What's in a name?

This week I attended the New Music Seminar in New York. While it seemed to be geared primarily towards indie-rock bands and carried some mixed messages (ignore the big labels, DIY until you reach the pot-o-gold at the end of the rainbow which is...a deal with a big label,) I did get a lot out of it and took away some great ideas for how to survive in the new music environment. However, if I hear the phrase "monetize your content" one more time, I may hurl. This dude even used the word "advantageize." I hate that word. Because it's not a word.

I took away two major points that may apply to me and what I'm trying to do: branding and artist-to-fan relationships.

Branding has to do with a name. Ah, my name. A rose by any other name would smell just as sweet, but there are enough Scott Andersons in the world to overwhelm every sense. There were four in the music scene in Chicago. Me, plus Herm, this guy, and this guy, who used to book Pete Millers in Evanston and I think booked me once just to see his name on the marquis. You get the point, and this was just in Chicago, where I lived for 11 years. That's why I left, there were too many of me.

In the big wide world, there are simply too many Scott Andersons who play music. The singer from Finger Eleven, the bluegrass banjo guy, the christian rocker, the trombone professor, country guitar virtuoso Scotty Anderson, not to mention every time I play in Brazil people think I'm Scott Henderson. (You don't pronounce the "H" in Portuguese.

For a while I tried to call myself Scottinho, which means "little Scott" in Portuguese. There are several problems with this. First of all, no one can say it. People ask me, "what's a 'Scott-in-ho?'" Also, it might indicate that I want to be Brazilian, which I don't. And lastly, it's stupid. I remember my producer and friend, Geraldo de Oliveira trying to talk me out of it and saying, "It's like calling yourself 'Puppy.' Do you want to be known as 'Puppy?'"

I have a Facebook Fan Page called Scott Anderson Music, Inc, which is the full legal name of my business entity, but ZZZZZZZZ that's boring. Clearly, I need help in the branding department. A friend told me I should go by Scott X. Anderson. My middle name is Charles. Maybe when I started, I should've just called myself Scott Charles. I have always had a problem with changing my name. It seems inauthentic to me. And now, at this point, I'm almost 40 frickin years old. I'm not going to change my name.

The other main point I took away from the Seminar was about artist-to-fan relations. I thoroughly believe in this. Not only is it key to selling CDs, concert attendance, etc, but it's also really fun. I'm also a fan of music and I love talking about music with other music lovers. My mailing list service has a new Fan Questions feature which is awesome. And I plan on upping my game when it comes to keeping in touch with anyone who digs my music and/or studio work as a producer. In the meantime, if you're reading this, please contact me. I'd love to hear from you. Let me know that you're reading and listening, that you're interested and interesting, and if you have any ideas on branding. ;-)

Music From The Quiet - Spring

I'm releasing my record today in a pay-what-you-want, download only format. I love bandcamp.

There's a lot of vitriol out there about how to release music in 2010. One thing I notice is that some people seem to think they know exactly what everyone should do. "Give it away," or "Don't give it away," most people seem pretty sure they've figured it out. I read one comment that said only a whore would give their music away. Anybody seen my fishnet stockings?

As for me, I have no idea. I don't think anyone knows. The music industry is like the wild west right now. Anything goes. I believe the more people that can listen to my music the better. I am a music professional, but this album is not my product. My product is my experience, my ear, my studio acumen, my years of study, my interpersonal skills, my honesty and my integrity. That's what people get when they hire me to help them make their music.

What this album is is a personal statement from the quiet places of experience. It is a love affair with the classical guitar. It is a step away from Brazil. And it's free.

Interview from Zach Brock kickstarter site

My friend Zach Brock is raising funds for his next recording via kickstarter.com. Zach is simply the baddest jazz violinist around and I'm really excited about his new recording. He's brought me on board as the producer and interviewed me for the kickstarter page. I thought I'd share it here as well. Here goes:

ZB: When we first met, you were performing around the Chicago area doing mainly jazz, Brazilian, and classical music.  When did you start learning about the technical side of recording music and what drew you to that interest?

SA: I bought an Mbox in 2004, mostly just to have a way to record ideas for demo purposes. This was before GarageBand existed. I had produced my 2003 CD, Scottinho Batizado, but that was more of a creative oversight role. I wasn't really involved in the technology of it. I moved to NY in 2005 to try my hand at film music and invested in a more professional home studio rig. I have scored two feature films as well as several shorts and during this process I really had to learn about sound, recording, mixing, mastering, reverbs, dithering, busses, etc because I was doing everything myself. It was like learning a new instrument. And it turns out, I love this instrument as much as I love the guitar! I then started mixing for other people, which grew into producing and mastering. 

ZB: What does the term "producer" mean to you and how do you see the producer's role in the recording process?

SA: I recently watched a Benjamin Zander video on TED and he talks about when he had the epiphany that the conductor of an orchestra doesn't actually make any sound. He "depends for his power on his ability to make other people powerful." He says that he realized that his job was to "awaken possibility in other people." Every production job is different, but I kind of view it the same way. Whether I'm coaxing a passionate and in-tune take out of a singer, or just letting the musicians do their thing by making sure everything is taken care of technically or by providing charts or whatever, the role of the producer is really to create an environment where the musicians he's producing are free to create at their highest level. 

ZB: When did you first become aware of the benefits of having a producer in the studio with you?

SA: During the recording of Scottinho Batizado, I worked with Geraldo de Oliveira, a great percussionist and producer in Chicago.  As the artist, I had to worry about the music, the ensemble, the creative and artistic intent (all these things are hard to put into words - to paraphrase any number of people, talking about music is like fishing about architecture.) Having him involved to record, manage the data, and as a trusted pair of ears was invaluable. There are all these things that come up in the process of making a recording, like what sample rate to record at, or what mic to use on the snare drum, or who to call to engineer the session. Having someone take care of those things, creates a space for the artist to make music unhindered, and is very valuable.

ZB: With "The Magic Number", have you formulated what your approach is going to be as you work with the different members of the trio and the studio's engineer?

SA: Basically I'm going to come in like a truck and boss people around in the most obtrusive way possible. I'm kidding. Zach, Matt and Fred are all fantastic musicians. For them, I'm basically going to stay out of the way musically, but be present to give creative feedback if asked for it. On the technical side, I'm just going to make sure all the ducks are in a row to capture a clean and honest performance. 

ZB: Do you see potential musical benefit in the concept of a "micro producing" forum?

SA: Of course. The music industry is like the wild west right now. Anything and everything goes. I love this forum and it's forward thinking approach. The old paradigm isn't going to work anymore. You know that cliche, "it takes a village to raise a child?" Well, it also takes a village to make a record, and this is a great way to foster and cultivate a village for "The Magic Number."

ZB: How could the participants voices be most effective in supporting the musical outcome of the project?

SA: Well, first by pledging, but if you're reading this, you've already done that. (Thanks!) I also think the participants can stay active in the process, reply to posts, etc. Most people have no idea how valuable and inspiring a little comment like, "I hear you. Keep going." can be whilst in the trenches of making a recording. In the old way of making a record, the "village" was just the band, the producer and a few trusted friends. Now we have this wonderful community of support, who have pledged and given the message that they believe in this music. Support and belief aren't only about the money, however. Stay active. Keep involved. We need you.

Thanks for reading. Go here to help support Zach and be a web 2.0 microproducing badass yourself.

not the movie...

Today I was at Avatar Studios in New York for the first time. I was there with with the Matt Geraghty Project. I'll be mixing the album and I'm so thrilled he's recording at this top-notch facility with such top-notch players (Gil Goldstein, Mark Walker, Jonathan Kriesberg.) Matt's new music is absolutely stunning and the engineers at Avatar are brilliant.

I love being an engineer, even though my path has been a bit non-traditional. Most engineers assist in a place like Avatar for years to learn the ropes. I learned about audio production through film music, for which I moved to New York 5 years ago. That industry is a tough nut at best, but I'm grateful for the small amount of work I've done in it as it enabled me to learn about sound. I'm still learning all the time, and today was a great learning experience as I saw some truly masterful music being played by masterful musicians and captured by masterful sound professionals.

2010

We hear every year at this time how wonderful the next year will be. As we set our intentions, it's hard not to want the best for ourselves and for others. We hear, "this is going to be your year...big success, money, prosperity, etc."

This year is perhaps the only year I've really felt it. And if my work load this week is any indication, these predictions are going to come true. I'm currently finishing my record, scoring a jingle for a high-end furniture company, and have a line up of songs to mix of which I can barely see the end. I may be pulling an all-nighter this week just to get it done.

Also, two projects that I've produced will be released very soon: Jon Gold and Satya. I feel very good about both of these records and am really looking forward to watching Jon and Satya's careers grow because of them.