posted: 08/06/2009 by Lloyd
category: Studio Journal
So it's almost three years since the last Antidepressant post in this Studio Journal area. All I'm doing right now is establishing the timeline for my next album. I expect it's going to take a long time to make and I'm still unsure what kind of record it will be, but I have a few songs and lots of ideas, so phase one will be establishing the proposed identity, or aesthetic. I think I'm leaning towards an eclectic record like my first solo album, but I'm often wrong - we'll see... Today I begin making demos - which is not to say that I expect to record anything for a while - I'll be working to set up an environment within Logic to make the music for probably a week or so. That's all. Here I go again.
Great to have news from the Studio Journal again.
We are aware of your first idea is almost never the direction the album will have at the end.
But, we support you whatever happened and take your time for making beautiful music.
Title: Aim high
The album 13 title brings out my superstition a little. I'm sure we have nothing to worry about. Seeing the words studio journal associated with a post fills me with excitement. I love these posts. An eclectic feel like the first solo album sounds good to me at this stage. Keep us informed.
Title: Fingers crossed
Well, this has never happened before - everything seems to be working the way I want it to... usually at this juncture in proceedings I'm ready to throw the computer out of the window.
BFD drums - Andidep set up - all OK
Guru virtual drum machine - OK
Bass guitar - OK
Electric guitar - OK
Acoustic guitar - I tried to see if I could get a decent DI sound to speed things up, but I should have known better. Mic'd with a Neumann vocal mic it sounds fine.
I'll nip out tomorrow and buy a small mic stand so it can sit by the keyboard all the time and then I'll replace the vocal mic with the Coles ribbon which always sounds great.
I'm having a celebratory beer.
I think I might actually get started on a song tomorrow afternoon.
Regarding the list above, shouldn't that be an "eclectic" guitar, then?
Look forward to hearing what you come up with. For me, the old songs get new life once I hear them performed acoustic. This year it has been "Hey Rusty" and "29" that has been completely revitalized for me. Last year it was "Pay for it" and "Cut me down" that got a whole new meaning after your shows.
Peter Sander (still carrying good memories from Dublin)
Title: How does it work?
Hi Lloyd, Great news that the new album is underway.
Something has been 'bugging' me for a while and that is how do you finance your recordings and the marketing of them.
I know you have a home recording set up which on evidence of your last 2 albums brings impressive results and you use Mick Glossop for mastering (but which no doubt isn't free!).
So do you have any sort of advance from a record company or do you fund the projects yourself through your touring and royalties from the last X years therefore smaller budget + right set up= more sales margin?
I suggest a beard is in order for the project.
Title: How does it work?
This will take a little while to address. Today is not the day but I will get to this asap.
Title: 13 is a great name, but
BLUR take it years ago for there album... how do you finde "the ...... sessions?"
good luck, a lot of ideas and a happy time for recording a great happy which makes you (and us - your fans) happy again...
Title: Financing, etc
Amazingly, so far, I haven't made an album (except Plastic Wood) without an advance from a record company. Unfortunately, the last time that advance was really sufficient to cover all the recording and living expenses for the project period was over ten years ago. Marketing has been the record company's job, and as you can see, it has been addressed more effectively in certain markets, less so in others.
I have, with my last two albums, effectively lost money making records. When one considers the time they took (especially Antidep) and what I could have been earning if I was performing... However, would my audience want to come out to see me if I stopped making records? Would promoters want me? I've been very lucky, over the last few years, with the media response to my work. I'm not on the magazine covers, but I'm inside and press has generally been very positive. Take that away and I might be in trouble... And could I stop anyway? As long as I have ideas I think are worthy of consideration, I'll keep at it, I think.
Mick Glossop has done great work for me and his having a home studio has saved us hugely. And the concept for the last two records allowed me to do the lions share of the work myself and I only needed to hire a few musicians. My workspace was adequate for much of the recording.
My next record will be different. I will need more money to make it. I will be recording in studios, with musicians, this will cost. How much? I haven't budgeted yet. I'll do this after the demos sound like an album.
I can take an advance from a label or two around the world to make this work, but I'm thinking I'd rather try to finance it myself with pre-sales. Marketing will be a challenge, for sure. I don't expect to be working with a US label on the project and I'm optimistic that my webshop could actually make my future stable again... We'll see, it's certainly off to a good start.
Years ago, when I was just out of high school and bemoaning that my favourite band for years, U2, was suddenly going top 40, I had this idea that a band's early fans who doggedly promote them via word of mouth should /could be able to profit from their success in more ways then simply bragging "I've been into them for years" (much like I just did).
I was in a small band at the time and we were struggling to afford mics and amps and other equipment when I thought, why not treat the band much like a company with stocks. The band gets financing up front from fans by selling "stock." The band then goes about recording and performing and if/when that group gains success the fans share it via the value of the "stock."
Of course there is the small detail of Accounting and how to set the "value" of the band (I'd always thought of a Billboard 100 index much like the SP100). Also, from an artist's point of view it may sound like giving away too much ownership of the music, but from the stories I've heard of record labels how much worse could it really be?
Sorry if I've run on here. Reading your post on financing music just fired that 20-odd year old neuron in my brain.
Music for the people, of the people, and with the people.
I think that perhaps Marillion (urgh!) may have executed your idea already Garth.
I seem to remember hearing that their fans (through on-line donations via their website) coughed-up enough money for the recording of a new album, when they were 'between labels' shall we say.
It's a pretty genius idea actually, and as I write this I now feel quite bad about being so dismissive of them...Even though their music is unconscionably awful.
I'm doing it again aren't I?