North East Community Band

December 31st, 2009 | Posted by admin

History, development and growth of CCM over time
CCM, Colorado Creative Music, is music recording studio, founded
in 1995 by Darren Curtis Skanson, primarily established as
vanity label for producing, promoting and selling his own
records, and consequently developed into microlabel with 4
product lines and 11 different albums. In 2000, the company sold
30,000 of Darren Curtis Skanson CDs and received net profit of
$4,292. 00. The company aims at expanding its customer base,
acquire more popularity, and develop the company from microlabel
to the independent one.
Vision/objectives
The business vision of Colorado Creative Music consists of three
components – Core Value, Core Purpose and Visionary Goals
(Thompson, Strickland, 2003).
Core values of CCM are quality, creativity, and excellent
customer service. The core purpose of this organization is to
make more people listen to classical and light acoustic music
and admire it. As for the visionary goals, the strategic dilemma
of the business arises. Thus, one of the visionary goal is to
make the music produced, played and recorded by CCM musicians,
heard by larger audience. The other visionary goal that doesn’t
completely go in line with the first one is to win the large
custom market for the company’s products and services. The
collision here is in the primary value and target of the
business: in the first case the attention is attached to the
product, music, while the second one is focused on the
development of the organization. This dilemma is the subject of
strategic choice of the organization, which will be outlined and
discussed later.
At the present moment, the main objectives of the company are:
positioning the business against its rivals, development of
distribution channels, development of the products and
enhancement of the product line, anticipating changes in demand
and adjusting the firm’s strategy to respond to them.
Operating environment
The firm operates on American market which is characterized by
political and economical stability, technical advancements in
producing and distribution processes, large number of potential
customers, broad demand and intense competition.
Business model
Business model is the mechanism for the company to generate the
revenues and profits. It includes strategy and implementation
thereof and should answer such questions as how the firm selects
its customers, how it differentiates its products from those or
rivals, how it creates utility for the customers, how it
acquires and preserves them, promotion and distribution
strategies, how it allocates its resources and derives profit.
As for promotion and distribution techniques for Colorado
Creative Music, the particular attention is attached to Internet
aspect of the distribution and its capabilities.
Internet is not only alternative way to traditional methods of
music distribution, but also a great opportunity for artists and
music-recording companies to expose these products to broad
public. The advantages of such means are low cost of entrance
and enormous size of potential customers market. Traditional
chain of music distribution includes such components as
writer/performer, publisher, musical instruments company, live
performances, venue equipment and services, recording, studio
equipment and services, recorded performances such as night
clubs, bars, business music, broadcast, film and music videos,
and retail. These are traditional stages through which the song
or other musical product must pass to get to the final customer.
Internet makes this chain of distribution shorter and simpler,
and therefore internet-based promotion, advertisement and
distribution can be considered a new business model to base the
business on. Further information on virtual distribution will be
discussed in relevant section.
CCM business model includes following components:
Value Proposition: satisfaction of customers’ needs in quality
classic music;
Market Segment: white females (predominantly) and males of 40-60
age range. The market segment needs to be further expanded.
Value Chain Structure: structure of the firm to be described
below
Revenue generation: through sales, direct sales in particular;
revenue generation roots need to be expanded.
Position in the value network: enters the most specialized
industry segment. A large number of competitors from all 4
segments of the industry; business may be complemented through
alliance with larger recording company.
Competitive strategy: company’s strategy primarily focused on
differentiation rather than cost leadership strategy, through
internet distribution allows making the products of CCM cheaper
than those of competitors.
Market segmentation, targeting, positioning
The music recording industry has 4 clearly identifiable
segments: major recording studios, independent labels,
micro-labels and vanity labels. Major companies have large
quantities of artists under contracts, reaching the number of
100, specialize on multiple types of music – rock, country,
jazz, classical, traditional and other, and have formal and
reliable national and international channels of distribution.
Independent labels have 10-100 artists under contract, focus on
recording of one or two major music styles and have either
national or most often regional distribution channels.
Micro-labels have less then 10 artists under contract and are
tightly focused on definite style of music. They are
characterized by small staff and manager performing as the
leading artist of the studio. Micro-labels have rarely formal
distribution system and heavily rely on direct sales to fans and
wholesale to clubs and specialty retailers.
Vanity labels segment is the fourth, the last and the most
specialized segment of the music recording industry. They are
founded by independent artists for recording and selling their
products (Darren& Winn, 2003). At present, CCM is the
micro-label that strives to convert into independent label.
Therefore, CCM currently occupies rather narrow market niche of
classic and traditional acoustic music admirers within the age
of 40-60, predominantly white, middle class females throughout
the territory of the United States, though the major part of the
customers is focused in Colorado region. This is the result of
market targeting, when the studio developed the measure of
segment attractiveness – loyal customers and fans of performers;
music, and selected appropriate target segment.
Today, the company wishes to change the segment it operates
into. To expand the company’s market segment it should develop
product differentiation aimed at selling various products with
different characteristics to different market segments. So far
such differentiation is not developed.
On the basis thereof, the positioning approach now applied by
the firm is differentiation positioning, which lies in filling
less competitive, smaller market niche in which the firm locates
its brand and attracts its customers.
Products
At present, the company disposes of 4 product lines and 11
different records. The brand names of the Company are: Darren
Curtis Skanson, Acoustictherapy, Andrew Thomas Harling and Music
for Candles. The style of the music offered is the same
throughout all the brands: light classical guitar.
Distribution channels
The distribution channels of CCM are predominantly direct sales.
These include sales in the gig, shopping mall distribution and
in the back end (which includes CD order through 800 number,
website sales, mail order). In 2000 CCM sold 30,000 Darren
Curtis Skanson CDs, predominantly through direct sales. Though,
traditional chains of distribution are more effective and they
include major distributors, one-stop distributors, independent
record stores and major chain record stores. Developing
traditional distribution methods is one of CCM’s primary tasks.
Financial positions
CCM is a micro-label, the third of the four segments in music
recording industry. Therefore, in contrast to the premier
recording studios as Columbia, Sony Music, EMI and BMG, which
possess enormous financial actives, financial position of CCM is
rather modest. In 2000, the company reached total income number
of $216,614. 05 and net income of $4,292. 00, which, though, was 4
times less than net income in 1998 (amounting to 20,626. 70) and
nearly the same as in 1997 and 1999.
Major strategic issues
Major strategic issues of the company are formulated by the
manager of the company, Darren Skanson, in the Case Study for
Colorado Creative Music (Darren & Winn, 2003) and include the
following: – create a profitable music recording label with
expanded range of artists and performers; – position Darren
Curtis Skanson label to compete with major artists who have
contracts to Sony Classical. For this, acquiring traditional
distribution methods is necessary; – create new product line
similar to Acoustcitherpay which would be saleable and provide
funds for the previous two goals.
The strategic tasks and ways of their implementation are not
uniform and completely complementary. Thus, the first aim of
growing the company contradicts the easiest and most possible
way of accomplishing the second goal – promote the music by
selling CCM’s product lines to recording studio larger then CCM,
independent of major label with access to traditional outlets.
Thus, the company has to define its prerogative – develop the
recording label or promote the music by means other than within
CCM capabilities

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December 31st, 2009 | Posted by admin

That’s music to my ear is a common phrase used to express a person’s emotional response to how a particular tune can make them feel. Some people listen to music all the time. Some study the art of playing an instrument. It’s therapeutic; it’s enriching; it’s a way of creating moods in any environmental setting. If you are interested in music for more than the pure enjoyment people get out of listening to it, then learning about music theory is an ideal mode for you.
Music theory can be an important attribute in a person’s life, for many reasons. People often ask, “Is music theory necessary?” “Why do we need it?”
First of all, even though you don’t have to understand how to read sheet music to perform as a musician, you will need an understanding of music theory. It opens so many other doors for you in the world of music. Music theory will not show you how to understand music, but with music theory you will be able to communicate musical ideas, explore music in whole new ways, and redefine the tremendous scope that entails the magical world of music.
Music theory allows you to voice your opinion with others in the field, expand your musical horizon. Give a little input to a fellow musician and you’ll get something in return.
Notations And Communicating With Other Musicians
Music lovers all develop a keen sense of awareness, musically speaking. Sometimes, musicians explain that if they study music theory, then it’ll stunt their creativity. Wrong! The world’s greatest composers were all masters of music theory: Mozart, Beethoven, Brahms, J. S. Bach. These experts composed a keen understanding of the theoretical concepts. Years were spent studying the concept, down to some of the smallest details.
Music can be played by ear, picking out tunes without the aid of written music. Your ears can be your guide. The reason this is brought to light is that some musicians with strong theoretical training often disregard the art of playing by ear.
Think of playing music by ear this way: We’re all born as non-verbal creations. Communication begins with crying, making sounds, displaying body language. Parents quickly become experts on baby talk. It’s an innate sense. Over time, language develops by mimicking sounds. Toddlers don’t learn nouns and verbs; they learn to speak by example. Music can be the same way. Hence, the reason so many people pay top dollar for live performances. It’s invigorating, magical.
Understanding Harmony And Chord Progression
Chord progression and harmony, two features of music theory, help broaden any musician, regardless of their genre of study. Chord progression is a series of chords that are used to harmonize music. All compositions use chord progression. Those that improvise – which, as already mentioned, adds charm and magic to the environment of music – invent brand new melodies that blend in with an existing chord. It’s a musical transition, something that must be practiced, repeatedly. The great composers and musicians develop chord progressions and transitions until it becomes natural, a second-natured maneuver.
If a musician improvises in a more interconnected manner, these new melodies show the musician the progression as one whole unit, and not a series of bumpy transitions. The more practice that goes into this aspect of music learning theory, the more interesting substitutions they will develop along the way. Once the concept of chord progression and its structure is understood, it will be easier to remember. Jazz musicians, therefore, show a keen interest in the study and analysis of chord progression.
The study of music theory will show musicians and musical scholars that the objective, initially, is not to consider an entire composition in one sitting. Instead, musicians, students and teachers alike, view a chord progression in segments, or units. These units correspond to musical sections known as stanzas.
A stanza is the complete statement and development of a single musical idea. It’s a fairly simple act of dividing pieces into small manageable sections, with the melody itself forming, or suggesting the boundaries for sound.
Tonality, another element of chord progression, means different things to different people. Some would consider it to be this: any piece of music with a well-defined key center. Others envision any music that uses the conventional chords as tonal.
Music without the use of chords in a functional manner to reinforce a tonal center is not tonal. It is referred to as non-tonal music. The names of these styles are not always agreed upon between musical connoisseurs. But expressing difference is one key element that makes music such a beautiful art form, with countless possibilities.
So, if you are considering studying music, be it to play an instrument, teach music, or simply hone in on personal curiosity, learning music theory is a must for you.

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December 31st, 2009 | Posted by admin

Studios fall into three basic categories, Home studios, Project studios and Commercial studios. It’s pretty obvious what a home studio is. Many people working in the music industry, and even the TV and film industries, have their own studios at home. They put them in the spare room, the garage, the basement, an outhouse – even in a corner of a bedroom sometimes. And there is no reason why a home studio shouldn’t produce recordings that challenge top commercial facilities. Obviously in a top commercial studio helpful staff will make it easier for you to do your best work, the equipment and acoustics will be first class, and you will probably be working with top musicians too – there may even be a restaurant and bar! Of course the top studio is always going to be that little bit better – but it really is just a little bit. You can do professional work in a bedroom. Sometimes simplicity sells, and you don’t always need a twenty-four track studio to make a song demo or a soundtrack for a documentary.

There really isn’t any difference between a home studio and a so-called project studio. A home studio is a project studio that you have at home, so that’s easily dealt with. So what’s the difference between a project studio and a commercial studio? Simply, a commercial studio is available to all comers at an hourly or daily rate. Make a booking, do your stuff in the studio, pay the invoice and collect the tape. A project studio is something owned by one person, or maybe a partnership, where the owner or owners work on their own projects. The owner may be a musician working on a CD, or a composer working on a TV soundtrack. Commercial bookings are not welcome in a project studio because a) they are taking up studio time that the owner would probably rather use, and b) once you start hiring your studio out as a facility you become involved in many more health and safety regulations and your insurance premiums will probably go through the roof.

What people do in their project studios is of course literally their own business! But I have identified at least five distinct categories of project studio. Take a look at what you can achieve, if you have a mind to. . .

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December 30th, 2009 | Posted by admin

A few years ago 5. 1 surround sound DVD video players looked likely to become standard kit in every living room in the technology friendly world.
So now a few years on, what has happened to the original promise of surround sound music? Well the answer to that is ‘lots, but not nearly enough. ‘
For those that don’t know already, 5. 1 surround sound is basically five speakers and a sub-woofer placed around your room allowing you to listen to music or a movie soundtrack literally surrounded by speakers. The film industry pioneered it for theatres and it then became available as a DVD player add-on for home entertainment systems.
Now at least 100,000,000 people world-wide own systems, which can and should be used for all manner of surround sound music DVDs.
I hear you say, ‘but surround sound music on DVD hasn’t really caught on. All that wire in my living room’.
Even though the consumer can buy a DVD player and surround speaker system cheaply enough, surround sound music hasn’t really caught fire yet. Why?
There are reasons why we should all remain confident that surround sound music will become more popular, but at the moment it’s still an infant child.
The amount of different DVD and surround sound formats is confusing and can be offputting.
The consumer desperately wants an end to the confusing compatibility war between different surround sound formats.
Many music artists would start producing DVDs if it wasn’t so complex, just as there are many consumers that would purchase a surround sound DVD system for the same reason. They should be able to buy a DVD player and play any product claiming to play DVDs.
Consumer surround sound formats currently include sound on video DVDs encoded as Dolby 5. 1 surround sound or DTS; the competing DVD-Audio (DVD-A) and Super Audio CD (SACD) formats and MP3 Surround.
There are 5. 1, 6. 1, 7. 1 systems, four speaker systems, even one speaker systems and ‘simulated surround sound systems. ‘ Phew! See what I mean?
They all have their uses, but the I feel the music business would be wise to embrace one format. Every time the consumer buys a surround sound music product they have to research whether it will be compatible to their particular system.
The good news here is that slowly, but surely things are improving. As long as there is no ‘new’ new format to rock the boat, the problem of incompatibility could become a thing of the past.
There are many great web sites to visit which do explain (in as much detail as you could possibly imagine) all the different formats and help you decide what to buy.
How about all that wire in my living room though?
There are wireless speaker systems available, but the cheaper ones are for mainly rear-channel wireless amplification. This doesn’t quite get rid of all the wires and limits people who have odd shaped rooms. But they are better than nothing.
It would be great for a ‘let’s make it fun revolution’ to occur with surround sound, like the iPod. Small wireless speakers one could place anywhere. The recommended configuration would still be in a circle, but you’d have a license to have fun by placing them in different locations.
Certain types of music would not really benefit from this unconventional approach, but other types mixed specially for surround sound might not suffer that much and it would release the consumer from the pressure to set their systems up in a way that would please an audio engineer or DVD manufacturer.
Not enough of an improvement on CDs and overall lack of interesting music DVD products.
The amount of compression used for music on DVD video is far greater than CDs. So stereo music on CD is generally of a higher quality than stereo music on DVD. However, add the extra speakers and a properly mixed 5. 1 surround sound piece of music and all of a sudden the playback bit ratio seems much less important.
‘What is’ you ask, ‘a properly mixed 5. 1 piece of music?’
Recreating real space is what seems to interest some surround sound pioneers. The chance to paint a more precise musical picture by placing you the listener deeper inside a musical ensemble or concert venue.
This approach has got its merits, but it’s reliant on people having their speakers in precise locations, and that they will sit dead centre amongst them. Pluses can turn to minuses at this point. If you don’t have a perfectly set up system it might just sound weird, especially if you are used to the stereo CD mix from the same artist.
Apart from all the technical considerations, I consider a great 5. 1mix a strong alternative to the stereo mix. Let’s say the artist already has their stereo mix. Why not make the surround mix something that really explores that extra space and is different from the stereo mix.
Give the consumer a choice of two distinctly different sounding mixes. This might inspire more people to make the effort to set up those surround speakers which are still sitting unused in the attic.
Currently it is almost mandatory to include some type of visual content on a DVD.
In a way, it’s a shame that ‘audio only’ DVDs haven’t caught on. . . yet.
Depending on the level of production the artist is looking to reach, it can be both very expensive and time consuming producing enough visual material to accompany all the music for a competitive DVD release.
Most musicians have a hard enough time producing their music let alone having to produce hour’s worth of videos as well. So you could say that the need for visual content (as exciting as it can be) is holding back the growth surround sound music.
Live concerts are the most successful type of music DVDs, mainly because they are relatively cheap to produce.
For ‘audio only’ DVDs to catch on, consumer expectation will have to be ‘re-trained’ to expect what they might consider as less. I feel that the days of distributing film or music products on any type of disk is going to disappear fast.
What does the future looks like for surround sound?
The real turning point will come when the Internet becomes surround sound friendly. A new MP3 surround streaming module has just been announced that allows manufacturers to build web radios featuring true 5. 1 surround sound.
Many people surf the Internet sitting at their desk, listening to music for hours at a time. Soon they will be able to surf and listen in surround sound. Small near-field computer monitors would work perfectly. (especially wireless ones).
It’s inevitable that 5. 1 radio and TV broadcasts will soon become the norm. Even without the music business, embracing surround sound as anything more than a small niche, the amount of people with a 5. 1 system is steadily increasing.
At this point, surround sound music becomes a viable ‘audio only’ product. If the surround sound community can simplify the production process even more allowing the average project studio to easily create surround sound content, we should all benefit.
I predict there will be a tipping point where all of a sudden the ‘need’ for surround sound music will exceed the amount of available products.
Live surround sound music can be amazing. I went to Berlin and mixed a gig by the experimental Electronic band ‘Warren Suicide’. Instruments and vocals flying around the room in surround sound mayhem. It was great, and opened my eyes to what I hope is ‘the future’ for certain styles of music.
Dance music is an area I really hope starts to explore surround sound. The drum/synth based repetition is perfect fodder to trigger a quantum leap in 5. 1 music production. All the technology is now available to present surround sound mixes in smaller clubs or ‘surround rooms’ in larger clubs.
I have to quickly point out that the 1 in 5. 1 stands for sub-woofer (a dedicated speaker designed to carry just low frequencies). This on its own is a major step forward for dance music fans.
DJ producers in particular can take control of the ‘low end’ of their tracks and shake the furniture more than ever before. Because one doesn’t have to squeeze all that low end into the same speakers as everything else it allows for a more overall dynamic mix.
Music mixed in 5. 1 surround sound gives us the opportunity to produce and listen to music in a completely new way.
Both as a composer and as a engineer, I personally feel liberated, set free from the confines of stereo. In this case more really is better. The extra speakers/channels give you more ‘room’ to put your music.
My hope is for ‘audio only’ surround sound music to take off. Music is, after all, the world of the invisible – it seems a shame to connect it at the hip to pictures. Your mind processes visual images first, then sound. So pictures can distract people who might listen more carefully without them.
There is room for both music videos and surround sound music without the videos.
‘What kind of gear do you need to start mixing in surround sound?’:
a) A reasonably fast computer
b) Music software package that supports 5. 1 mixing (Logic Audio, Pro-Tools etc. )
c) Minimum 8 channel audio interface (Motu, Digidesign )
d) Five matched self powered speakers, and a sub-woofer
Mixing In Surround Sound:
When I first started mixing something in surround sound, I went out and purchased three sets of Sony Mega Bass self powered computer speakers. After connecting them directly to my audio interface outputs, I then assigned the surround sound out-puts in Logic Audio. I opened a song I was working on and spread the instruments out around the channels and hit play. . . Wow! The five mini speakers sounded great. Mixing in a tiny bit of subs from my Genelec sub-woofer, it sounded even better.
I know. . . I can hear engineers crying out. . ‘But what about. . . ?’ Well, it’s unconventional but as a starting point this system does work. Now I own a full set of Genelecs, but I still use this approach.
The normal way to mix in surround sound is to have a matched system where the sub-woofer is driven from the speakers. A roll-off decides that everything below a certain frequency is sent on to the sub-woofer. I favour rooting the signal directly to the sub-woofer from a send on either my main out-put fadder’s or occasionally individual instrument fadder’s. This way I can choose which instruments to place in the sub-woofer and which not to.
I say to music mixers; ‘Approach the surround mix with a fresh concept, understanding that it can reflect a different side of the song/composition. ‘
I don’t recommend the approach of mixing both the stereo and surround mixes at the same time. It seems that one or the other will be compromised. You’re still ‘thinking in stereo’.
The effects needed and levels will be different in a surround mix. I find I use less processing overall especially compression, again it comes down to having more space to place the instruments.
So start fresh without any of your stereo effects haunting you. It’s one of those things that will save you time in the end, plus you will probably mix more creatively.
After a little guess work and experimentation I managed to figure out the right level to print my mixes. Again the sub-woofer channel was tricky, but after burning a few trial DVDs trying different levels I got the hang of it.
I played some mixes I had done in my studio at Real World and Metropolis Studios and they sounded right. It shows you can produce your own surround sound music at a reasonable cost, even in a project studio.
There are hours worth of surround sound production tutorials available from all the major music software companies. Just visit your software makers web site to get started.
Of course the absolutely best way to mix music in surround sound is to go to a top recording studio. If you’re just starting out with surround sound, mix a track with the guidance of a highly trained professional engineer, who has experience with surround sound mixing.
There are great audio engineers who would (for a smallish fee) come to your project studio and ‘consult’ with you on the technical elements of your mix.
If you are producing a DVD for commercial release, it’s still best to get your project professionally mastered. Any decent music mastering facility can (to a point) rebalance your surround mix, so if you are a little heavy or light on the subs they can deal with it then.
Tips on ways to create your own visual content:
The quality you want to achieve is normally connected to the expectations of your audience.
With enough time and energy you can make videos using a consumer DV camera and Final Cut Pro (or PC equivalent). DV cameras are generally just not quite good enough for any ‘serious filming’, but if used creatively for certain situations it’s possible to pull it off. HD camera’s are much higher quality but still do cost a lot more to buy.
Live concerts and gigs can work well though. If you are doing a gig, ask around all the people you know and see how many DV cameras you could borrow. If you have four cameras set up around the club, one camera to roam around and some decent lighting on stage, you’re in business. Make sure the people operating the fixed cameras don’t mess around during the filming. No zooming and out or trying to track the movements on stage. Perfectly still videos are much better to edit. Then in your film editing software, you can cut between different angles and add zooms, even simulate camera movement.
There’s no guarantee, but if the actual performance is strong enough, some of the production values will be overlooked.
Done well enough, you can produce a DVD using still images, like a slide show – again a good film editing program allows you to animate still photos way beyond what one might think is possible.
There are some fantastic animation programs like Bryce 3D, and Cinema 4D that are worth looking into. Start producing convincing 3D text an logos.
Warren Suicide are a great ad-sample of a band who are embracing the audio – visual age. Their DVD was produced by them, and although they worked really hard on it, the finished DVD was not expensive to make, but is just as imaginative and entertaining as any big budget music DVD I’ve seen.
How do I get my mix on to a DVD?:
There are, as you can imagine, quite a few ways available.
The huge majority of DVD players in circulation use the DVD video format. So I recommend choosing Dolby 5. 1 or DTS encoding, don’t worry too much about all the others. DTS sounds just as good to me, but I found more options were available with Dolby 5. 1.
All you really need is Final Cut Pro and DVD studio Pro or the PC equivalents. DVD Studio Pro comes with a audio compression program called Apac. Apac allows you to compress your six channel mix into a single 5. 1 file, ready to place on a DVD.
These programs are not cheap, but they are worth every penny if you’re considering commercially releasing your DVD. Between them you can edit and effect your video footage/audio content, add text, export the outcome in a format which is ready to be authored and finally burned on to a DVD. WOW! All in you back room – not bad.

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December 30th, 2009 | Posted by admin

There are plenty of free music downloads online that a person can find, that are legal too. Many people are reluctant to download free music in fear that they are downloading the music illegally. However, because of recent control over the online downloading music sites, it has gotten a lot easier to find music sites that are legal and cheap, if not free. The music sites with free music downloads are everywhere, and most of them have as high a quality of music downloads as most music sites that charge for music.

One of the best things about free music downloads is that they have surprisingly high quality. Often times an illegal music site is distinguishable because the music is stolen, and is downloaded at a very low quality. These music files are somewhat obvious because the song title will be unclear, and often times the file size is too small to constitute the entire song.

Free music downloads have a wide range of music genres with music hits from many pop music artists to new songs from an up and coming music artist. Many new music artists are finding it easier, and somewhat cheaper to offer a song or two to download for free. This way when someone finds a song they like, they can then learn more about the music artist, and begin downloading other songs from the music artist. Pretty soon, the songs are catching on and becoming music hits.  Read more...

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