Canadian Musician

Archive for May, 2016

When Do You Need A Publicist?

Friday, May 6th, 2016

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By Michael Raine

This article originally appeared in the November/December 2015 issue of Canadian Musician

From the megastar on the cover of Rolling Stone to the up-and-comer interviewed for a popular blog, there may be a lot more to those media spots than you realize. There is likely a media strategy laid out months in advance and carried out by a publicist working their web of contacts. Sure, some artists do it successfully themselves, and others ride a wave of grassroots buzz, but they’re the anomaly. Generally speaking, if an artist has ambitions of being known beyond their city or region, at some point, they’ll hire a publicist. But at what point?

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Will It Get Easier to Tour the U.S.?

Friday, May 6th, 2016

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By Michael Raine

This article originally appeared in the January/February 2016 issue of Canadian Musician. UPDATE: In March 2016 three American congressmen have introduced legislation designed to streamline the P-2 visa process for Canadian artists entering the U.S. to perform. The Bringing Entertainment Artists to the States (BEATS) Act was introduced in Congress on March 21st by Representatives Dave Trott (R-Michigan), Chris Collins (D-NY), and Peter Welch (D-Vermont).

Back in 2014, the Canadian Government eliminated both the Labor Market Opinion fees and visa requirements for foreign musicians and their crews, thus making it much easier and more affordable for American artists to tour Canada. The same courtesy has not been extended to Canadian artists touring the United States. Currently, getting visas for a tour of any size can be very time and cost prohibitive.

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What Is The Value Of Music? Re:Sound Is Letting Businesses Know

Thursday, May 5th, 2016

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By Michael Raine

This article originally appeared in the September/October 2015 issue of Canadian Musician

Music may be the most ubiquitous art form in our modern world. At the mall, in the waiting room, at the gym, in the fast food joint, and on the sidewalk, music is in the background. You may linger a little longer in the store to hear the end of the song, or the endless loop of canned jazz instrumentals may make you look forward to the dentist’s needle, but it’s all there for a reason. Music affects consumer behaviour, which means music adds value to businesses. In turn, those businesses have a legal and moral obligation to pay for the public performance of that music. That is the basic message Re:Sound is trying to spread with its Music Has Value report, website, and campaign.

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The Cloud-Based Instant Mastering Debate: Which Side Are You On?

Wednesday, May 4th, 2016

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By Michael Raine

This article originally appeared in the July/August 2015 issue of Canadian Musician

Depending on who you listen to, drag-and-drop, cloud-based mastering is either the great equalizer of the recording industry, or it’s a con job that further degrades the quality of music. Around the globe, from Los Angeles-based (and Justin Timberlake owned) AfterMaster Labs to Spanish company MasteringBOX, services are popping up that promise to make the “black art” of mastering unfathomably simple, quick, and affordable. But these companies are all playing catch-up to one Montreal-based start-up, MixGenius, and its flagship product, LANDR.

When people speak about tablets, they’re primarily referring to the iPad, and similarly, when there is discussion of online instant mastering, the talk focuses on LANDR. And there has been a lot of talk.

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