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August Newsletter
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Welcome to a truly international edition of NHM's progressive music newsletter. This month, we have news from The Grand Trick (Sweden), Michel Griffin (France), Andrew Roussak and RPWL (Germany), Jazzjet and Rory Ridley-Duff (UK) and Nascent (Massachusetts, USA), Leigh Evin McCullough (Illinois, USA) and Z Sheet (New York, USA). You can catch up with the news from these artists on the August News Page.
 With the release date of Protos's new album approaching, we have an e-mail interview with guitarist Steve Anscombe about his recent recording activities. You can also access this, and other interviews, on this site's Interviews Page. This month's, and previous months' interviews, are listed there (including an audio interview with Rory and Head Case Radio's DJ Meatwad).
Last, but certainly not least, we stick with the theme of recording new albums in Rory's mindpiece (below). What is a good mindset for making and recording music? How has technology changed what is possible? What are the pitfalls of investing too much in technology and too little in yourself?
Then and Now: A Question of Expression?
by Rory Ridley-Duff
 Before I got the music bug, I had the golf bug. Once I was lucky enough to qualify for a pro-am tournament. Graham Burrows, a local professional talked about a match with Max Faulkner, leading tour professional and former winner of the British Open. Graham was matched with Max and their fourball included a 'good amateur' golfer. They came to a par-3 hole measuring about 180 yards. The amateur took out a 6-iron and proceeded to hit the ball onto the green. Max Faulkner then took out his club and also hit the ball onto the green. The 'good amateur' looked puzzled.
"Can I ask you something?" he queried.
"Sure," replied the former Open champion.
"What club did you use?"
"A 5-iron," replied Max Faulkner.
"That's interesting. I used a 6-iron," said the amateur looking proud of himself for using one club less than the professional.
Graham Burrows and his partner grew interested in the conversation. They asked Max why he needed so much club to reach a relatively short par-3 hole. The 'good amateur' wondered whether his new titanium shafted clubs allowed him to hit the ball as far, or further, than some professionals. "Are you in a hurry?" asked Max Faulkner. "No", the others confirmed. With no players immediately behind them, Max took out 6 balls and lined them up. He then took out a 3-iron, a 4-iron, a 5-iron, a 6-iron, a 7-iron and an 8-iron, each time hitting one ball onto the green. Then he looked at them.
"It's not what equipment you use that matters," he said. "It's what you can do with it."
* * *
This is also true in the music world, perhaps now more than ever. Some months back, I picked up a marketing information pack from Future Publishing (a publishing house with six music magazine titles in the United Kingdom). In the pack was a claim that the readers of one magazine spent an average of GBP 3,000 a year (around $6,000) on recording equipment. Even allowing for a bit of exaggeration (both on the part of the magazine wanting to persuade advertisers to advertise, and musicians wanting to give the impression they were well equipped), this seemed an astonishing annual spend. As I browsed the pages of MySpace and SoundClick, some musicians had truly impressive stacks of keyboards, effects and recording equipment on display. This got me thinking. What exactly was all this equipment for? With the cost of computers now so low, why were people spending fortunes on equipment they probably didn't need? Any modern computer with a copy of Cubase enables you to record at sampling rates using professional effects found in many music studios.
Some months later, two further events made me think even more. Firstly, a friend and lifelong musician swapped some albums with me. We'd not seen each other for years so he sent me four albums he had done with his last two bands, and I sent him the first four albums released by NHM. On one album is a track called Space. He said he liked it, but at first thought it was a pity it hadn't been played by a full orchestra. Then he came across the same track on my classical album. Here he praised the 'better' arrangement using a full orchestra. The second incident was a review at Jeff's Blog - a US site that has developed into a full-scale on-line magazine. The album reviewer emphasised repeatedly that Passing Decades sounded like 'robot rock'. "Just imagine Rick Wakeman surrounded by computers," he wrote, "and you'll get the idea." Everything he said thereafter, even the positive comments, were related back to this starting point.
 So there I was, wondering how they could both have got it so wrong. Firstly, my good (and experienced) musical friend believed that I'd recorded my classical album with a full orchestra (I wish!). The blog reviewer thought I had a recording set-up that a hybrid Rick Wakeman / Thomas Dolby might have (he'd probably seen some of the muscians on MySpace floating their wares). So here's the trade secret. Both albums were recorded with a sound module and software that, together, cost me about GBP 500 ($1,000). I had a computer because I worked in the IT industry. Bog standard PC - nothing fancy. I already had a MIDI-keyboard courtesy of my Protos days. To that I added a Roland SoundCanvas and a good quality midi-sequencing package.
With this set up, I spent a lot of time over the next two years (mainly during evenings and weekends) carefully recording and producing the music that would eventually be published as Passing Decades (in a rock album) and A Question of Expression (in a classical album). Sometimes, I left weeks or months between recording and mixing because this afforded me the time to be extremely critical, to make revisions slowly until there was not a note or a beat I wanted to change.
I didn't have the heart to tell my music friend that his 'full orchestra' version of Space came from exactly the same sound module that had produced the 'rock' version of Space. Why shatter a presumption that increases his listening pleasure? While it was true that I'd recorded the strings parts using a different technique (one matching the original rock score for synthesizers rather than the orchestral score written a year later), only the playing/recording technique, not the sound source, had changed. As for the professional music reviewer, I don't think he would have believed me if I'd tried to tell him the album was recorded, produced and mastered with a single keyboard, sound module and computer. He was content in his fantasy that I am a musical Megatron, and the comparison to Rick Wakeman didn't annoy me too much.
People often hear what they want to hear, or are influenced by the presumptions they make about what they are listening to.
This year, Steve and I took a partially completed version of our new album for spin in cars with the best quality stereo systems we could access. We checked quality by playing material alongside other top quality albums (e.g. some of our favourite albums). We could not discern any difference in sound recording quality (you'll have to make your own mind up about the quality of the music writing). Most of the album was recorded using one professional keyboard again (a Roland E-50); an old portable Toshiba computer with Cubase (yes, a bit of cost there); Audacity (a freely downloadable digital audio editor from the Internet that still samples at a higher rate/quality than Cubase); three of Steve's guitars (one semi-acoustic, two electric); two effects pedals (one for the semi-acoustic and the other for the eletric guitars) and a bit of percussion. We had a couple of guest appearances to add to the flavour, but that was essentially the set up.
Now I have time to reflect, there were three other essential and important ingredients that I took for granted. 1) Lots of time (a more expensive studio buys you less recording time); 2) Lots of patience (which no amount of money can buy); 3) Thirty years experience of writing, making and recording music (priceless). It was our Max Faulkner moment (that it is "not the equipment you use, but what you do with it....").
Twenty-five years ago, we worked in a professional (but otherwise modest) recording studio. Looking back, there was one aspect of that experience that was more valuable than anything else: we had a chance to work with a professional sound engineer/producer. Making a good sound in a music studio requires an entirely different skill set to playing live. It is also a different music making process. It was not the sound engineer's knowledge that impressed us (useful as this was), it was the care he took, the patience he showed and the gentle tenacity and insistence that we get the best performance each musician was capable of giving.
Ironically, we repeatedly encountered limitations in the way we were expected to work (Steve mentions this in his interview). So this time around we were not afraid to break some rules. We used effects at source as well as adding them afterwards. Hearing (rather than imagining) the final sound can contribute to a stronger performance (and a more authentic sound). It is not always best, from musical rather than sound engineering point of view, to add sound effects later. Yes, we realise you can always add, but you can't take away.....but that misses a vital consideration. A musician benefits from hearing the sound they want to play while performing a take. A professional sound engineer may think only of the quality of the sound, not the impact on the authenticity, or style, of the performance.
Another thing, a surprise even to us, was that we ended up using exclusively digital audio files. We did not combine MIDI and audio tracks in Cubase. That sometimes meant mixing instruments on the keyboard's built-in sequencer (if they sounded right in the sequencer, why complicate things by mixing them again later?) While this reduces 'flexibility', it can also improve quality. A good analogy, this time from computer software industry, is that this is an 'iterative' rather than a 'big bang' approach. Iterative software development requires that you get each component of the final product completely right before moving onto the next bit or trying to bring all the pieces together. You don't do all your debugging at the end, you rigorously debug as you go along. The end result is a much higher quality product.
The result (for us) is an album that - finally! - matches our expectations for sound and music quality at every stage of composition, arrangement and final production. It may not please others, but at least we're happy.
So, instead of using equipment that costs 10,000 pounds, dollars, crowns or whatever, why not get equipment that cost 1,000 but which you deliberately exploit 100%? Never forget that the best music equipment you have are your ears and imagination. Compare your output to the best albums you possess. If the results are not as good (at least in terms of sound quality) keep developing your recording and playing skills until they are. In today's world, a modest investment will give you equipment that a generation ago would have only been found in top recording studios. The only difference left, therefore, is your musicianship and ability to get the best out of the equipment you've got.
Musicianship cannot be bought. Not ever. It can be crafted through experience and practice (assuming there is some natural talent to work with). I would contend that money can't buy you an imagination, or composition and arrangement skills - this also comes with practice and experience. All money can do is provide you with opportunities - the rest is up to you. So you may as well have fun. Invest time in yourself and finding opportunities rather than investing money in equipment you don't truly need. Plan to get your music into the public domain - the fear induced by putting it there will mean you start recording, performing and listening to it differently!
Finally, remember Kevin Coster in Tin Cup? He plays golf pro Ray McAvoy, able to beat his non-professional golfing friends with only a shovel and a baseball bat. Now that's talent!
Now show me this month's news...
I'd rather read the interview with Steve Anscombe...
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June Newsletter
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Welcome to the June edition of the New Horizons Music newsletter. What happened to May, you ask? There was the small matter of student assignments and exam marking....
Normal service has now resumed. This month's main article "And Now for Something Completely Different...." takes a fresh look at what to expect when you send your music for review. Secondly, we continue our series of artist interviews with Rob Fowler of Digital Chemistry to see what progress he's made with his debut album Machine Made Man. Lastly, we launch a 'Quick News' section for progressive musicians with something to announce. With no more ado, let the rhethoric begin....
And Now for Something Completely Different....
By Rory Ridley-Duff
 Relationships between musicians and the music media are complex and multi-layered. In this article, I unravel and reflect on some of New Horizons attempts to spread the word about new music. In most cases we've developed friendly, mutually beneficial relationships where we swap information and CDs for reviews and publicity. In other cases, there is a bizarre stand-offishness that occasionally borders on hostility. The experiences described - and the review comments - come from around 100 media relationships and chatting to people in news groups and music forums (split roughly 50 / 50 between journalists approaching us and our approaches to them).
The first thing we've learnt is that folk in the music press and fan sites are as varied as the musicians they love to praise and ridicule. If there is a caricature on sites run by (and for) music fans, it is that musicians are most self-centred, self-serving idiots (unless they are a member of 'my favourite band'). Musicians/bands are talked about as if they are demi-Gods when favoured, but often regarded with contempt when not. Venturing onto web-sites run for (and by) musicians, however, gives rise to a completely different set of experiences. Here everyone approaches you as their best friend (typically in an attempt to get you to listen to their music). Friendship networks grow rapidly, usually for purpose of getting more attention. Nevertheless, I'm pleased to say that genuine friendships can evolve out of these exchanges (we've agreed to hook up with a flautist, for example, to do some recording in the summer).
 There are, therefore, things to bear in mind when visiting and engaging with other people on music sites. If you - as a musician - find yourself conversing with a group of people who love to talk about their music (i.e. their favourite band(s) that they wish everyone else would love as well), then you are likely to be treated with contempt if you are perceived as 'advertising' your own music. If you talk about others' music, however, you may find yourself accepted or ignored rather than attacked. On the other hand, if you converse with other musicians (i.e. others who enjoy making rather than listening to music), then the chances of being treated with respect are greater, particularly if you discuss the music making process. Fans, of course, are likely to have the reverse experience. If they go there to talk about their favourite band on sites frequented by musicians, they'll probably also get short shrift. But if they love discovering new music and chatting to 'real' musicians, they will be slowly accepted and enjoy some interesting relationships and conversations.
 In the 'real world', I spend my time teaching and advising people about the nature and practice of democracy. Applied to the music world, this translates into reviewers writing what they like about a person's music. They may challenge the inflated opinions they imagine musicians have of themself (or just trample on them as a matter of course to prevent them 'getting above their station'). Democracy, of course, also means that musicians can question the authority of reviewers (and web-masters!). This is where we experienced situations that became combustable. One web-master eventually blocked us from the site (then later relented) for daring to complain when they moved 'news' to a 'self-publicity' forum. In another case, a reviewer writing on his own blog seemed shell-shocked that a musician would read and question the accuracy of what he wrote. What disappointed me in each case was the lack of willingness to have a conversation (i.e. be accountable).
Writers, of course, are no fonder of their 'art' being criticised than musicians of their 'music' getting a bashing. Nevertheless, these robust exchanges are potentially enjoyable and informative (particularly for onlookers, I suspect). It makes it clearer who is being fair/unfair, honest/dishonest.
 So, let's consider the things people say. Firstly, expect a lot of inconsistency......take a look at these varied comments about the tracks Space and Tempest on the album Passing Decades.
- "I enjoy all the tracks on this CD but I’m always drawn to Tempest and Space every time I’ve listened to it." (www.prognaut.com)
- "Space...leaves the impression of being sketchy, stretching to fill epic length...simplistic...nothing to challenge the experienced listener." (www.progressor.net)
- "Tempest is a dream...compositional brilliance not heard since tracks like 'Cinema Show'." (www.cdbaby.com)
- "Space [is] too long for my liking, as is Tempest." (www.cdbaby.com)
- "Tempest is phenomenal, intelligent, well-executed, and dare I say it, catchy." (www.soundclick.com)
- "The other epic, Space, closes out the CD in fine fashion...vintage prog...very classy piece to end this very solid album." (www.seaoftranquility.org)
 Is this a lack of objectivity? Anything created by a human being is influenced by the subjectivity of the writer (this is true of all work, including 'scientific' studies). Despite this, reviews are still useful, not least because they tell you about the reviewer as well as the music (which helps you to interpret further reviews). In reading, you learn whether the album matched or superceded the reviewer's expectations. That's useful information. If the album exceeds expectations, it is likely to be positive in some or all respects. If not, the review is likely to be openly negative or grudgingly positive. By way of example, consider the following comments:
- "I don’t particularly care for robot rock [but]...Ridley-Duff has managed to do what very few artists in this genre were able to do — put some soul into robot rock." (Passing Decades review, http://jefitoblog.com/blog/?p=1164)
 "I'm not really a big fan of neo prog [but]...it's hard to choose the best track from this album because it's so consistent. Every song has a unique charm about it and you can find something you like in any number." (One Day a New Horizon review, http://www.progressiveears.com/asp/reviews.asp?albumID=3811&bhcp=1)
The above reviewers prefer other types of music but nevertheless find somethign positive to talk about (if only to keep their reputation as a reviewer intact!) In such reviews, however, we found there can be a sting in the tail. For example:
 "...[the CD is] fine in everything that concerns composition and performance. The only major problem I have is that it sounds like a homemade recording..." (www.progressor.net)
- "All in all, it’s not a bad listen, but strictly for fans of keyboard/computer instrumental music...imagine Rick Wakeman as a huge computer geek, you might get an idea of what this album is all about." (http://jefitoblog.com/blog/?p=1164)
We had a good laugh at the second of these as we pictured Rick Wakeman's mountains of equipment compared to the modest single keyboard/computer set-up used for Passing Decades. What comes out in these reviews, however, is that journalists sometimes like to make fun of (i.e. make you laugh at) recordings by artists they don't (yet) respect. The overall tone sometimes comes across as "it's hard to say there's much wrong with this music, but I don't really like and now I'm going to give you a reason to avoid it....".
Not surprisingly, those that are sympathetic are enthusiastic in another way - with equally amusing results:
 "...it opens the doors into a world where symphonically tinged prog rock lives in eternal splendour...it's beauty and magnificence never fading away..." (One Day a New Horizon review, www.hardsounds.it)
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"...quite obviously the result of many hours of careful compositional honing...a wonderful musical journey, by turns dramatic, sensitive and triumphant...a must-have for anyone interested in rock history..." (www.cdbaby.com)
As these comments show, there are reviewers who see writing internet reviews as a (worthwhile) way of honing their superlatives! Of course, superlatives can also have a dry negative quality too:
 "...sounds like it was recorded in a fridge..." (One Day a New Horizon, Tim Jones, Record Collector, UK)
- "...ugly, poor and you know it..." (www.soundclick.com, angry fan when Tempest topped the chart for 3 weeks....)
All in all, it has been quite a ride. Reviewers are as whacky and as crazy as the musicians themselves. There are many out there who genuinely wish to draw attention to new work that has merit. They tend to talk up albums, or not review them. The philosophy here is to ignore the mediocre and talk about the stuff worth listening to. Where this is the case, a reviewer may use superlatives that encourage you to buy the album (i.e. perhaps overstating the album's worth, but 'in a good cause'). Alternatively, those reviewers concerned to develop their own reputations (rather than the reputation of the music) are more likely to ridicule music in a crass attempt to 'be cool'. The result in these cases can be an understating of an album's worth.
The variety of opinions (both positive and negative) are valuable and help artists to grow and reflect on their work. Importantly, you can compare what you find with what is said about other artists. A site like Gnosis, for example, allows you to compare reviewer ratings with those of top (progressive rock) artists. It is fascinating to discover that your album may be as well or better received than those of big name artists. It can also be a sobering experience when you realise an album is never going to be regarded as a classic.
Each review adds to the richness of the experience. In the same way as gathering many opinions about a person can get you closer to 'truth' about a person, the same may be true of music. The more positive opinions from people with similar tastes to your own, the more likely it will be that you will find something worthwhile in a particular album. In the end, however, there is no substitute to reaching your own opinion based on listening to the music yourself. Overall, we've had a positive experience with some fantastic feedback so let me round off this article by giving you links to some positive reviews.
Rory Ridley-Duff
Protos
Quick News
Welcome to a new section of our newsletter. If you have anything you'de like announced, drop a note to music@roryridleyduff.com and we'll gladly give you a plug if your music is progressive.
- Steve Andrews, singer-songwriter and freelance writer, wishes to announce a tour of Tenerife by soul sensation Watson T Browne (previously published by BMG). Watson is now seeking a new record deal.
- Chuck Shepherd has posted a new progressive rock track ("Many Moons Ago") to be released on a new CD later this year. The work is instrumental, primarily guitar with the electronics added in, a progressive mellow reflective piece.
- Guitarist Steve Anscombe got married on May 5th to Jackie in Chichester, West Sussex (England). This is Steve's second marriage and we wish him every happiness for the future. At his wedding ceremony, the first public performance of 'Departures' took place.....
- Joerg Baier would like to announce a new song 'Happy Birthday' on his web-site, inspired in no small measure by his wife....
- NHM artist Rory Ridley-Duff continues his chart successes. With 99,250 plays (31st May 2007), Rory's track Tempest reached the top of the Instrumentals chart while Departures reached #1 in the Electronica chart. Why not join Rory's MySpace network at www.myspace.com/rorynhm (a good way to make sure you get this newsletter in the future).
- The new Protos album is progressing well in the studio (more details next month). Five backing tracks with keyboard parts now await Steve's guitar parts and woodwind by Jools Slater (scheduled for the end of June). In July/August, Nigel Rippon (of Stonecold fame) will add electric cello and percussion parts. The album provisionally titled Take Two is set for release on the anniversary of the CD reissue of One Day a New Horizon - 16th October 2007.
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April Newsletter
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 Welcome to the April edition of NHM's newsletter. Last month's edition more than doubled its readership so we're sticking to the format that is proving popular. Last month's article "What is Truth in Music?" prompted lively debate at Google and Progressive Ears. This month's thought piece is something that interests every musician and annoys many music fans. Advertising. We also have an interview with Stone Cold founder Nigel Rippon and news from Robert Fowler of Digital Chemistry about his recording activities. Lastly, we update you on our signed artists. Protos climbed to the top of the 'Hottest Bands' chart at SoundClick giving Steve and Rory a welcome boost as they record their third album. We also have news of RadioIndy, where tracks from Rory Ridley-Duff's debut album Passing Decades have been enjoying further chart success.
Does Music Advertising Work?
by Rory Ridley-Duff
A question that concerns every musician, indeed everyone who trades for a living is 'does advertising work'? It is a question that can be considered on at least two levels. Firstly, does it increase the attention given to a particular product, service or artist? Secondly, is it cost effective? Is networking a better option? The insights below show that advertising works in the first way, but that it is by no means clear it works in the second way. As will become apparent, establishing an artist means changing cultural perceptions. This is a slow and difficult process. The benefits of advertising (and marketing) are often not apparent until years after the event.
A good place to start is to consider what happens if you do not advertise at all. Simply producing music and getting it into the public domain can create a market without any deliberate effort on the part of the musicians. As Steve and I have learnt, markets are created by reputation alone if the music is sufficiently good (even if the artists are completely unaware it is happening and are making no effort to market the music). This approach, however, can take a long time (in our case 25 years). Is there anything that can speed up the process.
 In February, NHM had a break-through at SoundClick when Rory experienced chart success. Building on that experience, we developed a new strategy for Protos this month. The result was 87,242 'plays', 1,283 downloads, 16,470 page hits, genre topping chart hits and top spot in the 'Hottest Bands' chart. But are there longer term impacts and a measurable effect on CD or digital sales?
Firstly, we found the benefits extend beyond the period of advertising but only for a few weeks. Plays rocketted up from around 100 a day to over 20,000 when the tracks moved up the charts, but by the end of the month they were back down to their previous level. At first sight, there appears to be no sustained benefit. On another level, however, there has been a noticeable change. Firstly, the 'friends' network at SoundClick and MySpace has expanded dramatically. Secondly, a substantial number of plays now occur in 'Member Profiles' (these are people who have added the music to their own page). This indicates the start of an internet fan base. Thirdly, the number of 'stations' (play lists accessible to the public) rose from 5 to 34. Lastly, and perhaps most importantly, other chart sites and music industry 'experts' spotted the success and invited us to participate in new sites. We are becoming aware of more marketing opportunities. Taking the whole experience together, it definitely achieves success on the first level (i.e. getting attention).
Was it value for money? This is much harder to assess. Digital stores (and some physical CD distributors) don't report sales until 1-6 months after a purchase. This means that linking sales to advertising activity is not easy or straightforward. To date, it has had no discernable impact on CD sales (although success on an MP3 download site is not necessarily going to lead to this). As a result, we had a discussion with Alex (one of the editors at CD Baby, NHM's digital distributor). He commented in an e-mail that:
"The music editors only feature what they LOVE, cream-of-the-crop stuff, the stuff that sticks out over 100+ albums each of them are listening to each day. We feel that we feature worthy music with appeal and it still has NO effect, for the most part, on the artists sales."
Interestingly, CD Baby founder Derek, has tracked this for years and is convinced that editorial coverage does not generates sales. If this does not, then what does? It seems there is no escape from the long-term need to establish, painfully slowly, a growing fan base. A large part of that is out of the hands of the artist. The early signs, therefore, indicate that advertising gets you a lot of attention but has little impact, if any, on CD or digital sales. A more complete picture should emerge as the year progresses.
Given my work on interpersonal dynamics (at Sheffield Hallam University) I am not surprised by this. Learning about a new artist, even taking an interest in their music, is only the start of a long journey. Rather like agreeing to have a coffee with a new acquaintance, it does not indicate a commitment to friendship, only a commitment to explore the possibility. Most people are cautious and take time to evaluate the things they notice. Downloading music indicates an intention to develop an interest, but no more. Sites promising sales through their advertising programmes (and there are plenty of these) are probably more attuned to the money they can make out of an artist's vanity than the money they can make for the artist. And yet, there is no getting away from the need to ensure the music gets played. For this reason, musicians need to develop close relationships with internet radio stations and similar outlets.
What happens to the downloads will matter. How many will be copied and distributed to friends? How many MP3 players and iPods will eventually host tracks? How often will they be listened to and shared with friends? How will they be discussed? Here, there is a debate amongst the artists at NHM. Some think digital downloads will kill CD (and iTune) sales completely. Others, not least Steve and myself, think that young people today behave in exactly the same way as young people 25 years ago. The medium has changed, the behaviour has not. Back then, many teenagers had boxes full of albums taped for them by their friends. There was the same concern that cassettes would kill LP (and CD) sales. Over the longer term the reverse was true. Why is that?
Bootlegging can create markets where they do not previously exist and does not affect the amount of disposal income or the desire of more mature music listeners to obtain the 'real thing' (according to Greg Walker at Synphonic). The reputation of an artist's music is not created in the advertising world - it is created by people who share the music with each other, discuss it, argue about it, and then get others to listen to it in their bedrooms, living rooms, at live events or on the radio. It may be that getting anxious about downloads is akin to shooting oneself in the foot. However, in the interests of learning, we will repeat the advertising campaigns without download options to see if this positively affects CD and digital sales. Now, let's talk sex.
 
Now which of these pictures grabs your attention the most? Thought so. In an ideal world, a great album cover with an arty picture would command as much attention as a woman. Alas, pictures of women attract far more attention than anything else. A picture of a man, and even a baby, attracts no more attention than any other picture. How can we be sure? Rotating pictures during a series of adverts leaves little room for doubt. On both eBay and SoundClick, pictures 2 and 4 consistently increase the number of hits anywhere from 6 to 10-fold.
Is it immoral to use this knowledge, or just realistic? Is it cheating, or an attempt to level the playing field? You can debate this with us. Consider this, however. If you could get 100 plays instead of 10 for the same advertising spend, would you take the opportunity? How immoral is it to knowingly waste 9/10ths of your co-musicians, fans and supporters time, effort and money? Female artists have a natural advantage (the prejudice that leads people to respect and accept a woman's sexuality more readily than a man's). How should male artists, or boy bands, respond? We think the best solution is to work with women and level the playing field. That's why Caroline (Rory's wife) suggested posing for the pictures, invested in the company and stands to benefit from album sales (almost as much as the artists themselves). So, any knights out there wanting to do something heroic.....here's your chance :)
The jury is out, therefore, on the cost effectiveness of advertising. We'll report more in the months ahead. Networking has its benefits because it is founded on making a personal connection. Even though it is more time-consuming, it will be an important part of the marketing mix. Thankfully, the former assists the latter so there is no conflict of interest.
Digital Chemistry
 Robert Fowler, perhaps Seattle's finest rock guitarist, continues to work hard on mastering recordings that have enjoyed chart success at SoundClick. In the article below he tells us about recent recording activities and his plans to put an album out later this year. These are Rob's words.
"It has be a very tumultuous time for me right now...as far as the Digital Chemistry CD is concerned. I am currently remastering the 9 tracks (one track was shelved, as I felt it was not fitting well with the rest of the tracks). The remastering process is close to being completed, but there is more to do...when they are finished, I will be uploading hi-rez mp3s to my site at SoundClick. I have written and recorded the "ending song" called Goodbye. It is an old idea revamped, very cool, dreamy yet powerfully melodic thing, suitable for sunsets, and the "end of all things"....I have one more to do for the CD, bringing the track count to 11 ...enough for a start...a long time in the making."
"As far as a live band, although not out of the picture, it is now highly unlikely due to my inability to find 'the' player(s). There are time constraints due to other projects I am involved in. I wish it were not so, but I am in a very difficult area to find good, motivated talent. If it's not post-grunge metal, or indie pop...they're not interested.... as a 'driven' musician, I also feel that they are somewhat put-off by my single-mindedness...we can't always chose our destinies. As far as a distribution goes, I am still up for it on a trial basis..."
With Rob finding it hard to track down a committed bass guitarist, he has expressed an interest in targetting the games market with his music. Next month, we'll carry a full interview with Rob as he moves into the final stages of producing his debut CD and outline further details of the approach New Horizons Music will take to helping its artists.
Other News and Reviews
Our established artists continue to make a positive impression around the world. In March we had excellent reviews at one of the most popular review sites (Sea of Tranquility) as well as 5-star reviews at RadioIndy. Next month further reviews at ProgNauts, Progressive Ears and Progresor should appear. Peter Pardo passes comment on both Into the Mouth of the Tiger by Protos and Passing Decades by Rory Ridley-Duff. Below is an excerpt from each review:
"After you get through the music on Into the Mouth of the Tiger, you'll wonder why Protos never got the record deal that many of their contemporaries got, like Marillion, IQ, Pallas, and Pendragon...Fans of rare progressive rock recordings of the 70's and 80's need to check this archival release from Protos out - can't get much simpler than that. It has all the elements that make the genre so appealing-stellar musicianship, soaring melodies, complex passages, virtuoso solos, and that vintage sound...."
Peter Pardo, 13th March 2007, http://www.seaoftranquility.org/reviews.php?op=showcontent&id=4866
"The opening title track [of Passing Decades] is a joy to listen to, very symphonic in nature, led by Rory's wall of bombastic keyboard melodies. Coming across more like a classical orchestra than a one man symphonic band, both 'Variations of Theme by Iain Carnegie' and 'Night Time' just ooze class and mystery, with the latter featuring rich synth textures, gongs, and chimes for a great effect...Originally recorded between 1992-1993, let's give kudos to Rory Ridley-Duff for newly mastering this fine CD and making it available. Passing Decades is a fine testament to a very talented musician and composer - check it out."
Peter Pardo, 29th March 2007, http://www.seaoftranquility.org/reviews.php?op=showcontent&id=4926
 Passing Decades is also leading the NHM challenge at RadioIndy. Passing Decades spent most of this month in the top-40 of the main chart but has now been replaced by Space as NHM's front runner. All three featured tracks have topped the weekly rock charts:
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Passing Decades (#1 Weekly Chart, 9th March)
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The Maiden (#1 Weekly Chart, 13th March)
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Tempest (#1 Weekly Chart, 24th March)
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- This new site - one of a growing number of hi-fi internet radio stations prepares playlists that are promoted on sites like Rhapsody, Napster, MSN, Yahoo and MySpace. This month it received face-lift and is amongst the most professional looking sites on the web. As a writer of music, I get limited time to listen (except when searching for new artists) but this site has genuinely impressed me. The claim by the site founders that they 'spend countless hours screening' artists definitely seems to have paid off. This is now my radio station of choice.
Check out Rory at RadioIndy.
Thats all for this month folks. Come back next month for an interview with Rob Fowler (Digital Chemistry). In June we'll publish the Euro Rock Press interview by Nobuhisa Nakanishi with Rory and provide an update on Protos's progress recording their third album.
Best wishes
Caroline Ridley-Duff
Stephen Anscombe
Rory Ridley-Duff
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March Newsletter
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 Welcome to the March newsletter of New Horizons Music. Last month's thought-piece went down well (it was republished in the March/April edition of Classic Rock Society Magazine). For that reason, we're sticking with the format. In this edition, Rory draws on his university experiences to unravel a few "truths" about music. Then, we provide news about our forthcoming projects for 2007/2008. These involve not only Rory and Steve, but new musicians and bands (Digital Chemistry / Stonecold). Lastly, we provide information about an ethical project to expand the company's work.
(If you want to express your opinions, and have them published in future newsletters, send your comments to
music@roryridleyduff.com).
What is "Truth" in music?
by Rory Ridley-Duff
Away from the music scene I lead another life as a university lecturer/researcher. One of the subjects I teach is epistemology ("epis-ta-what?" I hear you say...). To cut a long story short, this subject is taught to anyone seeking a doctorate. Why? To earn the title 'Dr' requires that a person makes a 'contribution to knowledge' (i.e. establishes as 'true' something that no other person has previously established as true). It helps to know what "truth" is, how it is established, why some claims of truth are reliable and some not, when you are trying to establish something as true.
It struck me, considering events over the last month, that such a discussion is quite revealing about music. For me - as a music publisher - what information should I believe and what should I disregard? Should I take the number of track plays as the most important measure of a developing market? Should I perhaps be more interested in the number of downloads? Or are sales the 'true' measure of consumer interest? In looking for 'good' new music, should I listen to the comments of people posting to public message boards? Or are press reviews a better indicator? Whose opinions should I respect? The reviewers? The fans? The artists? I've come to realise that all have their own agendas, prejudices, loyalties and disloyalties (not to mention vested interests). Perhaps none of these matter. Perhaps the most useful role of a music publisher is to create markets, not follow them, by following my musical instincts and publishing music based purely on the pleasure I get from listening? Is this the 'truth' when it comes to publishing music?
For fans of music, the questions are similar. How do we (I can be a fan too...) decide which music is worth listening to? Which is worth buying? How do we determine the 'worth' of music? It made me cast my mind back to being a teenager, earning money from washing up in a restaurant. At the best of times this is boring, so I let my mind wander off and ponder which album to buy next. The list was always a long one, much longer than my small pay-packet would cover, so choosing was never easy. Back then, even stereo cassette players were rare and there was no Internet with millions of free audio downloads to satisfy a youthful lust. I always professed a dislike for 'chart music' but never ceased to point out when my favourite bands topped the charts (always a good 'proof' when pop fans mocked the music I liked). I do not remember being swayed by the music press (although I might take interest in a review of an album I already knew - to compare notes). My friends largely determined the new music I listened to although I also locked myself away in my bedroom for hours to hear the few radio stations available. My friends certainly influenced the range of choice but not the actual albums I chose. Lastly, but certainly not least, there was the question of identity. Music is not just a passive pastime. It defines us (too often?) as people. I was (and wanted to be) a rocker, not a pop musician. This was not just about musical taste, but also about my taste in friends, in clothes, even my attitude to life. This played a big part - a much bigger part than I care to admit. (What music would you 'not be seen dead' buying?)
.JPG) So, in publishing music, what is it that will induce you to take an interest (and perhaps even buy some of the albums produced by this label)? Are you influenced by how much other people are listening the music? One mean-spirited soul on Google suggested that NHM's music was enjoyed by 'two men and a dog'. In countering his argument, I pointed out that the number of plays (streams) at SoundClick for 'Rory Ridley-Duff' rose from around 7,849 in January, to 49,660 in February (for two days, Rory topped the 'Hottest Bands' chart). In rebutting the argument, the 'charge' changed to one of arrogance and self-promotion (I think this person was not so much interested in a conversation with me as looking cool in front of his friends by making fun of a deluded musician).
Are such things important? Are you influenced by chart positions and whether an artist has had a #1 hit (or two, or three)? Perhaps you rely more on the press articles? Alberto Nucci (www.arlequins.it) wrote a recent press review of Passing Decades. This is what he had to say:
"Rory has re-arranged three pieces from the Protos repertoire, but the better quality compositions, at least for this writer, are right at the end of the CD. 'Tempest', 'The Maiden (by Protos) and the conclusive 'Space'. These pieces create angled, special, gliding atmospheres, a positive inspiration and pleasant conclusion to this good album."
 These comments echo those on CD Baby. Reviewers pick out Tempest, The Maiden and Space as the strongest tracks. And yet, at SoundClick, it is the title track Passing Decades that is most popular, played 32,360 times in February (compared to 1,825 for Tempest, 4,615 for The Maiden and 2,912 for Space). It was downloaded 446 times, twice as often as all the other tracks put together. So, in determining the "truth" about these tracks, should we believe what people write about them, or what people choose to play and download?
 Then there is radio. What value, for example, should be attributed to being awarded 'Gold Status' at RadioIndy? The play-lists are of a very high standard (as you would expect in an edited radio show). But does the fact that we had to sign-up and pay a small fee make the award meaningless? Perhaps. Perhaps not. As we later found out, the mission of the station founders is to "present the best of these undiscovered talents". Not everyone is invited or gets on their playlists.
The contradictions are even sharper when trying to navigate the 'truth' about Protos's music. At SoundClick, Protos tracks receive fewer plays (at present). Protos has only been selected for 5 'stations' while Rory's music has been selected for 24. Does this point to a truth about the 'worth' of their music? In a moment of insecurity this difference made me wonder if last month's Record Collector reviewer was correct to give the One Day a New Horizon CD a poor review. Even as I was contemplating, however, a new review appeared at Progressive Ears that debunked the claims of Record Collector. If I'm searching for the truth, I can't ignore the variety of opinion and the motives or perspectives of the reviewers.
It is Protos music that radio stations are seeking most often. 'The Fugitive' was selected alongside tracks by Camel and Genesis for a progressive rock show in Poland. Jesus Diaz has been playing Protos in Mexico. Gregg Kovach has been playing it in Chicago. What truth can we learn from the number of DJs selecting a band to play on their programmes?
Overall, One Day a New Horizon (and now the "excellent release" Into the Mouth of the Tiger) continues to provoke higher levels of interest, but only amongst reviewers. Do reviewers know something that music fans don't? Or is this a case of age before beauty? Is there additional reverence for an album that has 'stood the test of time' (i.e. can still find a distributor after 25 years)?
 As far back as 1991, Marquee Magazine told fans to "remember Protos as the best progressive rock band since England..." (i.e. the best prog band to appear since the year 1977). The popular Progressive Ears web-site now says that One Day a New Horizon is "...one of the most important albums of this particular sub-genre...". So how do we reconcile Tim Jones's view that some of it should be "malletted" with other reviewers stressing consistency in high-quality song writing? How do we reconcile 'piss off' comments in Google's Progressive Rock forum (early Feb 2007) with Paco Fox's review (late Feb 2007, CD Baby) that Protos "proves his friends wrong" when they say there are no more prog groups worth discovering?
For some people One Day a New Horizon is "a must-have" CD (e.g. Fabio Rancati, www.hardsounds.it). For others it is a "don't bother" CD (Tim Jones, Record Collector). In fairness to Tim, despite his personal feelings he still recognises the album's reputation and lists it in the top-100 collectable prog-rock LPs (see next month's Record Collector, April 2007). But musically speaking, who is telling the truth?
Anyone who makes their career in academia is sceptical about those who claim to know the 'truth'. Some research groups (including those I belong to) are especially sceptical of anyone who sets themselves up to give 'expert' opinions. Historically, widely accepted truths (e.g. that the earth is flat, that the sun moves around the earth, that there are no black swans) turned out to be false. Truth is a human idea, a human construct and all claims are contestable. The more we move away from the physical sciences, the more constructed and contestable the 'truth' becomes. When it comes to art, it is the most contestable of all. Wherever I go on the Internet, debates about which music is 'best' are a mainstay of chatrooms the world over (whether 4 months, 4, 40 or 400 years after the music was published). With music, discovering the truth is particularly hard.
Time and distance are great levellers. The passing of time, and geographical distance, dulls the rush of adrenalin and diminishes the influence of cultural bias. The desire to win, to achieve fame, to climb the ratings, are all less acute. In new markets, music is judged as if being heard for the first time. The playing field is levelled. The truth about music is ambiguous, contestable and emerges slowly and painfully. Very slowly. It can take decades. It can even take centuries.
In Japan, the influence of the western media and fans have no influence. An album by Genesis, England, Marillion and Protos (or by Rick Wakeman, Patrick Moraz, Mike Oldfield and Rory Ridley-Duff) stand side-by-side without the hype - or lack of it - that surrounded their careers. The press releases to UK/US magazines, the appearances on UK/US TV stations - or absence of them - have no effect. The albums once again stand side-by-side and are judged on the music. Talk-shows and internet chat rooms then construct different realities. For example, HMV stock Protos and Rory Ridley-Duff albums in Japan but not in the UK. Reputations are deconstructed, reconstructed and promoted differently in different cultures.
 Ultimately, the music that survives is the music that people choose to play again and again (both musicians and fans). More than this: it is the music that is sufficiently good to be 'discovered' and enjoyed by each successive generation (when the press releases and marketing 'experts' are no longer there to manipulate our choices). In my mind, the number of downloads are a good indicator of the attractiveness of a piece of music (particularly the % of downloads as a ration of 'plays'). It indicates an intention to play it again, and also shows the likelihood that a track will impress its listener.
Radio airplay matters. It gives music credibility by communicating the opinion of someone 'in the know'. A DJ who gives airtime, or buys an album, is saying 'listen to this'. While some cynicism about backhanders and freebies does not go amiss, few people achieve fame and fortune by focussing their attention on crap products (except perhaps, those in the waste disposal business). There is, however, a fair amount of luck regarding which music is selected and promoted. With so much good music being written and published, there is insufficient time for all artists to get played on major radio stations.
For publishers, sales do matter. A person putting their hand in their pocket (particularly when there is so much free music available) is more significant than in the past. It is a firm and tangible confirmation that a piece of music (or music collection) has some enduring value to a particular person. It signifies a strong desire to develop a greater knowledge of an artist's music. For the musician, it provides an added incentive to keep writing. For the fan, it speeds up the process of getting more music from their favourite artists because the artist can afford to spend less time on other things and more on music.
As for "truth" where music is concerned, it is only when we stop resisting "the new" and - temporarily - suspend our loyalties to "the old" that our minds (and ears) become open to what is happening now. This is what we teach researchers. To increase your capacity to discover the truth, it helps to be receptive to new discoveries and have the ability to question old discoveries. In those moments, it becomes possible to evaluate the here and now against the wisdoms of the past. For each generation, it should be remembered, the past is 'here and now'. They are discovering the music of the past in the here and now for the first time. At the time same, if we put up barriers to music written now (by talking only about the past) we don't just live in the past, we lose our capacity to discover the truth about the world as it exists now.
At NHM, the search for new music goes on (both within ourselves but also by linking up with other artists and bands). In the next section, we go public with our early efforts to move beyond our own horizon....to seek out new music...and new artists...to boldly go where....(better stop there before anyone starts to think I'm a Star Trek nut). From Malta to Mencap, from Seattle to Stonecold, the journey has begun...
The Search for New Talent....
by Caroline Ridley-Duff
 Both Steve and Rory are keen to open the doors of the company to other artists in 2008. As Steve says:
"The company ethic is to offer those who otherwise might struggle to bring their music to the wider public. While we are predominantly interested in working with individuals and bands whose music is not mainstream (especially the Prog Rock genre) my day-job brings me into contact with organisations who work with some remarkably talented people. Because of prejudice or circumstances, they suffer in the competitive world of contemporary music. Organisations working with musicians who suffer from learning disabilities, or who have maybe been involved in an accident resulting in major trauma, still have much to offer. Music is not just therapeutic, but even more meaningful to those who struggle to make themselves understood verbally. I am currently looking into the possibility of bringing the music of a talented young band in Kent (UK) to NHM - they are truly deserving of our attention."
Meanwhile, Rory has been corresponding with artists on both sides of the Atlantic. Nigel Rippon has produced 14 albums with a UK progressive-metal band Stonecold. Recently, they had a sell-out 20th anniversary gig in Sussex, England. When we met before Christmas, it transpired that none of Stonecold's music is available through digital distribution or outside the locality where they play. Discussions have opened with NHM on bringing the best of Stonecold's music to a wider audience. Next month, we hope to persuade Nigel to have an e-mail interview about Stonecold's future plans.
The other artist impressing Rory is Rob Fowler of Digital Chemistry. Rory heard Rob's track Fallen on the SoundClick internet site and immediately made contact. Rob lives in Seattle, far away from the metropolises of the music industry, and wants a way to reach a wider audience. NHM are in the early stages of negotiation to see if Rob's band would like to collaborate with NHM to distribute their music worldwide. We have asked Rob to say a few words about his future plans in next month's newsletter.
None of this means that Rory and Steve are ignoring their own musical projects. Rory and Steve have started collaborating on a new Protos offering with the working title 'Take Two'. Rory says:
"Many of the tracks on the recent live album Into the Mouth of the Tiger have never been recorded in a studio environment. Moreover, there are other treasures from the 1970s - tracks called Outcry and Alone in Manhattan - that some of our dedicated fans dug out of their music collections. There is also an acoustic track called Spring that we plundered for ideas. We want to record something that returns to the spirit of the original. Lastly, there is a long section from Tempest that we set aside to work on as a standalone track. For reasons I can't remember, we never got around to working on it. A live recording exists but it was too poor quality to include on Into the Mouth of the Tiger. The music itself is one of our most important finds. In all, we've found over 40 minutes of material we would like to record. Once the backlog is clear, we'll set about adding new compositions."
Backing tracks will be laid down by Rory in his home studio. Steve and Rory will develop the idea then hook up with Nigel in June/July to add guitars and finalise percussion. It will then be Rory's job to produce the finished product.
That's all for the March edition, folks. Catch us again in April. We'll continue to provoke thought while providing news.
Best wishes
Caroline Ridley-Duff
Steve Anscombe
Rory Ridley-Duff
New Horizons Music
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February Newsletter
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Just When You Thought the Racism Row was Over...
One of the interesting things about publishing and promoting new music is the reactions that occur around the world. In November, we created a stir on Google when we published our experiences contacting UK record shops listed in 'Classic Rock' magazine. Unlike shops, distributors and radio stations abroad (who had no inhibitions contacting us) the UK response - to put it bluntly - was a bit like trying to wake up a corpse.
In this Newsletter, we revisit what has been happening worldwide and provide links to chart topping tracks. It is fascinating to compare the reactions from different sources and here we report the feedback published in magazines, on web-sites and posted to message boards. We can't publish everything, so we've taken a representative sample (both good and bad).
Here are some of the more interesting press reactions to our best-selling albums.
"I recommend without reserve. Get it. You won't regret it...", Fabio Rancati, HardSounds, Italy.
"Very rare and GREAT! Pick this gem up...brilliant instrumental symphonic prog.", Gary, CD Baby, USA.
"One of the jewels that these rare talented musicians created...", Marquee Magazine, Volume 39, Japan.
"This IS a goodie with warmth and depth...", Stig Lundstrom, Finland.
"One Day a New Horizon...sounds like it was recorded in a fridge...", Tim Jones, Record Collector, No 333, UK.
SoundClick Community Message Boards (December 2006 to January 2007)
- "Sounds great and vital...", Hans, Bonn, Germany.
- "Wow! Tempest is phenomenal. Intelligent, well-executed, and, dare I say, catchy...", Paul, Texas, USA.
- "Just listened to The Maiden. Really, really good stuff...", Jonas Nillson, Sweden.
- "Passing Decades is great and Protos are amazing ! Um grande abraço..., Progressive Rock Station, Brazil.
- "Impressive - nothing else to say...", Norm Cole, Canada.
- "Tempest is ugly. Your music is poor and you know it..." Phil, UK.
Prejudice is a curious thing: we often assume that people attack those outside their own community more than those inside. Our experience, however, is the reverse: the only magazines and people to dislike (and show contempt) for the music we have published comes from within our own country/community. I guess the moral of this tale is "...if you want an objective opinion about English progressive rock, don't ask an English magazine or listen to an English prog rock fan..." Is this a new form of racism (against oneself)? Or perhaps it is just that there is so much emotional investment in preserving the status quo regarding the history of English progressive rock that people in the UK can't be objective any more.
SoundClick - the #1 Artist Music Community
Most of our promotional work this month has taken place at SoundClick (www.soundclick.com), an international web-site for active musicians that claims it is the world's "#1 Artist Music Community". With over 290,000 bands/artists registered, over 2,000,000 tracks of new music and nearly 3 million registered listeners, this is probably a justified claim (unless you know different).
Our artists have had a number of chart successes and two have reached the Top-25 'Hottest Bands' chart (albeit briefly).
(You can click the links to tracks on the SoundClick web-site as well as album reviews on the CD Baby web-site)
Jan 2007 - Total track plays 2,707 - Downloads, 99, Most Downloaded: The Fugitive (47)
In all, January was a good month. New Horizons Music had seven #1 hits, and Top-Ten hits in 21 different charts. We hope you'll find a way to join in the fun and discover some good music - even those of you living in the UK!
Rory and Steve
NHM Directors
P.S. Please send a link to this page to anyone you think will be interested.
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