Making a Scene Presents

Richard LHommedieu
  • 1.0 (1)
  • Music Interviews
  • Updated Daily

Making a Scene is the #1 Resource for the Indie Artist and the Fans that Love them! http://www.makingascene.org

  1. 1d ago

    The Song You Already Own May Be Your Best Investment

    Making a Scene Presents - The Song You Already Own May Be Your Best Investment The Music Business Has Finally Discovered Something Artists Should Have Known All Along For most of the history of the record business, artists were trained to think about music in release cycles. You wrote a song, recorded it, released it, promoted it for a few months, crossed your fingers, annoyed your friends with social media posts, and eventually moved on to the next record. The old album was pushed toward the back of the shelf while everybody chased whatever was supposed to happen next. The financial world has been looking at music very differently. Investors, publishers, labels, private equity firms, royalty companies, and catalog buyers increasingly look at a song not simply as something that was released three years ago, but as an asset capable of producing income for many years into the future. That difference in thinking is enormous, because once you stop treating your catalog like yesterday's news, you start asking very different questions about what the music you already own could be doing for you. http://www.makingascene.org

    The Song You Already Own May Be Your Best Investment

  2. 1d ago

    Direct-to-Fan Platforms Are Becoming Discovery Platforms. Don’t Make the Same Mistake Twice

    Making a Scene Presents - Direct-to-Fan Platforms Are Becoming Discovery Platforms. Don’t Make the Same Mistake Twice There was always something pleasantly old-fashioned about the original idea behind https://www.patreon.com/. You went out into the world, made music, played shows, posted videos, appeared on podcasts, begged the algorithm gods for mercy, handed out flyers, annoyed your friends, annoyed your friends’ friends, and somehow found people who cared about what you did. Then Patreon gave some of those people a way to support you every month. It was less like a giant advertising billboard and more like a cash register sitting near the back of the club. That basic bargain was easy to understand. You brought the fan, and Patreon helped you monetize the relationship. Patreon did not have to become Facebook, YouTube, TikTok, Spotify, a record store, a fan club and your manager all before lunch. That distinction is getting blurrier. On August 20, 2026, Patreon CEO Jack Conte published a large product roadmap describing a much more ambitious Patreon. The company is not simply trying to help creators make money from people they already know. It increasingly wants to help creators get discovered by people they have never met, move those people into free memberships, deepen the relationship through content and community, and eventually convert some of them into paying supporters. For independent musicians, that could be very good news. It could also create exactly the kind of temptation that has gotten artists into trouble before. If one platform can help you get discovered, publish your work, communicate with supporters, host video, run a community, sell digital products, collect membership payments and analyze the audience, why bother building anything outside that platform? Because discovery is valuable, while dependency is dangerous. That distinction may become one of the most important business lessons an independent artist can learn http://www.makingascene.org

    Direct-to-Fan Platforms Are Becoming Discovery Platforms. Don’t Make the Same Mistake Twice

  3. 2d ago

    Don’t Close the Session Yet: Build the Revenue Package When You Finish the Master

    Making a Scene Presents - Don’t Close the Session Yet: Build the Revenue Package When You Finish the Master The Song Is Finished. The Business Asset Is Not. There is a wonderful moment in every recording project when everybody finally agrees that the song is finished. The singer has stopped asking whether one word in the second verse could be louder. The guitar player has accepted that the solo does not need another half-decibel. The mastering engineer has sent the file called something reassuring like SONGTITLE_FINAL_MASTER.wav, and for one brief shining moment nobody has added the words “new,” “revised,” or “really final” to the filename. This is usually when the independent artist exports the stereo master, sends it to a distributor, uploads the artwork, picks a release date, and closes the recording session with the satisfied feeling that the job is done. That made a certain amount of sense when the main job of a record was to become a record, but today's finished recording can do far more than sit inside Spotify, Apple Music, or somebody's phone. That open recording session is actually sitting on top of a small factory. The master recording is there, but so are the ingredients for an instrumental version, alternate mixes, useful stem groups, shorter edits, clean endings, remix materials, creator licenses, sync versions, direct-to-fan products, and assets that may someday become valuable in licensing systems we have not even invented yet. The strange part is that the cheapest and easiest time to create most of those things is right now, when everybody still remembers how the record was made. Six years from now is not nearly as convenient. Six years from now the computer may be gone, the plugin company may be gone, the engineer may be working in another state, and somebody will be standing in front of a closet full of hard drives muttering the traditional recording-industry prayer: “Where the hell did we put that vocal stem?” That is why independent artists need to change the definition of finished. http://www.makingascene.org

    Don’t Close the Session Yet: Build the Revenue Package When You Finish the Master

  4. 3d ago

    September 1 Is a Warning: Build an Exit Package for Every Music Platform

    Making a Scene Presents - September 1 Is a Warning: Build an Exit Package for Every Music Platform There are certain phrases no musician wants to see in the subject line of an email from a company holding an important piece of their career. “Important changes to your account” is one. “Service transition” is another. “We’re evolving” usually means somebody in a conference room has made a decision that is about to create several hours of work for people who were not invited to the conference room. Then there is the granddaddy of them all: “sunsetting.” Corporate language is wonderfully peaceful. Nothing ever closes, gets killed or breaks. Services are “realigned,” products “evolve,” businesses “transition” and features “sunset,” as though your stems, royalty records and release metadata are peacefully retiring to a beach house in Florida. That is roughly the situation Songtradr users are facing now. Songtradr’s official help center says its Marketplace will close on September 1, 2026. The company first published closure guidance dated June 1, then expanded its transition information later in June to explain how certain distribution functions and account information are moving to MassiveMusic for Rightsholders while Songtradr points artists toward Bandcamp for direct-to-fan activity. Songtradr itself is not disappearing, and neither is the larger Songtradr group. What is disappearing is the open Marketplace that many independent artists used as part licensing service, part distribution system, part catalog manager and, whether they planned it or not, part filing cabinet. Songtradr’s current transition guidance http://www.makingascene.org

    September 1 Is a Warning: Build an Exit Package for Every Music Platform

  5. 5d ago

    Interview with Hugh Pool and Jon Ragusa of Mulebone

    Making a Scene Presents an Interview with Hugh Pool and Jon Ragusa of Mulebone Mulebone is the long-running blues and roots partnership of guitarist, vocalist, songwriter, and producer Hugh Pool and multi-instrumentalist Jon Ragusa. Built on the foundation of traditional blues, the duo takes the language of country blues, folk, roots music, and early American song forms and stretches it into something soulful, agile, and adventurous. At the heart of Mulebone is a rare musical conversation between two players who know the tradition well enough to honor it, but not so carefully that they forget to have some fun with it. Their music can move from slide-guitar boogies and one-chord trance riffs in the spirit of Howlin’ Wolf to the uptempo ragtime snap of Reverend Gary Davis and the rural textures of country blues. Sometimes they play close to the source, almost tracing the outline of the original form. At other times, they step back, lift the music into the air, and look at it from a new angle. http://www.makingascene.org

    Interview with Hugh Pool and Jon Ragusa of Mulebone

  6. Aug 21

    Gerry Casey's Interview with Bright Black

    Making a Scene Presents Gerry Casey's Interview with Bright Black Bright Black is a Midlands alt-metal band from England, bringing together the force of modern hard rock, the emotional weight of metal, and the kind of melodic intensity that makes heavy music hit harder than volume alone. Hailing from Northamptonshire and the Midlands, the band formed in 2022 and has quickly begun carving out a place in the UK underground rock and metal scene. Built around the lineup of Talitha, Witt, Alex, and James, Bright Black creates music driven by raw emotion, heavy riffs, anthemic energy, and a live presence designed to move a room. Their sound sits in the space where alternative metal, hard rock, and modern melodic heaviness collide, balancing aggression with atmosphere and power with feeling. http://www.makingascene.org

    Gerry Casey's Interview with Bright Black

  7. Aug 21

    One Song, Many Products: How Indie Artists Can Turn a Recording Into a Revenue Catalog

    https://www.makingascene.org The Place the Indie Artist goes to Build the New Music Industry Making a Scene Presents - One Song, Many Products: How Indie Artists Can Turn a Recording Into a Revenue Catalog We Have Been Selling the Song Far Too Cheaply An independent artist can spend weeks writing a song, another week arranging it, several days recording it, more time editing and mixing it, then hand it to a mastering engineer before finally releasing it into the world. After all that work, the finished product often becomes one WAV file that gets sent to a distributor, which turns it into a streaming product that might earn tiny pieces of money one play at a time. Then everybody packs up, congratulates themselves on release day, and starts worrying about writing the next song. There is nothing wrong with streaming the song. The mistake is thinking the streaming master is the only product you created. A professionally produced song can become the foundation of an entire family of products. The original master can live beside an instrumental master, clean version, alternate mix, stems, short advertising edits, video stings, premium fan content, remix material, educational material, direct-download products, sync assets, licensing packages and, increasingly, carefully controlled assets that may someday be licensed for artificial-intelligence uses. The artist did the expensive creative work once, but the business can keep finding new ways to package that work. This does not mean that every song should be chopped into 47 files and offered for sale to anybody with a credit card and a pulse. Some versions have a clear commercial purpose, while others only make sense for particular songs. The larger point is that a song should be treated as intellectual property and business inventory rather than a disposable piece of content whose career begins and ends when it hits Spotify. http://www.makingascene.org

    One Song, Many Products: How Indie Artists Can Turn a Recording Into a Revenue Catalog

  8. Aug 21

    When the Recording Carries the License: AI, Audio Provenance and the Future of Artist-Owned Rights

    Making a Scene Presents -When the Recording Carries the License: AI, Audio Provenance and the Future of Artist-Owned Rights An A2IM spotlight on SonicOrigin points toward a future where a recording can carry a persistent connection to its ownership and AI-licensing terms even after ordinary metadata disappears. Making a Scene is moving in the same direction with the MAS Audio Fingerprint system, connecting both Sync and AI licensing to the artist-controlled Fan Passport source of truth. Together, these ideas suggest that the next generation of music files may do something recordings have historically been terrible at doing: explain who owns them, what they can be used for and where somebody can go to legally spend money. Your Recording Has Always Been Terrible at Introducing Itself A modern recording can travel around the world faster than most musicians can find a clean pair of socks for the gig. You can finish a master in Georgia, send it to somebody in Los Angeles, have it dropped into a video project in London and discover it playing from somebody's phone in Berlin before you have finished arguing about whether the vocal should have been half a decibel louder. What generally does not travel nearly as well is everything that explains what that recording actually is as a business asset. http://www.makingascene.org

    When the Recording Carries the License: AI, Audio Provenance and the Future of Artist-Owned Rights
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About

Making a Scene is the #1 Resource for the Indie Artist and the Fans that Love them! http://www.makingascene.org

Information

  • Creator
    Richard LHommedieu
  • Years Active
    2019 - 2026
  • Episodes
    638
  • Rating
    Clean
  • Copyright
    © 2019 Midnight Circus Productions
  • Show Website
    Making a Scene Presents