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October, 2010

Making the right impression – get it right the first time that’s the main thing

Making the right impression – getting it right the first time is the main thing.

In this current age of technology the very tools that allow easy access to consumers are also at the root of the problem of being lumped into the category of unwanted an unnecessary drivel. Keeping in touch with relevant, anticipated consistent communications has never been harder to secure.

There is currently a trend in the content retail industry to release products that are based solely on cost per unit. In my opinion this is contributing to the very problem that retailers are trying to disperse . If the consumer has the choice of downloading a free unit “illegally” or paying 5.00 for a product that offers no additional benefit they are trending towards the former solution – for one it is immediate. The chances of being persecuted are relatively minuscule.

This leads me to want to make a point for creating retail products that are incredible and physical. Spending a relatively small amount more on your physical products can add a lot of benefit to the consumer ( special features not offered in digital content) or allowing a legal download for free if you purchase a bundled physical product or just a permission to offer other products. A fan is a fan after all and while they may take your music whether you want them to or not , they might also buy the hat, shirt, tour book or concert ticket down the road.

Embrace change…..
If the Marx brothers had stayed in silent movies rather than rolling with the times where would they have ended up ?

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Modernized copyright law crucial to artists’ success

Modernized copyright law crucial to artists’ success In digital age, musicians still need to sell music

By Jeff Rogers, Edmonton Journal October 11, 2010

For songwriters, performers and the many people who work with them, music is a great passion. For tens of thousands of Canadians and millions worldwide, it is also a livelihood and, dare I say, a business. Even artists who love what they do and passionately put their art to words and melodies, want to make a living.

As a business, the music industry has adapted over time to new technologies and innovations. But none of these technologies has negated the need to sell music to make the business viable. In that respect, it’s not unlike any other industry: A product is created and sold on the market to those who wish to buy it.

Unfortunately, the rules governing Canada’s music marketplace have not yet been adapted to the most recent technological wave — digital files and the Internet. The result? Over the last decade — since the advent of widespread Internet downloading — music sales in Canada have been slashed in half. Jobs have been lost. And more importantly, a lot of great music has been silenced.

Today, after more than 10 years of decline, there is far less money available to invest in young artists, even the most talented ones. And there are far fewer professionals in the industry to help support them.

The reason for this is simple. Music has been devalued by illegal downloading. For too many Canadians, the thinking is, “Why pay for music when you can get it for free?”

I’ll tell you why. Just look at the challenges faced by emerging Canadian artists like Colleen Brown, whom I manage. With great talent and an uncompromising work ethic, this Edmonton native has been described by The Journal as “a national treasure in the making — along the lines of Joni Mitchell, Anne Murray, Gordon Lightfoot or k.d. lang.” While she tours extensively, she also depends on recorded music sales to earn a living. Brown and thousands like her simply need a legitimate marketplace where they can be fairly compensated for their creative expression.

So what can save the music industry? Many people think there needs to be a “new business model.” Some argue that artists should earn a living from touring and T-shirt sales. But that is simply unviable for most of them. Some argue there should be a levy imposed on all Internet subscribers. But for many reasons, among them research showing Canadians fervently oppose it, this is unworkable. Some even suggest that artists should give away their music, but they don’t propose any realistic alternative for compensation.

Even in this age of breathtaking technological advancements, with a growing array of new digital music models, artists still need to be able to sell their music in a legitimate marketplace. To make this possible, the business of music depends on modern rules.

Look at the newest pop sensation, Justin Bieber. Discovered on the Internet, you might think Bieber would pursue a “new business model,” whatever that may mean. But in fact, Bieber has followed a traditional model of making, marketing and selling his music with support from a record label. Thousands of other hopeful musicians will not be that lucky given the lack of resources in music today.

It is long past the time when we must stop the decline. We must make more money available to support Brown and the many as-yet-undiscovered Justin Biebers.

The music industry stands united and shoulder to shoulder with other creative industries in Canada on a solution. The answer is to modernize our copyright laws to bring Canada in line with the developed world, and to give artists the respect they deserve.

The federal government has introduced Bill C-32, the Copyright Modernization Act, in an effort to bring Canada’s copyright laws into the digital age, and to stop large-scale pirating of copyrighted materials. While all the provisions in the bill don’t quite meet that test, with some changes and tweaks the bill could go a long way in restoring the market for creative products and the opportunities for up-and-coming artists.

The failure to act over the last decade hasn’t worked. It has only led to decline, job losses and a lack of opportunity for new artists. Let’s try another approach. Let’s try copyright reform.

Jeff Rogers has worked for many years as a band manager, booker, music director and film producer. He managed Crash Test Dummies, among others, and now manages Colleen Brown of Edmonton. He also sits on the advisory board for Balanced Copyright for Canada.

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How to supply proper content masters.

(2) production master and a back-up copy. Input media for glass mastering: CD-ROM, CD-Audio, CD-R, Exabyte tape, DVD-R, Hard Drives and DLT (Digital Linear Tape), BDR. It is imperative that you supply 2 copies of your content master. Never send your originals. Masters are considered to be received ready to manufacture. We expect clients to test and check the accuracy of their content in all compatible devices to ensure playability. This will ensure your finished product will be an exact match of the content you supply to us.