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Q u a r t e r l y - T i p
- So You Wanna Be a DJ? Part V
- by DJ Rap
Winter 2009
[Editor's Note: Many people consider DJ Rap to be the top female DJ in the world -- and that's saying a lot when you consider that she's working in a male dominated profession. Starting with the Winter 2008 Quarterly Tip, this and the next series of Quarterly Tips will be authored by DJ Rap, who agreed to have her "So You Wanna Be A DJ" series republished by Disc Jockey 101 (Note: Portions edited by Disc Jockey 101).]
As we come to the end of the basics in becoming a DJ, music, production etc..., the rest will be up to you. I could go on forever about what I have learned but then you would be left with very few surprises and how boring would that be? Today I want to talk about legacy, what you do is what you leave behind. I mean what do you want to be remembered for musically? This means you have to think about the genre of music you choose that best represents you and your expression. I am an odd case when it comes to this, most people do one thing and stick to it, if you're a drum and bass producer, then that's what you are, same goes for house, breaks, etc. Back in the day, it was unheard of to do what I did, step outside the box, in fact run from that damn box and laugh at it. I did the unthinkable, shock horror gasp and made a "pop" record.
"Learning Curve" was a very successful record though I never viewed it as "pop". To me it was an experiment fusing all genres, all emotions into a deeply electronic adventure. I had always wanted to write songs and that is what I am at heart, a songwriter, playing the piano from an early age, I always incorporated melodies into all my productions, that is what made me stand out I guess you could say from the get go. However, I was so drawn to the technical aspect of production that when drum and bass first appeared on the scene I was instantly hooked being the geek I am. So, as you may know, tracks like " Spiritual Aura" though drum and bass had these lush strings and a strong sense of emotion in it, very different to what was out there. I disliked the ugly harsh side of drum and bass but that does not mean I didn't like my drum and bass BADD ASS TOUGH like the heroes Dillinja, Pendulum, RonnieSize, Groovrerider produced.
Still, I liked to keep things fresh and moving, so though drum and bass got very modern, it also got so technical that I felt the emotion was missing somewhat. So I went in a different direction, and the rest is history. You probably know I leapfrog through genres, I like the flexibility of producing whatever I want, though no doubt this has caused more confusion and certainly made it hard for me. The problem is I get bored and I have always been that way. The only way to survive this head fuck is to do what I do, multitask your music. How has this hurt me and how has it benefited me is the question, and this is what I want you to understand when choosing this path.
As I watch some of my fellow artistes who have stuck to one thing become successful and really cracking it, I often question whether I fucked up. I really do, had I stuck to house which was what I first played (that's right, I was around before the birth of drum and bass) I would be so fucking huge!!!! or would I? Did I do well because I chose drum and bass? point is, you'll never know. I certainly would be richer, that's for sure.
At the end of the day, all I can advise you is this: be passionate about the music your making and it will show in that music. That's what I did, and I hope that it showed, in every note and lyric, every bass line. I have been lucky to have had many ups and downs but generally a very successful career, mainly because I do it all myself. though I have lost so called "fans" because I didn't stick to one thing, I wasn't a "purist". which is bullocks to me anyway, music is music and I don't apologize for loving it all.
Sad and bad as it sounds if you want to make money at this you may want to ask yourself that question early on in the game, I never did, all I wanted was to produce music, but I wish I had thought about it a little at least. This job comes with no pension, so plan ahead it's a rough sea you have chosen to sail on with a little boat. It's gonna get choppy as well as beautiful calm.
I hope you pick a genre that has commercial appeal and a chance to make a living, by that I mean you don't want to be a bedroom DJ all your life do you? you need a crowd.What is music publishing?
This is a subject people go to school for, it is that huge. I am still learning everyday what this means. It is vital you learn as much as you can in order to protect yourself. This is where the writer really makes his/her dough, money, pension, etc. One hit song can keep you snug for years literally. But if you don't copyright your music, register it to these companies, you're lost in an uncounted sea of possible dollars. Some people say that these companies have bad accounting, go online and you will read horror stories for sure, however most people I know including myself earn quite well from them, in the end it's better to have someone collect for you than not. You could look at this this way, if you do not play the lottery you have no chance of winning do you?
My advice is always hold on to your publishing, set up a company (inc) so you and your assets are safe, register all domain names of your company and make them legal. It is costly!!! (I know) and tough. The best option for the starving artiste is to register to BMI/Ascap in the USA
and MCPS/ PRS in the U.K.This is a handy site http://www.mpaonline.org.uk/ I have taken some pieces from here so you don't have to go anywhere, relax, sit back and study the shit out of it. I hope this helps you some, it is a tiny amount of info, compared to what there is to learn, however, as this is a basic overview. as always, investigate further my budding fellow musicians.
What does a publisher do?
The business of music publishing is basically concerned with developing, protecting and valuing music.
The business is diverse and demands a variety of skills. These range from the ability to spot writing talent and original music that is likely to appeal to an audience, to ensuring that all uses of music are properly licensed and paid for. Music publishers play a vital role in the development of new music and in taking care of the business side, allowing composers and songwriters to concentrate on their creative work.
The role of a music publisher involves:
Finding new and talented songwriters and composers and encouraging and supporting them as they develop their skills, whether through helping with their living expenses, providing them with the facilities they need to produce music or offering advice and guidance in writing for particular markets;
Securing commissions for new works and helping to coordinate work flow;
Registering the works of songwriters and composers with all appropriate collecting societies and agencies, such as MCPS and PRS;
Producing performance materials (score and parts) and demonstration recordings;
Producing and licensing the production of printed music;
Preparing promotional materials, including sampler CDs, study scores, etc;
Promoting composers and songwriters to performers, broadcasters, record companies and others who use music on a commercial basis;
Licensing the use of music;
Monitoring and tracking the use of the music they own and ensuring that proper payment is made for all licensed uses;
Making royalty payments to songwriters and composers in respect of the usage of their music;
Taking appropriate action against anyone using music without the necessary licence;
The business of music publishing is dependent upon there being a strong copyright framework in place. The control of copyright enables a publisher to recover the investment made in songwriters and composers and to ensure that they are rewarded for their creative work. Without copyright there would be no financial incentive for music publishers to invest in composers and musical works. This would be to the detriment of composers who depend upon publishers to manage the business of exploiting musical works and administering royalty payments.
The relationship between a music publisher and a songwriter/composer is supported by a publishing contract setting out the rights and obligations of each to the other. Under these contracts songwriters and composers assign the copyright in their music to the music publisher in return for a commitment to promote, exploit and protect that music. The publisher agrees to pay the songwriter/composer a percentage of any income earned from such exploitation as royalties.
What is copyright?
Copyright enables composers and authors to be paid for their work. Copyright is the means by which those who make and own creative works (e.g. music and literature) can control who makes use of their work and the circumstances in which it is used, to ensure that the integrity and value of the work is respected.
Copyright legislation has evolved over the last 500 years to provide a balance between the interests of those who invest skills and intellectual effort, time and money in the creation of works on the one hand and those who want to use and enjoy those works on the other.
The current UK copyright legislation is to be found principally in the Copyright, Designs and Patents Act 1988.
Can I sample somone else's music?
Similarly, if you want to sample a recording of a song or piece of music which was made or released within the last 50 years then the recording will still be in copyright and can only be sampled with permission from the copyright owner of the recording (usually the record company) or their agent, PPL, and from the performer(s) in addition to the copyright owner of the music and of the words.
The sample used will infringe copyright in the music and/or the sound recording, as the case may be, if it is a 'substantial part' of the original and is used without the necessary permissions. The sample is considered 'substantial' by reference to its quality rather than its length. If it is recognisable, however short, as coming from the original piece of music or recording then it should be regarded as being substantial and the necessary permissions should be sought. If you are in any doubt, apply for permission.
How can I find the copyright owner for permission to use a piece of music?
To use any piece of music that is in copyright, you must first get permission. The type of permission required depends on how you wish to use the music.
Trumpet
For permission to photocopy printed music, the MPA can help to direct you to the copyright owner. You should provide as much information about the music as possible, including the title, composer, any arranger or editor and the date of publication or copyright line (usually inside the front cover or at the bottom of the first page of the music), together with the name of any publisher that you have for the work.For permission to arrange music the MPA can help to direct you to the copyright owner. You should provide as much information about the music as possible, including the title, composer, any arranger or editor and the date of publication or copyright line (usually inside the front cover or at the bottom of the first page of the music), together with the name of any publisher that you have for the work.
For permission to use music in films or commercials you should contact the copyright owner. The MPA can help to direct you to the copyright owner.
For permission to record music you should contact MCPS.
For permission to perform music live you should contact PRS.
For permission to broadcast music or include it in a cable programme service you should contact PPL and MCPS-PRS Alliance.
For permission to perform a musical, opera or ballet you should contact the publisher directly. Again the MPA can help to direct you to the correct publisher.
For permission to play a recording of music in any public place you should contact PRS and PPL.
For any other usage not mentioned above you should contact the copyright owner directly. The MPA can help, email us on info@mpaonline.org.ukWhat should I do if I believe that someone may be infringing copyright?
If you are concerned about illegal photocopying of music contact the MPA immediately.
As we start to delve into more complex issues with my series, many ask certain questions but can not afford a music lawyer, I hope some of this information can help though I recommend a music lawyer ALWAYS. I have taken much of the net here from wikipedia got rid of the unnecessary and condensed it so it's a little easier to digest. ( see bold type after each topic)
Royalties (sometimes, running royalties) are usage-based payments made by one party (the "licensee") to another (the "licensor") for ongoing use of an production/song etc.
Royalties can be determined as a percentage of gross or net sales derived from use of the asset or a fixed price per unit sold.. A royalty interest is the right to collect a stream of future royalty payments, used in the music industry to describe a percentage ownership of future production or revenues from a given leasehold, which may be divested from the original owner of the asset.Now, this gets tricky, when structuring a deal it is really important to get good royalty rates....this is where your lawyer is vital! I have always tried to get the best rate I can because this is how I earn a living.
A license agreement defines the terms under which a resource or property such as copyrights,productions,songs are licensed by one party to another, either without restriction or subject to a limitation on term, business or geographic territory, type of product, etc. License agreements can be regulated, or they can be private contracts that follow a general structure.
Again this is a contract which will tell you they have the right to sell your music in whatever territories you have agreed, the world or just U.S.A for example, it will explain what they will pay you etc....however, you own your product which is better than a record deal where they own your soul.
Trademarks are words, logos, slogans, sounds, or other distinctive expressions that distinguish the source, origin, or sponsorship of a good or service (in which they are generally known as service marks). Trademarks offer the public a means of identifying and assuring themselves of the quality of the good or service. They may bring consumers a sense of security, integrity, belonging, and a variety of intangible appeals. The value that inures to a trademark in terms of public recognition and acceptance is known as goodwill.
A trademark right is an exclusive right to sell or market under that mark within a geographic territory. The rights may be licensed to allow a company other than the owner to sell goods or services under the mark. A company may seek to license a trademark it did not create in order to achieve instant name recognition rather than accepting the cost and risk of entering the market under its own brand that the public does not necessarily know or accept. Licensing a trademark allows the company to take advantage of already-established goodwill and brand identification.
Like patent royalties, trademark royalties may be assessed and divided in a variety of different ways, and are expressed as a percentage of sales volume or income, or a fixed fee per unit sold. When negotiating rates, one way companies value a trademark is to assess the additional profit they will make from increased sales and higher prices (sometimes known as the "relief from royalty") method.
Trademark rights and royalties are often tied up in a variety of other arrangements. Trademarks are often applied to an entire brand of products and not just a single one. Because trademark law has as a public interest goal the protection of a consumer, in terms of getting what they are paying for, trademark licenses are only effective if the company owning the trademark also obtains some assurance in return that the goods will meet its quality standards. When the rights of trademark are licensed along with a know-how, supplies, pooled advertising, etc., the result is often a franchise relationship. Franchise relationships may not specifically assign royalty payments to the trademark license, but may involve monthly fees and percentages of sales, among other payments.I have these as a brand it is important, it is costly so bear that in mind, you also have to think about how many countries you can afford to be trademarked in, it all adds up! You put all your hard work into your company, last thing you need is someone owning your company name in another country and profiting off that hard work!
Copyright law gives the owner the right to prevent others from copying, creating derivative works, or publicly performing their works. Copyrights, like patent rights, can be divided in many different ways, by the right implicated, by specific geographic or market territories, or by more specific criteria. Each may be the subject of a separate license and royalty arrangements.
Copyright royalties are often very specific to the nature of work and field of endeavor. With respect to music, royalties for performance rights in the United States are set by the Library of Congress' Copyright Royalty Board. Mechanical rights to recordings of a performance are usually managed by one of several performance rights organizations. Payments from these organizations to performing artists are known as residuals. Royalty free music provides more direct compensation to the artists. In 1999, recording artists formed the Recording Artists' Coalition to repeal supposedly "technical revisions" to American copyright statutes which would have classified all "sound recordings" as "works for hire," effectively assigning artists' copyrights to record labels.
Book authors may sell their copyright to the publisher. Alternately, they might receive as a royalty a certain amount per book sold.
Some photographers and musicians may choose to publish their works for a one-time payment. This is known as a royalty-free license.Luv and Bass, DJ RAP
In the meantime, head over to my website and sign-up on the mailing list to get a free track.
Related Links
So You Wanna Be a DJ? Part III
DJ Rap Interview on Disc Jockey 101
Industry News* An article from "In the Mix," which got its information from Panasonic Australia, created global controversy (that spread via Facebook, Twitter, MySpace, etc.) by incorrectly stating that the Technics 1200 turntable was going to be discontinued. The article, which can be read here, failed to provide the detail that the Technics MK5 is the only make being discontinued and not the classic SL-1200MK2.
* Real Eyes Designs creates custom logos and album covers for DJ's starting at $50. See: http://www.realeyesdesigns.com
* An article in Resident Advisor entitled "The esoteric art of the opening DJ" helps to better understand the important role of the opening DJ. See: http://www.residentadvisor.net/feature.aspx?1095
* Best Buy is aiming to become a destination for DJ's. See: Best Buy
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