Get more gigs from agencies

Many bands and musicians view a ’manager’ as the holy grail when looking for more performance opportunities. What they really mean is that they’re seeking a booking agent or even a larger agency which promotes bands to potential event organizers. This is a good way for bands and musicians to expand their network and reach to ultimately obtain more gigs. Let’s use the term ‘band’ for the sake of simplicity.

First, let’s take a closer look at the types of agents and agencies out there, what they do, how they operate and for which bands they could be relevant.

The scene booker

We’ll use that name for now. This describes an agent who has built up strong contacts within a specific scene and who ideally works hard to maintain them. This scene could be restricted to a specific region, a music genre or both. So, this is a person who has some influence with event organizers within a 50-km radius and books artists and bands for the clubs and venues they represent. They may also operate across the state or nationwide, but focus on a specific music genre; e.g. they have established contacts with jazz clubs or rock venues where they can book bands that match the house style.

It is not uncommon for these bookers to ‘secure’ a particular ‘territory’ in which they alone are permitted to book performances. How does that work? The booker doesn’t apply for this territorial exclusivity via the local authority or the office for cultural affairs. Rather, the booker may sign exclusive deals with event organizers, whereby the organizers commit to only book bands from the booker’s roster and the booker also guarantees to supply the appropriate bands in return.

What about the bands? The booker may also sign contracts with musicians on an exclusive basis to ensure that they are always available. The booker will therefore be the sole contact for booking the respective bands which benefits the booker, because they know a band’s availability at all times. The bands, on the other hand, must rely on the booker to source regular gigs and not to favor any other bands.

Now here’s the key question: How do you position your band to guarantee a full calendar of gig dates without relying on the goodwill of an exclusive booker?

You can negotiate a contract stipulating a certain number of gigs per month, so you don’t get lumped with gigs in tiny pubs where they pass the hat round to scrape your fee together! It is also important to restrict the booker’s exclusivity to a clearly defined region or specific venues.
This type of booker mainly operates on the cover and party scenes, and also where bands perform their own original material.

Talent agencies

Typical talent agencies today specialize in private gigs such as corporate events, product launches and weddings. These agencies connect bands directly with their end clients and event agencies tasked with organizing such events. While some talent agencies represent bands who perform original material, here we will focus on ‘gala bands’ who perform cover versions, though this doesn’t mean that agencies will exclude bands who perform original material.

Working with these agencies is to your advantage, as they operate on a non-exclusive basis 99% of the time, which means you are free to work with other agencies, even in the same town or on the same street.

Unlike the scene booker described above, these agencies do not actively pursue gigs for their bands, but rather respond to inquiries from clients and event organizers and suggest bands they consider suitable, hopefully including you and your band! They will of course first check with you to ensure that your band is available on the requested date.

This finally leads us to the main topic: The collaboration between you and the scene booker or the talent agency; the great thing is that many of the same factors apply.

The business aspect

We have already touched on the subject of contracts: Exclusive contracts bind you to a specific booker, but non-exclusive contracts also exist which allow you to collaborate with other agencies and thus extend your reach. Talent agencies who supply the event sector tend not to sign framework agreements with you. A contract will only come into effect once the agency has hooked in a client. So, what next?

Contractual partner

The agent’s or agency’s procedure will dictate with whom you negotiate a guest performance contract; for the sake of clarity, in the following we will refer to them as the ‘agency’ and ‘event organizer’ef.

The agency as a contractual partner
If the agency is your direct client, you will negotiate a guest performance contract with that agency. In many cases the agency will even accept your existing contract template, which will also stipulate the fee the agency will ultimately pay you for your performance.
The agency then signs a contract with their client, which could be the event organizer or the intermediary event agency, which will reflect your contractual terms and will then add their own commission to the total fee; you will never know how much they add. You then send your invoice to the agency.

The event organizer / end client as a contractual partner
It is also not unusual for you to sign the guest performance contract directly with the event organizer, where the agency merely acts as an intermediary – similar to a real estate broker. At the same time, you can agree in writing to pay a commission fee to the agency for its services. You can choose to add this commission to your fee or deduct it if you feel it is important to maintain a consistent fee.
Finally, you submit the invoice for your fee to the event organizer, who will presumably then pay you. The agency will then bill you for their commission, which you then pay.
You can ask the agency about the precise business procedure when the time comes. It is a perfectly normal, reasonable and professional question to ask: “How do you handle this?”

Promotional material

Whether you’re collaborating with a scene booker or a talent agency, both require promotional material about you and your band. Let’s now look at what you should provide:

Several demo tracks that reflect the style and range of your repertoire. You probably won’t need to send demo CDs now, but mp3s are generally the media of choice. In the event sector it may even be smart to provide some tracks as mp3s and then provide three tracks that you feel best reflect the style of the relevant request. However, a single mp3 containing excerpts of three or four tracks, each approx. 30 seconds long, is also fine.
Studio, rehearsal room, or live recording? If you have some high-quality live recordings available, then use them. However, most demo recordings are polished studio productions.

A video is a perfect way of showing what your performance looks like on stage. This can be a short video (max. 10 MB) which can be sent via email or a longer YouTube video. A full showreel is another option.

Another essential item is a band photo showing the current lineup; ideally, a professional studio shot that clearly reflects your style. Another live photo could also be a crucial element. Make sure that all the band members are visible, the stage is clean and tidy (no instrument/equipment cases, crates, bottles, etc.) and your local (drunk) eccentric isn’t stumbling around in front of the stage. Photos should be optimized for online use, as the agency will place them on their website and forward them to prospective clients as required.

A one-page pdf with an appealing design with your band logo, photos, slogan, a short bio and, if applicable, some references.

If your band plays covers it will be helpful for event organizers to know in advance the repertoire they can expect. Keep the list concise (max. one page); if space is tight a representative list will suffice.

Some clubs have their own sound/PA system, while for corporate events it is common for the event organizer or event agency to supply the technical equipment. Create another pdf file for your contractual partner listing your technical requirements to ensure that you will have everything you require on stage: Mixing console with channels and channel assignments (where appropriate), monitoring and monitor mixes, microphones, DI-boxes, etc. Refer to the attached technical rider in the contract and explicitly make it an integral part of the contract to avoid any subsequent issues.

High-resolution band photos and logos for potential press reports and program leaflets, etc.

This is more suitable for bands who perform original material. Local media are generally happy to write about your upcoming gig and will appreciate your input, or can simply copy and paste.

 

And now just a word of warning:

Do not state your direct contact details on any promotional material you submit to an agency to advertise you and your band. No agency will forward material from you that includes your contact information. Yes, clients can find you online, but you can understand that the agency doesn’t want to make it too easy for them to bypass the agency and contact you directly. Experienced bands even create a separate, neutral profile for their YouTube videos.

Professionalism

Bookers and agencies quickly find out who is easy to work with and bands that are more demanding. Here are some final tips to ensure professional conduct:

And finally:
Show professionalism by understanding the business and its standard practices. You have just read all the essential information, so it now remains for us to wish you the best of luck!

 

Translations of Julian’s original text by a translation agency
Spotify Pre-Save – Making sure your single hits the scene with perfect timing

We probably all know the feeling: the new song is finished and we want to share it with the rest of the world out there straight away. Quickly upload it to the digital distributor and impatiently check when it will appear on the streaming and download portals. And then what we were afraid of happens: nothing.  

  Spotify Pre-Save  

Pre-Save is about the following: You release your new single, but you don’t do it immediately, you put the release date in the future. Until then, promote your single to the hilt and give your fans the opportunity to bookmark your new song in their Spotify account or even add it to their own playlists. They won’t be able to listen to it until then.  

On the day of release, your fans will receive a message from Spotify and can stream your song immediately. The ingenious thing about it is that all these streams are attributed to this one day. As a result, the Spotify algorithm notices that a new song has appeared that is well received and therefore ranks it higher in the hierarchy and is therefore more inclined to suggest it to other listeners.  

So instead of getting hold of a few individual streams over a period of a few weeks, you collect lots of Pre-Saves in the same time and then receive the concentrated load of streams on the day of release.  

So, let’s tackle the issue from the get-go:   

Create your Spotify Artist profile  

To be able to use the full range of Spotify features, you must first “claim” your own Spotify Artist profile. Or, to put it technically, “claiming”.  

To claim your artist profile, you must have already released at least one song via a digital distributor and delivered it to Spotify. This could well be “just” a short demo.  

Now do the following:  

  1. Go to http://artists.spotify.com and create a new account. Here you select the option “Artist or Manager”. Follow the registration process with user name, password and confirmation. If you have to log in again afterwards, do so.  
  2. Next, Spotify For Artists offers you the opportunity to search for yourself. So enter your artist or band name in the search field. 
  3. As soon as Spotify has found you on its platform, you “claim” to be this artist or band. You can do this by clicking on your (band) name. 
  4. To prevent just anyone from claiming your music as their own, there is now a cross-check with your digital distributor: Spotify For Artists recognizes which distributor it has received your music from and takes you directly to their website during this process. There you log in and confirm that you are you and that you are claiming your music for Spotify.  

All done. Now you have full control over your music on Spotify, and Spotify confirms this after a short processing time with a blue checkmark behind your (band) name.     

Create your Pre-Save campaign 

Let’s get to the heart of it all. First, you have to upload your new single to your digital distributor and make the usual entries for artists, composers, lyricists and so on.  

Only this time you don’t click on “immediately” or “as soon as possible” for the release date. Instead, choose a date a good four, eight or even twelve weeks in the future. Your single will only be delivered to the world’s music platforms in the course of this specified day.  

This process looks different in the backend of the many digital distributors, so I can’t give you exact instructions here. But the principle is the same.  

Next, you can request the URI for your single in the backend of your digital distributor. URI stands for “Unique Resource Indicator” and is the unique identification code for your single on Spotify – and also the Pre-Save link.  

This link is available for each of your published songs and you can make it easier for your fans to find your music by sharing the respective link with them instead of letting them find the right song by chance.  

At the moment, your fans can’t do anything with this URI or Pre-Save link, apart from clicking on it to bookmark your new single in their Spotify account. Your single will be released later.  

Now it’s up to you to promote your new single as effectivelt as possible so that as many Spotify users as possible bookmark it. On the day of release, which you set yourself, your single will then appear ready to play in your fans’ Spotify accounts so that they can stream it. As I mentioned in the introduction, these streams are then bundled with the day of publication, which pleases the algorithm and hopefully brings you a few more recommendations to users who haven’t known you yet.   

Advertise your Pre-Save  

There are, of course, many ways to promote your Pre-Save, i.e. to collect as many Pre-Saves as possible by the day of the days:  

  1. Share the Pre-Save link on your social media channels. You can post a short audio or video clip so that your fans can try out your single. Don’t be afraid to increase the intensity of your advertising measures towards the end of the campaign, i.e. shortly before publication.  
  2. Also share the Pre-Save link with Spotify playlist owners, if you know any personally.  
  3. Publish a normal YouTube video for your single and let viewers know that they can Pre-Save this song in the description or by displaying it. Give them the link, of course.  
  4. Send press releases to stylistically relevant music blogs and websites in which you announce your new single and link to the video on YouTube if applicable. Put the Pre-Save link in the release, many blogs and music websites copy and publish press releases one-to-one.  
  5. Hand out flyers at concerts with a QR code containing the Pre-Save link and point it out to your fans. Why don’t you play the new song live?  
  6. Share the Pre-Save link with friends and family via email, WhatsApp, Telegram or text message.  
  7. On the day of release, send out another press release describing how well the single has done. Now it’s all about keeping up the momentum and getting as much out of the single as possible.  

 

As you can see, a Pre-Save is a clever idea to get more out of your publication. The success of the campaign naturally rises and falls with your marketing efforts. So give it your all.  

 

Best regards,
Julian Angel
Magazine musicbizmadness

 

Translations of Julian’s original text by a translation agency
License music rights 

Music is not really tangible. You can’t sell a sound. A medium on which there is a sound, however, is something to work with. We speak of “rights” for everything that is intangible. And these rights belong to someone, can be granted, transferred and even sold in the USA. 
So far, so good.

Disclaimer: The author (that’s me) is not a lawyer and does not give any legal advice. Be sure to consult a specialist. However, the author has to deal with music rights on a daily basis, namely when he grants television stations and film production companies the rights to use his music in their productions. He has also written a book on the subject. Okay, that should be enough. Enough with the third person.  

Let’s start with what rights exist to your music.  

You write a song, and yes, you’ve probably heard it everywhere, at that moment you also become the creator of your song. Provided you really have made it up yourself. Consequently, you also own the famous copyrights to your song.  

So far, however, the idea has only been buzzing around in your head and the best you can do is sing it to someone. But to capture your work for eternity, you have to record it. The result is a recording of your song: you can hear what you have played, sung and produced. Voilà, the rights to the recording, usually referred to as “master rights”. And if you have made this recording completely on your own, the master rights belong to you alone.  

These two rights are the ones that are at stake if you want to give away your music for a movie, a TV show, a commercial or a computer game.  

You may be able to do this completely on your own, but you may also need a few helpers. Let’s assume the latter, not because I don’t think you are capable, but so that you can understand the topic even better and in full.  

Let’s take a closer look at who else may be involved in the copyrights and master rights before we dive into the practicalities.    

Parties involved in the copyrights  

Clearly, everyone who contributed to the composition of your song is involved in the copyright. In most cases, authors, i.e. composers and lyricists, give their music to a music publisher. It’s great if you can find a committed publisher who will actively promote your song to TV stations, production companies, advertising agencies and game manufacturers. There are publishers who specialize in exactly this, they usually call themselves “Music Library” or “Music Boutique”.  

In recognition of his achievements, you grant your publisher the publishing rights to your song. This means that in future, if your song “runs” publicly thanks to his efforts, the publisher will receive from GEMA the publisher’s share of the royalties that GEMA has collected from the television stations, for example. The publisher’s share amounts to 33.3% of the royalties paid out by GEMA. You receive the remaining 66.6% or share it with other authors if they have contributed to your song as composers or lyricists.  

In the USA, by the way, the copyright and publishing shares are split 50:50. This may be of interest to you, as the USA provides a very large breeding ground for music licensing.    

Parties involved in the master rights  

Everyone who was involved in the recording and production of your song is involved in the finished recording: You, the producers, sound engineers and any studio musicians. As a rule, you pay producers, technicians and studio musicians a one-off fee and – contractually! – their ancillary copyrights to you. If your recording makes money, you no longer have to give them a share (of course you can also come to a different agreement with them). Instead, producers, technicians and studio musicians receive a “supplementary payment” from the copyright collection society (GVL) if your song is further exploited. But that is a science in itself.  

Normally, you get a record company on board so that they can send the finished recording of your song out into the world so that they can earn money. Be it on recordings, via download, via stream or even in movies or on television.  

In order for the record company to be allowed to do all this for you, you must give it permission to do so by granting it the rights to your recording, i.e. the master rights.  

If the record company succeeds in placing your song in a film, for example, it grants the production company a license. It is called a “master license”. And that costs money. Depending on how well known you are, this could be a few hundred euros or even a six-figure sum.  

The money that the record company earns for this is split equally 50:50 with you. At least that is the international industry standard.   

Summary  

Now that a music publisher has the say over your composition and the record company can decide on your recordings, all those who want to use your music must obtain permission from both the publisher and the record company:

From the publisher to use the composition.
From the record company to use the recording of it.

Remember that. Please. Without fail.  

But what if you have neither a publisher nor a record company? Then you alone control your composition and its reception. You are therefore the author, publisher and record company in one and can grant all licenses yourself, both for the use of the composition and for the use of the master recording. But I think it’s important that you are aware of your different roles as a publisher on the one hand and as a record company on the other, because that’s the only way to really understand how this business works.   

Two income streams  

Once your music has been placed in, say, a TV movie, you’ll get paid twice:  

Firstly, the master license (which you get paid immediately by the production company), and then in the form of royalties when the film with your music is broadcast on television. This will take a little longer, as the royalties must first be collected by GEMA before they are paid out to you according to their distribution plan.   

How can you place your song?  

The direct route into films and major television productions is via so-called “music supervisors”. They are either employed directly by the production companies and broadcasters or act as freelancers on their behalf. Their job is to find the right music and, as they say, to clear the rights to it. In other words, to obtain the necessary licenses.  

In smaller TV productions, it’s the music editors or the people in the editing room who take care of the music, whereas in low-budget indie films, it’s usually the directors who are your contacts.  

It all sounds quite nice if these people weren’t so hard to find and even harder to convince. They receive over 100 music mailings every day, so the chance of getting lost is unfortunately quite high. Are there alternatives? Yes.   

Music Library / Music Boutique  

You have already read about them above. They combine the activities of music publishers and record companies and thus serve as the sole point of contact for potential music users. This speeds up the licensing process immensely.  

You can contact these libraries or boutiques and ask them to include your song – or several songs – in their program and offer them. In return, you grant them both the publisher’s share of your composition and the usual 50% of the master licenses.  

For real “sung” songs, please make sure that you grant the library all rights on a non-exclusive basis only, so that you still have the right to publish your songs yourself, perform them live or place them in films without the library earning any money from them.  

If you decide to make functional, purely instrumental background music, exclusive contracts with the libraries are fine, almost standard by now.    

Sync Agent  

A sync agent is someone who searches for you to place your song in movies, television, commercials and computer games. The word “sync” here comes from “synchronize”, a term that is often used in the industry. This refers to the integration of music and moving images.  

The Sync Agent will mainly look for opportunities for you and your song that yield reasonable master licenses. In return, he will demand a share of the revenue, which can range from a standard agent or manager share of around 20% to the 50% that a record company or library would receive for granting the master rights.  

Now you have learned the basics of music licensing. The topic has remained one of the few constants in the music business and is also being increasingly pursued by the major record companies. There is still good money to be made here.  

 

Best regards,
Julian Angel
musicbizmadness

Translations of Julian’s original text by a translation agency

 

AI Blues

If there’s a loaded gun lying in the middle of the marketplace, there’s no need to worry. Numerous people have already lectured on the responsible use of firearms. Alright, maybe. Someone will pick it up and rob a bank to get the money that others have worked so hard for.

Does the metaphor fit? Or is it too extreme? Someone will use AI to create much more content than ordinary mortals are capable of. And in only a fraction of the time. Just recently, someone told me about a friend who cranks out two hit songs a day with AI.

We won’t be able to stop this entirely— not even the industry, which has proposed measures such as upload filters and compensation for the original voices. Just give me a moment to comment on a few of these myths. Perhaps it will get a few people to think about it. If I’m wrong, I’d actually be delighted.

AI is just there to support the work flow

Maybe we both still have enough pride to stick to just finding rhymes. But someone will perform like a multi-instrumental genius and outshine us. And then people will say, “Hey, look at that as an example. Amazing!” And at least they’ll be able to keep up appearances long enough to make a decent living.

AI cannot replace real human emotions

That’s true. But who cares? When I accidentally turn on a typical format radio station with afternoon giveaways, I barely hear music played with real instruments—at least not during the daytime. And the songs are often edited to the point of inhumanity. And to be honest, before I started making music, I also mistook a drum machine for a real drum set. It took me a long time to figure out that Doctor Avalanche was a classic drum machine. In many cases, we already have to measure our acoustic music productions against the sound quality of virtual instruments.

AI generated music is risky in terms of copyright infringements

Artificial intelligence “composes” just like we do—it reassembles what we have heard before. Two notes from one song, three from another, combined with the rhythm of other pieces of music—and at some point you will no longer be able to recognize what it has used. And where there is no plaintiff, there is no judge. Do you think you’d even notice if someone borrowed an idea from you? Is there a database with all previously published recordings that is automatically compared on a regular basis?

AI is recognized by upload filters

Some digital distributors are working on filters that are supposed to recognize AI generated music recordings in order to reject such titles. This may work with some songs that are one hundred percent artificially generated. But what if only the foundation is artificial and the rest was added manually? Or if AI spits out the finished song and the “musician” has recreated it themselves?

 

AI generated music can’t be played live…

… because many creators can’t play an instrument at all. So what? Even today, DJs are for many the cheaper alternative with fewer logistics and personnel. And if people are already chasing after AI-created models and booking them for jobs, they’ll soon be attending hologram shows and enthusiastically cheering for them. Oh wait, doesn’t that already exist in East Asia?

There is compensation for faked original voices

Laws are gradually being passed to protect the rights to one’s own voice (“ELVIS Act”). But how low will the compensation be for those who gave up their vote voluntarily or involuntarily? This would also require a database of votes, which would, in turn, be compared and reliably identified despite all the showmanship. Can it also be identified if someone has superimposed several voices—as with a synthesizer? Once again the question arises: Would you notice—let alone recognize—if your voice suddenly sang someone else’s song? Definitely not if a songwriter simply hijacked it to get a better voice for their demo (while you’re still paying a real singer to do it).

I myself am not afraid of artificially generated music. However, I have my reservations if many “musicians” use them to their full extent and their customers eventually accept them. I won’t be able to keep up with the pace of production, and artificial mass production certainly won’t drive up the price of the final product.

The Recording Industry Association of America (RIAA) is currently suing the AI music generators Suno and Udio for copyright infringement (June/July 2024). After all, their AI has been trained with the help of the music catalog of the labels represented by the RIAA and therefore constantly retrieves elements of the songs contained therein in order to reassemble them. According to the definition, the RIAA is probably right here. GEMA was also the first collecting society worldwide to file a lawsuit against OpenAI for copyright infringement.

Sorry if I’ve ruined your day. Perhaps we can still find ways to adapt and thrive

 

The Spotify 1,000 streams rule: Continue or look for alternatives?

When Spotify first came onto the market, nobody was quite sure what it was. Spotify was meant to replace conventional radio by allowing its users to listen to their favorite songs directly – around the clock, as often as they like, and at a monthly price around one third less than buying a long-playing CD.

Basically, nothing has changed. Except that what many musicians had feared has now come true: For many fans, streaming is replacing the purchase of physical media. And this is precisely what self-marketing musicians in particular are feeling the effects of. Because the €10–15 that can be earned from a CD sale can be earned only with considerable difficulty via streaming portals. A fan would have to listen to a 10-track album 300–500 times for the musicians behind it to earn as much as they would from a CD or a paid download. This requires much more persuasion than selling a physical album.

At least Spotify has a discovery function, which fans can use to find and get to know new music. But do they also discover relatively unknown self-marketers? The chances are rather low. According to the Luminate Report for 2023, 86.2% of all songs available on Spotify receive fewer than 1,000 streams per year. Incidentally, that equates to €3 per song or €30 for an album – the price of two CDs.

 

Now here’s the kicker from Spotify: Songs that record fewer than 1,000 streams in a year (i.e., a staggering 86.2% of the material available) will no longer be remunerated. Spotify claims this is to make things more difficult for tracks that consist solely of sounds cut up into 31-second chunks – such as the ominous whale songs or simply white noise.

However, it’s obvious that eliminating time-consuming administrative work will lead to cost savings. Spotify does indeed need to start presenting its investors with profits. After all, up to 2023, it hadn’t been generating any profits.

What does this mean for musicians, especially those who market themselves? Okay – €3 more or less probably doesn’t matter in the end. Nevertheless, it is annoying that a service like Spotify also earns money from these seldom-played songs but does not want to pass any of it on to the musicians themselves.

 

The big question we should ask ourselves is this: Do we increase our efforts to crack the 1000 mark with every song on Spotify. Or should we look for an alternative instead?

If we look at the cost/income ratio described above, we realize that we earn considerably more money from a piece of music sold – be it a CD, a record, or a download – than from streams. And even faster. Because once you’ve bought an album, you’ve paid for it and don’t have to be constantly encouraged to listen to it again.

 

And that’s where a MIDiA report from last year comes in handy. According to analysts from the entertainment industry, music lovers are looking for and finding music beyond social media and streaming services. But what exactly are “real music lovers”? In the report, they were defined as people who listen to music beyond the usual trends and who are prepared to spend over USD 100 a month on it. That sounds good. Should we focus on such fans instead? And where do we find them?

The report also provided us with an answer to this question. Real fans read magazines and music blogs in which new albums are presented. And there are magazines and blogs for almost every conceivable genre. As if that weren’t enough, many of them are even divided into obscure sub-genres. This allows us to address potential fans in an even more targeted way.

 

And that, of course, raises the most important question: Do such blogs and magazines write about small self-marketers like us? In fact, many do, often without the unpleasant “unsigned” or “home recording” stigma. Let’s go on a search using terms like

blog, magazine, reviews, underground reviews, album reviews, website, and webzine

in connection with our musical style. In the end, we even find quite a few of them, make contact, and put together a noteworthy media campaign. With six self-released albums under my belt, I can confirm that it’s worth it.

 

****************

Julian Angel

Julian Angel makes music for Hollywood films and television, mainly in the USA. He has also released and marketed six albums as a solo act and with his band project Beautiful Beast. In 2021, his book Music. Sync. Money was published. Julian has been running the website MusicBizMadness.de for over 10 years now. Good luck!

 

Translations of Julian’s original text by a translation agency