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Check Offbeat's
Louisiana Music Directory at www.offbeat.com for more.
Looking
for Crescent CITY Music?
"A photographic celebration of musical events in New Orleans,
LA"
(A collection of performance photos of local musicians by popular
photo artist, Chris Ryan!)
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FAQ'S & Other info you need to know |
SHORTEN DELIVERY
TIME:
Don't wait until your project is done in the studio
to start working with us on the printed material. START EARLY! |
Writing
Liner Notes
Give a lot of thought
in advance to all of the credits you will be including on
your liner notes. It can slow down the process and cost
extra money if you realize after the work has gone to press
that you need to add the photographer's credits or a special
dedication, etc. Read our How-To article: Writing
Liner Notes |
Mastering
Have your project professionally
mastered. Sometimes, when you leave the studio, what you
have is a "mixed-down" version of your song on
DAT (digital audio tape). The "mastering"
process is what polishes your product and leaves you with
a CD disc master, which has been coded for the factory,
along with a PQ Code sheet, which is a paper copy of what
is coded on the disc. |
Andy
McFadden's CDR FAQ
Comprehensive
Q&A about CDRs. Covers topics such as: What's CD-R? CD-RW? Are they identical to normal CDs? How much can they hold? |
What
is a RELEASE NUMBER
and why do I need one?
Music business professionals and
anyone that inventories music (stores, etc.) don't refer
to records by name, but by release number. A release number,
also known as matrix number or catalog number, is an identification
number for your CD or tape. The number generally consists
of a combination of up to seven letters and numbers (such
as CD1001), which can be picked by you and based on any
combination of letters or numbers - your band name, artist's
name, special dates or numbers, etc. Every project needs
a release number since retailers keep their inventories
that way. If you do not indicate a release number on your
order form, we will assign one to your project. |
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What
should I do if I record someone else's song?
If you are using someone else's
copyrighted composition(s), you need to get a mechanical
license in writing. A mechanical license is referred to
by lawyers as a (compulsory) license, which means that
it cannot be denied to you or anybody that wants to use
a cover song (as long as it's been recorded once), but
it can be a long and sometimes complicated process.
You can now get permission to record/release a cover song
over the 'Net from HARRY FOX SONG LICENSING ONLINE. Tell
them what song, how many copies you're going to create,
then pay by credit card, and voila! www.songfile.com/nonpro_search.html
First, find out who owns the copyright on the composition
by contacting BMI (212-586-2000 or www.bmi.com),
ASCAP (212-621-6160 or www.ascap.com),
or SESAC (800-826-9966 or www.sesac.com).
Or, if you are Internet savvy, you can Tenet into the Copyright Office's database and look up the official record.
Armed with this info, you can contact the publisher and
negotiate your own rates. For a song that is not that
well known or that is not in the current music scene,
this can often be easy to do.
If you don't want to negotiate your own rates or if the
song is currently or was popular, contact the Harry Fox
Agency (212-370-5330 or http://nmpa.org/hfa.html).
They are authorized to issue mechanical licenses at the
statutory rate. |
CD / DVD Logos
You
do not have to include disc logos on your artwork if you
do not want to. The compact disc logo is actually
owned by Philips Electronics N.V. The DVD logo is controlled
by the DVD Format/Logo Licensing Corporation of Japan.
If you do include the logos, then you must follow specific
rules regarding size, shape and color. I highly recommend
including DVD logos since they can easily be mistaken
for CDs. click here to download logos. |
Why
don't you offer manufactured quantities less than 1000?
Ordering 500 units isn't economical - you end up paying
for a 1000 units anyway. This is because the same amount
of setup goes into a run of 500 as it does for a run of
a million. Think of it this way: You're a band and a club
owner wants to hire you to perform. He offers you $50
per song. So you and your 4 other bandmembers rehearse,
drive there, set up, tune up. Then the owner then says,
"OK, just play one song." That wouldn't be worth
it for you, would it? It's the same with manufacturing
- they simply can't make any money on quantities less
than 1000. |
Jewelcases vs. Digipaks
Digipaks are definitely becoming more popular. Before you spend the extra money for the "look" consider this:
Pros: As a designer, I love to design digipaks. Many people love how they look and feel. They are perceived as being more "eco-friendly" (which isn't exactly true, however). They automatically include full color inside.
Cons: As a consumer I don't like them. They take up more room in my CD collection (I MP3 all my CDs, take the inserts out of the jewelcase and file them in a vinyl sleeve).
They get dinged easier and can't be repaired. If the plastic hub breaks there is no way to replace it (jewelcases are interchangeable). Yes, jewelcases do crack, but you can replace every part of them.
Jewelcases are more water resistant. You can set one on a wet table and it will still protect the insert. Try doing that with a digipak.
If the cd comes off the hub, the disc can slide out and become damaged easily. The jewelcase snaps shut, so even if the disc pops off the hub, it isn't going anywhere.
People think digipaks are lighter and thinner, but they're not really. (Wallets are, but they don't have the tray.)
You get less and pay more: They have less room for information. A 4 panel insert in a jewelcase has 3 full panels for information, plus the cover and traycard. A 4 panel digi only has 1. You'd have to do a 6 panel digi to have more panels for text, and that would cost about twice as much as the jewelcase with a 4 panel insert. |
Digital vs. Analog
Many people think that
the digital CD is produced completely digitally, but this
is not always the case. Many CDs have an analogue master
tape as their source tapes still kept in the library of
the record company, used in the past to make records. The
quality of a CD made from analogue tape can be surprisingly
high. A CD recorded, processed and dubbed digitally does
not always sound better than a CD produced with one or two
analogue processing stages. To indicate what stages have
been treated in what ways, a useful three- letter code is
used on recordings. The letters represent: the recording,
the editing/mixing process, and dubbing, respectively. They
are printed on the CD and/or on the insert label in a rectangular
box. There are three possibilities: DDD (completely digital
CD); ADD (analogue recording, digital processing and dubbing);
and AAD (analogue recording and processing, digital dubbing).
Many CDs carry the ADD or AAD indication. This does not
mean that they are inferior to the DDD CDs! |
What
is a GLASS MASTER and STAMPER?
This
process is when the music (data) from your CD master
(usually a CDR) is copied exactly to a glass substrate
best known as a "glass master". After several
steps the result is a nickel plated stamper that will
be used in an injection molding machine that will "Stamp"
the data image (in the form of pits and lands) in melted
polycarbonate plastic. It is formed into the shape of
a CD, cooled and then it receives a layer of mirror
like aluminum and a coating of protective lacquer.
The making and preparing of a glass master and stamper
can be time consuming, but the CD manufacturing time
goes rather quickly with an average CD manufacturing
cycle time of 3 to 6 seconds per CD.
Myth:
"My band owns the glass master and stamper."
Nope. Once a glass master is made and the stamper is
created from it, the glass is polished to a blank and
used for another job. The stamper will stay on file
at the manufacturing facility and be used for re-orders.
Most of the time, the stamper is made proprietary to
the equipment in the same facility and can't be used
at other manufacturers.
|
Replication Process
This process is when the music (data) from your CD master (usually
a CDR) is copied exactly to a glass substrate best known as
a "glass master". After several steps the result is
a nickel plated stamper that will be used in an injection molding
machine that will "Stamp" the data image (in the form
of pits and lands) in melted polycarbonate plastic. It is formed
into the shape of a CD, cooled and then it receives a layer
of mirror like aluminum and a coating of protective lacquer.
The making and preparing of a glass master and stamper can be
time consuming, but the CD manufacturing time goes rather quickly
with an average CD manufacturing cycle time of 3 to 6 seconds
per CD.
Myth: "My band owns the glass master and stamper"
Nope. Once a glass master is made and the stamper is created
from it, the glass is polished to a blank and used for another
job. The stamper will stay on file at the manufacturing facility
and be used for re-orders. The stamper is
made proprietary to the equipment in the same facility and can't
be used at other manufacturers. |
Some interesting and important CD facts:
CDs are easily scratched, and should never be cleaned with
just any cloth. CDs should be cleaned radially: not along the
grooves, but at right angles to the direction of the grooves.
If a smear, however small, should remain on the CD, running
along the direction of the grooves, much information would be
lost. It is advisable to use special CD cleaner that operates
with a rotating brush at right angles to the direction of the
grooves.
Many people think that the digital CD is produced completely
digitally, but this is not always the case. Many CDs have an
analogue master tape as their source tapes still kept in the
library of the record company, used in the past to make records.
The quality of a CD made from analogue tape can be surprisingly
high. A CD recorded, processed and dubbed digitally does not
always sound better than a CD produced with one or two analogue
processing stages.
To indicate what stages have been treated in what ways, a useful
three- letter code is used on recordings. The letters represent:
the recording, the editing/mixing process, and dubbing, respectively.
They are printed on the CD and/or on the insert label in a rectangular
box. There are three possibilities: DDD (completely digital
CD); ADD (analogue recording, digital processing and dubbing);
and AAD (analogue recording and processing, digital dubbing).
Many CDs carry the ADD or AAD indication. This does not mean
that they are inferior to the DDD CDs!
A CD must never be bent, so care should be taken when removing
it from the jewel case. Even slight bending causes stress fractures.
The aluminum then becomes deformed, causing some ridges to be
blocked. As a consequence, error correction always has to be
applied in that area, affecting the final sound.
The reflecting side of the CD is the side that is read. People
tend to set the CD down with the reflecting side up. But the
more vulnerable side is not the reflecting side but the label
side. On the label side, the reflecting layer with its ridges
has been evaporated. The sensitive layer on the reflecting side
has been protected better than the one on the label side. It
is therefore better to store CDs with the reflecting side down.
It is best to store the CD back in the jewel case, where it
is safely held by its inside edge.
Never write on the label side, even with a felt-tipped pen.
The ink may penetrate the thin protective coating and affect
the aluminum layer.
The protective layer on the label side is very thin: only 0.002mm.
Careless treatment or granular dust can cause small scratches
or hair cracks, enabling the air to penetrate the evaporated
aluminum coating. This coating then starts oxidizing immediately
at that spot. If the CD is played extensively, it may be advisable
to protect the label side with a special protective foil, which
is commonly available in shops. |
| MUSIC
BUSINESS RESOURCES |
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Copyright
Forms
Your copyright is your deed to
your song. Go to the U.S. Library of Congress Official Site
for downloading copyright forms |
BARCODES
A barcode, or UPC code, is
essential if you're planning to sell your CDs or cassettes
in stores, to make them [retail-ready] products. As a special
service to our customers, Crescent Music Services will provide
you with a generic UPC barcode number; generate the logo
free of charge, and incorporate it in your design. You'll
save $700, and stores will be able to scan and sell your
merchandise.
To get your own barcode (recommended if you
have regularly scheduled releases) assigned by the Uniform
Code Council, call 1 800-543-8137 (or 513-435-3870) for
an application kit, or visit their site at www.uc-council.org. |
Statutory
MECHANICAL ROYALTY RATE
As of January 1, 2006 the statutory mechanical rate is as follows:
9.10 Cents for songs 5 minutes or less
or
1.75 Cents per minute or fraction thereof over 5 minutes.
For example:
5:01 to 6:00 = $.105 (6 x $.0175 = $.105)
6:01 to 7:00 = $.1225 (7 x $.0175 = $.1225)
7:01 to 8:00 = $.14 (8 x $.0175 = $.14)
This rate will remain in effect until the next schedule of mechanical licensing rates is determined.
To figure out your royalty fee, just multiply the cost per
song by the number of units manufactured. This not a lot
of money to pay to keep your release legal and avoid all
the problems using unlicensed material can cause.
If you cannot afford the standard fees, contact a group
like the Volunteer Lawyers for the Arts (call 215-545-3385
for the chapter nearest you). They can often help negotiate
reduced royalties for schools and nonprofit groups.
Mechanical Royalty Calculator: determines the mechanical royalties due per song for a certain number of recordings [click here] |
Harry
Fox Agency (MECHANICAL LICENSING)
ONLINE mechanical licensing
of copyrighted songs. Use this when you want to "COVER"
a popular song on your CD. [read more] |
ISRC
Codes
Besides a barcode, you're
also going to need ISRC numbers for your next CD because
European radio airplay will be increasingly difficult to
get without ISRC numbers. Here's
how to get them (they're free and it'll take you 30
minutes). |
New
Orleans Musician's Clinic
The vision of the Musician's Clinic
is to improve the health status of the New Orleans music
and performing arts community. Our mission is to develop
accessibility to primary and preventative health services,
addressing the total needs of the musician: body, mind and
spirit. Members of the Musicians Mutual Protective Union
Local No. 174-496 and professional musicians living in the
greater metropolitan New Orleans area are eligible for the
following medical services: Health assessments Primary Care:
Nurse Practitioner and Physician Services Triage and referral
services to private or public care, as appropriate Social
Services information and referral, as needed Health Education
and Counseling |
Louisiana
Songwriters Association
A wonderful resource for all Louisiana
songwriters |
Volunteer Lawyers for the Arts
215-545-3385 |
NolaLife.com
NOLA Life promotes local New
Orleans, Louisiana talent: artists & painters, musicians
& singers, writers & authors, entertainers & dancers, business
communicators & professional speakers. |
NewOrleansBands.com
A developing Internet site
listing bands and clubs - help them grow! |
Guitar
Center
In the Elmwood Shopping Center
on Clearview Parkway in Metairie. Enter your zip code on
their site and you can see the upcoming events for your
area. |
Louisiana
Music Factory
"The one stop site for all
of your New Orleans and Louisiana music needs." The
Louisiana Music Factory, located in the New Orleans French
Quarter, carries the widest selection of Louisiana Music
on compact disc & vinyl records in the world. |
TAXI: the leading independent
A&R company helping unsigned bands, artists and songwriters
get record deals, publishing deals and placement in films
and TV shows. |
http://www.rhymer.com
An Online Rhyming Dictionary for Poetry and Songwriting |
| RADIO
& TV |
WWOZ
Radio
We are a listener-supported, volunteer-operated
radio station, located in New Orleans, Louisiana. Our broadcast
signal reaches the entire metro New Orleans area and beyond,
and our award-winning programming can be heard on radio
stations around the country. Playing blues, jazz, Cajun,
Zydeco, gospel, Brazilian, Caribbean and a whole lot more,
WWOZ keeps the music and musical heritage of the Crescent
City alive and loud. Hear our Internet broadcast live from
anywhere in the world! |
| Check Offbeat's Louisiana Music Directory at www.offbeat.com for more. |
| ORGANIZATIONS |
| Folk Alliance www.folkalliance.org,
the service association for the field, and works on behalf of the folk music and dance industry year round. Offers a business directory of contacts for members, and a non-profit group exemption program for US-based organizations. |
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| MISC.,
YET COOL LINKS! |
Beatles American Records
Exquisite books about the American
Records by The Beatles, written by acclaimed local author
Bruce Spizer with graphic design and layout by Diana Thornton.
|
Windstar
Foundation
An organization committed
to inspiring individuals to make responsible choices and
take direct actions to achieve a peaceful and environmentally
sustainable future. |
The
Ruth Paz Foundation
Michael Paz (of Louisiana
Jukebox) and his sister Mary Ann carry on the important
work of helping Honduran children with medical needs. Their
Mother, Ruth Paz, started the effort in the mid 1960's,
and continued until her life was claimed by cancer in 1996.
The link will take you to the official Honduran Ruth Paz
Foundation site. |
Gardendomes
Very cool (build it yourself)
GEODESIC DOME kits |
Animal
Focus Network
A developing animal information
resource for the metro New Orleans area.
Created and sponsored by our own Diana Thornton! |
| Music Quotes |
Block Posters - Create large wall posters from any image for free! |
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