Songwriters in Seattle

Welcome

Songwriters in Seattle is a non-profit 501(c)3 organization which supports the community of Pacific Northwest independent artists through events that foster creative development, collaboration, music education, and performance.

Songwriters and those who wish to be more involved with songwriting are invited to join us for free at meetup.com/songwritersinseattle where all events and communication are managed.

  • SiS Featured Artist: Laura Berman

    “Do one thing each day that scares you” – Eleanor Roosevelt For Pacific Northwest songwriter Laura Berman, this quote embodies her approach to her music and her life. While she acknowledges that there are scary things that should be avoided, many of our scary things are self-created. “Your instincts are smart and generally on-point, so…

  • Music Biz – What To Do Next? Part 1: The CD

    (Editor’s Note: Jennifer runs a monthly Music Biz Workshop event for SiS and has agreed to share some of her notes and recommendations in a 3-part series)

    You have passion and music and want to do something with them. Here’s the best order in which to proceed:

      1. Record your songs. Suck it up and either put down the money for professional recordings or barter for them. If you’re a songwriter, find or hire talented musicians (don’t settle with your friends) to perform on the recording.

    Some helpful tips:

        a. If you’re flat broke try the following for fundraising:

          i. http://www.kickstarter.com/
          ii. http://www.slicethepie.com/
          iii. http://www.pledgemusic.com/

        b. Hire a producer or bring in a trusted, truthful musician to give you outside feedback. YOU NEED TO GET OUT OF YOUR OWN HEAD during this process which is why your money would be well spent on a producer.
        c. Go in with a plan. It will save you lot’s of $ in the long run.
        d. Remember QUALITY OVER QUANTITY! If you can’t afford to pay for a full-length album, a four or five song EP is all you need to get your career going and will save you money.
        e. Eugene Foley www.FoleyEntertainment.com Has this to say about information for songs regarding commercially desirable structure (the most appealing structure for a sellable song) “One thing to keep in mind, at least for your songs designated as “Singles” (the songs geared towards winning over radio stations, record company executives and music publishers) – try to keep Intros under 10 seconds and try to reach the Chorus between the 40 and 43 second mark. This is very important in the following genres: pop, rock, singer/songwriter, R&B/pop, alternative rock, jazz/pop and punk/pop. If it’s 44 seconds or longer into a song and the Chorus did not kick in yet, you should edit the arrangement accordingly. In rap music, the chorus can come in at the 59 second mark or even a bit later, since the verses are traditionally longer, compared to other genres of popular music. Radio, Record Company and Music Publishing executives pay close attention to song arrangement, as they decide if an artist is developed enough for them to show interest.”
        f. A recommendation for order of songs on your disc:

          i. Your strongest song should ALWAYS be first.
          ii. If you will be submitting the cd to record companies, (similar to a demo CD setup) radio stations, etc. the first four to five songs should be in the following order:

            1. Upbeat (and/or strongest) song
            2. Midtempo OR ballad (whichever one is stronger)
            3. Midtempo OR ballad
            4. Upbeat (if this is your closing song) if there will be others on the disc a Midtempo song.
            5. Strong, Upbeat closing song.

          iii. This particular song order has been deemed the most appealing and is considered an industry standard.

      2. Have songs professionally mastered. Don’t just run them through garageband, have them taken (or emailed in) to a professional mastering studio and watch the magic.
      3. Hire a graphic designer and photographer to do the cd art. Don’t let your music be hindered by bad artwork. Check out local colleges for graphic design students or try posting an article on craigslist to find someone if you’re on a tight budget. If you have a strong fan base, ask your fans to get involved. Have them design it for you in a contest or have them vote on it. Fans love being involved. 🙂
      4. Duplicate your music. Start small, 100 cds is a good starting point. Discmaker’s 1000 cds deal is tempting BUT it takes a LONG time to sell/ get rid of 1000 cds. I would recommend having two sets of cds- 1 printing for press kits and 1 printing for merchandise.

        a. The press kit printing should include your contact information (email, name, phone number and physical [use a PO Box] mailing address) on the physical cd, on the back of the cd and near the liner notes on the inside of the cd. Get it in a standard jewel case WITHOUT plastic wrap.
        b. Merchandise copy can be in whatever format you’d like- just make sure you have a UPC code on it. If you don’t have one, CDBABY.com can get you a UPC for $20
        c. Studio North Duplication can do small order in a short turn time numerous different cases relatively cheap PLUS they’re based out of Lynnwood, which will save Seattle-ites on shipping costs. http://www.studionorthduplication.com/

      5. Register your copyright

        a. Also check with your performing rights organization to see what needs to be done to have your song accounted for so you can collect any royalties you generate.

          i. If you don’t have a PRO, get one- ASCAP, BMI or SESAC

      6. To CD release party or to not CD release party? You’ve just finished your project and are super excited to share it. Here are a few things to keep in mind:

        a. You’re either a starting artist with a small fan base or revamping your current direction into a new style do you have enough fans to be the headliner that the venue would want you to be? This typically means bringing in enough people to make the venue happy.
        b. A proper, successful CD release (the type that record labels do) involves AT THE VERY LEAST 10 weeks of prep time Check out the Music business toolbox at http://www.musicbusinesstoolbox.com/ to see the checklist and more. I highly recommend purchasing this product! Worth every single cent!
        c. It typically takes 2-3 months to book a release show.
        d. Will you have everything digitally in line with your physical release?
        e. Here’s a great article on Music Think Tank with more CD release tidbits http://www.musicthinktank.com/blog/10-key-to-dos-for-a-successful-cd-release-party.html
        f. Sometimes the smarter thing to do is simply start selling cds at shows and send out an email announcing that your cd is now available.

      7. Digital distribution. If you are having a CD release party try to make sure that your digital distribution date happens around the same time. The top used digital distribution services are:

        a. http://www.cdbaby.com/
        b. http://www.tunecore.com/
        c. http://www.reverbnation.com/user/login#!/main/overview_artist?feature=digitaldistribution
        d. http://bandcamp.com/ This one is FREE!

    Now that you have your music in your hand you have a tangible product to sell. One VERY important thing to remember is that you are not selling simply music, you are selling yourself. Next up in Part 2 is most likely the hardest, most time consuming, the most confusing and the most frustrating- Marketing.

  • What Genre Am I?

    We had a great monthly meeting this week at Cafe Allegro. As always, the meeting inspired me in many ways and gave me things to think about. One area that I heard from many fellow musicians there was the difficulty everyone felt when they tried to classify their music into a “genre”. There are many reasons for this.

    First of all, the genres are loosely defined and each person may have a different perception of whether a particular musical element fits into a particular genre or not.

    Secondly, when we write a piece of music, sometimes we do not set out to have the piece belong to a certain genre. The songwriting mindset may have nothing to do with genres. The composer thinks in chords, melodies and rhythms and the lyricist thinks in characters and story arcs and verses and hooks; but they may ignore whether a particular chord progression is Western/Americana or Gothic Metal. Hence, the genre assignment comes as an afterthought and things just don’t seem to always fit.

    Genres may also make an artist feel trapped, afraid to lose some amount of artistic freedom (and a chance for uniqueness).

    I feel your pain. My personal struggle with assigning a genre to my music took more than a decade (even though a large part of it was an inactive period for me) and finally ended some months ago when I read the book “Music Success in Nine Weeks” by Ariel Hyatt. Now, before you ask, let me tell you right away. No, I didn’t apply all the advice in the book; and no, I didn’t get music success in 9 weeks (although that depends on how you define “success”). However this book had a section about the topic of genres that helped me formalize my stance on this issue.

    Since I don’t have the book at hand right now, I won’t be able to quote directly, but what I got out of the book was this:

    Genres are loose classification tools. Genres help people who have not heard you before determine whether they would like to hear you or not. Genres help online databases and distribution channels show your name as a suggestion to those listeners who are most likely to enjoy your music. Genres help music business professionals (and yourself) have some idea about how to position you, do your marketing, and do your PR.

    Given the abundance of music available right now, it is more critical than ever to somehow reach the people that are likely to enjoy your music and become your fans (“finding your niche” in fancy terms). Any tool that helps those potential fans discover you, be it a genre, or a similarity to a famous artist, or a YouTube “tag”, seems well worth using.

    That was what led me to finally go through the exercise of analyzing my influences and various elements in my music, tracking down which genres they originate from and finally draw some lines around what I call “my genre”. And since nothing stops you from claiming to be a crossover between multiple genres I did exactly that. Now I confidently and comfortably claim to be “a merge of rock, classical and electronica”. And once you go through this exercise it doesn’t feel “trapping” anymore. After all, every single one of these genres have so much variety in composition, arrangements, and sound, I feel like I could do pretty much anything under the sun and still be able to claim “Hey, I am just stretching the boundaries of my genre!” 🙂

    Of course this is a personal choice and what I wrote is my story of arriving at a genre decision. Maybe it doesn’t work for everyone. Plus anything we hear and read about Web 2.0, social media and online music discovery is subject to change in very short time periods. Assumptions and observations could be inaccurate. No one can really prove, without a doubt, that assigning a genre will help more fans find you. Maybe as an artist you don’t even care how many fans you reach. Maybe you are just out to communicate.

    So what do you think about your music and genres? Do you feel comfortable with saying your genre is X or Y? What are your experiences?

  • Review: Bandcamp.com

    In this day and age, distribution of your music has become accessible to every musician, whether they are signed or not. You can get your music up on the net and make it available for free or for sale. Various sites can produce several hundreds of your CD’s relatively cheaply for you to sell them at your gigs. The challenge has become choosing which of these plethora of online services to use. To help with that decision, here is my review of one such site: Bandcamp.

    (more…)

  • “Mooncakes” on NPR’s Marketplace

    Songwriters in Seattle had a really cool and unexpected bit of national media attention Monday with our song, “A Black Market For Mooncakes” being part of a segment on NPR’s Marketplace. I’ve been asked a lot about how it happened, all the way back to the origin story of the song, so I thought I’d give you the lowdown on how it went down. First, here are the links to the NPR piece itself, as they have the text of what was read on air along with the whole song posted here:

    NPR Marketplace segment on Mooncakes song

    You can hear the entire audio of the Marketplace segment on their posted podcast here (our “Final Word” bit starts around 25:15):

    9/12/11 Marketplace segment audio

    So what’s the connection to Marketplace in the first place? Back in Sept. of 2010 my friend Skye Hansen posted a link to a Marketplace article by NPR Marketplace China correspondent Rob Schmitz called “A Black Market For Mooncakes” on her Facebook wall. I had only seen the headline come across my screen and it struck me as unique and poetic – so off the cuff I immediately commented on the post, “Sounds like a song title…” (completely in jest, of course). What Skye commented back was magical:

    “There’s a black market for mooncakes
    That appears in the dead of night
    It’s right next to that store with the fallingstar jam
    And other unearthly delights!”

     

     

     

     

     

     

     

     

     

     

     

     

     

     

     

    As I was at once surprised and blown away, I definitely wanted to make this into a real song. So I did try in vain for a few weeks to see if I could do anything with it, to no avail. Thus the Songwriters in Seattle “mashup” event where I brought what I thought could be a decent seed for a group collaboration. After some discussion about Rob’s article and the potential themes of China’s repression, underground rebellion, people coming together despite restriction to celebrate their passions, and the poetic symbol of the cosmic eatery, it was agreed that we’d give it a shot. (Note: Rob’s article wasn’t really about any of those things – it was more what we were inspired to think about based on the seed idea). With the throwing out of my portion of the attempted lyrics and some tweeking of Skye’s original chorus, we went to work.

    As you can imagine, 10 songwriters in a room trying to write the same song was…challenging. Lyrics and associated chords were written (and crossed out) with big black markers on large sheets of paper and stuck to the walls. There was much chaotic guitar playing and random singing. Some were frustrated, some thought it was going nowhere – or at least nowhere worthwhile. But after 3 hours or so, we had something – it wasn’t much, but we had something and it was actually pretty good. With me standing up at the sheets on the wall and trying to direct everyone to verses and choruses that would make a reasonable finished structure with what we had (only one verse of lyrics in addition to what we started with plus the chords to the two sections), we hit record on Jessica Lynne’s iPhone and ran through it best we could:

    (Warning – this is super rough, with beer bottles clanking as they fall over, yelling directions, and other such fumbling to get through)
    [audio:https://songwritersinseattle.com/audio/BlackMarket_SiSmash.mp3]

    Now fast forward a few months…based on that recording I obviously had some work to do to make the song into a listenable finished piece, but it finally came together. Recording was fun as this is not anywhere near a typical style for me. Breaking out the nylon string guitar for a flamenco solo and faking castanets with spoons from the kid’s toy percussion set were especially unusual. And then singing along with Jessica Lynne and David Rix to make us sound like a much larger group was a real kick. Overall, I am very happy with how the song and recording turned out. I feel it represents the collaborative talents and aspirations of Songwriters in Seattle very well.

    Many thanks again to David whose great idea and, more importantly, his action it was to send the recording to the original author of the Marketplace article which inspired the song, Rob Schmitz, and got the next part of the story started. Rob’s response:

    “All I can say is: Wow. I knew I had hit upon something when I reported the
    mooncakes story, but I never in my wildest dreams thought it was worthy of
    moving a group of musicians to song. Well done. I¹m honored my bizarre
    little story inspired your group to write and perform this piece.”

    Rob forwarded it to his producers in LA and next thing you know, David and I are working out the details with Marketplace Producer Fiona Ng to get the song on the air and linked on their website. Some vague details about what we should expect and when…then a few days later…boom! “I thought it was kinda catchy…” – Marketplace host, Kai Ryssdal. How cool is that? Thanks to Rob and Fiona for making it all happen.

    There you have it! This is yet another great example of the amazing things that can happen when we work together!

  • Set Your Voice Free

    Sound catchy? That’s the title of a book by “America’s #1 Vocal Coach” Roger Love that I bought some dozen years ago. At the time, I was living in cramped quarters, and when I would try to practice the funny sounds that he has his students pronounce, I would hear snickers from the people walking by in the hallway. That killed my desire to practice for awhile, but since joining Songwriters in Seattle and living where I might have better luck hiding in my apartment to practice, I decided to break out the book and instructional CD once again and go at it.

    OK, so you’re thinking, “Oh, this guy’s promoting a book that he hasn’t even gotten any proof of results from yet.” Very true. But since looking at all the profiles of songwriters who would really like to have someone else sing their stuff for them, I decided to let them at least have the opportunity now to make up their own minds regarding Roger Love, regardless of whether or not I’ve become an excellent singer because of him. This guy promises that with his instructional CD, you will, with regular practice, be able to sing three octaves in full voice, with a technique that he calls “Middle Voice.” I’ve only heard one guy sing three octaves in full voice, and that was Bob Seger doing the studio version of “Katmandu.” His technique was based on cocaine and whiskey. But Bob can barely get it today. Roger’s technique has eighty-year-olds singing like they were twenty!

    So check him out. His web site is RogerLove.com. He’s got some other books besides the one I bought some twelve years ago, so you’ve got a lot to choose from, and they all have instructional CDs with the books. And who knows; with regular practice, you too may be able to belt out three octaves of “Katmandu!”

  • Matthew Meadows

    Matthew Meadows is a rock guitarist and singer with a background in computer programming and ballet dancing. This is one smart and talented guy! His latest recorded collection of songs, Etherati, is making waves as he puts his tech skills to use with tireless online promotion. Matthew rocks and many people are taking notice! He’s played in a number of bands, both in Seattle as well as his former home of Austin, TX, but mostly pushes on these days as a solo artist. What exciting musical conquests does Matthew have in mind for the future? Learn more about him (and connect with him) on his Reverbnation page. He’s even got a new tune called “The Ringmaster” – check it out!

    His YouTube channel has some really interesting raw takes and crazy guitar shredding! You can view and subscribe here.

    Lastly, Matthew’s SiS podcast visit was a lot of fun as he walked us through not only his music, but how he approaches promotion and connecting with the right people in the industry. You can listen to that here.

  • Subscribe to The SiS Podcast on iTunes

    There’s been a lot of podcast activity on the website recently, and to top it off the SiS podcast is now available on iTunes! This is the easiest and fastest way to get the podcast straight to your mobile device. When you subscribe, iTunes will automatically check and download the latest monthly podcast automatically! Click here to get started:

    SiS Podcast

    If you lose track of the link or want to tell a friend, the podcast is easily searchable on iTunes as well. Please subscribe, rate it, do a quick customer review, and share the link! The first year (12 episodes) is already up and ready to download. This is a great way to get to know the musicians of Songwriters in Seattle – now more accessible than ever.

  • SiS Podcast: Val D’Alessio

    August, 2011

    Val D’Alessio
    Val D’Alessio joins SiS Organizer Chris Klimecky in the studio to discuss her spiritual musical journey, how she has allowed her creativity to blossom, and how she continues to be inspired by the creative community. Also, a live performance of a new song “Late Night Song.”


    Click the play icon above to stream, or click here to download

    Click here to read more about this podcast from Chris’s blog archive.

  • SiS Podcast: Andy “Roo” Forrest

    July, 2011

    Roo Forrest
    SiS Organizer Chris Klimecky interviews creative entrepreneur Andy “Roo” Forrest. As someone who came to songwriting after being creative in other aspects in his life, Roo has a different perspective on typical musician’s strugges and the music business.


    Click the play icon above to stream, or click here to download

    Click here to read more about this podcast from Chris’s blog archive.

  • SiS Podcast: Thom Schroeder

    June, 2011

    Thom Schroeder
    SiS Organizer Chris Klimecky interviews symphonic rock musician Thom Schroeder. They discuss and play portions of his epic instrumental compositions, Thom’s classical piano inspiration, his search for a singer, and more!


    Click the play icon above to stream, or click here to download

    Click here to read more about this podcast from Chris’s blog archive.