I’ve been somewhat aware of this for a while now, and couldn’t quite believe that a piece of legislation so utterly insane was actually going through.
The laws around paying VAT (Value Added Tax) and ‘Supplying Digital Services‘ within the EU are changing, as of January 1st 2015, and it may well affect you. Here it is, as I understand it thus far (I asked the Musician’s Union what their position on this is and they say they’re going to be providing info to members in December). If you have more info, please include it in the comments [EDIT: especially if you work in tax law/accounting: For clarity's sake, I'm NOT a tax expert or lawyer, so my interpretation of the legal situation should be viewed in that light, but I have been dealing with my own tax affairs for 20 years, without the help of an accountant, so am definitely in the 'experienced amateur' camp here]
- WHO DOES THIS AFFECT? Anyone who sells music downloads (or eBooks/videos/any other digital product) off their own website.
- WHAT DO THE CHANGES MEAN? For a full exploration using software companies as an example, see this brilliant post by Rachel Andrew. [EDIT: and this follow up piece by Rachel about implementation]
In short, the arrangements around selling digital products to people in the EU are now defined by the country the customer is in rather than you. Meaning you’ll need to be registered for VAT no matter how much you earn, if you sell your music direct from your website. This means you’ll have to charge (and pay) VAT on ALL your work unless you set up a company to sell your digital products that’s distinct from your self employed business as a musician/teacher etc. You’ll also have to file a quarterly VAT return (which is WAY harder than a self assessment form). In short, it’ll ruin your business.
- IS THERE A LOOPHOLE? YES.
This is the important paragraph on the government’s page describing the new arrangement:
Supplies via internet portals, gateways or marketplaces
If you supply digital services to consumers through an online portal, gateway or marketplace then it’s important to determine whether you’re making the supply to the customer or to the platform operator. Where the platform operator sets the general terms and conditions, authorises payment or delivery, or doesn’t clearly state the name of the supplier on the receipt or invoice issued to the consumer, then they’ll be seen as making the B2C supply even if they’re contractually only an agent.
What this means is that if you sell your music via another service, you’re OK. If you sell it via a ‘hand-rolled’ site (off your own server with your own CMS), you’re screwed. So this means that iTunes, Amazon and crucially Bandcamp sales are all exempt [EDIT: see comments for an exploration of this...] . Those sites are all platforms that “set the general terms and conditions, authorise payment or delivery” .
So, if you sell your music direct from your site, you may want to switch to Bandcamp for your sales, or get your VAT situation in order. The same goes for eBooks (I use Leanpub) and Video (any suggestions, please put them in the comments)
You may also want to sign this petition to provide an exemption to this very, very stupid piece of legislation. Cos it’s going to royally mess things up for so many creatives and small businesses.
‘This is a journey into sound…’ – thus sampled Eric B and Rakim. That’s pretty much the definition of my musical journey thus far. Perhaps because I’ve always been drawn to texture as much as to harmony and melody in music, it was inevitable that I’d end up pursuing an approach to music that put the sonic palette on an equal – or often superior – footing to the notes… The development of my technique was always primarily about tone rather than dexterity. Switching to playing melodies on my fretless bass with the side of my thumb slowed me down a LOT, but gave me the sound I was looking for, so it stuck as my dominant technique. Using the Ebow and the slide, while quirky-looking on stage, result in music that is generally more languid and moved my music further away from the muscular fusion many expected from a solo bassist back in the late 90s.
As a result, my gear choices have also been mostly governed by the possibility to broaden, deepen and enrich that same palette of sounds. To give me a broader base of colours to paint with, a greater range of contrasting textures with which to create the layers in my looped improvisations and compositions. Indeed, the very definition of a ‘composition’ for many of my solo pieces was ‘key plus set sequence of sounds’ – they were improvisations as far as the specific notes were concerned, but the sequence of sounds to be layered was way more consistent.
The 20 year (thus far) journey into that particular set of priorities has lead to a few interesting outcomes – I’ve mostly had wonderful relationships with the companies whose equipment I use, and have been able to have useful practical input into the development of quite a few unique products and product developments over the years. It has also meant – in combination with the platform my journalistic work gives me – that I punch WAY above my weight in terms of the influence I have over other people’s perceptions of music gear. That’s a responsibility I take very seriously, given the potential for someone to invest an awful lot of money in gear at least partially directed by my own choices.
For that reason, I tend to only change my gear when the sound dictates that it be the wisest choice. I’ve avoided paid jobs as ‘the demo guy’ – partly because it’s just not a job I want, but also because they’ve never been offered for the gear I really believe in. I’ve had long standing relationships with a small number of companies that I work with. The one area of my rig that HAS changed the most over the years – and even then only when the music demanded it – is amplification.
It’s also, not coincidentally, one of the areas of music gear development that has changed most in the last 15 years. The advent of super light, efficient, powerful, full spectrum bass cabinets, and REALLY great sounding lightweight power amps was a long time coming, but we’re definitely in that age now.
I’ve always been fascinated by the conversation about amps, and was for a time pre-occupied with the notion of things being ‘flat’ – I wanted uncoloured sound, just my sound back through a loud lightweight amp. With that in mind, I switched to a high-end pro audio PA set up about 7 years ago, leaving ‘bass’ amps behind for a couple of years.
The need for more volume – and the advent of the Markbass combos that I’ve been using for the last few years – brought me back to bass amps, and a sound that was definitely not ‘flat’ but was ‘full range’ and has a tonal imprint I liked.
Freed from the tyranny of spec sheets and response graphs, I was able to explore the notion of ‘good’ sound without the interference of notions of ‘correct’ sound. That was helpful.
If you’ve seen any of the pictures I’ve posted of late of my rig, or seen me live over the last month or so, you’ll see that I’m now using an Aguilar amp set-up… ‘dude, I thought you really dug the Markbass combos??’ said lots of bass players. And I do. They haven’t suddenly stopped sounding good. They’re cool amps that definitely did the job.
So how did the Aguilar thing come about?
Dave and Justin at Aguilar have been friends of mine for over 15 years. we go back to my very first NAMM show in 1999 – they are great friends that I care about a great deal and hang with as much as possible. As a clear testimony to their integrity, neither of them over the years tried to get me to switch amps, but after using an Aguilar house rig at the jam night at this years London Bass Guitar Show, I was interested to find out what they would sound like for my solo stuff – it’s one thing having an amp that sounds great for ‘normal’ bass playing, it’s quite another to be able to handle the huge array of sounds I make, and to deal with all the other instruments that go through any system I use on collaborative gigs (including electronic drums, and vocalists!)
So I arranged to try a rig out – the SL112 cabinets and Tone Hammer 350 heads that I now have. A stereo rig, the same as I’ve had since 2003.
I set them up to A/B them with my existing set-up, and was absolutely blown away. I had NO idea they’d sound the way they did. Clear, full, warm, present… just amazing. Exactly what I was looking for. It was very much a case of not knowing that I wanted to change – I hadn’t really felt unhappy with my other system, but on a straight A/B, the suitability for my music was clearly with the Aguilar rig. I ran iTunes through it, to hear what it was like for full-range playback. Added a very slight EQ in my MOTU Ultralight and found that it sounded richer and clearer than even my (admittedly rather cheap) studio monitors. Like a high end 70s Wharfedale hifi. Properly jaw-dropping stuff.
This experience was confirmed again and again as friends and colleagues and students got to experience the sound. Wide eyes and big smiles were the unanimous reaction.
So I found myself changing amps for the first time in a lot of years. I’ve never been a fan of changing gear for the sake of it, I’ve never tried to deal with frustrations in my playing by getting new toys. It’s only when a clear and obvious choice to move to something that better represents the sound I hear in my head is presented that I’m left having to shift.
I’m deeply grateful to Markbass and Markaudio for the many years of great bass sounds (and am still utterly reliant on their MiniDIST overdrive pedal every single time I play), but if you see me playing shows from now on, you’ll perhaps be able to hear why I made the switch to the greatest sounding bass amp I’ve ever played through.
Oh yes, another blog post about Spotify. Just what the world needs. I’ll try [edit: and fail] to keep it brief.
There seems to be, at the moment, a massive gulf between the opinion of many artists-still-making-music and the labels that many of them are signed to. The major labels LOVE it. But artists are talking about Spotify as a wholly bad thing for artists – not enough money… ‘free’ music is bad… Rosanne Cash (a woman for whom I have an enormous amount of respect as an artist, writer, thinker and human) called Spotify ‘legalised piracy’. Why the gulf?
Here’s my take - The financial world of the major labels has, for a LONG time, been focused on back catalogue – music that’s already been successful. Reselling something that’s already in the public consciousness is WAY cheaper than marketing new, untested music. Licensing old tracks is also easier, because people know them. And there’s the simple question of scale.
Reality check: for the Majors, the vast majority of the music they will ever release has already been released. [Read more →]
Right, now the subscription is up there, we can have a chat about what it might mean, right?
After all, the word “subscription” has become somewhat tainted amongst musicians by the conversation around Spotify’s pricing model. Little work seems to have been done to look at what in particular people are listening to on Spotify and the degree to which its impact on sales is asymmetric (sales lost and streams gained not being to the same people) not to mention the whole ‘correlation or causation’ conundrum. But generally, lots of musicians are now thinking subscribing to ‘everything’ = booo!! hissss!!
So what does it mean to subscribe to just one artist rather than ‘nearly all music’, and what kind of artists and their listeners are going to benefit from this?
First up, it’s important to acknowledge that this isn’t new. It’s new to Bandcamp, and as a service integrated with the Bandcamp platform, it may well end up being revolutionary, but the idea has evolved from the pioneering work of quite a few people, not least of all (as is so often the case) Kristin Hersh, whose Strange Angels supporters club is exactly this – an annual subscription members club that gives those subscribers access to all kinds of things. Her pricing is tiered, so you can get all kinds of awesome exec perks if you pay a tonne of cash, but for not very much you can get a whole load of music and sometimes cheaper tickets at gigs, things like that. For someone as prolific as Kristin (she has three main projects on the go – her solo work, Throwing Muses and 50 Foot Wave) it’s the ideal way to not be reliant on the vagaries and speculation of the standard model of
- borrow money,
- make a record,
- hope it sells,
- wait to recoup before doing the next one,
- or just pile up the debt in the hope you get a track on a film soundtrack and clear the decks at some point’ deal…
[Read more →]
This is some SERIOUSLY exciting news. Partly because it’s just an amazing bit of news, but also because of the half a million or so artists on Bandcamp, I’m one of the first 2 or 3 to get to try this out.
Which means that YOU get to be part of this experiment in the future of music. In keeping music alive, in turning back the (quite possibly non-existent and hugely missplaced) tide of despair about ‘the way things are going’.
This model works SO perfectly for me – since I started releasing almost everything as ‘digital only’ the ‘per album’ model was a compromise at best. It didn’t make sense for things to have a ‘unit value’ like that.
What this allows me to do if focus on making as many varied and wonderful musical projects as I can. You get more music, don’t have to worry about having ‘already spent enough’… you pay for it all in one lot, ahead of time, and get as much as I can make.
Subscribing becomes a club of sorts:
- there’ll be access to cheaper gig tickets wherever possible
- other subscriber only releases
(*probably not snacks)
At the moment I’m putting together a subscriber only album of things that are currently only streamable on Soundcloud or Youtube. I get asked ALL the time about releasing them, and this is where they’ll go. If you want them, subscribe.
This Is The Future
This Is Sustainability
This Is Exciting
You Get To Partner With Me
More Music Will Happen.
Sign up here: http://stevelawson.bandcamp.com/subscribe
There’s one story that’s been circulating a lot over the last few days amongst musicians on social media – “2014 is first year ever with ZERO platinum-certified records” – it tells us that 2014 is (barring some kind of unforseen massive sales surge) the first year ever (ever??? no.) when no single band has had a platinum selling record. In the US. Even though the Frozen soundtrack has sold 3 Million copies.
Meanwhile, 60 songs HAVE sold a million copies in the US.
So what does this tell us? Without some much deeper analysis, not much. [Read more →]
Right, after months of awesome collaborative playing, with Andy Edwards, Julie Slick, Briana Corrigan, Jem Godfrey et al, I’ve finally got another solo gig in Birmingham, on a double bill with one of my favourite guitarists in the world, Vicki Genfan:
You’re familiar with Vicki, right? Wait, what? Some of you aren’t?? Wow, OK. Try this:
Yeah, she’s amazing. Oh, and she sings:
Vicki and I have played on the same bill a few times over the last decade, and hung out whenever we can. She’s a great friend, musical inspiration, and YOU REALLY DON’T WANT TO MISS THIS. Trust me.
Click here to buy tickets from Bandcamp.
So, our new as-yet-unnamed trio had its debut gig last Sunday, as you know. And it went very well. Here’s the proof – this is the entire first set, starting out with me solo, joined by Jem then Andy. This is mixed and mastered but wholly unedited:
Thanks SO much to everyone who came out to the show at Tower Of Song with Jem Godfrey and Andy Edwards. We had a great time, and were delighted with the audience reaction.
Recordings will be available soon in some form or other, but for now, here are some gorgeous photos, taken by Rob Groucutt, to give you a flavour of what it was like
Tags: · andy edwards, flickr, improv, jem godfrey, looping, music, photos, tower of song
Following on from last week’s lovely gig with Julie Slick and Andy Edwards, I’ve got TWO more Sunday night gigs at Tower Of Song in Birmingham coming up:
August 10th : Jem Godfrey, Steve Lawson, Andy Edwards – Jem’s band is Frost* (which Andy used to be in), he’s also played keyboards with Joe Satriani and Steve Vai. If that wasn’t enough, he’s an Ivor Novello award winning songwriter, writing massive hits for Shane Ward, Atomic Kitten, Holly Vallance… He’s very, very good at whatever area of music he turns his hand to, so expect amazingness. [Ticket Link] -0- [Facebook link]
August 17th : Lobelia’s Lazy Sundays presents Briana Corrigan + Steve Lawson – Briana was the original vocalist in the Beautiful South, sang on all the early hits. Since then, she’s released two wonderful solo albums, written and performed in plays and a one woman show called ‘Mum’s The Word’. She’s properly brilliant, and I’m VERY excited to see what we come up with together… the plan is to write/arrange/rehearse/plan a show in 3 days. There’ll definitely be songs, music, maybe some spoken word stuff, story-telling, poetry… who knows. It’s going to be lovely, and you need to be there. [Ticket Link] -0- [Facebook Link]
So, two in a row. Very different, but equally magical, I promise.
And if you’re wondering what you missed last Sunday, here’s some lovely video of the opening 12 minutes of the show (it’s shot in HD so choose the 1080p option and watch it full-screen!) :
Tags: · andy edwards, birmingham, briana corrigan, Gigs, jem godfrey, music, tower of song