It’s really true
I’ve been slacking off when it comes to my blogging, leaving everything until the last minute due to over-analysing the situations and making out that I have a lot more work than I actually do… It’s discouraging, and while the project is so close to completion I feel like I’m still so far away from a pass. I don’t know why I keep doing this to myself, but it’s something I’ll still have to keep working at in order to have a more constant online presence, versus a sporadic one.
Personally though I would rather do a massive update at the end of a project – in the form of perhaps a “making of” documentary… Huh, now that’s an idea I could save for a later trimester.
I spent the last half of Week 11 working on my presentation material for the final project 2 presentations. Flash forward to the second half of week 12 and I’ve crammed all of my blogging that I should have done earlier into what little time I have left in the effort to get something a little more than a pass.
The presentations that Campbell and I gave went well, and we received very positive comments on the tracks (it was the first time we had shown the audience snippets of both Undercut and Miniband). However they weren’t the final mixes – they were the versions where I had just done the drum edits and bounced out the files specifically for the presentation. I do not have them on SoundCloud as I’m running out of space on my account and I could use the space I have left for a finished product over a work in progress.
Campbell is planning to finish the mixes over the weekend, which is just after the deadline but I think it should be fine for me to still get a Credit – as long as I talk about my intentions in regards to where we will distribute the EP and why, right?
So this cover art was just something I threw together for the final presentation at first, but I feel like it has stuck, and I really like that there’s three colours behind the logo, because each colour could represent a track on the EP. It’s unclear at the moment whether or not we will keep the working titles or think of new titles for the songs.
After a few texts with Campbell we agreed that we’ll be uploading the EP to BandCamp, with a price of $0 or pay what you want. In addition to that, I will also use the strategy I used for my side project Mephisto – upload ‘Big Boss‘ to SoundCloud with a link to download the track from my theartistunion.com page. Eventually I will upload the other songs as well, but for now I’ll only upload Big Boss. I’ll probably make it a monthly thing to keep people interested in the EP for a while before I release anything else from, say, my solo album that’s in the works. We’re also going to be receiving the final version of the visualisation from Shannara over the weekend, and I’ll be uploading that to my YouTube channel, and since I’ve almsot got 3.5k subscribers on there, my fans are bound to see it and love it, considering the genre is not unlike the bands that I listen to and use in mashups.
Uploading stuff to theartistunion.com is a good strategy and especially for our working demographic. We’re trying to target online users that follow publishers such as Trap City, Electrostep Network, UKF Dubstep, Monstercat, etc.
Our age demographic is both genders from age 16-30. We feel that this age range probably contains the most amount of avid dubstep & metal fans in the ‘age of the internet’.
What about copyright?
I recently created an audio asset for a film student that my lecturer managed to get me in contact with. His brief was that he wanted something in between ‘Time Of My Life‘ from the Dirty Dancing soundtrack, and The Black Eyed Peas’ attempt to modernise it – ‘The Time (Dirtybit)‘.
I essentially created a one minute long remix of the Black Eyed Peas’ version that was somewhat tamer and not as in your face as their version was. It only took one revision where I tweaked a few things to fit the opening animation and he was completely happy with it. When he uploaded the full thing to YouTube, I noticed that he had a copyright disclaimer in the description, which reads:
“Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for ‘fair use’ for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.”
Now I bolded “teaching” because I feel like if this were a real world project, outside of the educational realm, this would definitely get slammed for copyright infringement – I did not ask permission of the original copyright holder to remix the song.
As a ‘YouTube Remixer’ this is a problem I’ve faced before with many strikes & blocked videos. It will benefit me to evaluate what exactly it is I own out of the Hesher X Intensity EP.
According to Music Rights Australia, there are 4 possible ways you can own copyright in an audio recording:
- If you composed the music.
- If you wrote the lyrics for the song.
- If you performed it live.
- If you were partly or fully responsible for the recording of audio for the song.
In Campbell and I’s case, I was the one who had fundamentally written the songs, and we got Dismay to feature in on the recording process, in which they stuck to the guitar parts we had written, but also came up with their own drum parts as well (the MIDI mockup drums were not followed 100%).
We are allowed to split the copyright ownership however we like, so it will probably be 50% me, 30% Campbell, and 10% each for the two members of Dismay, for each track.
According to Edward R. Hearn, “in the event one of the collaborating songwriters is a member of a band and the other is not, the collaborator who is a member of the band will have the authority to allow the band to rehearse and perform the collaborated song in live concerts and to record the song for release on phonorecords.”
So really, we should be trying to get Dismay some gigs. And who knows, maybe we will. Campbell and I have already been promoting this EP a lot on social media, and Campbell has even reached out to people he knows in the industry.
This project overall has definitely been up to standard with regards to our project plan. A few milestones were not met by their specified dates, but this project has still been a success. In light of spending time trying to organise Nana Nangz and parting ways with them, we were under a lot of pressure to deliver a project with the same targeted learning outcomes, with two less weeks to do it in.
I’d say Campbell and I have done a fantastic job with this project, and he’s been a pleasure to work with. I’m looking forward to Studio 2 where I’ll be taking on even more projects.
Hearn, E. R. (2012, October, 11) Collaborator/Songwriter Agreements [Web Article] Retrieved 9th December, 2016, from http://www.internetmedialaw.com/articles/collaborator-songwriter-agreements/
Music Rights Australia (2012, July ,6) Copyright FAQs [Web Article] Retrieved 9th December, 2016, from http://www.musicrights.com.au/antipiracy/what-is-copyright/
Obringer, L. A. (2003, May, 24) How Music Royalties Work [Web Article] Retrieved 9th December, 2016, from http://entertainment.howstuffworks.com/music-royalties2.htm