Posts by Samuel Scott
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in a bizzare move, Don has asked me to do their job for them and come forward with ideas of how to do background music collection better
haha...you've made your bed Ian. Good luck to ya.
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maybe the ideal unit is turning out to be a band of one with production chops.
well there isn't any angst about if it's 'real music' or whatever anymore. And anyone who has seen Disasteradio live knows that one person with a laptop and midi keyboard can put on a shows that...ummm... ROCKS.
And touring with one or two people makes a lot more sense than touring with 6. I was shocked to find out the Doprah's live band is so big. It really works musically, but I assumed it would be Indira and Stephen...and maybe a drummer. Air fares are a huge problem for NZ bands. Huge,
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trying to raise the quota to a small audience
but its not a small audience if you're talking commercial radio. It's the 'normals'. Gotta get those 'normals' to ya gigs if ya wanna make a career out of it.
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If Recorded Music NZ and APRA adopt a 20% quota as a formal policy and start lobbying government (alongside the other organisations) for this, then I don’t mind eating my hat on my former comments. Likewise if they come up with a solution to the second issue.
I am so in favour of a quota. I think it is INSANE that we don't have one already. Radio stations work because of advertising. Then what is like 1.75% (i can't recall the figure, I know it went up recently) of that advertising spend goes to music (which is, one assumes, what people listen to radio for) then 80% of that 1.75% is going straight off shore. How is this acceptable? In canada most commercial stations play 40% local music content. 40%...
If all stations upped their NZ content to say 25% are people going to suddenly stop listening to the radio?
To my way of thinking this is the number one issue right now.
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OK I am off to a NEW ZEALAND BAND IN A SMALL VENUE
nighty night
(hey Ian, we just a chat on a forum with different opinions and we didn't argue...we are so mature)
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RIP Channel Z (and a much more supportive live scene)
the Bnet was stronger then too. The b-net awards were a big deal. Getting played on BFM meant sales and people at your gigs. That's what Bnet stations always had over commercial stations; play on bnet meant people at gigs. The bands who were getting smashed on commercial stations didn't seem to get mass gigs.
The gigs that do well now seem to be old bands with old fans or EDM shows that I do not understand. I am oldddd OLLLLLDDDDD
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Its the huge number of bands who don’t file returns, but whom venues are still being asked to pay for which is the problem.
Don't tell the other guys in TPF (coz I bitch and moan about it) but filing a live return takes about 20 minutes and can it makes you money. If bands are not engaging with APRA then they are just being silly.
And this is the problem I do have with what you wrote Ian. Young bands look up to you and they could easily read what you wrote and go 'yeah fuck apra, I'm not gonna bother with that shit'. I thought APRA was a waste of time, 'oh a check for 30 cents great' (i still have this check)... but then the next time is $200 and then its $2000...and then its $200 again and you think 'FUCK I GOTTA GET BACK ON THE RADIO'.
But my point is that it is SOME MONEY. And there is so often NO MONEY. The amount times APRA royalties have popped up and saved my bacon is unbelievable (they always seem to arrive just before I am due to go tour with no money in pocket). They wont make you rich if you're not making commercial dribble but they might help. And young bands should be getting every tiny cent that is owed to them.
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I would love to see more consultation and involvement from young people in these organisations though.
Definitely. And to be honest, I feel there is a distinct lack of young bands breaking through in the funny land between total-indie and yucky-mainstream that acts who emerged in the early noughties (Mint Chicks, Brunettes, Pluto, Goodshirt, my band, lots of shitty bands) seemed to operate in. I guess this is probably because there is no money in music at all so why fucking bother trying to be in anything other than your own boss in cyber land. Is it a good thing? Do the young bands who play Camp want to cross over, be on TV (but what TV), play bigger festivals (but what festivals).
I guess Doprah and Race Banyon are coming up out of the DIY scene.
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As for the live return stuff. I know that we get paid based on our actual gigs because I can tell the difference between a big and small year. When we do most of our shows overseas our live return is bleak. When we've done something like a tour supporting Split Enz in NZ arenas, it comes back looking really good. At really big shows (like BDO/Laneways) they have reps making sure every band fills in their setlist forms. So they obviously take it seriously, Maybe they don't have the resources/time to explain it. They should explain it. You pay them money, you should be allowed to know it is going to the right people.
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Don seems to think the best idea is already in place ;) my suggestions of sampling seem to get dismissed, but yeah…it seems a much more satisfying (albeit not perfect) way than the current system.
This was my only problem with Don's response. How can basing it on radio play be the best they can do? Most businesses I go to in Newtown/Berhampore have ipads running cloud POS software. If new businesses are running their cash registers in cyberspace why can't they scrobble their tunes (yeah, scrobbling, thats only been around about 10 years FREAKY NEW WORLD) to a database. I don't want to be an ass here, but I hear my own band in cafe's an awful lot, and we such tiny amounts of mainstream radio play...and as for Fat Freddy's, well they should be getting about 30% of retail royalties.