NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

How to - Music Biz

Ten things You Should Do Before Going into a Recording Studio

21 Nov 2014 - 10:47

cc-img

by Andile Qongqo

Here are some useful tips I have learnt over the past few years being involved in studio projects.

pacofs-co-za

1. Have all the songs prepared

This may sound obvious, but it really isn’t that obvious. Song preparation means knowing the number of songs you want to record, are they all going to be original material or are you going to include cover songs (songs by other people), are you going to sing alone or are you going to feature somebody else, are the song keys suitable for you & anybody else you might feature, what kind of instruments are you going to play with (keyboard/guitar/accappella, etc), be clear of each and every song’s style (jazz, house, r&b, rap, etc), can you write all the songs or will you need co-writers, type the lyrics neatly (be prepared to make some changes in case some lyrics need some adjustments).

2. Practice

If there’s anything you don’t want to do in a studio, is practice in the studio; that will cost you a lot of money. In fact, before you even think about going into the studio, you must have rehearsed your songs to perfection. Mixing, adding effects and mastering a song can take a while, so you don’t want to waste time by coming to the studio unrehearsed.

3. Have a list of all the musicians you are going to need

Don’t leave anything to chance when assembling your music team, it has to be musicians you are comfortable with. Most studios don’t have session musicians, so don’t assume the studio will provide musicians, enquire in advance. Your music team should be people you communicate well with, not to mention that they must be disciplined and motivated to be part of the project. And be clear if any of them will be part of the songwriting and/or composing team, or if their involvement will just be as session musicians.

4. Decide on who is going to produce, arrange, compose, etc.

Producers, arrangers, composers and songwriters are part of the royalty share (which is where the big bucks are); so you would want to be careful as to who you team up with in those regards. Now, since the fore mentioned creative team is part of the royalty cut, they have a controlling stake in your songs, so you can’t do anything about the songs without consulting them. Which is why you should be careful of the team you pick, they must be a team whose goal is the same as yours; to promote that particular project shamelessly.

5. Plan your schedule

Planning your schedule is crucial; you have to have your whole team in one place at the same time; that can be a daunting task. This task will test your leadership skills; you have to be strict and disciplined, you have to be the kind of person that everybody in your team listens to, if you are not, then I suggest you get somebody else to take the leadership role for this project. You’ll have to get everybody to agree on times setup for the studio, whether the studio arranges the schedule or you arrange it, make sure it’s a schedule that suites your team and make sure your team is always there when needed.

6. Choose the right studio

Choosing the right studio for your project depends on your needs and budget. For instance; if you are a jazz pianist and you want a true piano tone, you’ll have to find a studio that’s got a well tuned grand piano (upright pianos are not easy to mic). Without getting into complicated technicalities, the studio has to have good acoustics, up-to-date software, good sound proofing (although some home studios do a descent job without it) and a sound engineer that know his/her staff (if you are not bringing your own). Before you even agree to anything with a studio, ask to listen to their previous products, ask particularly for a recording that’s similar to your style of music you want to record at that particular studio.

7. Be clear on the studio charges

When you ask for studio charges, know exactly what’s included in the cost and what’s not. Are the following included in the price: mastering, extra copies, printing of the score sheet; what happens if any equipment breaks, what happens in case of load shedding. Ask to have all the costs written on paper to avoid any misunderstandings.

8. Know what’s going to happen from the beginning to the end of the project

After you’ve made your decision on picking the studio, sit down with the studio manager, and ask him/her to take you through the whole process of recording your project. Make sure you know what the studio responsibilities are and what’s yours. Not all studios work the same; so be on the clear as to what the studio’s role is; are they able to do the following in-house or are they going to outsource: mastering, CD printing, sleeve design, bar code, etc.

9. Be prepared for long hours

Studio projects a very unpredictable. A lot of unplanned things can happen in the studio; illness, broken equipment, hoarse voice, family emergencies and anything else you can think of; all of which is time consuming and heavy on the pocket. So try not to have any gigs or interviews in and around the recording period, commit all your time to being in the studio.

10. Always have a backup plan

A backup plan is a must in everything you do in life. Don’t be shy to ask the studio what happens if, for some reason, they are not able to continue with the recording; will they send you to another studio or pay you back? You must have a backup plan for musicians, instruments, producers and everything else that can be backed up. Don’t leave anything to chance.

Originally published on www.mio.co.za

Please log in to post a comment.

Most popular

Disclaimer: Music In Africa provides a platform for musicians and contributors to embed music and videos solely for promotional purposes. If any track or video embedded on this platform violates any copyrights please inform us immediately and we will take it down. Please read our Terms of Use for more.

newsletter banner

Subscribe to our monthly Newsletter

Follow us on social media