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CDs are the second biggest source of pollution in the music industry.
Using card-base packaging instead of plastic cases reduces this pollution by 95%.

Intro – Plastic Vs Card

The second biggest source of pollution in the music industry comes from CDs (the biggest polluter being audience travel).

Environmentalists and scientists have therefore been trying to find ways to minimise the effects of CD packaging on the environment, and it turns out the best approach is changing what’s IN the packaging itself.

Using card CD packaging instead of plastic cases reduces CD pollution by 95%.

CDs (“compact discs”) are made from optical grade polycarbonate (OGP). OGP can’t contain recycled content, as the plastic has to be extremely pure for a laser to read the disc. However the disc replication and materials are only a small percentage of the pollution associated with a CD- it’s the packaging that causes most of the pollution.

Commissioned by Julie’s Bicycle, a leading environmental consultancy group called Arup undertook a detailed study into the emissions saving potential from switching from plastic jewel cases to card-based packaging. Their research concluded that the switch could reduce packaging emissions by 95%. Even a Digipack (card wallet with plastic tray) reduces packaging emissions by at least 60%.

Using recycled cardboard CD packaging reduces these emissions even further, and the price of recycled CD packaging is dropping every day (www.austepmusic.com.au provides a full range of recycled CD packaging options).

Furthermore, a detailed study carried out by the ERA (Entertainment Retail Association) shows that more than half of music consumers actually prefer card to “easily-breakable” plastic.

Card CD packaging also means less travel emissions. Since card packaging is lighter, printers can save money on shipping costs and significantly reduce their carbon emissions.

The best thing the recording industry can do to reduce pollution is to start using card CD packaging.

“Moving to a pure card option would reduce greenhouse gas emissions by around 95%… Moving to a combined card and plastic option would reduce greenhouse gas emissions by over two-thirds.” - Julie’s Bicycle, February 2009

Types of Plastic CD Packaging

• Traditional Jewel Case- A “jewel case” is the traditional plastic CD case used for albums. Jewel cases are usually made from polystyrene, which is extremely hard to recycle. Additionally, they usually include a paper inlay beneath the disc tray, and a paper booklet at the front.
  “An individual (plastic) CD album creates at least 1 kg CO2e.” – Consumer Research Study into CD Packaging, Catherine Bottrill and Vishnu Ganglani
• Slimline Jewel Case- “Slimline” cases are a thinner version of the traditional jewel cases. They are most commonly used to release EP’s and singles. Because slimline cases uses less raw material to make, and result in less shipping emissions because of the reduced weight, they’re environmental performance is better than that of the traditional jewel case. However the lifecycle of a slimline jewel case still releases significant emissions.
• Polypropylene Jewel Case- Although jewel cases are traditionally made from polystyrene, a few company’s use “polypropylene” which is slightly easier to recycle.
• Plastic Sleeve- Thin plastic sleeve, generally used for Demo’s and promotional releases.

Types of Cardboard CD Packaging

• Digipack- A foldout card wallet with a moulded plastic tray.

• Foldout wallet (Gatefold wallet)- A foldout wallet is similar to a digipak, but has a pocket instead of a plastic tray, so it uses no plastic parts at all- making it 100% recyclable.

• Card CD Sleeve- Card sleeves are the lightest and cheapest option, and are mostly used for promotional CDs. They are usually slightly smaller than card wallets.

• Recycled CD Packaging- The best option of all is recycled CD packaging. All Austep Music CD wallets come with 70% recycled card.

Printing and Finishing

Traditional inks are made of colour pigments, which are mixed with a petroleum based liquid, and a binding agent. The petrol/alcohol content then evaporates during the drying process, releasing harmful Volatile Organic Compounds (VOCs) into the air. Traditional inks also contain heavy metals (e.g. barium, copper, zinc) that can leach into soil and groundwater. Solvent based varnishes should be avoided too as these also emit VOCs.

The more environmentally friendly alternative is vegetable based ink. It takes slightly longer to dry, but is becoming an industry standard. The most common being soy & linseed based inks (this is what we use for Austep Music printing). Almost every colour can now be done with vegetable based ink, with a few exceptions such as metallic colours.

Regardless of whether you use card or plastic based packaging, you don’t need to over-do it. For instance plastic wrapping (“shrink-wrap” or “cello-wrap”) will add weight to your product meaning more shipping emissions (not to mention the energy/resources used to create the plastic), and a “Matt” or “Gloss” coat on your packaging means the cardboard is much harder to recycle.

Conclusion

The best thing the recording industry can do to reduce pollution is to start using card CD packaging, resulting in a 95% reduction of CD packaging emissions. Choosing recycled card will further reduce this pollution.

As more and more major artists turn to environment friendly cd packaging, prices continue to drop. Some printers such as Austep Music are already offering recycled card packaging for the same price as plastic cases, and in some cases card packaging is actually cheaper (however this is generally only possible when printing 500 CDs or more).

About the Author:
Austep Music provides CD replication, offset printing, and promotion resources for the Australian Music Industry.

A key player in the Green Music Movement, Austep Music specialises in eco-friendly card CD packaging, and is a founding partner of the Australian Green Music Coalition. All Austep CD packaging is printed with 70% recycled card and vegetable based ink, at no extra cost.

Industry Newsletter- Subscribe to the monthly Austep Music newsletter and stay up-to-date with industry news, music marketing tips, upcoming grants, gig openings, & other opportunities.
www.austepmusic.com.au

More than two thirds of young people believed they would benefit from a mentoring relationship over the next 12 months with work/career planning, education and practical matters like getting a driver’s licence.

Among the other findings in Give kids a chance are:

• Fifty three per cent of all young people have no real clarity about what they want to do in life and no clear plans for the next few years in terms of their career
• A third of young people are hungry for more adult guidance and support than they currently receive

• Between one-half and two thirds of those mentored report positive outcomes with educational attainment, quality of relationships, employment prospects, anti-social behaviour and reduced smoking/drinking/drug use

Click here to read more about the Give Kids a Chance report.

WHAT ARE THE TYPICAL ARTEFACTS OF COMPRESSED AUDIO FILES?

1. Two-dimensional flat soundstage. The lush original is reduced to a cardboard replica, having lost its ambience, delicate subtleties, depth, realism, richness, sparkle, three-dimensional space and warmth.

2. Added sizzle and mushiness. The artificial weird bubbling and phasing, unnatural swirling metallic noises that sound like someone has added twinkling chime bars to everything, or that there is a mosquito buzzing in your ear. Fuzzy sounds swirl around in a muddled mess.

3. Added distortion. Codecs (the systems used to implement compression in audio files) rarely include any headroom for the encoding process itself, so the added processing pushes the music even further over the limits, adding distortion by generating inter-sample peaks.

WHY ARE AUDIO FILES COMPRESSED?

High quality audio means very large audio files. Audio file compression reduces the audio file size but almost all compression codecs are lossy, which means that audio quality is lost every single time the file is saved. The most common lossy compression codecs are:

1. AAC (Advanced Audio Coding). This is based on the MPEG4 standard owned by Dolby. The Apple iTunes Music Store uses a copy-protected version of AAC. Note: Most music downloaders do not bother checking the iTunes preferences and go for the default settings (160 kbps). Even for those who change the preferences to use 320 kbps (60% space saving), the sound is still worse than the source.

2. MPEG Layer-3. This is the most popular format for music downloading. By eliminating portions of the audio file that are essentially inaudible, MPEG Layer-3 files are compressed to roughly 10% of the size of an equivalent standard, uncompressed, CD-quality, PCM audio file.

Do not confuse the audio file type with its codec. The type is determined by the file extension (what comes after the “.” in the file name) whereas the codec is the way the audio file is compressed and stored (which, in turn, determines its size). The most common audio file types are AIF and WAV, the standard, uncompressed, CD-quality, PCM audio file formats used by Apple and PCs respectively.

The most common lossless compression codec is FLAC. An audio file compressed with FLAC and restored later will be a perfect copy of the original.

Written by Daniel Fournier – CPARIS®

For several years, the Federal Government has been planning to write a National Cultural Policy.  In early 2010 there was a submission process and we have excerpts of those submissions on this website.  In mid-2011 the Minister, Simon Crean, invited another round of submissions on the National Cultural Policy.  The discussion paper framed the questions and discussion in a different way but many of the issues have not changed since the previous round of written submissions.

Some submissions are online – click here to have a look.

The Music Council of Australia made a very substantial contribution with a detailed and wide ranging submission.  You can read all 104 glorious pages of it here. This is our submission, which is supplementary to the MCA’s.

Submission on the National Cultural Policy

Alongside the submission by the Music Council on a wide range of topics, the Australian  Youth Music Council presents the following discussion of four topics:

• Small Grants
• Youth Participation
• Career Development
• Management

GOAL 1: To ensure that what the government supports and how this support is provided — reflects the diversity of a 21st Century Australia, and protects and supports Indigenous Culture

Small Grants

Subsidised projects for emerging artists can, and in many cases should be, bottom-heavy.  That is, a small amount of money can go a long way with resourceful young people, focussed directly on projects and practical outcomes. Furthermore, young artists need practical experience in producing innovative projects (art exhibitions, recordings, tours, performance series, festivals, theatre productions, new media artworks etc) and this can be facilitated by governments and philanthropic funding programs. [i]

Innovation is common in youth arts practice. Young people involved in arts training of some description are generally engaged in heritage/historical/genre-based study, but it is inevitable and common that young people choose to and should be encouraged to innovate.

Take as an example the Buzz Grants program, initiated by the Australia Council (2001 – 2006) and subsequently managed by the Foundation for Young Australians (2007 – 2008) but no longer running. Buzz was a small grants program which provided young artists (up to 25 years old) with experience in project management of practical arts activity, and in grant writing, managing and acquittal processes which are important in many arts disciplines. It was a flexible and practical opportunity for funding, which encouraged innovation and ownership, and delivered practical, educational and career benefits for the young artist and (in many cases) public outcomes. It gave encouragement to initiate projects, even when funding was unsuccessful.

The last round of funding for Buzz Grants (in 2006) by the Australia Council distributed $50,000 to 20 applicants (all for Music).  The Assessment Report states:

The second round of Buzz for 2006 confirmed that interest remains high in this program for young artists and that the program continues to be increasingly competitive. Once again panel members commented on the high calibre of most applications received. This round the Music Board was pleased to support projects across the country, demonstrating range of musical styles including contemporary rock/pop, jazz classical music, and music theatre.

Diverse musical outcomes supported include a contribution to a youth music event in the Northern Territory, recording projects including CD manufacture, advanced instrumental study overseas, mentorship programs, touring within Australia and other key developmental opportunities for emerging artists.[ii]

The Australia Council’s Artstart program is a welcome initiative, although it provides larger grants (projects up to $10,000, compared with a $2500 limit for Buzz Grants) from a similar pool of money.[iii] The ArtStart program has a business model / career development focus which is more specific and may not allow, for example, innovative projects, tours, a debut album etc.[iv]

There are many possibilities and opportunities in the arts that small grants can support.  They range from travel domestically and internationally to pursue necessary career opportunities, delivering creative projects, funding a first tour, or developing business potential through professional design work, website creation, training, and so on.   There can be specialised programs where targeting is necessary but with enough flexibility in the system young artists will make creative use of any resources available to them.

Small Grants and the States and Territories

The Federal Government was, not so long ago, responsible for a small grants program for emerging artists, the aforementioned BUZZ Grants.  Since then only the states and territories have offered any such programs, with varying priorities and efficacy. Recently NSW has introduced its Quick Response Grants, which are welcome but not ideal, and the ACT has a small grant program which was intended to give opportunities to people who had not previously received funding.  Most jurisdictions, it seems, now have a small grants program of some description.

We propose the following:

1) The notion that the Federal Government has no role at all to play in providing small grants should be challenged

2) Small grants can be absolutely vital early in the careers of artists. Small grant programs are valuable for the reasons stated above, and others.

3) The various small grant programs across Australia should be examined to determine their effectiveness, efficiency and efficacy, and to establish best practise for other jurisdictions to follow

4) Flexible small grants should be available to all emerging artists in Australia.  There may also be targeted programs but emerging artists across Australia should have more or less the same opportunity.  This has not been the case and continues not to be the case.

5) The Federal Government may take a lead role on this issue, through its intergovernmental dealings with states and territories, perhaps even local government, and/or through a funding program. We know of federally funded programs which have been successfully managed by state governments and theoretically there is no reason why this option could not be on the table.

It is proposed that the government reconsider the possibility of flexible small grants programs for young artists and look at examples of youth arts activity (or the lack of) as a consequence of small grants programs in different states and territories.

Youth Participation

A scoping study, which was prepared for the Ministerial Council on Education, Employment, Training and Youth Affairs, found that Youth participation was identified as a top priority, and one that should continue to be so over the coming decades.[v]

The Australian Government’s own Office for Youth sets out Universality, Engagement and Inclusion as its three guiding principles.  Its rationale for Engagement is that “in order to be effective, governments must stop talking to young people, and start engaging with young people.  The Office for Youth respects and understands the value and contributions young people offer as citizens of today, not just the leaders of tomorrow.” [2][vi]

Therefore the government seems to value youth participation; we would like to see more youth participation in the arts.

Although most youth participation and involvement with government in the arts should probably come from the bottom-up, it would be possible (and perhaps timely) for governments to initiate youth participation initiatives from the top-down.

GOAL 2: To encourage the use of emerging technologies and new ideas that support the development of new artworks and the Creative Industries, and that enable more people to access and participate in arts and culture

See Small Grants (above)

GOAL 3: To support excellence and World‑Class endeavour, and strengthen the role that the arts play in telling Australian stories both here and overseas

There is much that could be said about excellence and particularly in supporting young musicians to achieve excellence in their practise.  Here we discuss an issue close to the Australian Youth Music Council’s heart, Career Development.

Career Development

The AYMC has a particular interest in Career Development for young musicians.  It has been a partner in creating the Music Career website (www.musiccareer.com.au), the first of its kind in the world and the only artform with such a resource in Australia. This new site provides career information on a wide range of options, information about skills, education and training, both formal and informal, and includes a substantial portal to Professional Development resources.  Recently the AYMC held a workshop for young musicians in Canberra on the subject of careers in music.

There is a clear need for a framework and resources in the area of career development for musicians and, as far as we are aware, the same is needed for other artforms.  The Australia Council has introduced its Artstart program which encourages young artists to write a business plan for five years then provides funding for one.  The $10,000 per recipient is useful of course but the program is one dimensional in that the program relies on individual artists seeking help. There is no broad framework for young artists to access information and services in terms of career building skills.

The Minister has spoken about the need to train young people for careers in the arts[vii]:

I am particularly keen to see young people get involved – not just in performance, but in all the associated industries.

There is an important role for government in providing education and training opportunities for artists and supporting workers in the arts sector, to position them to build successful careers.

Participation in the Arts helps to develop the self-confidence and expression that is so critical in an age in which communication is so important.

Australia has a deep well of creative talent. Through our schools, colleges and universities we can do more to help unleash that talent.

A framework for supporting young people with an interest in the arts as they move into an arts career would be a welcome initiative from government.  The AYMC knows of experts in this field and resources available but very little is available to guide students into meaningful careers in the arts, since career paths are different for everybody and certainly not as clearly defined as other professions.  The nature of careers in music does not need to change, the way in which young people enter these careers is worthy of consideration.

GOAL 4: To increase and strengthen the capacity of the arts to contribute to our society and economy.

Management

Young musicians, regardless of genre but particularly apparent in the contemporary music sector, need good management.  Their contribution to society and their artform can be dealt with in other ways, but certainly strengthening capacity and contributing to society and the economy as emerging artists can be well supported with good management.

The Federal Government, particularly through the previous Arts Minister and the Control program to train artist managers, have specifically acknowledged this need.  The AYMC asserts the need for such programs and the expansion of training and support for management in the arts.  In artforms where government is not supporting the day to day activities of the artists, including but not limited to contemporary music, training and career development presents a great opportunity for productive government intervention and support.

However, mentoring, business support, travel allowance to overseas conferences and other necessities are not necessarily possible through the programs available.  Arguably, support for these activities is what contemporary Australian music needs most. This could be considered alongside our submission on Small Grants (above), or as a separate issue. Strong active managers = sustainable musicians.

[ii] Australia Council. (2006, November). Buzz 2006 round 2 – Assessment Report. Retrieved January 6, 2010, from Australia Council: http://www.australiacouncil.gov.au/__data/assets/pdf_file/0007/31957/buzz_amr_sept2006.pdf

[iii] Australia Council. (2009, December). ArtStart December 2009. Retrieved October 20, 2011, from http://www.australiacouncil.gov.au/grants/amr/artstart2/pages/artstart_december_2009

[iv] The December 2009 ArtStart Report states that “it was noted that several applicants requested primary funds for discrete project funding and did not articulate viable strategies to achieve long term aims or career sustainability”. The program has a career development focus which is welcome, but it does not support small projects which cannot be justified within a 5-year business plan, limiting the scope to support innovative small projects.

[v] National Youth Affairs Research Scheme. (2005). SCOPING STUDY OF YOUTH POLICY PRIORITIES AND DIRECTIONS. National Youth Affairs Research Scheme.

[vi] DEEWR. (2009). Office For Youth. Retrieved December 26, 2009, from www.deewr.gov.au: http://www.deewr.gov.au/Youth/OfficeForYouth/Pages/default.aspx

[vii] Crean, Simon: Driving Economic Growth – A Regional Dimension (speech, 29 September 2010)> Retrieved 18 October 2011. http://www.minister.regional.gov.au/sc/speeches/2010/CS01.aspx

What it’s all about…

Floating Land is an ongoing conversation about creativity, the environment and culture. The 2011 theme, Water Culture, continues this conversation and acknowledges that people of the Asia Pacific region face adverse consequences of climate change due to their close relationship with, and dependence upon, waterways.

The theme recognises that we are living in times when previously accepted models for development are being questioned. The idea that science and technology are tools for dominating our natural and cultural environments has given way to a broader outlook, encouraging decision-making based on innovative thinking and creative responses that incorporate social, cultural and heritage values. The present challenge also requires that our response be grounded in the relationships between people and communities, their knowledge, experiences, visions and values.

Water Culture will examine the impact of our lifestyle choices on our ability to sustain a healthy planet. It will promote the need for intergenerational equity, to ensure that our children and their children will inherit the same diversity in natural and cultural resources enjoyed by previous generations.

Visiting Asia Pacific artists join local and national artists, performers, new media artists, musicians, photographers, academics, scientists and cultural practitioners to create and deliver messages that explore shared concerns and issues surrounding climate change; in particular are the impacts of rising sea levels on coastal and island communities and the cultural and environmental impact of water as commodity.

Want to check it out?

The focal venue is Boreen Point at Lake Cootharaba in the UNESCO-listed biosphere of Noosa, with satellite locations at Coolum and Cooroy on the Sunshine Coast.

Check out the program at http://www.floatingland.com.au/program

Direct from the USA, Malcolm Dalglish and Australia’s own Mark O’Leary are assembling a small troupe of singers, composers and musicians to perform at the Festival of Voices in July. The adventure will start on remote Maria Island off the SE coast of Tasmania. You will workshop repertoire for six days amid the stunning natural beauty of coastal Tasmania, developing a program with composers Malcolm Dalglish, Moira Smiley, and Joshua Stephen Kartes. You will then travel to the beautiful harbor town of Hobart and be featured performers at the festival. Intrigued by this unique pairing of wild nature and urban charm? The intensity and intimacy of a small ensemble? And participation in Australia’s largest vocal festival?

Visit: http://www.festivalofvoices.com/ for further information.

Cost: $1400 AUD

Includes sheet music, learning mp3s, and Festival of Voices registration with accompanying benefits, Stomp, Holler and Sing workshop fees, food and lodging on Maria Island. Does not include travel to Tasmania or food while in Hobart at Festival of Voices.



WASO are very pleased to welcome back James Ledger as the 2011 Director and Tutor, and the four talented students from local universities UWA and WAAPA who have been selected to participate in this year’s program and compose a piece for EChO.

Follow their journey throughout the project on the new blog, Blogposer, where the participants share their experiences of composing their work. http://blogposer.wordpress.com/

NAVA is the peak body representing and advancing the professional interests of the Australian visual arts, craft and design sector. This most recent NAVA initiative is an exciting new project, demonstrating NAVA’s leadership in forging a unique partnership with the peak bodies across all artforms.
Artscareer is a dynamic website with a wealth of constantly updated information about: professional development training; studio and rehearsal space listings; networking and funding opportunities; resources to help start and run a creative business; as well as industry news from around Australia. To keep up to date with current news and opportunities users can register for the bi-monthly Artscareer e-news. Best of all, registration and access to Artscareer is completely free.

Artscareer is fully interactive: users can take part in discussions as well as get an insight into the careers of fellow arts professionals through the ‘Career TV’ area.

In addition, teachers can find information on curriculum and assessment, teaching resources, links to professional guidelines as well as listings for conferences, seminars and events.

Executive Director of NAVA, Tamara Winikoff said today. “Fostering the career development of Australia’s creative people is probably the greatest contribution we can make to Australia’s future in a world where innovation is the key ingredient of the new economy and the most desired quality for a dynamic and socially progressive society.

Julie Dyson, National Director of Ausdance and chair of NAAE, said, “The provision of arts education information on one website will be a very useful tool as teachers and advocates work towards the roll-out of the new Australian Curriculum in the Arts.”
NAVA has developed Artscareer through successful partnerships with arts and educational key peak organisations including: Art Education Australia (AEA); Ausdance National; Australian Network for Art & Technology (ANAT); Australian Society of Authors (ASA); Australian Teachers of Media (ATOM); Drama Australia; Music Council of Australia (MCA) and the Theatre Network Victoria with funds provided by CREATE Australia.

www.artscareer.com.au

Resound started in the wake of the 2009 Victorian Bushfires and delivered 250 musical instruments to grateful musicians who had been affected by bushfires. It will now work to provide instruments for victims of the recent floods.

For more information see www.resound.org.au.