10 Tips Even The Most Lazy Musician Can Use
I got an email the other day from a young musician who was seeking advice about a 6 song demo tape he and his band had put together. He had plans to ‘shop it around’ to some labels to see if he could get a recording contract. He was a very polite guy, and wanted me to be very honest with him about what his band should do with their demo. The more we talked the more I realized how clueless he was. When the call was over, I couldn’t get it him out of my mind. How could he be so clueless in this day and age? What closet was this band living in, thinking that a demo tape of 6 songs was all he needed to get a ‘deal’.
I get upset when I encounter naiveté, or blissful ignorance…it ticks me off.
On the one hand we have a slew of entrepreneurial bands around these days that are very hip to using traditional and non-traditional marketing tactics to get their careers launched. Many bands are out their playing live as much as possible, using the web to get their music circulated and sold, These bands are working hard day and night to get their music into the marketplace, and they realize that the business of music is a ruthless business that demands as much from you as you are willing to give it, with no guarantees of any success coming your way.
And then there are the clueless, the naïve, and the blissfully ignorant. “Why won’t they just go away?” I ask myself. Because regretfully, “ignorance is bliss” is still a permanent state of mind for many aspiring musicians. These idiots will never go away regardless of the dozens of outstanding books, articles, regional and national music conferences, and webinars that are out there spreading the gospel of ‘do-it-yourself’.
It is one thing to be naïve, and another thing to voluntarily remain ignorant of music business realities. But wait, why should I complain?
I am a music business consultant. I should be happy that there are so many clueless musicians out there. They could become my next client. But they won’t because they have no desire to educate themselves. Even when I tell them they can get a lot of free information at my website:www.4frontmusic.com, they won’t even go there and read the free articles because…they are too lazy.
So, what’s a music business consultant to do?
Will I surrender to the clueless? Will I let the naïve get to me? Will I stop my crusade to help musicians with the business of music?
NEVER!
So, to prove it…here are a bunch of FREE TIPS for the taking:
1. Learn how to write a song!
We live in a time when everybody and their sister can and does make their own music.
That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into their comment is that your music must truly stand out in some significant, original, dynamic, and creative way. 95% of the original music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Challenge yourself! Talent scouts in this business hear hundreds of mediocre songs every week. What is it about your songs that make them stand out from all the rest?
2. Play live as often as you can.
You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music. The dedicated musician/band MUST play live every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never stopped playing live.
Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions. Look around where you live and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
3. Never stop practicing your instrument.
One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection, the need to be not just ‘good enough’, but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s record, and listen closely to what they are playing. Then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will discover some new territory, wherein you will find your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition. Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo music file or CD, and from every new act they go see at a live venue. Y
In the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kind of like a partnership between ‘Art and Commerce’. They can work together!
4. Cough up the bucks to register your songs with the Copyright Office.
I never cease to be amazed how few artists are willing to spend $35 to register their copyrighted songs online with the U.S. Copyright Office. www.copyright.gov
By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter. If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. With the Internet or your neighborhood library and/or bookstore there a number of easy ways to learn what it takes to file for copyright protection. Do it now!
5. Design some decent looking promotional materials.
The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, photos, and quote sheets is a lengthy one to say the least. My tip to help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible. Take an inventory of your accomplishments, positive reviews, past sales, and live appearance highlights, and organize them into professionally written bios etc. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be sent out to any gatekeepers in the music business. Most gatekeepers in the industry today will want you to send any requested materials via email attachments. Be sure though to ask them what they prefer; email attachments or snail mail goodies.
I recommend these days you create an "electronic press kit"... Hell, everything is digital now anyway, so your press materaials should be digital AND the traditional...you may need both!
6. Get acquainted with any labels or publishing companies you may be interested in..
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and their background and experience? The same is true when shopping for a record deal.
(If you insist on this approach, and if my emails are a good source of information, thousands of you still insist on shopping for deals instead of building your career to attract the businesses you want to work with)
Some musicians get so excited when a certain label approaches them with a recording contract, or a publishing company offers to sign them. Well, what can I say…go ahead and sign some damn deal…you will be writing me back after you experiences with that approach and asking me for help, but it will be too late by then…sorry suckers!
At least take the time to learn a few things about contracts before you go looking for one. Research the companies who may contact you. How have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people? These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
7. Don’t use just any attorney for legal advice…find an entertainment law attorney..
The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies. It should be pointed out here that when all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musician’s attorney and the music company’s attorney meet, talk over the phone, and fax, email, even text message their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.
8. Learn what managers do by doing management for yourself..
Self management is always a valid option in the developing stages of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R Reps and various other label and publishing personnel.
However, there comes a time, usually when the daily tasks of doing the business of being a band takes up too much time, and it is at this time that the services of a good manager can be very useful. I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.
Today, finding a Manager is very difficult. Managers who do this job for a living can only take on clients that generate income. Making money as a personal manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student managers, the road that heads toward professional management may open up.
Over the years I have heard several horror stories about ‘managers’ that approach upcoming acts and say that for X amount of dollars, they can do such and such for the artist. No, this is not the way legit personal manager’s work. Well-connected and respected personal managers get paid a negotiated fee for their services (get it in writing) for any and all business transactions they are responsible for (15%-25%) over a particular contract period. No musicians should ever pay a fee to a so-called ‘manager’ who will not do any work UNLESS they are paid up front. Flim Flam men and women still abound in this business... be forewarned.
One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers. The music business is a ‘relationship’ business. Who knows whom, and who can get to the gatekeepers, and who did what successfully, is what this management game is all about. Choose carefully the people who will be representing you in any business dealings.
9. Take advice only from people who have talked the talk and walked the walk.
Everybody has their own list of Do’s and Don’ts and the only real value they have is that they present you with ‘opinions’ about what to do to get established as a musician.
To be quite candid, the best rules in the music business comes from the experience of building your own career; learning from your own interactions with the gatekeepers at labels, the media, management, and booking companies as to what is right or wrong for you. For every Do or Don’t there is an exception to a so-called ‘rule’. As I reflect on the advice I received and listened to over the years, the most valid tips came from people who walked the walk, and talked the talk. If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only feedback that might stand up over time. Choose carefully.
10. Educate Yourself! Learn something about the business of music.
Ignorant, ill-informed musicians are a menace to themselves. Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game, and still is when it comes to money issues. In the past, keeping musicians in the dark was standard business practice. However, the past has passed. Today, musicians who signs a record contract, and learns later about the bad news contained in it, have only themselves to blame.
There are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars and workshops are available on a year round basis in most major American cities. It is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business of music.
And ya know...Google can find you everything you need to know on something called "The Internet"...yeah right, THAT thing!,
There ya go! Now please…get off your lazy butt and keep this information close at hand and commit to learning as much as you can about a business that thrives on exploiting naïve or the blissfully ignorant musicians.
Sunday, December 5, 2010
Tuesday, November 23, 2010
NEW Intro to 4 Fronts of Music Marketing
AN INTRODUCTION TO THE
“FOUR FRONT MUSIC MARKETING CONCEPT”
by Christopher Knab (copyright 2010)
There are many factors that must be considered by musicians and bands as they prepare to release an independent recording, or attempt to shop their music to A&R Reps at record labels.
I have been involved with independent music for over 40 years. In order to help you understand what must be done to plan your career, and/or implement a record release, I have conceived a Music Marketing Concept that will help you professionally develop your music for the marketplace. This easy to understand concept can be used by any dedicated and hard working musician or independent record label to build and/or further their careers as talented artists.
By learning the ‘Four Front’ Music Marketing Concept, which is based on the time tested and ever evolving marketing strategies and tactics of major labels and independent labels, you will know what it takes to compete in and work with all the businesses, services, and people that a recording artist encounters while pursuing their musical careers.
You will see how understanding the ‘Four Front Concept’ can help you develop your talent and image; along with helping you create effective promotion, advertising, and marketing materials, which are so vital to a successful and profitable music marketing campaign. In addition, The ‘Four Front’ concept provides you with information on how the businesses and services encountered in the marketing process rely on each other for information and support of any recorded product.
So, let’s get started.
The Music Industry is organized into "Four Fronts" or key ‘areas’. The First Front of Music Marketing is called Artist and Product Development. It is broken into two parts. Artist Development is Part 1
It deals with all the issues that any new artist or band must consider, such as; songwriting skills, and musicianship development, creating an honest and consistent image, copyright and publishing concerns, co-musician and band issues, recording and mastering arrangements, as well as management and legal needs. Product Development is Part 2 and it deals with all the issues that must be considered after a recording has been made including: cover artwork design and printing, manufacturing choices, market research data, as well as distribution and sales strategies.
After the music has been created and a recording has been manufactured, the remaining Three Fronts, which are called: Promotion (the radio, TV, and Internet airplay campaign), Publicity (the press and media campaign) and Performance (live shows and touring plans) come into play to support the First Front of Artist and Product Development.
The trick to understanding the ‘Four Front Marketing Concept’ is simply this. You must conceive, budget for, and carryout a consistent four-pronged marketing campaign for your independent music.
Every successful record in history has behind it elements of this basic formula, so there is no need to reinvent the wheel, all that is needed is to build upon the tactics and strategies that have been utilized by record labels past and present, and to find innovative new ways to expand on those proven methods.
The growing impact of an Internet presence for developing acts is such an example. If you look at what is available on the Internet for musicians as tools to expose and sell their music, beneath the Internet’s structure is the basis of four key areas of exposure, Online Product Sales, Promotion through Internet radio stations, Publicity through many online publications, and the opportunity to Perform your music live over the Internet.
But, let’s get back to basics now, in the beginning you must concern yourself only with the music itself. Remember, the first half of the First Front is called ‘Artist Development’. This simply means that everything starts with songs. If you intend to make money with your music, then your songs must have some commercial appeal to them. This does not mean that you must ‘sell out’ to some passing trend, but history has proven that the music that endures is music that stimulates the imagination of the listener in some way so that they are moved to purchase it. ‘Ownership" of your songs is the greatest proof that you have reached someone with your music. When people have to own their own copy of your songs, that is the highest tribute to their worth.
So, your songs must be of that caliber. When you feel confident that your songs do have a waiting audience who will appreciate them then it is your obligation to protect them by copywriting them. If there is a growing market (or demand) for your music, then starting your own publishing company, or searching for a music publisher will become necessary. But as ‘Artist Development’ moves along, and the business of music progresses, establishing and consistently presenting a clear image for the public to relate to becomes increasingly important, as will defining the business structure and policies of doing business with fellow musicians in your group.
Artist Development also means perfecting your live performance skills, and finding affordable and reliable recording arrangements to record demo or other music projects. Finding the right studio, the right equipment, the right producer and engineer, and the right studio are all factors related to developing your art...your music...preparing it for the Product Development stage.
Before leaving the subject of Artist Development, it must be mentioned that self management, or attracting the attention of professional management may enter the picture. Someone has to arrange for and be responsible for all the details of the aforementioned details. And of course, the advice of a professional entertainment attorney is strongly advised as you prepare to enter the world of .... the second half of the First Front...Product Development.
Product Development, is again all those issues related to the question...You have recorded your music, now what do you do with it?
Well hopefully you have thought about your customer a bit. Who is your fan? What do you know about them, and how do you intend to make them aware of your music? I suggest that you create a cover for your record that embodies all the image concerns you dealt with earlier so that when your fans, and the business gatekeepers who stand between your music and your fan ( the buyers at distributors and stores, the music directors at radios stations, the writers in the press, and the bookers of live shows)...can easily see what genre of music you play, and will be intrigued enough by your artwork to want to listen to it, and hopefully buy or support it
Next, shopping around for the best manufacturing deal you can find becomes essential. There are, for example, dozens of ‘Package Deals" out there through such manufacturers as Discmakers and Oasis, etc. But, do you really need a thousand CDs? Maybe that is too many or too few! Too many startup bands and artists manufacture x number of CDs solely because they got a good price from a ‘package deal’. Research your fanbase, how many promotional copies you will need to send out, and how much money you have budgeted for marketing, and you may be surprised how many CDs you actually need.
Product Development then becomes a matter of SELLING your music. You must devise specific methods by which your CD can be purchased by your fans. Live sales, Internet sales, consignment at local stores, and ultimately finding distributors and retail music chain stores who will carry your music. Formal distribution is the toughest to obtain these days, simply because of the huge amount of releases being unleashed before an unsuspecting public. Over 1000 new releases a week are littering the retail landscape, so finding and using the other methods of selling your music are highly suggested these days.
Every professional and legitimate record label has setup the arrangements for selling their records before moving on to the other activities they will be used to expose the music they have released.
You must do the same thing. At this point at a record label, a Marketing Plan is written up. It will contain much of the information discussed here, and in the paragraphs ahead. But Product Development at a label means putting down on paper the tactics and strategies to be used to sell the release. Be prepared to spend some money dealing with all these issues. Distributors rarely enjoy working with under-funded labels. It takes money to develop your product for the marketplace. You will need funds for coop advertising with retailers, you will probably need money to print up hundreds of Distributor One Sheets (sheets that describe in outline form your marketing commitments), and if you want to get into some listening stations at retail, get your wallet out because it can cost thousands of dollars to get involved with that in-store merchandising effort).
Digital distibution IS the future, but not the focus of this article...just be sure you do it and use www.tunecore.com as your guiding light!
Enter the three remaining Fronts... The Exposure Fronts.
Do you want to get some college and/or non-commercial radio airplay? Or perhaps prepare to enter the super competitive realm of soliciting commercial radio stations for airplay. Welcome to the Promotion Front! ‘Promotion’ in the purest sense of the word means ‘Airplay"! It is the thoughtfully researched and carefully planned out campaign for getting songs played on the radio, as well as on the dozens of new Internet radio stations, and it can ultimately mean getting videos aired on public access TV, commercial broadcast TV channels and networks, as well as the MTV’s and VH1’s of the cable world.
The only reason record labels fight the good fight of trying to secure airplay for their records is the simple fact that when secured, airplay is the single most effective means of exposing music to the public. Be prepared however for a frustrating and competitive fight. You must be armed with your Product Development marketing ideas and plans, and a significant financial investment to have any real success on a national level with your Promotion plan.
On the Internet side of things, one could look at the MP3 revolution as the greatest Promotion gift to developing acts that has ever happened. By posting your music on the hundreds of sites devoted to MP3, you can have fans listen to your music any old time they want to after they have downloaded your songs from those sites, or your own website ( You DO have a website, don’t you?). Hot on the heels of the MP3 compressed audio file revolution, are many other secure downloadable opportunities as well. ITunes has changed the world for starters, and Cdbaby.com have the best deal going to get your music on iTunes, and have many other worthwhile marketing plans for you to check out.
The next Exposure Front is the Publicity Front. Armed with professionally designed, image-reflected electronic AND traditional press kit materials ( Bios, Fact Sheets, Cover Letters, Photos, Press Clippings and/or Press Quote Sheets) you will be organizing again a well researched, and hopefully effective campaign to get the music press to review your release, and eventually write stories about you and your music, as well as interview you about your music. This Publicity Plan will act as a support mechanism for all your other ‘Front’ activities. Of course there are thousands of on and off line press opportunities, but again, armed with your marketing ideas from the Product Development stage, you will have many reasons why a magazine, newspaper, fanzine, or e-sine should feature your music, right?
And please remember...Social Networking ( Twitter, Facebook et al ) are a KEY element of the Publicity Front.
The only other Front left to discuss a bit is the Performance Front. This, in many ways, is the foundation of most genres of music. Playing live in front of your fans is the best way to develop a loyal and dedicated fanbase. So, if you want to play in the clubs and other big venues that showcase talent, give the gatekeepers in that arena reasons why they should book you. I am a big fan of doing non-club dates as a way of getting the attention of the commercial mainstream clubs out there. From house party gigs, to school concerts, to fairs and festivals and everything in between, just getting yourself in front of audiences, and of course using that opportunity to get mailing lists made up, and to SELL your music...The Performance Front is the bedrock of the Four Front Marketing Concept. Many artists are finding ways online to broadcast their tours, and/or to have an archive of club and concert appearances via their web plans.
Now, with a basic understanding of the Four Key Areas of music marketing described, there is on only one other basic concept that must be understood, and it is this.
The ‘Four Fronts’ of Music Marketing are interrelated and interdependent upon each other!
In some ways there is a catch 22 about all this. By this I mean that in order to get your Product into mass distribution, the distributors want to know what your promotion, publicity, and performance plans are. In order to get significant airplay the radio stations want to know what your Product Development, Publicity, and Performance plans are. In order to get Publicity, the editors and writers at the magazines and newspapers want to know what your Promotion, Product Development and Performance commitment is, and in order to get the better live Performance gigs, the booking agents, and club owners need to know what successes you have had with selling your Product, getting Press support, and any Radio airplay.
So, where do you start? Well, I always recommend that you start where you are the strongest. Even though there are a lot of articles and books out there with titles like " Ten Steps To Musical Success", or " How To Be a Star in 30 Days", the truth of the matter is that every band or solo artist has to have the ability to ‘feel’ their way around this crazy business. There really is no systematic way that this ‘Four Front’ concept works the same for everyone. Many acts, as I said before, build their successes around touring and playing live in support of their independent music. Others get lucky with some radio airplay, or have become what are called ‘critics darlings’, and get a ton of favorable press, and that becomes there breakthrough Front. Others combine elements of different fronts, playing live regularly, and constantly selling their CDs and Tapes at their live shows. And of course, using the ‘Four Fronts’ online, a new generation of cyber musicians are getting their breaks online, using Artist and Product Development, Promotion, Publicity, and Performance tactics and strategies to launch and maintain their careers.
Lest you think that my discussion of this marketing concept is only the responsibility of developing acts, let me tell you this before I sign off...No matter how established or legendary any musician becomes, when they release another record, the ‘Four Fronts’ of music marketing stay with them forever. That is why they have stayed in your head all these years! You may just be getting started and think that all I have described is a one time deal until you are ‘discovered’. Sorry about that, the more successful you get, the more time you will spend dealing with the ‘Four Fronts’ of Music Marketing. Welcome to the business of music!
Christopher Knab
Chris@Knab.com
Copyright 2010 all rights reserved
_________________________
“FOUR FRONT MUSIC MARKETING CONCEPT”
by Christopher Knab (copyright 2010)
There are many factors that must be considered by musicians and bands as they prepare to release an independent recording, or attempt to shop their music to A&R Reps at record labels.
I have been involved with independent music for over 40 years. In order to help you understand what must be done to plan your career, and/or implement a record release, I have conceived a Music Marketing Concept that will help you professionally develop your music for the marketplace. This easy to understand concept can be used by any dedicated and hard working musician or independent record label to build and/or further their careers as talented artists.
By learning the ‘Four Front’ Music Marketing Concept, which is based on the time tested and ever evolving marketing strategies and tactics of major labels and independent labels, you will know what it takes to compete in and work with all the businesses, services, and people that a recording artist encounters while pursuing their musical careers.
You will see how understanding the ‘Four Front Concept’ can help you develop your talent and image; along with helping you create effective promotion, advertising, and marketing materials, which are so vital to a successful and profitable music marketing campaign. In addition, The ‘Four Front’ concept provides you with information on how the businesses and services encountered in the marketing process rely on each other for information and support of any recorded product.
So, let’s get started.
The Music Industry is organized into "Four Fronts" or key ‘areas’. The First Front of Music Marketing is called Artist and Product Development. It is broken into two parts. Artist Development is Part 1
It deals with all the issues that any new artist or band must consider, such as; songwriting skills, and musicianship development, creating an honest and consistent image, copyright and publishing concerns, co-musician and band issues, recording and mastering arrangements, as well as management and legal needs. Product Development is Part 2 and it deals with all the issues that must be considered after a recording has been made including: cover artwork design and printing, manufacturing choices, market research data, as well as distribution and sales strategies.
After the music has been created and a recording has been manufactured, the remaining Three Fronts, which are called: Promotion (the radio, TV, and Internet airplay campaign), Publicity (the press and media campaign) and Performance (live shows and touring plans) come into play to support the First Front of Artist and Product Development.
The trick to understanding the ‘Four Front Marketing Concept’ is simply this. You must conceive, budget for, and carryout a consistent four-pronged marketing campaign for your independent music.
Every successful record in history has behind it elements of this basic formula, so there is no need to reinvent the wheel, all that is needed is to build upon the tactics and strategies that have been utilized by record labels past and present, and to find innovative new ways to expand on those proven methods.
The growing impact of an Internet presence for developing acts is such an example. If you look at what is available on the Internet for musicians as tools to expose and sell their music, beneath the Internet’s structure is the basis of four key areas of exposure, Online Product Sales, Promotion through Internet radio stations, Publicity through many online publications, and the opportunity to Perform your music live over the Internet.
But, let’s get back to basics now, in the beginning you must concern yourself only with the music itself. Remember, the first half of the First Front is called ‘Artist Development’. This simply means that everything starts with songs. If you intend to make money with your music, then your songs must have some commercial appeal to them. This does not mean that you must ‘sell out’ to some passing trend, but history has proven that the music that endures is music that stimulates the imagination of the listener in some way so that they are moved to purchase it. ‘Ownership" of your songs is the greatest proof that you have reached someone with your music. When people have to own their own copy of your songs, that is the highest tribute to their worth.
So, your songs must be of that caliber. When you feel confident that your songs do have a waiting audience who will appreciate them then it is your obligation to protect them by copywriting them. If there is a growing market (or demand) for your music, then starting your own publishing company, or searching for a music publisher will become necessary. But as ‘Artist Development’ moves along, and the business of music progresses, establishing and consistently presenting a clear image for the public to relate to becomes increasingly important, as will defining the business structure and policies of doing business with fellow musicians in your group.
Artist Development also means perfecting your live performance skills, and finding affordable and reliable recording arrangements to record demo or other music projects. Finding the right studio, the right equipment, the right producer and engineer, and the right studio are all factors related to developing your art...your music...preparing it for the Product Development stage.
Before leaving the subject of Artist Development, it must be mentioned that self management, or attracting the attention of professional management may enter the picture. Someone has to arrange for and be responsible for all the details of the aforementioned details. And of course, the advice of a professional entertainment attorney is strongly advised as you prepare to enter the world of .... the second half of the First Front...Product Development.
Product Development, is again all those issues related to the question...You have recorded your music, now what do you do with it?
Well hopefully you have thought about your customer a bit. Who is your fan? What do you know about them, and how do you intend to make them aware of your music? I suggest that you create a cover for your record that embodies all the image concerns you dealt with earlier so that when your fans, and the business gatekeepers who stand between your music and your fan ( the buyers at distributors and stores, the music directors at radios stations, the writers in the press, and the bookers of live shows)...can easily see what genre of music you play, and will be intrigued enough by your artwork to want to listen to it, and hopefully buy or support it
Next, shopping around for the best manufacturing deal you can find becomes essential. There are, for example, dozens of ‘Package Deals" out there through such manufacturers as Discmakers and Oasis, etc. But, do you really need a thousand CDs? Maybe that is too many or too few! Too many startup bands and artists manufacture x number of CDs solely because they got a good price from a ‘package deal’. Research your fanbase, how many promotional copies you will need to send out, and how much money you have budgeted for marketing, and you may be surprised how many CDs you actually need.
Product Development then becomes a matter of SELLING your music. You must devise specific methods by which your CD can be purchased by your fans. Live sales, Internet sales, consignment at local stores, and ultimately finding distributors and retail music chain stores who will carry your music. Formal distribution is the toughest to obtain these days, simply because of the huge amount of releases being unleashed before an unsuspecting public. Over 1000 new releases a week are littering the retail landscape, so finding and using the other methods of selling your music are highly suggested these days.
Every professional and legitimate record label has setup the arrangements for selling their records before moving on to the other activities they will be used to expose the music they have released.
You must do the same thing. At this point at a record label, a Marketing Plan is written up. It will contain much of the information discussed here, and in the paragraphs ahead. But Product Development at a label means putting down on paper the tactics and strategies to be used to sell the release. Be prepared to spend some money dealing with all these issues. Distributors rarely enjoy working with under-funded labels. It takes money to develop your product for the marketplace. You will need funds for coop advertising with retailers, you will probably need money to print up hundreds of Distributor One Sheets (sheets that describe in outline form your marketing commitments), and if you want to get into some listening stations at retail, get your wallet out because it can cost thousands of dollars to get involved with that in-store merchandising effort).
Digital distibution IS the future, but not the focus of this article...just be sure you do it and use www.tunecore.com as your guiding light!
Enter the three remaining Fronts... The Exposure Fronts.
Do you want to get some college and/or non-commercial radio airplay? Or perhaps prepare to enter the super competitive realm of soliciting commercial radio stations for airplay. Welcome to the Promotion Front! ‘Promotion’ in the purest sense of the word means ‘Airplay"! It is the thoughtfully researched and carefully planned out campaign for getting songs played on the radio, as well as on the dozens of new Internet radio stations, and it can ultimately mean getting videos aired on public access TV, commercial broadcast TV channels and networks, as well as the MTV’s and VH1’s of the cable world.
The only reason record labels fight the good fight of trying to secure airplay for their records is the simple fact that when secured, airplay is the single most effective means of exposing music to the public. Be prepared however for a frustrating and competitive fight. You must be armed with your Product Development marketing ideas and plans, and a significant financial investment to have any real success on a national level with your Promotion plan.
On the Internet side of things, one could look at the MP3 revolution as the greatest Promotion gift to developing acts that has ever happened. By posting your music on the hundreds of sites devoted to MP3, you can have fans listen to your music any old time they want to after they have downloaded your songs from those sites, or your own website ( You DO have a website, don’t you?). Hot on the heels of the MP3 compressed audio file revolution, are many other secure downloadable opportunities as well. ITunes has changed the world for starters, and Cdbaby.com have the best deal going to get your music on iTunes, and have many other worthwhile marketing plans for you to check out.
The next Exposure Front is the Publicity Front. Armed with professionally designed, image-reflected electronic AND traditional press kit materials ( Bios, Fact Sheets, Cover Letters, Photos, Press Clippings and/or Press Quote Sheets) you will be organizing again a well researched, and hopefully effective campaign to get the music press to review your release, and eventually write stories about you and your music, as well as interview you about your music. This Publicity Plan will act as a support mechanism for all your other ‘Front’ activities. Of course there are thousands of on and off line press opportunities, but again, armed with your marketing ideas from the Product Development stage, you will have many reasons why a magazine, newspaper, fanzine, or e-sine should feature your music, right?
And please remember...Social Networking ( Twitter, Facebook et al ) are a KEY element of the Publicity Front.
The only other Front left to discuss a bit is the Performance Front. This, in many ways, is the foundation of most genres of music. Playing live in front of your fans is the best way to develop a loyal and dedicated fanbase. So, if you want to play in the clubs and other big venues that showcase talent, give the gatekeepers in that arena reasons why they should book you. I am a big fan of doing non-club dates as a way of getting the attention of the commercial mainstream clubs out there. From house party gigs, to school concerts, to fairs and festivals and everything in between, just getting yourself in front of audiences, and of course using that opportunity to get mailing lists made up, and to SELL your music...The Performance Front is the bedrock of the Four Front Marketing Concept. Many artists are finding ways online to broadcast their tours, and/or to have an archive of club and concert appearances via their web plans.
Now, with a basic understanding of the Four Key Areas of music marketing described, there is on only one other basic concept that must be understood, and it is this.
The ‘Four Fronts’ of Music Marketing are interrelated and interdependent upon each other!
In some ways there is a catch 22 about all this. By this I mean that in order to get your Product into mass distribution, the distributors want to know what your promotion, publicity, and performance plans are. In order to get significant airplay the radio stations want to know what your Product Development, Publicity, and Performance plans are. In order to get Publicity, the editors and writers at the magazines and newspapers want to know what your Promotion, Product Development and Performance commitment is, and in order to get the better live Performance gigs, the booking agents, and club owners need to know what successes you have had with selling your Product, getting Press support, and any Radio airplay.
So, where do you start? Well, I always recommend that you start where you are the strongest. Even though there are a lot of articles and books out there with titles like " Ten Steps To Musical Success", or " How To Be a Star in 30 Days", the truth of the matter is that every band or solo artist has to have the ability to ‘feel’ their way around this crazy business. There really is no systematic way that this ‘Four Front’ concept works the same for everyone. Many acts, as I said before, build their successes around touring and playing live in support of their independent music. Others get lucky with some radio airplay, or have become what are called ‘critics darlings’, and get a ton of favorable press, and that becomes there breakthrough Front. Others combine elements of different fronts, playing live regularly, and constantly selling their CDs and Tapes at their live shows. And of course, using the ‘Four Fronts’ online, a new generation of cyber musicians are getting their breaks online, using Artist and Product Development, Promotion, Publicity, and Performance tactics and strategies to launch and maintain their careers.
Lest you think that my discussion of this marketing concept is only the responsibility of developing acts, let me tell you this before I sign off...No matter how established or legendary any musician becomes, when they release another record, the ‘Four Fronts’ of music marketing stay with them forever. That is why they have stayed in your head all these years! You may just be getting started and think that all I have described is a one time deal until you are ‘discovered’. Sorry about that, the more successful you get, the more time you will spend dealing with the ‘Four Fronts’ of Music Marketing. Welcome to the business of music!
Christopher Knab
Chris@Knab.com
Copyright 2010 all rights reserved
_________________________
Monday, October 18, 2010
A Guest Blog
Artist Revenue Opportunities Without Playing Live
This guest post is by Bobby Owsinski. Triangle Exception, a winner of the Hypebot Hit Song Contest got to pose two questions to him as their prize.*
In most cases, recorded music has always been somewhat of a promotion for the live show. It’s a little known fact that most musical artists have always made as much as 95% of their income from playing live, if we take publishing out of the equation. Even artists that were selling millions of albums during recorded music’s heyday from the 70’s through the 90’s weren’t making as much on record or CD sales as you might think.
It’s still true today that most income for an artist comes from touring, so what’s an artist to do if touring isn’t an option? That’s the main question that two of the artist’s who submitted songs to Hypebot’s Hit Song Contest had.
In their own words:
“Given that we are purely a studio act – are there any good models or strategies for turning the exposure generated from freely distributed music into profit that do not involve playing live?”
“Given the geographical separation between Steve and I, we don’t get to play in the same room much, let alone tour. What are the most effective strategies for bands who are strictly studio acts?”
The answer is the same for both of these questions. Assuming that you already have developed your own “tribe,” or core group of fans, you need some products to sell. Let’s take a look at a few additional income streams that an artist can cultivate:
1) Increase online sales. Let’s look at your music first. Because online music is mostly a commodity these days, it’s best to think of it as primarily a promotional tool, but not exclusively.
You give it away for free on your website, and you make it available for sale on all of the popular distribution platforms like iTunes and Amazon. Although it may seem counterintuitive, there’s a lot of empirical evidence that the more your music can be found for free, the more it sells. In reality, this is the same way that the music industry has always done business, since before the age of Music 3.0 came to pass in 2002 with the introduction of iTunes, you’d give away your music with radio airplay to order to generate sales of physical product. The more it was available free on the radio, the more it sold (usually).
It’s the same thing today, only you’re giving it away on the same medium that you’re actually selling it. That being said, even though you may get an increase in sales, don’t expect it to be a huge amount without a huge audience, and don’t expect it to happen overnight. For most artists, this takes some time to ramp up.
2) Physical Product. Although it may be against the popular wisdom of the day, it’s important to have some physical product like CDs available. People still buy them, especially if you’re active in certain musical genres like country, christian and even metal where CDs are still preferred to digital downloads. You can have them made and even drop-shipped at Kunaki.com for $1.75 each (1 to 100,000 copies have the same unit cost) so you won’t have any upfront costs or inventory to worry about. It’s worth having CD’s from another standpoint in that it’s easier to get reviewed when you have a physical product, even by bloggers. Reviewers still feel that you’re more legit if they receive a product that they can hold in their hands. Bottom line, you may not sell a lot of physical product, but it is another possible income stream.
3) Alternative packages . Once again coming back to the world of physical products, vinyl releases and even cassettes ( read more about this retro trend here) can become another income stream even when your fans aren’t interested in purchasing a CD. That being said, even a CD can be an alternative package. Sometimes calling it a “special edition” and numbering them (for example, “#35 of 500”) will entice a fan to buy a product in the hopes of having something scarce and collectible. Likewise, having a “limited edition” CD in a Digipack with lyrics, extra pictures, and lots of information can sometimes be attractive to the fan as well. The downside for any of these packages are that they’ll be a custom item so you’ll have to shell out money up front and carry inventory.
4) Merch . Another thing I’d look into would be branded merchandise like T-shirts, hats, hoodies, mugs and other popular merch items. This only works if you have a strong brand with a great logo, which is easier said than done. Sometimes a cool looking logo on a t-shirt will make people buy an item even they don’t like the music. Once again, thanks companies to Cafe Press and Zazzle, you no longer have to worry about inventory or fulfillment. Just upload your logo, select your product, and they do the rest.
5) Bundles . If neither physical product or merch is selling, then a bundle of both together might prove more attractive. You offer a package of a CD and merch item, or two different merch items, two different physical medium items (vinyl and a CD), or any other combination you can think of. Tip: Don’t use the “Buy this and get that free” technique because it sometimes feels less like a deal than a package of items.
6) Unique items. Once again, this only works if you already have a fan base, but unique items like CDs, DVDs or downloads of alternative mixes, rehearsals, demos, outtakes and in-studio videos can be cherished by superfans and can command premium prices.
7) Publishing and Music Licensing . The real money in recorded music has always been in publishing. For decades songwriters have made more money than most performers (unless they were the songwriters as well) because they were paid for a song’s performances on radio, television and the movies as well as the mechanical royalty on sales of physical product (where they didn’t have to worry about the record label recouping recording costs and advances). There are two areas of publishing that directly apply to an artist that wants to expand his revenue streams - have your songs covered by other artists, or have your existing recorded music licensed.
If you think that you write songs that others might want to cover, then start pitching your songs to publishers, managers, producers and the artists who might find your songs appropriate. For a list of publishers, start with the Music Publishers Registry. For managers, producers and artists, try one of the pitch sheets like Row Fax or The Pitch List to find out who’s looking for songs and how to get one to them.
If you think your music might work for commercials, television or movies, then send your stuff to a specialty publisher like ArtistsFirst Music. There are more cable channels than ever before, and while you may not make much up front, the royalty checks that appear quarterly in your mailbox from your favorite performance rights organization (BMI or ASCAP) can be really nice if you get a song that’s used a lot somewhere in the broadcast universe.
Bottom line, if you don’t already have a core of manic fans for your music, you’re better off spending your time developing publishing contacts and licensing deals until your audience increases. If you have a fan base already, you’re going to need as many of the above income streams as you can get since all may be small in themselves, but can add up to something significant in total. Keep in mind that any of the above opportunities takes additional time and effort that goes way beyond simply making the music in the first place. Being in the music “business” these days is not a passive activity and requires considerable elbow grease, especially if your situation eliminates a possible income source or two.
This guest post is by Bobby Owsinski. Triangle Exception, a winner of the Hypebot Hit Song Contest got to pose two questions to him as their prize.*
In most cases, recorded music has always been somewhat of a promotion for the live show. It’s a little known fact that most musical artists have always made as much as 95% of their income from playing live, if we take publishing out of the equation. Even artists that were selling millions of albums during recorded music’s heyday from the 70’s through the 90’s weren’t making as much on record or CD sales as you might think.
It’s still true today that most income for an artist comes from touring, so what’s an artist to do if touring isn’t an option? That’s the main question that two of the artist’s who submitted songs to Hypebot’s Hit Song Contest had.
In their own words:
“Given that we are purely a studio act – are there any good models or strategies for turning the exposure generated from freely distributed music into profit that do not involve playing live?”
“Given the geographical separation between Steve and I, we don’t get to play in the same room much, let alone tour. What are the most effective strategies for bands who are strictly studio acts?”
The answer is the same for both of these questions. Assuming that you already have developed your own “tribe,” or core group of fans, you need some products to sell. Let’s take a look at a few additional income streams that an artist can cultivate:
1) Increase online sales. Let’s look at your music first. Because online music is mostly a commodity these days, it’s best to think of it as primarily a promotional tool, but not exclusively.
You give it away for free on your website, and you make it available for sale on all of the popular distribution platforms like iTunes and Amazon. Although it may seem counterintuitive, there’s a lot of empirical evidence that the more your music can be found for free, the more it sells. In reality, this is the same way that the music industry has always done business, since before the age of Music 3.0 came to pass in 2002 with the introduction of iTunes, you’d give away your music with radio airplay to order to generate sales of physical product. The more it was available free on the radio, the more it sold (usually).
It’s the same thing today, only you’re giving it away on the same medium that you’re actually selling it. That being said, even though you may get an increase in sales, don’t expect it to be a huge amount without a huge audience, and don’t expect it to happen overnight. For most artists, this takes some time to ramp up.
2) Physical Product. Although it may be against the popular wisdom of the day, it’s important to have some physical product like CDs available. People still buy them, especially if you’re active in certain musical genres like country, christian and even metal where CDs are still preferred to digital downloads. You can have them made and even drop-shipped at Kunaki.com for $1.75 each (1 to 100,000 copies have the same unit cost) so you won’t have any upfront costs or inventory to worry about. It’s worth having CD’s from another standpoint in that it’s easier to get reviewed when you have a physical product, even by bloggers. Reviewers still feel that you’re more legit if they receive a product that they can hold in their hands. Bottom line, you may not sell a lot of physical product, but it is another possible income stream.
3) Alternative packages . Once again coming back to the world of physical products, vinyl releases and even cassettes ( read more about this retro trend here) can become another income stream even when your fans aren’t interested in purchasing a CD. That being said, even a CD can be an alternative package. Sometimes calling it a “special edition” and numbering them (for example, “#35 of 500”) will entice a fan to buy a product in the hopes of having something scarce and collectible. Likewise, having a “limited edition” CD in a Digipack with lyrics, extra pictures, and lots of information can sometimes be attractive to the fan as well. The downside for any of these packages are that they’ll be a custom item so you’ll have to shell out money up front and carry inventory.
4) Merch . Another thing I’d look into would be branded merchandise like T-shirts, hats, hoodies, mugs and other popular merch items. This only works if you have a strong brand with a great logo, which is easier said than done. Sometimes a cool looking logo on a t-shirt will make people buy an item even they don’t like the music. Once again, thanks companies to Cafe Press and Zazzle, you no longer have to worry about inventory or fulfillment. Just upload your logo, select your product, and they do the rest.
5) Bundles . If neither physical product or merch is selling, then a bundle of both together might prove more attractive. You offer a package of a CD and merch item, or two different merch items, two different physical medium items (vinyl and a CD), or any other combination you can think of. Tip: Don’t use the “Buy this and get that free” technique because it sometimes feels less like a deal than a package of items.
6) Unique items. Once again, this only works if you already have a fan base, but unique items like CDs, DVDs or downloads of alternative mixes, rehearsals, demos, outtakes and in-studio videos can be cherished by superfans and can command premium prices.
7) Publishing and Music Licensing . The real money in recorded music has always been in publishing. For decades songwriters have made more money than most performers (unless they were the songwriters as well) because they were paid for a song’s performances on radio, television and the movies as well as the mechanical royalty on sales of physical product (where they didn’t have to worry about the record label recouping recording costs and advances). There are two areas of publishing that directly apply to an artist that wants to expand his revenue streams - have your songs covered by other artists, or have your existing recorded music licensed.
If you think that you write songs that others might want to cover, then start pitching your songs to publishers, managers, producers and the artists who might find your songs appropriate. For a list of publishers, start with the Music Publishers Registry. For managers, producers and artists, try one of the pitch sheets like Row Fax or The Pitch List to find out who’s looking for songs and how to get one to them.
If you think your music might work for commercials, television or movies, then send your stuff to a specialty publisher like ArtistsFirst Music. There are more cable channels than ever before, and while you may not make much up front, the royalty checks that appear quarterly in your mailbox from your favorite performance rights organization (BMI or ASCAP) can be really nice if you get a song that’s used a lot somewhere in the broadcast universe.
Bottom line, if you don’t already have a core of manic fans for your music, you’re better off spending your time developing publishing contacts and licensing deals until your audience increases. If you have a fan base already, you’re going to need as many of the above income streams as you can get since all may be small in themselves, but can add up to something significant in total. Keep in mind that any of the above opportunities takes additional time and effort that goes way beyond simply making the music in the first place. Being in the music “business” these days is not a passive activity and requires considerable elbow grease, especially if your situation eliminates a possible income source or two.
Saturday, October 16, 2010
Deals Successful Artists May Be Offered
THE DIFFERENT KINDS OF DEALS THAT AWAIT SUCCESSFUL INDEPENDENT LABELS
The most important thing an artist can do to get the attention of the recording industry is to start your own label, and build a reputation for your music by showing the industry how popular your music is, i.e. how many people bought your record both online and through traditional methods, attended your shows, network with you online, and follow your activities.
Now I want to give you some information about what can happen IF you do get the industry’s attention. Starting an indie label is really quite similar to starting your career as a musician. Your label needs to impress the music industry with its stories of success, just like you as a musician need to do the same with your creative talents. The reward for building a successful label is the possibility of doing business with a major label someday…on your terms. Major labels need to work with successful indie labels to maintain their viability in a ever-changing popular music environment, so they keep their eyes open for indie labels and artist who have had success with a certain musical genre or musical styles
Needless to say most of these deals, when appropriate wiill involve digital/Internet activities these days.
There are several deals that may come your way as you get more successful. The following short summaries of the most common kinds of indie/major deals are given to you as an introduction to them. They are discussed in far more detail in my book 'Music Is Your Business'. I would like to thank Bart Day, the co-author of this book, for dealing with this topic and his cooperation and help in preparing this information.
· Pressing and Distribution ("P&D") Deals: The name of this deal describes its basic premise. The indie label finances the recording process and delivers the final master recording to a major label distribution company, which then presses (i.e., manufactures) the records and distributes those records to sub-distributors, retailers, etc. In the case of P&D deals, as in the case of the next three distribution-oriented deals discussed below, the independent label will retain all ownership rights in the master recordings.
· "Distribution Only" Deals: Basically the same as the "P&D" deal described above, except that here it is the indie label, not the major label that presses the records. The major label's role is "distribution only."
· Fulfillment Deals: Again, basically the same as the "P&D" deal described above, except that here the records are not distributed through the major label's traditional distribution system, but instead through an ostensibly "independent distributor" that is owned by the major label. This "independent distributor," acting on behalf of the indie label, then ships such records as are ordered by indie sub-distributors and indie record stores, and it also handles all billing responsibilities. In short, the "independent distributor's" role here is to fulfill orders from third parties for the independent label's records.
· "Piggyback" Deals: Used when an indie label doesn't have the clout to get its own distribution deal. Instead, in order to find distribution, the indie label must instead "piggyback" onto another indie label's already-existing distribution deal with a record distributor.
· Production Deals: The "independent label" here is really just a production company financed by the major label, and is created solely for the purpose of producing records. The production company uses the major label's financing to sign artists and produce records, and then delivers the masters to the major label. The major label will manufacture and distribute the records and handle the marketing and promotion activities. The major label will own the masters.
· Joint Venture Deals: The word ‘joint’ implies a joining of forces by a major label and an indie label, whereby they agree to share responsibility for the making of records and for the marketing and promotion of those records. These responsibilities are divided in whatever way the two labels agree upon in their formal joint venture agreement. The major label finances the joint venture. Then, from records sales income, the major label will reimburse itself for the expenses that it has occurred, and the net profits are then divided between the two labels.
· Equity Deals: Think of ‘equity’ as having an investment in something. With this type of deal, the major label invests money in the independent label, and in exchange the major label acquires a part ownership or total ownership of the independent label and the independent label's assets and its contracts with artists.
· Licensing by Major Labels: Here the major label owns the masters, but "licenses" (i.e., leases) the masters to the independent label for a limited amount of time (usually a few years), during which time the independent label will have the rights to sell records made from those masters. In return, the independent label will pay a royalty to the major label for each record sold. All manufacturing, marketing and promotion costs are paid by the independent label. The major label continues to own the masters at all times.
· Licensing To Major Labels: The exact reverse of the above deal. Here it is the independent label which owns the masters, and which is licensing (leasing) the masters to the major label for a limited period of time. In exchange, the major label will pay royalties to the independent label.
· "Rights Buyouts": In a "rights buyout" situation, the independent label will have previously signed a recording contract with an artist. Then at some later time, a major label buys all of the rights of the independent label in the artist—in other words, all rights that the independent label has in the artist under the terms of its recording contract with the artist. In short, the major label steps into the shoes of the independent label. In return, the major label normally agrees to pay a cash advance to the independent label and a royalty on future sales by the major label of records featuring that artist.
The most important thing an artist can do to get the attention of the recording industry is to start your own label, and build a reputation for your music by showing the industry how popular your music is, i.e. how many people bought your record both online and through traditional methods, attended your shows, network with you online, and follow your activities.
Now I want to give you some information about what can happen IF you do get the industry’s attention. Starting an indie label is really quite similar to starting your career as a musician. Your label needs to impress the music industry with its stories of success, just like you as a musician need to do the same with your creative talents. The reward for building a successful label is the possibility of doing business with a major label someday…on your terms. Major labels need to work with successful indie labels to maintain their viability in a ever-changing popular music environment, so they keep their eyes open for indie labels and artist who have had success with a certain musical genre or musical styles
Needless to say most of these deals, when appropriate wiill involve digital/Internet activities these days.
There are several deals that may come your way as you get more successful. The following short summaries of the most common kinds of indie/major deals are given to you as an introduction to them. They are discussed in far more detail in my book 'Music Is Your Business'. I would like to thank Bart Day, the co-author of this book, for dealing with this topic and his cooperation and help in preparing this information.
· Pressing and Distribution ("P&D") Deals: The name of this deal describes its basic premise. The indie label finances the recording process and delivers the final master recording to a major label distribution company, which then presses (i.e., manufactures) the records and distributes those records to sub-distributors, retailers, etc. In the case of P&D deals, as in the case of the next three distribution-oriented deals discussed below, the independent label will retain all ownership rights in the master recordings.
· "Distribution Only" Deals: Basically the same as the "P&D" deal described above, except that here it is the indie label, not the major label that presses the records. The major label's role is "distribution only."
· Fulfillment Deals: Again, basically the same as the "P&D" deal described above, except that here the records are not distributed through the major label's traditional distribution system, but instead through an ostensibly "independent distributor" that is owned by the major label. This "independent distributor," acting on behalf of the indie label, then ships such records as are ordered by indie sub-distributors and indie record stores, and it also handles all billing responsibilities. In short, the "independent distributor's" role here is to fulfill orders from third parties for the independent label's records.
· "Piggyback" Deals: Used when an indie label doesn't have the clout to get its own distribution deal. Instead, in order to find distribution, the indie label must instead "piggyback" onto another indie label's already-existing distribution deal with a record distributor.
· Production Deals: The "independent label" here is really just a production company financed by the major label, and is created solely for the purpose of producing records. The production company uses the major label's financing to sign artists and produce records, and then delivers the masters to the major label. The major label will manufacture and distribute the records and handle the marketing and promotion activities. The major label will own the masters.
· Joint Venture Deals: The word ‘joint’ implies a joining of forces by a major label and an indie label, whereby they agree to share responsibility for the making of records and for the marketing and promotion of those records. These responsibilities are divided in whatever way the two labels agree upon in their formal joint venture agreement. The major label finances the joint venture. Then, from records sales income, the major label will reimburse itself for the expenses that it has occurred, and the net profits are then divided between the two labels.
· Equity Deals: Think of ‘equity’ as having an investment in something. With this type of deal, the major label invests money in the independent label, and in exchange the major label acquires a part ownership or total ownership of the independent label and the independent label's assets and its contracts with artists.
· Licensing by Major Labels: Here the major label owns the masters, but "licenses" (i.e., leases) the masters to the independent label for a limited amount of time (usually a few years), during which time the independent label will have the rights to sell records made from those masters. In return, the independent label will pay a royalty to the major label for each record sold. All manufacturing, marketing and promotion costs are paid by the independent label. The major label continues to own the masters at all times.
· Licensing To Major Labels: The exact reverse of the above deal. Here it is the independent label which owns the masters, and which is licensing (leasing) the masters to the major label for a limited period of time. In exchange, the major label will pay royalties to the independent label.
· "Rights Buyouts": In a "rights buyout" situation, the independent label will have previously signed a recording contract with an artist. Then at some later time, a major label buys all of the rights of the independent label in the artist—in other words, all rights that the independent label has in the artist under the terms of its recording contract with the artist. In short, the major label steps into the shoes of the independent label. In return, the major label normally agrees to pay a cash advance to the independent label and a royalty on future sales by the major label of records featuring that artist.
Wednesday, October 13, 2010
Clueless Messages Once Again
I GET SO MANY CLUELESS LETTERS!
I get a lot of email messages every day. Most of them are very polite ‘thank-you’ messages letting me know how much they appreciate all the free articles and columns I have written, and how much they have learned from my advice. All those messages are quite gratifying to say the least, but I have a problem with some of the messages I get, and the problem is getting worse every day.
More and more often people don’t have a clue as to how to write a polite and courteous message that doesn’t include major grammar, spelling, and/or punctuation errors. Many other people have no clue how to approach a complete stranger in the music business and introduce themselves properly. Others are blind to the imposition they are making by diving into very complicated issues, without so much as a “Hi, my name is_______” followed by a simple statement like; “If it isn’t too much to ask, I would like to ask you a question.”
It is so rare these days to get a polite message that doesn’t presume that I am sitting at my computer just waiting to write back and answer dozens of questions.
What’s up with all these rude and clueless people??!!
In an effort to educate you about a business etiquette that exists in this world, I have decided to print out a few recent messages that really drive me crazy. As you read these messages please note that I have deleted any reference to whom these clueless people are.
Please read these messages as if you received them, and ask yourself how you feel about dealing with these creatures from some lost lagoon. Ask yourself some of these questions:
Are you offended by their abrupt and presumptuous messages?
Can you decipher their cryptic writing?
Do the numerous spelling errors, grammar glitches, and punctuation catastrophes bother you?
Would you respond to these messages?, or would you just delete them and try to forget them?
Here’s a clue: If you do indeed want to reach someone you don’t know in the music industry, please approach carefully. Ask if you can ask a question or two before going into an epistle on your situation, and for god’s sake introduce yourself and ask them if they have the time for your questions). Just because you are using email doesn’t give you permission to barge into people’s lives and demand their attention.
A small amount of common courtesy will take you quite far in this business.
Here now are some amazing -but true-messages I have received. I simply ‘cut and pasted’ these messages from my email into this piece for you to decipher at your leisure.
,,,,,,,,,,,,,,,,,,,,,,,
I comment before each message below:
(Was I just sitting here waiting for your message, or what?)
“hey whats up im filthy clean 23 year old black male from louisville ky i
never thought about rapping until about two months ago one day i was
around a group of guys who where rapping so i gave it a try and the loved it
and told me to give it a try and i went against guys who been doing it for
about two or three years i've always been camera shy but i think i could
maybe do something i believe i can becomig an artist if i give it a
serious try. so if you can give me some tips on how to get started because i've
tried to find major labels over the internet but they just show the artist on
there label but im trying to get a labels e-mail address”
(Sounds like he is gagging in the middle of his first, so called “sentence’)
“ew are from philly we have 15 songs we are ready to tour we have a bio pack and
we are ready to travel we are like the draft pickz”
(Count the questions he asks me in this next message)
“Crazy questions..I am looking to produce and market a song I wrote
and am looking for help...first I need a singer..I plan on using the music from
the Beverly Hillbilly's theme song..do I need their permission? How do I get
it? The singer I need is someone that has a very low voice...maybe a little
countryish...exactly like the guy that sings the Beverly Hillbilly's theme
song..where do I find someone? What would they charge to cut four or
five versions of the song? Please help...Also..if I was to approach radio
stations with the song how does that work? What do I charge them? Do
I get a flat up front fee or do I get paid for each time it is played? Or both?
Who is the person at the radio station that I would talk to? How do I market
the single to the public? Do I need a Record Studio? It's a Funny song
kinda like a Weird Al thing...who would help? Please help”
(At least this next guy gave me his name, (which I have xx’d out)
“My name is XXXXXXX, I am currently C.E.O of XXXXX. I produce music that seems to be well liked in the Midwest or North, I am from Milwaukee, WI. Just giving some background. The problem that having is that over 50 artist that want to buy my music for there albums, but the goal for me is to achieve a good distribution and at that time I will be able to produce the artist to create residuales. I have songs that are mastered and ready for radio play. I have not done anything major as of yet, wan't to
make sure I do it right the first time. If you know any one who has the means majorly Please Pass it On. 4XX XXX XXXX
P.S. I gaurantee You will Like what you here! 50 Beats 10 complete songs”
(up next: Has he been having a conversation with me? Check out how the message starts)
“It doesn't mean that im doing right. We have been doing tons of shows and or first
effort sold 5,000 copies locally be we haven't broke out of the Chicago
area yet we also haven't generated enough buzz to get the radio play we need.
So I take it as we are doing something wrong.”
Had enough? Me too.
Chris Knab
Chris@Knab.com
I get a lot of email messages every day. Most of them are very polite ‘thank-you’ messages letting me know how much they appreciate all the free articles and columns I have written, and how much they have learned from my advice. All those messages are quite gratifying to say the least, but I have a problem with some of the messages I get, and the problem is getting worse every day.
More and more often people don’t have a clue as to how to write a polite and courteous message that doesn’t include major grammar, spelling, and/or punctuation errors. Many other people have no clue how to approach a complete stranger in the music business and introduce themselves properly. Others are blind to the imposition they are making by diving into very complicated issues, without so much as a “Hi, my name is_______” followed by a simple statement like; “If it isn’t too much to ask, I would like to ask you a question.”
It is so rare these days to get a polite message that doesn’t presume that I am sitting at my computer just waiting to write back and answer dozens of questions.
What’s up with all these rude and clueless people??!!
In an effort to educate you about a business etiquette that exists in this world, I have decided to print out a few recent messages that really drive me crazy. As you read these messages please note that I have deleted any reference to whom these clueless people are.
Please read these messages as if you received them, and ask yourself how you feel about dealing with these creatures from some lost lagoon. Ask yourself some of these questions:
Are you offended by their abrupt and presumptuous messages?
Can you decipher their cryptic writing?
Do the numerous spelling errors, grammar glitches, and punctuation catastrophes bother you?
Would you respond to these messages?, or would you just delete them and try to forget them?
Here’s a clue: If you do indeed want to reach someone you don’t know in the music industry, please approach carefully. Ask if you can ask a question or two before going into an epistle on your situation, and for god’s sake introduce yourself and ask them if they have the time for your questions). Just because you are using email doesn’t give you permission to barge into people’s lives and demand their attention.
A small amount of common courtesy will take you quite far in this business.
Here now are some amazing -but true-messages I have received. I simply ‘cut and pasted’ these messages from my email into this piece for you to decipher at your leisure.
,,,,,,,,,,,,,,,,,,,,,,,
I comment before each message below:
(Was I just sitting here waiting for your message, or what?)
“hey whats up im filthy clean 23 year old black male from louisville ky i
never thought about rapping until about two months ago one day i was
around a group of guys who where rapping so i gave it a try and the loved it
and told me to give it a try and i went against guys who been doing it for
about two or three years i've always been camera shy but i think i could
maybe do something i believe i can becomig an artist if i give it a
serious try. so if you can give me some tips on how to get started because i've
tried to find major labels over the internet but they just show the artist on
there label but im trying to get a labels e-mail address”
(Sounds like he is gagging in the middle of his first, so called “sentence’)
“ew are from philly we have 15 songs we are ready to tour we have a bio pack and
we are ready to travel we are like the draft pickz”
(Count the questions he asks me in this next message)
“Crazy questions..I am looking to produce and market a song I wrote
and am looking for help...first I need a singer..I plan on using the music from
the Beverly Hillbilly's theme song..do I need their permission? How do I get
it? The singer I need is someone that has a very low voice...maybe a little
countryish...exactly like the guy that sings the Beverly Hillbilly's theme
song..where do I find someone? What would they charge to cut four or
five versions of the song? Please help...Also..if I was to approach radio
stations with the song how does that work? What do I charge them? Do
I get a flat up front fee or do I get paid for each time it is played? Or both?
Who is the person at the radio station that I would talk to? How do I market
the single to the public? Do I need a Record Studio? It's a Funny song
kinda like a Weird Al thing...who would help? Please help”
(At least this next guy gave me his name, (which I have xx’d out)
“My name is XXXXXXX, I am currently C.E.O of XXXXX. I produce music that seems to be well liked in the Midwest or North, I am from Milwaukee, WI. Just giving some background. The problem that having is that over 50 artist that want to buy my music for there albums, but the goal for me is to achieve a good distribution and at that time I will be able to produce the artist to create residuales. I have songs that are mastered and ready for radio play. I have not done anything major as of yet, wan't to
make sure I do it right the first time. If you know any one who has the means majorly Please Pass it On. 4XX XXX XXXX
P.S. I gaurantee You will Like what you here! 50 Beats 10 complete songs”
(up next: Has he been having a conversation with me? Check out how the message starts)
“It doesn't mean that im doing right. We have been doing tons of shows and or first
effort sold 5,000 copies locally be we haven't broke out of the Chicago
area yet we also haven't generated enough buzz to get the radio play we need.
So I take it as we are doing something wrong.”
Had enough? Me too.
Chris Knab
Chris@Knab.com
Tuesday, October 5, 2010
7th Tip Never To Be Forgotten
Have Your Own ‘Entertainment Law Attorney’ To Represent You.
The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies.
When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena. You may not need an attorney right now, but you should find out what lawyers are available to you in your area. The Yellow Pages of Rock, or the Recording Industry Sourcebook are a good place to start your research.
The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies.
When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena. You may not need an attorney right now, but you should find out what lawyers are available to you in your area. The Yellow Pages of Rock, or the Recording Industry Sourcebook are a good place to start your research.
Saturday, October 2, 2010
My 6th Tip Never To Be Forgotten
6. Get acquainted with any labels or publishing companies you may be interested in..
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and their background and experience? The same is true when shopping for a record deal.
(If you insist on this approach, and if my emails, tweets, etc. are a good source of information, thousands of you still insist on shopping for deals instead of building your career to attract the businesses you want to work with)
Some musicians get so excited when a certain label approaches them with a recording contract, or a publishing company offers to sign them. Well, what can I say…go ahead and sign some damn deal…you will be writing me back after you experiences with that approach and asking me for help, but it will be too late bpublic.
At least take the time to learn a few things about contracts before you go looking for one. Research the companies who may contact you. How have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people?
These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and their background and experience? The same is true when shopping for a record deal.
(If you insist on this approach, and if my emails, tweets, etc. are a good source of information, thousands of you still insist on shopping for deals instead of building your career to attract the businesses you want to work with)
Some musicians get so excited when a certain label approaches them with a recording contract, or a publishing company offers to sign them. Well, what can I say…go ahead and sign some damn deal…you will be writing me back after you experiences with that approach and asking me for help, but it will be too late bpublic.
At least take the time to learn a few things about contracts before you go looking for one. Research the companies who may contact you. How have they done with your particular genre of music? What specific ‘points’ are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people?
These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
Thursday, September 30, 2010
5th Tip Never To Be Forggotten
5. Design some decent looking promotional materials.
The topic of designing and creating effective promotional materials; bios, fact sheets, cover letters, photos, websites or whatever is a lengthy one to say the least. My tip to help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible.
Take an inventory of your accomplishments, positive reviews, past sales, and live appearance highlights, and organize them into professionally written bios etc. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them.
No ‘generic’ kit's, electronic or otherwise, should ever be created or sent out to any gatekeepers in the music business. Most gatekeepers in the industry today will want you to send any requested materials via email attachments.
Be sure though to ask them what they prefer; email attachments or snail mail goodies.
The topic of designing and creating effective promotional materials; bios, fact sheets, cover letters, photos, websites or whatever is a lengthy one to say the least. My tip to help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible.
Take an inventory of your accomplishments, positive reviews, past sales, and live appearance highlights, and organize them into professionally written bios etc. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them.
No ‘generic’ kit's, electronic or otherwise, should ever be created or sent out to any gatekeepers in the music business. Most gatekeepers in the industry today will want you to send any requested materials via email attachments.
Be sure though to ask them what they prefer; email attachments or snail mail goodies.
Wednesday, September 29, 2010
4th Tip Never To Forget
4. Cough up the bucks to register your songs with the Copyright Office.
I never cease to be amazed how few artists are willing to spend $40 to register their copyrighted songs online with the U.S. Copyright Office. www.copyright.gov
By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter.
If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. With the Internet or your neighborhood library and/or bookstore there a number of easy ways to learn what it takes to file for copyright protection. Do it now!
I never cease to be amazed how few artists are willing to spend $40 to register their copyrighted songs online with the U.S. Copyright Office. www.copyright.gov
By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter.
If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. With the Internet or your neighborhood library and/or bookstore there a number of easy ways to learn what it takes to file for copyright protection. Do it now!
Tuesday, September 28, 2010
Part 3: Third Tip Never To Be Forgotten
3. Never stop practicing your instrument.
One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection, the need to be not just ‘good enough’, but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s record, and listen closely to what they are playing. Then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will discover some new territory, wherein you will find your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition. Believe it or not, the music industry loves to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo music file or CD, and from every new act they go see at a live venue.
In the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kind of like a partnership between ‘Art and Commerce’. They do work together!
One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection, the need to be not just ‘good enough’, but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite guitar player’s record, and listen closely to what they are playing. Then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will discover some new territory, wherein you will find your ‘sound’, and increase your chance to stand out from all the mediocrity that is your competition. Believe it or not, the music industry loves to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo music file or CD, and from every new act they go see at a live venue.
In the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our ‘label brand’ on you, with our talents of promotion and marketing coming to the front, then we ‘have something’, and your music becomes our music, and we work together to broaden you audience appeal. It’s kind of like a partnership between ‘Art and Commerce’. They do work together!
Monday, September 27, 2010
Part 2: Second Tip Never To Be Forgotten
Play live as often as you can.
Now, more than ever...The dedicated musician/band MUST play live every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, find other places to play live!
If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and NEVER stopped playing live!
Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions.
Look around where you live and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
Now, more than ever...The dedicated musician/band MUST play live every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, find other places to play live!
If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it...almost every legendary musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and NEVER stopped playing live!
Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions.
Look around where you live and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
Saturday, September 25, 2010
10 Tips Never To Be Forgotten-Part 1
10 Tips Never To Be Forgotten
By Christopher Knab (@2010)
I got an email the other day from a young musician who was seeking advice about a 6 song demo he and his band had put together. He had plans to ‘shop it around’ to some labels to see if he could get a recording contract. He was a very polite guy, and wanted me to be very honest with him about what his band should do with their demo. The more we talked the more I realized how clueless he was. When the call was over, I couldn’t get it him out of my mind. How could he be so clueless in this day and age? What closet was this band living in, thinking that a demo of 6 songs was all he needed to get a ‘deal’.
I get upset when I encounter naiveté, or blissful ignorance…it ticks me off.
On the one hand we have a slew of entrepreneurial bands around these days that are very hip to using traditional and non-traditional marketing tactics to get their careers launched. Many bands are out their playing live as much as possible, using the web to get their music circulated and sold, These bands are working hard day and night to get their music into the marketplace, and they realize that the business of music is a ruthless business that demands as much from you as you are willing to give it, with no guarantees of any success coming your way.
And then there are the clueless, the naïve, and the blissfully ignorant. “Why won’t they just go away?” I ask myself. Because regretfully, “ignorance is bliss” is still a permanent state of mind for many aspiring musicians. These idiots will never go away regardless of the dozens of outstanding books, articles, regional and national music conferences, and webinars, blogs and social networking tools that are out there spreading the gospel of ‘do-it-yourself’.
It is one thing to be naïve, and another thing to voluntarily remain ignorant of music business realities. But wait, why should I complain?
I am a music business consultant. I should be happy that there are so many clueless musicians out there. They could become my next client.
But they won’t because they have no desire to educate themselves. Even when I tell them they can get a lot of free information at my website:www.4frontmusic.com, they won’t even go there and read the free articles because…they are too lazy.
So, what’s a music business consultant to do?
Will I surrender to the clueless? Will I let the naïve get to me? Will I stop my crusade to help musicians with the business of music?
NEVER!
So, to prove it…here are a bunch of FREE TIPS for the taking: one a day for the next 10 days!
Tip #1: 1. Learn how to write a song!
We live in a time when everybody and their sister can and does make their own music. That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into their comment is that your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the original music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Challenge yourself! Talent scouts in this business hear hundreds of mediocre songs every week. What is it about your songs that make them stand out from all the rest?
By Christopher Knab (@2010)
I got an email the other day from a young musician who was seeking advice about a 6 song demo he and his band had put together. He had plans to ‘shop it around’ to some labels to see if he could get a recording contract. He was a very polite guy, and wanted me to be very honest with him about what his band should do with their demo. The more we talked the more I realized how clueless he was. When the call was over, I couldn’t get it him out of my mind. How could he be so clueless in this day and age? What closet was this band living in, thinking that a demo of 6 songs was all he needed to get a ‘deal’.
I get upset when I encounter naiveté, or blissful ignorance…it ticks me off.
On the one hand we have a slew of entrepreneurial bands around these days that are very hip to using traditional and non-traditional marketing tactics to get their careers launched. Many bands are out their playing live as much as possible, using the web to get their music circulated and sold, These bands are working hard day and night to get their music into the marketplace, and they realize that the business of music is a ruthless business that demands as much from you as you are willing to give it, with no guarantees of any success coming your way.
And then there are the clueless, the naïve, and the blissfully ignorant. “Why won’t they just go away?” I ask myself. Because regretfully, “ignorance is bliss” is still a permanent state of mind for many aspiring musicians. These idiots will never go away regardless of the dozens of outstanding books, articles, regional and national music conferences, and webinars, blogs and social networking tools that are out there spreading the gospel of ‘do-it-yourself’.
It is one thing to be naïve, and another thing to voluntarily remain ignorant of music business realities. But wait, why should I complain?
I am a music business consultant. I should be happy that there are so many clueless musicians out there. They could become my next client.
But they won’t because they have no desire to educate themselves. Even when I tell them they can get a lot of free information at my website:www.4frontmusic.com, they won’t even go there and read the free articles because…they are too lazy.
So, what’s a music business consultant to do?
Will I surrender to the clueless? Will I let the naïve get to me? Will I stop my crusade to help musicians with the business of music?
NEVER!
So, to prove it…here are a bunch of FREE TIPS for the taking: one a day for the next 10 days!
Tip #1: 1. Learn how to write a song!
We live in a time when everybody and their sister can and does make their own music. That doesn’t mean however that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into their comment is that your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the original music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Challenge yourself! Talent scouts in this business hear hundreds of mediocre songs every week. What is it about your songs that make them stand out from all the rest?
Sunday, September 19, 2010
Petethediehard offers up cool questions for bands
My friend and fellow new-band advocate for getting bands educated about the music business wrote this awhile back:
Pete Salazar is his name, and he books bands and tries to help them with biz stuff in Fresno, Ca.
He also invited me back to Fresno on Sunday November 7th for a 1 day workshop there. Check this out:
"Times have changed, the Music Industry is changing, you have to do for yourself, but you don't have to do it alone, that's why I believe so strongly in what I am a part of, D4D MUSIC was created to become an Organization that helps build or add to a Musician's plan, whether your opinion is positive or negative about what I wrote, I'd like to hear it.
Musician's Blueprint (16 Point Plan)
1: What is your band/group’s business plan?
(You need goals and an outline of what you are doing)
2: What are you doing now to be heard?
(Over booking is not being effective, book effectively, smart)
3: What’s your marketing plan or campaign?
(Your promotions and are you recording anything yet)
4: Do you take advantage of local radio shows and local media?
(Have you tried to get on local radio shows & the news paper or various websites)
5: Is your band on the same page? Do you have meetings?
(Is there a complete understanding & communication & chemistry)
6: Does your band work equally?
(Are you all working together as one force or is someone lagging)
7: Are you working on new music, tightening current music & stage performance?
(Is your stage performance worth seeing & does your music sound good to others & are you allowing growth)
8: Do you have a band agreement or contract?
(Most bands do not have anything in writing, major problems ahead if you don’t have a agreement in writing)
9: Is your band name/music trademarked yet?
(Make sure your name/music is protected and covered)
10: Are you utilizing myspace, facebook or twitter or emails?
(What a waste of free advertisement if your not using these free services, your network is unlimited and many opportunities are there)
11: Is your band/group legit? Bank account and business license?
(Money creates problems so have it documented and organized, be a business that’s what this industry is)
12: Are you prepared, organized, professional and on time?
(Being unorganized & late is very unprofessional & a big turn off. Eventually no one wants to work with you)
13: Fund raising, merchandising
(Creative ideas & demos & merch will help you afford to be a musician, you have spend money to make money, invest in you)
14: Are you supportive of the local scene and working/networking with everyone possible?
(Do you attend other shows & support, are you networking with everyone you can)
15: Is your music on itunes, napster, amazon, etc.?
(Put your demo or full length cd to work on the web)
16: Are you constantly building your fan base period?
(Bottom line you need to earn & grab every fan, period)
Pete Salazar is his name, and he books bands and tries to help them with biz stuff in Fresno, Ca.
He also invited me back to Fresno on Sunday November 7th for a 1 day workshop there. Check this out:
"Times have changed, the Music Industry is changing, you have to do for yourself, but you don't have to do it alone, that's why I believe so strongly in what I am a part of, D4D MUSIC was created to become an Organization that helps build or add to a Musician's plan, whether your opinion is positive or negative about what I wrote, I'd like to hear it.
Musician's Blueprint (16 Point Plan)
1: What is your band/group’s business plan?
(You need goals and an outline of what you are doing)
2: What are you doing now to be heard?
(Over booking is not being effective, book effectively, smart)
3: What’s your marketing plan or campaign?
(Your promotions and are you recording anything yet)
4: Do you take advantage of local radio shows and local media?
(Have you tried to get on local radio shows & the news paper or various websites)
5: Is your band on the same page? Do you have meetings?
(Is there a complete understanding & communication & chemistry)
6: Does your band work equally?
(Are you all working together as one force or is someone lagging)
7: Are you working on new music, tightening current music & stage performance?
(Is your stage performance worth seeing & does your music sound good to others & are you allowing growth)
8: Do you have a band agreement or contract?
(Most bands do not have anything in writing, major problems ahead if you don’t have a agreement in writing)
9: Is your band name/music trademarked yet?
(Make sure your name/music is protected and covered)
10: Are you utilizing myspace, facebook or twitter or emails?
(What a waste of free advertisement if your not using these free services, your network is unlimited and many opportunities are there)
11: Is your band/group legit? Bank account and business license?
(Money creates problems so have it documented and organized, be a business that’s what this industry is)
12: Are you prepared, organized, professional and on time?
(Being unorganized & late is very unprofessional & a big turn off. Eventually no one wants to work with you)
13: Fund raising, merchandising
(Creative ideas & demos & merch will help you afford to be a musician, you have spend money to make money, invest in you)
14: Are you supportive of the local scene and working/networking with everyone possible?
(Do you attend other shows & support, are you networking with everyone you can)
15: Is your music on itunes, napster, amazon, etc.?
(Put your demo or full length cd to work on the web)
16: Are you constantly building your fan base period?
(Bottom line you need to earn & grab every fan, period)
Saturday, September 18, 2010
A Realistic Music Radio Promotion Plan For Today
A Realistic Radio Promotion Plan
The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician. However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.
The money to fund the campaign
The time to spend working all the stations consistently
A product that is ready for national airplay
When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.
There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format. I suggest you subscribe to or get a copy of the annual CMJ Directory.
If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services.
A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.
Also, don't forget the thousands of Internet radio stations that stream millions of songs a day. Google the phrase " Internet radio stations list", and you will be amazed how many stations on the web play independent music of every imaginable type. If you own a Blackberry or an iPhone, there are several free apps that will give you access to these web broadcasters.
Here is an outline based on how professional record labels plan for their radio promotions:
You need to prepare:
• A database of commercial, non-commercial and Internet stations that you realistically think may play your music.
• A timeline you'll use to put the promotional material together (basically setting your deadlines).
Remember that your plan may be distributed to any helpers or employees you may have for your own label, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.
1. Design a detailed overview of your radio promotion plan.
Consider all marketing and promotional ideas listed below.
Propose what you think would work best in each of the areas to help market the record to radio.
Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you approach.
Remember you will need several practical tools/materials to achieve your goals. (Computers, Smartphones, reliable Internet connection, hardware/software, office supplies, etc.).
Address the following specific topics in your plan:
Background/Goals: Give a brief history of the artist, and describe your goals
Image: Describe/ maintain the artist's image consistently in all promo materials.
Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (On-air concerts?) Hiring any Independent promoters?
Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to the music industry trades? Update any bios, fact sheets, and electronic press materials.
Sales: Describe Distribution and Retail plans. Any in-store play/ promotions?
Other specific sales opportunities? Mail order, live shows, Internet sales
Any store promotional tie-ins with radio stations?
Video: Is a video cost effective? What airplay opportunities are there for the video?
Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road. Consider specific clubs, halls, fairs, festivals,
Any club/venue promotional tie-ins with radio stations
Misc.: Having a record release party? Novelty items? Any other clever ideas?
Explain each idea in-depth !
2. Design a 12 week plan for the product and promotional tools.
* Lay out what needs to be accomplished each week to get the record out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets,
layout/design. And be sure to convert your songs for online downloading!
* Include in the timeline when to start working on your promotional tools
* Design the timeline with deadlines for each element of your project.
Remember that your radio promotion campaign is part of what I refer to as the 'Four-Fronts of Music Marketing', and your plan must connect to all the other Fronts in order to be successful.
(Refer to my website, http://www.fourfrontmusic.com for more on these Four crucial music marketing principles.)
Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it.
Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.
The commercial radio industry, at this time in history, couldn’t be less friendly to the independent musician. However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing. Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.
The money to fund the campaign
The time to spend working all the stations consistently
A product that is ready for national airplay
When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your songs nationally to commercial radio have spiraled out of sight.
There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format. I suggest you subscribe to or get a copy of the annual CMJ Directory.
If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you. Be prepared to spend several hundred dollars a week for their services.
A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.
Also, don't forget the thousands of Internet radio stations that stream millions of songs a day. Google the phrase " Internet radio stations list", and you will be amazed how many stations on the web play independent music of every imaginable type. If you own a Blackberry or an iPhone, there are several free apps that will give you access to these web broadcasters.
Here is an outline based on how professional record labels plan for their radio promotions:
You need to prepare:
• A database of commercial, non-commercial and Internet stations that you realistically think may play your music.
• A timeline you'll use to put the promotional material together (basically setting your deadlines).
Remember that your plan may be distributed to any helpers or employees you may have for your own label, and any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on.
1. Design a detailed overview of your radio promotion plan.
Consider all marketing and promotional ideas listed below.
Propose what you think would work best in each of the areas to help market the record to radio.
Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you approach.
Remember you will need several practical tools/materials to achieve your goals. (Computers, Smartphones, reliable Internet connection, hardware/software, office supplies, etc.).
Address the following specific topics in your plan:
Background/Goals: Give a brief history of the artist, and describe your goals
Image: Describe/ maintain the artist's image consistently in all promo materials.
Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (On-air concerts?) Hiring any Independent promoters?
Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to the music industry trades? Update any bios, fact sheets, and electronic press materials.
Sales: Describe Distribution and Retail plans. Any in-store play/ promotions?
Other specific sales opportunities? Mail order, live shows, Internet sales
Any store promotional tie-ins with radio stations?
Video: Is a video cost effective? What airplay opportunities are there for the video?
Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road. Consider specific clubs, halls, fairs, festivals,
Any club/venue promotional tie-ins with radio stations
Misc.: Having a record release party? Novelty items? Any other clever ideas?
Explain each idea in-depth !
2. Design a 12 week plan for the product and promotional tools.
* Lay out what needs to be accomplished each week to get the record out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets,
layout/design. And be sure to convert your songs for online downloading!
* Include in the timeline when to start working on your promotional tools
* Design the timeline with deadlines for each element of your project.
Remember that your radio promotion campaign is part of what I refer to as the 'Four-Fronts of Music Marketing', and your plan must connect to all the other Fronts in order to be successful.
(Refer to my website, http://www.fourfrontmusic.com for more on these Four crucial music marketing principles.)
Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it.
Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.
Tuesday, September 7, 2010
More Weird Music Marketing Ideas: Part 2
Use Your Business Card To Promote Your Favorite Lyrics
On the front cover of a folded card, place a catchy lyric from one of your songs. Inside, or some place other than where your traditional contact information is printed ,briefly list information about your CD and other merchandise you have for sale, and where people can buy your releases. (internet, live shows, mail order)
On the back get creative and list other interesting facts about yourself or your music than fans and industry people might appreciate knowing about.
_
Become a Music Marketing Matchmaker
Maintain a supply of local music related businesses business cards and distributes them to likely musician and music lovers you know. Using return address labels, create a sticker that says " referred by (your name or band name here)"
Placed on the back of other people's business cards, the stickers reminds the person who you are, and you get great word of mouth name recognition over time, and you’ve helped a local music related business get some customers, as well as helped your music fans learn about where to get the best local help for the their music needs.
The customer is reminded of a cool business, and your name is the first one the prospect hears. (“ So and so recommended that I talk to you”)
_
Turn Your Fans Onto Other Cool Music
On your website, (you DO have your own website don’t you?) create a section where you and your fellow musicians regularly recommend other local bands and great music that you think your fans would enjoy.
The benefit of this is that you are not seen as strictly a selfish musician obsessed with promoting your own music. Your fans will benefit and thank you over time for all the cool music you have turned them onto.
On a professional level, as you recommend other bands and acts, they will get the word from others that you have recommended their music. Can’t hurt when it comes to finding other artists to perform live with at various gigs.
On the front cover of a folded card, place a catchy lyric from one of your songs. Inside, or some place other than where your traditional contact information is printed ,briefly list information about your CD and other merchandise you have for sale, and where people can buy your releases. (internet, live shows, mail order)
On the back get creative and list other interesting facts about yourself or your music than fans and industry people might appreciate knowing about.
_
Become a Music Marketing Matchmaker
Maintain a supply of local music related businesses business cards and distributes them to likely musician and music lovers you know. Using return address labels, create a sticker that says " referred by (your name or band name here)"
Placed on the back of other people's business cards, the stickers reminds the person who you are, and you get great word of mouth name recognition over time, and you’ve helped a local music related business get some customers, as well as helped your music fans learn about where to get the best local help for the their music needs.
The customer is reminded of a cool business, and your name is the first one the prospect hears. (“ So and so recommended that I talk to you”)
_
Turn Your Fans Onto Other Cool Music
On your website, (you DO have your own website don’t you?) create a section where you and your fellow musicians regularly recommend other local bands and great music that you think your fans would enjoy.
The benefit of this is that you are not seen as strictly a selfish musician obsessed with promoting your own music. Your fans will benefit and thank you over time for all the cool music you have turned them onto.
On a professional level, as you recommend other bands and acts, they will get the word from others that you have recommended their music. Can’t hurt when it comes to finding other artists to perform live with at various gigs.
Monday, September 6, 2010
Off The Wall Music Marketing Ideas:Part 1
_
Make fans a birthday and Christmas card!
Remember your fan’s birthdays by creating a musical birthday card you create yourself. Email them the card that is imbedded with a mp3 file of a birthday song you wrote.
Use old school psychology, (if you can afford it) send a real birthday card to each fan that has a simple chip attached to it with a sound file that begins to play when you open the card.
You will obviously have to have your database setup to include a place for your fans to give you their birth dates, but after that, at the beginning of every month simply sort out who has a birthday coming up and mail them off. Be sure to do this at least a week before the beginning of each month.
Think of how appreciative your fans will be for having been thought of, and as your career and goes on and gets more established, your past musical birthday cards will become valuable collector items.
The Beatles used actual Christmas greetings recordings that their fan club members got! Ah-hah….now you’re getting it….how about an annual, original Christmas song, written in your unique sounding way, that you can also send out to your fans!
_
A Sticky Way To Be Remembered: an analog idea
Print up promotional “sticky notes” using the Post-It note method for upcoming gigs and send or pass them out to music fans attending live shows. Have your latest shows printed up on them, so fans can use them as reminders to attend your shows and can put them up on their home bulletin boards or refrigerators. You can also use this idea for reminders to buy your latest CD or merchandise you have for sale at your website, blog, or live shows.
_
Be The Musical Entertainment For Your Favorite Local Record Store
Work with a local record store that carries your genre of music and ask them about participating in a special “ after hours” party and special sale where you get to be the band or artist to supply the music for the event. Have them put your CD on sale at a special price during the party only. Take time to sign autographs, and get the customers to sign up on your mailing/database list. The store can add whatever added incentives they want to make the event a special sale and you get to go along for the ride.
_
Talking House ® Brings Your Music To Unique Places: Yes a Weird Idea!
A company called Talking House ® has invented a unique ‘broadcasting’ tool It was first used by real estate people to transmit descriptions of a house that is for sale. It works like this; a small radio transmitter sits inside a location (such as a local business in your area). Prospects just tune in on their ordinary car radio, while parked out front, and hear a customized broadcast, in this case…your music…while they are nearby.
Talking House ® can be used by restaurants, bars, taverns nightclubs, music and record stores, independent fast food restaurants...whatever. You name it, Talking House ® can broadcast it.
For more infgormation, visit the Web site at http://www.TalkingHouse.com
Make fans a birthday and Christmas card!
Remember your fan’s birthdays by creating a musical birthday card you create yourself. Email them the card that is imbedded with a mp3 file of a birthday song you wrote.
Use old school psychology, (if you can afford it) send a real birthday card to each fan that has a simple chip attached to it with a sound file that begins to play when you open the card.
You will obviously have to have your database setup to include a place for your fans to give you their birth dates, but after that, at the beginning of every month simply sort out who has a birthday coming up and mail them off. Be sure to do this at least a week before the beginning of each month.
Think of how appreciative your fans will be for having been thought of, and as your career and goes on and gets more established, your past musical birthday cards will become valuable collector items.
The Beatles used actual Christmas greetings recordings that their fan club members got! Ah-hah….now you’re getting it….how about an annual, original Christmas song, written in your unique sounding way, that you can also send out to your fans!
_
A Sticky Way To Be Remembered: an analog idea
Print up promotional “sticky notes” using the Post-It note method for upcoming gigs and send or pass them out to music fans attending live shows. Have your latest shows printed up on them, so fans can use them as reminders to attend your shows and can put them up on their home bulletin boards or refrigerators. You can also use this idea for reminders to buy your latest CD or merchandise you have for sale at your website, blog, or live shows.
_
Be The Musical Entertainment For Your Favorite Local Record Store
Work with a local record store that carries your genre of music and ask them about participating in a special “ after hours” party and special sale where you get to be the band or artist to supply the music for the event. Have them put your CD on sale at a special price during the party only. Take time to sign autographs, and get the customers to sign up on your mailing/database list. The store can add whatever added incentives they want to make the event a special sale and you get to go along for the ride.
_
Talking House ® Brings Your Music To Unique Places: Yes a Weird Idea!
A company called Talking House ® has invented a unique ‘broadcasting’ tool It was first used by real estate people to transmit descriptions of a house that is for sale. It works like this; a small radio transmitter sits inside a location (such as a local business in your area). Prospects just tune in on their ordinary car radio, while parked out front, and hear a customized broadcast, in this case…your music…while they are nearby.
Talking House ® can be used by restaurants, bars, taverns nightclubs, music and record stores, independent fast food restaurants...whatever. You name it, Talking House ® can broadcast it.
For more infgormation, visit the Web site at http://www.TalkingHouse.com
Thursday, September 2, 2010
About Playing Live
Local shows will most likely be your first "major" source of income. Expenses involved in local/regional shows will be limited to gas and maybe per diems. - In order to get booked at a local or regional club you will not need the services of a booking agent, instead you will be able to do it yourselves. All you need is a complete and updated press kit, lots of persistence, and the ability and confidence to play a 45 - 60 min. set.
Once you've selected local and regional clubs you want to perform at, send out the complete press kit and follow up with a phone call within 5 to 7 working days.. The club will then tell you whether they're interested in booking you for a show or not. If they are, it will be your turn to tell the venue how much money you want for your performance. Once you've negotiated a deal you will have to gather all the pertinent information and set up a contract. (Note that after you've played a club for a couple of times and established a working relationship, the venue might not insist on a written contract anymore.) Nevertheless, getting things is writing is a very good habit to get into.
Here's a list of issues you will have to address and particularize in a contract:
"Purchaser" or "Buyer" (Name of the Club Promoter)
"Artist"
“"Deal" - The deal you accepted and the amount of money you will get paid.
Here are the four most common deals you will encounter:
Flat or Guarantee Ex.: $ 300
Versus Ex.: $ 300 versus 30% door, whatever's higher.
Plus Ex.: $ 300 plus 30% door
Points/Split Ex.: 50/30/20 of Net
· Date of Event
· Set Length
· Deposit (if any)
· Who will pay to whom how much and when
· Admission Fee (Ticket Price)
· Capacity
· Act of Nature (Force Majeure)
The force majeure (literally "superior force") clause is applied when there is an unexpected event that causes performance of the contract to become impossible; it releases one or both parties from their rights and obligations.
· Cancellation Fees
· Recording by Permission Only
· Promotional Commitment
This, for instance, specifies the minimum amount of money you, the band, expect the club to invest in advertising the show.
· Merchandise: How much the club will take from the gross of merchandise sold (usually 10%)
Once you've selected local and regional clubs you want to perform at, send out the complete press kit and follow up with a phone call within 5 to 7 working days.. The club will then tell you whether they're interested in booking you for a show or not. If they are, it will be your turn to tell the venue how much money you want for your performance. Once you've negotiated a deal you will have to gather all the pertinent information and set up a contract. (Note that after you've played a club for a couple of times and established a working relationship, the venue might not insist on a written contract anymore.) Nevertheless, getting things is writing is a very good habit to get into.
Here's a list of issues you will have to address and particularize in a contract:
"Purchaser" or "Buyer" (Name of the Club Promoter)
"Artist"
“"Deal" - The deal you accepted and the amount of money you will get paid.
Here are the four most common deals you will encounter:
Flat or Guarantee Ex.: $ 300
Versus Ex.: $ 300 versus 30% door, whatever's higher.
Plus Ex.: $ 300 plus 30% door
Points/Split Ex.: 50/30/20 of Net
· Date of Event
· Set Length
· Deposit (if any)
· Who will pay to whom how much and when
· Admission Fee (Ticket Price)
· Capacity
· Act of Nature (Force Majeure)
The force majeure (literally "superior force") clause is applied when there is an unexpected event that causes performance of the contract to become impossible; it releases one or both parties from their rights and obligations.
· Cancellation Fees
· Recording by Permission Only
· Promotional Commitment
This, for instance, specifies the minimum amount of money you, the band, expect the club to invest in advertising the show.
· Merchandise: How much the club will take from the gross of merchandise sold (usually 10%)
Wednesday, August 25, 2010
The way the music is going is the way the world is going.
Things that use to work, don’t work that way anymore. So, what is one to do in that situation?
Adapt.
If you can’t, you have two options:
1. Quit while you’re ahead
2. Keep on doing what doesn’t work
Sound too ominous?
Not really. Let me explain.
Change is what life is all about. Think about it. We may want things to remain the same in a relationship but they don’t, or a job we’ve had for years requires us to get re-trained or risk being laid off or fired.
Somehow life gets in the way of our plans, and we have two options…change things, or pretend everything is just fine and face the consequences.
Well, life in the music business is no different.
The changes that have been going on for the last decade or so, present a similar situation for any musician or band. Change, adapt, or not.
Technology changes have been the most common trend in our business. Think of it: a decade ago there was no Twitter or Facebook, or MySpace. Social networking was an email event, or at best a discussion group.
The economy has changed dramatically too. Unemployment and the housing market have brought challenges to everyone. And that means your fans have been affected by these and other social changes.
What are you going to do about it?
Face the fact that your fans are, like the rest of us, are trying to deal with technology and economic issues just like we are.
So, we have to adapt to these changes, as uncomfortable as that may be, orNOT.
What is your decision? Are you going to adapt to as many new technology tools as you can and learn how to communicate with your fans in newer and more efficient ways, or are you going to remain stubborn, set in your ways, refusing to adapt to these new technology tools?
And the same goes for our economic problems. If indeed the economy is affecting all of us, and that means your fans too, what can you do to get their business, their money, when times are tough and fans of music have SO many other musical choices to choose from?
Are you going to give them some ‘special deals’, or reward them with free songs,
or tickets to your live shows, or contests?
What can you think of to attract your fans to support you MORE?
Or
You still have that other choice…do nothing. Just deny reality and pretend that nothing is different today in artist/fan relationships, and that the old analog technology you relied on in the past is just fine.
Yeah, do that. That’s a real smart idea. Don’t change, just deny as best you can.
Christopher Knab
Things that use to work, don’t work that way anymore. So, what is one to do in that situation?
Adapt.
If you can’t, you have two options:
1. Quit while you’re ahead
2. Keep on doing what doesn’t work
Sound too ominous?
Not really. Let me explain.
Change is what life is all about. Think about it. We may want things to remain the same in a relationship but they don’t, or a job we’ve had for years requires us to get re-trained or risk being laid off or fired.
Somehow life gets in the way of our plans, and we have two options…change things, or pretend everything is just fine and face the consequences.
Well, life in the music business is no different.
The changes that have been going on for the last decade or so, present a similar situation for any musician or band. Change, adapt, or not.
Technology changes have been the most common trend in our business. Think of it: a decade ago there was no Twitter or Facebook, or MySpace. Social networking was an email event, or at best a discussion group.
The economy has changed dramatically too. Unemployment and the housing market have brought challenges to everyone. And that means your fans have been affected by these and other social changes.
What are you going to do about it?
Face the fact that your fans are, like the rest of us, are trying to deal with technology and economic issues just like we are.
So, we have to adapt to these changes, as uncomfortable as that may be, orNOT.
What is your decision? Are you going to adapt to as many new technology tools as you can and learn how to communicate with your fans in newer and more efficient ways, or are you going to remain stubborn, set in your ways, refusing to adapt to these new technology tools?
And the same goes for our economic problems. If indeed the economy is affecting all of us, and that means your fans too, what can you do to get their business, their money, when times are tough and fans of music have SO many other musical choices to choose from?
Are you going to give them some ‘special deals’, or reward them with free songs,
or tickets to your live shows, or contests?
What can you think of to attract your fans to support you MORE?
Or
You still have that other choice…do nothing. Just deny reality and pretend that nothing is different today in artist/fan relationships, and that the old analog technology you relied on in the past is just fine.
Yeah, do that. That’s a real smart idea. Don’t change, just deny as best you can.
Christopher Knab
Monday, August 23, 2010
10th and LAST "Reality Sandwich": Ignorant Musicians Finish Last
Ignorant, mis-informed musicians are a menace to themselves.
Enough already!
Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today, any musician who signs a record contract, and learns later what he or she signed, has only themselves to blame.
The amount of free information on the web is astounding these days. Type any topic about the business of music into Google and you will be drowning in resources.
In addition, there are many schools that now offer 2- 4 year programs on the business of music. Also, there are many seminars and workshops available on a year round basis in most major American cities.
Consultants, Attorneys, and Business Organizations abound, and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.
When people said to you “ Spend money on quality instruments and equipment”... you did that.
When they said “Spend time and money on practicing and rehearsing”, you did that, for the most part .
When they told you “Spend time and money finding the best recording studio, producer and engineer you can”...you also did that.
Well, nobody until now has told you “Spend time and money learning all you can about the business of music”. But I just did!
So…do it!
It has been said (about education) that we don’t know anything until someone tells us. If that is true, the fault in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed.
( Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business. A few dollars and hours spent now can protect your future forever.
Enough already!
Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today, any musician who signs a record contract, and learns later what he or she signed, has only themselves to blame.
The amount of free information on the web is astounding these days. Type any topic about the business of music into Google and you will be drowning in resources.
In addition, there are many schools that now offer 2- 4 year programs on the business of music. Also, there are many seminars and workshops available on a year round basis in most major American cities.
Consultants, Attorneys, and Business Organizations abound, and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.
When people said to you “ Spend money on quality instruments and equipment”... you did that.
When they said “Spend time and money on practicing and rehearsing”, you did that, for the most part .
When they told you “Spend time and money finding the best recording studio, producer and engineer you can”...you also did that.
Well, nobody until now has told you “Spend time and money learning all you can about the business of music”. But I just did!
So…do it!
It has been said (about education) that we don’t know anything until someone tells us. If that is true, the fault in ‘not telling’ musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed.
( Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please...spend some time and money educating yourselves about the music business. A few dollars and hours spent now can protect your future forever.
Sunday, August 22, 2010
9th "Reality Sandwich: How Do You Know If People Know What They're Talking About?
Don’t Take Advice From Anyone Unless You KNOW That They Know What They Are Talking About.
The best advice I've ever gotten in the music business came from people who talked the talk, and walked the walk.
The second best advice I received was from the experiences I gained from building my own career; learning from my interactions with the gatekeepers at labels, the media, management, booking, and digital companies as to what was right or wrong for me.
You can tell when you are talking with someone in the music industry whether or not they are full of it or not. Look them in the eye. Listen to how they talk.
Just buy yourself a high quality "bull" detector and make sure you keep the batteries charged.
Trust your intuition. If it ‘goes off’, listen to the inner voice that is detecting deceit or deception. Most of the time your instincts will be right about the advice you seek.
If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only advice that might stand up over time.
The best advice I've ever gotten in the music business came from people who talked the talk, and walked the walk.
The second best advice I received was from the experiences I gained from building my own career; learning from my interactions with the gatekeepers at labels, the media, management, booking, and digital companies as to what was right or wrong for me.
You can tell when you are talking with someone in the music industry whether or not they are full of it or not. Look them in the eye. Listen to how they talk.
Just buy yourself a high quality "bull" detector and make sure you keep the batteries charged.
Trust your intuition. If it ‘goes off’, listen to the inner voice that is detecting deceit or deception. Most of the time your instincts will be right about the advice you seek.
If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only advice that might stand up over time.
Saturday, August 21, 2010
8th "Reality Sandwich": Finding A Manager Ain't As Easy As You Think
Choosing A Manager Ain't So Easy
Self management is the way to go in establishing your career as a musician.
Much can be learned by taking on the jobs of securing gigs, getting varied licensing deals, getting some publicity, planning tours, dealing with personal issues that arise within the band, and whatever else is needed to stay on course.
These days doing your own management may be what you do for the rest of your career.
However there MAY come a time, when the daily tasks of doing the business of being a band takes up too much time, and it is then that the services of a good manager can be very useful.
I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.
Managers who do this job for a living can only take on clients that generate income.
Making money as a personal manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.
Personal managers get paid a negotiated fee (20%-25%) for their services (get it in writing) for any and all business transactions they are responsible for over a particular contract period.
No musicians should ever pay an "up-front" fee to a so-called ‘manager’ who will not do any work UNLESS they are paid upfront. Flim-Flam men and women still abound in this business... be forewarned.
One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers.
The music business is a ‘relationship’ business. Who know who, and who can get to know who, and who did what successfully for who. This is what the management game is all about.
So, don't be in a hurry to 'get' management.
You could be better off just keeping your hands-on business the way it is.
Self management is the way to go in establishing your career as a musician.
Much can be learned by taking on the jobs of securing gigs, getting varied licensing deals, getting some publicity, planning tours, dealing with personal issues that arise within the band, and whatever else is needed to stay on course.
These days doing your own management may be what you do for the rest of your career.
However there MAY come a time, when the daily tasks of doing the business of being a band takes up too much time, and it is then that the services of a good manager can be very useful.
I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to ‘attract’ the services of a professional, well-connected and respected manager.
Managers who do this job for a living can only take on clients that generate income.
Making money as a personal manager is no easy task, and many upcoming artists forget that if any moneys are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.
Personal managers get paid a negotiated fee (20%-25%) for their services (get it in writing) for any and all business transactions they are responsible for over a particular contract period.
No musicians should ever pay an "up-front" fee to a so-called ‘manager’ who will not do any work UNLESS they are paid upfront. Flim-Flam men and women still abound in this business... be forewarned.
One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers.
The music business is a ‘relationship’ business. Who know who, and who can get to know who, and who did what successfully for who. This is what the management game is all about.
So, don't be in a hurry to 'get' management.
You could be better off just keeping your hands-on business the way it is.
Friday, August 20, 2010
7th "Reality Sandwich": Got An Entertainment Law Attorney?
The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys.
No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies. When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations.
The musician's attorney and the music company’s attorney meet, talk over the phone, and fax/email their offers and counter-offers amongst themselves.
This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.
You may not need an attorney right now, but you should find out what lawyers are available to you in your area. A good place to start your research is talking to some local bands/musicians, and asking who they use and what their experience with them was like.
Trust only those lawyers that have a reputation of being trustworthy.
No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies. When all is said in done with the ‘courting’ process, the musician is never present during the actual negotiations.
The musician's attorney and the music company’s attorney meet, talk over the phone, and fax/email their offers and counter-offers amongst themselves.
This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.
You may not need an attorney right now, but you should find out what lawyers are available to you in your area. A good place to start your research is talking to some local bands/musicians, and asking who they use and what their experience with them was like.
Trust only those lawyers that have a reputation of being trustworthy.
Thursday, August 19, 2010
Know The Labels and The Music Publishers You Want To Work With
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executive’s background and experience?
The same is true when shopping for a record or publishing deal.
Some musicians get too excited when a certain label or publisher approaches them with a contract offer.
Being approached for a deal is a compliment and is a recognition that a musician’s music is appealing.
But, to rush ahead without taking the time to learn a few things about those companies is foolish indeed.
Ask some questions:
How have they done with your particular genre of music?
What specific kinds of deals are available?
Who runs the label or publishing company?
What is their reputation in the music business?
What are their ideas for promoting your music?
How do you like them as people?
These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executive’s background and experience?
The same is true when shopping for a record or publishing deal.
Some musicians get too excited when a certain label or publisher approaches them with a contract offer.
Being approached for a deal is a compliment and is a recognition that a musician’s music is appealing.
But, to rush ahead without taking the time to learn a few things about those companies is foolish indeed.
Ask some questions:
How have they done with your particular genre of music?
What specific kinds of deals are available?
Who runs the label or publishing company?
What is their reputation in the music business?
What are their ideas for promoting your music?
How do you like them as people?
These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.
Wednesday, August 18, 2010
5th "Reality Sandwich": Design Simple But Effective Promo Materials
Simple, but effective promo materials can draw people to your music!
Designing and writing effective promotional materials;
blogs
websites
bios
fact sheets
cover letters
quote sheets
posters
flyers etc.is what I'm talking about.
Here are 3 tips to help you promote your careers, and enhance your chances of getting some deal offers.
Do the following:
1. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearances, and organize them into bios and fact sheets.
2. Make your promo materials as compelling, and informative as possible. If you can’t write, hire a professional publicist.
3.
Having done that, take more time to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be sent out to any gatekeepers in the music business.
Designing and writing effective promotional materials;
blogs
websites
bios
fact sheets
cover letters
quote sheets
posters
flyers etc.is what I'm talking about.
Here are 3 tips to help you promote your careers, and enhance your chances of getting some deal offers.
Do the following:
1. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearances, and organize them into bios and fact sheets.
2. Make your promo materials as compelling, and informative as possible. If you can’t write, hire a professional publicist.
3.
Having done that, take more time to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No ‘generic’ kits should ever be sent out to any gatekeepers in the music business.
Tuesday, August 17, 2010
4th Reality Sandwich: Register Your Copyrighted Songs
When you write a song and "fix" it "in a tangible form", i.e. write it down somewhere or record it even in a simple way, your song is at that moment-protected by U.S. copyright laws.
But...PROVING that the song is yours requires another step...REGISTERING the song with the U.S. Copyright Office.
Doing that offers you not just more protection but more proof that the song is yours if you ever have to go to court to sue someone you believe stole your song.
I never cease to be amazed how few artists are willing to spend $40 to register their songs. (even though they brag how 'great' that song may be!).
By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music.
All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs by registering them should be there for any serious songwriter.
If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task.
Do it now!
Go to http://www.copyright.gov and get started!
But...PROVING that the song is yours requires another step...REGISTERING the song with the U.S. Copyright Office.
Doing that offers you not just more protection but more proof that the song is yours if you ever have to go to court to sue someone you believe stole your song.
I never cease to be amazed how few artists are willing to spend $40 to register their songs. (even though they brag how 'great' that song may be!).
By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music.
All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs by registering them should be there for any serious songwriter.
If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task.
Do it now!
Go to http://www.copyright.gov and get started!
Monday, August 16, 2010
3rd "Reality Sandwich" To Chomp On
Be a master musician on your instrument.
One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to the late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master rock n’ roller, bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just good enough but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take more lessons, or better yet, sit yourself down with your iPod or CD player and choose a favorite musician's record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will come across some new inspiration, wherein you will find yourself, your own 'sound’, and thereby Increase your chance to stand out from all the mediocrity that is your competition.
Believe it or not, most music lovers (and your fanbase) love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear everytime they search-out so men new act, and from every act they go see at a live venue. You see...in the business of music when we hear something new, original, and accessible ...we can invest in you with some sense of security. We believe that if we put our ‘label brand’ on you, and add our talents of promotion and marketing to the mix, then we ‘have something’, and your music becomes our music, and we can work together to broaden you audience appeal.
It’s like a partnership ...something about ‘Art and Commerce’...they can work together, you know. Be a professional musician because only a professional lets the best come out of themselves.
One of the curious developments of the late 70’s was the huge increase in garage bands, punk bands, and ‘do-it yourselfers’, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.
Prior to the late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshipped at the feet of some master rock n’ roller, bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just good enough but GREAT.
Why settle for less. Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take more lessons, or better yet, sit yourself down with your iPod or CD player and choose a favorite musician's record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will come across some new inspiration, wherein you will find yourself, your own 'sound’, and thereby Increase your chance to stand out from all the mediocrity that is your competition.
Believe it or not, most music lovers (and your fanbase) love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear everytime they search-out so men new act, and from every act they go see at a live venue. You see...in the business of music when we hear something new, original, and accessible ...we can invest in you with some sense of security. We believe that if we put our ‘label brand’ on you, and add our talents of promotion and marketing to the mix, then we ‘have something’, and your music becomes our music, and we can work together to broaden you audience appeal.
It’s like a partnership ...something about ‘Art and Commerce’...they can work together, you know. Be a professional musician because only a professional lets the best come out of themselves.
Sunday, August 15, 2010
2nd "Reality Sandwich": Play Often No Matter What
Play Live Often and Don’t Worry About Getting Paid For Every Gig.
You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music.
The dedicated musician can’t NOT play music every chance they get.
Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, If you think that you can make your living solely as a musician in the first three to four years of your career, you're headed for a breakdown and disappointment.
Think about it...almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never gave up. Playing live as often as possible was as natural to them as breathing in and out.
So, Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations.
Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of.
Hang out at clubs, look for jamming possibilities, or start your own jam sessions.
Look around your city or town, and you will see many places and venues where musicians can play.
As you establish yourself and more and more people show up at your shows, the paid gigs will increase.
Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music.
The dedicated musician can’t NOT play music every chance they get.
Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. Well, If you think that you can make your living solely as a musician in the first three to four years of your career, you're headed for a breakdown and disappointment.
Think about it...almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never gave up. Playing live as often as possible was as natural to them as breathing in and out.
So, Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations.
Offer your services to non- profits, charities, church groups, and any other companies or organizations you can think of.
Hang out at clubs, look for jamming possibilities, or start your own jam sessions.
Look around your city or town, and you will see many places and venues where musicians can play.
As you establish yourself and more and more people show up at your shows, the paid gigs will increase.
Remember... play live, and then after you play live, play live again, that’s what musicians are supposed to do.
Saturday, August 14, 2010
A "Reality Sandwich" For Lunch Today
For my next 10 Blog Postings I will feed you a daily 'Reality Sandwich' to chew on.
The term ‘Reality Sandwiches’ appeared in a poem by the late Beat poet Allen Ginsberg. I adopted it years ago to explain that there are certain realities about the music business that must be chewed and digested in order to rid ourselves of any naïve concepts and beliefs about breaking into the industry. With this in mind, the following observations should be taken as wake-up-calls about establishing your career.
First Sandwich: Make Music That Doesn’t SUCK!
Since we do indeed live in a time when everybody and their sister can and does make their own music, that doesn’t mean that your music has what it takes to make it. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into this comment is that your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the independent music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Don’t copy! Borrow yes, but copy no.
Challenge yourself. What is it about your music that makes it stand out from all the rest?
From songwriting to musicianship, music intended for the marketplace must be performed and recorded capably. Music that sucks is music that does not grab your listener. Music that sucks is music that takes only 10 seconds to dismiss because the production quality, or the vocals, or the lyrics are pedestrian at best, or mediocre for the most part. Music that sucks is music that sounds like you’ve heard it all before.
If you don’t think a lot of the music coming out today sucks, drop by your local college radio station and ask them to let you listen to some of the hundreds of new CDs they get in the mail every week. You won’t even be able to listen for more than 20 seconds to most of the independent releases that flood the market today.
Make music that doesn’t suck and you will be making music that makes the listener’s hair stand on end, or gets their feet moving uncontrollably, or singing your songs in the shower because they can’t get it out of their heads. Music that doesn’t suck is music that packs people into clubs, and gets people so excited that they are willing to spend their hard earned money to buy it. So, what does non-sucking music sound like? It sounds like all the varied records that are selling around the country, and it sounds like what the people are talking about to their friends. It sounds like all the great music you bought for your collection.
The term ‘Reality Sandwiches’ appeared in a poem by the late Beat poet Allen Ginsberg. I adopted it years ago to explain that there are certain realities about the music business that must be chewed and digested in order to rid ourselves of any naïve concepts and beliefs about breaking into the industry. With this in mind, the following observations should be taken as wake-up-calls about establishing your career.
First Sandwich: Make Music That Doesn’t SUCK!
Since we do indeed live in a time when everybody and their sister can and does make their own music, that doesn’t mean that your music has what it takes to make it. A&R Reps are always saying, when asked what they are looking for, “We don’t know what we are looking for, but we’ll recognize it when we hear it.” What we can read into this comment is that your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the independent music out there contains regurgitated ideas that were ripped off from some other more gifted musicians. Don’t copy! Borrow yes, but copy no.
Challenge yourself. What is it about your music that makes it stand out from all the rest?
From songwriting to musicianship, music intended for the marketplace must be performed and recorded capably. Music that sucks is music that does not grab your listener. Music that sucks is music that takes only 10 seconds to dismiss because the production quality, or the vocals, or the lyrics are pedestrian at best, or mediocre for the most part. Music that sucks is music that sounds like you’ve heard it all before.
If you don’t think a lot of the music coming out today sucks, drop by your local college radio station and ask them to let you listen to some of the hundreds of new CDs they get in the mail every week. You won’t even be able to listen for more than 20 seconds to most of the independent releases that flood the market today.
Make music that doesn’t suck and you will be making music that makes the listener’s hair stand on end, or gets their feet moving uncontrollably, or singing your songs in the shower because they can’t get it out of their heads. Music that doesn’t suck is music that packs people into clubs, and gets people so excited that they are willing to spend their hard earned money to buy it. So, what does non-sucking music sound like? It sounds like all the varied records that are selling around the country, and it sounds like what the people are talking about to their friends. It sounds like all the great music you bought for your collection.
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