Crowdfunding an Album

Lately a few social media contacts (now on snooze) have been shoving a crowdfunder for someone to produce an album under my nose. It’s completely got under my skin and the following rant is the result of watching people on social media beg for money time and time again to pay for the recording and production their album. It’s not the first one I’ve seen but this one has pushed me over the edge.

Will someone please explain to me why I should pay for an you to record an album? Is it so that I can get a copy when you’re done? It’s like a forward bet isn’t it? What if I pledge £20 for a coloured vinyl and a t-shirt and the resulting music is a total pile of narcissistic, badly written shite? Why should I give you money in advance of you doing something that you love? Especially as it’s my hard earned money that I received working somewhere I despise. At any other job you work a month on hand and get paid after the work is done. But not you it would seem.

Whatever happened to making an album by hook or crook, on a shoe-string, taking the gamble yourself as an artist? Maybe you could embed the tension that your gamble might not pay off into the music of your shoe-string album. It might even give it an ‘edge’. Instead I give you my hard earned money so that you can be comfortable in the knowledge that you aren’t taking a gamble and won’t make a loss, is that right? What the actual fuck is that about?

To me it smacks of entitlement; “why should I (the artist) struggle, why should I go without, why should I save up, why should I do any of these things if you will just give me the money in advance?” I mean, I get it; a record company advance is a loan, a gamble and it has to be paid back out of future sales of said album. As an artist you are liable for it and you owe it to the record company, it’s their gamble/investment. For a crowdfunded project you’ve already sold all the stuff before you’ve even made it so win-win… But what if it’s a fucking terrible record that your ‘fans’ listen to once and then promptly throw into the bag of stuff to take to the charity shop. I’m not buying your next one, nor am I giving you any money in advance to make it. Maybe I’m just old and out of touch and I just don’t understand.

Is it just tin-rattling on a digital scale? I mean, I give to charity and I have done charitable work and I understand that certain things in life need help to exist and the work that they do is great. Do you ‘need’ to produce an album so badly that you need everyone’s money to do it? Why don’t you get bank loan or re-mortgage your house? Nerina Pallot re-mortgaged her house to pay for her second album and it is an incredible piece of art. There are endless stories of artists going for broke and then producing the best art of their life. But why should you do that if you can just beg online?

Modern technology being what it is these days, it’s pretty straight forward to make a decent sounding recording. In the 1990’s a hissy fostex 4 track borrowed from a mate was what I used to make demos with. Why should you make a full album and have it mastered in Abbey fucking Road? I’ll tell you why; because someone else is paying for it, that’s why. Necessity is the mother of invention, they say. Just how creative are you gonna get if I’m paying for you to relax and play whatever you want? Surely if I’m paying up front you’ll play what I want? Doesn’t ‘he who pays the piper call the tune’? I’ll tell you what, why don’t you make what you want; art for arts sake, edgy, troubled, desperate and rough around the edges and if I like it I’ll buy it and if I don’t I won’t. 

Crowdfunding an Album

My Harmonica Tone Journey (Odyssey)

It’s a can of worms, searching for your tone. It’s not like you ever had it only to lose it and had to look for it again. It’s not even like you can describe it to someone properly without gesticulating madly, making incoherent noises and using large amounts of onomatopoeia. Your tone is your sound, it can define you. So you think. As a young man I listened to a LOT of harmonica players on records, or CD’s as they were called back then. I wanted to play like they did and I wanted what they had. It was strange though, because my focus was always on their techniques, abilities and song choice and hardly ever on their ‘tone’. I say ‘hardly ever’ as I did have a dabble at one time, around the age of 17, with an astatic mic and a tube amp but it was short lived and lasted as long as someone else was buying the equipment. So it was that I spent (wasted?) hours learning the bends, overblows, overdraws, trills, scales, arpeggios, breathing patterns etc etc etc that came out of my stereo, placed there by my harmonica heroes. It will be 30 years next year since I picked up the Harmonica and I’m still acquiring new techniques this way.

But what about my ‘sound’?

For decades I have tried to find my own style, my own sound. These last two years I have invested a large amount of time into trying to find it. There has been tears, tantrums and a few angry gigs I have to tell you. I’ve bought and sold gear I bought on a whim and held on to stuff I can’t let go of as I am convinced that it will work for me at some point as it seems to work for everyone else! Take the vintage Astatic mic I bought earlier this year. I thought I had paid a fair amount of cash for it but some quick internet based research told me that I had gotten an absolute BARGAIN. Very pleased I was to have an actual Astatic as I’ve not had one since I was 17 years old. I actually had a band to gig test it with this time around. So with giggling schoolboy excitement I tested the mic with my amp choice; a Marshall AVT. Now, I know hat the Harp-tone junkies amongst you are saying right now: “That’s a gain-y amp! You wanna get a fully valved one.” I know it is and I know I do. However, I was well happy with my Marshall, an old CAD vocal mic and a noise reduction pedal until I got that old harp-tone itch again.

For the 8 years preceding my recent harp-tone odyssey I used a clean, cheap radio vocal mic that went straight into the PA. It was a clean ass sound and I could always be heard, never got any feedback/recirculation and didn’t have to lug a massive amp around.

My tone was sooo clean though… Squeaky clean, country clean!

Did I ever have any sound problems? No, I did not.

It was clean though.

I blame the boys in the band. I’m so easily led. They happened to mention that they had seen some old blues players with ‘those bullet mic things’. I explained what they were, how I’d had a bad experience twenty-something years ago and never gone back. Was it worth another go with an older head on my shoulders? Like I said, I’m easily led. So I looked around for an amp and a friend had one for sale for 20 quid. Worth a punt, I thought so I bought it, plugged my radio mic in and experienced what I had done all those years before when the volume pot would creep past the number 2: howls of feedback. I know, I thought, I have an old vocal mic in a drawer that is even DEAFER than the cheap radio mic I had been using. I plugged it in and gave it a blast. The squeals and howls came again but this time not as prominently. The tone was thin though, very thin and everything I read said I NEEDED reverb and/or delay. Never having been a fan of either of those effects, even on vocals, I shunned that idea and carried on regardless. I’d heard of a noise gate before and thought that might be an idea. A mate had one for sale for 20 quid (it’s the magic price round my way) so having plugged that it, turned the bass up, the treble down, the mid up a gnat’s cock and boom! It sounded great! So I thought…

I had a distorted harp-tone. At last. It was kinda raucous and kinda rough and ready but I now sounded like those skinny rockers who played guitar on my Dad’s records. I did not, however, sound like the harmonica players of old that my band mates wanted to hear from me. SO far my tone journey had led me to Rocksville circa 1979 when what they wanted was Bluesville circa 1959.

So I bought the bargain Astatic (this time costing a bit more than 20 quid) and played a full two numbers of a gig with it, unplugged it, plugged in my ancient vocal miv (not the radio mic I had ebayed that already) and haven’t looked back. That was until my wife spotted a vintage looking amp in a junk shop that her friend owns. ‘A find’ I thought to myself. I’ve seen stories on Facebook pages of people finding vintage amps in thrift stores etc and they turn out to be stonkingly good amps. This was my turn for a bit of awesome luck! They wanted £120 for it and it was an Electar amp, another valvestate this time made in the Gibson workshop, the shop owner said I could trial it before I made a decision to buy it. I took along my old mic and noise pedal and gave it some noise. Number 2 on the volume knob, no feedback. Number 3, 4, 5 and still no feedback. Number 7 was the feedback magic number. The sound was breaking up nicely and the amp tone had a warmth that the Marshall didn’t have. I think I liked it. Then I noticed a switch for a ‘boost’ channel. Volume down first then a little tap of that then volume slowly up again…what a beauty! It’s a lump though and I started getting hacked off lugging it around this festival season but it’s been totally worth it. No feedback, reasonable warm tone and lush overdrive/honk when I want it.

I guess in conclusion I’m really glad that I learnt my techniques before my tone, although maybe I should have grown them at the same time? My old Harmonica teacher David Michelsen used to say that if you don’t work on your acoustic tone and you sound shit, if you then play through an amp all you have is loud shit. I guess he had a point. I love my little cheap set up and I will think long and hard before I spend a friggin’ fortune on an all valve amp!

(I am actually saving up for one though!)

What has your tone journey been like?

My Harmonica Tone Journey (Odyssey)

Criticism

Half the trouble with everyone being able to be a critic is that often people don’t offer constructive criticism. Mostly their aim is not to help you express yourself better, but to express how they feel through your work.

Criticism