Nova Scotia Business Journal

PITCH PERFECT
SOUR NOTES
Local composer’s scores
provide soundtrack to film,
TV shows
PAGE 4
Pundits accuse government of
ignoring financial needs
PAGE 6
UPDATES
ns.dailybusinessbuzz.ca
WHAT THE
TECH?:
Technology helps catapult
local pick guard maker
onto world stage
PAGE 7
April 2015 • Vol. 29, No. 11
SOUNDING
OFF
Artists take to social
media to self-promote
PAGE 9
STRINGS ATTACHED
Annapolis County harp maker
has clients around the world
Timothy Habinsky’s passion for Celtic music fueled his business in the
beginning, but hard work keeps it going.
PAGE 13
THERE’S AN
APP FOR THAT
Festival planning gets a
technical facelift
PAGE 15
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6942294
2 April 2015
Premiers McNeil, Gallant take aim at red tape
New Brunswick, Nova Scotia create office to improve interprovincial business
By John Brannen
TC Media
BURNSIDE – While it wasn’t quite an
official ribbon cutting, the leaders of Nova
Scotia and New Brunswick have committed to
slashing regulatory red tape between the two
provinces.
Late last month, Nova Scotia Premier
Stephen McNeil and New Brunswick Premier
Brian Gallant announced their intention to
create a new joint Regulatory and Service
Effectiveness Office.
“We have to remove obstacles and increase
regulatory predictability so businesses are
confident in making investments in our
region,” said McNeil. “There’s a long list
of Maritimers who have been able to build
national and international companies. Let’s
create an environment where all see Atlantic
Canada as a place to do business.”
Speaking at Armour Transportation Systems
Dartmouth terminal in Burnside, McNeil said
in the case of the trucking industry moving
goods throughout the provinces, different and
costly standards make absolutely no sense.
“This is about sending a message that our
future is controlled by us,” McNeil said. “We
haven’t asked Ottawa to come and solve this
problem.”
Armour Executive Vice President Ralston
Armour stated the agreement is a great start
towards harmonizing regulations between the
provinces.
“It will help us to better manage moving
our freight inter-provincially and is a positive
first step for Atlantic Canada,” he said. “We
are optimistic that this will encourage other
provinces to follow suit and harmonize
regulations nationally.”
The office’s mission will be to create
a modern, consistent and fair regulatory
environment driven by high-quality, clientfocused service. The memorandum of
understanding outlines the goal to reducing
red tape, create transparent regulations and
increased services available online.
The premiers of the Atlantic Provinces
committed to harmonize administrative and
business regulations across the region during a
January meeting in St. John’s, N.L. McNeil said
that the announcement with Gallant builds on
those previous discussions.
“The corridor between our provinces is vitally
important and connects central Canada to the
Atlantic Ocean. With P.E.I. and Newfoundland
The governments of New Brunswick and
Nova Scotia say they will create a joint office
aimed at cutting red tape and harmonizing
business regulations. Megan Hirons Mahon/
Communications Nova Scotia.
and Labrador in election years, we didn’t want
to wait.”
The new office, which will be led by the
private sector, will have a three-year mandate
to substantially reduce obstacles to business
growth, and build a more positive business
environment between the two provinces.
“This will be a lean office of which support
staff will essentially be reallocation from other
departments,” said McNeil.
The Canadian Federation of Independent
Business (CFIB) applauded the agreement
reached by the two premiers.
«The message seems to be getting through
and these premiers understand the importance
of eliminating excessive and unnecessary red
tape,” said CFIB Vice President Atlantic Jordi
Morgan. “This is a sensible first step and one
we will be watching closely to see measurable
improvements.”
In three years, McNeil believes the office will
identity several areas in which Nova Scotia
and New Brunswick can cut red tape and adopt
similar regulatory process.
“What we›ll see in the fall and spring sittings of
the legislature is some major movement on this.
Once that occurs, we will lay out the changes
that have to be made and all of it will come
before the house.”
The recent Nova Scotia Tax and Regulatory
Review calculated the cost for small and
medium-sized businesses in Nova Scotia to
comply with regulations is about $119 million
annually.
– With files from the Canadian Press
New legislation steps up university ‘accountability:’ NS government
By Haley Ryan
Kings County News, TC Media
HALIFAX – New legislation to hold
universities financially accountable by
requiring annual reports and setting outcomes
is now in the works.
On March 24, Labour and Advanced
Education Minister Kelly Regan presented the
findings of a consultation with groups such
as university students, professors, businesses,
and taxpayers that she said shows an need
for more sustainability in post-secondary
institutions.
“What are Nova Scotians and students
getting for their investment? What outcomes
do we expect?” Regan asked a crowd at
Mount Saint Vincent University.
“Accountability should not be left to chance.
It should be law.”
With the universities submitting annual
reports, Regan said, the government can be
made aware of any issues before they happen.
The legislation would also allow the
province to withhold grants in “extreme
circumstances,” Regan told reporters, but
would not get into details on what those could
Universities such as Acadia pictured here
will have to file annual financial reports to
government.
look like.
When asked if NSCAD University’s tough
financial situation last year would be an
example, Regan said if the legislation had
existed they would have known “well in
advance things were not proceeding in a good
way.”
Regan said she knows students wanted to
hear about tuition going down and increased
government grants, but warned the upcoming
budget is about working on Nova Scotia’s
deficit.
“Everyone will feel some pain in this
budget. Simply put, the cupboard is bare,”
Regan said.
Regan would not say whether the province
will raise the current three per cent cap on
tuition hikes, but that universities will know
exactly how much funding they will get over
the next four years when the memorandum of
understanding is released this summer.
The debt cap program also changed to the
Loan Forgiveness Program where permanently
disabled students have 10 years instead of
eight to complete their undergrad and have
their provincial student load forgiven, Regan
said.
She said the changes will help about 50
students a year, and as with the former
program those students without disabilities
can have their loans forgiven if they graduate
in four years.
Business could begin ‘dictating’ to schools:
faculty rep
A priority of recent government
consultations encourages business and
universities to work closer together, which one
faculty representative said appears “dictating.”
Minister of Advanced Education, Kelly
Regan, presented the results of university
consultations Tuesday that include “innovation
teams” of students, government, schools
and the private sector who will set outcomes
especially focused on co-ops, internships and
hands-on learning where they might not have
been, like in arts programs.
“Linking up Dalhousie’s job of teaching
and doing research so strongly to business
is a deep concern,” Catrina Brown of the
Dalhousie University Faculty Association said
after the event.
Brown said more ways to move students
into the workforce is a good idea, but when
business becomes part of a program and how
it’s delivered, money becomes the main issue
rather than quality of education.
“[When] you start legislating what an
outcome is, that may start dictating what
programs look like,” Brown said.
Michaela Sam, chair for the provincial
chapter of the Canadian Federation
Students, said it was disappointing to see the
government miss an opportunity to increase
grants to schools and lower tuition, when
both moves could keep student debt down
and allow more young people to settle in the
province.
Websites. Brochures. Policies.
Annual reports. Training.
And more.
6948766
6941374
April 2015 3
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Senior Editor
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patricia.macinnis@tc.tc
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John Brannen
john.brannen@tc.tc
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Dave Glenen
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Ashley MacDonald
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can accept no legal responsibility for
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Pump up the
volume of support
Music has always loomed large in Nova Scotia’s cultural landscape. For
centuries, musicians have been strumming, drumming and singing their way
into the hearts of people across the province and around the world. This
province is home to Grammy winners, internationally acclaimed composers
and thousands more who make a living in the vibrant music industry.
In a nod to East Coast Music Week and the ECMAs taking place in St.
John’s this month, we have dedicated this issue of the Nova Scotia Business
Journal to covering the unique stories of the province’s music makers,
producers, managers and promoters.
To borrow from CBC’s Stuart McLean, “we may not be big, but we’re
small,” and our talent base is large. So, too are the economic impacts those
artists, producers, managers and studios and others generate for the province’s
coffers.
According to a 2013 report on the province’s music industry, the province’s
arts and cultural industries generate nearly $1.2 billion and employ almost
30,000 Nova Scotians. On a national level, the direct value of Canada’s
creative economy is estimated at more than $40 billion a year.
It’s well recognized that the arts and culture scene has a direct impact
on a region’s ability to attract and retain new business. Despite economic
challenges and government spending cuts, some provinces have recognized
the value of investments in culture, and specifically the music industry.
Last year, the Ministry of Tourism, Culture and Sport introduced The
Ontario Music Fund, which allocates $45 million over a three-year period to
support music companies, artists and cultural institutions in an effort to help
the industry reach its full potential.
“Helping Ontario music companies and artists grow and thrive is part of the
government’s economic plan to invest in people, build modern infrastructure
and support a dynamic and innovative business climate,” stated the news
release of the announcement.
Ontario Premier Kathleen Wynne emphasized the fact that, “boosting a
vibrant and important industry,” helps to create good jobs in the province, a
necessary indicator of growth and prosperity in any sector.
It makes good financial sense for governments to invest in industries that
offer significant contributions to both the economy and the culture. And it got
me wondering about the support the Nova Scotia government provides to the
industry here.
EDITORIAL
NOTES
By PATRICIA
MACINNIS
When I started digging around for the numbers, I
wasn’t prepared for the rabbit’s hole I fell into. Like
other provinces, government funding earmarked for
music industry grants is distributed among several
provincial agencies, making the job of tracking –
and, presumably measuring the economic value – a
mammoth challenge.
The best estimate, according to the Ministry of
Communities, Culture and Heritage, is that the Nova
Scotia government provides roughly $1.2 million
in “direct support” to the music industry through
agencies such as Film and Creative Industries and
Music Nova Scotia.
That’s not good enough, according to Louis
Thomas of Sonic Entertainment Group (see story
on page 6). He suggests government take a page
from Ontario’s playbook and make a multi-year
financial commitment to help bolster the industry.
Even provinces such as Manitoba and Saskatchewan
are “outgunning” Nova Scotia when it comes to
government investment initiatives, according to Scott
Long, executive director at Music Nova Scotia.
Add to that the ongoing exodus of musicians,
managers and others in the industry who have made
their way to greener pastures, and the future isn’t
looking bright for a healthy music industry in Nova Scotia.
The Ivany report recommended the province double the revenue it
generates from tourism to bolster the economy. Given tourism revenues are
directly linked to a thriving music industry, it makes sense for government to
change its tune.
SEND YOUR
news AND
story ideas
TO
patricia.macinnis@tc.tc
Three strategies for thriving in the music business
By DEBBIE
LAWRENCE
BUSINESS
INSIGHT
By Debbie Lawrence
My mother, Catherine Lawrence, is a four-time
ECMA nominee and both my parents have been in
the music industry since before I was born. I grew
up in a house filled with music and musicians –
passionate amateurs and professionals alike. My
partner David is a former member of Symphony
New Brunswick, and I have clients who are working
diligently to make their livings as musicians. I share
this to communicate that I have an intimate view of
what it takes to survive and thrive in this amazing,
tough, unpredictable and exciting business called
music.
The creative and performance aspects aside, the
key thing every aspiring artist must keep mind is
the business side of their career. In today’s highly
competitive marketplace, the more entrepreneurial
you are, the more likely you will see financial gain.
Profit will give you the power and freedom to make
the best choices regarding your vision for your
music. Knowledge is power, as the saying goes,
and there are three must-have areas of business
knowledge every musician should master.
First, in our mobile, connected world, musicians
need to be masters of marketing and savvy in social
media. Websites, tweeting, posting on Facebook,
developing a presence on You Tube, and mastering
iTunes are just the start. You need to know how
to connect with today’s listeners in ways never
previously possible – and you need to be smart
and unique in what you do to gain and hold their
attention.
Second, you need to know your numbers. Whether
you have an affinity for the financial end of the
business or not is irrelevant. There are too many
stories of musicians working in a financial fog, who
are ultimately taken advantage of by people on their
payroll. Don’t add your name to this list. Instead,
complete a basic bookkeeping course so you can
have an informed discussion with your accountant
and anyone who puts a contract in front of you.
Finally, speaking of contracts, learn the
terminology that’s included in your legal contracts.
Far too many musicians sign away creative
and financial rights because they are naïve and/
or dependent on others to make these important
decisions. Gaining this knowledge mitigates your
vulnerability and puts you in control.
Above everything else, be willing to ask for what
you want. Remain open to strategic partnerships,
especially when they are not initially obvious paths
to take. And never forget the importance of building
and nurturing relationships. It’s not what you that
matters but who you know – and who you know
determines what you know.
The founder and President of Abundant Living Inc.,
Debbie Lawrence is a life, business & career coach
and author of “Standing In Your Light: Women and
Entrepreneurship” and “Dancing in Your Light: 6 Steps to
Attracting A Life That Makes Your Heart Sing”. The former
Director of the Professional Ethics Review Committee for
the International Association of Coaches, she has been
an adult educator and business coach for almost three
decades. Debbie is also the recipient of the NS Champion
Ambassador Award for Workplace Education. Check out
her website at www.abundantliving.ca or call 895-6987.
4 April 2015
Local composer pitch perfect for film, TV soundtracks
Warren Robert says the key to his success is building his business around three distinct streams:
score composition, teaching and performing
playing my stuff,” says Robert.
Since then, Robert has garnered more than
200 score composition credits for television,
and film, including National Geographic
documentaries and the feature film Cloudburst
by director Thom Fitzgerald. He’s quick to
admit that score composition has been the most
lucrative stream of his three-pronged business
model, says Robert.
“Composing is the main bread and butter for
me. With intellectual property there are income
streams every time it’s presented on TV.”
But nothing compares to the rush of a live
performance, something Robert gets a fair share
of as a member of the local Celtic roots band
Pogey. The band can be found playing smaller
venues around the province as well as across
Canada. But in the U.S. Pogey is a phenomenon,
and a mainstay at some of the country’s largest
Irish festivals.
“We played for more than 20,000 in
Kansas City,” says Robert. “That speaks to
the tremendous talent pool of songwriters,
performers and musicians in this province.”
Pogey’s music has also been featured in
the television series Sex and Violence, which
Robert says is a “spillover” effect from his work
arranging music for that show.
“There have been cases where I can help out
my band by suggesting my band’s music for a
TV program, and that’s great.”
While Robert admits having three separate
business divisions can sometimes be a “tax
nightmare,” it’s been a recipe for a successful
and fulfilling life.
“People ask me how can you make a living
as a musician or performer or instructor, and if
you do just one thing, it can be a hard go. Bands
playing original music in a bar can walk away
with $100; that’s not great. By having my hand
in a lot of pies, I’ve been able to make a good
living.”
Wangersky’s case being violent domestic assault,
memory and the state of journalism.
He feels strongest about the domestic violence
piece. He was covering court in Halifax and
noticed that unmistakable commonality it shared
with a courtroom in St. John’s provincial court.
“Like (Courtroom) No. 5 in St. John’s,
everything gets delayed. And I was in this
Halifax courtroom and they delayed 46
consecutive cases to another day,” Wangersky
says.
Then a case came up about a man who had
assaulted his girlfriend. She had a peace bond
against him.
“She wanted the peace bond lifted so that
she could live with him again, in part because
Christmas was coming. So it’s just kind of sad
and tragic. You know where this is going or you
suspect you know where this is going. And it just
doesn’t change,” he says.
When it comes to the impact of his column,
Wangersky says readers are the true judges,
not the people who will decide if he receives a
National Newspaper Award.
“Judges for something like this are three
people. They have their own opinions of what
makes a good newspaper column. For me, I’m
much more concerned about the column I’m
writing tomorrow than the one I wrote last
month or last year.”
If Wangersky is being judged by his peers —
in this case Thane Burnett, director of content for
Atlantic Canada & Saskatchewan — he seems to
have struck the right chord.
“Russell is what most journalists strive to be,
a reporter who can write exceptionally well,”
Burnett says. “If you look at the range of his
topics, he goes from a funny observation one
day to an investigative piece the next, readers
never know what story he’ll tell next. Sharing his
work on TC Media newspapers across Atlantic
Canada, in a corner of Canada where each
community is very different than the next, has
proven that a good story told well, travels the
distance.”
By Patricia MacInnis
TC Media
HALIFAX -- Warren Robert is a kind of
artistic corporation unto himself. At 43, the
Halifax native has carved out a successful career
as an internationally acclaimed composer,
musician and guitar instructor.
Robert’s story began in a similar fashion to
other Maritime musicians: He grew up in a house
full of music where he revealed his musical
chops at an early age.
“When I was about four or five, I sang
the entire main melody from a very famous
Viennese waltz – pitch perfect,” he says. “My
dad was amazed; he recognized I had musical
tendencies.”
When he discovered the guitar at the age of
seven, Robert knew he found his passion. Fast
forward eight years to where a 15-year old
Robert kicks off his first teaching gig at the now
defunct McCabe Music in Sackville, N.S., and
discovers he can make money using his skills
and passion for music.
“I taught there for many years and honed
my chops, teaching up to 80 students a week,”
he says, adding that he still provides private
instruction from his home studio in Bedford,
N.S.
While in high school, Robert decided the
“normal” university route was not for him,
and instead opted to study privately with
mentors, receiving his accreditation in theory
from the Royal Conservatory of Music in
Warren Robert has
built a successful career as a composer,
musician and music
teacher while living
in his native Halifax. Paul Vienneau
photo
Toronto.
Shortly thereafter, Robert’s composing career
jumped into high gear. A chance meeting with
a producer friend at a Symphony Nova Scotia
workshop opened the first door: he was hired
to arrange and perform with an orchestra on a
Roger Whitaker album.
“I had an actual recording of a real orchestra
TC Media columnist gets national nod
By Josh Pennell
The Telegram, TC Media
Russell Wangersky, TC Media’s Atlantic
regional columnist, has been nominated for a
National Newspaper Award.
“I’m pretty excited about this one,” Wangersky
says.
He’s no stranger to nominations. Actually, he’s
fairly well acquainted with winning, having been
recognized on several occasions for his fiction
and non-fiction writing outside of his work at
The Telegram and associated papers.
He’s also been nominated for editorials in
the past, but there are a lot of columnists in the
category for the National Newspaper Award.
This year, Wangersky — whose column is called
Eastern Passages — is nominated with Pete
McMartin of the Vancouver Sun, and Konrad
Yakabuski of the Globe and Mail.
Each writer is nominated for three topics
tackled in their columns — the three in
Nova Scotia’s French language public School Board
Le Conseil scolaire francophone en Nouvelle-Écosse
North-Eastern Region/Région du nord-est
François Rouleau, directeur régional : 1-902-226-5230
École NDA -Chéticamp
École acadienne de Pomquet -Pomquet
Centre scolaire Étoile de l’Acadie -Sydney
École Beau-Port -Arichat
Central Region/Région centrale
Diane Racette, directrice régionale: 1-902-433-7045
École acadienne de Truro -Truro
École du Carrefour -Dartmouth
École Beaubassin -Bedford
École Rose-des-Vents -Greenwood
École Bois-Joli -Dartmouth
Centre scolaire de la Rive-Sud-Bridgewater
École du Grand-Portage - Sackville
École secondaire du Sommet - Bedford
École des Beaux-Marais - Porters Lake
South-Western Region/Région du sud-ouest
Stephen Surette, directeur régional : 1-902-769-5480
École Jean-Marie-Gay -Saulnierville
École Belleville -Belleville
École Joseph-Dugas-Pointe-de-l’Église
École Pubnico-Ouest-Pubnico-Ouest
École Saint-Albert -Rivière-aux-Saumons
École secondaire de Par-en-Bas -Tusket
École secondaire de Clare -La Butte
École Wedgeport-Wedgeport
École Stella-Maris -Meteghan
L’élève : notre passion, notre avenir
www.csap.ca • 1 888 533-2727
6947971
22 schools at your service/22 écoles à votre service
Where language and culture are French and where English is also
taught as a first language.
April 2015 5
Take note: Changing times for music in Shelburne
After 36 years, piano teacher Bill Smith faces smallest studio, biggest challenges yet
By John Brannen
TC Media
SHELBURNE – Bill Smith takes a moment
during a piano lesson to quiz one of his
students on music theory. He points to a sharp
sign on a piece of music.
“Now, what is this called,” he asks.
The student thinks for a moment, and then
replies confidently.
“A hashtag!”
Smith can’t help but laugh. After all, even in
36 years of offering private piano lessons, his
students still surprise him.
“My mother taught on this piano as well and
she taught for at least forty years so hundreds,
if not thousands, of young people in Shelburne
County have learned to play at our piano at on
Water Street.”
But if there’s one constant in the music
teaching business in rural sou’west Nova
Scotia, it’s that times have slowly changed –
for the worse.
Smith doubles as music director at Trinity
United Church, a position he’s held since
1979. But even with two paid gigs, it barely
pays the bills.
“In a small town such as Shelburne you can
Bill Smith has been teaching students piano
for the past 36 years at his Water Street home
in Shelburne. A shrinking youth population,
the closure of CFS Shelburne and the Shelburne Youth Centre and the recession has all
made his job more difficult. Amy Woolvett,
TC Media
make a poverty wage teaching private students
and supplementing it with a church job,” he
said. “There are no real vacations, there are no
colleagues and the non-monetary rewards are
scarce.
He says you can love the work, but love
doesn’t pay the power bill.
Smith’s studio of 20 students is the smallest
ever in his nearly four decades of teaching.
Compare that to 37 per week before CFS
Shelburne and the Shelburne Youth Centre
were closed in the 1990s.
Youth in elementary of high school have
made up the bulk of Smith’s students. But
in Nova Scotia, there are fewer and fewer
in that age group. From 2004 to 2013, Nova
Scotia’s population between birth and 14 years
dropped 14.5 per cent, while its population
between 15 and 24 years dropped 5.3 per cent.
The only age group in Nova Scotia that grew
during the last ten years was those 65 years
and older. Among this group are a growing
number of baby-boomers who are deciding to
take up piano lessons later in life.
The recession hasn’t helped either. When a
family’s budget is tight, the arts can be among
the first activities to be cut.
“The greatest challenge is not to let the
popular opinion of the value of music and
the arts influence your opinion,” said Smith.
“I think I know how valuable the arts are for
society.”
In addition to mistaking sharp signs for
hashtags, Smith said that kids have changed
too. There was a brief period when his
students seemed to be more mature and
teachable a age six.
“It didn’t last too long, however. The
inattentiveness seemed to be related to the
availability of personal home computers.”
When he gets to the heart of the matter with
his students – ‘How does the music make you
feel’ – most students can only offer a blank
look.
“Kids seem reluctant or unable to tap into
their imaginations,” Smith said. “That was
and still is a great disappointment for me as I
feel they are losing something valuable which
could be most useful in later years in work and
living.”
Though the youth have changes, Smith’s
passion for teaching is unmoved.
“I still enjoy most students. Some are
studying because parents demand it and
understand how scheduling practice at home
can bring order to their children’s lives.”
Despite this, he remains a defiant champion
for the arts. Smith can often be found working
with a local theatre troupe, a small wind
ensemble, a chamber choir and in the past, the
Shelburne Festival Choir.
“I have always had a personal code: people
in small towns are just as deserving of fine art
as people in cities. That is why I work here.”
Rural recording studio attracts far-flung musicians
Tim Feswick opines on the challenges and opportunities for his music studio nestled into the woods in Queen’s County.
By John Brannen
TC Media
LIVERPOOL – Along the Broad River on
the South Shore, Tim Feswick decided to set up
shop and have a recording studio. Away from the
rat race of the city, the studio would be a sort of
retreat for artists as they record their music. But
Feswick discovered that operating a business in
rural Nova Scotia isn’t without its challenges.
The following is an interview with him about
his business and what makes it work in Queens
County.
Nova Scotia Business Journal: How long
have you had the studio? What caused you to
want to start a recording studio?
Tim Feswick: I was the lead singer and
guitarist in a band called Calico, a travelling
country/rock group. We toured extensively
across Canada and I decided I did not want to
burn out and be doing the same thing when I got
older, yet wanted to remain in the music industry
in some capacity. I started buying small pieces of
recording gear while touring and finally settled
down in Dartmouth where I set up my first
recording studio. I have built three studios in the
past 20 years – Dartmouth, Shelburne and finally
the current location in Liverpool.
NSBJ: How many sessions do you have in
a year roughly? What sort of musicians? Just
locals?
TF: It averages out to approximately six fulllength CD projects and 10 EP projects per year.
Most of the recording artists are from outside the
100km radius area. Mostly from Cape Breton,
Halifax and Yarmouth area, although I’ve had
artists travel to Feswick Studios from as far away
as Ireland and Australia.
NSBJ: What are some of the more high profile
or interesting artists you’ve helped?
TF: I had the privilege of recording the CrashTest Dummies. They proved to be a unique,
interesting and very successful band. Other
notable artists include Dave Carroll of United
Breaks Guitars fame, well-respected Queensland
Australia singer Kat la Key and guitar virtuoso
JP Cormier, to mention a few.
NSBJ: What do you offer that say, a studio
in Halifax, can’t offer? What makes a rural
recording studio, in general, different?
TF: Since the studio is located right
on Broad River, we offer a very relaxed
atmosphere. Tranquil woodlands surround us
and the world-renowned Summerville Beach
is only a few minutes walk. There is a huge
deck overlooking the river where clients can
unwind and discuss the direction that the
session is taking, perhaps over a barbecue and
refreshments. There is no stress of city life. No
parking concerns, traffic issues, noise or any
associated city related hassle. We help the artist
feel at home, at ease with nothing to focus on but
creativity. We have a complete kitchen facility
and nature trails on the property if one feels the
need for some alone time.
Basically we want the artist to feel like they
are coming home when he or she walks through
the door, and the work of creating and having
a great sounding project is transparent and
seamless.
NSBJ: How have things been over the years?
Have you noticed any trends?
TF: The music industry has changed over
the years in a few ways. The large budgets for
projects are hard to come by and the artist is
forced to be innovative and unique in the area of
investment and promotion. More musicians are
opting for the four to five song EP, rather than
the usual 10 to 12 song CD due to the fact that
young consumers of music prefer to download
one or two songs from an artist.
Some artists have tried to cut costs by
purchasing inexpensive studio equipment
and self-producing but this tends to be selfdefeating as the quality doesn’t measure up to
the standards of radio airplay or the demanding
consumer.
The sales of CDs have diminished
considerably and this has increased the need
for live venue shows as an outlet to sell
merchandise. Alternative ways of public
exposure include the popular ‘house concerts’
where a considerable amount of t-shirts, posters,
vinyl and CDs can be purchased and the
recording investment recouped.
NSBJ: What keeps you going when times are
tough? Do you have a secondary job or is this it?
TF: I do a lot of co-writing with many
recording artists. These SOCAN royalties
provide another income source which
supplements the income generated as producer/
engineer/studio owner. I also provide a
mentorship program where students can learn
the craft with hands-on experience. This income
helps support the times of the year when the
recording studio is not booked solid, such as
during January/February.
NSBJ: What about advertising? Is it mainly
word of mouth or otherwise?
TF: Social media is a great avenue for
advertising. The Web site is a way for aspiring
musicians seeking recording time to contact me.
Of course the best way to advertise is word of
mouth. If my name is going on the back of a CD,
or vinyl album, the sound of the recording and
production must be excellent in quality. A great
sounding recording will speak for itself and the
proud artist/band will be very happy to relate
the fun and productive recording experience to
friends and those who purchase the product.
NSBJ: Anything you’d like to add.
TF: As the music industry evolves, one thing
will never change – the need for great production
and sonic excellence. Whether it is a full-length
project, or a one-off single for iTunes, people
want high quality. That is one thing we will
never compromise at Feswick Studios. There is
an amazing amount of talent right here in Nova
Scotia and I am blessed with the job of finding,
recording, producing, engineering and helping
to promote that talent. The music scene has
taken its punches, but the musicians who keep
getting up to fight for their music to be heard
will ultimately find success. It’s an honour to be
a part of those success stories.
6 April 2015
Chasing lightning and making it rain in a digital era
THE TICKLE
By JON
BLANCHARD
When was the last time you a heard a song on
the radio and dropped into the local record store
to buy the album?
Crazy question of course, given there aren’t
many record stores any more. Though used
records are making a comeback – with serious
audiophiles haunting places such as Rainbow’s
End in Wolfville or Taz Records in Halifax –
they don’t press many new records anymore.
Instead, musicians compile binary codex
such as MP3 and WMA, which decode across
a wide variety of audio devices and networked
platforms.
Many argue the sound quality still isn’t there,
especially when compared to something such
as Carol Pope’s 1977 epic direct-to-disk Rough
Trade Live. But it’s the bargain we all made for
the ability to compile something once and share
it out one cut at a time to Youtube, SoundCloud
and Spotify, to iPhones, Androids and even
stodgy old Blackberrys.
Still, this isn’t so much a radical new approach
as a return to the very beginning of the recording
business when people loaded paper rolls into
pipe organs and pianos to play the hits of the
day before the lads embarked for the trenches of
Europe.
So, what really makes digital recording
technology actually radical? What makes it a
game changer? For the first time since recording
business began, technology has turned the
business of music upside down by encouraging
artists to bypass the gatekeepers that started with
the player piano and largely ended with the last
generation of compact discs. And for better or
worse, that is a business of chasing lighting.
Famously in 2009, a much-loved guitar was
“the victim of a vicious act of malice” by United
Airlines at O’Hare International in Chicago.
Nine months later, Dave Carroll and the Sons
of Maxwell had had enough. With the help of
Curve’s Lara Cassidy, they dropped a bombshell
on YouTube for a rumoured $150 and it went to
No. 1 two weeks later on iTunes. As of January
2015 United Breaks Guitars has been streamed
more than 14 million times on YouTube.
The song received almost no national radio
or TV airplay outside the news streams due, in
no small part, to the hubris of a media vertical
still fuelled by labels, managers and co-op
advertising. And while the song went to No.
1 on iTunes, the napkin math sees perhaps 40
cents profit from each sale after everyone in the
loop takes their cut. Though final actual payout
estimates still seem to depend largely on who is
explaining their interest in them.
And therein lies one of the most controversial
challenges facing the digital music commons.
After all the royalty agencies in the loop take
their cut, the de facto artist payment for stateside streaming services such as Pandora, sees
somewhere around $1,300 for a million plays
(depending on who owns what part of a given
song).
That same tune might earn almost $800
for 200 Sirius plays (depending
on where it lands) and another
$1,600 for 18,000 traditional radio/
television plays (depending on
who plays it and again, who’s
explaining it).
The Copyright board set new
rates for Canadian streamers last
year that appear quite generous at
a pre-vig (also known as the cut or
the take) payout around $10,000
for a million plays on Pandora, but
they do not maintain a corporate
presence here in Canada and are
not planning one any time soon.
And while Songza was a
brighter royalty star in Canada,
Google swallowed it last year
and has yet to turn a profit on it.
It’s expected to be folded into the
Google Play, assuming Google
Play survives.
But then, it has long been a
music business maxim that the
sweetest cherry isn’t the music
at all, but rather the entire
umbrella that opens once a real
hit takes off: Performance fees,
T-shirts, CD sales and ticket contracts. Hats, bats
and wristbands – all the stunningly profitable
merchandise that built the mighty labels are now,
finally, orbiting directly back to the artists.
If you haven’t already read it, pick up a copy
of Dave Carroll’s best-selling book The Power of
One in the Age of Social Media and learn how to
leverage your band’s brand in the digital age.
Jon Blanchard is 20+ year Systems Professional from
Halifax, where he contributes technology news and
views to TCMedia, Postmedia News and the Globe
and Mail, occasionally annoying those unaccustomed
to being annoyed. Find him on Twitter @Dexterdyne.
NS government’s support of music industry not on par with other provinces
By John Soosaar
Successive government in Nova Scotia have
virtually ignored the financial needs of the
province’s music industry, which represents
one of the main entertainment attractions for
residents and visitors, say industry officials.
Although the music business in Nova
Scotia has grown dramatically over the last
fifty years, some in the industry say it has
not received the recognition it deserves and
receives in other provinces. In Ontario, for
example, the government recently committed
$45 million over a three-year period to support
the industry.
“It’s embarrassing quite frankly the fact
that governments here just can’t get their
heads together . . . to really, significantly
make a five to ten year commitment to the
industry,” says Louis Thomas, owner of the
Sonic Entertainment Group in Halifax, which
is involved in artist management, concert
promotion and has its own record label and
recording studio.
Sonic represents such artists as Allan Doyle
of Great Big Sea, Matt Mays, Matt Anderson,
Hey Rosetta and the Trailer Park Boys and
its record company sells music in the United
States.
Thomas points to the government’s recent
announcement that it will provide $22 million
in payroll rebates to the Royal Bank for job
creation as an example of one sector getting
support while the music industry has been
ignored and is not respected.
“All the artists that I manage pay taxes here,”
says Thomas. “All the concerts that I promote
here have HST collected on the tickets and
remitted. And it just feels like the culture of
culture here needs a significant change. The
irony of it all is that the culture is a big part of
what attracts people in the first place.”
Scott Long, executive director of Music
Nova Scotia, says the Nova Scotia government
contributes about $800,000 to $1 million a
year for export development, but that formula
is at least 10 years old, and provinces such as
Manitoba and Saskatchewan “are outgunning
us now where they didn’t before when it comes
to government investment initiatives.”
Brookes Diamond, which pioneered the
management of musicians in Nova Scotia in
the early 1970s with such groups as Ryan’s
Fancy and singer Rita MacNeil, and now
operates a full-service entertainment company,
says there are lots of talented artists in the
Louis Thomas of Sonic Entertainment
Group’s Louis Thomas says province’s music
industry doesn’t get the support it deserves
from government.
province, but never enough managers, mainly
because there is not enough money to sustain
them.
“You get 15 per cent of what an artist makes
and if that artist grosses $100,000 a year, you
would only make $15,000 out of which you
would pay expenses and taxes and all the
rest of it,” says Diamond. “It’s a hugely time
consuming occupation that requires a wide
scope of knowledge and skills and there just
isn’t enough money to sustain the level of
person it needs and the kind of time it takes.”
Diamond notes that the closure by the CBC
of its recording studio and the retirement of
Glenn Meisner and Karl Falkenham was a big
loss for the East Coast music scene.
“The CBC trolled in the back roads and in
the lower echelons of the music business and
would recognize the up and coming starts who
couldn’t afford to go out and produce their
own music and get exposure to the general
public.”
Artists such as Lennie Gallant and Laura
Smith got their start working with producer
Meisner and recording engineer Falkenham in
the CBC’s Studio H in Halifax.
It now takes artists longer to be discovered
and longer to get into a studio and produce
recordings and “certainly some talent will be
missed,” says Diamond.
April 2015 7
Technology helps catapult local business onto world stage
Design software, modern machinery and online customers key to Greasy Groove’s growth
By Darrell Cole
Amherst News, TC Media
AMHERST – From playing around in the
music industry, Davey Lee Goode has taken
his small Amherst business to the international
stage, supplying guitar pick guards to
customers around the world.
And changing technology has been beside
him all the way.
“We couldn’t do the volume of sales we
do if not for technology,” Goode says of
Greasy Groove Inc. “When Leo Fender and
Gibson started making electric guitars in the
1950s they used hand routers to cut out their
material. Today, we use a CNC machine that is
not only quicker but has quality standards that
are repeatable. Because of the volume we have
now there’s no way one person with a router
could stand there and do it. He wouldn’t be
able to keep up with the demand.”
At one time, Goode would draw the designs
he came up with onto a piece of paper and
then paint his creation onto a piece of fibrereinforced plastic, which he then had to cut out
manually with a hand-router. Today, he uses
a paint program on his computer and a CNC
machine that allows him to speed production.
He is also able to use a laser, which makes it
easier for him to expand his production line to
include acrylic pick guards.
Goode says there’s still a lot of manual
labour involved in making pick guards,
Davey Lee and Gill Goode of Greasy Groove have used technology to help grow their Amherst small business. Greasy Groove ships custom-made pick guards to customers around
the world. Darrell Cole, TC Media
including sanding the product by hand after it
comes out of the CNC machine.
After working as an engineer for several
years in Alberta, the English-born musician
decided several years ago that the corporate
culture wasn’t for him. Greasy Groove was
born and after several years in Edmonton,
the Goodes came to Amherst and set up their
company in the former Amherst Piano factory.
From there, his company grew as his
clientele expanded throughout Canada and
the United States, to Europe, Russia and the
Far East. Among his clients is Jerry Cantrel of
Alice in Chains.
While it was very diversified at the
beginning, and to a certain point still is,
Greasy Groove has become specialized in the
manufacture of custom-made pick guards.
Goode’s company is able to cut any profile
and apply graphics to almost anything –
something that wasn’t as easily done in the
days when everything had to be designed on
paper and cut by hand.
Another big influence on his business from a
technology standpoint has been the growth of
the Internet and online shopping. Goode said
Greasy Groove never would have grown had
it not been for the World Wide Web since it
connected customers from Moscow, to Tokyo,
to Nashville to Amherst.
Goode said he and his wife Gill have been to
the biggest tradeshows, but online marketing
has responsible for most of the increased
traffic to its Web site www.greasygroove.com.
Accordingly, so have sales.
“The Internet has become the shop window
for what we do. When we started in the
business I never thought we’d be selling to the
likes of Japan and Korea because that’s where
a lot of stuff comes out of,” Goode said. “Not
only are we selling there, we’re increasing
our markets in places like northern Europe,
Australia and Russia has been taking off over
the last couple of years.”
As good as the Internet has been for them, it
has also caused its share of challenges in terms
of the volume of customers looking for their
products. Goode said he’s often up until the
wee hours of the morning handling sales and
preparing the manufacturing process.
It has become so demanding that he and Gill
are beginning to look for one or two people to
join the business.
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8 April 2015
Return of Music Week to Yarmouth striking right chord
Past events have generated more than $1 million in economic activity in the area
By Eric Bourque
The Vanguard, TC Media
YARMOUTH – It’s back to Yarmouth
this year for Nova Scotia Music Week, a
celebration of sound and artistry that will take
place Nov. 5-8.
The event also is about the business side of
music, a chance for artists and others in the
industry to get together and make contacts.
And for the host community – Yarmouth
in this case – Nova Scotia Music Week is
expected to give the area an economic boost,
given the number of people who will converge
here at a time well past the peak tourism
season.
One of the people involved in the effort to
get the Yarmouth area ready says things are
progressing well.
“From what I know about past events,
we’re on schedule with everything,” said
Rick Allwright, group sales manager with
the Yarmouth and Acadian Shores Tourism
Association (YASTA). “We’re following
Music Nova Scotia’s lead on everything.
They’re the organizers. We’re just here to help
them make sure it’s a success.”
YASTA’s involvement includes rounding up
volunteers to help put on this fall’s event. At
least 150 of them will be needed, Allwright
said.
“Our transportation coordinator has already
recruited his drivers and people to help him,”
Allwright said, “but we’re going to need
people helping set up the venues and what not.
It’s a massive undertaking and we know the
community is going to come together to make
sure it’s a success.”
Of course, the key word in Nova Scotia
Music Week is “music,” and among the
artists who can talk about the benefits
of participating in the event is Gabrielle
Papillon, the Halifax singer-songwriter
who lately has been working with British
manager Peter Jenner, a connection she was
able to make thanks to Music Week.
Jenner’s resumé includes managing Pink
Floyd in the early days of that group and
later the Clash. He was one of the Music
Week speakers in 2013 in Sydney, where he
had a chance to hear Papillon perform. He
spoke at last year’s event in Truro too and
got to hear her again. He was impressed and
decided to work with her.
“He’s helping me out with planning for the
release (of her fifth album) and talking to
potential label partners and sort of helping
me develop a following and a career in the
U.K. and Europe,” Papillon said. “Peter’s
more or less retired from management, but
I guess he’s rather keen on what I do … It’s
sort of unofficial and informal right now.”
Trevor Murphy, a member of the band
Quiet Parade and founder of the record label
Acadian Embassy, has been attending Nova
Scotia Music Week since 2007. He says
whether you’re there as an artist or in more
of a business capacity – and Murphy has
done both – Music Week is a good place to
make contacts.
“A lot of the time it’s just meeting people
… getting to know what they’re looking
for, letting them know what you’re up to,
and then you kind of just follow up on those
relationships, post-event,” he said.
Murphy lives and works in Halifax, but
he’s originally from Yarmouth, where Nova
Scotia Music Week was held in 2009, 2010
and 2011.
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like Music Week may think it’s just a matter
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on stage and that’s it, Murphy said, “but it’s
really about doing that groundwork and that’s
kind of where I have found the most benefit,
both for my bands and the bands I represent.”
For her part, Papillon says she has been to
perhaps 30-or-more music conferences over
the past four or five years and she finds the
Music Nova Scotia event is one of the best.
Connecting with Jenner was part of an
experience that has made Papillon a prime
example of what can happen at – or through
– Nova Scotia Music Week.
It was “kind of a magical year for me and
I know it was for other people as well,” she
said.
Might more magic happen this November,
when the event returns to Yarmouth?
From Allwright’s perspective, part of the
magic may just be that Yarmouth gets to
host it again. He says business people in the
area are looking forward to an economic
impact at least equal to what the community
experienced when it hosted Nova Scotia
Music Week before. He cites a study from
one of the years the event was held in
Yarmouth that found it generated about $1.2
million in economic activity.
He says he is confident Nova Scotia Music
Week 2015 will help solidify the Yarmouth
area’s reputation as a place that does a great
job hosting major gatherings, whether it’s
music or sports or something else.
“We want to continue being known for
that,” he said. “I continue to push, with
people I talk to, this is a place to come and
put on an event.”
Financial challenges force Maritime Rockabilly festival to take a year off
To return bigger and better in 2016
By Darrell Cole
Amherst News, TC Media
AMHERST – The Maritime Rockabilly
Shakedown Festival is taking a year off.
While the decision has been weighing
heavily on him for several months, organizer
Davey Lee Goode recently announced the
three-day celebration of rockabilly music
needs a year off.
“A lot of work goes into organizing and
planning a music event this size and we have
come to the decision that we need a year off,”
Goode said. “I’ve been keeping quiet about it
and holding my cards close to my chest, but
we have come to realization that we just won’t
be in a position to host it this summer.”
While last summer’s event was initially
called off and then pulled together at the
last minute after he was able to secure some
federal funding, Goode said he doesn’t see that
happening this year. Instead, he said, efforts
are going to be put into bringing the festival
back bigger and better in 2016.
The biggest issue, Goode, said is raising the
money to stage the festival that is the biggest
Organizers of the Maritime Rockabilly Shakedown Festival are taking this year off. Davey Lee
Goode announced Thursday that the cost and logistics of organizing a festival of this size difficult. He expects the festival to return bigger and better in 2016. File photo
thousands of dollars to produce the event.
rockabilly event in Canada. While the town
Goode said he hopes to work more closely
and the federal government came through
with some support last year, he said it still cost with the town, adding he is disappointed
he was never invited to become part of the
Downtown Amherst Business Advisory
Committee or its festival and events subcommittee.
“Ideally, I’d like to see this be an annual
event, but the cost of doing it and the logistics
that go into planning it make it so that it’s
not economically feasible at this time,” said
Goode. “So much work has gone into planning
the previous three festivals that we haven’t
had a summer off and it’s also distracting us
from our business Greasy Groove. We’ll be
back new and improved for 2016.”
The previous three festivals attracted several
thousand visitors to Amherst from across the
Maritimes, Canada and the United States.
Last year’s show in early August featured Lee
Rocker, formerly of the Stray Cats, Bloodshot
Bill, the Bloodshots, the Millwinders and
Rayburn Anthony, who performed with
Johnny Cash’s drummer WC Holland.
Along with music under the big tent on
Victoria Street, the festival featured rockabilly
music in Victoria Square, food vendors and
souvenir sales and a giant car show on Church
Street.
April 2015 9
Musicians sound off
in the digital age
Local artists take to the Internet to promote,
fund, sell their creative works
By Colin Chisholm
Hants Journal, TC Media
HANTS COUNTY — Playing live shows
and selling CDs out of a car trunk isn’t enough
for modern musicians anymore, not if they
want to reach a global audience.
Online tools such as social media, streaming
services and online stores are helping local
artists, retailers and promoters go farther than
ever before.
East Hants musician Makayla Lynn, 13, has
already begun making waves in the country
music scene. She says using social media is a
great way to boost her fan base.
“I use a lot of Facebook, YouTube videos,
Instagram, Twitter and all sorts of things like
that,” Lynn said. “It’s extremely important just
to keep in touch with your audience because if
you keep them engaged, it really helps when
you need support or when you’re trying to sell
and promote your own music.”
Lynn said she gets a lot of help from her
‘momager’ (mom/manager) who helps to take
photos when she performs and keep tabs on
her online profile.
She’s reached 5,000 likes on her Facebook
page so far, which is Lynn’s preferred form of
communication with her fans, but she does say
it’s important to diversify.
“It is hard to reach out to people in other
countries, because they can’t find you if they
don’t know you’re there,” she said. “All of the
online resources I use help with that, because
if you just use one page, like Facebook, you’re
only reaching one group of people.”
Kentville’s Kevin Davison used Kickstarter
to crowd fund his latest musical project,
raising well over his $5,000 goal to record his
latest album in Nashville, Tennessee.
“I heard about Kickstarter from a friend of
mine and wanted try it to see if it would work
and it was very successful,” Davison said.
“As soon as we launched we got funding right
away. I was able to connect with everybody
who backed it.”
The key with crowd funding sites such as
Kickstarter, Davison said, is the back and forth
from the creator and the backers.
“You get a fan base, it’s not just donating to
somebody and that’s it,” Davison said. “You
get to see the progress and what happens with
that money.”
Davison added that he never would have
been able to achieve what he has without the
Kickstarter campaign.
“Before the Internet, it was really hard to get
your music out there, but now people jump on
board,” he said.
Davison first posted his song, When Those
Sirens Are Gone, a tribute to fellow first
responders on Nov. 18, 2014 to YouTube, and
things took off from there.
“It’s been a whirlwind for me,” he said.
Do you want to increase sales?
Attract customers to your website?
Makayla Lynn, 13, is making major waves
in country music and is pushing her profile
online to a global audience. Colin Chisholm,
TC Media
“Overwhelming is a good word for it.”
Moe’s Place Music Sales in Windsor uses
social media to generate engagement with
their customer base.
Heather Donohue, co-owner of the store,
says she’s a big believer in the power of social
media.
“We have an official website, but we also
have a pretty strong social media presence
— Facebook and Twitter would be the main
ways we market ourselves,” Donohue said.
“Research showed those were the best ways to
reach our customers and musicians.”
But it’s not as easy as setting up an account
and posting; there has to be a method in the
madness.
“It should never be about what’s for sale, it’s
all about engaging with your fan base,” she
said. “People need to feel like they’re a part of
our family, that’s what Facebook and Twitter
do for us.”
Donohue is also a social media manager,
teaching classes on social media for business
and musicians.
“You can damage your brand if you jump
in without a strategy. It’ll take two years to
rebuild it,” she said. “Don’t try and do it all,
pick a few select things and do them well.”
Jake Smith, the music store’s other owner
and musician, said it’s important to focus on
what you’re good at and go from there.
“We use sites such as SoundCloud,
Bandcamp and ReverbNation for our music,”
Smith said. “There are so many avenues now
for bands, you can get overwhelmed by these
choices.”
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By Andrew Wagstaff
sbuzz.ca
sbuzz.ca
6941454
PARRSBORO – An actor, a musician and
a set designer will represent Ship’s Company
Theatre at this year’s annual Robert Merritt
Awards.
Actor Kevin Curran, who played Hank in
the production of Our Eliza, will be up for the
Best Supporting Actor award, while Sandy
Moore is nominated for Best Original Score
for his work in By the Dark of the Moon, and
Stephen Osler is up for Best Set Design for his
work on the same production.
“It’s always nice to get recognized,” said
Natasha MacLellan, artistic director. “The
awards are all about bringing attention to
the theatre industry. If you can get a couple
of them, it sure is nice to have people
remembering what you did in the summer.”
Held by Theatre Nova Scotia each year
to celebrate excellence in Nova Scotia
professional theatre, the Merritt Awards are
handed out in a gala celebration that will this
year take place on March 23 at Casino Nova
Scotia’s Schooner Room.
As director of Our Eliza, MacLellan said she
was so proud of that show and everyone who
was a part of it.
“As a director, your job is to try and make
sure you get the best work out of everyone,”
she said. “You’re trying to encourage people
to bring their best forward, and I really felt,
with everyone on Our Eliza and By the Dark
of the Moon, we’ve been lucky. It’s really
good when the people around you care about
the work they are doing.”
Seeing Curran nominated for his
performance gave her plenty of delight.
“Kevin is one of my favourite actors; I
thought his work was brilliant,” she said.
“Sandy and Stephen too, they are senior artists
who have been around, and are masters of
what they do. I’m very happy for them.”
For his work on By the Dark of the Moon,
Moore tailored a lot of the songs’ lyrics to the
Parrsboro setting, and came up with catchy
music that MacLellan still finds herself
humming along to.
As for Osler, his set on By the Dark of the
Moon marked a long-awaited return to Ship’s
Company.
“Stephen does a lot of work on TV and film,
so he only does theatre now when it appeals
to him,” she said. “It was great to have him
back.”
The awards will be hosted by Joanne Miller
and Karen Bassett, and produced by Jeremy
Webb.
April 2015 11
Jubilee Festival delivers significant
boost to New Glasgow’s economy
By Amanda Jess
The News, TC Media
NEW GLASGOW – They put up the sign: SOLD OUT.
After 18 years, the New Glasgow Riverfront Jubilee had reached
capacity for one of its nights.
It was 2013, and Great Big Sea took the stage for the Sunday night
closing show.
It’s a crossover act, and that’s why it was successful, according to
executive director Carlton Munroe. Their music transcends multiple
genres, with aspects of pop, rock, and Celtic all evident over their long
musical history.
In 2010, Blue Rodeo was almost their first sold-out show for the
same reason – grabbing fans from country, folk, and rock bases.
For Munroe, running a successful business means tapping into the
acts that can draw a crowd from across the province, and relying on an
artist that only appeals to one genre isn’t enough.
Starting from a small jazz festival 20 years ago, it has evolved into
a multi-day and multi-venue event, gradually attracting more popular,
rock-based acts.
Working relationships are key for picking headliners, Munroe says,
with some agents being helpfully transparent about what they’re
working on.
“A lot of times you don’t know (their tour schedule) until after your
offer is made. Usually, any good booking agent is working on multiple
plans.”
With only a handful of national booking agencies representing most
of Canada’s top musicians, Munroe is able to bounce ideas off of an
agent if one idea falls through.
For headliners, they have a radius clause set up, controlling where
Carlton Munroe, executive director of the New Glasgow Riverfront Jubilee, stands in the hallway of Glasgow
they can perform within a certain distance (250 kilometres in this case)
Square where Jubilee posters hang, representing many of the past line-ups since its inception 20 years ago.
and time frame, which recently increased to 60 days from 30 days
Amanda Jess, TC Media
due to last year’s Saturday headliner, Sam
Roberts, who performed in Halifax only 31
days before Jubilee.
Though the festival aims to support regional
music, and books them in supporting slots,
breaking even – and trying to make a few
dollars – is the only way they’ll be able to
survive as a long-term music festival.
Support slots are just that: picked
“We have to make sure we’re able to be
according to what strong, regional acts
here for years to come to be able to promote
can support that headliner and help draw
and support the local music industry,” he says.
more fans in, with Munroe using East
Sustainability for an outdoor festival is
Coast Music Week, Nova Scotia Music
sketchy, Munroe says, relying on decent
Week and Contact East as key events
weather to bring out the crowds.
that showcase local artists ripe for the
For years, the festival relied on gate sales,
picking for presenters.
running the risk of having no one show up,
“NSMW plays bigger role. ECMW
but advance sales have been their savior,
gives us a glimpse throughout Atlantic
using TicketPro as their insurance and as a
Canada. Without being too biased, Nova
tool for information on their customer base.
Scotia has the most healthy music scene
Their budget – which was approximately
throughout Atlantic Canada, evidenced
$250,000 in 2012 along with $260,000 inby looking at the list of nominees,”
kind donations, such as promotional services
Munroe says, adding that the showcases
– is heavily dependent on their sponsors,
and one-on-one meet and greets, which
which is why making them happy enough to
introduces musicians to presenters in a
return each year is important.
speed dating style, as playing the biggest
They added a VIP section in 2010, giving
role at the events.
sponsors, and ticket buyers with a bit more
Munroe is introduced to acts that fit the
cash to spare, more access to the site and
Jubilee, and can count on one hand how
special treatment.
many times he’s met musicians who just
The Jubilee doesn’t just bring music to the
didn’t work.
area – it makes a significant economic impact.
“The great thing is the festival has
A 2012 report from the Canadian Sport
been around for 19 years. Most, if not
Burnside News.com
GreaterBurnside.com
Tourism Alliance estimates that visitors
all, performers on the East Coast are
to the Jubilee spent more than $256,000
aware of it,” he said, adding that in
on accommodation, food, recreation,
the cases where the artists themselves
merchandise, and other expenses. Visitor
don’t know about it, provincial music
spending and expenditures made by event
associations pick up the slack, booking a
BurnsideNews
@BurnsideNews
organizers show an impact of more than
one-on-one with Munroe only if they’re
$460,000.
GreaterBurside
@GreaterBurside
relevant to the festival.
Supporting
regional music
May 9
th
r
a
d
n
le
a
C
r
u
o
Y
Mark
For more info stay tuned to:
6951345
12 April 2015
2015 VOLKSWAGEN GOLF SPORTWAGON
Space and style
By Michel Delauriers
Autogo.ca
AUSTIN, TEXAS – How do you make a
Golf hatchback even more practical? Turn it into a station wagon.
This is the Golf to buy for those
who regularly need a lot of cargo
space, or just prefer the look. The
Sportwagon is virtually identical to
the five-door hatchback from the
front bumper to the rear doors.
From there on, the rear portion of
the car is stretched by about 300
mm, or 11.5 inches. Wheelbase is
unchanged.
PROS & CONS
place, volume is up by 34% to 860
litres compared to the hatchback;
PROS
with the rear seats folded flat, maxi~ Both engines are very efficient
mum cargo volume is improved by
~ Sophisticated and sporty style
26%, totalling 1,880 litres.
~ Plenty of room
As is the case with the hatchback, two engines are offered in
CONS
the 2015 Volkswagen Golf Sport~ No audio USB port
wagon. A 170-hp turbocharged 1.8L
~ Small infotainment touchscreen
four-cylinder is standard, and for
~ Throttle response lag (with automatic) an extra $2,300 to $2,500, the turbodiesel 2.0L TDI engine serves up
That means the extra length 150 hp. Both can be chosen with
is dedicated to cargo space, as it either manual or automatic transshould. With the rear seatbacks in missions.
Volkswagen’s turbocharged
four-pot engines are delightful,
with plenty of low-rpm torque to
play with. This is arguably the best
compact car for driving enthusiasts. Aside from price, the difference
between the two engines is obviously fuel economy. The TDI consumes
about 2 L/100km less around town
than the 1.8L TSI, and about a litre
less on the open road.
The new gas engine is more revhappy and about 16% more efficient
than the old five-cylinder lump. For
that reason, unless you drive 30,000
km a year or more, I don’t see the
point in investing the extra dough
for the TDI.
As usual with Volkswagen products, three trim levels are offered;
in this case, Trendline, Comfortline
and Highline. Pricing starts out at
$22,495 before freight and delivery
charges, and adding an automatic
transmission costs $1,400. The entry
price for the Sportwagon has been
reduced compared to last year’s
model, and there are more standard
features.
Not is all perfect, though. Like the
hatchback, the Golf wagon’s centre stack touchscreen is small and
features small button zones, and
the automatic gearboxes’ throttle
response is still plagued by an irritating lag when you press on the
gas to accelerate – though more
noticeable under spirited driving.
Stylish, refined and fun to drive,
the 2015 Volkswagen Golf Sportwagon is a good choice for those
who seeks interior space, but want
a more dynamic vehicle than an
SUV or a crossover. And it’s currently unique in its segment, which
makes it even more interesting.
On AutoGo.ca, you can access expert opinions, reviews, new launches, automotive news, as well as the latest
trends and safety issues so you can make an informed
decision on your next vehicle. In addition to vehicles from across the country you’ll
find a large selection from local businesses.
Visit www.autogo.ca today
6941131
April 2015 13
Harpist revives old ways in the new world
By Heather Killen
ANNAPOLIS COUNTY – Harp maker
Timothy Habinsky has customers in nearly
every corner of the world. His love of Celtic
music may have fueled this business in the
beginning, but attention to detail has grown it
beyond the borders.
This home-based business began as a part
time job while Habinsky was an undergraduate
student. He wanted to purchase his own
harp and knew he couldn’t afford the rare
and pricey instrument. After a doing bit of
research, he decided he could build one.
Borrowing time in his father’s woodworking
shop, he produced his first harp. To his great
surprise, within a short time, three people had
offered to purchase it. Soon he was paying his
way through graduate school with a part-time
job making custom harps.
One practical advantage Habinsky had
over his competition is his experience as
a musician. He designs his harps to suit a
musician’s needs—he doesn’t sacrifice sound
quality for beauty, or portability. Habinsky
builds four models of Celtic harps that are
suitable for students through professional
musicians.
These harps are built solidly to take the
hard knocks of a travelling performer, but
lightweight enough to carry. They are simple
designs, handcrafted from a variety of woods
in a way that always considers the harp’s
voice.
After a few years the business had grown
to the point where he could trade his career
in academic research and teaching, for his
passion for performing music and building
harps. In 2009, he and his family decided
to relocate from Ontario to Centerlea, in
Annapolis County where he re-established his
full time business, Timothy Harps.
He credits some of his early success in
growing his business partly to luck and partly
to the timely practical advice he received
throughout his career. His customer base is a
small select group of musicians, but with the
Internet he can reach a worldwide marketplace
and is able to grow his business beyond local
Timothy Habinsky, an Annapolis County based harp maker, has clients in most every continent. His passion for Celtic music may have fueled
his business in the beginning, but hard work and attention to practical details is what keeps it going. Heather Killen, TC Media
borders.
Without this type of global reach, it’s not
likely his niche business would survive.
Of course there are challenges in reaching
international customers, whether it’s
overcoming the fluctuations in the value of
the Canadian dollar, or keeping ahead of
amendments to government regulations, many
things can affect his bottom line.
He was cautioned early on that while
passion and creativity may fuel the business
at the start, only hard work and attention to
the business side would ultimately ensure its
success. That advice holds true particularly for
the exporting side of his business. Habinsky
says he frequently encounters changes in
government regulations that can stop his harps
at the border.
“Reaching customers in Europe is actually
easier than the U.S.” he says. “It’s an
intimidating process.”
One significant change over the past few
years made to the U.S. Lacey Act impacts the
amount of paperwork needed to send wooden
instruments across the border. These rigorous
guidelines are intended to prohibit trading in
wildlife, fish, and plants that have been illegally
taken, possessed, transported or sold.
His harps are wooden instruments and in order
to comply with these guidelines, he must keep
detailed records of where he procures his wood.
He said one of the big draws of relocating to
Nova Scotia has been the rich supply of ethically
harvested red spruce he can access here. His
harps are handcrafted using various woods such
as maple, black walnut, cherry and apple.
“Often people follow their passion, particularly
artists, and neglect the business side of things,”
he said. “Anyone who wants to turn a part-time
job into a full-time business needs to spend time
50/50. For every hour spent creating, you need to
put an equal hour into developing the business.”
Five productivity apps music professionals can bank on
By LIANNE
PERRY
By Lianne Perry
As a music professional, you are probably
well-versed in using technology to promote
your work. As a creative and business
professional, I understand the importance of
managing your music career as a business, and
this is also an area where technology can help.
For creative types juggling multiple
priorities, mobile apps can help organize ideas,
projects and collaborations with colleagues. If
you’re like me, your smartphone has become
an extension of your personal and professional
life. Withy anytime, anywhere access, these
apps will help you organize your work more
efficiently.
that syncs with all of your devices so your most
current tasks are available to you anytime, and
on any device. The daily planner feature is a
particularly easy way to organize your tasks.
Setting goals
Goal setting is the backbone of any strategy.
There are lots of easy goal setting apps that
help you keep create, modify and manage
your goals. I have two favorites: Wunderlist
(https://www.wunderlist.com/) is a simple list
management app that also has collaboration and
sharing features so you can have multiple people
working on a list and sharing comments. It has
a hashtag feature that allows you to tag items in
the list. You can also set alerts and reminders so
you never miss another deadline.
My second choice is Any.do (http://www.any.
do). Any.do is also a project management app
Managing projects
My go-to project management app is Asana
(https://asana.com). You can organize your
projects, create milestones, break down larger
bodies of work into smaller, more manageable
tasks and share duties with others for
collaborative work – without having to go back
and forth with emails. As a business professional
who also does creative work in theatre, I have
found it invaluable for keeping track of every
milestone I need to hit to complete projects
efficiently.
An honorable mention in this category goes to
Trello (https://trello.com), a visual platform that
allows you to create “cards” for your ideas and
manage them on boards according to different
idea categories. It also has all of the other
features found in Asana and Evernote, including
the ability to upload and manage files that help
with organizing project tasks.
Staying on track
Evernote (https://evernote.com) can help you
strategically manage your tasks with features
such as creating spaces where you can collect
and manage background research for projects.
You can search for, save and record photos,
videos, Web links, articles and other files that
contribute to the creation of your project. When
you are ready to present your ideas, the program
allows you to pull your notes together into a slick
visual presentation.
14 April 2015
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April 2015 15
Festival planning, there’s an app for that
By Greg McNeil
SYDNEY — Many of the world’s largest
music festivals are now relying on the
innovation of a Cape Breton company to
ensure their celebration goes as planned.
Marcato Digital in Sydney has developed
the Marcato Festival App that will be an
essential tool for the 148 festivals happening
in 20 countries over five continents in the next
six months alone.
“The festival has quickly evolved from party
zone to very sophisticated operations that
have defined marketing, major budges, major
security requirements,” said Darren Gallop,
CEO of Marcato Digitial.
“You have companies such as our company
where we focus on the real backend piece like
all the logistics that people manage.”
Marcato’s client list includes small festivals
of a couple of thousand attendees up to the
mega gatherings that welcome as many as
100,000 people.
To help organizers of these events, the
company’s multi-purpose app provides
a platform for credentials, calendars that
can be used for project management, a
message module to collaborate ideas and a
file management tool. There are many other
features, too.
“A lot of times they will come in during year
one and use it to solve a very specific pain
and that pain might be collecting artist data
or around the credential piece or volunteer
management,” he said. “Usually, over time
they’ll start adding and using it more deeply.”
The company’s origins date back to 2007
when they won an Innovocorp business
competition for its musician app used for
scheduling, management, promotion, and
tracking and
managing royalties.
Though the app is
still being used by
many musicians and
managers, Gallop
said they realized
a product with a
larger purpose was
necessary to ensure
company growth and
Darren Gallop is the
profitability.
CEO of Marcato Digi“In the middle of
tal in Sydney. His
2009
we decided
company has develwe have to look
oped an App that is
at something else
being widely used
to by festivals and similar in a parallel
events around the
space that utilizes
world. Greg McNeil,
the tech we built. We
TC Media
looked a festivals
because we have
shows, schedules, itineraries, artist profiles
and repurposed our energy towards that.”
Beta year for Marcato Festival was 2010
with the Celtic Colours International Music
Festival, followed by a launch in 2011.
Sales growth has been strong since then,
including a doubling of business in 2012 and
2013 from the previous years.
“It’s a success, but at the same time I know
where we can take it and I look forward to
being there,” Gallop said.
“I think we can very easily turn this into
an $8-10 million company, revenue wise. To
me that’s the ultimate success. We’ve hit a
milestone but there’s many more milestones
to come.”
That $10 million milestone could come in
as few as five years but not without a lot of
“blood, sweat and tears,” he said.
“I believe that ultimately you hit a point,
which I think we’ve hit where pretty much
anyone is running a festival has at least heard
of us. Really, it is about having a whole lot of
happy clients who are out there pushing the
product.”
The current client list totals about 200
festivals, mostly of the music variety.
However, the product has been used recently
by the Commonwealth Games and the
X-Games. Large conferences are also coming
Marcato Festival
Features:
Artist management and contracting, event
management, website and movie App
integration, volunteer management, press
and media management, comprehensive
reporting, vendor management, and more
Cost:
• Marcato Festival - $3,000 per year
• Marcato Festival Plus - $5,000 per year
Clients:
• more than 200, including 148 festival will
use the app in the next six months.
What clients are saying:
“This software has made an enormous
difference to the entire festival operation. It has
ensured accuracy, cut out duplication, and made
it possible for staff to get the job done in much
less time and with much less stress.”
— Joella Foulds, executive
director Celtic Colours
International Music Festival
on board and a French version of the app will
launch this summer as Marcato looks to be
more versatile.
“As we widen our niche out a lot of our
focus will be on mega events. I would like
to think that eventually we can do the Super
Bowl. That’s the kind of event I want to go
after in the sporting space. I want events
that have massive credential, security and
performance elements to them.”
“Until Marcato, we worked exclusively in Excel,
and only one staff person at a time could be in a
given document. With Marcato, that’s no longer
an issue. There are no more hang-ups while
waiting your turn.”
— Ellen Trappey, festival community
programming specialist for the Philadelphia
Science Festival
“The Marcato software is clearly designed
by a team of people familiar with the
challenges of many aspects of the music
industry. The complexities of data organization,
contract management, and multi-threaded
communication channels are brought together
in a manageable and very useable environment.”
— Stu Hutchison, executive director East
Coast Music Association
Sound of Pop produces music behind favourite TV shows, movies
By Ashley Thompson
Ever wonder how a song makes the cut
for your favourite television show of movie?
Kings County resident Glenn McMullen can
tell you all about it.
McMullen runs Sound of Pop, an
independent record label, artist management
and music publishing company based just
minutes outside of Wolfville.
“It has very gradually shifted from being
heavily concentrated towards the record label
side of things to where it is primarily a music
publishing and synch company representing
the songwriters and their songs in trying
to generate income for their work through
placements in film, TV, advertisements
and video games,” explains McMullen,
who started running the business from the
Annapolis Valley in 2008.
He connects with industry contacts
throughout North America online and in
person at music conferences such as East
Coast Music Awards, Nova Scotia Music
Week and the Atlantic Film Festival.
“Lots of people might make assumptions
around the impact of not being able to do
face-to-face meetings nearly as often as if
I were say in Toronto for example but then
Sound of Pop owner
Glenn McMullen,
centre, talks sync
placements as a
panelist at a Music
New Brunswick conference. Michael
Hawkins photo
when I ask people in Toronto how often they
actually meet face to face it’s not very often,”
he says, noting that the main geographical
challenges he faces are related to rural internet
connectivity and his proximity to fewer live
venues.
McMullen has managed to have Sound
of Pop tunes featured on such TV shows
as Heartland, Seed, Rookie Blue, Bitten,
Degrassi, Wake Brothers, and Good Girl’s
Guide to Depravity.
He’s placed tracks with regional films
dubbed Relative Happiness, Owl River
Runners and The Divorce, and an upcoming
John Travolta flick called Criminal Activities
that is slated for a summer release.
A move into the music business seemed
like a natural progression for McMullen, a
songwriter who first picked up a Sears guitar
and started singing along to his father’s
records at eight years old.
“I had always been performing the business
functions of the various bands I was in,
essentially taking a lead role managing them,”
says McMullen, an Acadia University business
grad.
McMullen wears many hats in the music
industry, but there’s one thing that matters
in every aspect of Sound of Pop’s business –
good songs.
“The No. 1 thing is always the music. That’s
what the bands should always put the majority
of their focus on. If I really love something
I’ll try and do whatever I can to come up with
a plan that makes sense,” he says, noting that
a good attitude also goes a long way in an
industry where it is so hard to stand out.
When it comes to music placements, it is
especially important to find the track that
keeps the listeners coming back.
“It is true that one standout track can do
more for you than a dozen average tracks but
it may take writing 50 songs to get that one
that cuts through the noise,” McMullen says.
Sound of Pop is up for an East Coast Music
Award for Music Merchant of the Year. It’s
always a thrill to be nominated for an award,
but McMullen says “the biggest reward is
being able to help someone out who you
believe in and is then able to take a positive
step forward in their career.”
16 April 2015
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