Technology Brings Tools and Challenges to Music in 20th and 21st Centuries

In the 1970's the challenge in music was to be LOUD. Technology was just allowing bands to fill stadiums with sound and amps were finally going up to 10...and the race was on to see who could get to 11 first. Bands like THE WHO headlined this effort. 


Now, the challenge in music seems to be getting bodies to shows. With technology again in a featured role, the Internet with video, websites, and social media, as well as smartphones, with apps and access to the web, people in the tech-oriented affluent first world are accessing more audio and video media than ever. The Internet allows musicians to share work, from demos to full albums, in ways that was never before possible. Technology allows musicians to record music in their home, instead of clamoring to get a major label record deal, one of the ONLY ways to get professional quality recordings in most of the 20th century. 


Now that technology allows musicians the means to create and share their music digitally and in the cloud, the challenge that faces us in the 21st century is physical. Physical bodies in bars, clubs, concert halls, etc. that come in person to see music. Perhaps recording technology allows music to get too "heady" and be so introspective that people would rather listen to it at home on speakers than experience it in person. 


The means by which something is created, is the means by which something is experienced. Music that is CREATED LIVE is more apt to be successfully performed and enjoyed live. Music that is CREATED IN THE BOX (i.e. recorded in a studio, edited widely, etc.) is more apt to be successfully enjoyed IN THE BOX-- i.e. in someone's headphones, or speakers. There's nothing better or worse with either approach but take note if the way you're creating music ends up being the way you experience it, and how you expect others to experience it.

OnAxis Music Internship Available

Internship (school accreditation possible) offered to a person interested in:
Music Marketing as it relates to...
- Photoshop
- Web Research
- Emailing
- Press Contacts
- Press Releases
- Blogs
- Social Media Marketing on Twitter and Facebook
- Music Profile sites: Soundcloud, Reverbnation, Bandcamp, Youtube
- Booking
- Advancing Shows
- Developing the web presence of a band or organization
- Developing credibility
- Developing fans
- Developing revenue

Skills/Tools Needed:
Computer with Internet Access
Laptop if possible
Willingness to meet in person to review learning and tasks
Willingness to serve as Typist/Administrative Assistant

***This is not an on-site position. Work is at-home or at meet-up public location, such as coffeeshop, meeting rooms, etc.***

A work day may consist of:
Meeting for 2-4 hours, reviewing tasks and how to use Internet/Computer to complete tasks

This is a chance to learn a lot about music marketing. You are the direct assistant to Publicist/Blogger in the Chicago music scene with clients including Podcasts, Recording Studios, Independent Record label, and Audio Engineering/Repair/Tech Businesses. Clients also include independent solo artists and bands.

***About me:
Websites:
www.onaxismusic.blogspot.com

***How to Apply
Only the brave may apply!
Be willing to type and you will learn music marketing from an active, participatory perspective and know more about booking and promoting your own band, and working as a Marketing Professional.

Email your phone number and a paragraph of intent about yourself and what skills and interests make you want to work.

Email: Axis.Contact@Gmail.com

 ***Duration:
Internship is 2-3 months, or longer depending on needs. Schedule is flexible.

***Compensation:
Transportation/Stipend may be available.

***Location:
Meetings are in Pilsen neighborhood, or in/near downtown.

How to Make a Billion $: Money in Urban vs. Indie Rock Lyrics

In Pitbull's song Back in Time, there's this lyric: "Trying to make a billion out of 15 cents". It's a similar attitude to 50 Cent's Get Rich or Die Tryin' album title. There's struggle in those words. It's a bit of machismo in there, but it speaks to reality rather than idealism. At least urban musicians know the odds they're up against.

Let's compare that to a random selection of indie rock/alternative rock/folk lyrics. These lyrics also use the word "money": 
"Our love is all we have...Our love is all of God's money" - Wilco
"Mobiles chirping...Take the money and run" - Radiohead 
"Youth is beauty, money is beauty, hell, beauty is beauty sometimes." - Ani DiFranco

When searching for indie-rock or alternative lyrics that use the word "money", we are hard pressed to find an indie rock song about making money. Instead, money is a philosophical concept to play with, or a part of a story in third person. The lyricist in the non-urban realm (folk, alternative, indie) is often talking about money as if it's just another character in a play.

The exception is blues-based music. There is I Need a Dollar by Aloe Blacc. Any coincidence that the artist is African American, and more connected to the urban world of rap? Not only is this a tip that America still has work to do before everyone is equal economic footing, it shows that every artist and genre speaks about money differently; some excessively and some not at all. It's referred to in a variety of ways.

This brings up the questions:

When and how do artists/lyricists talk about money in their songs? - Look at the lyrics of bands you like. How do they discuss money. Look at your own lyrics (if you write lyrics) do you ever write about money? If so, how?

When and how do artists/lyricists talk about money with their band, manager, engineer, producer, etc. - How do you discuss payment with your band, subcontractors, clients, etc.?

As an artist, are you looking at money as a need, or as a philosophical concept? - If it's a need, make a plan. If it's a philosophical concept, bring it down to earth.

What Not to Do at Live Show

Photo by H. Frank

I've spent a little over ten years doing sound for bands in small clubs; the echoes of amplifiers and the distant chorus of 867-5309 have rung in my head. After seeing many bands at a wide variety of experience levels, here's my five cents on what NOT to do at a live show. (This is especially written for newer or younger acts that simply may not know...). Enter this small bar with me where bands have brought out 20-50 of their closest friends. Beer is pouring, people are yelling...and the band takes the stage:

1) Don't cup the mic. If you don't know what cupping is, you may do this. It's when you put your palm over the mic. Sex jokes far aside, (sound engineers are champions at "that's what she said" but that is a post for another time! Please note: the ultimate comeback currently is "isn't that what they called you in high school", according to sources. You're welcome.) it's science: when you put your hand over the mic, you stop it from picking up sound. The sound that does make it into the mic is muffled and because it's not able to capture the whole spectrum of your vocal, it takes in only a portion of frequencies, which creates feedback easily. If the monitors are squealing, and you're grabbing the mic like the rapper you thought you saw do that, please, hold the mic by the handle.

2) Don't point the mic at a monitor. This causes feedback. The science is not that hard. Basically the monitor is pushing out the sound which is going into the mic. Normally, if you talk into the mic, you hear your vocal in the monitor. If you point the mic at the monitor, the microphone picks up what is coming out of the monitor, and then amplifies it, and then picks it up, then amplifies it, times some exponent, and all sonic chaos ensues.

3) Don't call out the venue from the stage, or anywhere around the club's customers. It is unprofessional to throw someone under a bus. If there's technical difficulties, tell the audience, but don't say something like "Yeah, this bar has to figure out their fucking sound system," into the mic. I once had an experience where a band's amps were pushing substantially more wattage than the monitors were capable of. When they wanted more monitor volume, it was like trying to get grandma's voice on a phonograph to compete with amps on par with Pete Townsend at the Allstate arena. Turn down for Pete's sake. Pun intended. They didn't turn down and our modest Mackie board started SMOKING. Yes, I admit something was fucked up. But this is the tech's issue, not the audience's. Audiences like to know everything is OK, so practice the suspension of disbelief, unless there's a fire, then by all means tell the audience. Otherwise, tell a joke until the solution is found. Your soundperson, tech crew and roadies will appreciate your calm head. I also heard from a venue how pissed they were to find out that the band was shit-talking in the bathroom (pun again intended) about the venue, without realizing that customers were around, and it made everyone look like an idiot. Keep your comments to yourself, and tell them to the right person, in private, after the show has gone on. The show must go on, remember? You're in show business. Show some respect to everyone.

In fairness, we must not act as if all sound engineers are saints, battling the dragon of these unprofessional musicians that just don't know any better. The pendulum swings both ways. In fairness, if you ever see a sound engineer with these qualities, you may want to RUN not walk away:

1) Smiley Face EQ
2) Bare feet

Thank you, until next time.

(Original date of this article is February 9, 2014). Republished from the archives.