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THE DISPLACED COVER 2

Check out two fresh reviews of Bob D’Eith’s debut novel “The Displaced”.

http://beatroute.ca/2014/04/01/the-displaced/

http://www.mrtimes.com/entertainment/maple-ridge-writer-officially-enters-world-of-sci-fi-fiction-1.925740#sthash.2bFoJxWL.gbpl

Get your copy now: http://www.bobdeith.com

 

Bob D'Eith Selfie with Book #1!

Bob D’Eith Selfie with Book #1!

Bob D’Eith’s  first novel “The Displaced” has just been published.

It is available on amazon.com, amazon.ca, CreateSpace (print) and Kindle and Kobo (ebook).

The Displaced
vol 1 the corpocracy series
by Bob D’Eith

The set-up:

Earth’s resources are running out and energy companies have established mining operations in outer space. With the gap between the staggeringly rich and hopelessly poor becoming wider and wider, some desperate people have chosen to leave Earth to become mining colonists. With large multi-national corporations leading the charge into space, what kind of life can the new workers expect? How far will companies go to maximize their ever-growing profits? Can one person make a difference or is resistance truly futile?

If you are interested in supporting this aspiring writer, the book is available in a number of formats:

BOOK (PRINTED)

http://www.amazon.com/The-Displaced-vol-corpocracy-Volume/dp/0991993012/ref=sr_1_6?ie=UTF8&qid=1392420316&sr=8-6&keywords=bob+d%27eith

BOOK (KINDLE EBOOK)

http://www.amazon.ca/Displaced-corpocracy-BOB-DEITH-ebook/dp/B00IEUX2MG/ref=sr_1_2?s=digital-text&ie=UTF8&qid=1392422257&sr=1-2&keywords=bob+d%27eith

BOOK (KOBO EBOOK)

http://store.kobobooks.com/en-CA/ebook/the-displaced

THE DISPLACED COVER 2

Keeping in the loop is really important these days. Changes in the music industry seem to happen nearly daily. It is fantastic that some industry professionals share their wisdom through Blogs. There are also some great tips on recording, marketing and promotion. Having said that, there is also a lot of disinformation out there. So, I thought that I would give a list of trusted music Blogs that I check out all the time:

th

Brian Thompson http://www.thornybleeder.com/

Music BC board member and international music blogger. Brian spends his days filtering through the noise to bring you the articles, blogs and advice that you need as a DIY artists. A must Blog subscription.

Hypebot http://www.hypebot.com/

Lots of interesting blogs daily, however definitely more on the corporate side of things.

Bob Lefsetz http://www.lefsetz.com/

Bob’s blogs are legendary. He never minces words. He has an axe to grind and grind it he does. You may agree or disagree with his opinions, but he always challenges the status quo.

Alan Cross http://www.alancross.ca/

A highly respected broadcaster and blogger. His opinions carry weight and he is often ahead of many of the issues facing the industry.

CD Baby http://diymusician.cdbaby.com/

Whether CD Baby sells your music or not, their blog is incredibly helpful.

Seth Godin http://sethgodin.typepad.com

Seth Godin’s blog is not just for musicians, but it translates well for general online marketing advice.

Music BC enews http://www.musicbc.org

This weekly enews lists all of the funding deadlines, local music news and important announcements for BC artists.

Stuart Derdyn http://blogs.theprovince.com/author/sderdeyn/

https://twitter.com/stuartderdeyn

This Province newspaper music columnist is always on top of the pulse of the local, national and international news.

Francois Marchand http://blogs.vancouversun.com/tag/music/ https://twitter.com/FMarchandVS

Francois Marchand is always on top of the local and international music scene and is a great supporter of Vancouver artists.

Georgia Straight music blogs: http://www.straight.com/blogra/music

Covers anything and everything about music in Vancouver whether it is big international artists or local indie stories.

Other links:

http://vancouverweekly.com/category/a-la-music/

https://twitter.com/FACTORCanada

How do you get noticed with all the noise?

Technology has always been a double edged sword. Nuclear energy vs. Nuclear Bombs. Communication Satellites vs. Star Wars program. Cures for cancer vs. biological warfare.

For music, technology has lowered the barrier for entry allowing anyone to record professionally sounding tracks at home. The internet has allowed anyone to release their music to the world with no gatekeeper. That is an incredible opportunity, but it also means that the market is flooded with everything ranging from the terrible to brilliant in every genre.

Once again, Seth Godin has pointed out something that probably has its routes in ancient Chinese philosophy. Being noticed in music is being like “a camel standing amidst a flock of sheep” or a “crane standing amidst a flock of chickens.” Also, the Chinese proverb “crows everywhere are equally black” may ring true here. http://sethgodin.typepad.com/seths_blog/2013/12/we-all-lose-on-the-shelf.html

The only way to rise above the noise is to be excellent in your uniqueness. In a world of 7 billion people and with media that has tried everything, how can we be anything but derivative of something that has already been done? The beauty of being human is that not one person on this planet experiences the world in exactly the same way. That means that in our own way we all have something to give that is slightly different than everyone else.

In fact, it is the fear of giving of ourselves that creates works that are unoriginal. It is far easier to copy someone else than it is to reveal our own vision of the world. Of course, we need to start our journey through emulation, but at some point an artist needs to make that separation from the safety of coping another person’s original works to exposing their own soul.

Music is a medium that allows a direct connection between an artist’s inner being and the listener’s intellect and emotions. It can trigger anger, triumph, joy, bliss, fear, happiness. Create something that will connect with someone on that level and you won’t have to worry about all the shelves out there.

Mythos charts #1 on Revernation:

http://www.reverbnation.com/mythos4

On Sept 18, 2013, Music BC along with CMPA, ABPBC, Magazine Association of BC presented a forum on the new changes to the federal Copyright Act. This was our first joint venture project together and was funded by the new CreativeBC media development corporation.

We had a very good music industry group. I was asked to mentor the session and I thought that I would share the case studies and discussions that came out of that session. The first few examples deal with traditional issues and the last few deal with some of the more controversial provisions in the new Act. Next week, we will discuss what you think of the “fairness” of the possible results, so please give you feedback to this Blog.

CASE STUDIES

#1 Jimmy D. writes a new song just before going on stage at a café open mike. He plays the song live (he has not written lyrics, made a chart or recorded the song). Bill F. loves the song. He writes the song lyrics down and records the song on his iPhone. That night Bill F. records the song in his home studio and releases the recording on his website and posts it to iTunes for sale. Jimmy D. is not amused and sends Bill F. an email telling him that he has stolen his song and is infringing his copyright. Does Jimmy D. have the right to assert a copyright in the song?

Issue: when does a copyright actually come into existence?

Copyright Act does not protect ideas, concepts, or themes, but that it does protect the language and words used to express such ideas, concepts and themes. Copyright is granted through statute and not common law.

Copyright only exists once the musical work, sound recording or performance is in a fixed for e.g. sound recording, chart, manuscript. “Fixation” is a threshold consideration that must be used in copyright infringement cases by courts to determine if copyright actually exists. In Canada, a work “must be expressed to some extent at least in some material form, capable of identification and having a more or less permanent endurance” (Canadian Admiral Corp. v. Rediffusion Inc., [1954] 20 C.P.R. 75) to be subject to copyright protection. Fixation is not a statutory requirement in Canada and the use of this requirement is the subject of continued debate.

On the face of it Jimmy D. did not have his idea in a fixed form and therefore he had no copyright in the work. Is that a fair result for Jimmy D.? Why didn’t the Federal Government deal with Fixation in the latest round of Copyright Reform Bill C-11?

#2 Frank K. released as recording of a song that he wrote on a CD. The CD was purchased by a candidate for the Keep our Nation Pure Party. The candidate, to the horror of Frank K., decided to use the song in his campaign. What rights does Frank K. have?

Issue: moral rights to the integrity in the song and the sound recording.

14.1 (1) The author of a work has, subject

to section 28.2, the right to the integrity of the

work and, in connection with an act mentioned

in section 3, the right, where reasonable in the

circumstances, to be associated with the work

as its author by name or under a pseudonym

and the right to remain anonymous.

(2) Moral rights may not be assigned but

may be waived in whole or in part.

Frank can argue that his “moral right” to the integrity of his work has been infringed upon. If the candidate did not respond to a cease and desist letter, Frank would have to go to court and apply for an injunction to stop the candidate from damaging the integrity of his song.

#3 The band called the Raving Lunatics want to cover the song “Cry me an ocean” written in 1940 by two composers, one of whom died in 1955 and the other who died in 1961. Can the band use the song without getting a mechanical license and paying royalties?

Issue: when does a song become public domain?

6. The term for which copyright shall subsist

shall, except as otherwise expressly provided

by this Act, be the life of the author, the re-

mainder of the calendar year in which the au-

thor dies, and a period of fifty years following

the end of that calendar year.

9. (1) In the case of a work of joint author-

ship, except as provided in section 6.2, copy-

right shall subsist during the life of the author

who dies last, for the remainder of the calendar

year of that author’s death, and for a period of

fifty years following the end of that calendar

year, and references in this Act to the period af-

ter the expiration of any specified number of

years from the end of the calendar year of the

death of the author shall be construed as refer-

ences to the period after the expiration of the

like number of years from the end of the calen-

dar year of the death of the author who dies

last.

If you do the math, then this song is still not in the “Public Domain”. The Raving Lunatics could eiher apply for a mechanical license through the CMRRA or they could wait for a few years until the song came into the Public Domain.

#4 Tammy is an avid gamer. She loves to capture her favorite battle scenes and edit them to music. One day, Tammy edited her “best of WOW” screen captures to the Bare Naked Ladies song “If I had a Million Dollars”. She then posted the result for free for anyone to view to his Canadian based website: www.wowmashups.com. Can BNL make Tammy take down this mash-up?

Issue: operation of new “mash-up” provisions of Act

Non-commercial

user-generated

content

29.21 (1) It is not an infringement of copy-

right for an individual to use an existing work

or other subject-matter or copy of one, which

has been published or otherwise made available

to the public, in the creation of a new work or

other subject-matter in which copyright subsists

and for the individual — or, with the individu-

al’s authorization, a member of their household

— to use the new work or other subject-matter

or to authorize an intermediary to disseminate

it, if

(a) the use of, or the authorization to dis-

seminate, the new work or other subject-mat-

ter is done solely for non-commercial pur-

poses;

(b) the source — and, if given in the source,

the name of the author, performer, maker or

broadcaster — of the existing work or other

subject-matter or copy of it are mentioned, if

it is reasonable in the circumstances to do so;

(c) the individual had reasonable grounds to

believe that the existing work or other sub-

ject-matter or copy of it, as the case may be,

was not infringing copyright; and

(d) the use of, or the authorization to dis-

seminate, the new work or other subject-mat-

ter does not have a substantial adverse effect,

financial or otherwise, on the exploitation or

potential exploitation of the existing work or

other subject-matter — or copy of it — or on

an existing or potential market for it, includ-

ing that the new work or other subject-matter

is not a substitute for the existing one.

This is a new and very controversial provision. Again, on the face of it, Tammy is within her rights to post this video mash-up without infringing on the BNL’s copyrights. BNL would have to prove that Tammy some how caused “substantial adverse effect,financial or otherwise” with her post.

What about BNL’s moral rights?

#5 Weird Bob wants to make a living out of doing funny versions of songs. Bob decides to poke fun at the song “Freewill” by Rush. Weird Bob’s version “Freewilly” will be released in Canada shortly. Does Bob need any licensing or permission to release this track?

Issue: operation of new “parody and satire” exceptions in Act.

Fair Dealing. This is a statutory exception to copyright infringement. Fair Dealing has been applied to research, private study, criticism, reviews and news reporting. Bill C-11 introduced three new permissible purposes: education, parody and satire.

Fair Dealing

29. Fair dealing for the purpose of research,

private study, education, parody or satire does

not infringe copyright.

Fair Dealing is an exception to copyright. The question here is whether a commercial exploitation of a parody or satire based on an existing song is “fair dealing” under the courts. There is no clear answer at this point and I am assuming that there will be some litigation on this very issue. What do you think?

#6 QRVT FM Vancouver transferred all of its music playlist onto the station computers. After 25 days, the station wipes the entire drive and re-transfers all of its music to a new drive. This process is continued and repeated every 25 days. Does the station have to pay a “broadcast mechanical tariff”?

Issue: do new provisions in the Act allow radio stations to avoid payment of so-called “Ephemeral Rights” royalties?

Ephemeral Recordings

30.8 (1) It is not an infringement of copyright

for a programming undertaking to fix or

reproduce in accordance with this section a performer’s

performance or work, other than a cinematographic

work, that is performed live or a

sound recording that is performed at the same

time as the performer’s performance or work, if

the undertaking

( a) is authorized to communicate the performer’s

performance, work or sound recording

to the public by telecommunication;

( b) makes the fixation or the reproduction itself,

for its own broadcasts;

( c) does not synchronize the fixation or reproduction

with all or part of another recording,

performer’s performance or work; and

( d) does not cause the fixation or reproduction

to be used in an advertisement intended

to sell or promote, as the case may be, a

product, service, cause or institution.

(2) The programming undertaking must

record the dates of the making and destruction

of all fixations and reproductions and any other

prescribed information about the fixation or reproduction,

and keep the record current.

(3) The programming undertaking must

make the record referred to in subsection (2)

available to owners of copyright in the works,

sound recordings or performer’s performances,

or their representatives, within twenty-four

hours after receiving a request.

(4) The programming undertaking must destroy

the fixation or reproduction within thirty

days after making it, unless

( a) the copyright owner authorizes its retention;

or ( b) it is deposited in an archive, in accordance

with subsection (6).

(5) Where the copyright owner authorizes

the fixation or reproduction to be retained after

the thirty days, the programming undertaking

must pay any applicable royalty.

Ephemeral right bring about $23 million in revenues to the music indsutry in Canada. This is an example of a possible work-around to avoid having to pay any of these tarrifs. Do you think rdaio should have to pay a “broadcaster mechanical tariff” for putting their music onto their systems?

Any other copyright questions? Ask away!

vcc logo 2

Bob was very excited to present “A Career in Music: the other 12 step program” to a class of VCC music students. He was grateful to also sell-out of his first run of printed books. Next order will be coming soon. In the mean time, you can always order on Amazon.

I originally intended my book A Career in Music: the other 12 step program to be only available as an eBook, however I have had an overwhelming number of requests for a printed version. I scratched my head as to how to make that work as there are dozens and dozens of hyperlinks in the eBook. So, I added an appendix with all of the links printed out and also posted a companion Blog that provides all the links in each chapter so that the reader can go to the links as they read along. Here is that Blog:

http://acareerinmusic.tumblr.com/post/59258095701/a-career-in-music-every-hyperlink-you-ever-needed

Printed book is now available on Amazon at: https://www.createspace.com/4413274

Check out a new article that looks at the eBook and the new Mythos album.

http://www.mapleridgenews.com/entertainment/216653161.html

bob studio

Please click and tweet this message to your TWITTER followers about Bob D’Eith’s new music biz book:

http://t.co/83aix94fdR

It is as easy as click and tweet.

Thanks from Adagio Music

Check out a review of “A Career in Music” in the latest edition of Canadian Musician Magazine.

http://canadianmusician.com/news/?p=937

A Career In Music: The Other 12 Step Program by Bob D’Eith is an e-book written to fill a void in the world of music business books, offering expert advice specifically tailored to those trying to navigate the Canadian industry.

After over two decades in the Canadian music business as an artist, entertainment lawyer, and the Executive Director of Music BC, D’Eith has an understanding of how independent artists succeed or fail. The e-book delves into the basic tools that every independent artist should have in today’s complicated and ever-changing music industry. Artists are largely expected to develop themselves, which requires a sound understanding of many parts of the business, both traditional and incoming.

A Career In Music examines how to identify and take advantage of income opportunities, with links to the necessary online registration services. Fully interactive, the book also shares useful links to other artist pages, industry sites, and discussion examples, along with an appendix full of checklists, outlines, resources, and more detailed information on topics addressed in the book.

For more information or to access the title, visit www.adagiomusic.ca/a-career-in-music/.

Check out the Georgia Straight article in this weeks paper. Thanks to Adrian Mack for adding a blurb on A Career in Music to the music notes.

http://www.straight.com/music/399056/bob-deith-offers-industry-wisdom-career-music-other-12-step-program

Stuart Derdeyn recently interviewed Bob D’Eith about the creation of his new book “A Career in Music: the other 12 step program” for the Province newspaper. Bob was thrilled with the piece and wanted to share this with followers of the Adagio site.

Check it out:

http://blogs.theprovince.com/2013/07/10/music-bcs-bob-deith-publishes-how-to-book/

http://acareerinmusic.tumblr.com/post/52722623496/fans-are-an-amazing-resource

I am really enjoying having both a book and a new album to promote. I get to be my own guinea pig trying out new ideas to get the word out online. As we explore in the book, social media is about creating a dialogue and engaging your fans in a way that invites them to participate in your project. There are many ways to do this, but I wanted to look at one that really helped me this week. Asking fans for advice.

Last week, I set up two little Facebook contests. One for my book and one for my album.

For every Mythos album ever released (9 in total), I asked for the best online marketing idea for the album. For the book, I offered a free copy for the best online marketing idea for the book. The only rule for both was: no cost.

I was inundated with wonderful suggestions. It really engaged the fans and allowed them to be creative with me. It was fully engaging as some of the suggestions lead to further discussions on the ideas.

As far as the album, the best idea was to enhance the online radio experience on Last.fm (Mythos’ #1 listening source) by (a) updating the bio sections, (b) posting “shouts” on similar artist pages and (c) making sure that the older tracks also had a post about the new album. It was time consuming to implement, but the response was immediate.

The best book idea was to send a free promo copy to the heads of music business schools across Canada with the idea for them to use it as a text for their Canadian music business courses. This seems obvious when it is said, but I had been so focused on traditional marketing through press and online, I did not think about the obvious. Again, the response to this was immediate and I already have some schools looking at the book for their classes.

Moral of the story: your fans are allies and love you. Don’t take advantage of them, but certainly engage them in your journey. For the most part, they are ready, willing and very able to help.

Bob D’Eith
Author
A Career in Music: the other 12 step program

http://www.adagiomusic.ca/a-career-in-music/

http://www.mythosmusic.com

If you write your own songs, either with a band, on your own, or co-writing with others, developing an understanding of how music publishing works is probably the most important thing you can do to further your career in the music business.

Yet, without a doubt, music publishing is the most confusing aspect of this business. The number of blank stares that return my gaze after I explain music publishing to an artist over coffee or in our boardroom is countless, and perhaps warranted. This stuff is complex.

To help alleviate at least some of this confusion, I’ve put together this summary for you below. It’s just that: a summary…but feel free to call me with further questions. Enjoy.

The 3 Types of Publishing Agreements

- Kurt Dahl, June 10, 2013

During the Vancouver Island Music Business conference, Andrew King (the editor of Canadian Musician Magazine) interviewed Bob D’Eith about his new eBook “A Career in Music: the other 12 step program”. If you would like to find out a bit more about the book and what motivated Bob to write the book, check out:

Canadian Musician Radio: http://www.blogtalkradio.com/canadianmusician/2013/05/23/cm-radio–may-22-2013

Also, hear a fantastic interview with Ryan Guldemond from Mother Mother.

ACareerInMusic_Web

“If you’re hoping to make a career out of music, this book could be the difference between getting it right and flaming out.” (Alan Cross May 2013)

iBook link: https://itunes.apple.com/us/book/a-career-in-music/id644372475?ls=1

Kindle link: http://www.amazon.com/dp/B00CLZL43O/ref=r_soa_w_d

Kobo Link: http://www.kobobooks.com/search/search.html?q=a+career+in+music

Canadian Musician Radio interview about the eBook: http://www.blogtalkradio.com/canadianmusician/2013/05/23/cm-radio–may-22-2013

After over two decades in the Canadian music business, Bob D’Eith has learned a lot about how independent artists have succeeded or failed. “A Career in Music: the other 12 step program,” was written to fill a void in the world of music business books. Bob observes that, “there are many music business books written from the U.S.A. or U.K. perspective, but none that I am aware of from the Canadian perspective.”

This book delves into the basic tools that every independent artist should have in today’s complicated and ever changing music industry. More than ever before, artists are being expected to develop themselves. That means understanding many parts of the business both traditional and cutting edge.

“A Career in Music” examines where the money is for Canadian artists and how to get it. Bob says, “half of the battle is knowing where to register and with what organizations.” As an eBook, Bob D’Eith has conveniently added links to all of the necessary online registration services.

Fully interactive, “A Career in Music” is full of useful links to other artists, websites and discussion examples. In addition, the book contains an appendix full of checklists, outlines, resources and more detailed discussions of topics addressed in the book.

EXCERPT FROM GRANT LAWRENCE FORWARD:

“…Bob D’Eith gets this [business]. In fact, as you are about to read, Bob understands far, far more about the music business that I ever could. For the past quarter century, Bob has done it all. He’s been a musician, a recording studio owner, a music publisher, the longtime executive director of Music BC, a chairman of FACTOR NAB, a JUNO rep, and is one of the co-founders of BC’s hugely successful artist development Peak Performance Project. Most importantly, Bob is an entertainment lawyer. He knows exactly what you as an artist can and cannot do legally speaking. It doesn’t get any more clear-cut than that.

I’m very glad that my friend Bob finally decided to get off his lazy ass and write this book. It needed to be written. I just wish he had done it 25 years earlier. It would have made my life as an independent musician much, much easier. Tap into his knowledge, enjoy the ride, and maybe even buy him a beer. He deserves it.”

Grant Lawrence
Host/Producer/Author
CBC Music
Vancouver

Mythos-Journey_FRONT lower res

Mythos “Journey” is now available on dozens of digital platforms around the world including iTunes:

https://itunes.apple.com/us/artist/mythos/id636729170

Mythos-Journey_FRONT lower resMythos is asking for support in its first crowd sourcing campaign on indiegogo.

Check it out:

http://igg.me/at/mythosjourney/x/2705697

I was just sent an article from a friend you can read here about legendary multi-instrumentalist and former Rolling Stone Mick Taylor, who plays guitar and piano on two of my favorite Stones albums (Sticky Fingers and Exile on Main Street), among others. The article is a shocking and sad depiction of Mr. Taylor’s life, and the poverty-stricken state he currently finds himself in.

The article goes on to explain how this came to be, and how The Rolling Stones unilaterally decided to stop paying him royalties in 1982 based on advice from their new record label and publishing company, despite the fact that Taylor’s songwriting and musical contribution to some of the biggest Stones songs from this era is undeniable. Since then of course, the rest of the Stones have gone on to become multimillionaires and some of the most wealthy musicians in the world, and Mr. Taylor has received nothing.

If there ever was a real-life cautionary tale to sign a Band Agreement between you and your band mates, this is it!

- Kurt Dahl, March 13, 2013