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This weekend sees the return of the The Hockley Hustle, Nottingham’s annual music and creative arts festival.

This is the 4th year of the festival and it features the best local promoters and creative groups hosting an incredible array of the best local and national acts across more than 18 venues. Again I’m lucky as I’m performing at Browns Bar, sitting in with the excellent Tim McDonald and the Leisure Class on behalf of Arboretum Records.

It’s not just fun, every penny raised from the all access wristbands goes straight to Oxfam and local NSPCC projects. With over 200 artists playing and an early bird ticket price of £5 in advance and £10 on the door it should be fun.

Click for more info.

Who is Steve Lawson? Well, he’s musician, webbist, teacher/lecturer on music/music industry avoidance/social media for creatives, and a solo bassist who spends a lot of his time making very unbasslike noises.

This is his recent excellent keynote to JAMES, a must watch for all musicians, engineers and other creative:

Last night was cool got to see some great bands and hangout with some ace people.

Un-Convention Salford ’09 – Bands as Enterprises – Do It Together
What a fantastic panel, Martin Atkins was deeply insightful, offering much advise and genuine passion. His comments were often wild and to the point, some of which could be quite cutting for the uninitiated. The lawyers were helpful, Richard Hoare (Clintons) and Eleanor Broady from independent local practice ‘Beelegal’ offering much information and support to grass-root musicians, record company owners and other new music facilitators.

Northern Irish bass player Rich Dale (Escape Act/Volte-Face Records) also covered some interesting ground, focusing on the needs and demands of bands as small enterprises.

Now, on one hand there really are some interesting, fab and deeply insightful people here, offering great advise and discussion on all things music related. On the other however there are a shocking number of people that are stuck in the old business models and ideals that are so rapidly failing in the turbulent economic climate.
There seems much sense in becoming a music business guerrilla (i.e. moving quickly and easily mobilised) and this seemed to have been strongly echoed by some of the panel, but still lost on many in the room.
The question of realistic objectives, focusing on what the individual wants to achieve was raised and partially answered by the panel, how ever this form of discussion by and large is missing from Un-Convention ’09, hopefully it will come up at future events.

Un-Convention Salford ’09 – It’s easier to ask for forgiveness than permission
This session is focusing on the requirements and business needs for live performers, promoters and managers. The panel made up of a group of promoters based all over the UK were well placed to discuss many of the issues faced by venues, performers and how audience demands can be met.
A general consensus was that some times both performing musicians and promoters can be their own worst enemy’s. For the system to work all party’s need to fulfil their own part of the deal and do they’re most to provide an excellent service.

Pay to play was discussed and again the panel came up trumps, the overall feeling that it was a poor and at best dubious business practice. The old school “if you don’t bring 30 people I’ll tell every one how cr*p you are” is now obsolete and can be dealt with by not dealing with this type of promoter. Sounds simple and it is that simple. Various best practice scenarios were discussed in length.

One of the interesting things about coming to Manchester is the proliferation of fly posting in the city. It was interesting to hear that the fly posting is pretty much only done by two crews who operate of different patches. They have deals with the local council only post on old wood, no metal, glass or public property. They also manage these spaces and keep them in good order. It seems to work very well and is perhaps some thing other areas of the country could look at adopting. It was highlighted by member of the audience (for want of a better word) that these fly posters reflect the diverse and vibrant cultural element that is Manchester.

Un-Convention Salford ’09: Final thoughts
It was great to see so many passionate and enthusiastic people in one place, all keen to discuss and share in formation. People had travelled from India, the Netherlands and Ireland to attend; it was great to have such a wide range of experiences all in one place adding to the mix.
I’m still surprised that some people; both audience and panel are stuck on old business models that have no place in the changing music industry. There was a feeling among some that they could still turn the biasness around, unfortunately I’m not sure they will be able to do this.
The over all message from many seems to be a clear focus on adapting methods and using best practice to facilitate them monetization of music and music practioners.

Right after hunting all over Manchester for some free Wi-Fi (eventually found some at a Coffee Republic, limited to 20 minutes though) I’ve picked up all my emails and tweets ect. I now feel a bit more connected.

Yesterdays panel was a little un-inspiring, it’s a shame really as the wealth of experience in the room was heavy, but then so was their collective mood. I think the elder statesmen of the industry painted a rather gloomy picture of how the industry was progressing.

Today’s first panel, led by the insightful Andrew Dubber (www.newmusicstrategies.com) should be more uplifting I suspect.

The title ‘Outside the box’ seems to resonate well with the progression and continued re-birth of the industry. Last nights panel fell straight in to the trap of the labels are dying and can’t make any money so neither can we. This is a very pessimistic view of industry progression and indicated that the labels are the industry which is a massive misnomer.

Last night when the discussion was opened up to the floor for questions the room was dead, then Andrew Dubber asked a question centred around the fact that peer 2 peer file sharing exists and that this tidal wave will be impossible to stop, his statement included that obscurity is more dangerous to musicians than thousands of illegal downloads. The panel were perplex slightly at this statement. This unfortunately mirrors how the greater industry and to extent the general public view this creative sector. The question of how to monetize music and provide music practioners with an income needs addressing, today’s ‘outside the box’ panel should go some way to answering the need for change and a more open business model.

Music makers need to view them self’s as a small business and consider the positive impact of a portfolio career on their income streams.

Un-Convention Salford ’09 ‘Outside the Box’ after thoughts

What a fascinating panel chaired by Andrew Dubber, some really diverse experiences and information. The general vibe from many was the notion of being happy with the art/music you produce and that this underpins your approach to facilitating your business.

The idea of not using the internet as it can interfere with being a practicing musician doesn’t sit well with me, nor some other panel members. The internet and in particular social media does not have to take up all your life. Panel member Steve Lawson high lighted the fact that he doesn’t own a tv, and where many of his contemporise watch television he uses the internet and it’s components, thus utilising them, still leaving enough time for the creation and practice of music focused activities.

Some of the delegates (for want of a better word) here are seeing for the first time that you can make the music that makes you happy and fulfilled, while also maintaining a living from creative activities.
The idea that you can make a sustainable living from your art, with out being famous or falling in to rock starism is a positive move to a fulfilled career.

Un-Convention Salford ’09 The Modern Role of Collection Agencies.

Wow, all I can say is this is complicated and many people feel aggrieved by the various agency’s (and what they are calling them self’s these days).

I truly feel for the guy’s sat at the front on the panel, most people either seem perplexed or really pissed off on what the PRS for Music (the new name for PRS-MCPS) and the chap from the PPL (who is actually quite funny). Tempers are running very high though, not sure I really want this stress.

It has definitely high lighted the need for change with in music licensing and the education given on it. These organisations are large and slow moving, much like government agency’s. It would be good to see better and closer likes between music licensing agency’s and the people they effectively represent (there for work for!).
Most indie labels run the AP2 scheme, how ever the majors (plus a few extra) run the AP1 agreement. The AP1 agreement allows labels to only pay a licence on the amount of cd’s distributed, not on how many are produced, the fee in this instance paid to artists is 7% against the AP2 12.5%, but then it’s a numbers game, the 7% ultimately would probably been a higher fee over all. It’s a complicated business and I’m not sure every body here really understands how these organisation really work.

A simpler system coupled with more education and contact with users would be the ideal answer, just not sure it’s going to happen.

Un-Convention Salford ’09 ‘Art as Culture’ Discussion
For Andrew Dubber’s crew at the tree house, part of their mandate is to archive music , they propose many things (see http://www.stevelawson.net for the live blog), the most interesting being a use it or loose it policy on music copyright. Fantastic idea, to achieve this they are proposing a to install a lobby group help instergate change.
Another idea was a caped limit on copyright, using the pharmaceutical industry as a positive example of this. It’s an interesting concept that I hope will on some level see fruition.

Un-Convention Salford ’09 Day 2 round up.
I’ve had a fantastic day, met some wonderful , insightful and interesting peeps. Learnt a lot and seen some fantastic bands. High lights so far: Out of the box panel (poor title), were ace, some really interesting stuff and food for thought for many. It was a nice change to the dower big business ideals of yesterday. The idea that you can make the music you want, that makes you happy is an achievable and realistic ideal. Hopefully every one (panel included) took some thing away from that one.

The art as culture discussion was fascinating, it drew allot more people than expected. Even though bands were sound checking during it still proved to useful.
It’s been lovely to see so many people that are deeply passionate about what they do and want to communicate with the others on the subjects they love.

The concept of not DIY but Do It Together , sharing information, skills and tips is great. Hope fully this will build a more sustaining business model that is self supporting.

For me Unconvention is a fantastic DIY grassroots music industry event, celebrating the rebirth of the music industry in favour of the musicians, artists and creative’s that work in the industry. Above all else it’s about being independent and facing the exciting challenges that the industry presents and finding innovative and creative solutions.

From the Unconvention website here’s what they set out to achieve:

• Un-convention aims to be interactive and inspirational. It will begin with participants contributing to the online blog with their questions and ideas for the panels. The event will be organic and will be led by the participants as much as the panel guests.

• Un-convention brings together some of the most exciting voices in the music industry.

• Un-convention is organised by a collective of DIY and independent labels, promoters and bands for people in similar roles and organisations.

As a member of the teaching faculty at a college I am required to complete 30 hours of continuing professional development (CPD) per academic year. As I still work in the music industry this is actually quiet an easy task. To facilitate my evidencing of CPD I kept a log/diary of my experiences at the second Unconvention event in Salford, Manchester.

First thoughts; interesting people, with varied opinions on music and the industry related to it.

Last nights panel of industry professionals titled ‘The Artist Panel: Setting The Scene was and interesting experience. The panel consisted of various musicians with a varied background and experience. These range from huge, well known artists (Peter Hook; New Order, Joy Division) to smaller solo musicians (Jamie Finlay) and the road in between (Lil Fee; The Whip & Pete Jobson from the band I am Kloot).

I’m always fascinated to hear what other people think and how this has been influenced by their experiences. Lots of people on both the panel in the audience who are obviously extremely talented and passionate about their music. Many people on both sides on the room seem to struggle with how to monetize this passion in to a viable business model.

The discussion soon turned to money and how to get it and the various income streams open to musicians. Pete Jobson of ‘I am Kloot’ made some interesting statements about the importance and use of the Princes Trust for young creative businesses, focusing on his own experiences and how it has positively effected his own career.
An audience member posed the question of how to monetize and existing project; she had spent £40k recording and album and is struggling to recoup. The panel did sympathise, but no real answer could be found. As the industry is going through a period of change and re-birth, it’s important to understand that the old industry goal post have moved. This is evident in the recording process for example. At one time £40k was reasonable to spend on the making of an album, but as it stands today this is a very hard amount of investment to recoup. For example you would need to sell 4000 cd’s at £10 each to re-coup, this doesn’t sound too bad, how ever you would most likely have to sell them direct. If a mainstream distribution and retail model is applied to this album you would probably have to sell at least three times this amount to break even on recording costs. This is in part due to the PPD (Price Paid by Dealer) and the distributors costs. If PR , marketing and management are brought in to the mix the amount you would need to sell by traditional retailing would rise expediently.

Well recorded music is achievable on even modest equipment at present and this certainly looks to be a realistic model for future recordings. The recording budget above (£40K) would buy you a decent Protools HD rig, Focustrite Control 24, Genelec Monitoring and a selection of good mics and a nice preamp. This would offer a high level of recording and editing possibilities and as it’s not a one off investment (like an album) so it could be used for subsequent projects. The bonus if this model is the possibility of broadening and building a portfolio career, not only as a musician and songwriter, but also as either an engineer or studio owner in a niche market (in this example roots based music).

As the album is roots based question also needs asking on what equipment would really be required to record such a project. Roots based musicians are often great ensemble players, capturing them in a natural environment (for example at a gig) could be interesting. The bonus of this is the amount of equipment required. The reality is you can build a great mobile recording rig for very little and again this could be an investment in equipment that would pay dividends in the future with continued use and also recording other artists.

The question of realistic career expectations was posed to the panel. No real answer was found, mainly due to time constraints. It’s important for musicians and any other creative’s to look at what they would like to achieve and how they will do this. A realistic (not negative) look at career expectations can yield useful answers on how a portfolio career can be achieved. Understanding what you can do your self and where outside help is required is an important exercise for any creative industry.

I doubt this weekend will provide all the answers to a struggling industry unwilling to adapt and change, but it will provide a deeper look and thought process required to monetize music.

Over the past few years the Japanese guitar builder ESP have become more and more synonymous with the guitar legends they endorse. Since the arrival of daughter brand LTD, owning one of their instruments has become more of a reality for many musicians.

In the past year LTD has gone from being a mainly guitar orientated brand to offering a range of over eighteen bass guitars, ranging from the budget conscious to premium semi/professional instruments worthy of any stage.

As a bass teacher and lecturer in an FE college students often ask my opinion on potential new purchases and let me try out recently acquired instruments.

The LTD B-55 5 string is one of these instruments. One of my bass students recently acquired a B-55, as a true bass geek I had to give it a go.

The current ‘street’ price for the LTD is £199, however a few of the now discontinued white models are available for £110 on a number of websites.

The glossy black finish is well applied and the general fit and finish of the bass is of very good standard. It’s surprising how much instrument building at this level has improved in recent years, this bass is a testament to the high quality imported guitars that are now available at very reasonable prices.

A large well-designed bridge anchors the strings to the comfortable body. The electronics on this version are of the passive type, with a volume, volume and tone control lay out reminiscent of a modern Jazz bass. Conveniently there is a battery box and cover already routed in the rear of the instrument; this will make upgrading to an active set up in the future far easier and of course cheaper.

The PJ configuration pickups have a twist; the P set is actually of a reversed design to tighten up the B strings response, this is a smart move, especially as the design aesthetic seems to lean more towards the rock/metal fraternity. The pickups sound good and both classic Precision bass thump and burp Jazz bridge pickup tones are on tap. A solid, pumping rock tone is available by mixing the two pickups with a bas towards the bridge unit. If fact this bass sounds as good playing ‘Enter the Sandman’ as it does as renditions of ‘Portrait of Tracey’.

The low B string is punchy a taught, more usable than instruments that cost hundreds of pounds more than the B-55. The general set up and finish of the frets is also of a quality that only a few years ago would not be found on an instrument in this price range. A few tweaks to mach playing tastes can be achieved easily, however this bass plays right out of the box.

At this level the LTD B-55 is a fantastic instrument, when you bare in mind that usable B string and the fact that it the electronics would be easily upgradeable I doubt at this price you could go wrong.