Even The Stars published a chat with me and tipped ‘Headphones’ to be played on Amazing Radio by Shell Zenner.
My new single Headphones in the Fresh Faves with a review by Bobby Colcombe.
Even The Stars’ review of my new single Headphones.
I was shortlisted to play at the BSTK Festival!
I spent the last couple of hours (not always easy to retrieve the numbers) trying to figure out whether with music I am at a financial loss, or not.
There are only two sources of cashflow at the moment: releases and gigs.
The final balance shows +£0.13 in close to 2 years.
Since I started taking music TO A WHOLE NEW LEVEL (for me) I produced 2 releases:
- Broken and Uneven (album, 11 songs), released on 02/06/14
- What’s In Your Head? (single), released on 17/11/15
Being 100% DIY at this stage, the only costs I incurred** were those of the aggregator that I used (Record Union).
The album distribution cost me $60 (2 years of distribution + one-off fee) to date and the single $10.42 (1 year distribution + one-off fee).
For a total of $70.42.
So how much did I earn for my 2 releases?
Look at this table; it is the export from my account on Record Union.
I got $66.26.
Making a loss of $4.15, today equivalent to £2.87.
I started gigging July 2014 and by September 2015 I had played 31 gigs.
Assuming that I buy a couple of drinks (hihihihi) and take the tube every time I play I could roughly estimate having spent about £248 (£4 X 2 X 31) for alcohol and £148.8 (£2.4 X 2 X 31) for transportation.
A total of £396.8.
Being a registered member at PRS, which is an institution that helps songwriters and composers earn money for their music, I can log all my gigs and claim some royalties for having played them.
31 gigs got me to earn £149.80 from PRS.
On top of that I remember getting paid £50 once and will estimate a generous £20 for other 10 times which will skyrocket me to having earned a total of £399.80.
Making a profit of £3.
Taking my loss from the releases (£2.87) and my gain from the gigs (£3) I made a profit of £0.13.
If I had made a shit-load of streams on Spotify, say 1 million, I’d have made $6,933…still not that much!
I conclude that at my level it is really really really important to keep costs down and in check; together with having A REAL source of income (aka another job).
**For simplicity, I have taken N assumptions and disregarded a number of costs: my house, my gear, my time. Technically you could say I am at a loss then BUT I would argue that I would have spent most of this money anyway.
I recently spoke to a musician-friend of mine (check her out Nicoletta Noé) and promised I would send her the list of all online resources, tools and services I make use of.
As I’m at it, I thought it might make an interesting blog post for other musicians like us.
This post is about sharing what I am doing and NOT about teaching anyone anything.
I do NOT know if what I am doing is right, so take it as it is and please share your views based on your own experience and guts.
I am 100% DIY at the moment and here’s how I am currently set up.
Music comes first.
Because it’s fun and because it makes me feel good.
All other activities to package, to market and distribute my music are less interesting to me so I try to minimise the time spent on them and be as organised as I can.
I invest my time, not my money.
Trial and error.
I open accounts generously then see what works for me.
There is no silver bullet.
It’s the blogging platform that powers my website.
You can choose a template you like and be independent in the creation and management of your website.
SOCIAL & ONLINE PRESENCE
I use it privately to upload and share my music before official releases.
I use it publicly to upload demos I want to share, older material and also my new releases.
I like to interact with people on the platform.
FACEBOOK MUSICIAN/BAND PAGE
I mainly use it to organise gigs.
Also to share photos, some updates and to shortish/not-necessarily-perfect videos.
I like to interact with people on the platform.
I posted a few videos of a live set in a rehearsal studio.
I also use it to post my songs playing on a still frame image because heaps of people consume music from that platform (especially younger peeps).
I like to interact with people on the platform.
I use it to share some updates, photos and details for a gig.
I mainly use it as a ‘broadcast’ tool.
I have an up-to-date artist profile on it and use the audience widget to collect email subscriptions from my website.
It was recently bought by YouTube so something low maintenance and worth watching.
It offers a range of integrations and widgets to manage your online presence.
I have an up-to-date artist profile on it and have uploaded all my music on it.
Seems to be a platform of reference for some venues, festivals, and others in the industry.
It offers a range of integrations and widgets to manage your online presence.
REGISTRATION AND DISTRIBUTION
One-off membership fee: £30
I am registered as a songwriter.
I register my songs there and this ensures I receive payments if the songs get played anywhere (any channel and any geography).
Also, when I play gigs I am recognised a £6 to £8 for each one.
You pay per release
Aggregator service to distribute my music on all relevant players: Spotify, Apple Music, Deezer, Tidal, etc. across all geographies I select and am willing to pay for. On the basis of my streams they pay me what I am due.
I am considering testing a new aggregator for a future release.
It allows me to record future gigs and automatically sends push notifications to anyone using Songkick and listening to me.
It integrates with Facebook but unfortunately not with my free version of WordPress.
THE UNSIGNED GUIDE
Monthly, quarterly or annual fee
It’s the online directory of all music industry contacts in the UK: venues, festivals, blogs, magazines, radios, etc.
I use it to find email contacts to arrange gigs or to promote my recordings.
It is an email marketing tool.
I use it to send my newsletter and to keep my list of subscribers organised.
Whilst Mad Mimi does the job, I am thinking of reverting to using MailChimp as I like its templates better.
It collects fees based on how you use it
I opened an account to be able to easily collect payments online.
My email provider of choice, together with Google Inbox to manage my emails.
SERVICES I USED
Pay per master depending on the file quality you choose
Online mastering service.
I have used it for my soon-to-release EP Burning Milk.
I feel it is a great service for people with no access (£££) to top engineers and mastering studios at a fair price.
See pricing online
I chose them to print the vinyl of my soon-to-release EP Burning Milk.
I am still waiting to receive the final product so cannot comment on quality of service yet.
These are all accounts that I opened but that I am not actively using at this very moment.
I use some of them from time to time and some other might come handy at some stage in the future (or maybe not).
LASTFM || BBC INTRODUCING || PERISCOPE || LIVAMP || WIX || SHOPIFY || MUSICBRAINZ || TRADIIO || PATREON || BOOKYA || ELANCE & ODESK || MUSICGLUE || GIGMIT.COM || DELICIOUS || VEROMUSE || BOX || GOOGLE+ || VINE || TAD
If you got to this point you probably play as well :).
I hope you find this post useful.
Please, reach out seretrouble @ gmail.com to share your thoughts as I am really keen to find out about better ways to “do this”.
‘The Beat book’ by Anne Waldman
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‘In search of lost time | The Guermantes Way’ by Marcel Proust
‘Petrolio’ by Pier Paolo Pasolini
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‘Neuromancer’ by William Gibson
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‘Ragazzi di vita’ by Pier Paolo Pasolini
‘Fantasmi’ by Tiziano Terzani
‘Wealth of nations’ by Adam Smith
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‘Dawn of the new everything’ by Jaron Lanier
‘Swing time’ by Zadie Smith
‘Mixing secrets’ by Mike Senior
‘Down and out in Paris and London’ by George Orwell
‘In search of lost time | In the shadow of young girls in flower’ by Marcel Proust
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‘Memphis underground’ by Stewart Home
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‘Gloriana’ by Benjamin Britten
‘In un mondo imperfetto’ by Joseph Stiglitz
‘The human interface’ by Jef Raskin
‘USA | 1919’ by John Dos Passos
‘High society: mind-altering drugs in history and culture’ by Mike Jay
‘NW’ by Zadie Smith
‘Nudge’ by Thaler & Sustain
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‘The pursuit of Italy – A history of a land, its regions, and their peoples’ by David Gilmour
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‘USA | The 42nd parallel’ by John Dos Passos
‘The Tudors’ by Richard Rex
‘Tre atti e due tempi’ by Giorgio Faletti
‘We the living’ by Ayn Rand
‘On the origin of species’ by Charles Darwin
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‘Il concetto di tempo’ by Martin Heidegger
‘Francis Bacon’ by John Russell
‘Il grande Gatsby’ by Francis Scott Fitzgerald
‘Gomorra’ by Roberto Saviano
‘Il perduto amore’ by Mario Tobino
‘Benazir Bhutto, daughter of the East’ by Benazir Bhutto
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‘Atonement’ by Ian McEwan
‘La Casta’ by G.A. Stella & S. Rizzo
‘La ragazza di Bube’ by Carlo Cassola
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‘Dove abitano le emozioni’ by M. Botta, P. Crepet e G. Zois
‘Extremely loud & incredibly close’ by J. S. Foer
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‘El arte de la guerra’ Sun Tzu
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‘Il principe’ by Niccolò Machiavelli
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‘Il sogno di una notte di mezza estate” by William Shakespeare
‘Romeo e Giulietta’ by William Shakespeare
‘La tempesta’ by William Shakespeare
‘Otello’ by William Shakespeare
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‘I sotterranei’ by Jack Kerouac
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‘Il libro degli haiku’ by Jack Kerouac
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‘L’ultimo vagabondo’ by Jack Kerouac
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‘Anatomia dell’irrequietezza’ by Bruce Chatwin
‘High fidelity’ by Nick Hornby
‘The autograph man’ by Zadie Smith
‘Trainspotting’ by Irvine Welsh
‘Ecstasy’ by Irvine Welsh
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‘La leggenda del santo bevitore’ by Joseph Roth
‘Siddharta’ by Herman Hesse
‘Etica per un figlio’ by Ferdinando Savater
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‘La morte di Ivàn Il’ič’ by Leo Tolstoy
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‘Il ritratto di Dorian Gray’ by Oscar Wilde
‘La fattoria degli animali’ George Orwell
‘Le metamorfosi e altri racconti’ by Franz Kafka
‘La coscienza di Zeno’ by Italo Svevo
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‘Blade runner’ by Philip K. Dick
‘Il giovane Holden’ by J.D. Salinger
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‘Cuore di cane’ by Mikhail Bulgakov
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London based 5-piece band with a fresh and unique indie rock, indie dance and synth pop sound.
Their main influences range from Sugar Cubes to Blur, to Black Country New Road, to Tunng.
Heaps of energy on stage: great vocals, electric guitars, synths, drums, and groovy bass-lines.