© D

iana Thornton

This publication will take you through the steps and discuss the different aspects of creating your CD from the point you are finished in the studio. It is full of answers to things you need to know - and a lot of questions you need to ask yourself.

The next stages of your project - mastering, design and printing/pressing - are all as important and technical as the recording. Don’t cut corners or try to skip steps. Your project will suffer for it and you will end up spending more money in the end. Think of your CD as a tattoo - it will be with you the rest of your life - you want to be proud of it and show it off.

You are entering a realm that was never meant to be handled by one person, let alone the artist. Record companies used to take care of the technical stuff, leaving the artist to do what he/she did best – create music. But today’s independent musician must also be promoter, art director, photographer, designer, manager, producer, shipping clerk, CPA, and sometimes even recording engineer. There is a reason these positions have a separate titles: each has its own set of skills, knowledge, and expertise. Even if you don't do everything, you still must coordinate things, so you need to educate yourself. You should understand the process, even if you are not actually doing the work. And you should know your limits and when to hire someone.

I wish I could assure you that your project will go perfectly, with no glitches, delays, or problems. We don’t live on that planet. Let’s be real here - stuff happens. The success of any project of this complexity depends on everything going smoothly. There are dozens of people and machines that will touch your project. There is always a possibility of one of these links in the chain failing. What can go wrong? Do you want the whole list or just the top 10? Graphics not finished in time because of missing info or not to spec and rejected by printer. Can't get mechanical license for one song and have to redo master. Recording engineer or lead singer gets the flu. Master not finished in time due to mixing problems. Master rejected by factory due to high error count. Master damaged in transit. Print materials have to be redone due to missed track name. Weather and natural disasters. Specialized packaging that needs to be hand packaged. Factory backed up due to Christmas rush. That's why knowing what can go wrong helps you avoid problems in the first place. When I worked with Sony, they had a 7-day production schedule that was made up of 6 days of planning, double checking and preparation, and one day of production. We can all take a lesson from them.

There are lots more articles on my site, or feel free to email me:

Diana Thornton - dvt@crescentmusic.com

Introduction

COMPLETE PACKAGES

CDs • DVDs • Blu-Ray FULL PACKAGES INCLUDE • Graphics - Professional, Creative and Personal • Printing - Commercial Offset printing • Manufacturing • FULL-COLOR Offset Disc Print • Packaging (jewelcases, Amaray boxes, Digipaks, etc.) • Barcode (CDs only, with design)

The Gulf South Region’s Premiere Resource forCD/DVD Design and Manufacturing

and Entertainment Industry services since 1997 Personal service • One-On-One consultations • Exceptional quality

I’ll walk you through it or take it from here.

Award-Winning DesignYour factory or mine

Questions you will need to answer

All manufacturers now require an IPR (Intellection Property Rights) form certifying that either you own all the rights to the songs or provide copies of mechanical licenses and clearances for any cover songs.

DO YOUR RESEARCH EARLY. It can take time to obtain licenses if you can’t get them via Harry Fox, and the factory may refuse your project without them.

?Quantity?

Manufactured or Shortrun?

Where will you store the discs?

Use - sell / promo

Budget

Where is the money coming from?

Schedule

Start graphics

Finished in studio

Mastering Date

CDs IN YOUR HANDS Date

CD Release Party Date

Have you checked whether your band name is taken already? Do this before putting out your album.

Who owns the copyrights of the original songs?

Who owns the arrangements? Are they copyrighted?

Who will own the sound recording (the master)?

Are you a member of BMI, ASCAP or SESAC?

Have you registered with Sound Exchange?

Packaging

• Packaging Style

• How many panels/pages?

• Include lyrics?

• Full-color throughout or black and white inside?

• Color of tray (clear, black, white)?

• Who will do your graphics?

• Who will manufacture your discs?

• Photographs / Artwork - Who will take or create your images? What media works best for your style?

• Color preferences

• Other CDs you would like to emulate (not copy).

• Genre

• Mood/Theme - happy, sad, angry, futuristic, sexy, funky, earthy, retro, nostalgic, romantic, Christian, colorful, clean, elegant, mellow, soft, bright, artsy, grunge, metallic, conservative, traditional....

Don’t book your release party until you have your CDs in-hand

and you’ve given them your stamp of approval. RUSH CHARGES ARE

EXPENSIVE. And things can happen to delay delivery, or, even worse,

they arrive with a problem.

Once you have your CDs in-hand, pick a release party date that

gives you plenty of time for promotion (between 4 and 12 weeks)

and doesn’t compete with other major events in your city.

• ORGANIZE YOURSELF

• Preliminary meeting/phone call to designer.

• Gather, write and edit parts for packaging.

• Meet with designer. Submit complete proofed liner notes, photos and design ideas to designer. Send everything together - avoid sending in dribs and drabs - emails can get lost or overlooked.

• Review first draft and give changes/feedback to designer.

• Review second draft

• Finish mixing and sequencing

• Research and obtain mechanical licenses for covered songs if applicable, and SR licenses for samples and loops used.

• Obtain ISRC codes

• Give final design changes and mastered song times to designer to finish design files.

• Mastering session. Verify reference copy of master.

• Review “final” proofs. Request additional changes OR APPROVE (additional charges will apply to any changes after this once you approve so review carefully)

• Submit master, IPR form, copies of licenses and releases, and final graphic files to factory.

• Review factory PDF proofs of artwork - approve or request changes (additional charges will apply).

• CDs are produced - usually 7-21 business days depending on packaging.

• Register songs with BMI or ASCAP. Register with Sound Exchange

• CDs ship - Allow 2-5 business days

• CDs arrive - check product!

• Schedule and promote CD release party.

• Copyright sound recording.

START EARLY!!

Don’t wait until your music is

finished in the studio to start

working on the graphics.

Project Checklist

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Design

Make it less about the product and more about the experience.

Design brings imagination and reality together.

Design communicates

Design motivates

Design is the expression of ideas.

Design connects with the reason for being.

Design has a goal.

Design tells a story.

Design communicates with metaphor, theme and symbolism.

Design links the musician and the listener.

Despite rising download numbers and decreasing CD sales overall, consumers still covet and appreciate the tactile experience of opening up a package and listening to a new album while flipping through a booklet of words and imagery that come from the artist, which then stay in the memory just as the music affixes itself to the moment.

A&R reps, DJs, and stores are more likely to take you seriously if your CD looks good. Professional design communicates a professional attitude towards your music. It says you are serious, you care what you look like as much as how you sound, and you have made the appropriate investment into your music on all fronts.

The role of packaging is three-fold: protect, inform, and communicate. Some packaging protects better. Others last longer and are more resistant to damage. Some packaging can incorporate more liner notes than others. And, ultimately, the packaging style you choose will effect how your audience feels about you and your music.

Designer Cedric Murac summed up CD design: “We should not design disc packaging as a ‘cover’ but instead as a ‘box’ in which sits material that supports the work of an artist. This box has several faces both inside and out and the goal is not simply to make a beautiful image to seduce the consumer, it is also to support the artists and give them a strong presence.”

Approach your design like you approach your music - with a symphony of

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Have you ever decided to purchase a CD solely because of the cover? Even in this digital age, many sales can still be attributed to the energy, style, essence or visual message captured in an image that attracts someone to take a chance.

The cover is often the first impression people have of your music, and it should reflect the theme and quality of the sound. It is the visual representation and an extension of your music. Album covers function not only to sell music, but to present the concepts and images behind and inside the music. It sets the mood and theme for the entire packaging.

While it’s true that browsing for CDs in stores is almost a thing of the past, cover images are still used to identify music on web sites, catalogs and at gigs. Can you imagine Jay Lenno introducing a band without a CD to hold up?

Sound creates mental imagery, and imagery affects how we perceive sound. While it will be different for each listener, the emotions music evokes are undeniable. The cover and packaging should capture that. You want to draw your listeners in. It should be an invitation, a tease, a temptation, an connection to a total experience.

Your cover should be distinctive and memorable, even bold and graphic. On the other hand, it must still function to inform. Don’t make people guess too much about what your music is about. And don't make them work to read the artist name and album title.

Look at other covers and ask yourself:Can you tell just from the cover what kind of music it is? Is the name of the artist clearly readable? Is it distinguishable from the title?Does it communicate something about the artist or the music?

Cover Design LayoutIf Design is like making music, layout is like reading music and hitting the right notes on the keyboard.

Layout is more about the technical aspects of manifesting the concept and design. It consists of typography, software and crop marks. It is not enough to have a great concept and an amazing design. If you can’t produce a printable file, it is worthless. Having the right tools and technical expertise is as critical as having creativity and vision.

Function over form

This is the final challenge - making the concept and design FUNCTIONAL & CORRECT. If you can’t read it, why bother? If the printer can't use the files or the factory can't fit the insert into the jewelcase....

It is the designer’s job to know the industry, the terminology and the standards. For example, the barcode has to be a certain size and always knocked out, the artist name is often best put at the top. They need to know that DJs want the times on the traycard - and, by the way, what a traycard is.

Designers must also be organized and efficient. Most projects are on a tight time schedule, and are composed of many pieces that must be compiled and organized. The designer’s job is to literally bring and keep it all together.

Don't let your design get in the way of function - don't make people

work to read it or navigate or find important information.

How will your cover look at 1 inch? Envision your cover reduced to a 50-pixel image on a digital music store site.

When to Stop TweakingWhen I conceived this booklet, I started with a bunch of articles I had written for my website based on frequently ask questions, and then started editing, rewriting and reworking. Three weeks later I ended up with almost 100 pages. I had over 20 years of knowledge and experience I was trying to impart. I kept rewriting, proofing, redesigning. I had to stop. I was obsessed. I was afraid I'd miss something - after all, this is supposed to showcase my knowledge and design skills. So, take a lesson, and let it go. (And if you find an error in this publication - please email me!)

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Your choice of packaging will be based on your genre, image, style, intended use, how much text and pictures you need to include, how much hands-on time and skill you have, how well and how long the disc needs to be protected, and, of course, budget.

Unfortunately, when you're doing small quantities on a small budget, you're limited to industry-standard packaging with smaller inserts or a handmade custom piece. Furthermore, the retailers and big labels have set the standards for the CD package to conform for transport, storage and display purposes. Even our home storage systems are often designed with standard formats in mind.

There are four classes of packaging:

UNPRINTED packaging includes paper envelopes, clear plastic envelopes, and clear vinyl envelopes. There are also plastic clam shells in various colors. These are great for small-run or low-budget projects. They usually do not protect the disc well, and leave little room for information.

JEWELCASES (also called jewel boxes) are still the standard packaging for CDs and can be assembled by machine quickly and cheaply. There are things you can do to make your jewelcase stand out from everyone else's. You can use a colored tray that compliments your design. Another fun thing is to use a clear tray and put something in it like beads or a stick of incense (by hand of course).

SLIMLINE CASES, about half the thickness of a jewelcase, are popular for promos. They are light, thin and save on printing costs because no traycard is used. They can still hold a 2- or 4-panel standard insert, but also look good with no paper parts at all. They also slide into a press kit nicely, and protect the disc well.

BOARD PRODUCTS - Packaging made mostly or completely of cardboard is classified as a "board product." They are often more expensive, take longer to produce and need to be hand assembled.

DIGI-style packaging come in 4, 6 and 8 panels. A booklet can be glued in or slipped into a slit or pocket if you need additional liner notes. You can add extra trays or hubs easily for multi-disc sets.

SLEEVES (jackets) and WALLETS are light and thin and a good solution for bands on tour. These are usually used for singles or special edition albums, but are becoming more mainstream as production costs have decreased. The CD slides into a pocket (which will scratch the CD over time) and can include an insert in a pocket or slit or even glued in. Wallets can have spines like a digipak for identification when stacked up but still about half the thickness of a jewelcase or Digi.

CUSTOM / ALTERNATIVE

This category is limitless. It can range from handmade packaging like brown paper bags to tin containers (remember the AOL mailings?) to fabric. These usually work best for limited runs or collector’s editions. They will almost always cost more, if not in money, in time. In this digital age, handmade packaging can make a great connection to the fans - they will often buy the CD even if they already downloaded the music - just to get the special packaging.

Packaging

D I G I P A K J E W E L C A S EMany people love how they look and feel. Some people hate them.

They are perceived as being more “eco-friendly” (which isn’t exactly true, however). Can’t be reused. Hard to recycle.

Most jewelcases contain at least some recycled plastic these days. You can also recycle and REUSE a jewelcase.

They automatically include full color inside because they are printed on one side and folded over.

Standard jewelcase inserts usually have black and white on the inside. Full color usually costs extra.

Digipaks get dinged easier and can’t be repaired. If the plastic hub in the tray breaks there is no way to replace it.

Yes, jewelcases do crack, but you can replace every part of them by cannibalizing another case.

Not water resistant. It’s ruined if it gets wet. Water resistant.

If the CD comes off the hub in a Digipak, the disc can slide out and become damaged easily.

The jewelcase snaps shut, so even if the disc pops off the hub, it isn’t going anywhere.

People think digipaks are lighter and thinner, but they’re really not.

About the same weight as a digipak.

You get less and pay more: You’d have to do a 6-panel digi to have as many panels as a 4-panel jewelcase insert for text.

A 4-panel insert in a jewelcase has 3 full panels for information after the cover and traycard.

If you need additional text, adding a booklet can be expensive because it is hand assembled.

Increasing the size of the insert is inexpensive and easy.

Digipaks usually take longer to produce. Can be produced very quickly.

You have to order at least 1000 to get a decent price. If you need a small reorder, you'll pay through the nose.

You can do smaller quantities at reasonable cost. Ideal for duplication.

You have to have them professionally printed. You can print them yourself.

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jewelcaseStandard with a black, white or clear tray.

Spice it up with colored trays.

slimlineHalf the thickness of a standard jewelcase,

but does not have a traycard or spines. The tray forms the back of the case. Can

take a standard insert. Usually used for promos or preview releases. Fits better in

press kits and still protects the disc.

sleeve / jacketA cardboard jacket like a small LP jacket. Usually used for promos or preview releases.

walletA cardboard jacket that folds in half (or more folds). The disc slips into a pocket. Great for touring - can pack

more with less weight.

digihubA cardboard case with a small hub glued onto it. No plastic tray.

digipakA cardboard case with a plastic tray glued onto it. Becoming quite popular. Usually take longer and cost more.

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Insert / Booklet / InsideRequired / Important• Copyright notice• Contact information: address,

email, website. Remember that your CD will probably outlive your current phone number or email address.

• Recording info: studio and engineer

• Producer, even if it’s self produced

• Executive Producer• Musicians and Singers• Photo / Art credits - Don’t forget

to identify people in the photos. You might need to get permission to use a professional photograph (get a signed release).

• Courtesy credits (signed artist)• Mastering engineer and company• Graphic design• Song Information (writer,

copyright, publishing, BMI/ASCAP)

Optional• Artist/Band Bio• Lyrics• Song background/history• Logos (publishing, record label)• Thank you’s• Dedication• band photos• Also available from artist ...

(past albums)• Ordering information• Quote about the artist/band

Traycard / BackRequired / Important• Song Titles with times

(minutes:seconds)• Barcode• Copyright notice• Artist name• Album title • Contact Information• Release/Catalog number

Optional• songwriter names• producer• description• record label logo• “Stock in” category• Featured artists

Disc FaceRequired• Artist and Title• Copyright and publishing info• Contact Info• Release / Catalog number

Optional (but highly recommended)• Song titles/times (DJ’s like to

have them on the CD in case the CD gets separated from its case)

• Record label Logos• CD / DVD format logo

Liner Notes Checklist

Consider putting your lyrics and long band bios on your website.

This gives you an opportunity to gather email addresses.

General Rule of Thumb: Don't try to make it look pretty in Word. That's your designer's job, and can even make it harder to clean out your formatting codes.

DO format bolds and italics.

Use a SINGLE SPACE after punctuation. Double spacing after periods went out with the typewriter.

Don’t double enter between paragraphs. DO hit Enter a few extra times between sections.

Don’t use a tab to indent paragraphs.

Don’t use spaces in place of tabs. Layout programs automatically indents paragraphs, I have to remove your tabs.

Don't format tables or multi column lists: Type in a single column and then note that you want it in columns. If you tab over for a new column, I literally have to cut and paste the text out of that because it doesn’t flow the same in my program. Very time consuming and can lead to things ending up in the wrong order.

DO insert instructions such as “for traycard” or “put band photo near this” to guide me.

DO mention items not included that you plan submit later so that I know to leave space (ex. “Thank you’s - 2 to 3 short paragraphs - to come by Friday”).

FILE FORMATS: I prefer Microsoft Word, RTF, or TXT, or you can email your text. Avoid Wordperfect. Do not use Publisher or other layout program (unless its Indesign)

Handwritten or paper printouts may incur additional input charges and will create higher potential for errors.

Spell Check and Proofread BEFORE submitting file. See page 26.

Submit all text in a single file if possible. Don’t send things in many different emails - this can lead to something being missed. It also makes it difficult to see an overview of how much text there really is.

Preparing Your Text

DON’T USE ALL CAPITAL

LETTERS. USE ALL CAPS

ONLY TO EMPHASIZE

IMPORTANT WORDS.

ENTIRE SENTENCES OR

PARAGRAPHS IN ALL CAPS

ARE TOO HARD TO READ,

TAKES UP MORE ROOM,

AND CAN BE INTERPRETED

AS "YELLING" AT YOUR

AUDIENCE

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A barcode, or UPC code, is essential if you're planning to sell your CDs in stores or online. Each product has a unique 12-digit number encoded in the bars, which are scanned upon purchase to track inventory and sales.

Getting a barcodeI can provide you with a UPC barcode number free of charge when I do your design. This UPC will be unique to your project, but will not be registered to you. This is quite adequate and appropriate if you are just releasing a few records. However, if you are trying to run a real record label, and intend on releasing many records over time, then you will need to invest in your own barcode.

To purchase your own barcode, you must join the Uniform Code Council: www.uc-council.org. The current price is $750.

SoundscanNielsen SoundScan collects weekly sales data from 14,000+ retail outlets in the U.S. and Canada, which are published on their site and in the Billboard charts. If you receive a barcode from Crescent Music Services or other manufacturer and you want your release tracked by SoundScan, you will need to change the barcode registration to you as a “sub-label.” To do this, download the form from www.soundscan.com. You can also subscribe to SoundScan’s reporting service for a fee. CDs sold at gigs or from small stores do not get tracked by Soundscan.

Anatomy of a BarcodeReading from left to right, 12 total numbers:

Digits 1-6: your company ID number assigned by the UCC. Digits 7-10: release number, assigned by you. Digit 11: “configuration” digit (2 = CD, 4 = cassette, 1 = vinyl LP, etc.). Digit 12: check digit, formulated by the computer when the barcode is generated. This is used by the scanner to confirm that it read the barcode correctly. Read about the secret formula on my site: www.crescentmusic.com. Search for "barcode secret"

CD / DVD LogosYou do not have to include the disc logo on your

disc if you don't want to. The compact disc logo is

actually owned by Philips Electronics N.V. The DVD

logo is controlled by the DVD Format/Logo Licensing

Corporation of Japan. If you do include the logo,

then you must follow specific rules regarding size,

shape and color. I highly recommend including DVD

logos since they can easily be mistaken for CDs.

BARCODES

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What is a Release Number and why do I need one?

A release number, also known as matrix number or catalog number, is an identification number for your album. It is used by record stores and online retailers as an inventory number. The factory also uses it to track the various pieces of your project through the production process.

The number usually consists of a combination of up letters and numbers (such as CD1001), which can be picked by you and based on any combination of letters or numbers - your band name, artist’s name, special dates or numbers, etc.

I recommend choosing a few letters that relate to you, your band name, publishing company, etc. And then a few numbers such as the year, 001 for the first, or the last few numbers of your barcode.

If your music is released in several formats (CD, vinyl, etc.), you would use the same release number for each format, and append a configuration digit to your release number: -2 for CDs, -1 for vinyl (example: XYZ346-2). This is the same code system used for the UPC barcode.

Photography / Artwork

Photography / ArtworkImages can be incredibly

powerful and compelling tools

of communication, conveying

not just information but also

moods and emotions, even

entire stories.

The best images keep on giving.

A face with every year etched

on it and eyes that look deep

into your soul. An abstract

painting that embodies the

energy of the music. A pencil

sketch capturing a moment

in time. Even something as

simple as a black symbol in the

middle of a stark white field can

provoke thought and emotion.

IMAGES can affect the

way people perceive your

music before they even hear

it. Your images should tell

a story - even if it is “just”

a band photo. What does

it say about YOU besides

what you look like? Does it

describe the music? Does it

capture your personality?

How does it tie in to your

music? Can you hear your

music when you see the

image? Ask others what they

visualize when they hear

your music.

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When shooting your photos or drawing your art, consider the following:

The shape of a CD cover is SQUARE, not a rectangle (although, the Digipak and the traycard are slightly wider). And the disc is donut shaped. Not every picture works on that shape.

How will your image translate to tiny? Remember that your cover will often be viewed at 1-inch square online and in catalogs - will it still be recognizable. Even photos inside are usually only a few inches across.

You will need room for your title and band name and other important cover text over or around the cover image.

Allow for up to a 1/4 inch to be CUT OFF around the outside of the image (it’s called Bleed) if you want your photo to go to the edge of the paper

High contrast, colorful images work best for covers.

What will it look like in black and white? Some colors look the same in greyscale.

COPYRIGHT: You must have the right to use and reproduce the images you include in your packaging. Do not use copyrighted materials from artists, photographers, or other authors of original works without written permission and a release. Be careful about images from the internet, even stock photo sites.

Graphic file formats

TIF: Best. Images should be provided either as RGB/CMYK or greyscale at 300 PPI or more at 100% of the size it will be used.

A 5-inch CMYK TIF file at 350 PPI should be about 8.6 megabytes. If it isn’t, there is something wrong.

JPG: OK. If you must provide JPG, save with the least compression and as largest file size possible to avoid degradation.

Do not open and resave a JPG multiple times - every time you do, it degrades the image. If you must resave, save as a TIF first and use that file to edit.

PSD or AI - Dont flatten. Illustrator files should have text converted to curves. Photoshop files can be sent as is.

PDF - These are problematic. They are usually fine, but if it was not saved properly to begin with, I won't be able to do much about it. Use at least "press quality" or PDF/A-1 to ensure image quality.

Digital cameras should be set to the highest uncompressed format your camera has. Avoid cameras under 2.5 megapixels.

Don’t place images in a Word file.

Don't pull images from the web.

GIF or PICT - DON’T BOTHER.

Hold a photography

planning meeting with your

band. Don’t wait until the day of the shoot

to talk about what everyone thinks the photo should be like.

Try radically different concepts - including something that does not show your face on the cover. Get crazy with your poses. Let your personality come out. Try different angles off frontal - some slightly off, some drastically off. Have fun.

Pay attention to what you’re WEARING. Avoid tiny prints. Check with each other so you don’t clash. Do you blend into the background?

Use makeup!

Double chin? Turn your head to the side about 30 degrees.

Take many many many pictures, back to back. Like at a football game. Click click click. This is particularly helpful with group shots to get the best look on everyone’s faces and everyone’s eyes open. Some cameras have a "continuous" mode.

Unless your album is a concert recording, avoid live concert pics for the cover.

Avoid banners and signs in your shot.

Look around for things to eliminate or tidy up in your scene. Pick up stray papers, arrange curtains, dust the piano, pick up your underwear. Outside, watch for trash and other things in your scene that you might not notice until you're looking at proofs.

LIGHTING: Avoid using flash - natural lighting is better, even if it is an extra light brought into the room.

Pay attention to time of day and angle of sun. How does it interact with objects in the scene, the background or reflections on people's glasses, car windows, mirrors. Fill flash is helpful if you have a bright background.

To produce a dramatic effect, light from the side.

Try bouncing your flash or a light off a ceiling or wall.

Use something white (poster board, for example) to reflect light onto the darkened side of the face.

Overcast days can complement skin tones and help keep eyes wide open.

DIY Photography tips

continued on next page

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Image

CopyrightsIf you hire a photographer or

artist, get an “unlimited license

release” (also called "repro

rights") to use the image(s)

for anything you want without

further payment or permission,

forever. Clear this BEFORE

hiring the photographer or

commissioning the painting.

Photos and artwork are covered

by the same copyright laws that

protect musical works. This

means that the photographer or

artist retains the copyrights to

his or her work - that includes

the film, digital files and the

right to say how those images

will be reproduced - unless

you work out a different

arrangement. So, before using

an image, be sure to get a very

clear license that details what

the image can (and cannot)

be used for, and for how long.

Ideally, you want to purchase all

rights forever.

!Hiring a

photographer or artistIt is worth the investment - a pro will make you look like a pro.

Ask to see their portfolio. Is their style a match with yours. Do they have an “eye?” Did they capture the essence of their subjects? Do you like their stuff?

Do they have experience in the music industry? Just because someone is a good photographer doesn’t mean they can take a great band shot.

Ask them for a price - and a price list for all those "extras."

Ask if you get all photos shot, or just the ones you pick out from contact sheets?

Ask how long it will take for you to get the images after the shoot.

Try to have a preshoot meeting with the photographer to go over ideas, concepts and locations.

Don’t pay in full up front. Prints and/or a CD of photos should be paid for upon delivery.

Finding a photographer or artist:The local grapevine or word-of-mouth is usually the best method. Ask around and contact other bands or their management. Local colleges or universities may also be a good source for finding an inexpensive photographer, although with less experience.

Need a basic background? Stretch an ironed sheet and illuminate with a cheap shop light. Shine the light from the front for bright crisp feel. From the back for a dramatic glow.

Angle your instruments slightly away from the camera to avoid reflections.

Avoid posing people within 5 feet of a wall because of the shadows that will result (unless you want those shadows for effect). Try angling about 5-10 degrees off perpendicular instead of straight on the wall.

Be aware of your background. Avoid mirrors. If you cannot avoid reflective objects, position yourself with at least a 30 degree angle to avoid the reflection.

Avoid alcohol or tobacco in your photos. Some newspapers and magazines may not print them.

Stock photos: If you need an image you simply can’t create you can check online stock photo sites. Check my website for some of my favorite stock photo sites (search for "stock")

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Working with a designer

A good designer is part technician, part artist and part psychic. They must be creative but technically proficient. They must tap into your vision, and then make it happen - on time.

Choosing a designerYou want someone you can communicate well with. Someone who will listen to what you want, and can make it happen. Yet someone who will make suggestions and guide you. You also want someone who knows what they're doing, and how to design a CD!

Web vs. print designersDesigning for the web and for print are completely different animals. Very few designers can do both well. That doesn't mean they are a bad designer. Choosing a designer is like hiring a doctor - you wouldn't go to a brain surgeon to cure your cancer or fill a cavity in your tooth. Personally, I am not a good web designer. My forté is print design, with special experience in CD packaging and music industry design.

COMMUNICATING WITH YOUR DESIGNER

Tell them:• when you need final files• what you will be providing• where they can get the correct

templates and specs. Be sure they communicate directly with your manufacturer. Every factory has its own templates and even the slightest variation can stop your project in its tracks and cost you more money.

• exactly what specs you need (how many panels, etc.)

• ideas of what you want (show examples)

• what you DON'T want.

Ask them:• how you should provide

materials to them• when you can expect a first draft

after you give them all the materials.

Remember to request jpgs (high and low resolution) of your final

cover to use for your website and marketing materials.

If the cost of hiring a designer is making you cringe,

think about it this way: if a typical 4-panel design costs

$490, and you order 1000 units for your first order, isn’t

49 cents each worth investing in making it look great?

49¢Please visit my portfolio: www.crescentmusic.com

How I work:

I approach every project as a unique creation with its own style, its own mes-sage, its own soul – namely yours.

Preplanning, preproofing and coordina-tion on your end will keep things moving smoothly and avoid additional charges and delays.

First Meeting: Discuss concept, sched-ule, review your materials, discuss and look at images, colors and fonts.

Most of my clients come to me with a concept in mind. Others have no idea and ask me to come up with something. Don’t worry if you don’t have an idea of what the cover and insert should be. I’ll help you with that. If you have samples of other inserts or images you like, show them to me and I’ll use that as a guide.

I will ask you to provide me with all, or at least most of the materials (text and images) to start the process. If you are still gathering or deciding on a lot of stuff (especially the cover image), it is usually better to wait to submit when you have most of it.

YOU: Provide me with content. Send me FINAL proofed text only, preferably in a single email or file. Be sure all people involved have had a chance to review

everything before submitting. To avoid confusion, only one person should sub-mit text and changes.

ME: I will place, format and design the text and images you give me into the templates and then email you a Proof. If I’m still working out the concept, sometimes I will send you a preliminary “Rough Draft” of one or more concepts to allow you to see the direction I’m go-ing and get your feedback.

YOU: Review the proofs and email me your feedback and changes.

ME: I will make the requested changes and email you Proof 2.

YOU: Review for more changes (hope-fully only few by now).

ME: I will make the final changes and send you your Final Proof.

YOU: Review final proof. All author al-terations should have been caught by now. If everything is good to go, email me your “approval to go to print.”

ME: Once I receive your approval I will generate production files for printing (called "Prepress") and send them to the printer. This is when all the techni-cal production stuff happens to the files (bleeds, crop marks, imposition).

Changes and additional proofs not due to my error after this point will usually incur additional charges.

Design Process

Walkthrough

2524

Aoccdrnig to a rscheearch at an Elingsh

uinervtisy, it deosn’t mttaer in waht oredr

the ltteers in a wrod are, the olny iprmoetnt

tihng is taht frist and lsat ltteer is at the

rghit pclae. The rset can be a toatl mses and

you can sitll raed it wouthit porbelm. Tihs

is bcuseae we do not raed ervey lteter by

itslef but the wrod as a wlohe.

• Spelling and punctuation

• Grammar

• Dates

• Names are spelled correctly

• Fonts

• Fonts and color are consistent

• Text is legible

• Pay extra attention to special symbols.

• Images are correctly cropped and placed, and identified correctly in captions

• Song titles correctly spelled, punctuated and capitalized.

• Song titles are consistent in the different places they are listed

• SONG ORDER AND TIMES MATCH THE MASTER SUPPLIED.

• Song order for lyric section matches song order for master and traycard.

• Spine info is correct and the same as on disc and cover.

• Barcode number is correct (if applicable).

• No missing elements.

• Look for extra spaces and double punctuation in text.

• No text is missing because of text shifting on page (look at the end of each text section). This often happens during later proofs as text changes can shift text on other pages

• Contact address, phone, email, web address

• All facts are correct.

• Pages or panels in the correct order

• The mock up is correct regarding folds and panel placement.

• Latest changes were made correctly.

Proofing Checklist

The most common and most frustrating problems I encounter with CD projects are typographic errors and omissions by the artist. Please use this proofing checklist to try to avoid as many errors as possible, ideally before even submitting your text to the designer. Some of these things may seem obvious, but when you get to the design stage and you’re tired from long hours in the studio, or late for an appointment, it’s easy to miss things.

• Mark corrections with a red pen.

• Don’t take anything for granted.

• Don’t rely on your spell checker.

• Don’t assume anything.

• Do not expect your designer to be your editor. Most designers do not read what they are laying out. You are ultimately responsible for making sure everything is right.

• Print out a copy - don't proof only from the computer screen. Proof from both - you'll see things on the screen that you won't notice on paper and vise versa.

• Proof somewhere quiet where you won’t be distracted.

• Scan for specific problems, such as mixing up the spelling of there, their and they're.

• Read out loud.

• Get someone else not directly involved in your project to proofread. Many errors are missed because you already know what it’s supposed to say and you actually read missing words and typos correctly.

• There is a rule of thumb in the business about proofreading your own work - don’t.

• Have several people proof. Ideally, from a single printout so that all changes are made on the same proof and all your proofers can see what the other proofers have caught.

• Read through in different page/section orders - start from the back, for example, or read from the bottom up.

• Slow down.

Proofs and proofing

A few thoughts about perfectionIs your music perfect? I hope not. I hope it is a quirky unique combination of personality, emotion and beauty that changes every time you play it. How boring it would be if every note was perfect. Sure, you want to avoid mistakes, but your packaging is an extension of your music and the creative process. So it’s not the end of the world if you misspell a word or if the blue you chose prints a little more purple. Remember, your fans won’t care and will still buy the album, warts and all. All the best and biggest bands in the world have released albums with mistakes and printing issues. If it's that objectionable, you can always fix it on the reorder. Otherwise, it's what makes your CD special. 2726

MasteringAfter you have completed your recording and mixing, you should master your music - the final step just before manufacturing. This is your last chance to make adjustments before pressing. Professional mastering not only prepares your master for the factory - it is an art. The mastering engineer polishes it, fine tunes it, puts the icing on the cake. He gives your music depth, punch, shine, continuity, volume and clarity. He balances everything out to provide a cohesive listening experience from beginning to end.

I recommend that you go to an outside source for your mastering, to someone with a fresh ear and different experience and equipment who may hear something in your music. And sometimes they will discover problems with your music you never even realized. I had a client who took his mix-down CD to a mastering engineer who informed him it was in MONO!

Master checklistListen to your REFERENCE COPY. Not your Production Master. If possible, listen from start to finish, in one sitting IN A QUIET ROOM.

Check for:• tracks are in the right order (sequenced) • All tracks are included.• there are no pops or clicks• tracks are spaced correctly• ISRC codes are included and correct• PQ Code sheet• Give it to someone with “fresh” ears to listen to it.• Listen with headphones and on different players (home stereo, car, etc.)

Remember: The factory will not listen to the content of your disc for issues. It is your responsibility.

Mastering Engineer: An Aural Enhancement Specialist.

Request multiple production masters

- Three or four is good - 2 to send to

the factory, 1 to keep and 1 to put

somewhere safe. Be sure to make

reference copies directly from each

master to listen to.

Request several REFERENCE COPIES so

you can distribute them to whomever

needs to listen to it. A Reference Copy is

made directly from your first generation

production master (PMCD). Listen to

the reference copy so that you are not

handling the production master. If the

reference master is OK, then you know

the production master is too. It’s often a

good idea to listen with headphones and

on different players. Never play on the

same computer you burned it on.

HANDLING, LABELING AND PACKAGING YOUR MASTER

Package your master in a jewel case, NOT a paper sleeve. Then wrap in bubble wrap and put into a box, not a mailing envelope.

Send by trackable carrier (Fedex, UPS).

Do not send your ONLY COPY. The master may not get returned, or could get lost in transit or damaged.

Store in a cool, dry place out of direct sunlight.

Mark Artist and Title with Soft China (wax) markers or a water-based felt tip pen designed for CDs (not a Sharpie) inside the clear center.

DO NOT USE A STICKY LABEL!!!!!

2928

ISRC codesInternational Standard Recording Codes

This is a permanent and unique electronic ID code for EACH TRACK. This is NOT the barcode from the CD. It is tied to each track, and remains attached, even if the track is extracted from the original medium. In addition, the ISRC remains connected to that track regardless of changes in ownership. It is key for royalty collection, administration, and anti-piracy. Radio stations with automated play systems use the ISRC codes to produce a royalties report.

Applying for an ISRC code: Visit www.riaa.com. The company (registrant) code costs $75 right now, but this is good forever for an unlimited number of tracks. Ideally, your mastering engineer will encode your master. If you cannot add the codes to the master for some reason, the factory can usually encode them if you provide them with the codes and instructions to add ISRC codes.

Assigning your ISRC Track Codes:

Once you receive your Registrant's Code from the RIAA, YOU will assign each track a code. It’s your responsibility to keep track of your codes.

Every track's code is unique in any one year. The easiest method to use a sequential numbering scheme: US-Z9A-05-00001, US-Z9A-05-00002, etc. The next year you just restart the sequence, since your year code will be different.You can also assign ISRCs to music videos. The RIAA recommends assigning video ISRCs with a track code that starts with a “9” (US-Z9A-05-90001).

If you re-release or license a track, you will keep the ISRC that you originally assigned. A different recording of the same tune, for example, a live version or different recording session, would be considered a new track and you would assign a NEW ISRC.

See the ISRC Handbook at www.ifpi.org for more on assigning ISRCs.

If you are going to sell

your music, you need

ISRC codes.

Get your ISRC codes before

mastering - the engineer

will encode the disc. How do I get my tracks to show up on computers?

CD Text: This is NOT the track info you see when you play a CD on a computer - see the section on CDDB below. CD Text encodes the artist, CD title, track names, etc. onto a CD like a table of contents. It can only be read in players that support CD text (usually in cars or multi-disc carousels) and usually have an LCD display which scrolls the song info while it is playing each track.

CDDB (CD Database)When a music CD is inserted into a computer connected to the internet, your media player application (like Itunes) goes online and, based on the sequence and length of the tunes on the disc, it retrieves the best matching album, artist, track information, and even album cover with the same structure from a central database. One of the most popular, CDDB, is an online database service from Gracenote. This method isn't foolproof. Occasionally you may see album information from the wrong CD and you have to manually tell it which CD is in the drive. For individual tracks, Gracenote generates a “fingerprint” of a portion of the music file, and thereafter identifies the track with that section.

This information is then stored on your computer for the next time you play that CD. It is NOT encoded on your disc.

Believe it or not, the track information can come from anyone: the record label, the artist, or even a fan. Whoever uploads the info first. When someone puts the CD into their computer, if their media player doesn't find it in the database, the program should ask the user to enter the album and track information and then uploads it to the online database for others to then download when they play their copy of the CD.

You can submit your own CD track information directly to Gracenote.com as a "content partner" or just wait until your first fan puts in their CD and enters the information for you (correctly you hope!).

To learn more about CDDB, visit www.gracenote.com. Other databases include Freedb (www.freedb.org) and MUZE (www.muze.com).

Anatomy of the ISRC

US- G34- 04- 24385

Country Code Registrant Code Year Track Code

3130

Mechanical LicensesRecording someone else’s song (Covers)If you are recording someone else’s copyrighted composition, you need to get a mechanical (“compulsory”) license in writing. It cannot be denied to anybody who wants to record a song as long as it’s been recorded once. This is different than the Master Use or Performance or Synchronization license for which you must obtain permission and negotiate rates.

Mechanical licenses currently cover the release of a song via CD and digital download only. Other uses, such as streaming, conditional downloads, require a separate license from the publisher. It’s rather complicated right now.

Unless you are creating recordings that are covered under the "fair use" section of the U.S. Copyright Act, you must obtain licenses for your cover song recordings EVEN IF YOU ARE GIVING THEM AWAY!

What is Fair Use? This includes uses for educational purposes and for criticism or commentary (reviews in newspapers, for example.) Fair use does NOT include small quantity recordings or charity or religious organizations; nor does it exempt recordings you are distributing without charge (demos). Section 107 of the U.S. Copyright Act outlines fair uses of a copyrighted work.

1. Find out who owns the copyright.Where to look:

• Harry Fox’s Songfile (www.harryfox.com)

• Copyright Office database (www.copyright.gov)

• BMI (www.bmi.com)

• ASCAP (www.ascap.com)

• SESAC (www.sesac.com)

Be careful to identify the correct song by the right writer(s), as there are many songs with the same names (because you can’t copyright a title). For example, if you search Harry Fox for “Happy Birthday” (the one we typically think of is a copyrighted song, by the way), you’ll find 100 different songs named "Happy Birthday" by different writers. This is because you cannot copyright a title.

If you cannot find the copyright owner after a thorough search, you can send a "letter of intent" to the Copyright Office. See the Copyright Office website for more about this.

Once you know who owns the copyright, your next step is to:

2. Obtain Mechanical LicenseThere are two common methods:

Method #1: Directly from the publisher/copyright owner.

Publishers that handle their own mechanical licenses often make the request process available at their websites now. Otherwise, send them a request letter. You can sometimes negotiate the license rate or even get it for free. You can often obtain a publisher’s contact info from the “song indexing” departments at ASCAP and BMI. However, many publishers only license through Harry Fox (see Method #2 below).

If you know the copyright owner personally (a friend of yours, for example), you can write up a basic mechanical license between you and sign. I suggest you consult an entertainment attorney who can draw one up in a flash.

Method #2: The Harry Fox Agency

The Harry Fox Agency SONGFILE currently issues mechanical licenses online for up to 2500 physical recordings and digital downloads ("digital phonorecord deliveries" or “DPDs”) for many publishers (but not all). They do charge a fee but it’s small compared to the time and energy to do it directly. And you’ll have your mechanical license almost immediately.

If you are pressing more than 2500 units of product or downloads, you’ll have to set up a Harry Fox Agency "Licensee Account."

Caution: Songfile license fees are non-refundable, so don’t license until you are sure how many units you’re going to press or if you’re even going to include the song on your CD.

If you cannot find a particular piece of music listed on the HFA website, you must contact the publisher directly to request a license (Method #1).

If you are a nonprofit group, the Volunteer Lawyers for the Arts (215) 545-3385 may be able to help negotiate reduced royalties.

Statutory RatesAs of January 1, 2006 the statutory

mechanical rate is as follows:

9.1 Cents for songs 5 minutes or less

+ 1.75 Cents per minute or fraction thereof over 5 minutes.

3332 !All manufacturers now require an IPR (Intellection Property Rights) form

certifying that either you own all the rights to the songs or provide copies of

mechanical licenses and clearances for any cover songs.

DO YOUR RESEARCH EARLY. It can take time to obtain licenses if you can’t get

them via Harry Fox, and the factory may refuse your project without them.

©Public DomainDo not assume that an old piece of music is in the public domain. While the song may be in public domain, the particular arrangement you chose may copyrighted and the song will still need to be licensed. So pay attention to any notation about “arranged by” or “edited by.”

Public Domain rules of thumb:

Any piece published in 1922 or earlier is in the public domain in the USA.

Public domain status must be verified separately for each country where the music is used. Music enters the public domain 70 years after the death of the

author in most countries other than USA. However, copyright protection may be 95 years from publication date, 50-70 years after the death of the last surviving author, or other criteria depending on where

the work was first published and how the work is to be used.

And one more catch, due to a change in the public domain law (the Sonny Bono Copyright Term Extension Act of 1998 - I kid you not), no new works will enter the public domain until January 1, 2019.

BMI ASCAP Performing Rights organizations such as BMI and ASCAP (SOCAN in Canada)

collect and pay out the royalties for music used on radio, TV, film and live

performances. Radio and TV stations can actually refuse to play music that

does not list a performing rights affiliation, since part of their licensing

agreement with the FCC (CRTC in Canada) requires that they pay royalties

for all music that they broadcast. If you want to collect royalties for public

performance of your music, join one of these organizations and list them

in your author/publisher credits on your CD cover to serve notice to those

playing your music.

BMI www.bmi.com, ASCAP www.ascap.com. SESAC is by invitation only.

How to choose? To join ASCAP as both a writer or publisher is free. To join BMI

as a writer is also free, but to join as a publisher it currently costs $150 if you

are an individual or $250 if you are a partnership, LLC, or a Corporation. If you

write and publish your own songs, you WILL want to join as a publisher also,

since that is half the royalties!

Sound ExchangeThey're like BMI and ASCAP except they collect and distribute digital royalties

for performances on cable and satellite television music, internet and satellite

radio. If you've played on an album or own master rights, REGISTER TODAY

(free) and see if you have some money coming to you.

www.soundexchange.com

Remember to register your own original songs

and CD with BMI/ASCAP and Sound Exchange.

File “title registration” forms for each of your

original songs appearing on albums.

Copyright Notices Use the correct copyright information for all of the songs in your insert. This should include the writers, publisher name and the publisher’s performing rights society (i.e., ASCAP, BMI, etc.), the arranger, year written. Much of this technical publisher information can be placed separately in a less conspicuous section of your notes.

CopyrightYour copyright is the deed to your music. Go to the U.S. Library of Congress website www.copyright.gov for copyright forms.

Form PA copyrights the lyrics and melody for each of your original songs on the record, including your arrangements (you can even copyright arrangements of songs other people wrote).

Form SR is for copyrighting the CD (the sound recording). The Library of Congress requires an actual printed and pressed disc from the manufactured lot. This is the circle P copyright on the disc.

Form VA is for the artwork or images (if you own the artwork and want to copyright it).

There is no such thing as an

“international copyright.” You must

research and comply with the copyright

laws of each country where you sell your

music or lyrics written by someone else.

3534

Duplication versus ReplicationCDs and DVDs can be reproduced either by Replication (Manufactured) or Duplication (Short Runs). There are advantages and disadvantages to each method, and reasons to choose one over the other.

The primary considerations are usually quantity and how fast you need them. Smaller runs (less than 500) are usually duplicated, while larger runs are usually replicated. Secondary considerations include budget, print quality, durability, and compatibility.

THERE IS NO DIFFERENCE BETWEEN THE DATA OR MUSIC ON A DUPLICATED AND A REPLICATED DISC. Also, production methods are the same for music, data or video.

Production Method Decision ChartDuplicated / Short Run / On Demand

Replicated / Manufactured / Pressed

Production Method

Burned (copied) Pressed (cloned)

Production Time

1-5 days 2-4 weeks

Quantity No minimum 1000 minimum (for best price)

Best Use

Promo, Emergency, Custom, Market Testing, As Needed, Small Quantities

Retail/Commercial, Mass Distribution, Large Quantities.

Cost per disc $1.00 - $6.00 .50 - $2.50

Sound Quality Excellent Excellent

Durability

Recordable CDRs and DVDRs are more easily damaged than manufactured discs. They are less tolerant of extreme temperatures and sunlight.

Whether burned or pressed discs last longer is difficult to answer. It is likely that, with proper care and storage, both will survive longer than we will, and much longer than current technology.

If you choose Duplication

While I almost always recommend pressed discs, there are excellent reasons to choose duplicated CDs over pressed. Obviously, if you only need a few, duplication is the only way to go. Demos, promos and other situations where you only need a few quickly are natural uses for this process.

There are two critical factors you need to consider when choosing duplicated discs:

Media - The media you choose will make all the difference down the road as to whether your music is still around in 10 years and how many unhappy fans you get because their CDs don’t play. Choose a high quality brand or check what brand the duplication company uses. Taiyo Yuden is considered the top of the line for professional duplication.

Disc Printing - Duplicated discs are usually printed using either thermal or ink jet.

Thermal - BEST - heat is used to bond the image to the CD. Will not smear or fade. New technology allows for full-color printing that is brilliant and permanent.

Ink jet - similar to ink jet printing on paper, water soluble ink is sprayed onto the surface of the CD. Can smear and fade over time, but prints full color images nicely. AVOID.

Adhesive labels - DON'T! If you misalign the label or you don’t smooth the label down, then you risk having your CDR spin out of balance in the player. This could cause readback and tracking problems or even damage the drive. Any duplication company that uses paper labels should be avoided like the plague.

Why I don’t recommend manufactured quantities less than 1000.

Think of it this way:

You’re a band and a club

owner wants to hire you

to perform. He offers you

$50 per song. You and your

4 other band members

rehearse, drive there,

set up, tune up. Then the

owner then says, “OK,

just play one song.” That

wouldn’t be worth it,

would it? It’s the same with

manufacturing - they simply

can’t make any money on

quantities less than 1000

because the same amount

of setup goes into a run of

500 as it does for a run of a

million.

3736

ShippingParts of your project will be in the hands of shipping companies and couriers several times throughout the course of your project.

Pricing your CDRetail price for a full CD should be between $11.98 and $14.98. Most people will pay more if they are buying directly from the artist, especially if it's signed. Don't underprice it either. Look on CDBaby and see what others in your genre are charging. Don't look at Amazon since they routinely knock prices down.

How many songs should I include on my CD? Full CD: 12 to 15 tracks. EP: 4 tracks Demo 1-3 tracks. Single: 1 track. Don't expect to sell an EP or single for very much, if anything at all.

FAQs Will 1000 CDs fit in my car?1000 CDs in jewelcases or digipaks are

usually packed into 9 boxes of about

120 units each (4 smaller 30-unit boxes

inside), weighing about 26 pounds each

for a total shipment weight of about 250

pounds. CDs in wallets or slimlines will

take about half the space.

What does 10% over/under mean? In most printing and manufacturing

processes extra units are usually

produced to allow for quality control. For

example, sometimes inserts or traycards

are damaged in the packaging process.

Or the shrinkwrap does not seal properly.

Once quality control has culled the

rejects, your final total quantity might

vary slightly. Industry standard allows for

no less or more than 10%. You pay for the

exact number of discs received.

(P.S. Crescent Music Services ships

exact quantity ORDERED.)

Maximum Playing Time of CDs

The Red Book standards specify the playing time of a Compact Disc should not exceed 74 minutes 44 seconds or 650 MB, although most newer CD players will play discs with longer playing time, sometimes up to 80 minutes (700 MB). Discs exceeding the Red Book Standards of 78 minutes may not play satisfactorily on some CD players (it might stop in the middle of your song). Most factories will not guarantee CDs that exceed 78:00 min/sec.

SAMPLING CLEARANCES. "Samples" are pieces of another sound recording reused like an instrument or sound effect. If you have any samples on your record, you need to obtain clearances from the publisher of the composition AND, separately, the record label that owns the master being sampled. Do this as early as possible, because sometimes they will refuse to issue a license, or the licensing fee may not be affordable (they can get expensive).

“WORK FOR HIRE” Agreements. Most session players, engineers, designers, etc. operate on a "work for hire" status. This means they retain no claims on future royalties or ownership rights to their work. Some photographers don't, so check with them first.

PUBLISHING COMPANIES: Anyone writing lyrics, music or arrangements should have their own publishing company so when the songs are copyrighted, they receive the correct credit and future profits from potential licensing if the songs are used.

BAND INCORPORATION. Consider incorporating your band as a legal entity.

BAND AGREEMENT. You should have a clear and simple written agreement among the group members about how the finances of the recording project will be handled, who owns the copyrights and arrangements, who owns the group’s name, how will profits (and losses) be divided (equally,

percentage), how are members fired and hired, what if someone wants to quit, etc. Try to think ahead to the worst case scenario, and then write something out about how it will be handled and get everyone to sign.

NAME TRADEMARKS. Be very sure that you have the right to use the group and record label name you have chosen. If someone else legally owns your name already, not only could you lose your name, you might even get sued if you use it publicly. Go to the US Patent and Trademark Office site www.uspto.gov/main/trademarks.htm to search for existing trademarks.

A separate CHECKING ACCOUNT helps you to keep track of your expenses. Get an account that has a debit card, which makes purchasing goods and services easy. Save all your receipts. Quicken and Microsoft Money are good financial software that will help you and your band to keep track of who owes what, who gets what, and if you're making any profit!

Keep scrupulous records. Many of the expenses involved in releasing your CD may be tax deductible and showing where the money comes from and went to can clear up disagreements and .

CONSULT AN ENTERTAINMENT ATTORNEY.

Other Legal and Business Stuff

3938

2007

Diana Thornton

is an award-winning creative and original graphic designer/digital artist with over 20 years experience and special qualifications because she is also a singer/songwriter who has produced her own albums and has worked in the film industry.

She started Crescent Music Services in 1997 to provide CD and DVD design and manufacturing services to New Orleans and Louisiana. Although her original focus was the music industry, she has become a valuable resource for the region's growing film industry.

Her music clients include Ellis Marsalis, Harold Battiste Jr., Louisiana Philharmonic Orchestra, Charmaine Neville, and Basin Street Records (Kermit Ruffins, Los Hombres Calientes, Jon Cleary, Theresa Andersson, Irvin Mayfield). She also designs collector’s books about the Beatles for nationally acclaimed author and Beatles historian Bruce Spizer (www.beatle.net).

“I started Crescent Music Services a few years after I had produced my own CD. Even though I made my living as a graphic designer, I fumbled around piecing my CD together with ‘this’ printer and ‘that’ replicator, figuring it out as I went along. I wish I knew then what I know now. I could have saved myself a lot of expense and would have ended up with a much better product. I realized I could help other musicians with this. I have walked in their shoes and I understand how important their music is to them, and how technical this part of the process can be."

Diana is that happy combination of knowledgeable and professional, yet easy-going, that makes working with Crescent Music Services a great experience for musicians navigating their way through self-production. —Yvette Voelker of the Pfister Sisters

Check out Diana’s portfolio and digital art

at www.crescentmusic.com