f46 Do It Yourself!
How best to avoid the mainstream music business and succeed as an independent recording artist? Richard Lewis asked those who already know the ropes.
T
he UK folk scene has always been fiercely independent, pio- neering small labels that oper- ated outside of the music biz mainstream long before the
punk/indie explosion of the late ’70s, let alone the deserved downfall of the major label corporations in the 21st Century. The question these days is more likely ‘why wouldn’t you do it yourself?’
Why DIY?
Radiohead made a noise in 2007 by ending their relationship with EMI and releasing their next album themselves. For a rock band that size, the economics of that choice made perfect sense. But for lesser- known artists, DIY is often the only option.
“The main reason for doing it your-
self is that it’s well-nigh impossible these days to get a record deal,” says Sarah McQuaid, who self-released two albums before opting for a relaxed deal with a US indie label. “For a record company to release your stuff, they have to feel assured of getting a return, including cov- ering their massive overheads. So for most artists in the folk world it’s either do it yourself or don’t do it at all.”
Steven Collins released the first Owl Service LP from his bedroom and went on to form three DIY folk labels, Midwich, Rif Mountain (now co-run by Jason Steel and Dom Cooper) and then Stone Tape Recordings. “I never thought any label in
a million years would be interested,” he remembers. “It’s like you’ve got no choice but to do it yourself.”
Some artists do have a choice, but still favour the DIY route. Andrew Cronshaw began by managing his own publishing while on a label, then launched his own imprint, Cloud Valley Music. “Doing it yourself gives control, not only of the music but of the whole presentation including packaging, and also contact with the buying public,” he explains. “And sell- ing copies, be it through a distributor or direct at gigs and through one’s website using simple PayPal buttons, one stands to at least cover the costs and perhaps even make something.”
Nigel Spencer started Folk Police Recordings simply because he wasn’t hearing the kind of music he liked from the established labels. “There’s also a changing expectation among musicians that they aren’t going to be a star, that the label or the biz isn’t going to bring untold riches, that nobody owes them a living and so if they want to try to make one, then the more of their career they can control themselves the better,” he says. “It’s also helped, in the folk world, that relatively high profile artists like Show Of Hands have largely taken the DIY route.”
The good news is that, today, all barri- ers to entry are down and anyone can play. The bad news? Well, we’ll come to that.
The Owl Service – Steven Collins centre, Jason Steel 3rd from right Recording: Home studio or professional?
If you know what you’re doing – and, increasingly, even if you don’t – you can get a great sound at home today for mini- mal outlay and no hourly costs. Sound recording, editing and mastering software is either cheap or free. When it comes to hardware such as microphones, preamps and soundcards, robust competition in the home studio market has brought the price of high quality down.
“The home studio suited our style of music,” says Ian Smith of Sproatly Smith. “We made use of its limitations. There’s no financial pressure, we could take our time and mess about making sounds.”
Jason Steel remembers the early days of Rif Mountain: “It was all home record- ings. You’d literally pitch up at someone’s house with a Macbook and a few micro- phones.” “I remember sometimes not even having a microphone,” Smith admits. “So I recorded some vocals and noises with a pair of headphones.”
Hardcore. But acoustic instruments are actually quite hard to record well. If the thought of navigating swept parametrics and reversing phases brings you out in a cold sweat then you’ll feel much more comfortable (if poorer) in the hands of professionals.
“All three of my solo albums have been recorded at Trevor Hutchinson’s studio in
Richard Lewis
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