INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD

INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD

INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD!

Randy Chertkow and Jason Feehan are true polymaths – founders of the pop band Beatnik Turtle, authors of The Indie Band Survival Guide. Randy Chertkow And Jason Feehan – The Indie Band Survival Guide, 2nd Ed.: The Complete Manual For The Do-It-Yourself Musician. St. Martin's Press. Two years after its initial publication, I've finally gotten around to reading Randy Chertkow and Jason Feehan's The Indie Band Survival Guide.


INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD

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INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD


There's a look of information here about indie band survival guide started, recording, music rights, etc.

But the information geared toward what you're actually trying to do--recording, for example--is too general to be useful, while the information about tasks not yet on your plate--say, licensing for television--isn't helpful.

The audience in mind seems to meander as well. And we continue to release one song for each week in a podcast format.

Before that, for years I was writing and recording songs alone at home indie band survival guide a Tascam 4-track.

At the time, there were few ways to to get my music out there so others could hear it. The only thing I could think of was to start a band, make a live show out of the songs, and take the music to where the audiences already were — the bars.

Anyway, the quickest way to explain what we sound like is to say that we are in the tradition of They Might be Giants. Our other influences are bands like The Saw Doctors, Fountains of Wayne, and other melodic bands with a sense of humor.

The one common thread is that our music usually incorporates some humor and tongue-in-cheek irony.

INDIE BAND SURVIVAL GUIDE PDF DOWNLOAD

Our most recent album is a bunch of Irish drinking songs, rocked out with horns, in an album called Sham Rock. That one was featured in NPR not too long ago and indie band survival guide been received very well.

And, naturally, all of this was done without a music label. When and why did you begin using CC licenses for your work? It prevents the one thing you want: All indie musicians end up achieving by locking down their work with either copyright or DRM is less exposure.

And exposure is exactly what most of us want to get.

The Indie Band Survival Guide - Creative Commons

I figured you could either be run over by this inevitable train like the traditional music industry seems to be doing or hitch a ride on it and let it take you and your music places. So what do these copyright licenses mean in the real interconnected world? The answer is usually simple: And I mean in international courts, not just US courts, where you are actually working with the wording of treaties.

Especially indie band survival guide the exposure is what they wanted in the first place. If you have the money to defend it internationally, it may give you a license to be able to limit the use of your work according to your wishes, assuming that the local jurisdiction will uphold those licenses.

Our band uses CC licenses to tell folks that they can non-commercially share our music to anyone that they want to. The biggest gotchas about the CC music-wise is that it is perpetual, and not everyone understands this.

The Indie Band Survival Guide: The Complete Manual for the Do-It-Yourself Musician

Also that it can only work insofar as the local jurisdiction of any breaches of the license upholds it. The result was the podcast passed on the song and the musician lost out in getting introduced to a new audience.

The same thing could also end up happening in indie band survival guide with SoundExchange and the way that they handle the master-use rights. Basically, in these cases, you have a third party that is trying to collect money for you that might not acknowledge the CC licenses. Why did you choose to do this?

The Indie Band Survival Guide

Was their any advantages to doing this? Our goal with the guide was simple: We wanted to share the information we wrote so other musicians could learn what we knew. We were musicians, not writers.