Brad Strang
The Labyrinth of a Song...
explores the Labyrinth's that an Independent Recording Artist has to negotiate, in order to have their songs heard by your ears...
“The Labinyth of a Song”
The music industry decimation - chapter 1
Technology has been somewhat kind to the “Independent Musician.” Home studios have advanced greatly and the internet has allowed promotion on a worldwide reach…However, technology has also decimated the industry to level, that only leaves a few crumbs on the table, for independents to compete for.
Technology allowed for pirated uploading, next came the “streaming” of songs, and the price of music collapsed. A quote from a Facebook post of -Vince Gill “The devaluation of music and what it’s now deemed to be worth is laughable to me. My single cost 99 cents. That’s what a single cost in 1960. On my phone, I can get an app for 99 cents that makes fart noises- the same price of the thing I create and speak to the world with. Some would say the fart app is more important. It’s an awkward time. Creative brains are being sorely mistreated.”
When one of my songs gets “streamed”, I get paid approximately .004 cents, (1/2) half of one cent. Personally, this doesn’t add up to a package of new guitar strings for me, however I assume a lucky few artists/entities signed with huge music corporations, do well. But I believe the corporations have also had to tighten their belts over the last few decades. Their efficiency has monopolized the industry so that THEIR people receive the revenues, and very few independent musicians climb through the labyrinth to financial success.
Every country has “P.R.O.’s” (Performer Rights Organisations) that “track” and pay musicians. In Canada it is S.O.C.A.N. (The Society of Composers, Authors and Music Publishers of Canada.) Every 3 months (quarter) I receive royalties for my songs being played on community radio…community radio, not the syndicated radio stations. Most people I know listen to “Syndicated” radio, who’s Play-Lists are programmed their head office in the USA. This “Play List” includes those few names/artists that have the huge corporation endorsements. So this means that the independent musician has little to no chance of being played on a regular basis, because it would cut into the royalties paid, much of which goes back across the border to the USA.
Locally here in the Cariboo region, I have found that our stations rarely play local music. If they have highlighted local songwriters, I have never heard it. I still send my latest CD releases to the stations from 100 mile House up to Smithers, and have only heard back once from Quesnel’s station, who (station manager) said that my production levels were too poor, and that they are told what to play through syndication. Ps: I appreciated his honesty, and hopefully have fixed my production levels.
So if you still want to write a song for commercial promotion, you might also want to consider that there are literally thousands of songs recorded every day in North American. (Estimates fluctuate wildly from 3,000. – 40,000.) Due to technology, every one of these new songs has instantly become your new song’s competition…
In chapter 2 “The Song” we will have a basic look at what goes into writing a song. Please remember, like any other art form, there are as many approaches as there are people.
As always “May my music touch you in a positive and lasting way.”
Brad Strang
The Labyrinth of a Song
“The Song”
​
Like any other art form, there’s as many approaches as there are people, Song-writing is no different. Whether you write the melody line first, or ad color/chords to an existing lyric, a song needs direction….and then again, maybe we can throw that rule out the window too! About the only thing I could say for certain is: “a successful song, like any other art form, must stimulate.”
I have been writing for most of my life, here’s a few discoveries that have worked for me;
I try to use a key suitable for my voice, and If I used the key of “G”, I would use some of these chords: G, Am, Bm, C, D, Em, F, A, A#, D#. (Of course there are a million other chords and variations you could use.) The major chords allow the basic discussion of lyrics (using D to re-set you into the next phase) and then I color certain areas with minor chords: Em being dark/mysterious, Am being a strong statement, Bm giving an up-lifting effect.
I tend to keep my Lyrics simpler than I used to. Unlike the 70’s where people would try to figure out any deeper meanings in a songwriters lyric, today it seems people want it easy to understand…almost to the fault of having some songwriters using the rhyming dictionary WAY TO MUCH.
I try to have the verses leading to a purpose, and my choruses explaining the point of overview. If I use a bridge, I have it overview the entire subject. Within this structure, you can also “take a side trip” and insert what sounds like an entire different song…within the existing song. These freedoms can become very exciting when it all comes together.
Sometimes the lyrics come quick; I had my song “Heaven” bounce around in my head for years, then one day, I had it written in 15 minutes. Other songs like “Seasons” took me about 300 hours to write, and the rolling/waltzing chord progression was very time consuming.
I can sit down and work on Lyrics, but often than not, they will hit me at the oddest times and places. At those moments I have to write them down or they are lost forever.
So we basically paint a picture with lyrics, chord progressions, melody lines and recording effects. We structure it with intros, verses, chorus, bridges, instrumentals and endings, and place hard consonants for punch, long notes for emphasis, harmonies for sweetness, and fills….to fill. There is an endless array of combinations, if we do it right, we’ve got a good song.
In chapter #3 we will discuss how we bring the song to life in “recording the song.”
As always “May my music touch you in a positive and lasting way.”
Brad Strang
The Labyrinth of a Song
Recording the Song
So we’ve written our hit song and are now ready to arrange and record it.
It’s paramount to arrange your song properly before recording. Know where the exact timing of each into, verses, chorus, bridges, instrumentals and ending are, because changing song structure after recording a multitude of tracks is very difficult.
Technology has made it possible for many independent musicians to afford computer D.A.W. (Digital Audio Workstation) recording systems. These programs have as many tracks as your computer can handle.
I start by recording “dry” tracks, these tracks have no effects added to them. I usually start with Drum track, that way (as I record other instruments from the start of the Drum track) I can use/listen to the Drum track as I record the next live track, thus giving me synced timing.
As I progress (and repeat the process) I will record Drums, Guitar and Bass. This becomes the “back-bone” of the song, so I make sure it isn’t too busy, otherwise it will smother the subtleties of other instruments. As you continue to include other instruments, you always have to consider what’s tasteful and what’s too much. I have discovered that less is usually better.
As the recording progresses, I’m always re-evaluating of what fits where, when to play simplified, and where to add a fill. The vocals (and harmonies) can be almost the last tracks recorded. During this process you have the option of using another advantage of technology, where you can send WAV. Files of music (via. Internet) to musicians so that they can record parts for you. This in turn is returned to you, where you re-insert it into the mix. While we’re on the topic, there are also some computer programs like B.I.A.B. (Band in a Box) that generate “real time loops,” that you can create tracks realistic enough, to insert into your songs.
I call the last track that I record the “Pretty Tracks” that’s where I try to fill any empty spaces in the song, with pretty fills to emphasize certain parts.
As a last “filter” in checking my song, I give it my “3 second rule.” This means that I like to introduce a new event or instrument after every 3 seconds. This is to ensure that the listener never gets bored. The only exception to this is, if the existing notes/stimulation are pretty and hypnotic, I will let them run for a bit.
So, every instrument (including the voice) has its own frequencies. The constant challenge is to give each instrument its own special place in the mix where it can shine at its best. Of course if you have the money, you could always hire a studio for recording. At this point in Quesnel, I only know of 2, “Cool Cat “and “Wild Bills “that offer reasonable rates.
So we’ve arranged and dry recorded our song. We’ve colored it with minor chords and instrumentation, maybe even used exchanged WAV.files for extra vocal/instrument help. Now comes the equally artistic part of “MIXING” all the tracks into a balanced song, in our next Chapter 4, “Mixing the Song.”
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
The Labyrinth of a Song
“Mixing of the Song”
​
Welcome to the world of Mixing…it can “Blow your mind…trying to figure out how to Blow your listeners mind!” In our last chapter we recorded all the necessary tracks for our song “Dry” (no effects.) Now we have hundreds of options as to how we can manipulate our tracks/recordings, and hopefully choose the best combination that best represents our song. I use the “Reaper” D.A.W. program and it offers hundreds of “plug-ins effects. I have also purchased “EZ-Mix2” program which offers “chains of effects.” These “chains” are laid out in proper order,(and are self-adjusting), to ensure that novice technicians like myself, don’t ruin their compositions/songs.
You can also download effects or “Plug-ins” that help you finish your final mixes. “YouLean Louness Meter” helps you meet the specified volume levels for “Spotify” CD replication and radio. “BandCamp” was offering free “Mastering” , I use the mastering tools that come with “EZMix2.” More on mastering in the next chapter. (The market offers unlimited Plug-ins.)
My Mix usually starts with trying to “Gel” my (“Back-Bone”) basic tracks of Drums, Bass, and Guitar. I will try to enhance each track with EQ, (adding more bass or treble), or thickening the sound/signal by delaying it milliseconds, or just experimenting with them. I can “Pan” the signal anywhere from left to right, I can add echo/reverb…and the list goes on and on. The trick is to get the tracks to gel, yet, retain their own identity. I want to make sure that they are not too busy and smothering out other tracks. You might want to create several duplicated tracks to give a fuller sound. You can also automat effect signals, for example; in my version of “Amazing Grace” (Epic Journey 2020), I have Canadian Geese fly/honking from Left to right as the bagpipes slowly come into play. So it sound like a flock of geese are flying overhead.
One trick I use when mixing Vocal tracks is: I use 4 duplicate tracks. Track 1) I concentrate on bringing out clear treble, track 2) I concentrate on the mid’s, track 3) I concentrate on the low’s. Track 4) I manipulate the vocal to sound 1 octave lower. It sounds very un-natural by itself, but in the mix it gives a hidden power to the vocals. Sometimes only your subconscious hears it. I have even used this approach on female vocals.
So in the end, we are trying to get all the tracks to “gel”, yet not take away their individual distinction. Some of my songs end up with 40 or more tracks, so this becomes a juggling act with volume and the smothering out other instrumentation. Often I have to start deleting tracks in order to give tracks some breathing room. (For subtleties to be heard.)
Once we are satisfied with our mix, we can then “Render” it down. At this point it can either be “Mastered”, or we can pay someone to master it for us. Onto chapter 5 “Rendering and Mastering”
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
The labyrinth of a Song
“Rendering and Mastering”
When we’re happy with our Mix, “Rendering” is the next step. (We could add a “Mastering” plugin at this step.) Depending on the Duplication/Distributing Company, they likely have specifications that they want you to follow. I use “CDBaby” and they like “WAV. Files” (because they hold 10 times more information than a “MP3” file, thus clearer duplication). They also ask that the WAV.file is 44100, at 16 bit PCM. So I “Render” (or make a copy of my song using these in these spec’s. it’s easier than it sounds.)
Once you have a rendered (or copied) your song, (and haven’t included a Mastering plug-in during the process), the last step is “Mastering.” The best way of me explaining this is that; we run our final Rendered Mix through a “Mastering Plug-in” of our choice, and it enhances our recording by 20-30%. It’s huge, it just sounds better! I have send my Rendered songs away for professional engineered mastering. The results are amazing, but it cost me about $100. And I don’t recommend it unless you anticipate appropriate sales.
So once we have finished all the appropriate steps and have a finished mastered song….things get a little tricky. So far our song sounds great in the studio, but on the car stereo, and on the computer, there’s all sorts of imbalance. That’s because different play-stations have different capabilities and speaker frequencies, room size and a multiple of other reasons. SO…..back to the Mix we go and we “Tweak” and re-Tweak many, many times, and just before we have ripped out all of our hair, we get something that works optimum on most playing systems.
I use the Mastering tools of “EZ-Mix 2” which I now embed into my Rendering process. I am also accustomed to the sound of my studio speakers, I have been able to minimize this frustration.
In Chapter 5 we will register our song.
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
The Labyrinth of a Song
“Registering the Song”
​
You would think that after writing the song, arranging, playing instruments, recording, mixing, rendering and mastering it, re-tweaking it, an independent musician would be done, but were still a long road ahead…
First we have to register it with S.O.C.A.N. this is Canadas Performer Rights Organization that collects royalties for airplay, etc. It’s has about 150,000 members and cost nothing to join, but you must register 3 of your original compositions. My royalties for radio airplay come through SOCAN, and are electronically deposited into my bank account. They have bought 3 Helicopters…from the toy store.
Next you will need ISRC codes (international standard recorded code) these codes are electronically stamped into your song, and are your unique identifier for your song, worldwide. They use this code to pay the right person, you. The good news is, now some duplication/promoting companies make it easy by offering these codes for free. I use “CDBaby” for duplication/distribution and they offer free ISRC and I buy my UPC there.
UPC (universal product code/bar code) is also used/needed for CD duplication. This code will be asked for when registering with “Nielson BDS.”
Nielsen Broadcast Data Systems, better known as BDS, is a service that tracks monitored radio, television and internet airplay of songs based on the number of spins and detections. It is a must have, if you want royalties. You might want to register with Nielsen’s Sound Scan also.
When I first started recording/publishing songs, I was joining everything, and everything got confusing real fast. So I basically stayed with these above, and at this point in time, don’t feel comfortable recommending anything else, although I’m sure there are other places to join/register.
I have read where it’s beneficial to use your name as your “Label.” Apparently it can increase royalty revenue.
“CDBaby” registers your songs with “Gacenote.” In short…your name and CD name comes up on the CD displayer of your car and other places when played.
In Chapter 6 we will look at “Duplication/Distribution”
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
Labyrinth of a Song
“Duplication/Distribution of CD’s”
OK, in previous chapters we have brought our song up to a standard where we want to duplicate and distribute it to as many outlets for sale as possible. “Distribution” is a form of “Promotion,” but we will save “Promotion” for a separate topic.
Finding the right Duplication/Distributor companies is a Labyrinth in itself. Thanks to SOCAN, they published a comparison chart where I could clearly compare all the services and charges of each one. I cross referenced my findings with a few professionals I know, and confirmed that they were using CDBaby also.
So I settled on “CDBaby” (Pro). Here’s a list of the Pro’s and Con’s;
If you opt for the “Pro” package, your CD will go worldwide. (CDBaby is now in Africa, that’s 86,000,000 more potential customers.)
At the time of this 2020 writing, you can purchase a full CD “PRO”package for about $69. US. This is a once-in a life time cost, NO ANNUAL FEES!
They distribute/collect in most parts of the world.
They register with Gracenote.
You now have free ISRC codes, (that’s one less hassle) and I buy UPC (bar codes)
You can buy “cover tune” permissions through them. (I did this once for “Over the Rainbow”)
It’s easy to duplicate “Public Domain” songs through them. (I just did this with “Amazing Grace.”)
You can do CD artwork right on their site.
They collect 50% of “Sound Scan” USA (this is a complicated issue.)
The Downsides, and these are minimal; they are a little more expensive but worth it. They ship from eastern US so shipping is costly, and you will get dinged at the border. If you have a band, only one member can collect royalties. You cannot collect for “Cover Tunes”. You will have to fill out a “W-8BEN” tax form… (I used a YouTube video to help me with this, easy.)
PS: When choosing CD packaging, consider a jewel case, that way Radio announcers can easily read your CD as opposed to a “Sleeve “
cover, getting buried forever.
In Chapter 7, we will explore the terrifying world of promotion.
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
Labyrinth of a Song
“Promotion”
​
They say that when the Gold Rush happened, the miners were so full of hopes and dreams. Yet the only ones that got rich, were the businesses that sold the picks and shovels! I wish I could tell you that the Independent Music business was different…
I have suggested “CDBaby” to you, but please be advised that you may never recoup your initial investments of duplicating and distributing. However if you are playing publicly and selling your CD’s at performances, you may make some profits.
That’s about the end of the good news. Like any Artist (in any art form) we crave recognition for our efforts, and there’s no shortage of cons offering everything that we dream about, for our songs. I recommend to stay away from paying monthly subscriptions for promotions, I know of no one that has profited from this yet.
There are many FREE sites and each site can offer some good tools: Reverbnation: offers a good chance at meeting other musicians, (don’t waste your time with their promotional charts).
BandCamp: has some free Mastering tools.
Be selective, one site I used to be a part of, asked you to up-load your music videos, then it would falsify/exaggerate how many views you got.
There’s many internet sites to help you create press kits for e-mailing radio, papers, reviewers.
Social Media keeps expanding, use it.
CBC radio offers to put your music into their library, their programmers access it.
I keep an excel list of radio stations and contacts that I want to approach. I am constantly building it.
Be an opportunist:
As we were holidaying, we came across Ann Murry’s centre in “Springhill” Nova Scotia. When I spotted the manager, I started up a conversation about how one of my songs “Seasons”, would be a perfect song for Ann to sing. I ended up leaving a note and the manager promised to give Ann the CD. If nothing else, I can say me CD blessed the inside of Ann Murray’s waste paper basket!
Once at the end of a Kris Kristofferson concert, Kris stayed on stage a few minutes to meet and greet fans. During a quiet moment in the crowd, I called out (as I was waving my package with my CD in it) “Kris, I wrote a song about you!” He said “bring it on over”. I did. (It wasn’t nice to lie, as I hadn’t wrote a song about him), but he got my CD. Who knows, he might have listened to a few songs.
A friend got one of my songs to Johnny Reid during his concert.
Lately I have been trying to get my song “Sweet Prairie Winds” to Ian Tyson. My research has led me to contact in Dakota, and one in BC.
Did I ever hear from any of these big names? Actually, Johnny thanked me by e-mail and said “Heaven” was a lovely song…
In the next Chapter we review everything the Independ Musician has gone through to get his song….to you.
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
The labyrinth of a Song
The Independent Recording Artist
​
Well the Independent Recording Artist, has had to navigate a labyrinth of obstacles to get his song to your ears. Before he even started the process, he had to make the bold decision of whether to follow/emulate the mainstream sounds of the current “hit songs” on the market, or write from his heart and be original.
He’s had to look ahead and arrange the song to fit all the instrumentation, vocals etc. and then choose a studio for recording. I personally find my home studio ideal because there are no time limits, thus cheaper. If he is multi-talented, he could play/record all the instruments, maybe even use computer programs like B.I.A.B. (Band in a Box) to help with some instrumentation. If he has to hire musicians or vocalist, the cost rises quickly and has to be recovered in CD (or merchandise) sales. If he chooses to use a professional studio for recording, the cost can easily total up to tens of thousands of dollars.
The mixing process was challenging in finding a right mix (or blending) of instruments that best represented the song. This included adding a wide array of effects, giving each instrument (or vocal) its own distinct sound. Next he “Rendered” copies to right specifications, and found a “Mastering” program that worked…and then probably re-worked (“tweaked”) the song some more.
The Song was then registered with SOCAN, Nielsen BDS and Sound Scan. He acquired ISRC codes and UPC bar code.
Artwork is…Artwork, and takes a lot of time finding/creating the right set of images that best represent the song/CD. (Use only Public Domain photos)
After choosing from dozens of duplication/distributors, the files, artwork, and all sorts of information has to be entered into the suppliers programs. Next, a recording artist needs to keep their own records.
Promotion goes on and on… Social Media, send physical copies out to Radio stations, e-mailed countless press packages, make song video’s, newspapers, posters….and somehow navigate through the hundreds of con-artists offering you “the promotional package that your song deserves.”
At this point, CONGRATULATIONS! You’ve now entered into a decimated industry that pays the same amount for downloads as it did 1960, and now that streaming is available, will probably only receive .004 cents per stream…that’s if your song isn’t pirated. Good luck with Syndicated Radio (hope your Uncle is the station manager), and I hope your family and friends are supportive!
In the end, I truly think most recording artist create for the love of sharing their “soul.” Like any other art form, we love recognition and it affirms who we are, thus making us feel significant. We literally spent thousands of creative hours on our last CD, have spent a small fortune in musical equipment, and continue to create our next musical masterpiece, because it’s truly who we are. I have personally finished 6 CD’s and co-produced 2 compilation CD’s. My ego has been crushed at times, and other times I have seen my songs touch people in the positive ways.
We have just scratched the surface of what it takes for an Independent song-writer/musician to get their song to our ears. Chances are, it wasn't as well produced as the “World Corporation Song,” but please keep in mind that; the corporate songs had teams of professionals working along every step of its process…I would bet you that our Independent Musician, put every ounce of heart and soul into their song...they truly deserve a chance for our ears to hear them. Please support a local independent musician.
As always “May my music touch you in a positive and lasting way.”
Brad Strang
​
