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john last won the day on May 17

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About john

Support Artist / Writer

  • Due to COVID-19, artists can't make a living.

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Music Background

  • Songwriting Collaboration
    Interested With Written Agreement
  • Band / Artist Name
    John Moxey Music
  • Musical / Songwriting / Music Biz Skills
    lyricist, composer, audio recording, production, performance
  • Musical Influences
    Led Zeppelin, Pink Floyd, Lynyrd Skynyrd, Black Sabbath, Crosby Stills and Nash, Free, Radiohead, Foo Fighters, David Bowie, Jethro Tull, Beethoven, Chopin, Rachmaninov, Portishead, Morcheeba, Air, Fairport Convention...

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  • Interests
    songwriting, guitar, piano and keys, singing, recording and technology, art, programming, computer games, reading, motorbikes... lots of stuff really :)
  • Location
    Scotland (UK)
  • Gender

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  • SoundCloud

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  1. Hi Philip Welcome to Songstuff. This board is for introductions so you probably won’t get much in the way of critique. I’m not complaining. We have different boards for different topics and members expect certain content and activities in those places. There are dedicated critique boards for lyrics and for song recordings. There, members are expected to contribute critique of each other’s lyrics. You don’t need to be experienced, you just need to put in some effort, be honest and be constructive. That is not the same as “only say positive things”. I mean be helpful. When you see something, make suggestions that might help. Similarly when you get feedback, please respond to everyone that leaves a comment. It’s meant to be a discussion for all involved. What about you? What are your goals for your songs? Do you play any instruments? Record your songs? Cheers John
  2. Hey Many thanks for taking some time to provide some useful feedback. What are you viewing the boards using? Device/Operating System/Browser All have some impact on what you see. The boards are very quiet just now, but we’ve just gone through a lot of tech changes including full server moves. All that had an effect on activity, but it’s not the only reason. There are a lot of contributing causes. Some are really easy to fix, some are a bit harder. Some the staff need to do (such as the tech and style updates) and some are down to our community. Activity breeds activity. There are a lot of members waiting. I say that because as activity happens, people who haven’t been around for a while appear and make a few posts. If the boards are active then they stay around. If not, they disappear off again for a while. It’s an old chicken and egg scenario. The more active we are the more the forums will come back. On the home page for the community, I am guessing you are meaning the list of forums? There are actually 3 different views of our boards available to users. I think the layout you might be looking for is “Table”. You can change between forum views using the 3 buttons right next to the Start new Topic button. you’ll see a group of 3 buttons immediately to the left. The question is, should we change the default view to this view ( @Mahesh, @Peggy )? I’d love to hear your suggestions for redundant boards, boards that should be combined and boards we should have? We do rearrange the boards from time to time, both smaller and larger changes. I’ll take a look and see what we can do about the profile details As for the edit window, it greatly depends on what you are viewing with. Can you give a screenshot along with your device/OS/browser? Many thanks. Staff have been really busy for a while working on some big picture things for the boards. We are here and totally willing to talk about the community form and functionality. On another note, to all members, I’d love to recruit some new staff to help out, specifically to help us to get the community back up and running after all the changes. This place can be a buzz when it is running smoothly. It has the resources and server to do that, and a very workable plan to keep the community safe and viable as it moves forward. Our staff can do it with some active members on board. With a few extra staff we can greatly speed up this process and get the community back to how it should be, and have it back being what you need it to be. Thanks again for bringing this up and making some good observations and suggestions. Even when members suggest things we have already heard about or thought of, hearing other members talking helps us to set priorities when there are a stack of things vying for our attention. Cheers john
  3. Quite right. Your fanbase are not your enemy. By courting them you are not a sell out. Your fans are YOUR PEOPLE. They identify with your music. They get it. They support you. Why would you not support them? Trying to find more of them is entirely reasonable. Why would you not want to find more of your people? I never understood the arrogance of artists, nor their stupidity, when it comes to their sense of entitlement. “Build it and they will come” is arrogant in the extreme. It is a “no strategy - strategy” and it sucks ass. Arrogance aside, having spent ages making their music, why would you then just drop it and expect the universe to do all the heavy lifting for you? Breaking news to all artists, you are not entitled to anything. The universe owes you nothing. Nada. Here’s the large chunk of the picture artists are missing. When you write a song, the job for a songwriter is not done. The job is only done when they get an artist to take on playing/recording the song. Writing it is only part of the job. If they don’t get an artist to take it on, the song sits on a shelf… and might as well not have been written. Tbh even then the job isn’t really done until you As an artist, the job is not done when you arrange the song. It isn’t done when you record a song, mix it, or master it. It isn’t done until you deliver it to your audience, make sure they “take it on”, and that they too are satisfied. If they stop short of any of these, they might as well not have bothered at all. Until they complete delivery, and ensure it is well delivered, it remains in obscurity. It is not up to the universe to fill in for our inadequacy, our arrogance or our nativity. The truth is, our music is obscure and overlooked, because of our decisions. Is it entitlement? I think it is a big part of it. I think the other big part of it is fear. Our fear of rejection (by the general public) causes us to pull our punches. We cannot lose a race if we don’t run it. Our psyche can live with that failure a lot more than the potential public humiliation. So, we hobble ourselves and wrap it up neatly in a vague “true, real artists don’t need to promote their music” and “real artists don’t charge for their music”. That’s just what some tell themselves, an excuse they tell themselves, a salve to make them feel better. They didn’t fail because their music was “bad”. They failed because they weren’t given a shot, because the industry refused to look their way, because they didn’t have enough money. Whatever the reason, it was never something they did or didn’t do. It was something thrust upon them, something they had no control over. No matter. If they truly want to be artists worthy giving a damn about, there is hope. Their actions can and will make a huge difference. They can build something, a following for their music… but they have to be active. On charging for it… people take free for granted. A small number will take “free”, value it for what it actually is. Many will take, but have no loyalty. They value it but feel entitled. Many will not see it or value it in any way. They park it on a shelf to be used when needed, some day. Many others simply will not see the value in it. The end. We set the value for what we create. Others pay it, or they don’t. Free or paid, they still have to want what we offer. Our job as artists is to present what we have and make it attractive, appetising. We have to give them an appetite for our music. Encourage their hunger. Feed them. We don’t sell them steak. We give them an appetite by exposing them to the sizzle.
  4. The problem is, most independents don’t know how to market and promote themselves or their music, they haven’t taken the time to understand either the traditional music industry or the newly evolving opportunities they could take advantage of. There once was a myth of “being discovered”. It largely evolved around playing some gigs locally and gradually playing better gigs. At some point either you, or a mix, was “discovered” by someone with influence, money, access and interest, who would champion you as an artist and from then you were made. It was bullshit then and even more bullshit now. Still, many artists rotted on the vine waiting to be discovered. Music marketing was a black art, and understanding it had a whiff of selling out. Also complete bullshit. The truth is, most artists like making music, and have zero knowledge or very naive application of that knowledge of music marketing. They have zero understanding of the business of music and zero motivation to learn about it. Importantly there is often a feeling of rejection of learning because that too makes you interested in selling out. Also complete bullshit. Between people who actually believe all the bullshit and the people they influence by shouting loudly, too many artists either wait in vein to be discovered, or they tinker around the edges with completely disjointed and isolated tactics. They then become even more bitter than they were, blaming an industry they never took the time to understand for their lack of success. Don’t get me wrong. They are defeated by ignorance and misinformation, and at least some of that is self-inflicted. This is not about fame, or the possibility of fame. It is simply about doing something with their music. I would not criticise someone for pursuing fame, but I would highlight the extremely small chance of success in becoming a top flight star. However, becoming a full-time artist is very possible, as is achieving a degree of fame. Fame is something that has had no appeal to me since I was pretty young, it’s not for me. I love playing, writing recording, having fans of my music, but the complete loss of privacy is no joke and I couldn’t live like that. My point is not to rant. A load of original music never gets a shout out because, the artists did very little to promote it, often didn’t so much release it as made it available, and they don’t leverage back catalog when making new releases. Indies have a lot of potential for power within the industry, but they do not work together, and numbers is one of their biggest potential strengths… and they completely squander that. They are overlooked by the public and by most radio stations, bloggers, reactors and influencers, because independent artists overlook them. They don’t give people a chance to notice their music and often do little but complain at being overlooked… which goes back entirely to the mindset of “being discovered”. The onus IS NOT on others to discover us. The onus is ENTIRELY ON US to put our music in a place where it cannot be avoided. The onus is also entirely on us, to do as much as we can to have people encounter our music in as favourable a way as possible. It is entirely on us that they remember us and our music, and it is entirely on us to motivate them to keep listening until they get our music and ar hungry for more. Simple. Collectively indies do far too little together, and virtually nothing for the good of the scene, the music environment and we shoot ourselves in the foot at every turn. Most independent artists run the industry down, they contribute to society’s devaluing of music and they blame everyone but themselves. Success for an artist varies in scale, but generally it takes years of concerted effort to achieve, and a lot of that is spent making mistakes and learning. Mindset is what undermines independent artists. Their own mindset as individuals. Our collective mindset is also important, and it no doubt has a major effect on the general attitude towards music and musicians, but success for our music? That is completely in our hands.
  5. It would be good to see you post some words along with your video... and I hope to see you reply to comments too. Support is a two way street
  6. hey Gang I was reading a post by @Shipreck (I hope you don't mind me quoting you here) where they mentioned how they felt about giving critique: "Critiques are hard, I do like receiving them and reviewing them. I do critique songs in my head all the time, but sharing them with the artist is hard. I don’t want to discourage anyone from being creative. This attitude makes everything come across as fluff and only positive notes. That being said, I’ll do best on giving a honest critique." I just wanted to pick up on this, without taking away from the critique topic it was in. For me, the answer is to offer constructive critique. It's not about saying positive things. It's about the intent and how that intent manifests. By that I mean, be honest, but try to be useful, so that your words are taken constructively because they are offered constructively. True it will not get around someone intent on taking your comments as a negative criticism. Members should not be here for back-patting. They should be here looking to improve their skills. They should be building confidence by improving those skills. As people offering critique, we can help build confidence in writers, yet again, by offering constructive critique. Critique is about a few simple steps: Observation Analysis Suggestion Discussion Out of interest, you can improve your own songwriting skills by exercising all 3 of these critique skills. Observation The ability to observe techniques, constructs, phrases, word choice, etc. objectively. Analysis The ability to deconstruct and understand a song, to understand the likely consequences of the choices made by the writer/composer Suggestion Offering alternatives (not pushing them), projecting them forward for likely impact, and comparing that with making no change. Discussion As it sounds, it is an opportunity for the writer and the reviewer(s) to chew over the various possibilities. They are, however the writer's decisions. Whatever your advice, whatever the reaction, walk away and leave it behind you. You might find this article of use too: Lyric Critique For Songwriters there's a whole bunch of useful articles here: Songwriting Articles One last point, it is always important to remember that: We offer opinions. We are not songwriting Gods, offering absolutes from on high. They are the writers. They have to live with the consequences of their decisions, we do not. In all honesty, by observing analyzing, suggesting, and discussing you have exercised your skills, and given them a good workout. At this point, you have no more skin in the game. Don't beat writers over the head with your opinion. The end stage is discussion. It is not "Give a speech". Having a framework for how you approach critique will help. Cheers John
  7. Hey Kristie, a big welcome to Songstuff. Dive in! Onwards and upwards!
  8. Hi and welcome to Songstuff! Good to have you aboard. I’m looking forward to a Kill Krypto video!
  9. Good luck with your release Mahesh! To everyone else, please support this release from Mahesh (and all others come to think of it!). He’s a hard working dude with a huge chunk of talent. Any support you can offer goes a long way
  10. Woot Kill Krypto! Cipher metal? 🙂
  11. Not perfect by any means, but will catch bigger issues, run your audio through a spectrum analyser and compare to a reference track at a similar stage of the song. Not a substitute for good ears, but better than sweet fa!
  12. Answering my own thread here (so someone else better chime in!)… I know that people tend to try and live in the fast-lane all the time now, and very few work with home built sample libraries… it’s a lost art, along with creating your own patches on your synth of choice. Still, it’s what I would suggest for the financially challenged (most of us). It’s so common now to try and solve diversity of sounds by buy new sound libraries. That is certainly faster, but also a shortcut to sounding like everyone else. Building your own sample library helps you create something unique. It also teaches you a lot about the nature of sound, and the capabilities of filters, envelopes and waveforms, and the pros and cons of different synthesis types, (AM, FM, Additive, Subtractive, Granular etc). Sure, Initially you might spend a day creating a single patch, but the more you do it, the faster it gets. Top Tip, you can use free VSTs and effects to help you have some source sounds. As an exercise, try selecting some target sounds you would like to have in your arsenal. Then try to recreate them using the sounds you actually have. It’s not fast, but a great way to learn about tech in general and your kit in particular. 🙂
  13. Maybe they are scared of self-actualisation. Maybe a lot believe in 2056 (Now I’ve set the timeframe!) and by talking about it they will make it real?
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