I have been watching, studying, and analyzing why some musicians ‘make it’ and others don’t for a long time, and I have given up trying to come up with some magic formula that every up and coming musician can follow on some imaginary road to whatever 'success' is.
In fact, I think as Americans, we are too addicted to self-help books and formulas for success. What is lacking in our day-to-day lives that makes us run out to buy the latest personal improvement manual? Could it be that there is a difference we detect in the attitude of successful, well-known people, and the attitude of the average working Joe?
Is There Some Magic Formula?
When it comes to music, why do some musicians make it big, while other equally talented songwriters and musicians never get their music heard by the masses? What specific skills and/or inherent talents do the successful artists embody that so many ‘wannabees’ do not? Is it charisma? That special something that many artists seem to exude the minute they walk into a room? I think that is part of it, but many successful acts have as much charisma as a pitcher of milk, and yet do quite well for themselves. So if you are looking for some magic formula that will transform you into a star...well, cut it out, there is no such formula.
Deep Pockets?
Maybe its all about money. Yeah, that seems to be the one sure thing behind every star. There are always record labels with deep pockets that know how to spend the money to push their acts into the hearts and minds of the public. Well lets talk about that for a moment. Money can only push something out to the public for their acceptance or rejection…that’s all it can do. Nobody reaches into their wallets and purses and spends their hard earned money on anything….unless there is some real value in what they see is being offered to them.
Today there is a lot of what some observers call ‘shallow and immature’ lyrics and disposable pop music out there on the charts… yet, no one who bought that music would cop to that criticism. The people who buy the latest sounds on the pop charts bought that music because it gave them some kind of pleasure. It meant something to them.
I think it all comes down to two essential things…creating and performing great music, plus having a savvy business mind that can figure out clever ways for people to hear your great songs. Lets look more closely at these two observations.
Music That Fulfills
First, we should look at what sells and what is successful from this standpoint; music fulfills the needs, wants, and desires of any group of fans because they identify with it. and they like a tune because they can hum it in the shower. The one thing that all successful acts have in common when they cross over to mass appeal is great songs! This is true as well for the more edgy artists who seem to eek out a living from smaller fanbases. They still write compelling songs that touch the hearts and minds of their fans. (Whether or not you personally ‘like’ hit songs or not has nothing to do with it.)
Lets look a bit closer at that second ingredient I mentioned business savvy. Yup…that’s it. Somebody, somewhere, in every successful act’s history there was someone that had enough business savvy to make that act the stars that they are or were. Somebody somewhere and somehow got a band or artist decent exposure in what I have always called "the 4 Fronts" of music marketing...great artist and product development, promotion, publicity, and performance opportunities.
That Certain Something
NOW….listen up! It isn’t as simple as you think. Historically that business savvy may have been solely the talents and skills of a weasel-like manager, or record label executive. It may have been the unscrupulous business practices of shady lawyers and booking agents, as well as greedy club owners, or money hungry publishers.
My point is that no matter what the behavior of a particular music business gatekeeper may have been…they got a certain part of the job done…they broke on through to the other side of the competition, and got their act’s song into the ears of the thousands of music fans. And to do that, I can assure you they had a business plan.
There are no short cuts to success, and there just isn’t enough room at the top for everyone who makes music to a living from their music. But there is a balance that can be obtained in ones life. With a combination of old school ‘analog’ marketing, and the today's ‘digital’ marketing tools available on the Internet and through the technology of downloadable and/or streaming music, no musician who writes great songs should have that much problem realizing (at least) modest successes with their music.
10 Step Programs
Be careful of the "10 Steps To Musical Success" and the " What every A&R Rep Is Looking For" articles and books. I must admit that I have written some articles with such titles, only because they are my way of getting the attention of an ever-growing group of celebrity ‘wannabees’. Once I get their attention, I show them proven strategies and tactics that record labels and industry professionals use to promote and market popular music.
Remember, in reality, there are no 10 steps to anything! There is however, your conscious involvement with, and your personal commitment to making the greatest sounding music you can, and committing to learning as much about the business of music as possible. The world of commercial music is a world of dollars and cents, whether you like it or not. But that does not mean that art and commerce cannot walk hand in hand…they must do that.
The Driven Artist
Most ‘artists’ in the truest sense of the word are narrowly focused people who never take no for an answer. No matter what challenges come along, they find a way of staying alive. More and more as the decades roll by, these artists are entrepreneurial musicians who grab a hold of the business reigns and find away to get the job done.
We live in a capitalist, consumer driven society. The successful musicians of tomorrow will be those people who either attract dedicated, knowledgeable business men and women to do the marketing and promotion for them, or take that responsibility on themselves. Give it a try. You may learn, as many are learning, that success can be defined in several different ways. You don’t have to sell millions of records to be considered a successful musician. You just have to sell enough records, concert tickets, and merchandise to pay the bills…do that, and I think you are a very successful musician.
Being an entrepreneurial musicians means you have to be able to write and perform great songs, and produce them with a contemporary sound, AND you have to take the time to read about the music business and stay on top of the evolving marketing and promotional opportunities popping up all around you. Read the music business trades and tip sheets, (Billboard, CMJ, etc.) Cruise the internet for the tons of free information at sites like www.musicbizacademy.com, www.musicdish.com,
www.4frontmusic.com and many others. Also, find time to call club bookers (over and over), read bad and good music reviews of contemporary releases, stay in touch with your fans on a regular basis, AND still put on a great show when you're exhausted or sick. (The show must always go on, you know.)
Entertain Always
When it comes down to it, being a professional musician is really all about entertaining people. Entertaining the public as a life commitment involves getting yourself into a deep sense of personal commitment to your art, and the business of your art. It seems to me that artists who are able to do that have come to grips with the notion that success is more an internal experience, and not necessarily one that will be satisfied by a money-hungry music industry that defines success only in dollars and cents calculations.
Looking at the work habits of most big stars, I think they all have an entrepreneurial entertainer inside them. That's what allows them to succeed in all areas of the business. That is what keeps them going during the fifth press interview of the day, and all the other crap that has nothing to do with music and everything to do with the business of music marketing.
Should the day come when you sense you have made it, know that the pressure to keep producing sellable music is huge. So you need to find a balance inside yourself. A sense of timing that lets you know when you have to take a break, or eat and sleep right. Successful musicians have to be healthy and ready to create/perform on demand. For example, you may have to hit the road for nine straight months, then make a world-class album immediately following the grueling tour, followed by endless media encounters along the way.
On Top of Your Game
What it all boils down to is that stars have to be on top of their game, both artistically and business-wise. It is essential to create a balance between music and business early on. Make sure your psyche is in the right place. You know, screw your head on right! Be honest with yourself regarding what things you are and aren't willing to do to be successful with your music.
Map out how you will improve your skills in both business and art. Put it on paper. Try living the 50% business - 50% music rule. Make sure you honor your business commitments and always act professionally. Again, make sure you keep your artist side healthy and creative. Take days off, take nature walks, and take time to noodle around that new song idea that just popped into your head. Such activities will help keep the artist inside you healthy and able to nourish your creative juices.
Should you ever become a successful musician (by your own definition) making money strictly from your music, remember that being a famous musician is not a "normal" life. To survive and thrive in the public eye requires a special set of skills. The good news is those skills can be learned and developed. Every little bit you learn now will benefit your career plans down the road. Believe in yourself, and never stop improving.
Your hard work will pay off, if not always at the cash register, at least with a sense of personal satisfaction for having done the best work creatively and business-wise, that you could.
Wednesday, April 28, 2010
Saturday, April 24, 2010
A Get Even MORE Clueless Emails -2010 Version
In 2008 I wrote an article for my website, www.4frontmusic.com, and in it I shared some examples of emails I had gotten over the course of that year.
Well, it's time for an update!
The hits keep right on coming; BAD hits that is. So, I will not giveaway the names of these hapless souls who wrote these messages (even though I am tempted to do so) because these folks have enough grief to deal with trying to just stay alive let alone prosper in this business.
I do get a LOT of emails, and I should. I have been writing about the music business since 1995, so my name is out there and so is my email address. Most of the email messages I get are polite ‘thank-you’ messages letting me know how much they appreciate all the free articles, blog postings, Tweets and Facebook posts I have done, and how much they have learned from my advice.
All those messages are quite gratifying to say the least, but I have a growing problem with some of the messages I get, and the problem is getting worse every day.
Too many wannabee-stars are out there. Too many artists and musicians that don’t have a clue as to how to write a polite and courteous message, let alone send a message that isn't riddled with grammar, spelling, and/or punctuation errors.
So many people have no clue how to approach a professional in the music business and/or 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 getting harder and harder to read these messages, let alone answer them. People just barge in and start asking me questions without a clue how to introduce themselves.
Why do so many people presume that I am sitting at my computer just waiting to write them back and answer their stupid questions?
For example, I get a lot of emails that ask this question? "Hey, what's a copywrite anyway, I don't understand what a copy-write is" (He means 'copyright')
Here is a typical question: " I have 5 songs, what should I do with them?"
(Do you really want me to tell you what you should do with them? I think not.)
I wonder what ever happened to researching questions you may have. Do people really not know of a search engine called Google? I guess not. Maybe they are just lazy so they send me a message wanting me to answer these and other questions that could easily be answered if the person(s) took the time to do some online research!
I ask the same question I asked back in 2008: "What’s up with all these rude and clueless people?!"
So, in my never-ending effort to educate you about the business etiquette that exists in this world, I have decided to print out a few recent messages that really drove me crazy. As you read these messages please note that I have deleted any reference to who these people are.
Please read these messages as if you received them, and ask yourself how you would feel about dealing with these creatures from some lost lagoon.
Ask yourself these questions as you read through some of the messages I've received:
* Are you offended by these abrupt and presumptuous messages that presume I have
the time to answer their questions as if I had nothing better to do?
* 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?
If you do indeed want to email someone you don’t know in the music industry, please approach them 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 the person you are addressing 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 over the last year. I simply ‘cut and pasted’ these messages from my email into this blog for you to decipher at your leisure.
,,,,,,,,,,,,,,,,,,,,,,,
Here we go! (Remember the spelling, punctuation, grammar, and sentence structure errors are real. I am NOT making them up!)
"My question is about selling just one song. Not really intersted in complaying a whole CD at this time. Can it be done without a lot of hassle? I am thinking of trying to get someone like Bette Midler to sing and record it in one of her albums and get a piece of her the action. Of course, this is extremely hard to do. Will you do it?"
(Well no, I won't...would you?)
Next up: This one - exactly as I received it:
" Hi hey yo wuts up? I visited a site and got your contact info. I'm interest in writing and performing and also I have a media major (rba-almost). If you could help me with distributing and/or signing my own label PLEASE reply. Just a quick overview- I've recorded a few full recorded- music includes: hip hop rap, and "movement" types. Also, I write some timely rock shtuff. I would like you to visit my site on www.myspace.com and hear some at a later date if your interested."
(Say what???)
And now for something completely different:
"Greetings Honrable Christopher Knab, I recently conversed with you about radio promoters within the last 20 minutes...thank you kindly, as well as me, I wish you the best. I may update you relative to future business relations."\
(I have no idea what he is talking about, but sorta like the attempt at being addressed as "Honrable".)
Next up we have this one:
"Hi Chris,I am a passionate singer, pianist, saxophonist that would love to be involved in music for the rest of my life. I have sung professionally and have even moved from Idaho to Tennessee to travel in a group there. I really missed the west and have recently moved back and happy to be home, but greatly missing singing. Currently, I cannot afford to pay an agent or promoter and I stumbled upon your site on the internet and it looks like you would definitely have some knowledge you could pass on to me? How can I get more involved in music and get some gigs?"
(Now this one was polite enough, but goes on too long, and the last sentence is an example of HOW IN THE @#(*&% can I possibly answer that type of question? I mean that is why I wrote my book, and other music biz professionals wrote theirs. It's just too general a question to ask and impossible to answer quickly, which is what your email questions should be concerned about...asking simple questions.)
Moving right along:
"Hello, I'm in a music Business course and I look like to futher my studies and practice yours with my peers. What are the answers?"
(What is the question?!)
Another one:
"Hello, I have gone through your website 4front.powweb.com and have been trying to get an out of state indie artist here to St. Louis for at least 7 months now. St. Louis is a hard market to break as they support local artists and those that are in constant rotation on the radio. I have hit many lives music venues that just do not return my calls. This guy is very talented and has many followers around North America except St.Louis."
(powweb? … that isn’t even close to my web URL. Also, sometimes people ALMOST make sense, but then they don't)
One more for the road:
"hi Christopher i love your book. unfortunately i don't have it with me as i am in japan right now.basically, my friend wants to do a japanese release of the cd lp that i am currently recording.also, he wants to distribute it. i don't know the exact details of the distribution but i think that he can possibly get it into the records store here in tokyo.i told him that i wanted a contract and he said something about 50/50. i don't know whether this will be a lifelong contract or not.i don't know the main details of the contract yet yeah but was wondering if you could possibly direct me to any examples of such contracts or offer advice regarding the topic. i want to personally assess all the details before signing anything.sorry for the confusion. i don't know what the contract would entail just yet."
(ball of confusion, say what?)
The last one, for now:
"I'm interested in expanding my business to manage talent( singers, rappers)."
(and?)
OK, one bonus message:
"and wht i meen is this...gotta get a deal man,got too! what would life belike if i
didnt sing nad you know what im thinkin.thanxs"
(Enough said...)
Well, it's time for an update!
The hits keep right on coming; BAD hits that is. So, I will not giveaway the names of these hapless souls who wrote these messages (even though I am tempted to do so) because these folks have enough grief to deal with trying to just stay alive let alone prosper in this business.
I do get a LOT of emails, and I should. I have been writing about the music business since 1995, so my name is out there and so is my email address. Most of the email messages I get are polite ‘thank-you’ messages letting me know how much they appreciate all the free articles, blog postings, Tweets and Facebook posts I have done, and how much they have learned from my advice.
All those messages are quite gratifying to say the least, but I have a growing problem with some of the messages I get, and the problem is getting worse every day.
Too many wannabee-stars are out there. Too many artists and musicians that don’t have a clue as to how to write a polite and courteous message, let alone send a message that isn't riddled with grammar, spelling, and/or punctuation errors.
So many people have no clue how to approach a professional in the music business and/or 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 getting harder and harder to read these messages, let alone answer them. People just barge in and start asking me questions without a clue how to introduce themselves.
Why do so many people presume that I am sitting at my computer just waiting to write them back and answer their stupid questions?
For example, I get a lot of emails that ask this question? "Hey, what's a copywrite anyway, I don't understand what a copy-write is" (He means 'copyright')
Here is a typical question: " I have 5 songs, what should I do with them?"
(Do you really want me to tell you what you should do with them? I think not.)
I wonder what ever happened to researching questions you may have. Do people really not know of a search engine called Google? I guess not. Maybe they are just lazy so they send me a message wanting me to answer these and other questions that could easily be answered if the person(s) took the time to do some online research!
I ask the same question I asked back in 2008: "What’s up with all these rude and clueless people?!"
So, in my never-ending effort to educate you about the business etiquette that exists in this world, I have decided to print out a few recent messages that really drove me crazy. As you read these messages please note that I have deleted any reference to who these people are.
Please read these messages as if you received them, and ask yourself how you would feel about dealing with these creatures from some lost lagoon.
Ask yourself these questions as you read through some of the messages I've received:
* Are you offended by these abrupt and presumptuous messages that presume I have
the time to answer their questions as if I had nothing better to do?
* 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?
If you do indeed want to email someone you don’t know in the music industry, please approach them 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 the person you are addressing 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 over the last year. I simply ‘cut and pasted’ these messages from my email into this blog for you to decipher at your leisure.
,,,,,,,,,,,,,,,,,,,,,,,
Here we go! (Remember the spelling, punctuation, grammar, and sentence structure errors are real. I am NOT making them up!)
"My question is about selling just one song. Not really intersted in complaying a whole CD at this time. Can it be done without a lot of hassle? I am thinking of trying to get someone like Bette Midler to sing and record it in one of her albums and get a piece of her the action. Of course, this is extremely hard to do. Will you do it?"
(Well no, I won't...would you?)
Next up: This one - exactly as I received it:
" Hi hey yo wuts up? I visited a site and got your contact info. I'm interest in writing and performing and also I have a media major (rba-almost). If you could help me with distributing and/or signing my own label PLEASE reply. Just a quick overview- I've recorded a few full recorded- music includes: hip hop rap, and "movement" types. Also, I write some timely rock shtuff. I would like you to visit my site on www.myspace.com and hear some at a later date if your interested."
(Say what???)
And now for something completely different:
"Greetings Honrable Christopher Knab, I recently conversed with you about radio promoters within the last 20 minutes...thank you kindly, as well as me, I wish you the best. I may update you relative to future business relations."\
(I have no idea what he is talking about, but sorta like the attempt at being addressed as "Honrable".)
Next up we have this one:
"Hi Chris,I am a passionate singer, pianist, saxophonist that would love to be involved in music for the rest of my life. I have sung professionally and have even moved from Idaho to Tennessee to travel in a group there. I really missed the west and have recently moved back and happy to be home, but greatly missing singing. Currently, I cannot afford to pay an agent or promoter and I stumbled upon your site on the internet and it looks like you would definitely have some knowledge you could pass on to me? How can I get more involved in music and get some gigs?"
(Now this one was polite enough, but goes on too long, and the last sentence is an example of HOW IN THE @#(*&% can I possibly answer that type of question? I mean that is why I wrote my book, and other music biz professionals wrote theirs. It's just too general a question to ask and impossible to answer quickly, which is what your email questions should be concerned about...asking simple questions.)
Moving right along:
"Hello, I'm in a music Business course and I look like to futher my studies and practice yours with my peers. What are the answers?"
(What is the question?!)
Another one:
"Hello, I have gone through your website 4front.powweb.com and have been trying to get an out of state indie artist here to St. Louis for at least 7 months now. St. Louis is a hard market to break as they support local artists and those that are in constant rotation on the radio. I have hit many lives music venues that just do not return my calls. This guy is very talented and has many followers around North America except St.Louis."
(powweb? … that isn’t even close to my web URL. Also, sometimes people ALMOST make sense, but then they don't)
One more for the road:
"hi Christopher i love your book. unfortunately i don't have it with me as i am in japan right now.basically, my friend wants to do a japanese release of the cd lp that i am currently recording.also, he wants to distribute it. i don't know the exact details of the distribution but i think that he can possibly get it into the records store here in tokyo.i told him that i wanted a contract and he said something about 50/50. i don't know whether this will be a lifelong contract or not.i don't know the main details of the contract yet yeah but was wondering if you could possibly direct me to any examples of such contracts or offer advice regarding the topic. i want to personally assess all the details before signing anything.sorry for the confusion. i don't know what the contract would entail just yet."
(ball of confusion, say what?)
The last one, for now:
"I'm interested in expanding my business to manage talent( singers, rappers)."
(and?)
OK, one bonus message:
"and wht i meen is this...gotta get a deal man,got too! what would life belike if i
didnt sing nad you know what im thinkin.thanxs"
(Enough said...)
Wednesday, April 21, 2010
How to Write a Music-Related Press Release
Everywhere we turn in the music business, the impact on digital marketing, promotion, sales, performances and publicity is changing the way artists and bands, as well as record labels are carrying out there business.
What is strange to me is that with all the website work one has to update, and blogs to keep up on and text messaging and emails etc. etc. one thing remains true.
The elements of what must be turned into digital items have their roots in the 'analog' world, especially when it comes to writing up a press release.
Today the traditional press kit still has its place. So, knowing how to write (and/or post) a professional press release can help you get the word out about what's going on with your music career.
Here is a guideline for writing a professional Press Release.
When to Write a Press Release:
* Concert/Shows and or Tour information
* Record, Publishing, Merchandising Deal Announcements
* Band Personnel Changes/Additions
* CD, Music File and/or Video Release Information
* any social networking or Internet activities
* announcements about anything you (the artist) or your label are doing
What The Print and Broadcast Media Need:
* News or announcements related to their target audience
* Deadlines met for calendars and event listings
* Event or information in proximity to their coverage area
Layout and Essential Information:
* Double space all content
* The phrase "For Immediate Release" centered near top 1/3 or page
* Date press release is sent out
* Contact information: Person media can call for more information with phone
number and fax number
* Printed on company or artist/band stationary with full address info
(or if it is digital and for an Electronic Press Kit -EPK- ready to upload)
* 1 to 1 1/2 pages long (unless for major event or project)
* End with the marks ### centered at end of the body
The Press Release Structure:
The Slug Line (Headline)
* Short, but attention-getting headline phrase
* A hint of the purpose or topic to be presented
The Lead Paragraph
* Should include the 5 W's and the H (if needed):
Who, What, Where, When, Why, and How
* Summation of the basic topic/information
* Begin with the most important part of the information
* Who is in the beginning sentence, followed by Where and When
* Why, What, and How follow in the next few sentences
* No unnecessary details should be included in the lead paragraph
The Body
* Elaboration on the theme or purpose of the press release
* One thought, one paragraph.
Cohesive, single ideas in each paragraph
* Write information in descending order of importance
* Keep information factual. Opinions only in quotes with proper credit
* Use simple sentences (Subject - Object -Verb) and avoid too much hype
* Ending option: Recap essential information from first paragraph
* Proofread several times for spelling, and/or grammatical errors
It will take you some practice to get all this down, but once you do-create a 'template' for future Press Releases!
What is strange to me is that with all the website work one has to update, and blogs to keep up on and text messaging and emails etc. etc. one thing remains true.
The elements of what must be turned into digital items have their roots in the 'analog' world, especially when it comes to writing up a press release.
Today the traditional press kit still has its place. So, knowing how to write (and/or post) a professional press release can help you get the word out about what's going on with your music career.
Here is a guideline for writing a professional Press Release.
When to Write a Press Release:
* Concert/Shows and or Tour information
* Record, Publishing, Merchandising Deal Announcements
* Band Personnel Changes/Additions
* CD, Music File and/or Video Release Information
* any social networking or Internet activities
* announcements about anything you (the artist) or your label are doing
What The Print and Broadcast Media Need:
* News or announcements related to their target audience
* Deadlines met for calendars and event listings
* Event or information in proximity to their coverage area
Layout and Essential Information:
* Double space all content
* The phrase "For Immediate Release" centered near top 1/3 or page
* Date press release is sent out
* Contact information: Person media can call for more information with phone
number and fax number
* Printed on company or artist/band stationary with full address info
(or if it is digital and for an Electronic Press Kit -EPK- ready to upload)
* 1 to 1 1/2 pages long (unless for major event or project)
* End with the marks ### centered at end of the body
The Press Release Structure:
The Slug Line (Headline)
* Short, but attention-getting headline phrase
* A hint of the purpose or topic to be presented
The Lead Paragraph
* Should include the 5 W's and the H (if needed):
Who, What, Where, When, Why, and How
* Summation of the basic topic/information
* Begin with the most important part of the information
* Who is in the beginning sentence, followed by Where and When
* Why, What, and How follow in the next few sentences
* No unnecessary details should be included in the lead paragraph
The Body
* Elaboration on the theme or purpose of the press release
* One thought, one paragraph.
Cohesive, single ideas in each paragraph
* Write information in descending order of importance
* Keep information factual. Opinions only in quotes with proper credit
* Use simple sentences (Subject - Object -Verb) and avoid too much hype
* Ending option: Recap essential information from first paragraph
* Proofread several times for spelling, and/or grammatical errors
It will take you some practice to get all this down, but once you do-create a 'template' for future Press Releases!
Monday, April 19, 2010
Getting Gigs and Marketing Your Music
Live performance is arguably the most important part of an artist or band's career.
Playing live in front of your audience/fans can be a very exciting experience too.
So, it is not uncommon for performers to forget that for any venue they perform at the owners/managers of the venue look at your performance in a very different way: they see it as a business venture!
For them it is a business. A business that is risky and very competitive.
So, remembering the following information on live performance issues should be a major priority for you. It should be studied carefully before you begin dealing with the club bookers, managers, promoters, and assorted other characters who make up the live performance industry.
Keep this information in mind as you prepare to play live and tour:
* Whenever approaching a booker of a live venue consider "Why do clubs book certain acts, and not others?"
In other words, are there certain things that clubs look for in the acts they book, and if so, what is the criteria to get a gig at a live venue? For starters, the bottom line for a venue owner is that they need to make a living at their profession, and the only way they can do that is to book acts that fill the club. So any artist wishing to get booked should do an inventory of their talents and accomplishments and make a list of impressive data to present to the bookers.
* Your Promotional Kit is the tool that contains the data on an act that a booker of live shows needs to see. The Promo Kit or EPK should include a cover letter, a Bio, a Photo, a selection of press clips, possibly a 'Fact Sheet', and of course a CD or music file of your music.
Don't send music files without getting permission to do so before you sent it!
* If you don't have a full CD, send 3 or 4 of your best songs on a CDR. Unlike radio promotion, live venues will accept a live recording of your music instead of a studio recording IF the live recording sounds really good. If a full CD is sent, mark 3 or 4 songs that best relate to the music that the venue presents.
* What kind of live venues are there? Many. Besides clubs, there are taverns, bars. coffee houses, festivals, fairs, concert halls, schools, churches, and even book and record stores, as well as shopping malls. Keep in mind that when dealing with venues other than traditional club type gigs, there are still many business considerations to take into account, that may affect whether or not an artist is qualified to perform at the venue.
* Artists who are just beginning to perform live have a tough time getting those first shows. A certain 'Catch 22' type situation does exist. You can't get a gig unless you have gotten other gigs, and you can't get other gigs until you get that first gig. So be it. Everyone has to start somewhere, and many artists frustrated by this situation have simply rented a space, gotten a permit, and rented a sound system...and put on their own show. (At least then, they can say they have performed live before.
* It is the job of the live venue bookers to be up on what new acts are up and coming, and causing a stir in their own community. It is also their job to listen to the demos included in the Promo Kits that come in the mail by the dozens every week.
* This brings up the issue of protocol. Yes, there is an etiquette to be followed in all areas of music marketing, and when it comes to dealing with bookers, that protocol calls for mailing the Promo Kit, waiting a week to ten days, and then calling the booker to follow-up on the kit. Believe it or not, politeness, and respect are fairly uncommon virtues in the music business. It is strongly recommended that courtesies be extended when calling a venue. Make sure not to interrupt meetings. Ask the person if now is a good time for them to talk. If they request a call back, do so at the time requested.
* Artists and bands who think they are ready for prime time may not be. It is a good idea to have at least 3 or 4 hours of prepared material that can be performed live. If an artist has only a half hour or an hour of songs, the clubs will most likely not be interested in booking your act. Different clubs have different needs, and some offer special nights of the week for open mikes, or showcases for unproved acts. Be sure to check the booking policy of every venue.
Never forget: any live venue can only afford to book acts that draw crowds!
* Live venues make most of their money from sales of alcoholic beverages and food. They like artists and bands that get people up and cheering or dancing...getting thirsty or hungry and buying more drinks and/or food.
* As long as you are out on the scene, getting good radio airplay and press,and can report decent sales of you music plus getting listed in concert calendars, and print media calendars, the more resistant venues may become more friendly toward you. If you are out there playing gigs and expanding your touring base, bookers should eventually take notice of you. That is part of their job.
* Once a venue books an band or artist, they add them to their schedule and include them in their press releases, calendars, posters and flyers. This does not mean that an artist should leave the promotion of the concert to the venues. On the contrary, acts should notify their fans consistently about all their marketing efforts, and print up their own posters and flyers, and promote their shows in any creative way they can think of, especially utilizing all the tools that the Internet has available these days.
Performance Contracts
* The music business is very fond of contracts. The record, publishing, merchandising, and management sides of the industry are contract crazy. In the performance arena, there are indeed contracts, but in the beginning they are more of the handshake or verbal variety, then signed contracts. When an act gets more established, they can rest assured that the written contract will be around. This does not mean that a beginning act should not try to get something in writing.
* The verbal contract between a club and an artist may simply be an agreement that the artist will perform on a certain date, at a certain time, for an agreed upon length of time, with what specific other act, and how much will be paid. Many venues require some kind of written confirmation of a verbal agreement made over the phone. This is to the advantage of the artist anyway, so it is strongly recommended that you invite this kind of thing to happen.
* As your act gets more established, you will probably stop booking your own shows, and a manager, and/or booking agent will take over the task. At this time the artist's attorney may write up a Performance Contract with the following points to be negotiated:
1. The name of the venue hiring the act
2. The name of the artist
3. The date, place, and time of the performance
4. The price of the tickets
5. The fee paid to the artist
6. How the artist is to be paid (fee system)
7. The length of the performance
8. The type of billing the artist gets for the show on the marquee
9. The order of appearance (if other artists are on the bill)
10. Food and other refreshment considerations
* Without a doubt the single most contested area on the above list is how the artist will be paid. The act may receive a flat fee, a straight percentage of the door or ticket sales, or a flat fee plus a percentage, where the artist receives a guaranteed fee plus a percentage of the door after the venue (or promoter) reaches a break even point. Remember...the venue is concerned with making and not losing money, so the break even point for a show is based on the costs of putting on the performance, which includes promotion costs and any 'guarantees' that may have been made to the artist for their performance.
* A good habit for young acts to get into is to have a member of the band's team count the ticket stubs collected at the door. This is a fairly common task, that assures the artist of getting a correct count of the number of patrons who came to the show. More established artists who are dealing with Booking Agents, can demand as much as 50% of their performance fee up front, before they perform. Even more established acts can demand their whole fee before they perform.
* One of the most important financial advantages to playing live is the opportunity for an artist to sell their CD's and other merchandise at all their shows. Most clubs and venues, outside of big festivals and fairs, allow acts to sell their wares in the lobby, or from the stage. Only a few venues take a percentage of the sales. Whatever the case, it cannot be stressed strongly enough how essential it is for an artist to take advantage of this lucrative sales opportunity.
One last thought..don't forget to bring a mailing list sign-up sheet to all gigs.
Playing live in front of your audience/fans can be a very exciting experience too.
So, it is not uncommon for performers to forget that for any venue they perform at the owners/managers of the venue look at your performance in a very different way: they see it as a business venture!
For them it is a business. A business that is risky and very competitive.
So, remembering the following information on live performance issues should be a major priority for you. It should be studied carefully before you begin dealing with the club bookers, managers, promoters, and assorted other characters who make up the live performance industry.
Keep this information in mind as you prepare to play live and tour:
* Whenever approaching a booker of a live venue consider "Why do clubs book certain acts, and not others?"
In other words, are there certain things that clubs look for in the acts they book, and if so, what is the criteria to get a gig at a live venue? For starters, the bottom line for a venue owner is that they need to make a living at their profession, and the only way they can do that is to book acts that fill the club. So any artist wishing to get booked should do an inventory of their talents and accomplishments and make a list of impressive data to present to the bookers.
* Your Promotional Kit is the tool that contains the data on an act that a booker of live shows needs to see. The Promo Kit or EPK should include a cover letter, a Bio, a Photo, a selection of press clips, possibly a 'Fact Sheet', and of course a CD or music file of your music.
Don't send music files without getting permission to do so before you sent it!
* If you don't have a full CD, send 3 or 4 of your best songs on a CDR. Unlike radio promotion, live venues will accept a live recording of your music instead of a studio recording IF the live recording sounds really good. If a full CD is sent, mark 3 or 4 songs that best relate to the music that the venue presents.
* What kind of live venues are there? Many. Besides clubs, there are taverns, bars. coffee houses, festivals, fairs, concert halls, schools, churches, and even book and record stores, as well as shopping malls. Keep in mind that when dealing with venues other than traditional club type gigs, there are still many business considerations to take into account, that may affect whether or not an artist is qualified to perform at the venue.
* Artists who are just beginning to perform live have a tough time getting those first shows. A certain 'Catch 22' type situation does exist. You can't get a gig unless you have gotten other gigs, and you can't get other gigs until you get that first gig. So be it. Everyone has to start somewhere, and many artists frustrated by this situation have simply rented a space, gotten a permit, and rented a sound system...and put on their own show. (At least then, they can say they have performed live before.
* It is the job of the live venue bookers to be up on what new acts are up and coming, and causing a stir in their own community. It is also their job to listen to the demos included in the Promo Kits that come in the mail by the dozens every week.
* This brings up the issue of protocol. Yes, there is an etiquette to be followed in all areas of music marketing, and when it comes to dealing with bookers, that protocol calls for mailing the Promo Kit, waiting a week to ten days, and then calling the booker to follow-up on the kit. Believe it or not, politeness, and respect are fairly uncommon virtues in the music business. It is strongly recommended that courtesies be extended when calling a venue. Make sure not to interrupt meetings. Ask the person if now is a good time for them to talk. If they request a call back, do so at the time requested.
* Artists and bands who think they are ready for prime time may not be. It is a good idea to have at least 3 or 4 hours of prepared material that can be performed live. If an artist has only a half hour or an hour of songs, the clubs will most likely not be interested in booking your act. Different clubs have different needs, and some offer special nights of the week for open mikes, or showcases for unproved acts. Be sure to check the booking policy of every venue.
Never forget: any live venue can only afford to book acts that draw crowds!
* Live venues make most of their money from sales of alcoholic beverages and food. They like artists and bands that get people up and cheering or dancing...getting thirsty or hungry and buying more drinks and/or food.
* As long as you are out on the scene, getting good radio airplay and press,and can report decent sales of you music plus getting listed in concert calendars, and print media calendars, the more resistant venues may become more friendly toward you. If you are out there playing gigs and expanding your touring base, bookers should eventually take notice of you. That is part of their job.
* Once a venue books an band or artist, they add them to their schedule and include them in their press releases, calendars, posters and flyers. This does not mean that an artist should leave the promotion of the concert to the venues. On the contrary, acts should notify their fans consistently about all their marketing efforts, and print up their own posters and flyers, and promote their shows in any creative way they can think of, especially utilizing all the tools that the Internet has available these days.
Performance Contracts
* The music business is very fond of contracts. The record, publishing, merchandising, and management sides of the industry are contract crazy. In the performance arena, there are indeed contracts, but in the beginning they are more of the handshake or verbal variety, then signed contracts. When an act gets more established, they can rest assured that the written contract will be around. This does not mean that a beginning act should not try to get something in writing.
* The verbal contract between a club and an artist may simply be an agreement that the artist will perform on a certain date, at a certain time, for an agreed upon length of time, with what specific other act, and how much will be paid. Many venues require some kind of written confirmation of a verbal agreement made over the phone. This is to the advantage of the artist anyway, so it is strongly recommended that you invite this kind of thing to happen.
* As your act gets more established, you will probably stop booking your own shows, and a manager, and/or booking agent will take over the task. At this time the artist's attorney may write up a Performance Contract with the following points to be negotiated:
1. The name of the venue hiring the act
2. The name of the artist
3. The date, place, and time of the performance
4. The price of the tickets
5. The fee paid to the artist
6. How the artist is to be paid (fee system)
7. The length of the performance
8. The type of billing the artist gets for the show on the marquee
9. The order of appearance (if other artists are on the bill)
10. Food and other refreshment considerations
* Without a doubt the single most contested area on the above list is how the artist will be paid. The act may receive a flat fee, a straight percentage of the door or ticket sales, or a flat fee plus a percentage, where the artist receives a guaranteed fee plus a percentage of the door after the venue (or promoter) reaches a break even point. Remember...the venue is concerned with making and not losing money, so the break even point for a show is based on the costs of putting on the performance, which includes promotion costs and any 'guarantees' that may have been made to the artist for their performance.
* A good habit for young acts to get into is to have a member of the band's team count the ticket stubs collected at the door. This is a fairly common task, that assures the artist of getting a correct count of the number of patrons who came to the show. More established artists who are dealing with Booking Agents, can demand as much as 50% of their performance fee up front, before they perform. Even more established acts can demand their whole fee before they perform.
* One of the most important financial advantages to playing live is the opportunity for an artist to sell their CD's and other merchandise at all their shows. Most clubs and venues, outside of big festivals and fairs, allow acts to sell their wares in the lobby, or from the stage. Only a few venues take a percentage of the sales. Whatever the case, it cannot be stressed strongly enough how essential it is for an artist to take advantage of this lucrative sales opportunity.
One last thought..don't forget to bring a mailing list sign-up sheet to all gigs.
Saturday, April 17, 2010
Planning and Implementing Your Radio Promotion Campaign
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.
1) The money to fund the campaign
2) The time to spend working all the stations you submit your music to
3) A recording that meets the standards of radio broadcast/streaming quality
Forget About Commercial Radio 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 local music shows, mix shows and specialty shows on commercial stations that may offer limited airplay for you. These shows air in low-listening off hours, such as late at night on weekends or early morning programs on weekends. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format.
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. Also, in some smaller market cities and towns across the country there MAY be some stations these indie radio promoters can get you some airplay.
Please note this important rule about securing ANY airplay: If you have NOT setup a way to have your music available in stores (through traditional distributors or online stores, FORGET about trying to get any airplay. The reason is IF a station of any kind plays your recording and people like your music...the fans/customers will not have a way to BUY your record...so why bother to try and secure airplay?)
A more realistic approach for radio 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, today we have tens-of-thousands of Internet radio stations that you may have more luck securing airplay on, especially if you are a new act. The problem is that finding shows on these Internet stations will be a full-time, and ongoing job for you. In addition to these Internet stations there is Satellite radio (XM/Serius) and they do play new music by alternative acts. So check them out first for their rules and policies for submitting your music.
Below you will find an outline based on how Major and the better Independent record labels plan for their radio promotions.
You need to prepare:
* A database of commercial and non-commercial and Internet stations that
realistically may play your music.
* The timeline you'll use to put the promotional material together
(basically setting your deadlines).
Be sure to remember that your plan may be distributed to any other assistants or employees, 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 your
music 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, hardware/software, office supplies,cell and/or land-line
phones etc.).
Address the following specific topics in your plan:
* Background/Goals: Give a brief history of the artist, and describe the goals
of your plan.
* Image: Describe and maintain the artist's image consistently in all promo
materials.
* What radio format(s) will be targeted? What markets? Which songs? Any station
promotions? (On-air concerts?) Hiring any Independent promoters?
* Describe your plans to create a “buzz” in the print media. Any press releases
(EPKs) to the music industry trades or music press?
Update your website,Blogs,MySpace and Facebook pages,bios, fact sheets, and
other press materials.
* Describe traditional and Internet distribution and music retail plans. Any
in-store play/ promotions? What other specific sales opportunities? Mail
order, live shows. Any store promotional tie-ins with radio stations?
* Video: Is a video cost effective? What airplay opportunities are there for the
video? Consider using sites like YouTube especially.
* Touring: Describe the time frame for touring, and other promotional events to
coordinate while on the road. Consider specific clubs, halls, fairs,
festivals, music showcases at music conferences like SXSW etc.
* Any club/venue promotional tie-ins with radio stations
* Advertising: Design ads to be placed in the music trades/consumer music press,
and other media? What funds are available for purchasing ads? Describe the
costs/benefits?
* Misc.: Record release party? Novelty item? Any other clever ideas? Explain
clearly and and all unique promotional ideas you can think of.
2. Design a 12 week plan for the product and promotional tools.
* Lay out what needs to be accomplished each week to get the CD/Music File out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing,
booklets, layout/design, converting of master recordings to digital files.
* Include in the time-line when to start working on the promotional tools that
you will need for your plan (photos, press releases, novelty items, display
material, ads).
* Design the time-line with deadlines for each element of your project.
* Remember too: We are in a digital age now, but that doesn't mean you no longer
need any older traditional promotion tools. YOU NEED BOTH!
As you can see, a radio promotion campaign is something that is done as part of a wider marketing plan. Always have distribution and sales plans, as well as publicity, advertising and touring and any and all Internet plans coordinated carefully with your airplay campaign.
I will say this again: 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 last word: The reason for coordinating all the "Four Fronts" in a RADIO promotion campaign is this. Nobody is alone in the music marketing world. When you talk to radio decision makers, they want to know WHY they should play your music. After you have given them solid 'business' facts about why they should air your songs, THEN you move on and tell them what OTHER marketing plans you have up your sleeve. That is where the other topics come in to play. Radio wants to know what your plans are to sell your release. What your Publicity plans are and what your touring plans are.
ALL THESE ISSUES ARE CRUCIAL TO CREATING A PROFESSIONAL IMPRESSION TO THE BROADCASTERS.
-----
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.
1) The money to fund the campaign
2) The time to spend working all the stations you submit your music to
3) A recording that meets the standards of radio broadcast/streaming quality
Forget About Commercial Radio 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 local music shows, mix shows and specialty shows on commercial stations that may offer limited airplay for you. These shows air in low-listening off hours, such as late at night on weekends or early morning programs on weekends. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format.
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. Also, in some smaller market cities and towns across the country there MAY be some stations these indie radio promoters can get you some airplay.
Please note this important rule about securing ANY airplay: If you have NOT setup a way to have your music available in stores (through traditional distributors or online stores, FORGET about trying to get any airplay. The reason is IF a station of any kind plays your recording and people like your music...the fans/customers will not have a way to BUY your record...so why bother to try and secure airplay?)
A more realistic approach for radio 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, today we have tens-of-thousands of Internet radio stations that you may have more luck securing airplay on, especially if you are a new act. The problem is that finding shows on these Internet stations will be a full-time, and ongoing job for you. In addition to these Internet stations there is Satellite radio (XM/Serius) and they do play new music by alternative acts. So check them out first for their rules and policies for submitting your music.
Below you will find an outline based on how Major and the better Independent record labels plan for their radio promotions.
You need to prepare:
* A database of commercial and non-commercial and Internet stations that
realistically may play your music.
* The timeline you'll use to put the promotional material together
(basically setting your deadlines).
Be sure to remember that your plan may be distributed to any other assistants or employees, 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 your
music 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, hardware/software, office supplies,cell and/or land-line
phones etc.).
Address the following specific topics in your plan:
* Background/Goals: Give a brief history of the artist, and describe the goals
of your plan.
* Image: Describe and maintain the artist's image consistently in all promo
materials.
* What radio format(s) will be targeted? What markets? Which songs? Any station
promotions? (On-air concerts?) Hiring any Independent promoters?
* Describe your plans to create a “buzz” in the print media. Any press releases
(EPKs) to the music industry trades or music press?
Update your website,Blogs,MySpace and Facebook pages,bios, fact sheets, and
other press materials.
* Describe traditional and Internet distribution and music retail plans. Any
in-store play/ promotions? What other specific sales opportunities? Mail
order, live shows. Any store promotional tie-ins with radio stations?
* Video: Is a video cost effective? What airplay opportunities are there for the
video? Consider using sites like YouTube especially.
* Touring: Describe the time frame for touring, and other promotional events to
coordinate while on the road. Consider specific clubs, halls, fairs,
festivals, music showcases at music conferences like SXSW etc.
* Any club/venue promotional tie-ins with radio stations
* Advertising: Design ads to be placed in the music trades/consumer music press,
and other media? What funds are available for purchasing ads? Describe the
costs/benefits?
* Misc.: Record release party? Novelty item? Any other clever ideas? Explain
clearly and and all unique promotional ideas you can think of.
2. Design a 12 week plan for the product and promotional tools.
* Lay out what needs to be accomplished each week to get the CD/Music File out.
* Consider the: artwork, mastering, credits, sequencing, printing, pressing,
booklets, layout/design, converting of master recordings to digital files.
* Include in the time-line when to start working on the promotional tools that
you will need for your plan (photos, press releases, novelty items, display
material, ads).
* Design the time-line with deadlines for each element of your project.
* Remember too: We are in a digital age now, but that doesn't mean you no longer
need any older traditional promotion tools. YOU NEED BOTH!
As you can see, a radio promotion campaign is something that is done as part of a wider marketing plan. Always have distribution and sales plans, as well as publicity, advertising and touring and any and all Internet plans coordinated carefully with your airplay campaign.
I will say this again: 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 last word: The reason for coordinating all the "Four Fronts" in a RADIO promotion campaign is this. Nobody is alone in the music marketing world. When you talk to radio decision makers, they want to know WHY they should play your music. After you have given them solid 'business' facts about why they should air your songs, THEN you move on and tell them what OTHER marketing plans you have up your sleeve. That is where the other topics come in to play. Radio wants to know what your plans are to sell your release. What your Publicity plans are and what your touring plans are.
ALL THESE ISSUES ARE CRUCIAL TO CREATING A PROFESSIONAL IMPRESSION TO THE BROADCASTERS.
-----
Thursday, April 15, 2010
10 Reasons Why Most Demos are Rejected
"Getting a deal" has long been the goal of many would-be artists and bands. For mostly naive reasons most new artists and bands feel that by securing a recording contract with a significant major or independent label, success will be guaranteed. (talk about naivete).
Even in this new era of "do-it-yourself" career building, many musicians figure all they have to do is send off their demo to a label, and a recording contract will come their way.
The following list of '10 Reasons Why Most Demos Are Rejected' was gathered together after years of listening to comments made by Record Label A&R reps at music industry conferences and workshops; as well as from personal interviews with reps, and from many interviews A&R reps have given to the press. In addition, I can verify that these observations are true from having personally listened to thousands of demos over the years.
Since there is little I can do to stop anyone from 'demo shopping', (which I truly believe is a waste of time these days) the least I can do is try to improve the odds that your music will get listened to if you do send out your demos. This list will look at the most common mistakes musicians make when either shopping for a record deal, or trying to get the attention of A&R Reps with their demo recordings.
10 Reasons Demos are Rejected:
1. No Contact Information on CD,CDR and/or CDR container
(put your name, address, phone number, email, website URL, MySpace/Facebook address, on all submissions)
2. Lack of Originality
(just because you can record, doesn't mean your music is worth recording)
3. The Music Is Good, But The Artist Doesn't Play Live
(this applies to all genres of music except electronic and experimental music)
4. Poorly Recorded Material
(so you bought ProTools....so what...most submitted recordings sound horrible)
5. Best songs are not identified or highlighted on the CD or the CDR
(send only 3 or 4 songs and highlight the best ones)
6. Sending Videos In Place Of CDs or CDRs
(keep it simple. In the demo world all anyone wants is to check out your songwriting and musicianship. If you want to send a link to a video you have put-up on YouTube, that would be a better idea then sending a video disc or tape.)
7. Sending Unsolicited Recordings
(you sent them, but they never asked for them...which means they will probably mail them back to you.)
8. Sending The Wrong Music To The Wrong Label
(you didn't do your research to find out what labels put out what kind of music, did you?)
9. Musicians Can't Play Their Instruments Competently
(this is so basic, but you would be astounded at how incompetent most start-up musicians are)
10. The Music Sucks
(this criticism is as old as music itself. You may think your music is the greatest thing since frappacinos, but most demo recordings the industry receives are as bad as the first round contestants on American Idol)
Even in this new era of "do-it-yourself" career building, many musicians figure all they have to do is send off their demo to a label, and a recording contract will come their way.
The following list of '10 Reasons Why Most Demos Are Rejected' was gathered together after years of listening to comments made by Record Label A&R reps at music industry conferences and workshops; as well as from personal interviews with reps, and from many interviews A&R reps have given to the press. In addition, I can verify that these observations are true from having personally listened to thousands of demos over the years.
Since there is little I can do to stop anyone from 'demo shopping', (which I truly believe is a waste of time these days) the least I can do is try to improve the odds that your music will get listened to if you do send out your demos. This list will look at the most common mistakes musicians make when either shopping for a record deal, or trying to get the attention of A&R Reps with their demo recordings.
10 Reasons Demos are Rejected:
1. No Contact Information on CD,CDR and/or CDR container
(put your name, address, phone number, email, website URL, MySpace/Facebook address, on all submissions)
2. Lack of Originality
(just because you can record, doesn't mean your music is worth recording)
3. The Music Is Good, But The Artist Doesn't Play Live
(this applies to all genres of music except electronic and experimental music)
4. Poorly Recorded Material
(so you bought ProTools....so what...most submitted recordings sound horrible)
5. Best songs are not identified or highlighted on the CD or the CDR
(send only 3 or 4 songs and highlight the best ones)
6. Sending Videos In Place Of CDs or CDRs
(keep it simple. In the demo world all anyone wants is to check out your songwriting and musicianship. If you want to send a link to a video you have put-up on YouTube, that would be a better idea then sending a video disc or tape.)
7. Sending Unsolicited Recordings
(you sent them, but they never asked for them...which means they will probably mail them back to you.)
8. Sending The Wrong Music To The Wrong Label
(you didn't do your research to find out what labels put out what kind of music, did you?)
9. Musicians Can't Play Their Instruments Competently
(this is so basic, but you would be astounded at how incompetent most start-up musicians are)
10. The Music Sucks
(this criticism is as old as music itself. You may think your music is the greatest thing since frappacinos, but most demo recordings the industry receives are as bad as the first round contestants on American Idol)
Tuesday, April 13, 2010
10 Essential Tips for Making a Living with Your Music
Everybody loves Top 10 Lists, from David Letterman's countdowns, to the Huffington Post's top 10 this and that. It’s a fun way to maintain the illusion that in a complex world, things can be simpified, or dumbed-down.
So...Let's play along. Why not a Top Ten List on the subject of Making A Living From Your Music?
The following list highlights 10 habits you should develop if you want to make a consistent living from your music. I can honestly say that these habits are the habits of successful musicians I have known and admired:
1. Find ways to get ordinary people who love music, to love your music.
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.
Try your music out on music fans like you solicit opinions from A&R Rep. These talent scouts in the music industry are always following tips they hear from their street connections. But remember, your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the independently produced CDs out there contain regurgitated ideas that were ripped off from some other more gifted musicians.
So prove to the industry that ordinary music fans in your city love your music.
You can do this by giving away samples of your music by putting some of your songs
on the many internet websites that allow people to download or sample new music. If people love something they let other people know about it. So, you can find out quickly if your music has what it takes to please the public by giving away your music, for awhile, until there is a real demand for your music. Then continue to give away your music, but in a more controlled or limited way.(Perhaps giveaway a song or two for a limited time on you website, or through MySpace and/or Facebook. You will sense when the time has come to control this habit and charge a reasonable fee for access to your music.
2. Play live often and don’t worry (at first) 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. 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, 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. 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.
3. Know your instrument inside-out.
One of the curious developments of the late 1970’s was the huge increase in garage bands, punk bands, rappers, and ‘do-it-your-self-ers’, 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, worshiped 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. 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 lessons, or better yet, sit yourself down at your CD player and choose a favorite musicians 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 fall into some new territory, wherein you will find yourself, 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, and from every new act they go see at a live venue. You see...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 kinda like a partnership ...something about ‘Art and Commerce’...they can work together you know?!
4. Protect your investment...register your songs for proper copyright protection. I never cease to be amazed how few artists are willing to spend $40 to register their songs with the Copyright office. 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. From the Internet to the library, there's an easy way to learn what it takes to file for copyright protection. Do it now! Go to www.copyright.gov
5. Design and write your promotional materials so they stand out.
The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets, website and blog pages etc. is a lengthy one to say the least. As far as some tips that can 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 the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearance highlights; and organize them into professional written documents that you have saved for you website, MySpace and/or Facebook accounts. 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 created. let alone sent to any gatekeepers in the music business.
6. Know the labels and music publishers you hope to be signed to.
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 executives background and experience? The same is true when you are approached by any reliable music industry company. Some musicians get so excited when a certain label approaches them with a recording contract offer, or a publishing company offers to sign them. Being approached for a deal is a compliment and recognition by a label or publisher that a musician’s music is attractive to them. But, to rush ahead without taking the time to learn a few things about them is foolish indeed.
Ask...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. 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 involved. 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 musicians attorney and the music company’s attorney meet, talk over the phone, and fax/email or snail mail 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. Choose a well-connected and respected personal manager.
Great artist managers are becoming a thing of the past. 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.
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 monenies 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.
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 managers 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 know who, and who can get to know who, and who did what successfully for who... is what this management game is all about. Choose carefully those people who will be representing you in any business dealings.
9. Don’t take advice from anyone unless you know that they know what they are talking about.
At the beginning of this article I stated that these 10 tips were just my comments from years of dealing with the business itself and many musicians. 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 sought out 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. Musician...Educate Thyself! If you want a record deal, learn what a record deal is, and learn something about the business of music.
Naive or 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 musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)
Today 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. Consultants, Attorneys, and Business Organizations are all around 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.
I cannot stress how important I feel this issue is. I am here to tell you, one and all, that you have been told many things about music that you did believe. “Spend money on quality instruments and equipment”... you have done that. “Spend time and money on practicing and rehearsing”, you have done that, for the most part.“Spend time and money finding the best recording studio, producer and engineer you can”...you have done that. “Spend time and money learning all you can about the business of music”...well, no one told you to do that did they?!
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 hours now, can protect your future forever!
So...Let's play along. Why not a Top Ten List on the subject of Making A Living From Your Music?
The following list highlights 10 habits you should develop if you want to make a consistent living from your music. I can honestly say that these habits are the habits of successful musicians I have known and admired:
1. Find ways to get ordinary people who love music, to love your music.
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.
Try your music out on music fans like you solicit opinions from A&R Rep. These talent scouts in the music industry are always following tips they hear from their street connections. But remember, your music must truly stand out in some significant, original, dynamic, and creative way.
95% of the independently produced CDs out there contain regurgitated ideas that were ripped off from some other more gifted musicians.
So prove to the industry that ordinary music fans in your city love your music.
You can do this by giving away samples of your music by putting some of your songs
on the many internet websites that allow people to download or sample new music. If people love something they let other people know about it. So, you can find out quickly if your music has what it takes to please the public by giving away your music, for awhile, until there is a real demand for your music. Then continue to give away your music, but in a more controlled or limited way.(Perhaps giveaway a song or two for a limited time on you website, or through MySpace and/or Facebook. You will sense when the time has come to control this habit and charge a reasonable fee for access to your music.
2. Play live often and don’t worry (at first) 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. 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, 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. 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.
3. Know your instrument inside-out.
One of the curious developments of the late 1970’s was the huge increase in garage bands, punk bands, rappers, and ‘do-it-your-self-ers’, 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, worshiped 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. 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 lessons, or better yet, sit yourself down at your CD player and choose a favorite musicians 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 fall into some new territory, wherein you will find yourself, 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, and from every new act they go see at a live venue. You see...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 kinda like a partnership ...something about ‘Art and Commerce’...they can work together you know?!
4. Protect your investment...register your songs for proper copyright protection. I never cease to be amazed how few artists are willing to spend $40 to register their songs with the Copyright office. 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. From the Internet to the library, there's an easy way to learn what it takes to file for copyright protection. Do it now! Go to www.copyright.gov
5. Design and write your promotional materials so they stand out.
The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets, website and blog pages etc. is a lengthy one to say the least. As far as some tips that can 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 the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearance highlights; and organize them into professional written documents that you have saved for you website, MySpace and/or Facebook accounts. 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 created. let alone sent to any gatekeepers in the music business.
6. Know the labels and music publishers you hope to be signed to.
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 executives background and experience? The same is true when you are approached by any reliable music industry company. Some musicians get so excited when a certain label approaches them with a recording contract offer, or a publishing company offers to sign them. Being approached for a deal is a compliment and recognition by a label or publisher that a musician’s music is attractive to them. But, to rush ahead without taking the time to learn a few things about them is foolish indeed.
Ask...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. 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 involved. 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 musicians attorney and the music company’s attorney meet, talk over the phone, and fax/email or snail mail 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. Choose a well-connected and respected personal manager.
Great artist managers are becoming a thing of the past. 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.
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 monenies 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.
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 managers 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 know who, and who can get to know who, and who did what successfully for who... is what this management game is all about. Choose carefully those people who will be representing you in any business dealings.
9. Don’t take advice from anyone unless you know that they know what they are talking about.
At the beginning of this article I stated that these 10 tips were just my comments from years of dealing with the business itself and many musicians. 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 sought out 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. Musician...Educate Thyself! If you want a record deal, learn what a record deal is, and learn something about the business of music.
Naive or 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 musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)
Today 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. Consultants, Attorneys, and Business Organizations are all around 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.
I cannot stress how important I feel this issue is. I am here to tell you, one and all, that you have been told many things about music that you did believe. “Spend money on quality instruments and equipment”... you have done that. “Spend time and money on practicing and rehearsing”, you have done that, for the most part.“Spend time and money finding the best recording studio, producer and engineer you can”...you have done that. “Spend time and money learning all you can about the business of music”...well, no one told you to do that did they?!
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 hours now, can protect your future forever!
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