Conference napalm::commusic_v1

2773.0. "Fall Music Conference" by MIZZOU::SHERMAN (ECADSR::Sherman DTN 223-3326) Mon Nov 25 1991 15:23

			Fall Music Conference
			---------------------

			Held at the Boston World Trade Center
			November 23 and 24, 1991

			Produced by:
				Mentor Music Group, Inc.
				New England D.J. Association
				WCGY's Boston Music Showcase

			Review by Steve Sherman


If you are serious about doing music in New England, you will extract this 
review and study it.  You will also plan to be in attendance at the Spring 
Music Conference next year.  Anything less and you may as well continue to 
flounder or at best only make inefficient use of the music resources available 
to you in New England.  

Do I have your attention now?

This is my review of the Fall Music Conference.  This conference was oriented
toward music makers who reside, need promotion and publish in the New England 
area.  This conference was sparsely attended.  Only 30 people were there at
any given time ...  and this was a crime.  It was an invaluable conference.
The $50 admission for both days was a pittance in comparison with the wealth
of knowledge and opportunity for each participant.

If you like this review, you MUST do the following (or else suffer the
consequences of losing contact with and not giving support to people in the
industry who want to help you make it):

	Call Harvey Wharfield at (617) 729-9470 and THANK HIM and all
	the others who worked with him to do this conference.  Feel
	free to mention me by name and mention that you read this review.
	Express interest in the Spring Music Conference and get on the mailing 
	list for getting a notice about it.


First, the highlights:
----------------------

Harvey Wharfield and others are aggressively trying to find and promote talent
in the New England area.  Harvey works with Rock 93 (WCGY 93.7 FM) and has
a show that promotes local musical talent.  It's called "Boston Music Showcase"
and airs Sundays from 6 to 10 PM.  It has lots of rock, but Harvey is into 
rock, jazz, blues, house, new age, high energy, techno ...  you name it.  If
it's good music, he's interested.  As I found at the conference, this attitude
is shared by many in the music industry.  This conference was a chance to meet
and to talk with some of these folks.  The information was invaluable.  The
people there were caring, helpful, professional and enthusiastic.  Besides 
calling Harvey, you can write to him and/or send your best quality tapes to:

		Boston Music Showcase
		Rock 93, WCGY
		P. O. Box 1909
		Boston, MA	02205

Mentor Music is working to give you the best deal to be found anywhere to help
you make it in New England.  With CDs, as just one example, you can get 1000
made for about $2500.  Now, that's only comparable with, say, Disk Makers or
Europadisk.  But, there's more.  The deal comes with promotional help as well.
The other CD houses "can't touch this".  Also, they are involved with the
"Boston Rock and Roll" anthology series.  These feature local talent that, when
accepted, can pay about $300 to get their 3.5 minute song on the CD.  There
are, what, 15 of these albums out already?  Quality stuff.  Remarkable 
opportunity.  Contact these folks at 

		Mentor/VAR Recordings
		Box 2392
		Woburn, MA	01888
		(617) 932-6520

The New England D.J Association and the Mass Pool are associations of DJs who
want to test good quality tunes on the street to provide a jump start.  These
guys will play your vinyl or acetate 12''s and give you feedback on how they
do in the clubs.  No charge.  You just can't beat this kind of a deal.  You 
absolutely can't fault their attitude or their commitment.  Contact Mass Pool
by calling (617) 567-2900 from 12 to 5 PM.  I'm not sure exactly how to get in 
touch with all these guys, but another place to start may be by contacting the 
publishers of Dance Music Report:

		DMR
		636 Broadway
		Suite 804
		New York, NY 10012
		(212) 677-6770

		
Platinum Productions was there.  They're a 24-track studio.  I've scheduled
about 6 hours of studio time with an engineer to do my digital master in a 
little over a month.  It's only going to cost me around $100 for EVERYTHING, 
including two DAT tapes.  I suspect you may be able to get a similar deal with 
them.  They were the ones that sent me the flyer telling me about the 
conference.  Probably got my name from MIX.  They are at:

	Platinum Productions
	406 Centre St., #1
	Boston, MA	02130
	(617) 983-9999 or 1-800-MIXDOWN

Tell 'em I sent ya.

New England Performer was also there.  They are a local magazine that covers
the Boston music scene.  You can contact them at:

	New England Performer
	c/o Creative Resources
	396 Massachusetts Ave.
	Box 177
	Arlington, MA	02174

This is only a smattering of the contacts.  Others were listed throughout the
literature I got.  It would take too long to type all that in.  Suffice it
to say that if you think you're good, there are people out there who want to 
hear from you.  There are people out there willing to deal.


My experience:
--------------

From here on, I'll describe my participation in the conference and give you
what information I was able to get from notes that I took.  The conference
was held in a little area and auditorium of the Boston World Trade Center.
I paid my $50 to Harvey, who happened to be managing the front desk when I
came.  There weren't many people there.  I counted 30 at most at any given
time.  I don't think it was because of publicity.  I rather suspect it's
because this event probably looked "too good to be true".  Many of us have 
probably become accustomed to getting ripped off by folks setting themselves
up as wanting to help.  Lots of sharks out there.  But, they weren't at this
conference ...

They gave me a big Tower Records sack stuffed with literature.  I was also
able to browse around and pick up a CD, a cassette, records, publications and
other literature.  It was like being in a candy store and it was okay with
Mom if I put whatever I wanted in my sack.  

Legal Panel:
------------

I was late but was in there time to catch the legal panel.  It didn't expect 
this to really give me much I could use.  I was wrong.  The panel consisted of
music attorneys:

	Donald Brown - Boston
	Matt Pepper - Louisiana
	Randy Fisch - New York

Here are comments from my notes.  (All my comments are in roughly the order of
panel discussions.  Please excuse all typos and any inaccuracies I may have
introduced in this review.)

When does a band need an attorney?  Certainly before you sign a record
contract.  An attorney looks out for legal traps.  Initially, he/she may work
as a manager, but you should eventually get a manager.  Avoid conflict of
interest with your lawyer representing both sides of a contract, for example.
Good attorneys have good relations with people in the music industry.  With a
"production deal" an executive producer puts out the money.  The artistic
producer controls production.  17% or so of gross usually goes to the band.  
12% or so usually go to the producers.  ASCAP and BMI are basically equally
good.  You can belong to one or the other (or ESAC?).  One difference is that
BMI monitors college radio.  ASCAP has a small fund that can pay you up to
$200 if you show them that you get local airplay, are publishing and are doing
gigs locally.  BMI may have a similar fund.  An attorneys advice to record
companies is often, "only sign the talent".  Nowadays, writers tend to become
their own publishers and performers.  You should be very hesitant about signing
over your publishing rights.  Record companies tend to be affiliated with
particular publishers, so they may want these rights.  Sign them over only if
it is a last effort to save the band.  Everybody is sampling other people's 
stuff nowadays.  They work the legalities out with each other.  If you intend
to use extensive samples of others you need to secure/buy the rights from the
record company and publisher.  If you are redoing it and not using the
original, you only need to approach the respective record company, as a rule.
The Boston area is the place to be, nationally, if you want to get into radio,
TV and film scoring.  There is lots of demand for music synchronized to audio
or video.  If this is what you want, you need to find and start hanging around 
the people that are doing this.  The music industry is very, very
people-oriented.  It's who you know.  You've got to make contact with them and
get to know them.  When you're starting out, attorneys know you have no money.
They'll still want to work with you.  

The panelists were very open, as were all panelists, and entertained questions
from the audience.  They were very down-to-earth and a pleasure to interact
with.  This can be said of all the panelists, no exceptions.

After this panel I spent a little time talking with Harvey on my way out.  He
found out that I was one of several synth enthusiasts who correspond by
electronic mail, critique each other and do original work.  He was very
enthusiastic.  See, even though we talk to each other a lot over the wires,
there is a vast segment of the music industry that is anxiously unaware of
our existance.  Major labels don't really care.  It's the independent network
that cares, that hungers for good music and that is eager to help.  It was
mentioned probably more than once that there is money to be made with
independents, sometimes more than you would make with a major label.  

Also, I confirmed with Harvey and others a few things that I've always known.  
Don't expect to come in and make it big right off the bat.  It takes
persistence.  It takes investing a lot of time, over a long period of time.
Success doesn't have to come within 8 weeks of releasing an album, contrary
to what the major labels say.  It can take years for an independent album to
get big sales.  Persistence and working with people are the main keys that
talented people are missing and which cause them to fail.

I came back the following Sunday.  I had promised Harvey a couple of demo
tapes.  "Do you have the tapes?" was one of the first things he said to me.
Demo tapes were flying around during the conference.  Not just with Harvey, but
also with DJs and others.  I detected nervous excitement in the voices of many
participants as they placed their albums into the hands of DJs who committed
themselves to listening, reviewing and possibly testing.  For those of you
who complain about not finding someone in the industry that wants to hear your
tapes, you are probably kicking yourself now.  Meeting and talking with these
people was easily, EASILY worth the admission price alone.

Retail Panel:
-------------

So, you think it's hard to get your album into a record store?  WRONG!  Can't 
afford shrink wrapping or working up a spiffy display to promote sales in the
store?  WRONG!  WRONG!  Have to work through a distributor if you want to sell
at a local record store?  WRONG!  WRONG!  WRONG!  This panel blew away many of 
the prevailing myths about working with retailers.

This panel consisted of:

	Christopher Roman - Tower Records
	Jeff Davidson - HMV 
	
If you want a record store to stock your album, ask for the Consignment Buyer
at that store.  For HMV, that's Jeff Davidson.  For Tower Records in Boston,
that's Leslie Miller.  These stores have their own shrink-wrapping.  HMV
prefers that you have a UPC symbol if you get it on your album.  Tower doesn't
use them yet, but probably will in the future.  Check with your album
manufacturer for details on how to have this done.  These stores have their own
art departments.  FOR FREE then can do a display for you to have in the store
to promote your album.  You just need to work with them on it.  FOR FREE they
will set up a display stage for your band to do live performances in the store.
Again, work with them on this.  Call Cathy Angstat to arrange book performance
with HMV in Boston.  Small "Mom and Pop" stores are also great if you get to 
know the people in the store.  Typically, they will happily play your music 
over the store sound system for customers.  Contact is the important thing.  
It's who you know.  Drop in and talk to the people.  Phone.  Write.  Albums 
taken on consignment at Tower are held for up to 7 YEARS before being returned 
to the producer.  Similar policies at other stores.  Don't worry about these 
kinds of stores returning your product because it doesn't sell fast enough.  
But, it is your responsibility to get people to come in and buy your stuff.  
Don't depend on them to do your advertizing.  Also, they WANT to work directly 
with the local record producer rather than a distributor.  Often, a 
distributor will fail to deliver product even after the store orders more 
product over and over.  Local artists tend not to be so unreliable.  But, you 
should approach an "authorized" distributor if you want to go national.  When
you pick a dsitributor, look for one that really tries to sell to the stores.  
Check with the store to see who these guys are and how well they like them.  
Market yourself at each store.  Go for having your stuff put in the "local 
section".  The store will cut you a check every two weeks or so, depending on 
whether there are sales.  For the Boston Tower Records, sales are good for you 
if you are selling 10 every month.  The quality of the packaging doesn't really 
matter.  You need to promote locally.  The folks who come in should come in 
looking for your record.  They aren't really that interested in how it looks.  
At least, local sales don't seem to depend on this.  Promote locally, then 
nationally.  You need a base before you go national.  As far as dance music 
goes, 12'' sales have not shown signs of declining, but LPs have.  This is 
because DJs prefer 12'' (more on that later).  On average, there are about 2 
CDs sold for every cassette.  Sales of cassette singles have declined.  Sales 
of CD singles are going up.  There are no more CD-3 singles sold, but there 
are plenty of sales of CD-5 singles.  If it's good, it will sell.  Most Rock 
and Roll is on CD.  Metal and rap are selling well.  Techno and house are doing 
well.  

--> Techno is expected to be the next big thing. <--

Don't bother making posters to give to HMV or Tower.  They prefer using their
own art department to promote your stuff.  The art department is responsive,
but wait until the end of the Christmas season to get their help now.  The
college market is the biggest market and the most diverse even though students
tend to only buy a few at a time.  CDs don't have to be in long boxes or in
blister packs.  Just in the jewel case is fine.  If they need to, they can
provide their own format for display.  But, you still only need to provide a CD
in a standard jewel tray.  Once you are known, half the battle is won as far
as marketing goes.  It's all image.  Also, remember that adults influence the
listening habits of their kids.  Why else would 10-12 year olds come in 
requesting Greatful Dead?  Stores like to start off with about 50 or so pieces
of your stuff.  They will work with you on figuring out the price.  In general,
you need to figure out how much your stuff should sell for, then set a price
with the store that will allow them about a 30% profit margin.  For example,
if a CD is expected to sell for $8.99, you might settle on a price with the
store of $5.

DJ Pool Panel:
--------------

The DJ pool panel consisted of:

	Chris Laurent - NE DJ Assoc.
	Ed Matthew "Eddie Q" - NE DJ Assoc.
	Bobby Judge - Boston Record Pool, DMR, SIN (Street Info 
			Network), Palagreno Promotions
	Gary Cavano - Mass Pool, WZOU Saturday from 12 to 4
	Ralphe Dee - NY DJ/producer/remixer

First, a remixer is someone that can, for example, take a Rock and Roll
24-track and create a remix oriented towards a techno market, for example.  It
is a way to revive an old hit and go after a new market.  Kind of like what
Run DMC did with "Walk This Way".  What is important is the name of the person
doing the remix.  When DJs see it, they will play it.  A DJ pool is a group of
member DJs that test the market for a new tune or tunes.  They play the music
in clubs across the nation.  The NE DJ Association and the Mass Pool are both
about the same size (about 75 members playing at about 150 to 200 clubs).
Their job is to play it and promote it on the streets.  They report back on 
where the markets are for the album.  They only provide the jump start.  It
is up to the record company to continue the push with distribution and
promotion in the identified markets.  It can take longer than 8 weeks  -
sometimes 2 years or longer - for a tune to catch on.  Don't worry if your tune
is not oriented towards the dance crowd.  The DJs are still interested in new
tunes.  Believe it or not, they are committed to promoting good music.  But,
the dollar rules and they have to play what the people want.  They try to 
promote the good stuff when they can.  These guys really put in the hours.
They laughed about how Bobby puts in 80 hours at work.  He said he only has
about 12 hours a week for his wife.  The divorce proceedings are in the works.
They report the overall results of their findings in several formats.  These
results can be seen in DMR, though I suppose you can get much more detailed
results on your particular music from them.  The format for your music needs
to be vinyl or acetate.  Some MIGHT play your music at a club if it's REALLY
good and on cassette.  Many won't play it at a dance no matter how good if
it's on CD.  Many will play it, even if it's so-so, if it's on acetate.  That's
because it costs about $40 to $100 PER COPY for acetate.  DJs are proud and
honored by the acetates they get.  They think of them as "gifts".  If you go
the acetate route, you can start by sending out cassettes to get an initial 
reaction from the DJs and then send out acetate to those who would be
interested.  They are there to help you get a base before you try getting radio
play.  You need to have a base like this to entice radio stations to play your 
stuff.  There is no charge to you for the testing.  Once they help you with
this start, you need to babysit the project with the radio stations and with
the retailers.  They only promote on the club level.  They mostly do dance
music, but you don't have to limit yourself to that.  They also play other
music and they are united in desire to hear and promote good music.  Go ahead
and send it on cassette if you can't afford acetates or vinyl.  They try to
help you to find your niches.  You have to push it after that.  Concentrate on
the markets that will work for you.  College radio will also test new albums.
That's another good way along with clubs to start a record.  Big radio won't
do this.  One reason that big radio wants big names is simple - they have to
attract big sponsors and big sponsors want big names.  You need to communicate
with the DJs.  Drop in and see them.  At small radio stations it's okay if
you drop in to see the DJ unannounced.  Phone, FAX, write.  Radio stations
play a record for what it's doing, not because it is good.  Don't ignore
college radio.  When you go to regular radio you need retail and club reports 
in hand showing that your stuff is doing well in order to get them to play it.
Don't worry about getting signed to major record labels.  Independent labels
are respected and can make you plenty of money.  Work with good promoters. 
These people know the people that you need to be in contact with.  Independent
labels do a better job of staying with a record.  Major labels tend to pick
up records after the Independents have made them successful.  Contrary to 
big label assertions, records aren't dead after 8 weeks.  Drum machines are
dance oriented.  Even though artists may be insulted by the simplicity of the
music, dance music sells.  The people are buying it and don't care.  Do your
own promotions.  Visit DJs, stores and distributors.  Don't just send a tape
without followup.  It will get thrown in the trash.  They'll assume that nobody
really cares.  Use the phone a lot.  The pool will usually give you a test
response in about 4 weeks, assuming there is not a glut in the market for your
particular type of music.  Once you have a base of night clubs and record
sales, then look to do national promotion.  Then, do lots of press releases
to all your national contacts.  Techno WILL be the next big thing.  It is
basically music running at about 128-135 beats per minute, abrasive, not too
musical, like heavy metal without the guitars, abstract and with lots of MIDI.
It may also cause a revival in High-Energy.

After the panelists were done, there was a lot of discussion in the audience.
Promo packs and demo tapes were exchanged.  Lots of excitement.

Radio Panel:
------------

This panel consisted of:

	Harvey Wharfield - WCGY 93.7 FM
	Eddie Q - WHRV, WERS (college radio)

I already mentioned that Harvey is doing "Boston Music Showcase".  You just
can't imagine the genuine love and appreciation that the audience quietly felt 
for his efforts.  Lots of whispered comments in approval of his efforts.
Tell your friends about this show.  Send him your music.  If it's good, he'll
try to get it on.  Eddie expressed similar convictions.  These guys are heroes
to those of you who want radio time to help you get started.  If you want to
have more that just introductory airplay, you need to have folks send Fax,
mail and do phone calls.  That's what is needed to justify continued play.
For example, one band even hands out postcards that people can sign and send
into Harvey.  Perfectly acceptable.  CD is the preferred format, though a
really good cassette is fine.  Open reel is fine.  Vinyl or acetate are fine.
DAT will be supported in the near future at WCGY.  Other stations can also take 
a variety of formats.  You can get a play list after your tune is played which
you can stick in your promo pack.  You should indicate to a station that you
send a demo to whether or not other stations are playing it.  Stations listen
a lot to each other and are always watching each other.  At WCGY, the "Top 50"
is published each month based on phone calls.  The play list is published each
week.  Lots of different music is played.  With reference to WCGY, WBCN was
considered the "other station in town ..."  There is an estimated 3000 bands
playing in the Boston area.  Reel to reel can be spliced.  DJs like that
for putting shows together.  And, they really like vinyl.  It's not a bad idea
to create vinyl just for DJs at clubs and on radio.  Target these to the DJs
that will use them because it is expensive.  Spend the money on a producer if
you are unsure about the production process for music.  Disk Makers (in PA,
call 1-800-468-9353) is a good source for vinyl, as is Europadisk (NY, sorry,
don't have the number handy).  You can also go to either of them for acetate.  
Or, another good, cheap acetate source is Dick Charles Sound (or is it 
Recording?) in Manhatten.  Acetate is best when you are only doing a few for
promo.  Can be done for $40 for one side from DAT or $60 for both sides.  
Narrow in first on who should get acetate.  Then, get acetate for key DJs.
They WILL take good care of them and, although fragile, can last for years.
Radio jockeys will accept DAT and open reel.  College stations are less
concerned about demographics than big stations.  So, they are more willing to
take a chance on music if it sounds good.  Remember to encourage "Mom and
Pop" record stores to play your stuff in the store.  Need to keep up the 
personal contact.  

After this, Harvey had to take off to go do his show.

Record Label Panel:
-------------------

The members of this panel were (hope I got the spellings right):

	Joe Viglione
	Chris Laurent
	Rick Harte - Ace of Hartes label

These guys have successfully and independently produced and helped a lot of
bands.  When you form a band, find a good business person that knows money,
not necessarily music.  "Two artists [alone] cannot handle money."  Video
and audio studio prices are cheap and dropping right now.  It's worth it to 
use them.  Gigs can be a waste of time if you don't market yourself right or
don't take advantage of other ways to get your music out.  You won't likely be
discovered by a label at a bar.  Tower and other stores have magazines and 
such that list all the college stations around the country.  Get station play
lists to see which stations play stuff like yours.  Call back after sending 
promo packages and ask if stations are going to play your stuff, among other
things.  CMJ (College Music Journal) is the Bible of college radio.  It's out
every 2 weeks.  15% or so of Canadian radio is required to play independent
music, so don't ignore Canadian stations.  Some stations will let you play
live.  Get to know the radio people personally.  People do make "bootlegs" off
the air.  These can help you to get exposure and to promote future releases.
RR Records in Lowell (on Page Street) handles sales of many independent records.
There are lots of small record retailers that will welcome independent music.
There is a growing number of clubs in the Boston area that will welcome and
promote independent artists.  There is, for example, "Outer Limits" (in Quincy)
which will try to establish a reputation for being "nice guys" to local bands.  
Soon, there should be a 10 or 11 club circuit of major clubs that local bands 
will be able to play in.  The TAB is also helping.  Give them 3 weeks notice,
schedule and a promo package.  You may be put on the "hot pick of the week"
column if you're good.  FAX them press releases.  Send them photos and a tape
all at least 3 weeks in advance.  Other clubs that were discussed include
The Dugout (in Everett), Faces, The Channel, The Paradise and Ovations.


Conclusions:
------------

Well, that's basically it.  Draw your own conclusions.  I am psyched!  Even
though I'm not involved in a band and don't gig, as a basement synth hacker who
plans to do an album and who has friends with similar ideas, I was very warmly
treated by all who were there.  I was encouraged as much as anyone to become
a part of the process, to become a more active member of the Boston music 
network.  I feel like I actually have friends in the industry, people that I
actually got to spend time with chatting about things, people I got to just
listen to in casual conversation giving advice and encouragement.  We're not
talking about any flashes in the pan.  You have to think long term and these
folks do.  Payback will just break even for a long time at best.  But, the
rewards and the fun can be there.  The support is building.  I am very happy
that there is a real network building with the idea of nurturing and promoting
talent from underground.  These people have a lot of dedication and love for
what they do.  One more time, if you support this, call Harvey Wharfield at 
(617) 729-9470 and THANK HIM and all the others who worked with him to do this 
conference.  Feel free to mention me by name and mention that you read this 
review.  Express interest in the Spring Music Conference and get on the mailing 
list for getting a notice about it.  And, happy noting!



Sincerly,

Steve Sherman

    
    Sounds like a good experience.  Thanks for the review.  Personally,
    I've found it more painful than lucrative to directly service retail
    outlets myself.  And I've found the outlets would prefer to deal with
    their normal distributors.  And the retailers are generally open about
    who their distributors are.
    
    Another point; the latest issue of Electronic Musician is about using a
    music attorney's services to land a record deal.  And in several of my
    many record-company rejection letters they said the only submissions
    they accept are referrals from known artists, producers, or music
    attorneys.
    
    karl

    Hi, Karl!
    
    The two reps from the retailers did comment about preferences for
    distributors.  But, they made it clear that, at least for Tower and
    HMV, there is a marked preference for their stores dealing directly
    with local artists.  They did indicate that their other stores outside
    the Boston area would prefer to deal with us through authorized 
    distributors.  I suspect the attitude depends entirely on your area.
    They emphasized that each store is a separate entity to be dealt with.
    You need to find a distributor that is willing to deal with each store
    and not just brush off individual stores.  They've apparently had a
    real problem with that.
    
    You need to work with the people that know the people in the business.
    These relationships have taken years to develop.  Might as well get
    started now.  You can work with attorneys, promoters, DJs - just be
    sure you are working with people that know the people.  They know each
    other, support each other over long periods of time and, contrary to what 
    might be popular belief, are willing to enlarge their circle of
    talented people.  You have to invest the time and effort, just as
    you would any long-term friendship.
    
    Steve

    I just got off the phone with Harvey.  He told me that he listened to
    both Commusic IX and my demo tape.  He said the stuff on the tape is
    "viable" and looks forward to getting stuff from us into his show in
    the future.  Guys, he is SERIOUS.  He has already used some of my stuff
    on his show from my demo tape as background during the show and gave me
    credit on the air!  He plans to work my stuff into the show in the
    future.  GET YOUR TAPES IN!  Mention that you've been a contributor to
    Commusic albums and you WILL BE NOTICED!
    
    Also, he said that a data for Spring Music COnference has been set and,
    get this, they are lining up a special panel of big time computer musicians 
    to help us.  Mentor is talking about doing a special CD for underground
    synthesists like us.  Well, I gotta go now.  Stay tuned.  Some of you
    have already made contact, according to Harvey.  This is really turning
    into something.
    
    Steve