Feedback:

Facebook:

As my first form of social media I decided to use Facebook as most of my friends on there are of the correct target age, after putting a link to my blog/image of my magazine, here is some of the feedback that I received in regards to my front cover and overall layout. Overall the comments I received were positive, and I'm very pleased with them.

Twitter: 
As the second form of social media I decided to use twitter, as it is easy for people to give their opinions as it is an open forum. Some of my followers, and friends gave me some really positive feedback on the magazine, and expressed an interest in it. Most of the people I follow have a similar taste in music to my self and to the desired target social group, so I think in that sense it was successful Here is the image of the front cover that I uploaded to twitter, followed by a few of the comments I received. However, due to the 180 character limit, it is clear that Facebook is better for in depth comments, and constructive answers, where as twitter is better for concise and to-the-point responses.

Final Evaluation

Please click here on the link to view my final evaluation for my Music magazine -

http://www.slideshare.net/beth-danae/music-magazine-final-evaluation-12659317

Finished Front Cover, Contents and Double Page Spread

7. Layout, and changes made to each page.

Here you can see the transition of development for each page of my magazine, with examples of the pages with notes on the changes that I made each time. 

Interview

From this I have decided that I will use a question and answer format, as the interviews are more direct, and in depth than if they have been re-written. Also on the page, it will look better aesthetically. 

I wrote the mock interview in a conventional Question and Answer format, a very popular convention within magazines. After taking inspiration from other magazines, I my opinion I found the more in depth the answers were from the artist the more interesting they tended to be, as the source of information comes directly from them, and the interviewer doesn't need to ask as many questions when the person elaborates on their answers. I wanted the interview to have a casual, and informal tone that was insightful, slightly humorous but informative about the band at the same time. I planned the questions carefully, and had a rough idea for the answers which I have based around ideas that I have read in other magazines, and about bands that I listen to. 

Fictitious Band Information:

ALBUM TITLE:  TBC

STUDIO: Abbey Road, London.

PRODUCER: Flynn Jones and Steven Warrant

CONFIRMED TRACKS: “Hit me”, “Her Thunder”, “Tuesday”, “Celestone,” “Oh my Darling!” “Echo Falls”

DUE:  June 2012

LABEL:  BIGNOISE RECORD

MEMBERS: Joe (Vocals and Guitar) Jamie (Guitar) David (Bass) Miles (Drums)

I will use this as a 'fact file' type piece in the double page spread, as I have seen this done frequently in both NME magazine, and The Fly, when they are interviewing new bands, as it gives an outline of the basic details. This will be good for my magazine as I want it to have new bands so that it would appear to be really in tune with the latest artists before any one else!

This week we headed down to Abbey Road studio to catch up with the of so cool Joe Fletcher, front man of the one of the hottest tipped bands for 2012, The Spectrals and to see how their getting on with the recoding of their highly anticipated debut album.... 

Hi Joe! How’s everything going?

It’s going really well thank you! We’ve been in and out of the studio recording for a good sixth months or so now, and it very nearly finished! We recorded all of the ones that we see as ‘the big songs’ quite early on in the process, with our produce Flynn Jones. It was only when Steven Warrant joined us that we stared to lay down our newer tracks. It’s taken a while, but for us there was never a rush to get the album released. We wanted to make the best debut that we possibly could. 

What is it going to sound like? 

 You would think that having two producers for the album could make it sound a little disjointed, and in a sense it is. Not in a bad way though, we intended for every song to sound different. We didn’t want it to be one of   those records that just sound like 10 copies of the same song. We’re not some kind of one-trick pony! 

So it’s going to be good then?!

      Well yeah, hopefully...      

Do you have any plans for touring the album?

We’re starting our first proper UK tour at the end of the month, and we’re almost ready for it. Touring has always been important for us, because that’s how we started; essentially we are a live band, that’s when we are at our best

And how do you find touring? 

We really enjoy it, getting to travel to some of the most amazing venues up and down the country with your best mates is every young musicians dream really isn't it! But y'know like every rose ha s its thorns. Which in our case are  the bunks beds on the tour bus, and not getting much sleep, and we all miss things from home but it's all worth it though when you get to be on stage every other night playing to our fans.

Do you have anything you want to say to your fans? 

Nothing except for the most sincerest of thank-you’s. It sounds so cliché but we honestly wouldn’t be here without them.

What is your song writing process?

 Even over the past years the way I write my songs has changed considerably, when I first started, I just used to have this tatty old notebook that I would carry everywhere with me, writing down odd bits of conversation, or lines in television programmes that I found interesting. (Strangely this is how 'Oh My Darling' originated, after Joe heard particularly catchy line whilst watching hit UK sitcom Gavin and Stacey...) I used to think my songs were pretty stupid if I'm honest, but it wasn't till I met Jamie (Spectrals guitarist) and we started playing and writing songs together that I really got the hang of it. 

And finally, what can we expect from The Spectrals later this year?

At the minute we’re committed to the album launch, and as soon as that’s done, we’ll be back on the road promoting it. We’re already looking forward to the festival season this year, as we’re set to headline the Radar stage at Glastonbury. And I guess by autumn we’ll be staring to get album number two underway? But who knows.... 

6 Interview, inspiration and examples

INTERVIEW: 

Before writing the interview I had a look at some examples from other magazines, here is an article that I recently read on the NME website: 

Miles Kane has confirmed that he is working with Paul Weller on his new album. 

'It's like mod heaven, his studio' he says of his older counterpart

Rumours of a collaboration between Kane and the Modfather have circulated for some time and, in an interview between the pair which you can read in this week's issue of NME, the Last Shadow Puppets man confirmed that they would be collaborating on a track for his new LP. 

He said: We'll just see what happens when we get into that room. We're going into Paul's place and I can't wait to get in there and throw some ideas around. It's like mod heaven, his studio.

Weller also revealed why he was a fan of Kane, explaining that the singer's live performances reminded him of himself. "It's just good to see someone giving it one," he said. "So many bands are drippy, it's nice to see someone perform really, there's a lot to be said for that. So I recognised the energy in that and the commitment to what you're doing.

I also looked at an Interview from THE FLY, here is the article: 

As Graham Coxon arrives at our east London rendez-vous, En Vogue’s ‘Don’t Let Go’ is blaring out from behind the bar. In terms of entrance music, its sassy flashiness is entirely un-Coxon-like.
However, this briefly inappropriate soundtrack is nothing compared to the mortifying 3mins and 15 secs that follow. Just as we’re seated comfortably and about to ask our very first question, someone presses play on Phil fucking Daniels.
“…Confidence is a preference for the habitual voyeur of what is known as…”
Parklife? No!!! Graham?!
“How horrible,” he mumbles, grimacing. “Hooligans. Drunken bastards at the Brit Awards…” As the penny drops, the bar staff rush around in desperation trying to find the guy who works the iPod, frantically pointing in the direction of Graham and mouthing the word ‘shit’ quite a lot. But it’s too late, ‘Parklife’ continues and the evidently anxious man before us speaks with a sudden urgency, trying to block out the sounds of his own fretwork as they resound around him.
“I’m a bit sleepy. I’m finding it a bit difficult to go to sleep, my mind is whirring,” Graham begins, gently rocking. Despite now having eight solo albums under his belt and being a member of one of the biggest bands in the history of music, does this mean that the rigmarole of releasing an LP still excites him?
“I guess so, but I still feel a bit of anxiety. When a lot is happening I have to fight my tendency to run away and hide,” he shifts in his seat and shines us a self-knowing smile. “So, you know, it’s the same old thing really…”

Even after ‘Parklife’ fades out; Coxon still speaks with his arms wrapped around his body, his voice quiet and childlike. It’s a demeanour we’ve grown to adore, and this excellent new album, ‘A+E’ seems to be the best conduit for his personality to date; fidgety conversation and all. Especially next to the pastoral delicacy of its predecessor, 2009’s ‘The Spinning Top’, ‘A+E’ finds Graham sounding nothing like he has before. Abrasive, paranoid, Krautrock-flecked and fiercely fun, how did these songs arise?
“It was influenced by some touring I did in 2005 and 2006 when I was playing in clubs with my band,” he starts. “There were places which are actually under the arches of railway lines. The sound would be really loud and harsh and echoey and there were a lot of really cool-looking kids, they looked half-mods and half like robots and they had really nice haircuts,” he realises his hand’s been over his mouth for most of this sentence and shifts to talk towards the Dictaphone. “Some people were getting really drunk so they could dance and were being sick. And people were passed out, these really beautiful kids, some of them were lying on the floor swimming in god knows what. The sound was bafflingly loud and you’d hear more of the echo of the music than you did the music itself; something that coincided with how I wanted to treat the music with Ben [Hillier, who produced Blur’s ‘Think Tank’ and Graham’s ‘The Golden D’].”

Although the sounds of splatting sick are at arm’s length from ‘A+E’, the schizo-jittering (‘Advice’), burbling bass (‘The Truth’) and throbbing electronics (‘City Hall’), almost show signs of Graham turning his hand to the odd floor filler; or maybe a gawky floor shuffler.
“I’m one of those self-conscious people who needs drink before I can [dance]. I used to dance a lot to The Smiths when I was a teenager. And The Jam, I used to go to a lot of mod clubs and stuff. But as soon as I got mildly famous it just stopped, I got self-conscious. I dance at home…”
So, do they never subside, the freakouts and the fear?
“Well, I used to drink a lot,” he says slowly. “And that would be the only thing really that would stop all the mayhem in my head. The old top lip would go into a beer or something and it’d be like ‘Oh, OK!’ It’s kind of dangerous.” He readjusts: “You know this thing where you go into a void of concentration, into a zone; I guess that is when you are totally unaware of anything else. And that comes through writing, through painting, all the rest of it. Everything else disappears apart from that. It’s very temporary. I think I really used to like the feeling of being under the influence of a bottle of wine at all times – and that makes everything worse too – but being at home and watching the news with people talking about a Binge Britain culture, I suppose a lot of the album comes from that. It’s about my observations from my anxiety-ridden bubble.” Graham realises he’s squirmed away from the Dictaphone again and shuffles back, “it’s because I’m mildly embarrassed and anxious at all times, you know?” he smiles and takes a big sip on his cranberry and orange.
“It’s quite difficult.”

And Finally I looked at a Q&A interview taken from SPIN magazines website: (The interview was very long so here is an excerpt) 

He may not be Oasis' frontman — that'd be his little brother Liam — but Noel Gallagher has never been afraid to shoot off his mouth. "Ten years ago we told everyone with a mic we were the greatest thing ever," he says. "Now we just quietly believe it."

A beaming Noel Gallagher strolls across the floor of a North London photo studio enthusing about a new and exciting phase of his life, looking lean and reasonably healthy in every­bloke casualwear: blue checked shirt, jeans, and desert boots. It's not just that he has a seventh Oasis album, Dig Out Your Soul, ready for release or that he has spent a morning play­ing with his one-year-old son, Donovan, whom he describes as "an absolute diamond." It's the fact that he has started sleepwalking.

"Last night I got into bed with me missus and woke up on the middle floor of the house on the couch," he says. "Amazing! I'm 41 and I'm starting this whole new nocturnal adventure." He and his girlfriend, Sara Macdonald, were out drinking beer and tequila with British comedian Russell Brand until the early hours — Gallagher doesn't remember anything after climbing into a rickshaw in London's Soho district and being cheered through the streets. "Maybe that counts as a drunken stupor," he muses. "Is that the same as sleepwalking?"

Dig Out Your Soul sounds like you ordered in the ingredients, and all the labels on the jars read rock or more rock.

 I'm glad you said that. Yes, we wanted a rock'n'roll album...with grooves. Making records should be fun. I remember seeing Radiohead on the cover of a magazine in the U.K. whenIn Rainbows came out, and it said, radiohead: the pain. And I thought, "Won't you fucking give it a rest, you bunch of moaning children?" The pain? Of making an album? I don't buy it. If you're not having a laugh, then don't do it.

Surely the whole process wasn't all fun.

 Well, no, there was a problem on day one. I had seven songs I was putting forward. They weren't pop songs; they were bluesy. We had a meeting and I said, "Let's concentrate more on bass and guitars and have more keyboards and get some remixes done." Liam immediately had a tantrum in the studio and was dancing round saying, "No one told me we were making a fucking dance album! I'm not having this shit. We're a rock band." One day he saw some crew unloading keyboards into the studio and went mad: "What are those fucking keyboards doing in here? That's too many keyboards for a rock'n'roll band." How long has Liam been doing this? He has an irrational fear of keyboards. But this is the man who thought we had gone too dance when I wrote "Wonderwall" because the drums didn't go boom-boom bap, boom-boom-bap. Liam is very institutionalized by being in Oasis. He's been doing it for so long. Me, [guitarist] Gem [Archer], and [bassist] Andy [Bell] were helping him arrange his song "I'm Outta Time" and tried to ease him away from the clichés. But in the end, he can't resist them.

Liam told me he hates "Wonderwall." It's the one song he literally hates singing.

 That's interesting, because he would never say that to me. Well, I hate him singing it, too. Liam doesn't sound like he did ten years ago. Your voice and your body change. We've never got it right. It's too slow or too fast. I think Ryan Adams is the only person who ever got that song right. I'd love to do the Ryan Adams version, but in front of 60,000 Oasis fans that wouldn't be possible.

Liam is finally pulling his weight in the songwriting department, isn't he? He wrote three for the new album.

Yeah, he's a good songwriter. I think he regrets not starting earlier. For years I've said, "If you're so convinced you're John Lennon, then prove it."

Why don't you ever write together?

We don't see each other very often. And I like writing on my own. Me and Paul Weller first said, "Let's write a song together," in 1993, but it took 15 years for it to happen. [Gallagher and Weller cowrote "Echoes Round the Sun" for Weller's latest album, 22 Dreams.] A few times [Weller and I] made an appointment to meet at so-and-so studio at 11, and it's painful. We sit there looking blankly at each other. And then we go down to the pub. With Liam, I wouldn't know where to start.

(NOTE I LIKE THE WAY THAT THE INTERVIEWER, PROMPTS NOEL AS OPPOSED TO ASKING DIRECT QUESTIONS, ADDS AN INTERESTING CONVERSATIONAL TONE) 

5. Photography

COVER SHOOT:

I took photos of my brother for the front cover and main article of my music magazine. Here is a contact sheet containing of some of the photos that I took:

I styled my brother in a fairly smart, and what is considered to be an 'indie' fashion. Which is the type of music that I plan for my magazine to follow. I took my inspiration from a band that I saw live recently, of which all the members wore either suits and ties or smart shirts and jackets whilst performing. I thought that this added a sophisticated, and edgy spin on the traditional image of 'indie rock bands' who are usually seen to wear skinny jeans and leather jackets. 

 FINAL PHOTOGRAPH:
I chose this photo to be the main cover shot, as I feel that it is the best posed, as some of them looked slightly awkward and uncomfortable. On this photo the model has eye contact with the reader, which gives more of a personal connection, which hopefully could draw pottential readers into buying the magazine. I also think that it is imporatnt as it gives a sense of confidence, which is key as the caption for the picture will be 'We go inside the mind of Indies newest icon" And as an "Icon", the must have a confidence and reassurance come across i the images.

EDITING: 

For the first stage of the editing, I removed the background of the image, and changed it to white so that it would look better, and more clean cut when used as the cover. I did this using Macromedia Fireworks, by erasing the background using the lasso tool at first, and then using the eraser to remove individual pixels from around the edges. 

I then used an online photo editing software to heighten the clarity of the image, by airbrushing and removing any blemishes from the models face. I also slightly changed the models hair coloring so that it appears darker, creating more of a contrast on the final image. 

After touching up the images I then played around with different filters and effects on the photo. Here is a contact sheet with some examples. 

1. Black and White - Traditional black and white adds a more artistic feel and a sense of timelessness, more so that it is a classic. Although the photo looks good as it draws out a contrast of shadows and highlights, I had planned for my cover to be in colour.

2. Cross Processing, lowered contrast - I quite like this image, as it gives an effect that still keeps the image clear but slightly distorts the colours around the models jacket, so there is a subtle rainbow spectrum that filters outwards, and it means that it has subtle links to the other colours used in my colour scheme.

3. Warmer temperature - This softens the image and gives the background an off-white tone.

4. Colder temperature - This gives the image an overall blue hue, and makes it appear cold. I don't think that I will use this as the image doesn't look at all inviting, as the cold colours have a subtle negative connotation.

5. Lowered exposure, in Black and White - Heightens the shadows, but reduces the clarity of the image, very dark and dramatic. 

6. Posterised Effects (Two Tone) - A very comical look, two tone makes it very simplistic but slightly distorts the models features. Not approprate to be a cover image but would work as a poster or as a graphic.

FINAL IMAGE: 

I chose this as my final image as I thought that the Cross Processing, and lowered contrast effect added a really interesting look to the photograph, without changing it too much. 

MAIN ARTICLE: 

Here is the contact sheet for all the photos I took for the main article shoot. I posed the model in a variety of different ways featuring props such as guitars, and headphones. Which provide obvious connotations and connections with musicians. 

CHOSEN IMAGE: 

After careful observation this was the image that I chose for the cover shoot, as it appears that he is deeply involved within his music. With no eye contact, he is looking down which gives the image feelings of intensity and concentration, something that often comes across in interviews with serious musicians/icons. the background is kept plain so that text can be layered over the image. 

EDITED VERSION: 

To edit the photo I used similar methods to that of the cover image, by airbrushing the model to give him a clearer complexion, and by giving more of a natural shine to his hair. I also slightly increased the contrast to give the image a higher clarity and distinction between colours. I finally made the colours of a higher strength as before the black wasn't as strong as it could have been. 

PHOTO MANIPULATION: 

This is a contact sheet of the different photo manipulation techniques that I tried for the double page spread. These effects were created through the picture manipulation > artist techniques on the new version of Microsoft publisher. They were very easy to produce, and I think they look quiet effective. 

FINAL IMAGE: 

The final image I chose uses a cross processing filter similar to that of the front cover, as I felt that a continuity of themes would be important. The image still keeps most of the original colours, but darkens the shadows giving a more intense, and stronger colour palette. 

CONTENTS PAGE: 

For my contents page, I used that over the duration of this project, I have been to see several bands perform live to my advantage, and take my photographs at the concerts. I had a rough plan for how I wanted the photos to look, - I wanted them to capture musicians with all the glory of a live atmosphere, with particular significance on the lighting, and different positioning/posing.

METRONOMY: 

These are some of the images that I recently took at the NME Awards tour, they feature a band called Metronomy who are renowned for their quirky and original lighting designs, as each member wore a light pad, that flashed and glowed in time with their parts of the songs. The one image that stood out for me is the bottom left hand corner, as not only can the lights be seen on the band members, but as they are saluting it offers more of an interesting composition than the stationary posed photos.

TRIBES:
This photos were also taken at the NME Awards tour, but of a different band called Tribes. The photograph out of this section that stood out for me is the image titled P1080992. I think that the way in which the lead singer stands out from the background due to the spotlight adds a dramatic feel to the image. Out of all the other photos I think that the mid shot works best as it means that the guitar can be seen clearly as well as the facial expressions of the singer.

ELLIE GOULDING:
These pictures were taken of singer Ellie Goulding, and have a similar look to the Tribes photographs, as they have a dark background, and a spot light placed upon the singer. I planned to use these images as I felt it was important to have a mix of both male and female performers in my magazine so that there wasn't a gender biased, which there often is as music magazines tend to be male dominated. A lot of the shots were fairly similar as it was hit and miss whether or not I would be able to get a decent image, however I decided upon a mid shot, and I went for the image with the highest clarity, and steadiness.

YOU ME AT SIX:

I decided to use photographs of the band You Me at Six, as it gives a different look on live music, I had already planned to use a solo male, female, and two members from Metronomy, but I wanted to have an image of a band playing on a large scale. I think that the image (P1040853) stood out for me as it encompassed the grand scale of live music, and of the theatrical aspect of it. I knew that I could use this as inspiration for a feature, talking about the best live moments that 'readers' had experienced.  

FINAL PHOTOS FOR CONTENTS PAGE: 

These are the final images that I have chosen to use in my contents page. All of the images have been slightly edited, either with increased contrast, cropping, or by altering the sharpness of the image to adjust the clarity. 

IN THE SPOTLIGHT 

As another section for my contents page, I photographed my friend Katie to appear in a section called 'In the spotlight.' I thought that this would be an interesting addition to my magazine as it would appear that readers get their ow chance to star in the magazine, something that is often popular in smaller publications such as 'The Fly' in which up and coming musicians, use the magazine as a platform for new audiences. 

I posed Katie in a dark room with only a spotlight, to create a dramatic atmosphere, I also shot the majority of the photographs in black and white, as this also adds a dramatic effect to the photo. The position she is in with her arms raised also adds to this concept, as she looks animated, as opposed to the more stationary images of her stood with her hands on her hips. 

FINAL IMAGE 

This was the image that I chose to go in the contents page, as I felt that the spotlight was the most prominent in this image, and that was the initial theme behind the picture. 

4. Corporate Image

NAME: 

I came up with a few varying suggestions for my Music Magazine which included: 

          THE BUZZ                   Hit:Record              THE MUSE                IN TUNE 

However I found that after asking a focus group, it was 'Amped' that appeared to be the most successful title. It has a direct connection to live music, which is important as I have planned for this to be a key feature within my photography. 'Amped' seemed to be the most appropriate title as it was short, catchy, and had the most resonance with my original ideas for the magazine. 

COLOURS:

LOGO:

Before creating my own masthead/logo I looked at other examples form music magazines: 

From looking at these it is clear that red and black are key themes,  for the colour scheme, and this is something that I plan to incorporate into my ow heading. It is also clear that most of them use capital letters in their logos to give a bold message, this is something that I will use as well. 

Here are some of the text types that I had considered to use before creating my logo. From these, I chose the best three to use, and then narrow it down to a final image. 

1. ARIAL BLACK-  This is the design that I ended up choosing to be my logo, as it is the most clear, and bold out of the three posible choices. It is easy to read from a distance, and fits well with the other texts used on my magazine. 

2. MAGNETO - The reason I first considered using this font was that it orginally reminded me of a logo used on a guitar brand, and this provided instant connotations with music magazines. The main reason however that I did not choose this as my logo, was because it's design isn't contemporary, and this goes against what I wanted for my magazine to be, (dealing with new music, up and coming bands and current artists)

3. ROCKWELL EXTRA BOLD - Although I liked this font, I didn't choose it for my final logo as I felt  that it was slightly more decorative than the Arial Black, and after looking at published music magazines for inspiration it became apparent that their logos were more simple in design. 

ATTENTION CATCHING TECHNIQUES: 

FLASHES: 

I decided that it would be beneficial to use a flash on the cover of my magazine, as it is a convention used regularly by magazine producers as a way to catch the attention on poetential buyers, and persuade them to purchase a magazine. 

The flash above features on the cover of my magazine. The use of 'Top 50' helps to show the vastness of the magazine, and that it will be a lengthy article. The colour is the darkest red in my colour scheme and stands out from the rest of the page. 

LANGUAGE CHOICES:

"ALL NEW FEATURE"             "EXCLUSIVE"              "+"                 "FREE"               "NO.1" 

I have used all of the above on my magazine front cover, as positive language to help promote the theme of exclusivity for my magazine, showing that it has new and exciting content, which is a ploy to draw in potential readers. Having freebies with magazines can often boost their ratings as readers know they will be getting something extra out of it. For my magazine, I based the idea on a free playlist that SPIN magazine give away with each issue. When you buy the magazine you are given access to download a free 12 track playlist that features bands and musicians from the current issue of the magazine. I thought that this would be perfect, seeing as my magazine is targeted at young people, in particular students, who on a whole tend to have little money to spare, especially in the current economical climate! A music loving student is very unlikely to turn down free music especially if it is from some of their favourite artists. 

PLAN FOR FRONT COVER 

BASIC PLAN FOR LAYOUT OF CONTENTS PAGE 

 BASIC PLAN FOR LAYOUT OF DOUBLE PAGE SPREAD

Music Magazine Demographics

 I have researched into three indie/rock music magazines, which will be the genre of my own music magazine. One way of finding out about the desired target audience for each magazine is to look at the ideology of the magazine, and also research into their demographics.

Questionnaire Results

After collecting in the results from the questionnaire that had handed out to 30 people, I made some pie charts to show the results, and conduct a small scale analysis from them. 

 From this pie chart it is clear to see that the most popular types of music were within the indie, rock and pop sub genres. This is not necessarily down to age, as I did give the questionnaires to people of variant ages, and it and it is down to the individual taste of the people I surveyed. However due to there being little response to other music genres, such as Rap and metal, I have decided that Indie/rock will be the main theme for my music magazine. 

This chart shows how much people would be willing to pay for a music magazine, the most popular category was between £2-£2.50 which I think is a very reasonable price for a good quality music magazine, without it being too extortionate. Very few people said over £3.50, but I'm presuming the ones that did are used to buying monthly magazines such as Empire, which are very high quality/quantity, but don't come out as often. I think that after looking at this, I have estimated for my magazine to cost around £2.25. So that it is high quality, but also slightly lower than competitor NME (£2.40)

Although many of the people bought music magazines every week (most popular NME, and Kerrang) it was because they were avid fans of the brand and subscribed to it regularly. The most popular choice was every few weeks, as people would often only buy the magazine if they had a particular interest in the cover stars. I think though that if my magazine is to be targeted around the theme of indie/rock music it is important to have it as a weekly magazine as it means that the audience ca have access to the latest in music news and new bands as soon as it happens, without having to wait an entire month. 

Music Magazine Questionnaire

This is a copy of the Music Magazine Questionnaire that I have produced. 

3. Magazine Analysis Presentation.

Click Here to see my Magazine Analysis on Slide Share.  

I have choosen to look at NME magazine as this is the magazie that I have taken my main influences and inspiration from in order to create my own media text. The Slideshow includes a deeper analysis of a front cover, contents page and the double page feature article.

Alternatively, here are the Slides form the presentation: