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Back Recording Again


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It's been years since I truly focused on my own music. Really, a long, long time. I think I took most of my songs offline around 2008, and only posted some song drafts on Songstuff and the sleepy backwater of my website. Most of my new songs were never recorded never mind released. Instead, for years I have focused on helping other musicians write, record and release their music. While I still plan to do that, I am, at last, back recording my music.

 

In truth I had decided to do that a couple of years ago, but ran into some technical problems with old gear (my audio interface display dying and glitching audio). Add to that the age old problem of no money to buy new gear, an I just found I was stuck. After a long break in recording I now have a working music computer and a good quality new MOTU audio interface. Awesome!

 

So, I am planning on two distinct albums at this point, or at least working under two artist names to create two distinct flavours of material.

 

John Moxey

 

Under the artist name John Moxey I plan to release:

 

  • One or two stand alone singles
  • An EP
  • An album

 

I might possibly release two EPs before the album. I have a large number of songs written.

 

The reasons for this is purely to allow me to build an audience from the ground up. Many, many moons ago I had some fans, but it been so long since I pushed my own music out there that I doubt that any will really remember me! So, a fresh start it is.

 

This will also mean re-working my website (johnmoxey.com)and the branding that goes along with it.

 

Musically, it will be dominated by real instruments and performances, and only sneaky bits of synth!

 

Deep Red Sea

 

Under the artist name Deep Red Sea I plan to release:

 

  • Between one and four stand alone singles
  • An EP or an album

 

I have a new website for Deep Red Sea, (deepredsea.net). Music will be almost entirely electronic. I like writing in the studio. I have some general ideas, a few melodies to develop into songs. We'll see.

 

I debated back and forth about combining both into one artist, but I think the audiences will largely be very different. Deep Red Sea will be more experimental. Although I plan on recording at the same time I am expecting Deep Red Sea to be releasing most music later on, so if I am persuaded to bring them together in one, I will cross that bridge when I come to it.

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On 7/15/2020 at 2:56 PM, Patchez said:

1. When you engineer the Recording, well, first, ---- how do you plan on "Recording" the live instruments, signal chain, etc?

2. Then, when engineering the Recordings, -- how? Plugins? Manual, e.g., old timey tape-like isms? (- If understand that, and assume you do, if not, skip it.)

3. You will only release on your website? 

4. How do you plan on letting anyone know you have releases there?

5. Will you do collaborations? 

6. What recommendations or quick snap-shot advice do you have for folks, literally just starting out and thinking they need "ALL THIS"? Or, there's another way, to eat this elephant one-bite-at-a-time? (How do they make their "String", longer, authentically, while not shortening others, just to look longer, so to speak?) 

7. Are you using an "Alias"? Why, why not, pros/cons? 

8. What is your favorite go-to gear to record? Live venue perform? 

9. How old were you when you started in music, and why? 

10. How good are you at "snooker", and do you let folks "win", unless playing for a prize? :)
 

 

So, just a few questions! lol

 

I added numbers to your questions in my quote for easier reference. :)

 

1. Use a Rode NT 2 as my vocal mic. It, and / or other mics plug straight into my interface, a MOTU 828 ES (https://motu.com/products/proaudio/828es). It provides phantom power where needed. I tend to record acoustic via mic, though sometimes record quick and dirty acoustic scratch tracks via direct line using inbuilt acoustic mics. Electric guitars go through my Roland Boss GT10 guitar FX unit. Sometimes line in to an simple amp sim, sometimes using IK Multimedia's AmpliTube 4 VST and for amp, cabinet and full signal chain. Keys I usually use through midi and sound supplied by Native Instrument's Kontakt with a library like Output's Exhale, other times I use my Korg 01W sounds or something loaded on my EMU Esi 4000.

 

2. As mentioned above. I have a range of free and VST Some are specific to my DAW. I use Studio One 4 and Cakewalk. As a mobile system I use a Roland VS 880. I do sometimes use a tape sim. I will need to dig out a full list of my current VST. I have an old Tascam DA 20 Mk2 DAT that I pretty well use for accessing old mix downs and old reels I used on a Tascam 32, Fostex E16 and on a Revox B77 but I don't have those tape machines or ready access to them any more.

 

3. Primarily released on my own website as I keep 100% profit and I can be much, much more creative in bundling, product definition and sales funneling. The main benefits for Apple or Google play would be discoverability but that only kicks in when you have numbers to chart reasonably highly. Spotify has slightly better discoverability but terrible payouts. The ability to reach out to people who have bought my music is heavily compromised and clunky on those platforms and in some cases not possible at all. Point is I would release using an OMD onto those playforms primarily for the legitimacy it lends you, but completely focus on pushing sales on my own site. For every sale there I have a valid email address to follow up.

 

4. A growing mailing list, social media, my own blogs, music bloggers, press releases to local press, music press, streaming etc... Real world gigs are beyond me due to health issues.

 

5. Outside of the releases mentioned, as additional tracks, yes.

 

6. Funny you should say that... I have started a marketing challenge to do just that:

 

 

It is a series of challenges aimed at getting some of the basics. Think of it like layers to an onion. It builds up in layers. People are used to doing bits of the solution, but they don't appreciate the difference having the right components in place makes. They hear "try Twitter, that's brilliant for musicians", so they sign up, work on it a bit and eventually become disappointed with the results, because they do it in isolation. The truth is you need key elements and build from there. Importantly, you don't just need tools, you need strategy. That strategy must include coordination.

 

So i would encourage people to try the challenge above, but understand it only gives you a first layer. The idea is simple. Build each layer with set aims, including your ability to carry out the task. Automation is your friend (when done right).

 

We also have some fund raising products in development, including:

 

  • Indie Artist Core - Subscription - Entry level community membership level including access to a music contact database with more than 9,300 entries, a complimentary basic indie course and some community benefits. This should be ready this weekend and launched within the next few weeks. As a subcription, when we update, evolve or expand, you automatically have access to it.
  • Ultimate Indie Guerrilla - 10 pdfs covering all the main assets, tools and strategies needed to build a fan base.
  • Songstuff Indie - Subscription - Advanced Indie tools and strategies to market your music. It includes paid advertising campaign strategies, social media strategies, electronic press kits, image, building your fan base and much more. The aim is to help you to create a viable music presence you can build on for years to come. Much is cutting edge for indie music. Strategies and tactics evolve all the time and artists are wise to keep up.

 

There will be more to come :)

 

7. Alias? John Moxey, my own name. It is pretty distinctive as an artist name :). Deep Red Sea is visual. It does allow me a bit more freedom to experiment. I didn't want a variation on my name or a completely diferent personal name. I don't rule out the poossibility of bringing the two projects together at some point in the future. It allows me to market in very different ways. It also allows me to compartmentalise risk.

 

8. Live venue has a distinctive feel. As long as you can get a good enough quality and the venue adds something special that you can capture. You have to put play an impressive gig. I quite like the live in studio with a small invited audience approach.

 

9. I started playing age 4. My mum taught piano and sang opera. At a young age my sisters and I would be trouped out in front of her musical friends to perform. I started the violin at 7, sang in a choir, school orchestra, pipe band (tenor drum, bass drum then bagpipes), took up guitar in my teens, mandolin, didgerioo, bodhran all play a part in my love of music and composition. Performance was always there. By the time I had been playing in bands for a couple of years in many ways being on stage became the place I was most at home. My first job after school was working in a recording studio. When in bands I did occasional work as road crew for larger bands. After I injured my back and performance was a real issue I studied Electronics with Music at the University of Glasgow. Music has always been there for me.

 

10. I used to be pretty good at snooker capable of briefly looking impressive while not being completely consistent. I was briefly on the snooker team at university. My largest break was 63. I haven't played in years due to my back injury.

 

:)

 

 

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Just one question! WTF is snooker? Some kind of weird Scottish game with sheep? 🤣

 

But seriously that's pretty awesome John, glad you're getting back into recording.  How difficult is it for you to cull the herd so to speak? (is that a snooker term?) saying you have done a lot of writing, but not much recording.  I mean I know you know which ones are better than others, (technically, marketability wise, etc..) are you trying to stick to a certain theme for your ep? future albums? or just come what may? Your best or favorites just all together?

 

I'm with you on using your own website for sells, especially if people are expecting or wanting a physical product and not just a download.  (Yes some of us still exist :) ) 

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On 7/17/2020 at 1:20 AM, john said:

 

So, just a few questions! lol

 

I added numbers to your questions in my quote for easier reference. :)

 

1. Use a Rode NT 2 as my vocal mic. It, and / or other mics plug straight into my interface, a MOTU 828 ES (https://motu.com/products/proaudio/828es). It provides phantom power where needed. I tend to record acoustic via mic, though sometimes record quick and dirty acoustic scratch tracks via direct line using inbuilt acoustic mics. Electric guitars go through my Roland Boss GT10 guitar FX unit. Sometimes line in to an simple amp sim, sometimes using IK Multimedia's AmpliTube 4 VST and for amp, cabinet and full signal chain. Keys I usually use through midi and sound supplied by Native Instrument's Kontakt with a library like Output's Exhale, other times I use my Korg 01W sounds or something loaded on my EMU Esi 4000.

 

2. As mentioned above. I have a range of free and VST Some are specific to my DAW. I use Studio One 4 and Cakewalk. As a mobile system I use a Roland VS 880. I do sometimes use a tape sim. I will need to dig out a full list of my current VST. I have an old Tascam DA 20 Mk2 DAT that I pretty well use for accessing old mix downs and old reels I used on a Tascam 32, Fostex E16 and on a Revox B77 but I don't have those tape machines or ready access to them any more.

 

3. Primarily released on my own website as I keep 100% profit and I can be much, much more creative in bundling, product definition and sales funneling. The main benefits for Apple or Google play would be discoverability but that only kicks in when you have numbers to chart reasonably highly. Spotify has slightly better discoverability but terrible payouts. The ability to reach out to people who have bought my music is heavily compromised and clunky on those platforms and in some cases not possible at all. Point is I would release using an OMD onto those playforms primarily for the legitimacy it lends you, but completely focus on pushing sales on my own site. For every sale there I have a valid email address to follow up.

 

4. A growing mailing list, social media, my own blogs, music bloggers, press releases to local press, music press, streaming etc... Real world gigs are beyond me due to health issues.

 

5. Outside of the releases mentioned, as additional tracks, yes.

 

6. Funny you should say that... I have started a marketing challenge to do just that:

 

 

It is a series of challenges aimed at getting some of the basics. Think of it like layers to an onion. It builds up in layers. People are used to doing bits of the solution, but they don't appreciate the difference having the right components in place makes. They hear "try Twitter, that's brilliant for musicians", so they sign up, work on it a bit and eventually become disappointed with the results, because they do it in isolation. The truth is you need key elements and build from there. Importantly, you don't just need tools, you need strategy. That strategy must include coordination.

 

So i would encourage people to try the challenge above, but understand it only gives you a first layer. The idea is simple. Build each layer with set aims, including your ability to carry out the task. Automation is your friend (when done right).

 

We also have some fund raising products in development, including:

 

  • Indie Artist Core - Subscription - Entry level community membership level including access to a music contact database with more than 9,300 entries, a complimentary basic indie course and some community benefits. This should be ready this weekend and launched within the next few weeks. As a subcription, when we update, evolve or expand, you automatically have access to it.
  • Ultimate Indie Guerrilla - 10 pdfs covering all the main assets, tools and strategies needed to build a fan base.
  • Songstuff Indie - Subscription - Advanced Indie tools and strategies to market your music. It includes paid advertising campaign strategies, social media strategies, electronic press kits, image, building your fan base and much more. The aim is to help you to create a viable music presence you can build on for years to come. Much is cutting edge for indie music. Strategies and tactics evolve all the time and artists are wise to keep up.

 

There will be more to come :)

 

7. Alias? John Moxey, my own name. It is pretty distinctive as an artist name :). Deep Red Sea is visual. It does allow me a bit more freedom to experiment. I didn't want a variation on my name or a completely diferent personal name. I don't rule out the poossibility of bringing the two projects together at some point in the future. It allows me to market in very different ways. It also allows me to compartmentalise risk.

 

8. Live venue has a distinctive feel. As long as you can get a good enough quality and the venue adds something special that you can capture. You have to put play an impressive gig. I quite like the live in studio with a small invited audience approach.

 

9. I started playing age 4. My mum taught piano and sang opera. At a young age my sisters and I would be trouped out in front of her musical friends to perform. I started the violin at 7, sang in a choir, school orchestra, pipe band (tenor drum, bass drum then bagpipes), took up guitar in my teens, mandolin, didgerioo, bodhran all play a part in my love of music and composition. Performance was always there. By the time I had been playing in bands for a couple of years in many ways being on stage became the place I was most at home. My first job after school was working in a recording studio. When in bands I did occasional work as road crew for larger bands. After I injured my back and performance was a real issue I studied Electronics with Music at the University of Glasgow. Music has always been there for me.

 

10. I used to be pretty good at snooker capable of briefly looking impressive while not being completely consistent. I was briefly on the snooker team at university. My largest break was 63. I haven't played in years due to my back injury.

 

:)

 

 

Good luck in learning and playing with bodhran.

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3 hours ago, Bridget Murphy said:

Good luck in learning and playing with bodhran.

 

Thanks Bridget. I’ve been playing bodhran for about 30 years now, and still learning!

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2 minutes ago, john said:

 

Thanks Bridget. I’ve been playing bodhran for about 30 years now, and still learning!

I wish you could share some of your work.

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1 minute ago, Bridget Murphy said:

I wish you could share some of your work.

 

I will be soon. I have some stand alone singles being recorded, plus I have enough material for 2-3 EPs followed by an album under my own name, and enough for an EP under Deep Red Sea. As yet none planned with bodhran though most still have to be arranged, so there’s still scope, especially for some of the acoustic songs that could work with a modern folk vibe.

 

Are you planning to release any music Bridget?

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1 hour ago, Bridget Murphy said:

Not anytime soon. I love appreciating others work though.

 

Have you had a listen to Mahesh’s music? Hobosage does some great songs too. We’re lucky to have a bunch of talented artists on the site.

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17 hours ago, john said:

 

Have you had a listen to Mahesh’s music? Hobosage does some great songs too. We’re lucky to have a bunch of talented artists on the site.

Not yet but I will consider them I'll let you know when I do. Thank you for your recommendation.

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On 10/18/2023 at 1:08 PM, Bridget Murphy said:

Not yet but I will consider them I'll let you know when I do. Thank you for your recommendation.

Thank you for your recommendations. Checked them amount and I am utterly impressed.

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