Alianait x Hitmakerz - Episode 5: How to Market Your Music

Featured Artist: Joey Nowyuk

Watch the full English video here: https://youtu.be/vOSSewIs2Sw

Watch the full Inuktitut video here: https://youtu.be/aFpMMSXbzK8

Access the free Brand Analysis template here: https://docs.google.com/document/d/1Y2xvnAuE3A3wq6t4TCXNHQQ5zquwEWyqKHAns1okoJ0/edit?usp=sharing

Introduction

Hi, my name is Joey Nowyuk and I’m a singer and songwriter from Pangnirtung, Nunavut. 

This video is about marketing, which is basically getting people to pay attention to what you have to say. It is almost as important as the music itself, because, even if you have the best song in the world, it won’t be worth much if no one hears it.

Artist Narrative & Biography

The unique story you tell about yourself is called an artist narrative. Your narrative should be consistent and clear in your lyrics, photos, interviews, social media posts, and even fashion choices.

Having an interesting artist narrative will help you build a strong “brand” or “identity”, which helps people recognize and remember you, even when you’re not around. As a public figure, it is important to take control of how your fans see you. If you don’t tell your own story, then other people will talk about you, and they will probably get it wrong.

One of the most important ways to share your story is through your biography. This is usually one-page explaining who you are, where you are from, and where you’re going. If you’re writing it yourself, get someone else to review it. Also, make sure to use a third-person voice so it sounds more professional (like saying “he” instead of “I”).

Every biography needs a “hook”, which is something interesting to catch the audience’s attention. This could be an impressive statistic, like how many followers you have on Tik Tok, your proudest accomplishment as an artist, a memory from your childhood that inspired you to make music, or a fun sentence about your musical style. 

After your hook, try to lead with important information at the top, then end by promoting your new projects and telling people how they can learn more, for example, adding a website link or social media handle.

Make sure to talk about your music in the biography as well. Many new artists have a difficult time describing their music, so it can be helpful to compare yourself to other famous artists that you sound like.

Depending on where you are sharing your biography, consider having a few different versions saved, including a short version for media features and proposals, a long version for your website and EPK, and a quick social media summary for platforms like Instagram. This last one is also useful to memorize and tell people when you’re introducing yourself.

Social Media

Social media is an accessible, low-cost way to grow your fanbase, market your music, and share your unique voice. There are hundreds of platforms available, and all of them have different strengths and weaknesses. Facebook, YouTube, and TikTok are great for video content, Twitter is great for text and links, and Instagram is great for visual storytelling.

Ideally, your username, image, and content should be consistent across platforms.

Instead of managing many different accounts, there are social media scheduling tools, like Hootsuite or Loomly that can help you automate the process.

How often you post depends on your personality, but you should have new content available for your fans on a regular basis, ideally at the same time every week. 

You want to engage your audience by sharing content that they can relate to and interact with. This could include asking them questions, creating contests, sharing new songs, or livestreaming virtual performances on platforms like Facebook Live, YouTube, and Twitch.

Getting started with content creation can be the hardest part, but don’t get caught up in the details. Consistency is much more important than trying to make it perfect, plus as you grow as an artist and content creator, the content will automatically get better.

Don’t be afraid to put yourself out there, because if you don’t have an online presence, it will be very hard to expand your reach as an artist. Remember that your fans want a connection with you, so make it as easy as possible for them to stay in touch. 

That being said, always remember to listen to your gut, and only put out content that you feel comfortable with.

Electronic Press Kits

As an artist, you need to be able to pitch yourself to venues, festivals, the media, and your fans. The industry standard way to do this is by creating an “Electronic Press Kit” (or EPK), which is like your resume as an artist. 

The EPK should include your biography, performance history, training, press releases, media mentions, awards, performance rates, and samples of your music, photos, and videos. Don’t forget to include contact information, like your website link and social media handles.

Also, EPKs normally include “riders” to tell the venues what you need for your live performances. There are 2 types of rider documents, “technical” riders for the equipment and stage set up, then “hospitality” riders for backstage requests, like hotel preferences, snacks for after the show, or wanting a private dressing room.

It is important to have your EPK ready since people in the music industry use this to find information they need quickly. The music industry is very fast-paced, and if you don’t have your EPK prepared, you could easily miss out on great opportunities.

Planning the Marketing Campaign

Once you have your EPK set up, you’re almost ready to promote your music release!

The goal of a marketing campaign is to attract attention and create “buzz” on social media by building momentum leading up to the release date.

Make sure to include a simple “call to action” in your campaign. You can do this by adding a one-stop page link where fans can pre-save or listen to your music, watch your music videos, buy your merchandise, or follow you on social media.

To create this, digital distributors, like Distrokid, can help you make a “hyper-follow” page for free. If you have a budget, you can also use a website platform, like Bandzoogle.

Let’s talk about the album release process more.

First of all, make sure to upload your music at least four weeks before the release so you have time to promote it. Get any song clearances you need, and if possible, look into potential grants from patrons, like FACTOR or Canada Council for the Arts, to help pay for the marketing.

Next, discover more about yourself by creating a “brand analysis”. To do this, look at your strengths and weaknesses, research your audience, and figure out who your main “competitors” are.

Based on this analysis, try to develop your visual brand. A visual brand is everything that people see, hear, and feel when they interact with you. Decide on your logo, font, colours, and style. Canva is a free and beginner-friendly online tool to begin creating your own visual brand.

If you need help, go to www.hitmakerz.com/alianait for a free Brand Analysis Template that will guide you. Simply download it and fill in the blanks to discover your brand.

Instead of releasing everything right away, plan to consistently share music with your fans over a few weeks or months. This is called the pre-release marketing phase. The actual album release should be the final part of the marketing campaign, so don’t share it too early.

Instead, release teasers by sharing just one song, a music video, behind-the-scenes footage, the album artwork, etc. This way, fans have a chance to get excited about the full album before it’s out. This excitement is what we mean by “buzz”.

Before the album is out, you can also pitch your songs throughout the campaign for media, playlists, and blogs, using platforms like SubmitHub, or directly through Spotify.

When the album finally does drop, plan a livestream, send out an email blast, or create a special post about it on your socials. Word of mouth is also important, so make sure to tell your family and friends to share it, too. 

After the album is out, you may think that the marketing is over, but that is not true. This time is called the post-release marketing phase. It’s important to look at how your fans have reacted to your content and use that information to optimize your posts.

Conclusion

There are many different ways to market your music, so feel free to get creative! If you have a budget available, look into paid ways to advertise, and marketing specialists or record labels that can help you.

Keep in mind that the world of marketing is very big and things are changing quickly, so there are no guaranteed results. The best thing you can do is focus on creating good music and content, and create a marketing plan that works for you and your budget.

We believe you’re capable of having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujannamiik!

ᑕᑯᓐᓇᒐᖅ 5 - ᖃᓄᖅ ᐃᖏᒐᑎᑦ ᖃᐅᔨᔭᐅᕙᓕᐊᒍᓇᖃᑦ

ᐃᓕᑕᕆᔭᐅᔪᖅ ᔫᐃ ᓇᐅᔪᒃ

Hi ᐊᑎᕋ .. ᐃᖏᖅᑎᐅᔪᖓ ᐃᖏᒐᓕᐅᐸᑐᖓᓗ ᐸᓐᓂᖅᑑᒥᐅᑕᐅᔪᖓ

ᑕᕝᕙᓂ ᐅᖃᐅᓯᖃᓂᐊᑐᒍ ᖃᓄᖅ ᐃᓄᓐᓄᑦ ᖃᐅᔨᔭᐅᑲᓐᓂᕈᓇᒪᖔᐱ ᐊᒻᒪᓗ ᑐᓴᖅᑕᐅᑲᓐᓂᕈᓇᒻᒪᖔᐱ ᐱᒻᒪᕆᐅᒥᒪᑕᐅ ᑕᐃᒫ ᐃᖏᒐᑎᑦ ᐱᒻᒪᕆᐅᒥᒪᑕ. ᐊᓪᓛ ᑐᓴᕐᓂᑐᒥᐅᒐᓗᐊᖅ ᐃᖏᒐᖃᕈᕕᑦ ᖃᐅᔨᒪᔭᐅᖏᑯᕕᑦ ᑐᓴᑕᐅᔮᖏᒪᑦ.

ᐅᓂᑳᕆᔭᐃᑦ ᑕᑯᓴᐅᑎᐊᐅᓪᓗ

ᐃᒻᒥᓂ ᐅᓂᑳᕆᔭᐃᑦ ᐃᓕᓐᓃᖔᑐ ᐅᓂᒃᑳᕆᔭᐃᑦ ᑐᒃᓯᔭᓴᐅᑎᐊᕆᐊᖃᑐᖅ. ᐃᕝᕕ ᐃᖏᒐᖏᓐᓂᑦ ᐊᔾᔨᖑᐊᓂ ᓇᐅᒃᑯᑐᐃᓇᓗ ᖃᕋᓴᐅᔭᒃᑯᑦ ᐊᓪᓛ ᐃᓛᓂᒃᑯ ᐃᕝᕕ ᐊᓐᓄᕌᖓᒍᑦ

ᑐᓴᕈᒥᓇᖅᑐᒥ ᐅᓂᑳᖃᕈᕕᑦ ᐃᓄᓐᓄᑦ ᑐᓴᕈᒥᓇᕐᓂᓴᐅᓂᐊᖅᑐᑎᑦ ᐃᓕᓴᕆᔭᐅᖃᑦᑕᓕᓗᑎᓗ ᐃᖃᐅᒪᔭᐅᖃᑦᑕᓕᓗᑎᓗ. ᐃᓄᓐᓄᑦ ᑕᑯᓈᑕᐅᓗᑎᑦ ᐱᒻᒪᕆᐅᕗ ᑕᑯᔾᒥᓇᖅᑐᓂ ᐃᓄᐃᑦ ᑕᑯᓈᖅᑎᓪᓗᒋᑦ. ᐃᒻᒥᓂ ᐅᓂᑳᕆᕙᓪᓕᐊᖏᒃᑯᕕᑦ ᐊᓯᖏᓐᓄᑦ ᓇᑭᑦᑐᐃᓐᓇᖅ ᐅᓂᑳᕆᔭᐅᕙᓕᐊᖔᓂᐊᕋᕕᑦ ᑕᐃᒃᑯᐊᓗ ᐃᕝᕕᑦ ᒥᔅᓵᓄ ᑕᒻᒪᖃᑦᑕᓂᐊᑐᑎᑦ.

ᐃᒻᒥᓂ ᐅᓂᒃᑲᐅᓯᕆᓗᑎᑦ ᐅᖃᐅᓯᕆᓗᑎᑦ ᑕᐃᒫ ᐱᐅᓛᖑᒐᔭᖅᑐᖅ ᑕᑭᔫᓗᐊᕆᐊᑐᖏᑐᖅ. ᑭᓇᐅᒻᒪᖔᐱᑦ ᓇᒥᒥᐅᑕᐅᒪᖔᖅᐱᑦ ᐊᒻᒪᓗ ᓱᒐᓱᒪᖔᖅᐱᑦ ᐃᖕᒋᖅᑎᐅᓗᑎᑦ. ᐃᒻᒥᓂ ᑎᑎᕋᓂᐊᕈᕕᐅᒃ ᐊᓯᓐᓄᑦ ᐅᖃᓕᒫᖅᑕᐅᑎᓪᓗᒍ ᐱᐅᒐᔭᑦᑐᖅ ᐊᒻᒪᓗ ᑎᑎᕋᓕᕈᕕᐅ ᐃᓕᓐᓅᖏᑐᖅ ᑎᑎᕋᑕᒥᓂᐅᔮᑎᓪᓗᒍ (ᓲᓪᓗ ᐊᑐᖔᓗᒍ *ᑖᓐᓇ* ᐊᑐᖏᖔᓗᒍ *ᐅᕙᖓ*)

ᑖᓐᓇ ᑎᑎᕋᖅᑕᐃ ᐱᑕᖃᕆᐊᖃᐳ ᐃᓄᓐᓄᑦ ᑕᑯᔭᐅᓂᐊᖅᑐᒥᑦ ᐃᖃᐅᒪᔭᐅᒐᔭᖅᑐᒥᑦ. ᑭᓱᑐᐃᓐᓇᐅᒍᓐᓇᑐᖅ ᐃᕝᕕᑦ ᐅᐱᒋᔭᖓᓂᑦ ᐊᒥᓱᓄᓪᓗᓃ ᒪᓕᑕᐅᒍᕕᑦ ᖃᕋᓴᐅᔭᒃᑯᑦ ᓇᐅᒃᑯᑐᐃᓐᓇ ᐃᕝᕕᓗᓐᓃ ᐃᖅᑲᐅᒪᔭᖓᓂᑦ ᐃᑲᔪᖅᓯᒪᔪᒥ ᐃᖏᑎᕈᐸᓪᓕᐊᑎᓪᓗᑎᑦ ᐅᕝᕙᓗᓐᓃ ᖃᓄᖅ ᐃᖏᐅᓯᓕᐅᖃᑦᑕᒪᖔᑉᐱ.

ᑖᓐᓇ ᐅᖃᐅᓯᕆᒌᕈᕕᐅ ᐃᕝᕕᑦ ᒥᔅᓵᓄᑦ ᑐᑭᓯᓇᓐᓂᓴᒥᑦ ᐅᓂᒃᑳᖃᖔᓕᒥᓗᑎᑦ. ᐱᔭᕇᕈᑎᖃᓪᓗᑎ ᐃᕝᕕᑦ ᐃᖏᐅᓯᖏᓐᓂ ᓱᕙᓪᓕᐊᓂᐊᖅᑕᓐᓂᓗ ᐊᒻᒪᓗ ᓇᐅᒃᑯ ᖃᕋᓴᐅᔭᒃᑯᑦ ᓇᓂᔭᐅᒍᓐᓇᒪᖔᑉᐱᑦ.

ᐃᖏᒐᑎᓪᓗ ᐅᖃᐅᓯᕆᓗᒋᑦ ᐊᒥᓱᑦ ᐱᒋᐊᓕᓵᖅᑐᑦ ᐃᖏᖅᑏᑦ ᓇᓗᓲᖑᒻᒪᑕ ᖃᓄ ᐅᖃᐅᓯᖃᕆᐊᖓ ᐃᖏᐅᓯᖏᓐᓂ. ᐃᑲᔪᕈᓐᓇᒥᔪ ᐃᖏᒐᑎ ᑭᒃᑯᓐᓂ ᐊᓯᖏᓐᓂ ᐃᖏᖅᑎᓂ ᓂᐱᖃᑑᔮᒪᖔ.

ᖃᐅᔨᒪᒋᐊᓪᓗᑎᓗ ᑖᒃᑯᐊ ᓇᒧ ᑭᒃᑯᓄᓪᓗ ᑕᑯᔭᐅᓂᐊᒪᖔᑕ. ᐊᔾᔨᒌᖏᑐᓂ ᐱᓯᒪᑦᑎᒍᕕᑦ ᐊᑲᐅᒐᔭᒥᔪᖅ ᐃᓚᖏ ᓇᐃᓕᑎᖅᓯᒪᔪᑦ ᐃᓚᖏᓪᓗ ᑕᑭᓂᖅᓴᐅᓗᑎᑦ. ᓇᐅᒃᑯᓗ ᖃᕋᓴᐅᔭᒃᑯ ᓇᓂᔭᐅᒍᓇᒪᖔᐱᑦ ᐅᖃᓯᒪᓗᑎᑦ.

ᖃᕋᓴᐅᔭᒃᑯᑦ

ᖃᕋᓴᐅᔭᒃᑯᑦ ᖃᐅᔨᔭᐅᕙᓪᓕᐊᓗᑎᑦ ᐊᑭᖃᖏᑐᖅ ᑭᓯᐊᓂ ᐊᑑᑎᖃᑎᐊᕈᓇᖅᑐ. ᐊᒥᓲᕗᑦ ᐊᑐᖅᑕᐅᕙᑐᑦ ᐊᔾᔨᒌᖏᑐᓄᓪᓗ ᐊᑐᖅᑕᐅᕙᑐᑎᑦ Facebook, YouTube, TikTok ᐊᑲᐅᓲᖑᕗᑦ ᑕᕐᕆᔮᓴᓕᐊᕆᓯᒪᔪᓄᑦ. Twitter ᐊᑲᐅᒋᔭᐅᕙᑦᑐᖅ ᖃᓄᑐᐃᓐᓇ ᑎᑎᕋᖅᓯᒪᔪᓄᑦ. Instagram ᐊᑲᐅᕙᒻᒥᔪᖅ ᐊᔾᔨᖑᐊᕈᓘᔭᓂ ᓴᖅᑭᑎᑦᑎᒍᒪᓗᓂ.

ᑖᓱᒥᖓᓴᐃᓇ ᓴᖅᑭᑎᑎᒍᒪᓐᓂᕈᕕᑦ ᓇᐅᒃᑯᑐᐃᓐᓇ ᐊᑐᑕᐅᓲᖑᒥᔪᑦ Hootsuite ᐊᒻᒪᓗ Loomly.

ᓴᖅᑭᑎᑎᖃᑦᑕᓗᑎ ᖃᓄᑐᐃᓐᓇᖅ ᐃᕝᕕᑦ ᓱᕙᓪᓕᐊᔭᖏᓐᓂ ᐃᓄᓐᓂ ᖃᐅᔨᒪᑎᑦᑎᓗᑎᑦ. ᖃᐅᑕᒫᖑᖏᑲᓗᐊᕈᓂ ᐱᓇᓱᐊᕈᓯᑕᒫᓘᓃ ᐱᐅᒐᔭᖅᑐ

ᑕᐃᒃᑯᐊ ᐃᓕᓐᓂ ᒪᓕᑉᐸᑐᐃᑦ ᖃᕋᓴᐅᔭᒃᑯ ᓇᐅᒃᑯᑐᐃᓐᓇ ᐅᖃᓕᒫᕋᔅᓴᖃᑎᓪᓗᒋᑦ ᓱᒐᔅᓴᖃᑎᓪᓗᒋᓗᓃ ᖃᓄᑐᐃᓐᓇ ᐊᐱᖁᑎᔅᓴᓂ ᖃᓄᑐᐃᓐᓇ ᓵᓚᓴᑎᒐᓱᓪᓗᒋᑦ ᐃᖏᐅᓯᕐᓂᑦ ᓄᑖᓂ ᑐᓵᑎᓪᓗᒋᑦ ᐅᕝᕙᓗ ᑕᑯᕋᓐᓈᑎᖃᑦᑕᓗᒋᑦ ᐃᖏᖅᑎᓪᓗᑎ

ᐱᒋᐊᓕᓵᓗᓂ ᖃᓄᖅ ᓴᖅᑭᑎᑎᒐᓱᓪᓗᓂ ᓇᓗᓇᖅᓯᒍᓐᓇᖅᑐ. ᐱᐅᔪᐊᓘᒋᐊᑐᖏᑐ ᑐᑭᓯᓇᖅᑐᐊᓘᓗᑎᓗ ᓴᖅᑭᑎᑕᑎ. ᐱᕈᐸᓪᓕᐊᓗᑎ ᖃᐅᔨᕙᓪᓕᐊᓗᑎᓗ ᐱᔭᕆᐊᑭᓪᓕᕙᓪᓕᐊᓂᐊᖅᑐ ᓴᖅᑭᑎᑎᖃᑦᑕᓕᑐᕕᑦ.

ᑲᖑᓱᖏᓪᓗᑎ ᑲᑉᐱᐊᓱᖏᓗᑎᓗ ᖃᓄᑐᐃᓐᓇ. ᑕᕘᓇ ᖃᕋᓴᐅᔭᒃᑯ ᓴᕿᑎᑦᑎᖃᑦᑕᖏᓗᓂ ᐱᒡᒐᓇᓂᓴᐅᓂᐊᖅᑐ ᐃᖏᒐᑎ ᐃᓄᓐᓄ ᓴᖅᑭᐸᓪᓕᐊᑎᓪᓗᒋ.

ᑕᐃᒫᖑᒐᓗᐊᑎᓪᓗᒍ ᐃᕝᕕᑦ ᑭᓯᐊᓂ ᐊᑲᐅᒋᔭᖏᓐᓂ ᓈᒻᒪᒋᔭᖏᓐᓂ ᓴᖅᑭᑎᑎᖃᑦᑕᓪᓗᑎᑦ.

Electronic Press Kit

ᐃᖏᖅᑎᐅᓗᑎᑦ ᖃᐅᔨᔭᐅᒋᐊᖃᒥᔪᑎ ᓇᒥᑐᐃᓐᓇᖅ. ᐃᖏᖅᑏᑦ ᖃᐅᔨᔭᐅᕙᓪᓕᐊᓲᖑᔪ ᐊᑐᖅᑐᑎ ᐊᑎᖃᑐᖅ "Electronic Press Kit" EPK

ᑖᓐᓇ ᐱᑕᖃᕆᐊᖃᑐᖅ ᐃᕝᕕᑦ ᒥᔅᓵᓄ ᐅᓂᑳᖅᓯᒪᔪᒥ ᓇᒥᓗ ᐃᖏᖃᑦᑕᓯᒪᒻᒪᖔᐱ ᐃᖏᐅᓯᕐᓄᑦ ᐱᔾᔪᓯᐊᕆᓯᒪᔭᑎᑦ ᐊᒻᒪᓗ ᐃᖕᒋᑎᓪᓗᑎ ᐱᑕᖃᕆᐊᖃᕋᔭᖅᑐᓂ. ᒪᕐᕉᕗᑦ ᑕᐃᒪᐃᑐ ᐊᑐᖅᑕᐅᓲ. ᐊᐃᑉᐹ "technical rider" ᐃᖏᓕᕈᕕ ᑭᓱᒥ ᐊᑐᕆᐊᖃᒪᖔᐱ ᐊᒻᒪᓗ "hospitality rider" ᑖᓐᓇ ᖃᓄᑐᐃᓐᓇ ᑐᔪᕐᒥᕕᑎᑦ ᓂᖀᑦ ᐊᒻᒪᓗ ᑭᓱᑐᐃᓐᓇᐃᑦ ᐊᑲᐅᒋᔭᑎ ᐱᑕᖃᖁᓂᕈᕕᒋ.

ᐊᑲᐅᒐᔭᖅᑐ ᐊᑐᐃᓐᓇᐅᓗᓂ ᑖᓐᓇ EPK ᐱᔭᐅᒍᒪᓲᖑᒪᑕ ᑭᓇᑐᐃᓐᓇᒧ ᖃᐃᖁᔭᐅᓂᕈᕕᓪᓘᓃ

ᐊᑐᐃᓐᓇᕈᐸᓕᐊᓗᑎ

ᑖᓐᓇ EPK ᐊᑐᐃᓐᓇᐅᓕᖅᑲ ᐊᖏᒐᑎ ᓇᒧᑐᐃᓐᓇ ᓴᕿᑎᕙᓕᐊᒍᓇᖅᓯᕙᑎ.

ᑕᐃᒫ ᖃᐅᔨᔭᐅᕙᓪᓕᐊᑎᓪᓗᑎ ᓇᐅᑯᑐᐃᓐᓇ ᓴᖀᓚᐅᖏᓂᕐᓂ ᓄᑖᓂ ᓴᕿᑎᓂᐊᑕᕐᓂ ᖃᕋᓴᐅᔭᒃᑯ ᓴᕿᑎᑎᖄᕈᓇᒥᔪᑎ ᓇᐃᑦᑐᒥ ᑐᓵᑎᑦᑎᓗᑎ ᑕᐃᓱᒪᖓ ᐃᖏᒐᒥ ᓴᕿᑎᓂᐊᑕᕐᓂ

ᑕᐃᒪᐃᓐᓂᐊᕈᕕ ᐊᑐᓪᓗᑎ ᖃᕋᓴᐅᔭᒃᑯ ᐊᑎᖓ Distrokid ᐃᑲᔪᕈᓐᓇᒥᔪ ᐅᕝᕙᓘᓃ ᐊᑭᓕᒻᒥᒃ ᐱᔭᕆᐊᑭᓐᓂᓴᒥ ᐊᑐᖔᕈᓐᓇᒥᔪᑎ ᐊᑎᖓ Bandzoogle

ᐃᖏᒐᑎ ᓴᕿᖅᑎᓚᐅᖏᓂᖏᓐᓂ ᖃᕋᓴᐅᔭᒃᑯ ᐋᕿᓪᓗᒋ ᐱᓇᓱᐊᕈᓰᑦ ᑎᓴᒪ ᓈᒻᒪᑎᕐᓗᒋ ᓴᕿᕕᓴᖓᓄ ᐊᕿᓱᕐᓗᒋ. ᐊᐱᕆᓯᒪᒋᐊᖃᕈᕕᓪᓗ ᑭᓇᑐᐃᓐᓇᒥ ᐊᐱᕆᓯᒪᓗᑎᑦ. ᑮᓇᐅᔭᒥ ᐱᒍᒪᒍᓐᓇᒥᔪᑎ ᐅᑯᓇᖓ FACTOR ᐊᒻᒪᓗ Canada Council for the Arts ᓴᕿᕙᓕᐊᓕᖃᑕ ᐃᑲᔪᕈᑎᔅᓴᒥ.

ᐃᒻᒥᓂ ᖃᐅᔨᕙᓪᓕᐊᑲᓂᓪᓗᑎᓪᓗ ᑭᓱᒥ ᓴᖏᓂᖃᒪᖔᐱ ᑭᑯᓐᓄ ᑐᓵᔭᐅᖃᑦᑕᒪᖔᐱ ᐊᒻᒪᓗ ᑭᑯᓐᓂ ᑐᓵᕙᒪᖔᑕ ᐃᓕᓐᓂ ᑐᓵᖃᑦᑕᓕᐸᓪᓕᐊᔪᑦ. ᑕᐃᒫ ᐃᓱᒪᒋᓗᒍ ᐊᕿᕙᓕᐊᓗᕗᓗ ᖃᓄ ᑕᑯᓈᑕᐅᒪᖔᐱ ᑐᓵᔭᐅᒪᖔᐱ ᐊᒻᒪᓗ ᖃᓄ ᐃᑉᐱᓂᐊᒪᖔᑕ ᐃᓕᓐᓂ ᑐᓵᔭᐅᓕᕋᐃᒐᕕ

ᐃᑲᔪᖅᑕᐅᒍᒪᒍᕕᑦ www.hitmakerz.com/alianait ᑕᕘᓇ ᒪᓕᒋᐊᓖᑦ ᒪᓕᓪᓗᒋ ᐃᑲᔪᑕᐅᒍᓐᓇᒥᔪᑎᑦ

ᐊᑕᐅᑎᒃᑯ ᐃᖏᒐᑎ ᓴᕿᑎᒋᓪᓗᒋ ᐱᓇᓱᐊᕈᓯᓂ ᐅᕝᕙᓗ ᑕᕿᓂ ᓴᕿᑎᐸᓕᐊᓗᒋᑦ ᐊᑲᐅᒐᔭᒥᔪ

ᐊᑕᐅᓯᒻᒥ ᐃᖏᒐᒥ ᓴᖀᖄᓗᑎ ᑕᕆᔮᓴᓕᐊᕆᓯᒪᔪᒥᓗ ᐱᑕᖃᖅᑲ ᐅᕝᕙᓗ ᐊᔾᔨᖑᐊᓂ. ᑕᐃᒫ ᑐᓵᔭᐅᔪᒪᓂᓴᐅᒐᔭᑐ ᓴᕿᖃᑕ ᐃᖏᒐᑎ ᐅᐊᑎᐊᕉᓕᖃ

ᐃᖏᒐᑎ ᓴᕿᓚᐅᖏᓂᖏᓐᓂ ᓇᐅᑯᑐᐃᓐᓇ ᖃᕋᓴᐅᔭᒃᑯ ᓴᕿᑎᐸᓕᐊᒍᓐᓇᒥᔭᑎ ᓇᐃᓈᑎᓯᒪᓗᒋ. ᐊᑐᕈᓐᓇᒥᔭᐃ ᖃᕋᓴᐅᔭᒃᑯ SubmitHub ᐅᕝᕙᓘᓂ Spotify

ᑖᑯᐊ ᐃᖏᒐᑎ ᓴᕿᑕᐅᐸᑕ ᖃᕋᓴᐅᔭᒃᑯ ᖃᐅᔨᒪᑎᑦᑎᓗᑎ ᓇᐅᑯᑐᐃᓐᓇ. ᑭᑯᑐᐃᓇᓂᓪᓗ ᐅᖃᔨᓗᑎ ᐃᕝᕕ ᐃᓚᖏᓐᓂ ᐱᖃᑎᖏᓐᓂᓗ ᐅᖃᐅᔾᔨᓗᑎ ᐊᓯᖏᓂᓗ ᐅᖃᐅᔨᕙᓕᐊᓂᐊᕆᕗᑦ

ᐱᔭᕇᐸᓕᐊᓕᕈᕕᑦ

ᐊᔾᔨᒌᖏᑐᓂ ᐊᑐᓪᓗᑎ ᖃᐅᔨᔭᐅᕙᓪᓕᐊᒍᓇᑐᑎ ᑮᓇᐅᔭᓂᓪᓗ ᐊᑐᐃᓐᓇᑕᖃᖃ ᐊᑭᓕᓐᓂ ᐊᑐᓗᑎ ᓴᕿᑎᑎᕙᓕᐊᒍᓇᒥᔾᑎ

ᐅᑉᐱᕈᓱᑲᑦᑕ ᐃᖏᖃᑕᓂᒥ ᐱᒍᓇᑎᐊᕋᕕ. ᐃᑲᔾᑐᓴᐅᕋᑖᖁ ᑖᓐᓇ ᑕᑯᓇᕋᑖᑕᓯ ᖁᔭᓇᒦ ᑕᑯᓇᕋᑖᕋᔅᓯ ᐊᐱᖁᑎᓴᖃᕈᓯ ᖃᓄᑐᐃᓐᓇ www.hitmakerz.com/alianait ᖃᕋᓴᐅᔭᒃᑯ ᑕᑯᓂᐊᕈᓐᓇᑕᓯ
ᖁᔭᓐᓇᒦ

Alianait x Hitmakerz - Episode 6: How to Deal with Your Music Money and Taxes

Featured Artist: Angela Amarualik

Watch the full English video here: https://youtu.be/zrPUT427jpg

Watch the full Inuktitut video here: https://youtu.be/q292E-6BzAc

Introduction

Hi, my name is Angela Amarualik and I am a singer, songwriter, and recording artist from Igloolik, Nunavut.

Before we begin, please note that this video was only created to provide overall guidance, not personal advice. If you have any specific questions, please contact a professional bookkeeper, accountant, or tax consultant.

For many artists, “financial management” may seem boring, unimportant, confusing, and even frustrating. However, dealing with money is extremely important for professional artists. Today we’re going to simplify this topic and share some tips to get you started on the road to financial success.

We’ll talk about bookkeeping, accounting, and taxes, and show you the best ways for artists to deal with each one in everyday life.

Bookkeeping

Let’s start with bookkeeping.

First of all, if you want to become a professional artist, you must treat your music as if it’s a business, not just a hobby. This means thinking about you and your music business as two separate things, and ideally setting up separate bank accounts for each one.

In your business, your fans are the customers, and you make money whenever these customers buy your albums, merchandise, and tickets to your shows. You also make money indirectly through sponsorship, licensing, and royalties. (For more information, see the previous episode called “How do I make a living as an artist?”)

Every time a customer pays you, you need to provide them with a receipt, or “proof of payment”.

Likewise, whenever you need to spend money to grow your music business, you should get a receipt as proof of payment.

You will need both kinds of receipts for accounting and taxes. Bookkeeping is simply the process of collecting, keeping, and organizing all of these receipts.

You can do your own bookkeeping by stuffing receipts in a shoe box, taking pictures of them on your phone, or downloading an app like Quickbooks, Freshbooks, Xero, or Bonsai. Whatever way you choose, make sure to collect your music business receipts. That’s the most important advice we can give you in this video!

Accounting

Ok, next, let’s talk about accounting.

Basically, accounting is the process of figuring out how much money you made, how much you spent, and how much profit is left over at the end of the year.

To do this, go through all of your receipts and put them into the “earned” pile or the “spent” pile.

Add up all the money you earned, then subtract all the money you spent. 

Please note that only money spent “in the business” of making music can be used here, and there are very specific rules about what counts.

For example, you can use receipts for instruments, studio time, producer fees, and touring flights, but you can’t use receipts for things like groceries, TVs, or cars, since they have nothing to do with your music business. The details will change depending on your situation, so please ask a professional for details about what counts.

Musicians should have a basic understanding of accounting, but there are many professionals who can help, like bankers, bookkeepers, accountants, and tax consultants.

I know there may be few people like that here in Nunavut, but you can always call your local Community Economic Development Officer to get started.

Taxes

Finally, let’s talk about taxes.

Whenever anybody makes money, the Canada Revenue Agency (CRA) collects a small part of that money as taxes to help pay for things like hospitals, schools, roads, and other important infrastructure.

People with normal jobs get regular paychecks, and their employer automatically takes off the tax before they get their money.

However, since professional artists are either considered freelancers or small business owners by CRA, you, the “business owner”, are responsible for telling CRA about your profits and paying those taxes yourself.

The amount of taxes you pay is based on how much profit you’ve made during the year. The less profit you make, the less taxes you pay. In fact, if you make less than $10,000 on music, there’s no tax at all, although you still have to file your taxes with CRA.

Fraud

It is important to be honest, because CRA does not mess around when it comes to getting paid.  If you lie to them about how much money you made, that’s called “fraud” and it’s illegal.

This is why you sometimes hear about pop stars who go broke after selling millions of records.

Now, the good news is that CRA understands that artists don’t always know how to file taxes correctly. They also know that most artists starting out don’t owe a lot of taxes since their income from music is relatively low.

They’re probably not going to “come after you” unless you’re making a lot of money, but it’s still important to understand how the system works – not only for music, but for your life in general!

Filing

If your receipts are collected and organized throughout the year, then taxes will be very easy. You’ll know exactly how much you made, how much you spent, and how much profit you need to pay taxes on.

In fact, if you’re using the Quickbooks app, then you can directly file your own taxes using TurboTax Canada in just a few minutes!

For most people, the deadline to file your taxes every year is by April 30, but freelancers have until mid-June to file their returns.

Again, if you’re unsure about how to file your taxes alone, it’s best to talk to a professional. These people understand the system inside and out and will be able to help you.

If you can’t afford to hire a bookkeeper, accountant, or tax consultant, you can call your local Community Economic Development Officers or visit the free tax clinics in your community. In Nunavut, this would be CRA’s Northern Service Centre in Iqaluit. They can be reached at 1-866-426-1527.

Employment vs. Freelancing

Even though artists love music, it’s important to be realistic about how to make money. This is why, in the beginning, most artists work a regular “day job” in order to help pay the bills as they’re getting started.

One big benefit of doing this is that the company you work for contributes towards your Canada Pension Plan (CPP) and Employment Insurance (EI). These accounts can be a very valuable safety net for retirement planning or during times when you are not able to work.

If you earn money from a regular job and freelance as an artist, then you still need to tell CRA about the money you’re making from music and declare it on your annual taxes.

Contracts

I know this video is supposed to be about money and taxes, but I want to add a quick word about contracts.

You see, sometimes the lines between employee and freelancer can be blurry. For example, if you’re going on tour for a label, are you a freelancer or an employee of the label?

The answer will affect how you should do your taxes, which is why it’s important to always have a contract for any work that you do.

If you are an employee, the document would be an employment contract. If you are a freelancer working on a specific project, this would be a service contract.

The contract can help you figure out if you’re an employee or freelancer, so make sure you understand any agreement that you sign, and have someone help you review it if you don’t.

Unique Tax Situations

The Canadian tax laws are extremely complex, and there are many examples of unique tax situations that you might need to take into account (pun intended).

For example:

• If you’re a full-time student, you should declare any scholarships you’ve received;

• If you were unable to work during Covid-19, you should declared any pandemic-related benefits like CERB or EI; 

• If you received any grants or funding, you should receive a T4A form and guidelines on how to declare the income from the funder;

• If you’re Indigenous and made money on the reserve, your income may be tax exempt; 

• If you’re on social assistance, this needs to be declared, but will not be taxed.

Conclusion

As you can see, everyone’s tax situations are unique and specific to them, so try to consult a professional about your situation.

That being said, here are a few things you can do to make the process easier right away:

1. Always collect your music business receipts – this is the most important thing!

2. Separate your personal and music business finances by getting separate bank accounts

3. Use a bookkeeping app, like Quickbooks, Freshbooks, Xero, or Bonsai 

4. Always make sure to have a contract signed for any work that you do

We believe you’re capable of understanding taxes and having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujannamiik!

ᑕᑯᓐᓇᒐᖅ 6: ᖃᓄᖅ ᐃᙱᐅᓯᕐᓄᑦ ᑮᓇᐅᔭᓕᕆᓂᖅ,ᑖᒃᓯᓕᕆᓂᕐᒥᓗ

ᐃᓕᑕᕆᔭᐅᔪᖅ ᐋᓐᔨᓚ ᐊᒪᕈᐊᓕᒃ

ᑭᓇᐅᖖᒪᖔᖅ

ᐅᕙᖓ ᐋᓐᔨᓚ ᐊᒪᕈᐊᓕᒃ. ᐃᙱᕐᑎ, ᐃᙱᐅᓯᓕᐅᕐᑎ, ᐃᒡᓗᓕᖖᒥᐅᑕᒃᓴᔭᖅ.

ᐱᒋᐊᓚᐅᖏᓐᓂᑦᑎᓐᓂ, ᖃᐅᔨᒪᒋᑦ ᐅᓇ ᑕᐅᑐᒃᑕᐃᑦ ᐋᖅᑭᒃᓯᒪᔪᖅ ᐃᑲᔫᑎᒃᓴᑐᐃᓐᓇᖅ, ᐱᖁᔭᐅᖏᑦᑐᖅ.

ᐊᐱᖅᑯᑎᒃᓴᖃᕈᕕᑦ ᑮᓇᐅᔭᓕᕆᔨᓄᑦ ᐊᐱᖅᓱᕈᓐᓇᖅᐳᑎᑦ.

ᐊᒥᓱᓄᑦ ᐃᙱᖅᑎᓄᑦ, ᑮᓇᐅᔭᓕᕆᓂᖅ ᐃᕿᐊᒋᔭᐅᓲᖅ, ᓇᓗᓇᖅᑐᖅ, ᓂᙵᖖᓇᕆᓪᓗᓂ ᑭᓯᐊᓂ

ᐱᒻᒪᕆᐅᔪᖅ ᐃᙱᖅᑎᐅᔪᒪᒍᕕᑦ. ᐅᓪᓗᒥ ᐅᖃᐅᓯᕆᓂᐊᖅᑕᕗᑦ ᐱᒋᐊᖅᐸᓪᓕᐊᓂᐊᕋᕕᑦ

ᑮᓇᐅᔭᓕᕆᔪᓐᓇᖅᓯᓗᑎᓪᓗ.

ᐅᖃᐅᓯᕆᓂᐊᖅᑕᕗᑦ ᓇᓕᖅᑲᓕᕆᓂᖅ, ᑮᓇᐅᔭᖃᕐᓂᖅ, ᐊᒻᒪ ᑖᒃᓯᓕᕆᓂᕐᒥᒃ. ᐅᓪᓗᑕᒫᖅ ᐊᑐᖃᑦᑕᖅᑕᕗᑦ

ᖃᓄᖅ ᐊᑲᐅᓛᖑᖖᒪᖔᕐᓗ ᐅᖃᐅᓯᕆᓗᒍ.

ᓇᓕᖅᑲᓕᕆᓂᖅ

ᐱᒋᐊᕈᑎᒋᓗᒍ, ᐃᙱᖅᑎᓪᓚᕆᐅᔪᒪᒍᕕᑦ ᐃᓱᒪᒋᓗᒍ ᓇᖖᒥᓂᕆᔭᐃᑦ. ᖁᕕᐊᒋᔭᑐᐃᓐᓇᐅᖏᒋᐊᕐᓗᒍ.

ᑕᐃᒪ ᐃᓱᒪᒋᓗᒍ ᐃᕝᕕᓗ, ᐃᙱᐅᓰᓪᓗ ᐊᑕᐅᓯᐅᖏᑦᑐᑦ. ᓲᕐᓗ ᑮᓇᐅᔭᖃᕐᕕᒋᓗᒋᑦ ᐊᑐᓂ.

ᐃᓕᖖᓂ ᓈᓚᓲᑦ ᓂᐅᕕᖅᑎᒋᒐᕕᒋᑦ, ᓂᐅᕕᓲᑦ ᐃᙱᐅᓯᕐᓂᑦ, ᓂᐅᕕᐊᒃᓴᑎᓐᓂᒃ, ᑕᐅᑐᒍᓐᓇᐅᑎᓂᓪᓗ.

ᑮᓇᐅᔭᓕᐅᖅᐸᒃᖢᑎᓪᓗ ᐃᓚᒋᔭᐅᓂᒃᑯᑦ, ᐃᙱᐅᓯᑎᑦ ᐊᑐᖅᑕᐅᕙᒃᖢᑎᑦ ᑐᓴᐅᑎᒃᑯᓘᓐᓃᑦ, ᑲᑎᖅᓱᖅᓯᒪᓲᑦ.

(ᖃᐅᔨᒋᐊᒃᑲᓐᓂᕈᒪᒍᕕᑦ ᑕᐅᑐᒡᓗᒍ ᑕᑯᔭᒃᓴᖅ "ᖃᓄᕐᓕ ᖃᐅᑕᒫᖅᓯᐅᑎᓂᒃ ᐱᓕᕆᔾᔪᓯᖃᖃᑦᑕᖅᐳᖓ

ᐃᙱᖅᑎᐅᓪᓗᖓ?")

ᐊᑭᓕᖅᑕᐅᔭᕌᖓᕕᑦ, ᓇᓕᖅᑲᕐᒥᑦ ᑐᓂᓯᔭᕆᐊᖃᖅᐳᑎᑦ. ᐃᒻᒥᓂᑦᑕᐅᖅ ᐊᑐᕆᐊᖃᕐᓂᕈᕕᐅᒃ

ᐊᖏᓕᒋᐊᕈᑎᒃᓴᕐᒥᑦ ᓇᖖᒥᓂᕆᔭᐃᑦ ᑮᓇᐅᔮᓂᑦ, ᓇᓕᖅᑲᓕᕋᔭᕋᕕᐅᒃ. ᐊᑐᓂ ᓇᓕᖅᑲᕐᓂᒃ

ᐱᔭᕆᐊᖃᖅᐳᑎᑦ. ᑲᑎᓪᓗᒋᑦ ᐋᖅᑭᒃᓯᒪᒋᐊᕐᓗᒋᑦ.

ᓇᖖᒥᓂᖅ ᓇᓕᖅᑲᑎᓐᓂ ᑲᑎᖅᓱᐃᔪᓐᓇᖅᐳᑎᑦ ᓲᕐᓗ ᐃᓯᒐᐅᔭᒃᑯᕕᖖᒧᑦ ᐴᖅᐸᒡᓗᒋᑦ, ᐅᕝᕙᓘᓐᓃᑦ

ᐅᖃᓘᑎᕋᓛᓐᓄ ᐃᓕᒃᑯᑎᓂᑦ (apps) ᐅᑯᐊᖑᕗᑦ: Quickbooks, Freshbooks, Xero, ᐅᕝᕙᓘᓐᓃᑦ

Bonsai. ᖃᓄᑐᐃᓐᓇᖅ ᐃᖢᐊᕆᔭᕐᓂᑦ, ᑭᓯᐊᓂ ᐳᐃᒍᖅᑕᐃᓕᒋᑦ ᓇᖖᒥᓂᖅᐱᑦ ᓇᓕᖅᑲᖏᓐᓂᑦ. ᑖᓐᓇ

ᐱᒻᒪᕆᐅᓛᖑᔪᖅ ᐅᖃᐅᓯᕆᔭᑦᑎᓐᓂ!

ᑮᓇᐅᔭᖃᕐᕕᖃᕐᓂᖅ

ᐊᑏᑦ ᐅᖃᐅᓯᕆᓚᐅᕐᒥᓚᕗᑦ ᑮᓇᐅᔭᖃᕐᕕᖃᕐᓂᕐᒥᒃ. ᑮᓇᐅᔭᖃᕐᕕᖃᕐᓂᖅ ᖃᐅᔨᒪᔾᔪᑎᑦᑎᐊᕙᐅᔪᖅ ᖃᓄᑎᒋ

ᑮᓇᐅᔭᓕᐅᕐᒪᖔᖅᐱᑦ, ᖃᓄᑎᒋᓗ ᐊᑐᖅᓯᒪᖖᒪᖔᖅ, ᐊᒻᒪ ᐅᑭᐅᖅ ᐃᓱᐊᓂ ᖃᓄᖅ ᑕᐅᑦᑐᖃᕐᒪᖔᑦ.

ᐱᒋᐊᓕᕈᕕᑦ, ᓇᓕᖅᑲᓕᒫᑎᑦ ᐊᕕᒃᑐᕐᓗᒋᑦ "ᑮᓇᐅᔭᓕᐊᕆᓯᒪᔭᑎ" ᐊᒻᒪ ᑮᓇᐅᔭᑦ "ᐊᑐᖅᓯᒪᔭᑎᑦ". ᐃᓚᓗᒋᑦ

ᑮᓇᐅᔭᓕᐊᕆᓯᒪᔭᑎᑦ, ᐲᖅᓯᓗᒍ ᐊᑐᖅᓯᒪᔭᕐᓂ. ᐳᐃᒍᖅᑕᐃᓕᓗᑎᓪᓗ ᐃᙱᖅᑎᐅᓂᕆᔭᐃᑦ

ᓇᖖᒥᓂᕆᔭᐃᑦ, ᑮᓇᐅᔭᖓ ᐊᑐᖅᑕᐃᓕᒪᔭᕆᐊᓕᒃ ᐊᒥᓲᖏᒻᒪᑦ ᐊᖏᕈᑕᐅᔪᓐᓇᖅᑐᑦ.

ᓲᕐᓗ, ᖃᓄᐃᒋᔭᐅᖏᑦᑐᑦ ᑯᑭᑦᑕᐹᕈᔪᐃᑦ, ᓂᐱᓕᐅᕐᕕᒃ, ᐋᖅᑭᒃᓱᐃᔨᓄᑦ ᐊᑭᓕᐅᑎ, ᐊᒻᒪ ᖃᖓᑦᑕᐅᓰᑦ.

ᐊᑐᕈᓐᓇᙱᑕᐃᑦ ᐊᓯᖏᓐᓄᑦ ᐅᖃᙳᐊᕐᓗᖓ ᓂᕿᓄᑦ, ᑕᕐᕆᔭᐅᑎᒧᑦ, ᓄᓇᒃᑰᕈᑎ. ᑖᒃᑯᐊ

ᐊᒃᑐᐊᓂᖃᖏᒻᒪᑦ ᐃᙱᐅᓯᕆᓂᕐᒧᑦ. ᐊᖏᕈᑕᐅᑐᐃᓐᓇᕆᐊᓖᑦ ᐃᓚᖏᑦ, ᑮᓇᐅᔭᓕᕆᔨᒧᑦ

ᐊᐱᕆᔪᓐᓇᖅᐳᑎᑦ ᖃᓄᖅ ᐊᑲᐅᓂᖅᓴᐅᖖᒪᖔᖅ ᐃᓕᖖᓄᑦ.

ᐃᙱᖅᑏᑦ ᖃᐅᔨᒪᓂᖄᕐᔪᓪᓗᐊᖅᑐᑦ ᑮᓇᐅᔭᖃᕐᕕᖃᕐᓂᕐᒥᑦ, ᑭᓯᐊᓂ ᑮᓇᐅᔭᓕᕆᔩᑦ ᐃᑲᔪᕈᓐᓇᓲᖑᖖᒥᔪᑦ.

ᖃᐅᔨᒪᔪᖓ ᓄᓇᕗᒻᒥᑦ ᑮᓇᐅᔭᓕᕆᔨᖃᓲᖑᖖᒥᔪᖅ, ᑭᓯᐊᓂ ᓄᓇᓕᖖᓃᑦᑐᖅ Community Economic

Officerᒧᑦ ᓯᕙᓂᕈᓐᓇᖅᐳᑎᑦ ᖃᓄᖅ ᐱᒋᐊᕈᓐᓇᕐᒪᖔᖅᐱᑦ.

ᑖᒃᓯᓕᕆᓂᖅ

ᑖᒃᔅᓕᕆᓚᐅᕐᒥᑕ. ᑭᓇᑐᐃᓐᓇᖅ ᑮᓇᐅᔭᓕᐅᖅᑐᖅ, ᑲᓇᑕᒥ ᐲᔭᐃᕝᕕᐅᕌᕐᔪᓲᑦ ᐊᑐᖅᑕᐅᓂᐊᖅᑐᒧᑦ ᓲᕐᓗ

ᐋᓐᓂᐊᕕᖖᓄᑦ, ᐃᓕᓐᓂᐊᕐᕖᑦ, ᐊᖅᑯᑎᓄᑦ, ᐊᑑᑎᔪᓄᓪᓗ ᑲᓇᑕᒥ.

ᐃᖅᑲᓇᐃᔭᖅᑐᓕᒫᑦ ᑖᒃᓯᖏᓐᓂᒃ ᐲᖅᓯᕕᐅᕙᒌᓲᑦ. ᓇᖖᒥᓂᖃᖅᑐᑦ ᑮᓇᐅᔭᓕᐊᖏᑦ ᐅᖃᐅᓯᕆᔭᕆᐊᓖᑦ,

ᓇᖖᒥᓂᕐᓗ ᑖᒃᓰᔭᕆᐊᓕᒃ.

ᑖᒃᓰᔭᕋᔭᖅᑐᑎᑦ ᐅᑭᕐᒥᑦ ᑮᓇᐅᔭᓕᐅᕐᓂᕆᓚᐅᕐᑕᑦ ᖃᓄᐃᓐᓂᕆᔮᓂ. $10,000ᓕᐅᖏᕐᓂᖏᒃᑯᕕᑦ

ᐲᖅᓯᕕᒋᖏᓪᓗᒍ, ᑭᓯᐊᓂ ᑮᓇᐅᔭᓕᐅᕐᓂᕆᔭᐃᑦ ᑕᑯᑎᓪᓗᒍ.

ᐱᕋᔭᖖᓂᖅ

ᓱᓕᔪᒥᒃ ᐱᓕᕆᔭᕆᐊᓕᒃ CRA ᒐᕙᒪᒃᑯᓐᓂᖖᒑᕐᒪᑦ. ᓴᒡᓗᓐᓂᕈᕕᑦ ᐱᕋᔭᖖᓂᕋᖅᑕᐅᕗᖅ. ᖃᐅᔨᖃᑦᑕᕈᔅᓯᑦ

ᐃᙱᖅᑏᑦ ᒥᓕᐊᖏᓐᓂᑦ ᑮᓇᐅᔭᓕᐅᓚᐅᖅᖢᑎᒃ, ᐅᖃᐅᓯᕆᖏᓐᓂᕌᖓᒥᒋᑦ ᐊᔪᓕᓲᖑᕗᑦ

ᐊᑭᓕᒃᓴᖃᕐᓂᑯᒧᑦ.

CRAᒃᑯᑦ ᑐᑭᓯᔪᑦ ᐃᙱᖅᑏᑦ ᓇᖖᒥᓂᖃᖅᑐᓪᓗ ᖃᐅᔨᒪᖃᑦᑕᖏᑦᑐᑦ ᐱᒋᐊᓕᓵᖅᑎᓪᓗᒋᑦ.

ᓇᖖᒥᓂᖃᕆᐅᖅᑐᓪᓗ ᑮᓇᐅᔭᓕᐅᖏᓐᓂᖅᓴᐅᓂᖏᑦ ᐃᓱᒪᒋᓪᓗᓂᒋ. ᐃᓕᖖᓄᑦ ᐅᐸᒃᑐᐃᔾᔮᖏᑦᑐᑦ

ᑮᓇᐅᔭᓕᐅᕐᑐᐊᓘᒍᕕᑦ ᑭᓯᐊᓂ. ᐊᒻᒪ ᖃᐅᔨᒪᒍᕕᑦ ᖃᓅᔭᕆᐊᖃᕐᒪᖔᖅ ᐊᑲᐅᔪᖅ

ᐃᙱᖅᑎᐅᓂᕐᒧᑐᐃᓐᓇᐅᖏᑦᑐᖅ ᐊᕐᕌᒍᑕᒫᕐᒧᑦ!

Filing ᐅᖃᐅᓯᕆᓂᖅ

ᓇᓕᖅᑲᑎᑦ ᐋᖅᑭᒃᓱᖅᓯᒪᕙᒌᕈᕕᒋᑦ, ᑖᒃᓰᔭᕐᓂᖅ ᐱᔭᕆᐊᑭᑦᑐᓐᓇᖅᑐᖅ. ᖃᐅᔨᒪᓗᑎᑦ ᖃᔅᓯᓂᑦ

ᑮᓇᐅᔭᓕᐅᖅᓯᒪᖖᒪᖔᖅᐱᑦ, ᐊᑐᖅᓯᒪᖖᒪᖔᖅᐱᑦ, ᖃᔅᓯᓂᒡᓗ ᑐᓂᓯᓪᓗᐊᕐᒪᖔᖅᐱᑦ.

^Quickbooks ᐊᑐᕐᓗᒍ TurboTaxᑯᓐᓄᑦ ᐊᑭᓖᑲᐅᑎᒋᔪᓐᓇᖅᐳᑎᑦ! ᑖᒃᓰᔭᕐᓂᐅᑉ ᐃᓱᓕᕝᕕᖓ April

30ᒥᐅᒐᔪᒃᑐᖅ, ᑭᓯᐊᓂ ᓇᖖᒥᓂᓖᑦ ᔫᓂᒥᒃ ᐃᓱᓕᕝᕕᖃᖅᖢᑎᒃ.

ᓇᖖᒥᓂᖅ ᑖᒃᓯᓕᕆᔪᓐᓇᐃᓪᓕᒍᕕᑦ, ᑖᒃᓯᓕᕆᔨᒧᑦ ᐊᐱᖅᓱᕐᓗᓂ ᐊᑲᐅᓂᖅᐹᖅ. ᑖᒃᑯᐊ ᑐᑭᓯᐅᒪᔪᑦ ᖃᓄᖅ

ᐱᔭᕆᐊᖃᕐᒪᖔᑦ, ᐃᑲᔪᓲᑦ.

ᐊᑭᑐᓗᐊᖅᐸᑦ ᑮᓇᐅᔭᓕᕆᔨᓂ ᐱᓕᕆᔾᔪᔾᔭᐅᔭᕆᐊᒃᓴᖅ, ᓄᓇᓕᖕᓂᑦ Economic Development

Officerᒧᑦ ᐊᐱᖅᓱᕈᓐᓇᖅᐳᑎᑦ, ᐅᕝᕙᓘᓐᓃᑦ ᑖᒃᓯᓕᕆᔪᓐᓇᖅᑐᓄᑦ. ᐃᖃᓗᖖᓂᑦ ᐅᐸᒡᕕᐅᓲᖅ. ᐅᕙᐅᒐ

ᓯᕙᐃᕈᓐᓇᖅᐳᑎᑦ 1-866-426-1527.

ᐃᖅᑲᓇᐃᔭᖅᑐᖅ, ᓇᖖᒥᓂᖅ ᐱᓕᕆᔪᕐᓗ

ᐃᙱᖅᑏᑦ ᖁᕕᐊᒋᔭᖃᕋᓗᐊᖅᑎᓪᓗᒋᑦ, ᑮᓇᐅᔭᓕᐅᕆᐊᖃᕐᒥᖖᒪᑦ. ᐱᒋᐊᓕᓵᕐᑐᑦ ᑮᓇᐅᔭᓕᐅᖏᓐᓂᖅᓴᑦ

ᐃᖅᑲᓇᐃᔭᖅᑐᑦ ᐊᑮᑦᑐᖃᕐᒥᖖᒪᑕ.

ᐃᖅᑲᓇᐃᔮᒃᓴᖃᕐᓂᖅ ᐊᑲᐅᔪᖅ ᓴᓂᕐᕙᐃᓲᖑᖖᒪᑦ ᐃᖅᑲᓇᐃᔭᕐᕕᒋᔭᐃᑦ. ᐃᓐᓇᐅᓕᕈᕕᑦ,

ᐊᔪᓕᕐᓂᕈᕕᓪᓘᓃᑦ ᐊᒻᒪ ᐃᖅᑲᓇᐃᔭᙱᓚᐅᑲᒋᐊᖃᕐᓂᕈᕕ ᐲᖅᓯᓯᒪᔪᖅᑕᐅᖅ. ᑮᓇᐅᔭᖃᕈᓐᓇᖁᓪᓗᑎᑦ.

ᐃᖅᑲᓇᐃᔭᕐᓗᑎᑦ, ᓇᖖᒥᓂᕐᓗ ᑮᓇᐅᔭᓕᐅᕈᕕᑦ, ᐅᖃᐅᓯᕆᓗᒍᑦᑕᐅᖅ.

ᐊᖏᕈᑎᒃᓴᐃᑦ

ᐅᓇ ᑕᐅᑐᒃᑕᐃᑦ ᑮᓇᐅᔭᓕᕆᑐᐃᓐᓇᓪᓗᐊᖅᑐᖅ ᑭᓯᐊᓂ ᐃᓚᒋᐊᕈᒪᕙᕋ ᐊᖏᕈᑎᖃᕐᓂᕐᒥᒃ.

ᑐᑭᓯᓇᖅᑐᖅ ᐃᖅᑲᓇᐃᔭᖅᑎᐅᓪᓗᓂ, ᓇᖖᒥᓂᕐᓗ ᑮᓇᐅᔭᓕᐅᖅᖢᓂ ᓇᓗᓇᕈᔪᒃᑐᖅ. ᓄᓇᓕᖖᓄᑦ

ᐃᙱᕆᐊᖅᑎᑕᐅᒍᕕᑦ ᓇᖖᒥᓂᖃᖅᑎᐅᕕᑦ, ᐅᕝᕙᓘᓐᓃᑦ ᐃᓚᐅᑎᑦᑎᔪᑦ ᐃᖅᑲᓇᐃᔭᕐᕕᒋᕕᐅᒃ? ᑖᓐᓇ

ᑭᐅᔭᐃᑦ ᑖᒃᓯᓕᕆᓗᑎᑦ ᐊᒃᑐᐊᓂᖃᕐᓂᐊᖅᑐᖅ. ᑕᐃᒪᓐᓇ ᑕᐃᒪ ᐊᖏᕈᑏᑦ ᐊᑐᖃᑦᑕᕆᐊᖃᖅᐳᑦ.

ᐃᖅᑲᓇᐃᔭᕈᕕᑦ, ᐊᖏᕈᑏᑦ ᐃᖅᑲᓇᐃᔭᕐᓂᕐᒧᑦ ᐊᑎᓕᐅᕋᔭᖅᐸᐃᑦ. ᓇᖖᒥᓂᖃᕈᕕᑦ ᐃᓚᐅᖁᔭᐅᓗᑎᑦ,

ᐊᖏᕈᑏᑦ ᐱᓕᕆᔭᕐᓄᑐᐊᖑᓇᔭᖅᑐᖅ.

ᑖᓐᓇ ᐊᖏᕈᑎ ᐃᑲᔫᑎᐅᔪᖅ ᑐᑭᓯᔾᔪᑎᐅᖕᒪᑦ. ᑐᑭᓯᓗᑎᑦ ᑭᓯᐊᓂ ᐊᑎᓕᐅᕋᔭᕋᕕᐅᒃ. ᓇᓗᒍᕕᑦ

ᐃᑲᔪᖅᑕᐅᔪᒪᓗᑎᑦ. ᐊᖏᕈᑏᑦ ᓱᓕᔫᖕᒪᑦ.

ᐊᔾᔨᐅᖏᑦᑐᓂ ᐱᔭᕆᐊᖃᕈᕕᑦ

ᑲᓇᑕᒥ ᑖᒃᓯᓕᕆᓂᖅ ᐊᒥᓲᖕᒪᑦ ᐊᑑᑎᖏᑦ. ᐊᒥᓱᓪᓗ ᐃᔾᔪᐊᕈᑎᒃᓴᐃᑦ ᐊᔾᔨᐅᖏᑦᑐᒥᒃ ᐱᓕᕆᔭᕆᐊᖃᕐᓂᕈᕕᑦ.

● ᐃᓕᓐᓂᐊᖅᑎᐅᒍᕕᑦ, ᖁᑦᑎᒃᓯᒋᐊᕈᑎᑦ ᑮᓇᐅᔭᑦ ᐅᖃᐅᓯᕆᓗᒋᑦ.

● ᓄᕙᖖᓈᓗᖖᒧᑦ ᐃᖅᑲᓇᐃᔭᕈᓐᓃᓚᐅᕈᕕᑦ ᒐᕙᒪᒃᑯᓐᓂᑦ ᐃᑲᔫᑎᒃᓴᒥᑦ ᐱᓐᓂᕈᕕᑦ ᑮᓇᐅᔭᕐᒥᑦ,

ᐅᖃᐅᓯᕆᓗᒍ.

● ᒐᕙᒪᒃᑯᓐᓂᑦ ᐃᑲᔫᑎᒃᓴᒥᑦ ᑐᒃᓯᕋᕐᓂᕈᕕᑦ ᐱᓚᐅᕐᓗᑎᓗ, ᓇᒃᓯᐅᔾᔭᐅᓇᔭᖅᑐᑎᑦ ᑖᒃᓯᓕᕆᔾᔪᑎᒥᒃ, ᖃᓄᕐᓗ

ᐱᓕᕆᔭᕆᐊᖃᕐᒪᖔᑦ

● ᓄᓇᖃᖅᑳᖅᑑᓯᒪᒍᕕᑦ, ᓄᓇᓕᖖᓂᓗ ᑮᓇᐅᔭᓕᐅᓚᐅᕈᕕᑦ, ᑖᒃᓰᔭᕐᑎᑕᐅᖏᑦᑐᓐᓇᖅᑐᑎᑦ.

● ᓂᖃᐃᓱᖅᐸᒃᑯᕕᑦ, ᐅᖃᐅᓯᕆᒋᓗᒍ. ᑖᓐᓇᓕ ᐲᖅᓯᕕᐅᔾᔮᖏᑦᑐᖅ

ᐱᐊᓂᒍᑎᐊ

ᑭᐊᑐᐃᓐᓇᐅᑉ ᑖᒃᓯᓕᕆᔭᒃᓴᖏᑦ ᐊᔾᔨᒌᖏᑦᑐᑦ, ᑮᓇᐅᔭᓕᕆᔨᒧᑦ ᐅᖃᖃᑎᖃᕐᓗᑎᑦ ᐃᑲᔪᖅᑕᐅᔪᓐᓇᖅᑐᑎᑦ.

ᐅᑯᐊ ᐅᖃᐅᓯᕆᓕᕐᒥᔭᒃᑲ ᐊᔪᕐᓇᖏᔾᔫᒥᖁᓪᓗᒋᑦ ᐱᔭᒃᓴᐃᑦ.

1. ᓯᕗᓪᓕᖅᑉᐸᖅ, ᓇᓕᖅᑲᑎᑦ ᐃᓕᑦᑎᐊᖅᐸᒡᓗᑎᑦ. ᑖᓐᓇ ᐱᒻᒪᕆᐅᓂᖅᐹᖅ!

2. ᐊᓱᐃᓛᒃ, ᐊᕕᒡᓗᒍ ᖃᐅᑕᒫᖅᓯᐅᑏᑦ, ᓇᖖᒥᓂᕆᔭᐃᓪᓗ ᐊᑐᓂᑦ ᑮᓇᐅᔭᒃᑯᕕᖃᕐᓗᒋᑦ

3. ᐅᖃᓘᑎᕋᓛᓐᓄ ᐃᓕᒃᑯᑎᓂᒃ ᓇᓕᖅᑲᒃᑯᕕᕈᔪᖕᓄᑦ ᐊᑐᕈᓐᓇᖅᐳᑎᑦ Quickbooks, Freshbooks, Xero,

ᐅᕝᕙᓘᓐᓃᑦ Bonsai

4. ᐊᒻᒪ ᐊᖏᕈᑎᒥᒃ ᐸᐃᑉᐹᕐᒥᒃ ᐱᓯᒪᐃᓐᓇᐅᔭᕐᓗᑎᑦ ᖃᓄᑐᐃᓐᓇᖅ ᐱᓕᕆᖁᔭᐅᓐᓂᕌᖓᕕᑦ.

ᐅᒃᐱᕈᓱᒃᐳᒍᑦ ᑮᓇᐅᔭᓕᕆᓂᕐᒥᑦ ᐊᔪᕈᓐᓃᕈᓐᓇᖅᑐᑎᑦ ᐃᙱᖅᐸᒡᓗᑎᓗ. ᑖᓐᓇ ᑕᐅᑐᒃᑕᐃᑦ ᑕᐃᒪᑐᖅ

ᐃᑲᔫᑎᖃᖅᐳᖅ. ᖁᔭᓐᓇᒦᒃ ᑕᐅᑐᒃᑲᕕᑦ! ᐊᐱᖅᑯᑎᖃᕈᕕᑦ, ᑐᑭᓯᒋᐊᒃᑲᓐᓂᕈᒪᒍᕕᓘᓐᓃᑦ, ᖃᐅᔨᒋᐊᕈᓐᓇᖅᐳᑎᑦ www.hitmakerz.com/alianait. ᖁᔭᓐᓇᒦᒃ.

Alianait x Hitmakerz - Episode 1: How do I prepare for a career in music?

Featured Artist: Angela Amarualik

Have you ever wanted to become an artist? If so, then this video will help you discover ways to prepare for a career in music.

 Watch the full English video here: https://youtu.be/v6Ha5k1S2Zw

Watch the full Inuktitut video here: https://youtu.be/2svsmbyQ-EA

Overview

First off, there are many careers that involve working directly with music, including being an artist, performer, songwriter, sound engineer, beatmaker, or producer. 

There are also many “behind the scenes” careers, like manager, promoter, tour coordinator, digital marketer, and many more. 

The first step is asking yourself what you love to spend your time doing? What’s your passion? Next, consider your natural talents, as well as what people would be willing to pay you for.

Oftentimes, people in the music industry will wear many different hats, and have a little bit of knowledge about many different areas. This is a great idea, since knowing how to do different things will help you understand what’s going on whenever you’re collaborating with others.

Team

It’s good to do everything yourself in the beginning, but as you grow, you’ll find a team to support you. Having a team and understanding everybody’s role will be very important in order to make a living as an artist.

Experience

To begin gaining experience in the music industry, take advantage of as many different opportunities as you can. Perform at local concerts and community halls, enter talent shows and songwriting competitions, take workshops, get involved with music industry events, volunteer at music festivals, or go to music school.

Entrepreneurship

If there’s nothing going on in your community, you can always create it! At some point, all professional artists have to become entrepreneurs and blaze their own trails, so don’t be afraid to create your own opportunities. You might fail, but that’s also just a great way to learn.

Networking

Gaining new musical experiences is also a great way to improve your professional resume and build relationships with other people! Music is very much a “relationship business”, and networking will be one of your biggest keys to success.

Reputation

As you “do more stuff”, people will start to talk about you and remember you and your music. The more you get your name “out there”, the more likely it is for someone to think about you when opportunities become available. Also, make sure to treat everybody with kindness and respect. If you’re a jerk, nobody will want to work with you, no matter how good your music might be!

Work Ethic & Good Attitude

Music is very competitive because many people want to do music, but the people that “make it” are almost always the ones who are passionate and spend a lot of time and energy to master their skills. All successful artists must have a little bit of talent, but having a good work ethic and a positive mental attitude is actually more important! So work hard, show up on time, listen to feedback, and always be kind to others.

Pro vs. Amateur

Fun fact: Did you know that the only thing separating an amateur artist from a professional artist is money? The word “Amateur” actually comes from the French word, “amour”, meaning “to love something” – this means that amateurs make music only because they love it.

“Professional” comes from the Old English word “profess”, meaning “to promise something”, and this means that professional artists promise to do what they say they’ll do, in exchange for money.

Even though professional artists get paid, they actually love music more than amateurs, because they’ve decided to build their entire lives around it! 

But in order to do that, they need to get paid, and to get paid, they need to make sure that they get the job done – even when they don’t feel like it! There are many ways to make money in music. We’ll talk more about that in Episode 2.

Creation

Always remember that the music you make is the key to your fans’ hearts. The more authentic your music can be, the better. The fans want to feel a connection with you, and that can only truly happen if you’re being honest in your work.

Music is subjective, too, so don’t worry about sounding “correct”. It’s much more important to listen to your intuition, because that’s the thing that will make you unique as an artist. Over time, you’ll begin to find your own style that sets you apart from others. 

Authenticity

Never forget to focus on the main thing, which is your music. To make it authentic, make music that you like, don’t try to make music you think other people might like. Look to others for inspiration, but remember that the only person who can make your music is you. Artists are loved because they give a piece of themselves to their audience, and their authenticity (or “realness”) is what creates the deep connection between them.

Fame

At some point, your music might make you famous, but be very careful not to confuse being famous with being an artist. They’re totally different things. If you just want to be famous, then you shouldn’t try to become an artist, because you’ll burn out before you become successful.

Goal Setting

To prepare for your career in music, start off by setting goals for yourself. Take some time to think about your “big goal”, and then make a list of things you can do to reach it. 

For accountability, give yourself deadlines and tell a friend or family member about your plans. A good idea is to write everything down somewhere, and keep track of what you accomplish, and as you go through your journey, don’t forget to share your experiences with your friends, family, and most importantly, your fans.

You’re doing a great thing for yourself by watching this video. You’re getting prepared. Remember that “success is when preparation meets opportunity”, so make sure you’re ready for the moment when your big chance arrives!

We believe you’re capable of having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujanamiik!

ᑕᑯᓇᒐᖅ 1: ᖃᓄᖅ ᐱᕙᒌᔭᕈᓐᓇᖅᐳᖓ ᐃᙱᖅᑎᐅᓂᕐᒥᑦ?

ᐃᓕᑕᕆᔭᐅᔪᖅ ᐋᓐᔨᓚ ᐊᒪᕈᐊᓕᒃ

ᐅᕙᖓ ᐋᓐᔨᓚ ᐊᒪᕈᐊᓕᒃ, ᐃᙱᖅᑎ, ᐃᙱᐅᓯᓕᐅᖅᑎ. ᐃᒡᓗᓕᖖᒥᐅᑕᒃᓴᔭᐅᔪᖓ.
ᐃᙱᖅᑎᙳᕈᒪᓯᒪᖃᑦᑕᖅᐱᑦ? ᑖᓐᓇ ᖃᐅᔨᒃᑲᓐᓂᕈᑎᑦᑎᐊᕙᒃ ᑕᐅᑐᐃᓐᓇᕐᓗᒍ.

ᑕᑯᔭᒃᓴᑦ
ᓯᕗᓪᓕᖅᐹᒥᒃ, ᐊᒥᓱᑦ ᐊᔪᖏᓐᓃᑦ ᐃᙱᖅᑎᐅᑉ ᐱᓕᕆᖃᑎᒋᕙᒃᑕᖏᑦ. ᓲᕐᓗ , ᑎᑎᕋᖅᑎ, ᑯᑭᑦᑕᐹᖅᑎ, ᐋᖅᑭᒃᓱᐃᔨᓪᓗ.
ᐊᒥᓲᒋᓪᓗᑎᒃ ᑕᑯᒃᓴᐅᖏᑦᑐᒃᑯᑦ ᐱᓕᕆᓲᑦ ᓲᕐᓗ: ᐊᐅᓚᑦᑎᔨ, ᐱᕙᒌᔭᖅᑎ, ᖃᕋᓴᐅᔭᓕᕆᔨ, ᐊᒥᓱᓪᓗ.
ᐃᒻᒥᓂᒃ ᐊᐱᕆᓇᔭᕈᕕᑦ, ᐃᓱᒪᖅᓱᓕᕌᖓᕕᓪᓕ ᖃᓄᐃᓕᐅᕈᒪᓲᖑᕕᑦ? ᖃᓄᖅ ᐱᓐᓇᕆᔭᖃᖅᐱᑦ? ᐊᔪᖏᓐᓂᑎᑦ ᐃᓱᒪᒋᓗᒋᑦ, ᖃᓄᕐᓗ ᐊᑭᓕᖅᑕᐅᓇᔭᖅᐱᑦ ᐊᑐᕐᓗᒍ.
ᐃᙱᐅᓯᐃᓕᐅᖅᑏᑦ ᖃᓄᑐᐃᓐᓇᖅ ᐱᓕᕆᔭᕆᐊᖃᓲᖑᖕᒪᑦ, ᖃᐅᔨᒪᔭᖃᐅᕆᐊᖃᖅᐸᒃᖢᑎᒡᓗ ᐊᒥᓱᓂᒃ. ᖃᐅᔨᒪᕙᒌᖅᖢᓂ ᑐᑭᓯᓇᕐᓂᖅᓴᐅᓂᐊᖅᑐᖅ ᖃᓄᖅ ᐱᒋᐊᕐᓂᐊᕐᒪᖔᖅᐱᑦ, ᓲᕐᓗ ᐱᓕᕆᖃᑎᒌᖕᓂᕐᒥᒃ.

ᐃᑲᔪᖅᑎᒌᑦ
ᖃᓄᐃᖏᑦᑐᖅ ᓇᖕᒥᓂᖅ ᐃᙱᖅᑎᐅᓪᓗᓂ, ᑭᓯᐊᓂ ᐱᕈᖅᐸᓪᓕᐊᓗᑎᑦ ᐃᑲᔪᖅᑎᒃᓴᖅᓯᐊᖅᐸᓪᓕᐊᓂᐊᖅᑐᑎᑦ. ᖃᐅᔨᒪᓪᓗᓂ ᑭᓇ ᑭᓱᓕᕆᓂᐊᕐᒪᖔᖅ ᐱᒻᒪᕆᐅᔪᖅ ᐃᙱᖅᑎᓪᓚᕆᐅᔪᒪᒍᕕᑦ.

ᐊᑐᖅᓯᒪᔭᑦ
ᐱᒋᐊᖅᐸᓪᓕᐊᓗᑎᑦ ᐃᓚᐅᓇᓱᒃᐸᒡᓗᑎᑦ ᐊᔪᖏᑦᑕᕌᖓᕕᑦ. ᐃᙱᕐᓗᑎᓘᓐᓃᑦ, ᐊᑭᓕᖅᓱᖅᑕᐅᖏᑦᑐᒃᑯᑦ ᐱᓕᕆᕙᒡᓗᑎᓘᓐᓃᑦ, ᐃᓕᓐᓂᐊᕐᕕᒃᑕᖃᓲᖑᖕᒥᔪᖅ ᐃᙱᐅᓯᐅᕐᓂᑦᒧᑦ. 

ᓇᖖᒥᓂᖃᕐᓂᖅ
ᓱᒃᓴᖃᙱᓗᐊᖅᐸᑦ ᓄᓇᓖᑦ, ᓴᖅᑭᑦᑎᔪᓐᓇᖅᐳᑎᑦ! ᐃᙱᖅᑎᐅᕙᒃᑐᑦ ᐊᐅᓚᑦᑎᔪᓐᓇᖅᓯᔭᕆᐊᓖᑦ ᓇᖖᒥᓂᐅᒐᓗᐊᖅ. ᐋᖅᑮᓐᓇᔾᔮᖏᑦᑐᖅ ᑭᓯᐊᓂ ᑕᐃᒪᓐᓇ ᐃᓕᑦᑎᓐᓇᕐᒪᑦ.

ᐅᖃᖃᑎᖃᕐᓂᖅ
ᐊᔪᕈᓐᓃᖅᐸᓪᓕᐊᓂᖅᑕᐅᖅ ᐊᑑᑎᓛᖑᖃᑕᐅᔪᖅ. ᐅᖃᖃᑎᖃᖅᐸᒡᓗᑎᑦ, ᐊᐱᖅᓱᖅᐸᒡᓗᑎᓪᓗ. 

ᐃᖅᑲᓇᐃᔭᕐᓂᕆᔭᑦᑕᐅᖅ ᓇᓗᓇᐃᒃᑯᑖᓂᑦ ᐱᐅᓯᒃᑲᓂᕈᑎᓪᓚᕆᒃ. ᐃᙱᐅᓯᐅᓂᖅ ᐃᓚᒌᒃᑎᖃᕆᐊᖃᕐᒪᑦ. ᐅᖃᖃᑎᒌᖖᓂᖅ ᐊᑑᑎᓛᖑᓂᐊᖅᑐᖅ ᐃᓕᓴᕆᔭᐅᔪᒪᒍᕕᑦ. 

ᐃᓱᒪᒋᔭᐅᓂᖅ
ᐱᓕᕇᓐᓇᖃᑦᑕᓕᕈᕕᑦ ᑭᒃᑯᑐᐃᓐᓇᖅ ᐅᖃᐅᓯᖃᖃᑦᑕᕐᓂᐊᖅᑐᑦ, ᐃᓕᖖᓂᑦ ᐃᙱᐅᓯᓐᓂᓗ. ᐊᑏᑦ ᑐᓴᖅᑕᐅᕙᒡᓗᓂ ᐃᖅᑲᖅᑕᐅᕙᖕᓂᐊᕋᕕᑦ ᐃᙱᖅᑎᒃᓴᖅᓯᐅᖅᑐᖃᓕᖅᐸᑦ. ᐱᑦᑎᐊᖃᑦᑕᕈᕕᓪᓗ ᐊᑲᐅᓂᖅᓴᖅ. ᓲᖑᔫᖃᑦᑕᕐᓂᐊᕈᕕᑦ ᐱᓕᕆᖃᑎᒋᔭᐅᔪᒪᖃᑦᑕᕋᔭᖏᑦᑐᑎᑦ ᑐᓴᕐᓂᓪᓚᕆᒃᑲᓗᐊᕈᕕᑦ.

ᐱᓕᕆᔪᒪᓂᖅ ᐊᒻᒪ ᑐᙵᓇᕐᓂᖅ
ᐃᙱᐅᓯᐅᕐᓂᕐᒥᒃ ᐱᓂᖅᓴᐅᓇᓱᓲᑦ ᐊᒥᓱᑦ ᐃᙱᖅᑎᐅᔪᒪᔪᑦ. ᑭᓯᐊᓂ ᐱᔪᒪᓂᖃᕐᓂᖅᓴᐃᑦ, ᐊᔪᕈᓐᓃᖅᓴᒃᑲᐅᓂᖅᓴᐃᑦ ᐊᔪᖏᓐᓂᖅᓴᐅᓲᑦ. ᐃᓕᓴᕆᔭᐅᔪᑦ ᐊᔪᖏᑉᐸᒌᕐᓂᖃᓲᑦ ᑭᓯᐊᓂ ᐱᔪᒪᓂᖃᕐᓗᓂ ᐊᑲᐅᔪᒥᒡᓗ ᐃᓱᒪᓂᖃᖅᖢᓂ ᐱᒻᒪᕆᒃ! ᐊᒃᓱᕈᒃᑲᓐᓂᕐᓗᑎᑦ, ᑭᖑᕙᖅᑕᐃᓕᓗᑎᑦ, ᓈᓚᒍᓐᓇᕐᓗᑎᑦ, ᐃᓄᑦᑎᐊᕙᐅᓗᑎᓗ. 

ᐱᒃᑲᖅ, ᐱᒋᐅᖅᓴᔪᕐᓗ
ᖃᐅᔨᒪᕕᑦ ᐱᒋᐅᓵᖅᑐᑦ, ᐱᒃᑳᓗᒡᓗ ᐊᔾᔨᒌᖏᓐᓂᖓ, ᑮᓇᐅᔭᖅ? ᐅᖃᐅᓯᖅ “amateur” ᐅᐃᕖᑐᑦ ᐊᒃᑐᐊᓂᓕᒃ “amour” ᑐᑭᓕᒃ "ᓇᒡᓕᖖᓂᖅ" ᐱᒻᒪᕆᒍᓱᒧᑦ ᓇᒡᓕᒋᓪᓗᓂᐅᒃ ᓲᕐᓗ.
“Professional” ᐅᖃᐅᓯᓕᐊᖑᓯᒪᔪᖅ, ᐃᓚᖃᖅᖢᓂ "profess” ᑐᑭᓕᒃ "ᐱᓂᐊᕐᓂᕋᐃᔪᖅ" ᓲᖃᐃᒻᒪᓕ ᐱᒃᑲᐃᑦ ᓱᓕᔪᒥᒃ ᐱᓕᕆᓲᑦ ᐊᑭᓕᖅᑕᐅᕙᒃᖢᑎᒃ.
ᐊᑭᓕᖅᑕᐅᕙᒃᑲᓗᐊᖅᖢᑎᒃ, ᐱᔪᒪᓂᖃᕐᓂᖅᓴᐅᒐᔪᒃᑐᑦ ᐱᓇᓱᐊᒃᓴᕆᔪᒪᒐᒥᐅᒃ.
ᑭᓯᐊᓂ ᐊᑭᓕᖅᑕᐅᔪᒪᒃᐸᑦ ᐱᓕᕆᐊᕆᔭᖏᑦ ᐱᐊᓃᓐᓇᐅᔭᕆᐊᓖᑦ ᐃᕿᐊᒋᒐᓗᐊᕐᓗᐸᒍᒃ

ᖃᓄᑐᐃᓐᓇᑦᑎᐊᖅ ᐊᑭᓕᖅᑕᐅᔪᓐᓇᓲᑦ ᐃᙱᐅᓯᐅᖅᑏᑦ. ᐅᖃᐅᓯᕆᒃᑲᓐᓂᕐᓂᐊᖅᐸᕗᑦ ᐃᓚᖓᓂ.

ᐋᖅᑭᒃᐸᓪᓕᐊᓂᖅ

ᖃᐅᔨᒪᓂᐊᖅᐳᑎᑦ ᐃᙱᐅᓰᑦ ᐃᒃᐱᒋᔭᐅᓂᐊᖅᑐᖅ. ᓇᖖᒥᓂᕆᓂᖅᓴᕆᒍᕕᐅᒃ ᐊᑲᐅᓂᖅᓴᖅ. ᑐᓵᓲᑦ ᐃᒃᐱᒋᔭᐅᔪᒪᓲᑦ ᐃᓕᖖᓂᑦ. ᓱᓕᔪᒥᒃ ᐱᓕᕆᒍᕕᑦ ᐊᑑᑎᓇᔭᖅᑐᖅ.
ᐃᙱᐅᓯᖅ ᐅᖃᐅᓯᒃᓴᖃᐅᖅᑐᐊᓘᖖᒪᑦ ᑕᒻᒪᕐᓂᐊᕋᓱᒋᓗᑎᑦ ᐃᓱᒪᒋᓗᐊᖏᓪᓗᒍ. ᐃᓗᓐᓂᙶᖅᑐᑦ ᐊᑐᖃᑦᑕᕈᕕᒋᑦ ᐃᓕᓴᕐᓇᕐᓂᖅᓴᐅᓂᐊᕋᕕᑦ, ᐊᑐᐃᓐᓇᓕᕈᕕᐅᒃ ᐃᓗᓐᓂᙶᖅᑐᑦ, ᓇᖖᒥᓂᖅ, ᐊᔾᔨᖃᖏᓐᓂᖅᓴᐅᓂᐊᖅᑐᖅ ᐊᓯᖏᓐᓂᑦ ᐃᙱᐅᓯᐅᖅᑎᓂᒃ. 

ᐊᔾᔨᖃᖏᓐᓂᖅ

ᐃᙱᐅᓯᐅᕌᖓᕕᑦ ᑐᓴᕐᓂᕆᓗᒍᑦᑕᐅᖅ, ᐊᓯᑎᑦ ᐃᓱᒪᒋᓗᐊᖅᑕᐃᓕᓗᒋᑦ. ᐃᙱᐅᓯᐅᖅᑕᑎᑦ ᐃᕝᕕᑦ ᑭᓯᐊᓂ ᓴᓇᔪᓐᓇᕋᕕᐅᒃ. ᐱᓐᓇᕆᔭᐅᓲᖑᕗᑦ ᐊᔾᔨᖃᓗᐊᖏᖦᖢᑎᒃ ᑐᑭᓯᖃᑦᑕᐅᑎᔾᔫᒥᓲᑦ.

ᐃᓕᓴᕆᔭᐅᓂᖅ
ᐃᓕᓴᕆᔭᐅᕙᓕᐊᓗᑎᑦ, ᓇᓗᓕᖅᑕᐃᓕᒋᑦ ᐃᙱᐅᓯᐅᖅᑎᐅᓂᕐᒥᒃ, ᐃᓕᓴᕆᔭᐅᓇᓱᖖᓂᕐᓗ ᐊᔾᔨᒌᖏᒻᒪᑕ. ᐃᓕᓴᕆᔭᐅᔪᒪᑐᐃᓐᓇᕈᕕᑦ ᐃᙱᐅᓯᐅᖅᑎᐅᓇᓱᓪᓗᐊᖏᑉᐳᑎᑦ ᑕᖃᖦᖤᕐᓂᐊᕋᕕᑦ ᐅᖓᓯᒃᓯᓚᐅᖏᑎᓪᓗᑎᑦ.

ᑐᕌᒐᖃᕐᓂᖅ
ᐱᕙᒌᔭᕐᓂᐊᕐᓗᑎᑦ ᐊᔪᕈᓐᓃᕈᒪᔭᑎᑦ ᐃᓕᓴᕆᒋᐊᒃᑭᑦ, ᓇᒧᙵᕈᒪᔭᓪᓗ ᑎᑎᕋᕐᓗᒋᑦ ᖃᓄᖅ ᐊᓂᒎᑎᓂᐊᕐᒪᖔᕐᐱᑦ.
ᐱᒋᐊᓕᕈᕕᓪᓗ ᐃᓱᓕᕝᕕᒃᓴᖃᖅᑎᓪᓗᒍ, ᐅᖃᕐᓗᑎᓪᓗ ᐃᓚᑎᓐᓂ ᐱᖃᓐᓇᕆᔭᕐᓂᓪᓗ ᖃᓄᐃᓕᐅᕋᓱᖖᒪᖔᖅᐱᑦ. ᐊᑲᐅᑦᑎᐊᕐᒥᔪᖅ ᑎᑎᕋᕐᓗᒍ ᓇᒧᑭᐊᖅ ᐳᐃᒍᖅᑕᐃᓕᓗᒍ, ᐊᖑᒻᒪᑎᒋᐊᕐᓗᒍ ᐱᔭᕇᖅᑕᑎᑦ. ᐱᕙᓪᓕᐊᓂᕆᔭᑎᑦ ᐅᖃᐅᓯᕆᕙᖖᒥᓗᒋᑦ ᐃᓚᑎᓐᓄ, ᐱᖃᓐᓇᕆᔭᕐᓄᑦ, ᐱᓗᐊᙳᐊᖅᑐᒥᒃ ᓈᓚᒃᑎᓄᑦ.

ᐅᓇ ᑕᐅᑐᒃᑲᕕᐅᒃ ᐊᑲᐅᔪᖅ ᐃᓕᖖᓄᑦ. ᐱᕙᓪᓕᐊᓕᕋᕕᑦ. ᐳᐃᒍᖅᑕᐃᓕᒋᑦ "ᐊᔪᖏᓐᓂᖅ ᐱᕙᒌᔭᖅᓯᒪᓪᓗᓂ ᓴᖅᑭᑎᕐᓂᐊᖅᑐᑦ" ᑕᐃᒪᓐᓇ ᐱᕙᒌᔭᖅᓯᒪᕙᒡᓗᓂ ᐊᖏᔪᒥᒃ ᓴᖅᑭᑎᑕᐅᓂᐊᕋᕕᑦ!

ᐅᒃᐱᕈᓱᒃᐳᒍᑦ ᐊᔪᖏᑦᑐᑎᑦ ᐃᙱᐅᓯᐅᖅᑎᑦᑎᐊᕙᐅᔪᓐᓇᖅᑐᑎᑦ. ᖁᔭᓐᓇᒦᒃ ᑕᐅᑐᓵᕋᕕᑦ. ᐊᐱᖅᑯᑎᒃᓴᖃᕈᕕᑦ, ᑐᑭᓯᒋᐊᕈᒪᒍᕕᓪᓘᓐᓃᑦ, ᖃᐅᔨᒋᐊᕈᓐᓇᖅᐳᑎᑦ www.hitmakerz.com/alianait ᖁᔭᓐᓇᒦᒃ.

Alianait x Hitmakerz - Episode 2: How do I make a living as an artist?

Featured Artist: Brenda Montana (English Version), Eden Okatsiak Napayok (Inuktitut Version)

At both Alianait and Hitmakerz, we strongly believe that it’s possible to make a stable income as an artist and have a career doing what you love!

The ways that an artist can make money has changed a lot in the past 20 years, and it’s become important to have several different ways, or “revenue streams” to earn money.

Watch the full English video here: https://youtu.be/7YG2iQfVor8

Watch the full Inuktitut video here: https://youtu.be/yUcSSd3XVek

No matter which one you choose, you must remember that your fans are the most important thing, because at the end of the day, they are the ones that pay you, either directly, with money, or indirectly, with their attention. Both are extremely valuable. With money, you can pay rent, and attention can easily be turned into money.

In our world of social media and Spotify, music is basically free. In fact, there’s way too much music to ever listen to, so everybody’s fighting for attention. That’s why focusing on building strong experiences and personal connections with your fans is so important!

In the old days, the primary revenue stream was album sales, since people needed to buy CDs, cassettes, and records to listen to music. But today, since music is basically free, artists can’t expect to make a stable income from album sales alone.

But don’t worry. There are still many ways to make money, although funny enough, most of them are by selling everything except the actual music itself. Here is a list we’ve put together.

Live Performances

One of the main ways to make money from your music is by touring and performing live shows. Fans can get your music for free, but what they can’t get for free is a chance to see an in-person, one-of-a-kind performance of your music. For this reason, touring, concerts, and festival performances have become one of main revenue sources for artists, and the experiences created at a live concert can be just as meaningful for the fans as the music itself.

Training

Another revenue stream is motivational speaking, workshops, teaching, and training. This revenue stream can include teaching musical skills – including ukulele lessons, guitar lessons, throat singing lessons or other vocal techniques – or even cultural teachings, like teaching Inuktitut, or promoting and educating Qallunaat about Inuit history and culture.

Work-for-Hire

If you’re skilled at your craft, you can get people to hire you as a music producer, session musician, or some other kind of “work-for-hire”. To do this, you either have to know people who can pay for your services, or you can put up examples of your work on websites like www.soundbetter.com or www.fiverr.com, and allow people to pay you to create specific works for them.

Beatmaking

If you know how to make beats, you can also sell these to other artists or producers, either directly or on websites like BeatStars and BeatBrokerz.

Music Sales

Although it’s not as big as it used to be, music sales do still happen, especially when fans love you and want to support your work. You can sell your music directly on websites like www.bandcamp.com and www.bandzoogle.com.

Royalties & Publishing

Whenever your music is played on the radio, at concerts, in stores, in TV and in films, or even at bars and parties, you are legally required to be paid a small amount of money called a royalty. To make sure you get paid this royalty, you’ll need to make sure your music is properly registered with organizations like SOCAN. We’ll go over this in more detail in Episode 4. In order to increase your royalties, the best thing you can do is write a lot of songs, not only for yourself, but also for other artists and music publishers. Try to perform on as many songs as possible, too, by doing features and collaborations with other artists.

Music Licensing 

Music licensing is where you allow someone to use your music in their project for a fee. We’ll talk more about that in the next video. There are some companies like Nagamo Publishing and MusicSupervisor.com that let you upload your music to an online library to help you do this. If your work is especially popular or very well suited for TV and film, you might also be able to get a publishing deal with an established music publisher, although these types of deals are very rare nowadays.

Merchandise

Don’t forget that fans can both hear and see you, so they probably love the way you look as much as the way you sound. This means that you can sell your “image”. To do this, try selling artist merchandise with your photos, logo, or other awesome images that would make your fans feel closer to you. Selling merchandise usually takes place either at live shows or through an online store. You can print your own merch, but for that you’ll need money to make the merch and space to store your inventory. You can also create a print-on-demand online store, but this requires a website and some technical know-how.

Image Licensing

If you don’t want to create, make, and sell merchandise yourself, you can also sell your image licence to someone else for a cut of the profits. This means that they do the work for you and keep part of the money.

Patronage

Many musicians also make money online through fan patronage. This is where you post exclusive content (like music, videos, or streaming) on websites like www.patreon.com or www.twitch.com and your fans can pay to subscribe.

Social Media Influencer

If you have enough followers on social media, some brands might want to pay you to promote their products as an influencer. Keep in mind that they might only pay you in products, not cash. 

Cameos

If you become famous, another option is to allow fans to buy a short personalized video (called a “cameo”) from you on websites like www.cameo.com or www.memmo.me.

Ad Revenue

If you post videos on YouTube, you can earn royalties by placing ads in your video. This way, the more people watch your videos, the more money you make. If you have a website or blog, you could also make space for AdWords and make money each time someone sees the ad.

Affiliate Marketing

This is when you recommend a product to your fans, and everytime one of them buys it through your link, you get a small cut of the profits. You can create an affiliate marketing page on websites like www.amazonaffiliates.com or www.shopify.ca/affiliates and promote it on your website, blog, or through social media.

Product Placement

If you create visual content (like photos, videos, live streams, etc.), a sponsor might want to pay you to “place” a product somewhere that many people will be able to see it and want to buy it.

Crowdfunding

If you’ve got a specific project you’d like to do – like “Record an Album” or “Pay Rent in September” – you can also try crowdfunding. This is where you set up a donation page on websites like KickStarter.com or GoFundMe.com, and ask people to help pay for your project.

Sponsorship / Partnerships

Some artists are able to get sponsors that pay them to promote their products like when McDonald’s partners with K-pop group BTS to create a unique meal, or when Tim Hortons partners up with Justin Bieber to create Tim Biebs.

Artist-in-Residencies

Artist-in-residence programs are opportunities for artists to get away from their regular workspace and live in a creative environment or culture while they produce new content. Artist-in-residence programs normally don’t provide direct income, but can help create the music that supports your career.

Project Funding

A common way to fundraise in Nunavut and Canada is to access grants or contribution funding from various organizations that support cultural projects and economic development. At Hitmakerz, we call them Patrons.

Funding from Patrons is normally used to help pay for some of the expenses needed for projects like albums, music videos, websites, etc. The idea is that the Patron helps you create the project, and you then “sell” this project and make enough money to continue your career as an artist.

In most cases, this money can only be used to pay for the creation of the project itself, but it can sometimes also be used to cover living expenses for the artists for a specific amount of time. 

Each region has its own programs that support music. In Nunavut, some examples include various departments within the Government of Nunavut and Nunavut Tunngavik. Nationally, examples include SOCAN, FACTOR, and Canada Council for the Arts.

Each project is different and every Patron has their own ways to spend money. In order to access this money, it can be useful to work with a grant writer or a record label. Many of the programs focus on cultural and economic impact, and many have grants specifically designed for Indigenous artists. The key to accessing this revenue stream is to create win-win situations so both the artists and Patrons are happy!

Conclusion

And that’s it. Those are the main ways to create income. There are many more examples we could talk about, and new opportunities are created every day. The only real limit to how artists can make money is their imagination. 

Always remember to treat your music like a business. It’s fun, but if it’s also your main source of income, you have to be professional and make that money!

We believe you’re capable of having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujanamiik!

Below is a sample of the Inuktitut translation. For the full version, please visit: https://drive.google.com/drive/folders/1a0sV3FdEGQfI-TkV7mQhsmtUcDSHRz8b?usp=sharing.

ᓴᖅᑭᔮᕐᓂᖓ 2: ᖃᓄᕐᓕ ᖃᐅᑕᒫᖅᓯᐅᑎᓂᒃ ᐱᓕᕆᔾᔪᓯᖃᖃᑦᑕᖅᐳᖓ ᐃᙱᖅᑎᐅᓪᓗᖓ?

ᐃᓕᑕᕆᔭᐅᔪᖅ ᖃᑉᓗᑦᓯᐊᖅ ᓇᐸᔪᖅ

ᓴᖅᑭᔮᕐᓂᖓ 2: ᖃᓄᕐᓕ ᖃᐅᑕᒫᖅᓯᐅᑎᓂᒃ ᐱᓕᕆᔾᔪᓯᖃᖃᑦᑕᖅᐳᖓ ᐃᙱᖅᑎᐅᓪᓗᖓ?

ᐅᖃᓕᒫᖅᑎᓄᑦ,

ᐅᖯᓗᑦᓯᐊᖅ, ᐊᑎᕋ ᖃᑉᓗᑦᓯᐊ ᓇᐸᔪᖅ ᐊᕐᕕᐊᑦ ᓄᓇᕗᑦ ᒥᐅᑕᐅᔪᖓ ᐊᒻᒪ ᐃᒻᖏᑎᐅᔪᖓ, ᐊᓈᓇᐅᑉᓗᖓᓗ

ᐊᑐᓂ ᐊᓕᐊᓇᐃᑦ, Hitmakerzᑯᑎᒍᓪᓗ, ᖃᐅᔨᒪᖁᔨᕗᖓ ᐊᔪᕐᓇᙱᑦᑎᐊᖅᑐᖅ ᓈᒻᒪᒃᑐᑎᒍᑦ ᑮᓇᐅᔭᓕᐅᕐᓇᖅᑐᖅ ᐃᙱᖅᑎᐅᓪᓗᓂ, ᐱᓕᕆᕙᒡᓗᓂᓗ ᐊᓕᐊᓇᐃᒋᔭᕐᒥᖕᓂ!

ᐊᕙᑎᓂᒃ (20) ᐊᕐᕌᒍᓂ ᐃᓗᐊᓂ ᖃᓄᖅ ᑮᓇᐅᔭᓕᐅᕆᐊᒃᓴᖅ ᐊᒃᓱᒻᒪᕆᐊᓗᒃ ᐊᓯᔾᔨᖅᓯᒪᕗᖅ ᐱᒻᒪᕆᙳᖅᓯᒪᓕᖅᖢᓂᓗ ᐊᔾᔨᒌᙱᑦᑐᓂᒃ ᐅᕝᕙᓘᓐᓃᑦ “revenue streams” ᑕᒪᐅᓇ ᑮᓇᐅᔭᓕᐅᕆᐊᒃᓴᖅ.

ᓂᕈᐊᖅᑕᐃᑦ ᖃᓄᑐᐃᓐᓇᖅ ᓈᒻᒪᑦᑎᐊᖅᑐᖅ, ᑭᓯᐊᓂ ᐃᖅᑲᐅᒪᔭᕆᐊᖃᖅᐳᑎᑦ ᖁᙱᐊᖅᑎᖁᑎᑎᑦ, ᒪᓕᒃᑎᖁᑎᑎᑦ ᐱᒻᒪᕆᐅᒋᔭᕆᐊᖃᖅᑕᑎᑦ, ᓲᖃᐃᒻᒪ ᐅᓪᓘᑉ ᐊᓂᒍᕐᕕᐊᓂᑦ, ᑖᒃᑯᐊ ᐃᓕᖕᓂᑦ ᐊᑭᓕᖅᓱᐃᓲᖑᕗᑦ, ᓲᕐᓗ ᑐᓂᓯᑲᐅᑎᒋᔪᑦ, ᑮᓇᐅᔭᖅᑎᒍᑦ, ᐅᕝᕙᓘᓐᓃᑦ ᐅᖓᓯᒃᑐᒃᑯᑦ, ᓇᓕᒃᑎᓪᓗᒋᓪᓘᓐᓃᑦ. ᑖᒃᑯᐊ ᑕᒪᕐᒥᑦᑎᐊᖅ ᐱᒻᒪᕆᐅᕗᑦ. ᑮᓇᐅᔭᖅᑎᒍᑦ, ᐃᒡᓗ ᐊᑐᖅᑐᐊᖅᑕᐃᑦ ᑖᒃᓱᒧᖓ ᐊᑭᓖᔾᔪᑎᒋᔪᓐᓇᖅᐸᐃᑦ. ᖁᙱᐊᖅᑕᐅᓂᒃᑯᑦ ᑮᓇᐅᔭᙳᑲᐅᑎᒋᔪᓐᓇᖅᐳᖅ.

ᐃᑭᐊᖅᑭᕕᐅᒃ ᓄᓇᕐᔪᐊᖁᑎᒋᔭᓂ Spotifyᖑᓂᕋᖅᑕᐅᔪᖅ, ᑐᓴᕐᓈᕐᓗᓂ ᐊᑭᖃᙱᑉᐳᖅ. ᓱᓕᔪᒃᑯᑦ ᐅᓄᒻᒪᕆᒃᑐᓂ ᑐᓴᕐᓈᖏᓐᓇᐅᔭᕐᓇᖅᐳᖅ, ᑕᐅᑐᒃᑕᐅᓂᖅᓴᖅᑕᖃᐃᓐᓇᕐᓂᖅᓴᐅᔪᒪᔪᐃᑦ ᐅᓄᕐᓂᖅᓴᐅᕗᖅ. ᑖᒃᓱᒫ ᐱᒻᒪᕆᐅᔾᔪᑎᒋᔭᖓ ᐃᓕᖕᓂᑦ ᐊᔪᕈᓐᓃᕆᐊᓪᓚᒍᑎᖃᕈᒪᓐᓇᖅᐳᖅ. ᑖᒃᑯᓄᖓᓗ ᒪᓕᒃᑎᓄᑦ ᖃᒡᓕᕚᓪᓕᕈᒪᓐᓇᖅᖢᓂ ᐱᒻᒪᕆᐅᖕᒪᑦ ᑖᓐᓇ ᐃᒻᒪᑲᓪᓛᕐᔫᓕᖅᑐᖅ, ᑮᓇᐅᔭᓕᐅᕈᑎᒋᔭᐅᕙᓚᐅᖅᑐᖅ album ᓂᐅᕕᐊᒃᓴᕆᔭᐅᓪᓗᓂ, ᓲᖃᐃᒻᒪ ᑭᓇᑐᐃᓐᓇᖅ CDᒥᒃ ᐊᑐᕐᓗᓂ ᑐᓴᕐᓈᕈᓐᓇᖅᐸᓚᐅᕐᒪᑦ, cassetteᑯᑎᒍᓪᓗ, ᓂᐱᓕᐅᕆᓐᓇᖅᖢᓂᓗ ᑐᓴᕐᓈᓂᐊᖅᑕᒥᖕᓂ. ᑭᓯᐊᓂ ᐅᓪᓗᒥᐅᓕᖅᑐᖅ, ᑐᓴᕐᓈᓗᓂ ᐊᑭᕿᙱᐸᓗᓕᕐᒪᑦ, ᐃᙱᖅᑏᑦ ᑮᓇᐅᔭᓕᐅᕐᕕᖃᓗᐊᕈᓐᓃᕐᒪᑕ album ᓂᐅᕕᐊᒃᓴᖁᑎᖏᑦᑎᒍᑦ.

ᑭᓯᐊᓂ ᐱᖏᒍᓱᖏᑦᑎᐊᕆᑦ. ᐅᓄᖅᑐᒻᒪᕆᖕᓂ ᐱᕕᒃᓴᖅᑕᖃᖅᐳᖅ ᑮᓇᐅᔭᓕᐅᕆᐊᒃᓴᖅ, ᑎᔅᓯᓇᕋᓗᐊᖅᑎᓪᓗᒍ, ᑕᒪᒃᑭᑲᓴᑦᑎᐊᖅᓯᒪᕗᖅ ᑭᓱᕈᓘᔭᕐᓂᒃ ᓂᐅᕕᐊᒃᓴᖃᕆᐊᒃᓴᖅ ᐱᔭᐅᙱᑦᑐᑐᐊᑦᑎᐊᖅ ᑐᓴᕐᓈᖅᑕᐅᔾᔪᑎᒃᓴᓂᒃ. ᑲᑎᑦᑎᕗᒍᑦ ᑎᑎᕋᖅᓯᒪᔪᓂᒃ.

ᑕᑯᒃᓴᐅᑲᐅᑎᒋᔪᖅ ᐃᙱᕐᓗᓂ

ᑮᓇᐅᓕᐅᕈᑎᒃᓴᑐᐊᑦᑎᐊᖑᕗᖅ ᐃᒡᕕᑦ ᐃᙱᐅᓯᖓᑦᑎᒍᑦ ᐊᐅᓪᓚᑲᑕᒡᓗᓂ ᖁᙱᐊᖅᑕᐅᓗᓂ. ᓈᓚᒃᑎᖁᑎᑎᑦ ᐊᑭᖃᙱᑦᑐᒥᒃ ᑐᓴᕐᓈᓗᑎᒃ, ᐊᑭᖃᙱᑦᑐᖅ ᑖᓐᓇ ᓈᓚᒃᑎ ᐃᓕᖕᓂᑦ ᑕᑯᒻᒪᕆᒡᓗᓂ, ᑖᓐᓇᑐᐊᑦᑎᐊᖅ ᐊᑐᕐᓗᒍ ᐃᙱᖅᑎᐅᓃᑦ. ᑖᓐᓇ ᐱᔾᔪᑎᒋᓪᓗᒍ, ᐊᐅᓪᓚᖃᑦᑕᕐᓂᖅ, ᖁᙱᐊᖅᑕᐅᓂᖅ, ᐱᙳᐊᕈᓘᔭᕐᓂᕐᓗ ᐊᖅᑯᑎᒃᓴᑐᐊᑦᑎᐊᖑᓯᒪᓕᖅᐳᖅ ᐃᙱᖅᑎᓄᑦ, ᐊᑐᓚᐅᖅᓯᒪᔭᑎᑦ ᐱᕈᕈᑎᒋᔭᐃᑦ ᑕᑯᒃᓴᐅᑲᐅᑎᒋᔪᒃᑯᑦ ᖁᙱᐊᖅᑕᐅᓂᖅ ᐱᒻᒪᕆᐅᔾᔪᑎᒋᔪᓐᓇᖅᐸᐅᒃ ᖁᙱᐊᖅᑎᓄᑦ ᐃᙱᐅᑏᑦ ᐊᑐᕐᓗᒍ.

ᐃᓕᑦᑎᕙᓪᓕᐊᓂᖅ

ᐱᑕᖃᒃᑲᓐᓂᕐᒪᑦ revenue streamᑯᑎᒍᑦ ᐃᓄᒋᐊᒃᑐᓄᑦ ᐅᖃᓪᓚᖕᓃᑦ, ᐱᓕᕆᑎᑦᑎᖃᑦᑕᕐᓂᖅ, ᐃᓕᓐᓂᐊᖅᑎᑦᑎᓂᖅ, ᐃᓕᑦᑎᕙᓪᓕᐊᓂᒃᑯᓪᓗ. ᑖᓐᓇ revenue streamᖑᓂᕋᖅᑕᐅᔪᖅ ᐊᑕᔾᔪᑎᖃᖅᐳᖅ ᐃᓕᓐᓂᐊᖅᑎᑦᑎᓂᖅ ᐃᙱᐅᑏᑦ ᐊᑐᕐᓗᒍ ᐃᓚᐅᕗᖅ ᑯᑭᑦᑕᐹᕋᓛᒃᑯᑦ ᐃᓕᓐᓂᐊᖅᑎᑦᑎᓂᖅ, ᑯᑭᑦᑕᐹᖅ ᖃᓄᖅ ᐊᑐᖅᑕᐅᓲᖑᖕᒪᖔᑦ, ᑲᑕᔾᔭᐅᓯᖅ ᐅᕝᕙᓘᓐᓃᑦ ᓂᐲᑦ ᐊᑐᕐᓗᒍ ᐅᕝᕙᓘᓐᓃᑦ ᐱᖅᑯᓯᑐᖃᖅ ᐊᑐᕐᓗᒍ ᓲᕐᓗ ᐃᓄᒃᑎᑐᑦ ᐃᓕᓐᓂᐊᖅᑎᑦᑎᓂᖅ, ᐅᕝᕙᓘᓐᓃᑦ ᖃᓪᓗᓈᑎᑐᑦ ᐃᓕᓐᓂᐊᖅᑎᑦᑎᓗᓂ ᖃᓪᓗᓈᓄᑦ ᐃᓄᐃᑦ ᐱᖅᑯᓯᖏᓐᓂ ᐃᒻᒪᑲᓪᓚᒡᓗ ᐊᑐᖅᑕᐅᕙᓚᐅᖅᑐᓂᑦ.

ᓴᓈᒃᓴᒧᑦ ᓂᕈᐊᖅᑕᐅᔾᔪᑏᑦ

ᓴᓇᖃᑦᑕᖅᑕᕕᑦ ᐊᔪᖏᓐᓃᑦ, ᓴᓈᖅᑖᕈᓐᓇᖅᐳᑎᑦ ᐃᙱᐅᑎᐅᑦ ᐃᓱᒪᑕᖓᓄᒃ, ᐃᙱᕐᓂᐅᑉ ᐃᓕᓐᓂᐊᕐᓂᕐᒧᑦ ᐅᕝᕙᓘᓐᓃᑦ “ᓴᓈᒃᓴᒧᑦ ᓂᕈᐊᖅᑕᐅᔾᔪᑎᒧᑦ” ᑖᓐᓇ ᐊᖅᑯᑎᒋᓂᐊᕐᓗᒍ, ᖃᐅᔭᒪᔭᕆᐊᖃᖅᐳᑎᑦ ᑭᓇ ᐊᑭᓕᖅᓱᐃᓲᖑᖕᒪᖔᑦ ᐱᓕᕆᓂᕐᓄ, ᐅᕝᕙᓘᓐᓃᑦ ᐊᑐᕈᓐᓇᖅᐸᑎᑦ ᓴᓈᑦ ᐊᑐᕐᓗᒍ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ ᓲᕐᓗ www.sound better.com ᐃᓄᐃᑦ ᐊᑭᓕᖅᓱᐃᓂᖏᑦ ᐊᑐᕐᓗᒋ ᐃᑲᔪᕐᓗᒋᓪᓗ ᓇᓕᐊᖕᓂᑦ ᓴᓈᖅᑖᕐᓂᐊᕐᒪᖔᑦ

ᑐᑦᑕᓗᖕᓃᑦ

ᖃᐅᔨᒪᒍᕕᑦ ᖃᓄᖅ ᑐᑦᑕᕐᓂᖅ ᓴᓇᔭᕆᐊᒃᓴᖅ, ᓂᐅᕕᐊᒃᓴᕆᔪᓐᓇᖅᐸᑎᑦ ᐃᙱᖅᑎᓄᑦ ᐃᓱᒪᑕᓄᓪᓗ ᐅᕝᕙᓘᓐᓃᑦ ᐃᒃᓯᕙᐅᑕᐅᔪᓄᑦ, ᑖᒃᓱᒧᖓ ᑐᕌᕐᓗᓂ ᐅᕝᕙᓘᓐᓃᑦ ᐃᑭᐊᖅᑭᕕᒃᑯᑎᒍᑦ ᓲᕐᓗ BeatStars ᐊᒻᒪ BeatBrokers

ᐃᙱᐅᑎᓂᒃ ᓂᐅᕕᐊᒃᓴᖃᕐᓂᖅ

ᒫᓐᓇᐅᓕᖅᑐᖅ ᐱᒻᒪᕆᐅᔪᓐᓃᕋᓗᐊᖅᖢᓂ ᖃᖓᒃᑲᓐᓂᖅᑎᑐᑦ, ᐃᙱᐅᑎᓂᑦ ᓂᐅᕕᐊᒃᓴᖃᕆᐊᒃᓴᖅ ᓱᓕ ᐊᔪᕐᓇᙱᑦᑐᖅ, ᓈᓚᒃᑏᑦ ᐃᓕᖕᓂᑦ ᐃᒃᐱᒍᓱᑦᑎᐊᖅᐸᑦ ᐃᓕᖕᓂᑦ ᐃᑲᔪᕈᒪᑐᐊᖅᐸᑦ. ᐃᙱᐅᑏᑦ ᓂᐅᕕᐊᒃᓴᕆᔪᓐᓇᖅᐸᑦ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ ᓲᕐᓗ www.bandcamp.com ᐊᒻᒪ www.bandzoogle.com

ᑮᓇᐅᔭᓕᐅᖏᓐᓇᕐᓇᖅᑐᖅ ᓴᖅᑭᑦᑎᓂᕐᓗ

ᖃᖓᓕᒫᖅ ᐃᙱᐅᑏᑦ ᑐᓴᖅᓴᐅᒃᐸᑦ ᓈᓚᐅᑎᒃᑯᑦ, ᐃᙱᖃᑦᑕᕐᓂᒃᑯᓪᓗ, ᓂᐅᕕᕐᕕᖕᓂᓪᓗ, ᑕᓚᕖᓴᒃᑯᑦ, ᑕᕐᕆᔭᒐᒃᓴᒃᑯᑎᒍᓪᓗ, ᐃᒥᕐᕕᒃᑯᑎᒍᓪᓗ, ᖁᕕᐊᓱᓗᒃᑐᑎᒍᓪᓗ, ᑖᒃᑯᐊ ᐱᔾᔪᑎᒋᓪᓗᒋ ᒥᑭᑦᑐᒥᒃ ᐊᑭᓕᕈᔾᔭᐅᔭᕆᐊᖃᖅᐳᑎᑦ ᐊᑎᖃᖅᑐᖅ ᑮᓇᐅᔭᓕᐅᖏᓐᓇᕐᓇᖅᑐᖅ. ᐊᑭᓕᖅᑕᐅᒻᒪᕆᖁᓪᓗᑎᑦ ᑮᓇᐅᔭᓕᐅᖏᓐᓇᕐᓇᖅᑐᒃᑯᑦ, ᖃᐅᔨᒪᒻᒪᕆᒋᐊᖃᖅᐳᑎᑦ ᐋᖅᑭᒃᓱᖅᓯᒪᑦᑎᐊᕋᓗᐊᕐᒪᖔᑦ ᑲᑐᔾᔨᖃᑎᒌᒃᑯᑎᒍᑦ SOCAN, ᐅᖃᐅᓯᕆᒋᐊᓪᓚᖕᓂᐊᖅᑕᕗᑦ ᓴᖅᑭᔮᕐᓂᖓ 4. ᑮᓇᐅᔭᓕᐅᖏᓐᓇᕐᓇᖅᑐᒃᑯᑦ ᐊᖏᒡᓕᒋᐊᕈᑎ, ᐊᑐᒃᑲᓐᓂᕈᓐᓇᖅᐸᐃᑦ ᐃᙱᐅᓯᓕᐅᒃᑲᓐᓂᕐᓂᖅ, ᐃᓕᖕᓂᑐᐊᖑᙱᑦᑐᖅ, ᐊᓯᖏᓐᓄᓪᓗ ᐃᙱᖅᑎᓄᑦ, ᐃᙱᐅᑎᓂᓪᓗ ᓴᖅᑭᑦᑎᓲᓄᑦ. ᐃᙱᒃᑲᓐᓂᒻᒪᕆᖃᑦᑕᕆᑦ, ᐅᓄᖅᓱᐃᕐᓗᑎᑦ, ᖁᑦᑎᖕᓂᖅᓴᒃᑯᑎᒍᑦ ᐃᙱᖅᑎᐅᖃᑎᑎᑦ ᐱᓕᕆᖃᑎᒋᓗᒋᑦ.

ᐃᙱᐅᑎᓂᒃ ᓚᐃᓴᓐᓯᓕᐅᕈᑏᑦ

ᐃᙱᐅᑎᓂᒃ ᓚᐃᓴᓐᓯᓕᐅᕈᑎ ᐊᑑᑎᖃᖅᐳᖅ ᐊᓯᖕᓂᑦ ᐃᙱᐅᑎᒥᒃ ᐊᑐᕈᓐᓇᖅᑎᑦᑎᓂᖅ ᐊᑭᖃᙱᑦᑐᒧᑦ. ᐅᖃᐅᓯᕆᒃᑲᓐᓂᕐᓂᐊᖅᑕᕗᑦ ᑕᕐᕆᔭᐅᓯᖅ ᓴᖅᑭᒃᑲᓐᓂᖅᐸᑦ. ᑲᒻᐸᓂᑕᖃᐅᖅᐳᖅ Nagamo Publishing ᐊᒻᒪ MusicSupervisor.com ᐃᙱᐅᑎᓂᒃ ᐃᓕᐅᖅᑲᐃᕝᕕᒋᔪᓐᓇᖅᑐᒃᑯᑦ ᐃᑭᐊᖅᑭᕕᐅᑉ ᐅᖃᓕᒫᕈᑎᖏᑦᑎᒍᑦ ᐃᑲᔪᖅᑕᐅᔪᓐᓇᖁᓪᓗᑎᑦ. ᐱᓕᕆᐊᕆᔭᐃᑦ ᐱᒻᒪᕆᐅᒃᐸᑦ ᑕᓚᕖᓴᒃᑯᑎᒍᑦ ᑕᕐᕆᔭᐅᑎᒃᑯᓪᓗ ᐊᑐᒐᒃᓴᐅᒃᐸᑦ, ᐃᑲᔫᑎᔪᓐᓇᖅᐳᖅ ᓴᖅᑭᑦᑎᔪᓐᓇᕐᓃᑦ, ᐊᔪᙱᒻᒪᕆᒃᑐᖅ ᐃᙱᐅᑎᓂᒃ ᓴᖅᑭᑦᑎᓲᒥᒃ, ᓴᖅᑭᔮᑲᐅᑎᒋᔪᓐᓃᖅᑎᓪᓗᒍ ᒫᓐᓇᐅᔪᖅ ᑖᒃᑯᓂᖓ ᐃᑲᔪᖅᑎᓂᒃ.

ᓂᐅᕕᐊᒃᓴᑦ

ᐳᐃᒍᖅᑕᐃᓕᒋᑦ ᓈᓚᒃᑎᖁᑎᑎᑦ ᒪᓕᒃᑎᖁᑎᑎᓪᓗ ᐃᓕᖕᓂ ᓈᓚᒃᐳᑦ ᑕᐅᑐᒃᖢᑎᓪᓗ, ᑕᐅᑦᑐᖕᓂᑦ ᐱᐅᒃᓴᖅᐳᑦ ᖃᓄᖅ ᓂᐱᖃᕋᓗᐊᕐᒪᖔᖅᐱᑦ ᓈᓚᙱᓐᓂᖅᓴᐅᒻᒪᕆᒃᐳᑦ. ᑖᓐᓇ ᐊᑐᕐᓗᒍ “ᑕᐅᑦᑐᐃᑦ” ᓂᐅᕕᐊᒃᓴᖃᒃᑲᓐᓂᕈᓐᓇᖅᐳᑎᑦ. ᐊᔾᔨᖁᑏᑦ ᐊᑐᕐᓗᒍ ᐃᓕᓴᕐᓇᐅᓪᓗ ᐊᑐᕐᓗᒍ ᐅᕝᕙᓘᓐᓃᑦ ᐊᔾᔨᖁᑎᑦᑎᐊᕙᐃᑦ ᐊᑐᕐᓗᒍ ᓈᓚᒃᑎᖁᑎᑎᑦ ᒪᓕᒃᑎᖁᑎᑎᑦ ᐃᓕᖕᓄᑦ ᖃᒡᓕᔾᔫᒥᔪᓐᓇᖁᓪᓗᑎᑦ ᐅᕝᕙᓘᓐᓃᑦ ᐃᑭᐊᖅᑭᕕᐅᑉ ᓂᐅᕕᐊᒃᓴᖁᑎᐊᓂᑦ. ᐃᓕᖕᓂᑦ ᓴᖅᑭᒻᒪᕆᒍᒪᒍᕕᑦ ᐃᓂᒃᓴᕐᔪᐊᒥᒃ ᐊᑐᕆᐊᖃᖅᐳᑎᑦ ᓂᐅᕕᕐᕖᓪᓗ ᓇᐃᓴᐃᓐᓇᐅᔭᖅᐸᒡᓗᒋᑦ. ᐊᑐᕈᓐᓇᖅᐸᐃᑦ ᓴᖅᑭᑦᑎᓂᖅ ᐊᑐᖅᑕᐅᒻᒪᕆᒋᐊᓕᒃ ᐃᑭᐊᖅᑭᕕᐅᒃ ᓂᐅᕕᐊᒃᓴᖁᑎᖏᑦᑎᒍᑦ, ᑭᓯᐊᓂ ᖃᐅᔨᒪᔭᕆᐊᖃᖅᐳᑎᑦ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ ᖃᕋᓴᐅᔭᒃᑯᑎᒍᓪᓗ ᖃᐅᔨᒪᓗᑎᑦ.

ᑕᑯᒃᓴᐅᓂᐅᑉ ᓚᐃᓴᓐᓯᓕᐅᕈᑎ

ᐋᖅᑭᒃᓱᐃᔪᒪᖏᒃᑯᕕᑦ, ᓴᓇᔭᕆᐊᖃᖅᐳᑎᑦ ᐃᓕᖕᓂᑦ ᓂᐅᕕᐊᒃᓴᓕᐅᕆᐊᖃᖅᐳᑎᑦ, ᐊᔾᔨᖁᑎᕕᓪᓗ ᓚᐃᓴᓐᓯᖁᑎᖓᓂ ᓂᐅᕕᐊᒃᓴᖃᕈᓐᓇᖅᐳᑎᑦ ᑮᓇᐅᔭᓕᐅᕈᑎᒋᔭᖅᐱᑦ ᐊᖏᓂᖅᓴᕐᒥᒃ. ᑖᓐᓇ ᑐᑭᖃᖅᐳᖅ ᐃᓕᖕᓄᑦ ᓴᓇᓗᑎᑦ ᑮᓇᐅᔭᓕᐅᖅᑕᕕᑦ ᐃᓚᖓᓂᑦ ᐱᑖᕐᓗᓂ.

ᑮᓇᐅᔭᒃᑯᑎᒍᑦ ᐃᑲᔪᖅᑕᐅᓂᖅ

ᐃᙱᐅᓯᐅᖅᑏᑦ ᑮᓇᐅᔭᓕᐅᓲᖑᕗᑦ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ ᓈᓚᒃᑎᓂᑦ ᒪᓕᒃᑎᓂᓪᓗ ᑮᓇᐅᔭᒃᑯᑎᒍᑦ ᐃᑲᔪᖅᓱᖅᑕᐅᓪᓗᑎᑦ. ᒪᐅᓇ ᐃᓕᔪᓐᓇᖅᐸᑎᑦ ᓴᓇᓯᒪᔭᕐᓂᑦ (ᐃᙱᐅᓯᐅᖅᑕᐃᑦ, ᐊᐅᓚᔪᓕᐊᕆᓯᒪᔭᐃᑦ, ᓴᖅᑭᔮᑲᐅᑎᒋᔪᒃᑯᓪᓗ) ᒪᐅᓇ ᐃᑭᐊᖅᑭᕕᒃᑯᑎᒍᑦ www.patroon.com ᐅᕝᕙᓘᓐᓃᑦ www.twitch.com ᓈᓚᒃᑎᑎᑦ ᒪᓕᒃᑎᑎᓪᓗ ᐊᑭᓕᖅᓱᐃᔪᓐᓇᖅᐳᑦ subscribe ᓇᕿᓪᓗᒍ

ᐃᑭᐊᖅᑭᕕᒃᑯ ᓴᖅᑭᑦᑎᓂᖅ

ᒪᓕᒃᑎᖃᐅᕈᕕ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ, ᐱᓕᕆᔨᕐᔪᐊᒃᑯᓐᓂ ᐊᑭᓕᖅᑕᐅᔪᒪᓇᔭᖅᐳᑎᑦ ᓂᕈᐊᖅᑕᐅᓯᒪᔪᓄᑦ ᐱᖁᑎᖁᑎᖏᓐᓂᑦ ᐊᑐᕐᓗᑎᑦ ᓴᖅᑭᑦᑐᓕᕆᓃᑦ ᐊᑐᕐᓗᒍ. ᐳᐃᒍᖅᑕᐃᓕᒋᑦ ᐱᖁᑎᖏᓐᓂ ᐊᑭᓖᓇᔭᖅᑐᑦ ᑮᓇᐅᔭᕐᒥᐅᙱᑦᑐᖅ!

ᓴᖅᑭᔮᕐᓂᖅ

ᐃᙱᖅᑎᒻᒪᕆᙳᕐᓂᕈᕕᑦ, ᐱᓕᕆᔪᓐᓇᖅᑕᕕᑦ ᐊᓯᖏᓐᓂᒃ ᐱᑕᖃᖅᐳᖅ ᒪᓕᒃᑎᑎᑦ ᐊᔾᔨᓕᐅᕆᓯᒪᔪᕐᒥᒃ ᐊᑐᖅᑎᓪᓗᒍ (ᐊᑎᖃᖅᐳᖅ “ᓴᖅᑭᔮᕐᓂᖅ”) ᐃᓕᖕᓂᑦ ᐊᑐᕐᓗᑎᑦ ᐃᑭᐊᖅᑭᕕᒃᑯᑦ ᒪᐅᓇ www.cameo.com ᐅᕝᕙᓘᓐᓃᑦ www.memo.me.

Alianait x Hitmakerz - Episode 3: Why do I need to ask permission to do covers and what do I do if someone wants to use my music?

Featured Artist: Joey Nowyuk

In this episode, we’ll talk about why you need to ask permission to do covers and what to do if someone wants to use your music.

Before we start, remember that this video is made from an artist’s perspective, since I’m not a lawyer. Please always talk to a trusted advisor or entertainment lawyer if you have any specific questions about legal contracts. 

Watch the full English video here: https://youtu.be/QLVvOenrr_0

Watch the full Inuktitut video here: https://youtu.be/UbNvQykuPd4

Alright, let’s get started.

Under Canadian law, whenever someone writes a song, they legally own it. This means that if you want to record a song that another artist wrote and put it up on streaming platforms, you’ll need to get the songwriter’s permission and possibly pay them to use their song. This is fair because the songwriter put a lot into writing the original song, and if you make money off it, a part of that should go back to them.

If you use the song without permission, it could be considered “copyright infringement” which is illegal.

Now that we understand why you always need to always ask permission to use other peoples songs, you might be wondering:

How do I get permission?

In order to do this, you’ll need to get a “mechanical” license from the original songwriters. The songwriter might be the artist, but sometimes they’re not, so you might need to do some research. If the songwriter has passed away, you'll need to ask someone in his or her family. These mechanical licenses are only for audio recordings. If you’d like to record a music video for the cover song, you’ll also need to get a “synchronization” license.

The process of getting permission to use songs doesn’t need to be too complicated. You can always just ask the songwriter in an email if you can use their song to record and put on an album. As long as there’s proof or a paper trail, That simple email is technically a contract.

The songwriter might want to get paid to use their song. If that’s the case, you can negotiate a deal with them. The price can be anything you agree to, based on the popularity of the song as well as the budget you have available.

Always make sure to get the agreements in writing. Even if it is just a Facebook message or an email. If ever there is a problem down the road, you want to make sure you have proof of permission to use the song. There are tons of stories about songwriters and artists getting screwed over because they made “handshake” deals, so make sure to protect yourself.

If the song is registered properly, you can usually get the license through CMRRA.

Also, if you’re working with traditional or cultural songs, make sure you have permission from the Elders, families, or communities where the songs come from. Using traditional songs is a sensitive topic because it’s easy to hurt people's feelings, so whatever you end up doing, try to make sure you have a clear agreement with the knowledge keepers of the song — and always make sure to get it in writing!

In the end, using someone else’s song is about being respectful. Imagine how you would feel if someone used your song and didn’t pay you? Or worse, what if you really didn’t want them to use it?

Ok — Let’s flip the scenario now and talk about what to do if someone wants to use your song?

Like we talked about earlier, if someone wanted to use your song, they would legally need to ask you (or CMRRA) for permission first, and you have the right to say either yes or no.

You can ask the person about what their plans for the song are and how you will be compensated for allowing them to use it.

You can also ask for money for a license. The price of a license can be anywhere between $100 and $10,000 or more. It’s a negotiation that completely depends on what you think is fair and the budget of the person who wants to use your song.

You should always ask them to make sure they put your name in the credits and ask that they register the song properly so that you can collect any songwriting royalties.

The next step is to write a licensing agreement. Again, this can be a simple email, or, if you want to make sure it’s done correctly, it can be done by a record label or entertainment lawyer.

Keep in mind that lawyers are very expensive, so it might not be worth it. That being said, there are many local resources you can ask for help, including Alianait, Qaggiavuut, your local Economic development officers, or local record labels, like Hitmakerz.

The agreement you make should include: 

• Which song are we talking about specifically?

• Will there be any changes to the lyrics or arrangement?

• Who is going to use it? 

• What are they using it for? 

• Where are they going to use it?

• How long do they get to use it? (Like 1 year, 2 years, forever?)

• Where will the song be released? (In Nunavut only, across Canada, or internationally?)

• Lastly, how much money will you get paid? (Again, this will depend on their budget and how much you feel it is worth. The final amount is whatever you agree on.)

Once you have the agreement in place, you’re all good to go. Again, make sure to talk to a record label or entertainment lawyer if you have any questions about your specific situation.

We believe you’re capable of having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujanamiik!

ᑕᑯᓇᒐᖅ 3: ᓱᒻᒪ ᐊᐱᕆᒋᐊᖃᖁᖓ ᓂᐱᓕᐅᕈᒪᒍᒪ ᐃᖏᐅᓯᓕᐊᕆᓯᒪᖏᑕᓐᓂᑦ ᐊᒻᒪᓗ ᓱᒐᔭᖁᒐ ᐃᖏᐅᓯᓕᐊᕆᓯᒪᔭᕋ ᓂᐱᓕᐅᖅᑕᐅᔪᒪᓐᓂ?

ᐃᓕᑕᕆᔭᐅᔪᖅ ᔫᐃ ᓇᐅᔪᒃ

Hi ᐊᑎᕋ Joey Nowyuk ᐃᖏᖅᑎᐅᔪᖓ ᐃᖏᒐᓕᐅᐸᑐᖓᓗ ᐸᓐᓂᖅᑑᒥᐅᑕᐅᔪᖓ

ᑕᕝᕙᓂ ᐅᖃᐅᓯᖃᓂᐊᖅᑐᒍ ᓱᒻᒪ ᐊᐱᕆᒋᐊᖃᒻᒪᖔ ᓂᐱᓕᐅᕆᔪᒪᓐᓂᕈᕕᑦ ᐃᖏᐅᓯᒥ ᑎᑎᕋᓯᒪᖏᑕᓐᓂᒃ ᐊᒻᒪᓗ ᓱᒍᓐᓇᒪᖔᑉᐱ ᐃᖏᐅᓰᑦ ᐊᑐᖅᑕᐅᔪᒪᑉᐸᑦ.

ᐅᖃᖄᓗᖓ ᐅᓇ ᓴᓇᔭᐅᓯᒪᔪᖅ ᐃᑲᔪᕈᒪᓪᓗᑕ ᑭᓯᐊᓂ ᒪᓕᒐᓂᑦ ᖃᐅᔨᓴᑎᐊᕆᑦ ᐅᖃᖃᑎᖃᓪᓗᑎᓗ ᒪᓕᒐᓂᒃ ᖃᐅᔨᒪᔪᓂ  ᐊᐱᖅᑯᑎᓴᖃᕈᕕᑦ.

ᐊᑏ ᐱᒋᐊᓕᖅᑕ

ᑲᓇᑕᒥ ᒪᓕᒐᖓ ᒪᓕᓪᓗᒍ, ᑭᓇᑐᐃᓐᓇ ᐃᖏᐅᓯᒥ ᑎᑎᕋᒐᐃᒐᒥᒃ ᑖᓐᓇ ᑎᑎᕋᑐᖅ ᐱᖃᑦᑐᖅ ᐃᖏᐅᓯᒥ ᐊᒻᒪᓗ ᐊᐅᓚᑦᑎᔪᖅ ᖃᓄᖅ ᑖᓐᓇ ᐃᖏᐅᓯᖅ ᐊᑐᖅᑕᐅᒍᓇᒻᒪᖔ. ᓂᐱᓕᐅᕈᒪᓂᕈᕕ ᐃᓄᒻᒧᑦ ᐊᓯᐊᓄ ᑎᑎᕋᑕᐅᓯᒪᔪᒥᒃ, ᓴᕿᕈᒫᓂᐊᕈᕕᐅ ᐊᖏᖅᑕᓯᒪᒋᐊᖃᑐᑎ ᐊᒻᒪᓗ ᐊᑭᓖ(giaqa)ᑐᐃᓐᓇᕆᐊᖃᑐᑎ. ᑕᐃᒫ ᐊᑲᐅᔪ ᐃᖏᐅᓯᓕᐅᑐᓂ ᐱᔭᕆᐊᑭᖏᒻᒪ ᑮᓇᐅᔭᓕᐅᓂᐊᕈᕕᑦ, ᐃᓚᖓ ᑮᓇᐅᔭ ᑕᐃᓱᒧᖔᕆᐊᖃᖅᑐ.

ᐊᑐᕈᕕᑦ ᐃᖏᐅᓯᒥ ᐊᖏᖅᑕᐅᓯᒪᖏᓗᑎ ᐊᑲᐅᖏᓕᐅᕈᑎᐅᒍᓇᖅᑐ ᒪᓕᒐᓂᓪᓗ ᓱᕋᐃᒍᓇᖅᑐᑎ

ᑕᐃᒪ ᖃᐅᔨᒪᓕᕋᑦᑕ ᓱᒻᒪ ᐊᐱᕆᒋᐊᖃᒪᖔ ᑕᐃᒪᑭᐊ ᐊᐱᕆᒐᔭᖅᑭ ᑭᓇᒧ?

ᐊᖏᕈᑎᒥᒃ ᑕᐃᔭᐅᓲᑦ "mechanical license" ᐱᒍᒪᒐᔭᖅᑐᑎᑦ ᐊᐱᕆᓗᒋᑦ ᑎᑎᕋᑏᑦ ᐃᖏᐅᓯᕐᒥ. ᑎᑎᕋᖅᑎ ᐃᖏᖅᑎᐅᒍᓇᖁ ᐃᓛᓂᒃᑯ ᑭᓯᐊᓂ ᐃᖏᑎᐅᕙᖏᒻᒥᔪᑦ. ᑎᑎᕋᑐᒥᓂᖅ ᐃᓄᒍᓃᓯᒪᑉᐸ ᐊᐱᕆᒋᐊᖃtuᑎ ᐃᓚᖏᓐᓄᑦ. ᐊᖏᕈᑏᑦ ᑖᑯᐊ ᓂᐱᓕᐅᕈᒪᓗᓂ ᐊᑐᕋᔭᖁ.

ᑕᕆᔮᓴᓕᐅᕈᒪᒍᕕᑦ "music video" ᐊᔾᔨᒋᖏᑕᖓᓂ ᐊᖏᕈᑎᒥᒃ ᐱᒋᐊᖃᒥᔪᑎ.

ᐊᖏᕈᑎᒥᒃ ᐱᒐᓱᓪᓗᓂ ᓇᓗᓇᕈᓐᓇᑐᖅ ᑭᓯᐊᓂ ᑕᐃᒫᖑᒋᐊᑐᖏᑦᑐᖅ. ᐊᐱᕆᑐᐃᓐᓇᕈᓇᒥᔪᑎ ᑎᑎᕋᓯᒪᔪᖅ ᐃᖏᐅᓯᒥᒃ ᑎᑎᕋᕕᒋᓗᒍ ᖃᕋᓴᐅᔭᒃᑯ ᐅᕙᓗ ᐅᖄᓚᐅᑎᒃᑯ ᐊᐱᕆᓗᒍ ᐃᖏᐅᓯᖓ ᓂᐱᓕᐅᕈᒪᓗᒍ. ᐊᖏᖅᓯᒪᔪᒥᒃ ᓴᖅᑭᔮᑐᖃᑐᐊᖃ ᑖᓐᓇ ᐊᑐᕈᓐᓇᑐᖅ ᐊᖏᕈᑎᒧ.

ᑖᓐᓇ ᑎᑎᕋᓯᒪᔪᖅ ᐊᑭᓕᖅᑕᐅᒍᒪᑐᐃᓐᓇᕆᐊᖃᑦᑐ. ᑕᐃᒫᖑᓂᖅᑲ ᓂᓪᓕᐊᖃᑎᒋᓗᒍ ᐊᖏᖃᒋᒌᓗᓯ ᐊᖅᑮᒍᓇᖅᒍᓯ. ᐊᑭᖓ ᐊᖏᖃᑎᒌᓗᓯᐅᒃ ᐃᓱᒪᒋᓗᒍ ᑖᓐᓇ ᐃᖏᐅᓯᖅ ᖃᐅᔨᒪᔭᐅᓂᖓ ᐊᒻᒪᓗ ᑮᓇᐅᔭ ᐊᒥᓲᓂᖓ ᐊᑐᕈᓇᖅᑕᐃᑦ ᐃᓱᒪᒋᓗᒍ.

ᐊᖏᔅᓯᒪᔪᒥ ᑎᑎᕋᓯᒪᔪᒥᒃ ᐱᓯᒪᑦᑎᒍᕕ ᐊᑲᐅᓂᐊᑐᖅ ᐊᓪᓛ ᑎᑎᖃᑐᐃᓐᓇᐅᒐᓗᐊᖅᑲ ᖃᕋᓴᐅᔭᒃᑯ ᐅᕝᕙᓗ facebook-ᑯᑦ.

ᐊᑲᐅᖏᓕᐅᕈᑎᒥᒃ ᓴᖅᑭᑐᖃᓐᓂᖃ ᐱᓯᒪᑦᑎᒍᒪᒐᔭᖅᑐᑎ ᑎᑎᖃᒥᒃ ᐊᖏᖅᓯᒪᔪᒥ. ᐊᒥᓱᑦ ᑐᓴᖃᑦᑕᓯᒪᔭᕗᑦ ᑕᐃᒫ ᐊᑲᐅᖏᓕᐅᕈᑎᑖᐸᑦᑐᑦ ᑕᐃᒫᖃᐅᔨᓴᑎᐊᖁᔨᕗᒍ.

ᐃᖏᐅᓯ ᐊᖅᑭᑕᐅᓯᒪᑉᐸ ᐊᖏᕈᑎᑖᕕᓴᐅᓲᖅ CMRRA-ᑯᑦ

ᐊᒻᒪᓗ ᐃᖏᐅᓯᑐᖃᓂ ᐊᑐᕈᒪᓂᐊᕈᕕᑦ ᐊᐱᕆᓯᒪᓗᑎᑦ ᐃᓐᓇᒻᒪᕆᓐᓂ ᐅᕙᓗ ᓄᓇᓕᒻᒥᒃ ᐃᓄᓐᓂ ᑖᓐᓇ ᐃᖏᐅᓯᖅ ᓇᑭᖔᕕᖓᓂ. ᐃᖏᐅᓯᑐᖃᐃᑦ ᐊᑐᐃᓂᖃᕈᓇᑐᐃᑦ ᖃᓄᑐᐃᓐᓇᖅ ᑕᐃᒫ ᐃᓱᒪᒋᓗᒍ ᐊᖏᖅᑕᐅᓯᒪᑎᐊᒪᖔᑉᐱᑦ ᖃᐅᔨᓴᑎᐊᖃᑦᑕᕆᑦ.

ᐃᖏᐅᓯᒻᒥᒃ ᐊᑐᓪᓗᓂ ᐊᖏᖃᑎᒌᓯᒪᑎᐊᓗᓂ ᐊᑲᐅᓂᓴᐅᓂᐊᑐᖅ. ᐃᓱᒪᓯᓐᓈᓗᑎᑦ ᖃᓄᖅ ᐃᑉᐱᓂᐊᒐᔭᖅᑭ ᐃᖏᐅᓰᑦ ᐊᑐᖅᑕᐅᓂᖅᑲ ᑮᓇᐅᔭᓕᐅᓂᐊᖕᒋᒃᑯᕕ, ᐅᕙᓘᓃ ᐊᖏᓯᒪᖏᓪᓗᑎ ᐊᑐᖅᑕᐅᓂᖃ

ᑕᐃᒪᓕᑭᐊ ᐅᖃᐅᓯᕆᓕᒥᓚᕗᑦ ᐃᖏᐅᓰᑦ ᐊᑐᖅᑕᐅᖔᕈᒪᓐᓂᖃ?

ᑕᐃᒫᑕᐅᖅ ᑭᓇᑐᐃᓐᓇᖅ ᐃᕝᕕ ᐃᖏᐅᓯᖓᓂ ᐊᑐᕈᒪᔪᖅ ᐃᓕᓐᓂᒃ ᐊᐱᕆᒋᐊᖃᒥᔪ (ᐅᕙᓗ CMRRA-ᑯᑦ) ᐊᖏᑕᐅᓯᒪᒋᐊᖃᑎᓪᓗᓂ ᐃᖏᐅᓯᕆᒐᕕᐅᒃ ᐊᖏᕈᓐᓇᑐᑎ ᐋᒑᕈᓐᓇᕆᓪᓗᑎᓗ.

ᐊᐱᕆᒍᓇᖅᑐᑎ ᖃᓄ ᐊᑐᑕᐅᒐᔭᒪᖔᖅ ᐃᖏᓰᑦ ᐊᒻᒪᓗ ᖃᓄᖅ ᑮᓇᐅᔭᓕᐅᕈᑎᒋᒐᔭᕿᐅ

ᐱᒍᒪᒍᓐᓇᒥᔪᑎ ᑮᓇᐅᔭᓂᒃ ᐊᖏᕈᑎᐅᔪᓂ. ᐊᖏᕈᑏᑦ ᐊᑭᖃᓲᑦ ᖃᑦᑎᑐᐃᓐᓇᓂ $100-$10,000 ᐅᖓᑖᓄᓪᓘᓃ. ᑕᒪᓐᓇ ᓂᓪᓕᐊᒍᑎᒋᖄᕋᔭᑕᐃ ᐃᕝᕕᑦ ᐊᑲᐅᒋᔭᖓᓂ ᐊᑐᓪᓗᑎᑦ. 

ᐊᐱᕆᖃᑦᑕᓗᑎᓗ ᓇᓗᓇᐃᓯᑎᐊᖁᓗᒋᑦ ᐊᑐᖅᑕᐅᔪᖅ ᐃᖏᐅᓯ ᑎᑎᕋᓯᒪᒐᕕᐅᒃ ᐊᒻᒪᓗ ᓇᐅᒃᑯᑐᐃᓐᓇ ᐊᕿᑎᐊᖁᓗᒍ ᑎᑎᕋᑎᓄᑦ ᑮᓇᐅᔭᐃᑦ ᓄᐊᑕᐅᓲᑦ ᐱᑦᑎᐊᕋᔭᕋᕕᒋᑦ.

ᑕᐃᒪ ᑎᑎᕋᕆᐊᖃᕋᔭᒥᔪᑎᑦ ᐊᖏᓯᒪᓂᕋᓗᑎ. ᑕᐃᒫᑕᐅ ᖃᕋᓴᐅᔭᒃᑯ ᐅᖄᓚᐅᑎᑯᓘᓃᑦ ᑎᑎᕋᕕᒋᒍᓇᒥᔭᑎ ᐅᕝᕙᓗ ᐋᕿᑎᐊᑲᓐᓂᖁᒍᕕᐅ ᓂᓪᓕᐊᖃᑎᖃᕈᓐᓇᑐᑎ ᑕᒪᒃᑯᐊ ᒪᓕᒐᖏᑕ ᒥᓵᓄ ᖃᐅᔨᒪᔪᒥᒃ.

ᑖᒃᑯᐊ ᒪᓕᒐᓂ ᖃᐅᔨᒪᔪᑦ ᐊᑭᑭᖏᒻᒪᑕ ᐃᖃᐅᒪᓗᑎ. ᐊᓯᖏᓐᓂ ᐊᐱᕆᒍᓐᓇᒥᔪᑎ ᐃᑲᔪᑕᐅᒍᒪᓗᑎᑦ, ᐃᓚᖏ ᐅᕝᕙᐅᕗᑦ, ᐊᓕᐊᓇᐃᑦ (Alianait), ᖃᒡᒋᐊᕘᑦ (Qaggiavuut), ᐊᓪᓚᑏᑦ ᒐᕙᒪᑯᓐᓂ (EDO) ᐊᒻᒪᓗ ᓂᐱᓕᐅᕕᐅᓲᓂᑦ ᓲᕐᓗ Hitmakerz.

ᐊᖏᕈᑎᓕᑕᐃᑦ ᐅᑯᓂᖓ ᐱᑕᖃᕆᐊᓕᒃ..

• ᖃᓄᐃᑦᑐ ᐃᖏᐅᓯ ᐅᖃᐅᓯᕆᕕᐅ..

• ᐊᓰᔨᕋᔭᖃ ᐃᖏᐅᓯᐅ ᐅᖃᐅᓯᖏᑦ ᐅᕝᕙᓗ ᐋᕿᓯᒪᓂᖓ..

• ᑭᐊ ᐊᑐᕋᔭᖃᒍ..

• ᑭᓱᒧ ᐊᑐᖅᑕᐅᒐᔭᖃ

• ᓇᒥ ᐊᑐᖅᑕᐅᒐᔭᖃ..

• ᖃᓄᑎᒋ ᐊᑯᓂ ᐊᑐᖅᑕᐅᒐᔭᖃ (ᐊᕐᕌᒍᑦ ᐊᑕᐅᓯ ᐅᕝᕙᓗ ᒪᕐᕉ ᐅᕝᕙᓘᓃ ᐊᑐᖅᑕᐅᖏᓇᕈᓇᖃ)

• ᓇᐅᒃᑯ ᓴᕿᑕᐅᓛᖃ (ᓄᓇᕗᒻᒥ ᑲᓇᑕᒥ ᐅᕝᕙᓗ ᓇᒥᓕᒫᖅ)

• ᖃᑦᑎᒥ ᐅᕝᕙᓗ ᖃᓄᖅ ᐊᑭᓕᑕᐅᒐᔭᕿ (ᑖᓐᓇ ᐊᖏᕈᑎᒋᓯᒪᓗᒍ)

ᑖᒃᑯᐊ ᑐᑭᓯᓯᒪᓕᕈᕕᒋᑦ ᐊᖏᕈᑎᒥᒃ ᑐᓂᓯᒍᓇᓯᕗᑎ. ᓂᓪᓕᖃᑎᖃᖄᓗᑎ ᖃᐅᔨᒪᔪᒥᒃ ᖃᓄᑐᐃᓐᓇ ᑐᑭᓯᖏᒃᑯᕕ ᐊᐱᖁᑎᔅᓴᖃᕈᕕᓪᓘᓃ. 

ᐃᓕᓐᓂ ᐅᑉᐱᕈᓱᑉᐳᒍᑦ ᐃᖏᖅᑎᐅᓗᑎ ᐃᓅᓯᕆᒍᓐᓇᕋᕕᐅᒃ, ᐅᓇ ᑕᑯᓐᓇᕋᑖᖅᑕᓯ ᑐᑭᓯᓇᖅᑐᓴᐅᕗᖅ. ᖁᔭᓐᓇᒦ ᑕᑯᓐᓇᕋᑖᕋᔅᓯ! ᐊᐱᖁᑎᖃᕈᕕᑦ ᐅᕝᕙᓗ ᖃᐅᔨᒃᑲᓐᓂᕈᒪᒍᕕᑦ, ᖃᕋᓴᐅᔭᒃᑯᑦ www.hitmakerz.com/alianait. ᖁᔭᓐᓇᒦᒃ

Alianait x Hitmakerz - Episode 4: How do I make sure I’m collecting all my royalties?

Featured Artist: Shauna Seeteenak

If you’re an artist, collecting royalties might be overwhelming. It can easily get very complicated, so let’s try to simplify it here in this video.

Watch the full English video here: https://youtu.be/c154dXxpU-o

Watch the full Inuktitut video here: https://youtu.be/6MiEIpMqI-Q

First off, what are music royalties?

Basically, a music royalty is a tiny amount of money that is generated when someone listens to your song, either at concerts, on Spotify, on the radio, or in tv shows and films. The amount is very small, but as people begin playing your song a lot, the royalties start to add up. They’re automatic, too, so you don’t need to do anything to continue making money through your songs after they're registered.

Before we move on, let’s talk about the three main types of royalties:

1. “Composition” royalties for the songs you write;

2. “Performance” royalties for singing or playing on a recording; and

3. “Ownership” royalties for selling a recording that you own.

If you are the only songwriter, performer, and owner of a recorded song (which is called a “master”), then you’re eligible to collect 100% of all three royalties.

If someone else helped write the song, then you would split the songwriting royalties with them. If someone else performed on the track with you, then you would split the Performance royalties with them.

If someone else co-owns the recording, then you would split the Ownership royalties with them. The “owner” of a recording is usually the person who paid for it to be made. If you’re a producer or if you paid for the studio time, this would be you. If a label paid for it then it’d be them. (By the way, at Hitmakerz, we always make sure that the artist keeps their masters because the ownership is very valuable.)

In order to begin collecting royalties, it’s important that you register your songs properly.

In Canada, that means signing up with SOCAN and making sure to register each song. SOCAN will give each song a unique “ISWC” code which can be used to track down where your music is being played so you can get paid.

Signing up with SOCAN is the first step in collecting your royalties (https://www.socan.com/WriterApplicant/). It also helps make the songs more easily available for licensing and sub-publishing, which we talked about in a previous video.

Once the songs are registered with SOCAN, you’ll be collecting your Songwriting royalties. However, in order to collect the remaining Performance and Ownership royalties, there’s a handful of other organizations — called Collective Management Organizations, or CMO’s — where you’ll need to register the songs as well.

We’ll now show you 3 ways to do this.

The option that’s right for you will depend on what stage you’re at in your music career.

First, if you’re just starting out as an artist and you don’t have a lot of songs out yet, the simplest way to collect all of your royalty money is probably through your digital distributor.

You see, in order for your music to generate royalties through streaming, they have to be available on platforms like Spotify and Apple Music. In order to get your music up onto those platforms, you need to use a digital distributor like CD Baby or Tunecore. Both of these platforms have a “pro publishing” option which collects all your remaining royalties for you (as long as they’re registered with SOCAN, of course). If you choose this option, you can feel pretty confident that you’re collecting all your royalties.

Second, if you have some music on streaming platforms and you’ve already registered them with SOCAN, you can use a website called SongTrust to collect all your remaining royalties (https://app.songtrust.com/signup/?_ga=2.153564926.731270773.1643749716-1330770019.1642603210&_gac=1.188634458.1643749716.Cj0KCQiA0eOPBhCGARIsAFIwTs4GLE2a50YMNO6G5EfGKfmiOGYSIVC7tWEYhsBRAhfnMnAdtkVt4kMaApbXEALw_wcB)

Third, if you’ve got a big catalogue or if you’re working with a team or label, the best option might be to sign up and register your songs with each of the different organizations individually.

The organizations we recommend signing up with are: 

• ACTRA RACS (Performance, https://actraracs.ca/membership/become-a-member/performer-signup/)

• CMRRA (Performance, Mechanical, https://www.cmrra.ca/affiliation-agreement/)

• ConnectMusic (Ownership, https://portal.connectmusiclicensing.ca/Account/RegisterConnect)

• LyricFind (Performance, https://dashboard.lyricfind.com/publisherRegistration/)

To see an overview about how to do this, go each website link listed above.

This third option is definitely more complex and requires more administration work, but it also makes your catalogue information easier to access and gives you more control over which organization collects what.

In order to collect as much of your royalties as possible, It’s a great idea to create a list of all your songs, including information about who wrote each song, who performed on it, and who owns the recording. Setting up a list (or “catalogue”) like this takes work, but it will help you stay organized over time.

Keep in mind too that in order to collect the royalties from your concerts, you’ll also need to register each performance with SOCAN.

At some point in your career, you’ll hopefully have a manager or label to help you manage your catalogue. But whatever way you choose, remember that collecting royalties is important, because they are a great revenue stream that can help you make a living as an artist.

The songs can continue to make money for you forever, as long as they continue to be played, and as you write more songs and become more successful, the money you make from royalties will only grow.

We believe you’re capable of having an amazing music career, and we hope you found this episode helpful! Thank you for watching! If you have any questions or if you’d like additional resources, please go to www.hitmakerz.com/alianait. Qujanamiik!

ᑕᑯᓐᓇᒐᖅ 4 = ᖃᓄᖅ ᖃᐅᔾᓂᐊᖁᖓ ᑮᓇᐅᔭᓂᒃ ᓄᐊᑦᑎᒪᖔᑕ ᐃᖏᐅᓯᒃᑲ?

ᐃᓕᑕᕆᔭᐅᔪᖅ ᔫᐃ ᓇᐅᔪᒃ

ᐃᖏᖅᑎᐅᒍᕕᑦ ᓄᐊᑦᑎᕙᓪᓕᐊᓲᖑᓗᑎᑦ ᑭᓇᐅᔭᓂᒃ ᐱᒡᒐᓇᕈᓐᓇᖅᑐᖅ. ᓇᓗᓇᕈᓐᓇᑦᑐᖅ ᐊᑏ ᑕᕐᕆᔮᓴᒃᑯᑦ ᐋᕿᑎᐊᕋᓱᓪᓚᕗᑦ.

ᓯᕗᓪᓕᖅᐹᒥ ᖃᓄᖅ ᐃᖏᐅᓰᑦ ᑮᓇᐅᔭᓂᒃ ᓄᐊᑦᑎᕙᓪᓕᐊᕙᑉᐸᑦ?

ᐃᒫᖑᕗᖅ..ᑮᓇᐅᔭᖅ ᓄᐊᐸᓪᓕᐊᒐᓛᐸᑦᑐᖅ ᐃᖏᒐᐃᑦ ᑐᓵᔭᐅᒐᐃᒐᒥ Spotify-ᑯᑦ, ᓈᓚᐅᑎᒃᑯᑦ, TV-ᑯᑦ ᐅᕝᕙᓗ ᑕᕐᕆᔮᓴᒃᑯᑦ. ᖃᑦᑏᓇᐅᒐᓗᐊᑐᑎ ᑭᓯᐊᓂ ᑐᓵᔭᐅᖃᑦᑕᓕᖃᑕ ᐃᖏᒐᑎᑦ ᓄᐊᑉᐸᓕᐊᒍᓐᓇᑦᑐ. ᓱᒋᐊᑐᖏᓚᑎ ᑮᓇᐅᔭᓂᒃ ᓄᐊᑦᑎᕙᓪᓕᐊᓗᑎᑦ ᐃᖏᐅᓯᑎᑦ ᐋᕿᓯᒪᑦᑎᐊᖃᑕ.

ᐊᓯᐊᓅᓚᐅᖏᓂᑎᓐᓂ ᐅᑯᐊ ᐱᖓᓱᑦ ᐅᖃᐅᓯᕆᑲᐃᓐᓇᓚᕗᑦ ᓄᐊᑦᑎᔪᑕᐅᒍᓐᓇᑦᑐᑦ.

1. ᑎᑎᕋᖅᑎᓄᑦ. ᐃᖏᐅᓯᓄᑦ ᐃᕝᕕᑦ ᑎᑎᕋᖅᓯᒪᔭᖏᓐᓄᑦ

2. ᐃᖏᖅᑎᓄ. ᐃᖏᕈᕕᒃ ᐊᒻᒪᓗ ᓂᐱᓕᐅᓯᒪᒍᕕ; ᐊᒻᒪᓗ

3. ᓇᒻᒥᓂᓕᓐᓄᑦ. ᓂᐅᕕᐊᓴᖃᓪᓗᑎᑦ ᐃᕝᕕᑦ ᐃᖏᒐᖏᓐᓂᑦ ᓂᐱᓕᐅᓯᒪᔪᓂ.

ᑎᑎᕋᖅᓯᒪᒍᕕᑦ, ᐃᖏᖅᑎᐅᒍᕕᓪᓗ ᓂᐱᓕᐅᓯᒪᔪᒥᒃ ᐊᒻᒪᓗ ᓇᒻᒥᓂᖁᑎᖃᕈᕕᑦ ᓂᐱᓕᐅᓯᒪᔪᒥᒻ (ᑕᐃᔭᐅᓲᖅ "master") ᑕᕝᕙ ᐱᔪᓐᓇᓂᐊᖁᑎ () ᑮᓇᐅᔭᓂᒃ ᓄᐊᑉᐸᓕᐊᔪᓂᒃ.

ᐃᑲᔪᖅᑕᐅᓂᕈᕕᑦ ᑎᑎᕋᑎᓪᓗᑎ ᐊᕝᕙᓗᐊᖏᓐᓂᒃ ᐱᒐᔭᑐᑎᑦ ᑎᑎᕋᖅᑎᓄᑦ ᓄᐊᑉᐸᓕᐊᔪᓂᒃ,

ᐊᓯᐊᓂᒃ ᐃᖏᖃᑎᖃᕈᕕᑦ ᐊᕝᕙᓗᐊᖏᓐᓂᑦ ᐱᒐᔭᑐᑎᑦ ᐃᖏᖅᑎᓄ ᓄᐊᑉᐸᓕᐊᔪᓂ.

ᓂᐱᓕᐅᓯᒪᔭᐃ ᓇᒻᒥᓂᓪᓚᕆᒋᖏᑯᕕᐅ ᐊᕝᕙᓗᐊᖏᓐᓂᒃ ᐱᒐᔭᑐᑎ ᓇᒻᒥᓂᓕᓐᓄᑦ ᓄᐊᑉᐸᓕᐊᔪᓂᒃ. 

ᓇᒻᒥᓂᖁᑎᓖᑦ ᑕᐃᒃᑯᐊ ᐊᑭᓖᓯᒪᔪᑦ ᓴᓇᔭᐅᕙᓪᓕᐊᑎᓪᓗᒋ ᓂᐱᓕᐅᓯᒪᔪᑦ. ᐋᕿᓱᐃᓯᒪᒍᕕᑦ() ᐅᕝᕙᓗ ᐊᑭᓖᒍᕕᑦ ᓂᐱᓕᐅᖅᕕᒻᒥ ᑕᕝᕙ ᐃᕝᕕᐅᒐᔭᖅᑐ. ᐊᑭᓕᖅᑕᐅᑉᐸ ᐃᕝᕕᑦ label-ᖓᓄᑦ ᑕᐃᒃᑯᐊ ᓇᒻᒥᓂᖅᑖᕈᓐᓇᖅᑐᑦ (ᐊᒻᒪᓗ Hitmakerz-ᑯᓐᓂ ᓇᒻᒥᓂᖃᑎᐸᑦᑕᕗᑦ ᐃᖏᖅᑏᑦ ᐃᖏᐅᓯᖏᓐᓂᑦ ᓇᒻᒥᓂᖃᕐᓂᖅ ᐊᑑᑎᖃᑎᐊᖓ.

ᑮᓇᐅᔭᓂᒃ ᓄᐊᑦᑎᒍᒪᓂᐊᕈᕕᑦ ᐃᖏᐅᓯᑎᑦ ᓇᒧᖓᒪᖔᑕ ᖃᐅᔨᓴᑎᐊᓪᓗᑎ.

ᑲᓇᑕᒥ  SOCAN-ᑯᑦ ᐊᑎᓕᐅᕐᓗᑎ ᐊᒻᒪᓗ ᐃᖕᒋᒐᑎᑦ ᐋᕿᓪᓗᒋᑦ() 

SOCAN ᖃᐅᔨᓴᑎᐊᓲᖅ ᓇᒥ ᐃᖏᒐᑎᑦ ᑐᓵᔭᐅᒻᒪᖔᑕ ᐊᑭᓕᖅᑕᐅᓂᐊᕋᕕᑦ

ᓯᕗᓪᓕᖅᐹᒥ ᐊᑎᓕᐅᓗᑎᑦ SOCAN-ᑯᑦ ᓄᐊᑦᑎᕙᓕᐊᓂᐊᕋᕕᑦ. ᐱᔭᕆᐊᑭᓐᓂᖅᓴᐅᒐᔭᒥᔪ ᐃᖏᐅᓯᑎᑦ ᐊᑐᖅᑕᐅᒍᒪᓐᓂᖃᑕ, ᐅᖃᐅᓯᕆᖃᐅᒥᔭᕗ 

ᐃᖏᐅᓯᑎᑦ SOCAN-ᑯᑦ ᐊᖅᑭᑉᐸᑕ..ᑎᑎᕋᖅᑎᓄᑦ ᓄᐊᑕᐅᓲᑦ ᑭᓯᐊᓂ ᐃᖏᑎᓄᑦ ᐊᒻᒪᓗ ᓇᒻᒥᓂᓕᓐᓄᑦ ᓄᐊᑎᓲᑦ ᐊᔾᔨᒌᖏᑐᑦ - ᐊᑎᓖᑦ Collective Management Organizations, CMO's - ᑕᕝᕘᓇᑕᐅ ᐃᖏᐅᓯᑎᑦ ᐊᖅᑮᒋᐊᖃᒻᒥᔭᑎᑦ.

ᖃᐅᔨᑲᐃᓂᐅᓴᔪᒍᑦ ᖃᓄᖅ ᐊᑐᖅᑕᐅᒍᓇᒪᖔᑕ ᐱᖓᓲᓕᖃᖓᓗᒋᑦ..

ᓯᕗᓪᓕᐹ, ᐱᒋᐊᓕᓵᕈᕕᑦ ᐃᖏᖓᑦᑕᓂᒥ ᐊᒥᓲᖏᑐᓂᓗ ᐃᖏᐅᓯᖃᕈᕕᑦ  ᐱᔭᕆᐊᒃᓛᖅ ᓄᐊᑦᑎᓗᓂ ᐊᑐᓪᓗᒋᑦ ᑕᐃᔭᐅᓲᑦ digital distributor.

ᑕᑯᒋ..ᑮᓇᐅᔭᓂᒃ ᓄᐊᑦᑎᓂᐊᕈᕕᑦ ᐃᖏᐅᓰᑦ ᐊᑐᐃᓐᓇᐅᒋᐊᖃᖅᑐᑦ ᓲᕐᓗ Spotify-ᑯᑦ ᐅᕝᕙᓗ Apple Music-ᑯᑦ. ᐃᖏᐅᓯᑎᑦ ᑕᐃᑯᖓᕈᒪᓗᒋᑦ ᐊᑐᕆᐊᖃᖅᑐᑎᑦ ᑕᐃᔭᐅᓲᑦ digital distributor ᓲᕐᓗ CD baby ᐅᕝᕙᓗ Tunecore. ᑖᑯᐊ ᐱᔪᓐᓇᐅᑎᓖᑦ ᓇᑭᑐᐃᓐᓇᖅ ᐃᓕᓐᓄᒃ ᓄᐊᑦᑎᕙᓪᓕᐊᒍᓇᖅᑐᑦ (ᐃᖏᐅᓰᑦ SOCAN-ᑯᑦ ᐊᖅᑭᓯᒪᑉᐸᑕ). ᑕᐃᒪᐃᓂᐊᓂᕈᕕᑦ ᑖᑯᓄᖓ ᓄᑕᐅᑎᐊᕋᔭᖅᑐᑦ ᐱᒋᐊᓕᑎᑦ.

ᑭᖑᓪᓕᒻᒥ..ᐃᖏᐅᓯᖃᕇᕈᕕᑦ ᐊᒻᒪᓗ Spotify-ᑯᑦ ᐋᕿᔅᓯᒪᓪᓗᒋᑦ..ᖃᕋᓴᐅᔭᒃᑯᑦ ᐊᑎᓕᒃ SongTrust ᐊᑐᕐᓗᒍ ᑕᕝᕘᐊᑕᐅ ᓄᐊᑎᕙᓪᓕᐊᒍᓇᒧᔪᑦ.

ᐱᖓᔪᐊᓂ..ᐊᒥᓱᓂᒃ ᐃᖏᒐᖃᕈᕕᑦ ᐅᕝᕙᓗ ᐊᓯᖏᓐᓂ ᓴᓇᕙᓕᐊᖅᑎᖃᕈᕕᑦ.. ᐱᐅᓛᖑᒐᔭᖅᑐ ᐊᑎᓕᐅᓗᑎ ᐊᒻᒪᓗ ᐃᖏᐅᓰᑦ ᐋᕿᓪᓗᒋᑦ ᐊᔨᒌᖏᑐᓄᑦ ᓱᕕᐅᕕᓄᑦ

ᐅᑯᐊ ᓱᕕᐅᕖᑦ ᖃᐅᔨᒪᔭᕗᑦ..

• ACTRA RACS (ᐃᖕᒋᖅᑎᓄᑦ)

• CMRRA (ᐃᖏᖅᑎᓄᑦ..ᐊᖏᕈᑎᓄᑦ)

• ConnectMusic (ᓇᒻᒥᓂᓕᓐᓄᑦ) 

• LyricFind (ᐃᖏᖅᑎᓄᑦ)

ᑐᑭᓯᑎᐊᓂᐊᕋᕕ ᖃᓄᖅ ᐱᕕᔅᓴᐅᒻᒪᖔᖅ.. ᑕᑯᒋᐊᕈᒃ ᖃᕋᓴᐅᔭᑯᑦ www.hitmakerz.com/alianait

ᑖᓐᓇ ᐱᖓᔪᐊ ᐱᔭᕆᐊᑐᓛᖅ ᑭᓯᐊᓂ ᐃᖏᐅᓯᑎ ᐊᑐᐃᓇᐅᓂᖅᓴᐅᒐᔭᖅᑐᑦ ᐊᒻᒪᓗ ᐊᐅᓚᑦᑎᓂᖅᓴᐅᓗᑎᑦ ᐃᖏᐅᓯᑎᑦ ᖃᓄᐃᓕᖓᓂᖏᓐᓂᑦ.

ᓄᐊᑦᑎᕙᓪᓕᐊᓂᐊᕈᕕᑦ ᐊᑲᐅᓂᐊᖅᑐ ᐃᖏᐅᓯᑎᑦ ᑎᑎᕋᓪᓗᒋᑦ ᐊᑕᐅᓯᐅᓕᖅᑲᖓᓗᒋᑦ ᐊᒻᒪᓗ ᐅᖃᐅᓯᕆᓗᒋᑦ ᐃᖏᐅᓰᑦ, ᑭᓇ ᐃᖏᖃᑕᐅᕙ, ᐊᒻᒪᓗ ᑭᒃᑯ ᓇᒻᒥᓂᖃᖃ. ᑕᐃᒫ  ᐊᕿᓱᐃᓪᓗᓂ ᐱᔭᕆᐊᑐᔪᖅ ᑭᓯᐊᓂ ᐃᓕᓐᓂᒃ ᐅᐊᑦᑎᐊᕉᓕᖃ ᐃᑲᔪᕋᔭᖅᑐᖅ.

ᐃᓱᒪᒋᓗᒍᓗ ᓄᐊᑦᑎᒍᒪᓗᓂ ᑕᑯᕋᓐᓈᖅᑕᐅᑎᓪᓗᑎᑦ, SOCAN-ᑯᑦ ᑎᑎᕋᖃᑦᑕᕆᐊᖃᒥᔪᖅ ᖃᖓᑐᐃᓐᓇ ᑕᑯᕋᓐᓈᑕᐅᒍᕕᑦ.

ᖃᖓᑭᐊᖅ ᐅᐊᑦᑎᐊᕈ ᐃᑲᔪᑕᐅᒍᒫᒥᔪᑎᖃᐃ ᓲᕐᓗ manager ᐅᕙᓗ record label ᑭᓯᐊᓂ ᐃᕝᕕᑦ ᐊᑲᐅᒋᔭᖓᓂ ᐊᒍᕐᓗᑎᑦ ᐳᐃᒍᖅᑕᐃᓕᒋᑦ ᑖᒃᑯᐊ ᑮᓇᐅᔭᐃᑦ ᐊᑑᑎᖃᖅᑐᑦ ᐃᓕᓐᓄᑦ, ᑕᐃᒻᒫᒃ ᐃᖏᖅᑏᑦ ᑮᓇᐅᔭᓕᐅᑎᐊᕈᓇᖅᑐᑦ.

ᑮᓇᐅᔭᓕᐅᕈᓇᖅᑐᑦ ᐊᑯᓂᐊᓗ, ᐃᖏᐅᓰᑦ ᑐᓵᔭᐅᖃᑦᑕᑐᐊᐸᑕ.

ᐃᖏᐅᓯᓕᐅᖃᑦᑕᓕᕈᕕᑦ ᖃᐅᔨᔭᐅᕙᓪᓕᓗᑎᓗ ᓄᐊᑕᑎᑦ ᐊᖏᓪᓕᕙᓪᓕᐊᑐᐃᓇᓂᐊᖅᑐᑦ.

ᐃᓕᓐᓂ ᐅᑉᐱᕈᓱᑉᐳᒍᑦ ᐃᖏᖅᑎᐅᓗᑎ ᐃᓅᓯᕆᒍᓐᓇᕋᕕᐅᒃ, ᐅᓇ ᑕᑯᓐᓇᕋᑖᖅᑕᓯ ᑐᑭᓯᓇᖅᑐᓴᐅᕗᖅ. ᖁᔭᓐᓇᒦ ᑕᑯᓐᓇᕋᑖᕋᔅᓯ! ᐊᐱᖁᑎᖃᕈᕕᑦ ᐅᕝᕙᓗ ᖃᐅᔨᒃᑲᓐᓂᕈᒪᒍᕕᑦ, ᖃᕋᓴᐅᔭᒃᑯᑦ www.hitmakerz.com/alianait. ᖁᔭᓐᓇᒦᒃ