The Shine Foundation is a federally registered charity dedicated to the advancement of music performance, production and education in the National Capital Region and throughout Canada.

Shine employs specialists in private lessons for children and adults aiding in the creation and development of youth bands crossing genres such as Jazz, Rock and Soul. Students take one-on-one or group lessons, rehearse with bands, record their own CDs, and perform in their communities. Private lessons are conducted by professional musicians. Shine’s current program model has students studying with individuals committed to their instrument(s) and regular live performance. Band classes are formed to aid in the contextual application of private instruction techniques. Private and Band classes are held in 3 terms of 10 weeks each (September 1 to November 25; November 25 to February 25; and February 25 to roughly mid-May; make-up lessons can be arranged at any time during the year, usually within a week of a missed lesson).

Payments are made by 3 post-dated cheques in which the dates on the cheques correspond to the beginning of each term. The break-up of payment for classes is intended to ease the concentrated financial strain already experienced by parents in the back to school season NOT to separate the school year into terms. Amounts vary depending on the instrument and the duration of instruction. Typically, band lessons cost a very reasonable $150 per term and in studio private lessons cost $275 per term. The GST is included in lesson prices. In home lessons are available upon agreement by all parties involved. Given the facilities available at Shine’s new studio, we are encouraging all students to take their lessons at 119 Pamilla. The expectation is for students to complete a full year of 30 lessons and/or band classes, solid musical foundations are built from year to year with this type of commitment. Additionally, life lessons are learned by participating in a 30 week interval such as, commitment to a discipline while still having fun throughout the year. Benefits of committing to a band class include consideration for others and how students participation within a group, or lack thereof, can effect others in the group. It is essential that students take this commitment seriously, groups often have only one player per instrument and parts are written, or assigned to the individual strengths and needs of specific students. It is also important to remember, the commitment is serious, but the participation is intended to be FUN!!. The loss of any player can mean that the bands performance as a whole is at risk and is less fun for the others involved. Band substitutions, even for one concert or rehearsal are difficult to arrange and require much preparation. Shine recognizes circumstances such as illness, disability, weather, and situations in family or school life arise that prevent a student from attending lessons. If a student is unable to attend or complete a term, cheques can be returned or refunds made on the mutual agreement of the program director, the parent and the treasurer. For the most part, these should be temporary breaks in attendance, and Shine encourages students to return as soon as possible to their lessons. Where a student is unable to attend a lesson, advance notice is appreciated. If a student suspects he will not be able to complete the term due to academic or other commitments they are strongly encouraged to inform the instructor and the program director before the onset of the term. Withdrawals must be made before each term cheque is cashed, once the term starts, both musical and budgetary concerns become an issue. Instructors and students are expected to honour lesson times and duration’s, and arrange their personal schedules accordingly. NOTE: While Shine is sensitive to the above and encourages other extra-curricular activities such as sports or other arts education programs, REFUNDS FOR WITHDRAWALS ARE AT THE DISCRETION OF THE PROGRAM DIRECTOR AND THE TREASURER.

Advice on rental or purchase of an instrument is available from the instructor and the program director. Shine is a secure environment for music education. Supervision by other adults, especially parents, is a feature of life in the studio. Attendance is monitored, and if a student does not attend, calls to follow up are made. We provide regular updates on Shine activities such as trips and concerts by email, if you would like to be contacted using a method other than email, please let the communications person know before registering.

Additional useful information

Since its inception in 2002, Shine has gained much experience in student band management aiding over 700 students in achieving their goals. The new facilities have improved recording quality, teaching techniques and the overall viability of production at Shine. As a result, it has become apparent that it is not only students but parents that require guidance in navigating the tumultuous waters of music education, performance and production. The instructors of Shine are professional musicians and as such are exposed to varying situations on a daily basis that occur when performing, writing and recording music. Due to improvements in recording techniques and students’ performance, new situations have arisen. It is the intention of this document to identify and offer solutions for these situations.

Strategies for dealing with student band management can be viewed to fall into the following categories:

• Commitment
• Communications
• Copyright and intellectual property
• Consideration
• Collaboration and contribution

Commitment

It is beneficial for students and parents to be aware that each Shine participant’s commitment level varies. Shine encourages interests outside of music as it is the belief that students must be exposed to many disciplines and interests in order to choose which ones they will focus on. Shine does offer classes in the form of clinic classes for those students whose primary interests lie outside of music performance and may conflict with the necessity of committing to a band. This distinction between a stream of activity oriented to instrumental accomplishment and a stream oriented towards performance is not unlike the difference between recreational and competitive sports. Where the difference does manifest is, unlike a sports team, often only one member holds one position in a band. It is unlikely for a band to have 2 drummers or 2 bass players, but it is not uncommon for a football team to have back-up quarter backs. Music also differs in that it is not overtly competitive, but bands are constantly being judged on each performance, and measured against their peers.

It is also important to remember, the commitment is serious, but the participation is intended to be FUN!! The loss of any player can mean that the band’s performance as a whole is at risk and is less fun for the others involved. Band substitutions, even for one concert or rehearsal are difficult to arrange and require much preparation.

Professional musicians deal with this situation regularly. For example, full time professional musicians are frequently paired with musicians who hold full time positions in vocations that are not directly related to music. This puts the full time musician in the precarious situation of not only dealing with earning a living but having to do it around those who do not have to depend exclusively on it as their source of income. It is common for professional musicians to secure and train their own substitutes if there is a chance they will not be able to make the commitment necessary to the group with which they perform.

In order to deal with the practical aspects of band policy, this section sets out some of the specifics of the commitments that typically make bands work:

1. Productive practices both at Shine and outside of Shine;

2. In the event that a band member cannot attend a performance for which adequate notice was given, he/she will secure, book and arrange for rehearsal with (and if need be pay for) a substitute musician; in many cases, not only is each role necessary to a high level of performance, but some or all members may be irreplaceable; this is the case with lead vocalists, multiinstrumentalists or other musicians with unique skills; it is also the case that certain combinations of musicians are necessary for the band to portray a professional, effective performance; for example, in the band, Walter Ego, a professional 4 piece band with 3 Shine instructors, only 2 members are crucial to the group as an identifying sound, the lead singer and the lead guitarist.

3. In the event of an impasse, the Musical Director’s opinion/word will prevail .

4. Maintain personal commitments to education and family to the best of his/her ability outside of Shine in order for them not to become a factor in the band’s progress. In the event that commitments outside the band are unavoidable, education and family needs will supercede band.

5. One of the great advantages a musician enjoys, whether student or professional, is the diversity of tasks that pull together to make a musical group successful. In order to make a musical endeavour a success a number of skill sets are needed. Each band member’s personal experience, interests and life skills determine which of these tasks they excel in or are comfortable with. Some of these tasks include:

• Leading a band

• Organising rehearsals , sound checks and logistics when travelling;
• Booking;
• Social networking and web presence;
• Composition;
• Transportation and maintenance of equipment;
• Recording experience

Below is a form intended to clarify band roles, definitions and points of consideration. These are not cut and dried and may not be the sole responsibility of one person. Each band member is expected to print and sign their name and acknowledge responsibility for the task at hand.

Band Leader _________________________________________________

As band leader or co-lead (if applicable), the band leader guides the band’s career path in terms of:

• musical vision, including style and genre;
• bookings;
• accurate and transparent finances;
• conflict resolutions.

Roles that a band leader may assume or delegate to others more comfortable in these roles include:

• acquiring accurate information about the stage set up;
• dealing with items such as sound, stage size, the existence of a preparation room, access to a load-in door, access to refreshments and food, loading times, number of technicians on performances and their roles etc.;
• arranging tours.

Musical Director ____________________________________________________

The band leader is often the musical director, but this is not always the case. On occasion, a band member other than the band leader may possess the strongest rehearsal skills. The musical director may also make suggestions for other band members to take on part or all of the musical director’sput role. It is also common for the producer or instructor to assume the role of musical director. This does not mean that they are the band leader.

The musical director:

• runs rehearsals in an efficient manner;
• ensures introductions, breaks, cues for endings etc. are executed on the stage;
• suggests to band members to count off tunes, give cues etc.
• interprets the musical vision of the band leader;
• provides input in rehearsal and on performance;
• where necessary focuses band members’ attention when it drifts in rehearsal (it is common professional etiquette for all band members, including the band leader, to defer to the musical director in rehearsals and on stage);

Ultimately, the band leader makes all decisions that may affect the band, but these lines are not cut and dried (and are different for each band). The assignment of a musical director is meant to optimise rehearsal time and clarify on stage communication, not to shift any balance of decision-making from the band leader and not to deemphasise the opinions of the band members at large.

Logistics Coordinator _________________________________________________

Often the band leader is responsible for logistics, but on occasion other members or other individuals may be more comfortable in this role, such as another band member or a band manager who is not a band member. If the band leader is deferring the role of logistics, it is the band leader’s responsibility to ensure the person assigned to this role is fully aware of what they are responsible for.

The person involved with logistics:

• organises rehearsal times;
• ensures that sound reinforcement and stage size are adequate for the band;
• ensures the band equipment is on site on time;
• ensures the band equipment is taken down and arrives at the next location;
• prepares and distributes stage plots and input lists;
• acts as a conduit between the sound check technician and the band with regard to the sound check schedule, set times, appropriate set break music etc.;
• provides any required staging;
• Is responsible for all itinerary items including transportation and hotel rooms; directions to the venue; load in and load out instructions; gas estimates; providing the band leader with appropriate budgetary concerns regarding logistics; parking

 

 

Booker ___________________________________________________

Booking entails dealing with the details of a live performance. It is industry standard for those who have taken on this task to receive a commission. For an under 10 piece band, the commission is 15%; for an over 10 piece band, it is 10%. There is also 5% given as a finder’s fee for those who find opportunities for the band to perform for a fee but do not complete the booking tasks.

Booking entails:

• being civil and establishing a rapport with any client despite extenuating circumstances that may arise. This is to ensure repeat business;
• being responsible for negotiating in good faith to ensure that both the client and the band members are satisfied with what is received for performance rendered. This involves ensuring that any contract includes the necessary elements such as PA, adequate stage size, power, lighting, a sound technician, refreshments and food available as necessary, parking, arrangements so that musicians can occupy the same area as the clientele (currently not standard in contracts), a separate invoice with an HST number if applicable, provision for deposits, time(s) and form(s) of payment.

Sample contract with link

Band Members at Large (AKA Sidemen) _______________________________________

The role of the band member at large is often a support or utility role. While the band member at large may be asked to execute any of the tasks outlined for other roles (for instance, loading equipment, picking up transportation, delivery, repairs etc.), this band member is not without a voice. For example, it is incumbent on the band member at large to make suggestions about any role, usually to the band leader first so that he can make a decision.

Band members at large:

• abide by the musical director and band leader decisions, even if they disagree with them, once these decisions have been made;
• are expected to come to practices and performances ready to practice and perform before assigned times (for example, a 6:30 PM time may require a 6:10 PM arrival);
• are expected to work on any parts assigned to be learned by the musical director or band leader within realistic periods.

 

 

Band Manager ____________________________________________________________

The band manager is not a member of the band, and as such carries a different role than that of a band member.

The band manager:

• makes suggestions with respect to the band’s career path. The band is able to accept or decline these suggestions;
• establishes rapport with the band members, but discusses strategy with the band leader exclusively unless extenuating circumstances make it necessary to do otherwise;
• if requested by the band or established through consensus, aids in the following aspects of the band’s responsibilities: booking, logistics, communications, promotion etc.
• respects the decisions of the band members;
• once a band consensus is in place and a final decision has been taken by the band leader, executes tasks to the best of his/her ability.

In the event that an impasse is reached between the band manager and the band leader (even if the former had suggested an alternate course of action than the band leader’s decision) and that that impasse is hindering the progress of the group, the band manager will attempt to arrange for a replacement band manager. The band manager will make every effort to ensure the band’s progress is not impeded by this impasse during the transition. If the band manager has no suggestions for a replacement, the band manager will make this known to the band.

The selection of the band manager may have been determined by past experiences and contacts. It is probable that during the band manager’s tenure with the band the band manager would have drawn on this band experience and contacts to advance the progress of the band. It is also possible that new contacts would have been made through the band manager’s association with the band. The band manager will make all contacts acquired through these two situations available to the band in good faith. Contingent on separation from the band through the above mentioned means, the band manager is able to reserve the right to withhold any contacts that do not fall in these two categories.

Executive Producer ________________________________________________________

The executive producer is often a facilitator for recording projects to happen, often investing large amounts of time and money with the intention of attaining and possibly marketing the final product. It is not uncommon for an executive producer to only hear a mix close to the end of the process. It is also not uncommon for this individual to delegate work to other members of the production team. In fact, it is customary for the Executive Producer to put full creative controls in the hands of the production team and the band. This non-interference practice instils the production team and band with confidence, allowing the creative juices to flow unfettered. Best results are often achieved if the Executive Producer is allowed to make comments on a close to final mix. These comments are always considered and often accepted by the production team. The production team will make every effort to make the changes mentioned in the comments within cost ceilings. The Executive Producer contracts the services of the members of the production team (the team is not employed by the Executive Producer). The executive Producer must also realise that comments on recordings may lead to cost overruns and production delays as good production team schedules are often overloaded.

Producer_________________________________________________________________

The producer’s primary job is to complete the product by:

• scheduling recording;
• making decisions about recording techniques;
• giving final stamp of approval on mixes;
• changing musical elements if necessary;
• making musical additions.

The producer is often a multi-instrumentalist, and/or composer, whose knowledge is multi-facetted.

Tracking Engineer___________________________________________________________

The tracking engineer often:

• chooses microphones and preamps;
• positions microphones;
• runs lines;
• prepares capture source;
• patches preamps to the capture source; and
• monitors levels,

this after consultation with the producer and mixing engineer. The tracking engineer and the mixing engineer will consult to ensure an agreed upon approach to the final product.

 

 

Mixing Engineer______________________________________________________________

The mixing engineer’s primary role is to realise the vision of the producer and band leader. The role of the mixing engineer within the digital environment is very similar to that of a mastering engineer and is crucial to the quality of the product. On occasion, the mixing engineer works as a coproducer.

Later references to balancing, equalisation and compression

Mastering Engineer____________________________________________________________

Mastering is the art of tweaking a close to final product. It involves dealing with digital remnants, clipping and problems with equalisation. The modern mastering engineer makes sure that all parts of the mix are heard on radio using techniques with equipment, including compressors, limiters, expanders and many more. In the early days of recording, the mastering engineer ensured that the stylus did not jump out of the record groove. Later mastering and mixing became more integrated. Musicians should speak to the mixing engineer before jumping head first into mastering. The mixing engineer should be made aware of all stages that are to be engaged on a recording before mixing, and the tracking engineer should also be kept informed. As technology and formats changed, demands on the mastering engineer also changed, and came to involve file formats, sample rates, bit depth and often access to outboard gear. Very recently, mastering has come to be done “in the box” without external gear. Recent software advances have made it possible to make “in the box” mastering almost indiscernible from that which uses outboard gear. In fact, a skilled mixing engineer could produce a superior product to one that is mastered with outboard gear.

Communications:

There are advantages to parents limiting communications with other parents of band members. Communicating directly with students with whom your child performs can be easily misinterpreted. If a parent is acting as the band manager, each band policy should outline a standardized means of communication.

Just as with commitments, this section sets out the communications techniques that make bands work.

1. All performance opportunities will be discussed by band members before to committing to them;
2. Decisions regarding the musical direction of the group will be made by consensus , but ________________________ will make the final call, and band members will adhere to the decisions made;
3. Communications will be done in the following format and, to avoid confusion, will be made through email and/or (circle one) text or Facebook messaging:

Who: New Records

When: May 17^th at noon until 3 PM including two 45 minute sets

What: Tulip Festival main stage student showcase

Where: Major Hill Park on Sussex Drive behind the Parliamentary library; parking available in the market or behind the Chateau Laurier; back stage passes and guest passes are available on request for this day only

Why: To expose the band to as many new faces as possible before the new CD; pay only $500

4. Communications will be given to band members as soon as possible, and will be made even if viewed as redundant;
5. In the event that a band member is unable to fulfil his/her commitments to the band, he/she will provide an explanation to the band to the best of his/her ability;
6. In the event that a band member cannot make a performance or find an adequate substitute, other band members will consider his/her explanation objectively.

All communication has the potential to be taken out of context especially when communicating through digital means. These communications are easily misinterpreted. Cell phone communication can often fall into this category, as people frequently are in a loud place, stuck in traffic, dividing their attention between 2 subjects or experiencing the occurrence of signal loss. Often the intention of email and text communications is lost as only 30% of communication is done through the words themselves. The tone of the email can be inferred by the reader.

Copyright and Intellectual Property

Intellectual property in music and music rights management are very murky topics. The nature of the exchange of musical ideas and the fact that there is no actual record or paper trail about who did what contribute to the lack of cut and dried lines drawn. Large pharmaceutical and software companies can afford to track their intellectual transactions on drug manufacture and software. Shine is developing a working, flexible system and policy to emulate this practice.

This means that as a community we have to engage in a dialogue regarding the basics of intellectual property.

Here are some questions that warrant consideration:

What is a song?

A song is essentially a melody. This melody will imply a limited amount of harmonic options that are used to define melodic intention (harmony can sometimes change the entire intention of melody).

Are Lyrics a song or poetry?

Lyrics are very important in pop music, and their arrangement and frequency of occurrence can change the intent of the lyric.

What is a hook?

The hook is a series of small melodic fragments that make a song memorable employed throughout the song. They are a crucial component of a song’s memorability.

When a student brings an idea for a song to a Shine staff member, it is usually incomplete and his/her instructor change parts of it, and make suggestions.

It is important to remember that until a song is mechanically reproduced (copyright) the song is owned by no one.

As in the cases of commitment and communications, this section sets out the specifics of publishing and intellectual property rights that typically make bands work:

1. Band members agree to have Shine act as the band publisher with the intention promoting the creation of written, developed and recorded materials and distributing them; as of September 2011, the percentage applied to publishing will be 15%, said percentage to grow year on year by 5% and to top out at 50%. This will motivate Shine to continually promote and advance band agendas including live performance, web presence, future studio work, and future bookings. Band members may also decline to have Shine as their publisher.
2. Publishing and intellectual property policies are based first and foremost on what is best fot the band;
3. The goal of a band is to write, record and perform original material based on a consensus by the band membership;
4. Our standard breakdown of rights is as follows:

1. Music with lyrics- 50% broken into 25% for the melody/harmony/rhythm and 25% for the lyrics;
2. Music without lyrics- 50%
3. Performance- 40% divided by the number of members in the band
4. Production by a designated producer (Shine instructor and/or engineer)- 10%

At times, an engineer can act partially in a producer’s role; if this is the case, it is suggested performance rights (not the writing) are reduced to 35% and the production allotment is moved up to 15%. The engineer and the producer share the rights at no less than 7.5% each as co-producers. Often, the engineer will contribute musical content to the song as part of his/her production role. These percentages are only suggestions. Band members have the right to decide differently. During performance, ideas may arise that warrant a writing credit. Some bands write harmony and drum beats first. This could also warrant a writing credit. Shine only reserves the right to distribute and administer any intellectual property rights if a conflict arises between or among involved parties.

Consideration

The band can be viewed as an entity in and of itself, much like a corporation. The needs of the band shall not supersede the needs of the individual, nor should the desires of the individual in the band. The needs of the individual and band are equally important and shall be treated as such.

Given the complexity of the performance and production world, Shine encourages each band to develop their band policies (e. g. Whether they will use substitutes? What happens when a player cannot make it to practices/performances regularly? etc.). Shine encourages parents to aid in securing performance opportunities for student bands and to aid in the execution of those performances. However, there can come a point when parental involvement does more damage than good, and that is when it affects the band.

The damage can become manifest in many different ways, usually regarding how ideas are communicated. Here are some examples:

1. Parents, students and instructors associated with the band cease to be civil to each other and to those outside of the band;
2. Students are marginalized in their band practice;
3. Students are pressured into making decisions that may not be right for them.

When a band starts to experience too much damage of this kind, it becomes at risk of breaking up and losing all the work that has been put into its creation and maintenance. This is unfair to the student musicians, and is often the fault/problem of the parents’ personal agendas in an area that is really about their children. It is vital that adults adopt a discretionary approach.

Students should realize they have a role to play in the band’s success and may need to re-evaluate their role in each group. Musicians have to struggle for one leg up since music is now omnipresent in our culture. Also, often musicians are marginalized because the nature of musical creation is not well understood. The listening audience often desires both the nostalgic and the new. It is relatively easy to cater to the former, but acceptance of the latter is always harder to achieve. It is important to realise that the ear will usually accept the new if it has something familiar (e. g. can be placed within a genre, song forms etc.). Those involved in production are constantly working to achieve the right balance. This is where much of the intellectual property ownership is properly placed.

Collaboration and contribution

Shine is constantly refining its methods for generating first class performance and production from students and professionals, and our overall goal is to prevent the generation of the hardships mentioned above. To that end, it is crucial to appreciate what students receive when enrolling. Here are some of the key elements:

• Shine is a fully equipped studio with boutique and state of the art gear;
• The studio was built to suit; this was a costly endeavour
• The location is central within the NCR in order to allow participation from all parts of the region;
• A world class piano;
• Microphones and Preamp kit envied by other studios of comparable size;
• Shine members can participate in more than one band when enrolling at only the cost of the band with the least members;
• Sibling rates that make family participation more affordable.
• Staff with professional experience rarely found in an instructional capacity.

Shine encourages parental involvement in finding performance and recording opportunities, however there is a point when involvement can become interference. It is natural for parents to want what is best for their children, and for them to want to help attain those goals. Since music is a group endeavour, each band member will have an effect on the outcome of the bands direction. Respecting each student’s and parent’s choices is paramount in maintaining a mentally healthy environment for students to excel. Some of the life lessons Shine encourages are empowerment of one’s vision, independent thought, and a strong sense of self. Development of these values can be hindered if parents are not willing to let their children learn from their mistakes. This means mistakes will be made, and how we deal with those mistakes is part of what forms how children function as adults

Parents should realise that their speech and actions can reflect on their children, especially in the music arena. Moreover, what one says and does in the music business can affect those involved for a lifetime. Music is a social endeavour; each person in the community has a part to play and needs to respect the roles and experiences of others. Please help your child to understand this so that he/she may have every advantage after they leave Shine.