying to profit at the same time?

JR: Thanks for watching the stream, it is a bit different in the sense the viewer watching me has not invested hundreds or even thousands of dollars into my business for music and mixing services. Although one comparison that they both have in common is the buyer/viewer is expecting something in return, do your best to be professional, prompt to emails/replies and give the best experience to your client you can.

SD: Once again J-Rum thanks for sharing your thoughts with my community. So before we both head off, tell me how can we follow your movement to keep up with your future work?

JR: It's been a pleasure my friend, thank you for the time as well. You can keep up to date on Twitter @JrumBeats and my sites J-rum.com & MixedByRum.com Many blessings brother. 

Industry Spotlight: Superstar O

 

There are many words that we can use to describe Superstar O, but one in particular would be inspiration. For someone who literally stood at the brink, where most people would give up on life, he turned it around. To becoming one of the youngest successful people I have had the privilege to have a conversation with. Among the rest of his accolades, which includes producing for a multiple range of artists and companies alike. Through hard work he has truly turned his brand into a silent empire. So it’s no wonder I had to approach him for an interview about negotiations tactics and tips. I am honored he accepted my invitation, and would like you all to come with me through the mind of this gifted individual.

SD: Hey Superstar O, being that your business is mostly online, you are always faced with clients looking for the best deals. How do you deal with the people who come to you with multiple options? To better explain myself, how do you handle the situation where you have an instrumental I would like to use for an important last minute promotional video, but I am also asking Producer XYZ the same questions?

SSO: I really can only deal with my own orders & customers. I really never get anyone that says anything like "Oh well so & so told me cheaper" or anything like that. They pretty much know & I let it be known I am willing to give good prices but I'm not about to compete with someone else's prices as our work is on different levels most likely & we just want different prices.

SD: You are considered one of the best-unknown producers, so how would you handle a music label coming to you who already have a firm position for your payment, who isn’t willing to wavier on that position?

SSO: I am thinking you mean how would I handle a label not wanting to pay the prices asked? If so for me it is very simple as if one person or label is not willing to & is trying to low ball me or rip me off I just deny it & move on from there. There are so many people in this world & someone out there will be willing to pay that price. You might have to wait a little longer but it's worth it.

SD: Can you give me an example of how you and a company or another person worked towards a mutual benefit relationship? Where both parties in the negotiation make positive gains?

SSO: Well actually rite now me & another music producer are doing this. There is some HUGE artist over seas who wants to use a beat me & this producer collaborated on YEARS ago & so we both had to sign some papers & make it happen & in the end we both of course get payments / credit & so on.

SD: In the entertainment industry there are times where we collaborate with other gifted individuals. Which sometimes leaves us slicing a pie. What are your methods and/or advice in handling those multi-party negotiations?

SSO: Well this ties into the last question's answer. So in that kind of situation everyone would split things up. Some might have more or less fair deals it all depends, but for me anything I do with another we would all split everything evenly 50/50. If it is something major like a huge label or artist there would also of course be paper work involved as well. 

SD: A music label brings you on to help complete one of their developing artist EPs, and while you are there you meet some expected competition. Instead of working together to complete potential songs for the project, your ideas clash and nothing gets accomplish. How would you approach this person to finally get some work done?

SSO: In a situation like that all you can do is try. I would talk to that person & let them know we need to find grounds to work together & get this work done like we are being paid to do. If in the end it's just not working I would let the people know who brought me on needs to step in if they want me to work on this. They brought me into it so they obviously want me & don't want to lose me & just have me say forget it I'm out. 

SD: Dirty tactics are real in this game of business, so what are some methods you use to counteract those types of people? To give you an example, how would you handle someone who keeps trying to re-trade your already established agreement just to get more for less? These people are sometimes the ones that might leave you hanging especially if their new requests aren’t met.

SSO: I do not have these problems really because with all of my deals & sales I do I have my own contracts which they MUST sign to seal the deal & they have strict rules against all of that type of stuff. Such as not being able to transfer the rights to anyone else, not being able to re sell or trade anything & so on. They know I could take real legal action if they broke those rules so most people who are going to try that ask to SEE the contract before buying & doing a deal & when they see that you never hear from them again. You just have to make sure you have your paper work legally written to protect you.

SD: Thank you Superstar O for this short back and forth, so for the people who stopped by, can you tell them where they can listen to your work online, and what they should expect from you in the upcoming weeks?

SSO: Not a problem & thanks for having me. My main beat instrumental site is SuperStarO.com & also the site for fellow music producers to purchase top quality sounds / drums / loops & such is IndustryKits.com. I always have a ton of work & things in the making every week ha, but this past few weeks I just launched another new site which helps & allows other fellow producers to gain exposure & sales which is IndustryBeatz.com & it is already off to an amazing start getting many members & helping many get sales.

Industry Spotlight: Michael Salvatori

Hey, Michael Salvatori, so people are better acquainted with you, could you first tell us about your musical background and influences?

I’m pretty much self-taught. I grew up listening to everything from The Beatles to Black Sabbath to Leonard Bernstein to Bartok. And that’s just the B’s. I’ve always had a good ear and could hear all the different parts in whatever piece I was listening to. I started writing songs at a very young age, moved into jingles in my 20’s and 30’s, then video game music for the last 20 years.

What key skills should people develop before attempting to get into the business of video game composing?

First learn as much as possible about how to create a piece of music that tells a story and stands on it’s own merit, even if it’s only 30 seconds long. Then be flexible in adapting your ideas to an ever-changing landscape of game states, intensity levels, etc. Then be prepared to try something different if it isn’t working.

With the film aspect merging into video games so heavily, where do you see interactive music in the near future?

Good music is good music, regardless of the medium. This might sound simplistic, but if you write music that connects with people, it will find a place to land, regardless of the way it’s packaged.

Although it seems to be in decline now for a lack of major content, Destiny is still one of my favorite games. So could you describe that feeling you had when being selected to work on such a big project?

On the contrary, I think we’re just a few steps away from the starting line on what Destiny is, can be and will be in the future. We’ve got some amazing things coming, so don’t ever make the mistake of counting us out! As far as being selected to work on such a big project, Destiny was my ninth Bungie game, so I’ve been down this road before. I’m always grateful and optimistic when starting a new project, and while working on Destiny has been a lot of hard work, it’s also been a lot of fun.

With Halo and Destiny being such successes, are you slated for anything new?

I continue to be committed to making Destiny and it’s future iterations the games by which all others are judged. But of course you never know what the future holds!

 

 

Industry Spotlight: Sean Divine

Tell us a little about your musical background and influences?

My entire family has always been passionate about music. Growing up, I remember my father having all different genres of music playing at our house or in his car. My brother was a bass player and he got me into the 90's alternative rock movement when we were very young. The first CD I ever listened to was Nirvana’s “Nevermind” and even then, I was blown away by how the record sounded as a whole. I didn’t realize at the time it was the mixing and production that I was so drawn to but it made a huge impression on me back then.

I played in bands as a drummer and began to become interested in the recording and engineering side of things. I went from that to trying out keyboards after a friend introduced me to Hip Hop music. Once again, it was the production and “beat making” processes that sparked my interest. My father bought me a copy of the software, Reason 1.0, and I made beats and electronic music throughout high school. I didn’t really start to take the production seriously until I was in college studying to get my bachelor’s degree. I made beats in my dorm room, working with artists on campus. I found out about a website called “Soundclick” and I created a page to post my first beats. Once that was in place, everything started to take off from there. Eventually, artists and companies started offering to license my music. At that point, I realized if I was diligent, it might be possible to turn it into a career. I committed nearly all of my free time to making music and studying production. Thankfully, great opportunities came up shortly after I graduated and I'm now working in music full-time.

You have made a couple of sound banks for AAS, how did that business relationship start?

I was an assistant engineer in a studio just outside of LA in 2012 and the owner and friend told me about a music conference held in Anaheim, CA called NAMM. I didn't know anything about it but I attended that year. I was using a few of the AAS plugins at the time, especially Strum, which was one of the only convincing guitar emulation plugins. We spent some time hanging out at the AAS booth and met their Product Designer, Eric. Their team was very down-to-earth and extremely bright. My manager, Zack and their CEO, Marc, discussed putting together a signature sound bank for their Ultra Analog VA-2 plugin. That ended up becoming "Reverence" and I've just finished a new urban bank called "Low End Theory", along with working on factory presets for most of their instruments. AAS is a top-notch company and it has been an incredible experience working with them. Their approach is so unique in the plugin instrument space, being that everything is based on physical modeling. I’ve always been inspired by the AAS plugins, so to be able to collaborate with them has been an honor.

Do you have any advice for people who are looking to get into sound design?

I would encourage you to experiment and also study the sounds you know and appreciate. The best way to learn something is just to sit down and fall in love with the process. Starting out, I didn't know much about the technical side of sound design. I just knew what sounded right to me, as well as the types of sounds that inspired me to want to write music. Particularly with sound design, you want to create sounds that inspire people and are playable. Most are flicking through presets very quickly, so you don't have much time to catch their attention.

I would suggest choosing one synth that you are inspired by and are comfortable with. Then center all of your production around that instrument for a while to truly learn all the features it has to offer. Eventually, you’ll pick up on a lot of the technical aspects and by necessity you’ll be able to create different sounds with this one instrument. Most of the main technical aspects of a synth will translate to others, so this will give you a great basis for sound design.

Since you also produce and engineer, what does your studio mainly consist of (Software/Hardware)?

I've sold a lot of my outboard gear at this point. I'm all about simplicity and enhancing workflow. My main setup consists of:

iMac (Quad Core i5, 12GB ram)

DAWs (Logic Pro X, Cubase Pro 8, Pro Tools 11)

Loads of plugins

RME UFX w/ remote

Event 2030 / Yamaha NS-10M

Sony MDR 7506 / Audio Technica ATH-M50

Yamaha Motif ES6

Access Virus B

Akai MPK249

Microphones – Shure SM7B, KSM32, SM57, Rode NT1, NT1-A, iXY

What is next for you?

I'm currently looking to sink my teeth into more in-depth production projects as well as working with talented artists. I feel the process of working with artists personally that you truly believe in and contributing to a specific vision is extremely rewarding. We're working on great new sound design projects with AAS and others. I also launched Divine Tracks about a year ago, which offers my beat catalog as well as beats from 4 other extremely talented producers: Jurd Beats, Bombs and Bottles, DJ Shaw-t and Sean Ross. That's something we're excited to continue to develop. I’ve recently started creating more learning based content on my YouTube channel, whether it be mixing and mastering, making beats, sound design or just for those seeking inspiration. To help encourage and inspire the next generation of producers, engineers and beat makers is something that is very important to me

Breaking Down A Syndicate

When Ubisoft first brought us the Assassin Creed franchise; they had introduced us to a fierce war between the Templars and Assassins. This franchise has now released over eight games, which we can trace back to Altaïr and the holy crusades. With it’s current release Assassin’s Creed: Syndicate. We find ourselves following the lives of twin assassins Evie and Jacob Frye, looking to liberate the city of London from the Templar’s grasp and collect the mysterious Shroud of Eden.

Now Assassin’s Creed is not just only an above average written story that seems to never end. It is aligned with some of the most intriguing game scores I have ever heard.

Austin Wintory, a Grammy nominated composer for Journey was given his chance at interpreting the movements of this stealthy adventure. The whole score is packed with complex melodies and articulations. That together with the game helps you position yourself in minds of Evie and Jacob Frye.

“Bloodlines” starts off this soundtrack in a very dark suspenseful fight between a cello, violin and piano. Leading us into the gloomy start to “London Is Waiting”, which shockingly opens up to an upbeat duet to once again quickly changing the pace and your emotions.

Being that this game centers on the industrial period, the usage of the percussion, was not simply overused. Which was a plus. Now simply because it goes into those intense chase, it always cools you back down. Giving you those precious seconds to regret your choices to those displeasing piercing violin notes.

Some of my favorite parts of this soundtrack would have to be the Broadway-like performances. Which I would consider as small breaks from this considerable catalog of sound.

Sadly, comparing this to the other Assassin’s Creed soundtracks, I would have to rank it low, but it’s still an amazing piece of work. Just as I would highly recommend the game, I would suggest listening to the soundtrack at least twice.

So you wouldn’t be in the dark my favorite 3 Assassin’s Creed soundtracks are:

-       Assassin’s Creed: Revelations

-       Assassin’s Creed: Black Flag

-       Assassin’s Creed 2