A must have for any musician, writer or lyricist. 100% FREE!

I personally recommend this must have tool for any musician, writer or lyricist. 100% FREE!

Click Image to Learn More

“This is a ‘must have’ for any musician, writer or lyricist! No doubt, there will be statesmen and government copywriters using this program for speech writing (if they aren’t already!). This software is a ‘no-brainer’ for inclusion into school programs and as an adjunct tool within the curriculum’s; it is simple enough to be used at the grade school and high school levels and provides such advanced features that university students will benefit greatly by using it as well! This very well may be the ‘killer app.’ of the lyrical world and it’s FREE!”

» More Information «

~Professor Joseph Pisano Director of Music and Fine Arts Technology Assistant Chairman of Music and Fine Arts Grove City College, Grove City, PA

You’re slaving away at your day job, playing your music at night and on the weekends, and it seems you’ll never have enough time to write, record and tour when 40 hours of your week are cashed in for that steady paycheck. You can’t help but think, “If only I could quit my job to work on my music full time, I’d be able to make it.”

Last year, I had a chance to do just that, and I learned a few things during my exciting, though sometimes heartbreaking year of freedom. Although it certainly feels great to throw caution to the wind and dive head first into pursuing your dream, my biggest barrier to success remained the same. I simply did not use my time and resources wisely.

Without a day job, I felt like I had all the time in the world, and filled a lot of it with trips to the gym, reorganizing my apartment and lunches with friends. “I don’t have the time” is a great excuse, but it stems from our human fear of failure, as well as our fear of success. The truth is that most people are comfortable living their lives and dreaming their dreams, to the point where their dream becomes their reason to live. If they were to achieve their dream, what would they live for? Or worse, what if they tried and failed?

For a performing artist, touring is the number one thing you figure you don’t have time to do with a day job. In my entire year off, I only did a handful out of town gigs because I had to be cautious with money and I felt that my time was better spent going to music conferences like South By Southwest and the TAXI Road Rally. Conferences are fantastic because they give you a chance to play in new cities while networking with industry and other artists. However, most of these conferences are scheduled for weekends, so it would make more sense to get a Friday off from work, pack up a few demos, and report back Monday morning with a stack of new contacts to keep in touch with. Sure, it’s a tough schedule, but those steady paychecks sure come in handy when you need to book airfare and order more copies of your CD for the next conference.

I always thought that if I had more time I would sit down every single day and write hit song after hit song. Once I had the time, I was so wrapped up in the logistics of how to make a living with the music I had, not to mention the pressure of the ticking clock of my dwindling savings, I never got around to writing new music. When you’re working and your bills are getting paid, all day you yearn to be creative, so when you feel that spark of inspiration, you hold onto it with every fiber. I also found that by removing myself from the daily experiences and emotions of a “normal” life, I had very little to write about that an audience could relate to. I began to miss the structure and security of my cubicle.

At the end of my year off I hadn’t achieved the success I hoped for, couldn’t write a song to save my life, and I was burnt out and exhausted from trying. I honestly felt that if I couldn’t make it in that whole year on my own, maybe I wasn’t cut out for the life of a full-time musician. Devastated, I took a day job and three months away from writing, playing or generally being around my music (ironic, don’t ya think?). I needed to gather my thoughts, rediscover my creativity, and remember why I took that monumental risk and gave my dream a full-time shot in the first place.

Succeeding in my new job gave me back a basic sense of accomplishment every day, and I learned to make the most of my nights and weekends. I started coming up with lyrics at my desk and I’m recording an EP of new songs with my steady paycheck. As a songwriter, I generally steer away from clichés, but it turns out there are no truer words then “Be careful what you wish for, you just might get it,” and more importantly, “Don’t quit your day job.”

Mara is a singer/songwriter/TAXI member living in Los Angeles and keeping busy with Music Connection Magazine and www.marasong.com. She also writes bios and press releases for artists at www.flyingcoasterpr.com.

Need to get your Music Career going? TAXI: helps Unsigned Bands, Artists and Songwriters get Record Deals, Publishing Deals, and Film & TV Music Placement.

Without a doubt, the most frequently asked question to the A&R community is—how can I get noticed by the people making the decisions?.

I believe your efforts start on a local level with knowing the correct protocol and tactics for maximizing your profile. The age old saying of “Build It And They Will Come” is really the best motto to live by when you are trying to get noticed.

Following are some very helpful hints and suggestions that should be implemented in your plan of attack for building a following and getting noticed.

#1. The Golden Rule: Never ever send your package to a label that doesn’t accept unsolicited material. This applies mostly to major labels and managers.

#2. Your Press Pack: This is your connection to the music community which will be buying your independent piece of product, booking your band, writing or reviewing your material or perhaps just forwarding it to a friend. It should include the following: Your product (CD, cassette, video), properly labeled with all the necessary information—band name, song titles, contact person (crucial). And make it legible.

#3. Your Photo: This is a big one. Make sure you have an up to date picture of you or your band (the spandex and chains from 1986 won’t do any good in today’s market place). The community wants to know what you look like now! This is show biz and image is everything. It doesn’t have to be anything elaborate, just current. This quite possibly may end up in a local trade paper or magazine or it may be used to promote your image at a local club or on the internet. So please make sure you present yourself in the best light.

#4. Live Shows: Make sure your live show is intact. If you’re not ready to perform live, DON’T!. The millions of people who haven’t seen you yet won’t mind waiting just a little longer for you to get it together. In many cases you only get one shot with people so make it count.

#5. Fanbase: Growing your fan base and keeping them informed of your developments is paramount. This is sometimes the most prominent element that labels and managers look for. How many people are you drawing to your shows? How many people are on your mailing list? How many units have you sold independently? How many T-shirts have you sold? Make sure at every show you have a place where new fans can sign up for your mailing list.

#6. Local Press: Include the local press in your plans. Find out who writes tape, CD and gig reviews and send them your stuff. Invite them to a show and get them excited. They can become great allies for publicity and hype.

#7. Local Resources: Exploit all your local resources , like music stores, high schools, colleges, festivals, holiday events. Build locally, first.

#8. Network!: Seek out those people in your neighborhood who are connected, or who know someone—possibly an attorney, manager, or even your local record store. You’d be surprised just how close you are to a direct contact in the industry.

If you are an artist seeking to grow and spread your music, these suggestions can help you. A career-minded artist never rests on his laurels and must keep reinventing himself. It’s a much better bet to start out small and grow step by step. Your foundation is the key, not the amount of your first advance.

So, to repeat what I said earlier—BUILD IT AND THEY WILL COME!

Jamie Talbot is an artist manager and independent A&R consultant. He was formerly a manager at SDM and Big F.D. Entertainment where he worked with such acts as Guns N’ Roses, Goldfinger, Danzig, The Gap Band, The young Dubliners and X. He was also an A&R scout for Roadrunner Records. In addition to being on the TAXI A&R staff he currently writes the “In The Know” column for the A&R Registry.

Want to learn about the Music Business? You’ll find lots more info about the Music Industry, including Promotion, Touring, Websites, and other Music Biz info at TAXI: The World’s Leading Independent A&R Company.

By Kenny Kerner – This Article Originally Published August 2005

Always call the venue to confirm all of the information about the gig at least one day before you’re scheduled to play. It shows you’re professional and it gives you a last-minute chance to clear up any misunderstandings before the show.

Be certain that your performance contract specifies the number of sets you are to perform and the length of those sets. You will need to rehearse accordingly. Nothing is more embarrassing than having to perform the same 10 songs three times in a row on the same night.

Here’s a helpful tip for you: Right after you arrive in the city you’re playing in, check into your hotel and call the club. Tell them you’re in town and make sure they’re expecting you at the designated time. That’s a subtle reminder for them to wake the stage manager and sound man and get them ready for work. Try getting to the club a few minutes early to hang posters and photos of your band before the doors open. Hopefully, you will have remembered to include a handful of the posters in your initial press kit mailings to the clubs.

In reality, you should plan on not getting paid at all for any of the gigs. Sometimes, out of sheer pity, a club owner will throw you $50-$100 for the night. Take it and don’t look back. It will help offset your losses. Keep in mind that if you draw some people or, if you play really well, you’ll be invited back again and then you can ask for some more money.

After the show, immediately get out into the audience and start handing out fan address cards and begin selling your merchandise. Here’s where you can really turn a profit. CDs that cost you only about $2.50 to manufacture can be sold for $10 at clubs. That’s a nifty little profit if you can move them. If you decide to go back stage to dry off and have a beer, the club will be empty when you finally get around to returning. Don’t miss this opportunity.

If you are getting paid, the group member who initially spoke with the club booker should ask for the money. Take the cash, thank him politely for the opportunity, tell him you had a great time (lie if you have to), and express an interest in coming back in a few months. Chances are he’ll forget who you are before your van pulls out of the parking lot.

Here’s another hot tip: If you have a signed contract and the club refuses to pay you, forget it. Do not start a fight or make trouble. Fifty dollars is not worth fighting for, nor is it worth losing your equipment or your health over. Just chalk it up to life in the music business and file it away under—Road Stories! Remember, in this business, it’s okay to get screwed once or twice. The trick is to always be around to tell about it!

Checklist: What to Pack
Going out on the road sounds like a lot of fun, but trust me, there’s nothing humorous when your truck blows up in the middle of the desert and all you see are vultures flying above you.

Something similar happened to the band I manage just last year. On their way to Arizona, the first stop on a two-week mini-tour, their van’s radiator blew up on the outskirts of Who Knows Where, California. Did they panic? No! They simply pulled out their trusty cell phone, checked their list of emergency telephone numbers to see where I was at that particular time, called me up, and asked for advice.

In a matter of minutes we determined that, with towing and time for repairs, the band would never make it to the gig on time. So, with hours to spare, I called the venue and cancelled, giving the club ample time to book another local band and, by acting professionally, assured us another opportunity to play there in the future.

Next, the band pulled out their trusty AAA-Plus card. (The Plus, which costs extra, allows for additional towing miles, which came in handy. Also, the band paid more AAA dues to cover their RV/van and not just their auto). And, still never leaving the van, the band called for someone to tow them to a nearby repair station. While waiting for the tow truck, they lit the red flares to alert traffic in the area.

Having burned his hand trying to check out the radiator himself, the band’s roadie reached into their first aid kit for some cream and a bandage. All of this excitement is apt to give you a splitting headache, but fortunately, the guys remembered to pack Aspirin/Tylenol/ Excedrin/Advil (pick your favorite) and, sipping on a cool, refreshing drink, they got out of their ice-filed cooler and waited patiently for help to arrive.

If you’re thinking that I made all of this up to prove my point, YOU’RE WRONG. This was a true story. It really happened. Now for the scary part: Picture the same scenario—van breaks down outside the city limits of a small, strange town. Only this time, there’s no cell phone, no AAA card, no flares, no first aid kit, no emergency phone numbers, nothing to drink, no relief for your headache or burned hand. Get the picture. I sincerely hope this never happens to you—EVER!

What follows is an abbreviated list of essential items to pack in your truck/car/van before leaving home on any tour.

Don’t Leave Home Without These

1. AAA-Plus Card (upgraded for RV or van towing)
2. Driver’s licenses and other forms of I.D.
3. Checkbook
4. Medical insurance cards (in case of accident)
5. Prescription medicines/pills taken daily
6. Flashlights/batteries
7. Cell phone (and car adapter)
8. First aid kit (fully loaded)
9. Some food/drinks
10. Flares
11. Snow chains (if applicable)
12. Emergency phone numbers
    • Manager
    • Attorney
    • Doctor
    • Family members
    • Equipment insurance company
    • All clubs on tour
    • Booking agent (if applicable)
    • Hotels booked
13. Maps
14. Credit cards (useful for security deposits or I.D.)
15. Pens/pads
16. Expense reports (for tax purposes)
17. Emergency cash (not everyone takes a check)

» Part 1

Excerpted from the book, Going Pro by Kenny Kerner, published by Hal Leonard. Available at all bookstores and at Amazon.com.

About Kenny Kerner:

Discovered and produced KISS. Also produced albums for Gladys Knight, Jose Feliciano and Badfinger. As a publicist, he represented Michael J. Fox and Jay Leno. Was the former Senior Editor at Music Connection Magazine and wrote a best-selling music education book called “Going Pro” Kerner is currently the Director of the Music Business Program at Musicians Institute in Hollywood. Specialties include Personal Management, Artist Development and Music Business

Kenny Kerner
Musicians Institute
Director / Music Business Program
(323) 860-1122
Fax: (323) 462-6508
kennyk@mi.edu

Want to learn about the Music Business? You’ll find lots more info about the Music Industry, including Promotion, Touring, Websites, and other Music Biz info at TAXI: The World’s Leading Independent A&R Company.

By Kenny Kerner – This Article Originally Published August 2005

The best way for an artist to create a buzz and sell records is to simply take his music to the people. And that, my friends, means touring.

Getting out on the road is a tradition for everyone even remotely associated with the entertainment industry. Authors go out on book tours, movie stars visit every major late-night talk show, others pop in on radio broadcasts, do print interviews to promote an opening of a play or concert, and some, those who are really hungry for success, do it all!

Touring is a very costly proposition, both financially and organizationally. It takes money to finance the travel and lots of time and planning to put it together. TAXI, in its never-ending efforts to help the performing musician, has asked me to put together some tips on how you can set up a successful tour on your own. So here we go:

Before you can even think about getting out on the road, you must first determine why it is you want to go out. What is it you wish to accomplish? Sightseeing? Partying? If that’s the case, better stay home! But if you have product to promote (a new CD, maybe), then touring is a viable solution. Putting together a tour simply for the experience, is not recommended. Only go out if you are selling/promoting something that people can buy and if that tour will advance your career.

I know this might sound crazy, but begin planning your tour at least six months before you actually want to leave. This will give you plenty of time to do your research, mail out packages, make follow-up calls, book the appropriate gigs, route your tour, save some additional money, rehearse, update your equipment insurance, get the van repaired, assemble a crew, and get your sh*t together. Man, it’s already starting to look like six months may not be enough time!

Once you’ve decided to go out on the road to promote your new independently-released CD, you’ll want to decide what areas to cover. If you’ve never been out before, I strongly suggest staying close to home, meaning go no further than a few hundred miles away. If you live in the Los Angeles area, try booking gigs from Seattle (to the north) all the way down to San Diego (in the South). This routing will enable you to reach any venue in a day’s drive and return home the next day, if necessary. Or, you can do several cities in Washington (Seattle, Tacoma), sleep over and drive to San Francisco the next day. The same theory applies regardless of where you live.

Next, you’ll want to make a list of all appropriate clubs in the areas you’ll be touring. Don’t get lazy on this one! Do your homework. There’s nothing more embarrassing or wasteful than a metal band setting up its gear on the stage of a jazz club. Get the picture?

Call the clubs and find out who is in charge of booking the talent. Mail out a neat, professional-looking package with a cover letter specifying the dates you expect to be in that area. Be sure your package includes some industry quotes, any airplay you’re receiving, and the most recent reviews. AND DON’T FORGET TO INCLUDE THAT VIDEO OR CD!

You’ll want to wait at least 5-6 business days for the packages to arrive before you begin your follow-up calls. Then, once on the phone, be polite, persuasive, and direct. Understand that the club has no reason at all to book you since there are thousands of unsigned local acts that are dying to play those venues for free. So, what can you offer the clubs that they can’t get for free? Here’s where you’ll need to do some thinking and use your imagination. Nobody said it would be easy, right?

Assuming that you’re going to be successful in booking a string of 10 club dates—and always remember to get signed performance contracts that list your pay, time of load-in, sound-check, show time, and hospitality provided by the club (usually in the form of a hot meal for band and crew and drinks)—you should route these dates in one of two ways: First, begin with the club the longest distance from your home. Drive to it and schedule other dates working you way back to your home base, with the show closest to home scheduled for last. Or, begin the opposite way by playing your way out to the farthest point and then making a straight, non-stop drive home after the final show.

Do not hesitate to call your local AAA office and request a Trip-Kit package of the areas you will be touring. This will be helpful in giving you the most direct routes and the exact mileage from city to city. Having this information will allow you to more accurately budget the tour.

When you go out on the road for a short period of time (1 1/2 – 3 weeks), too many off dates can kill you. It will drain your money (when you’re off, there’s no income from gigs or selling merchandise) and set you up for a giant loss at tour’s end. Therefore, try to book as many dates in a row as possible and only take off every fifth day, at most. But remember to use that off day for a little relaxation and a little promotion of you next gig!

Find out if anyone in the band or crew has relatives or friends in your tour area. It might just be that a friendly phone call will result in a place to stay overnight. This will save you hotel bills and food money. If you are forced to sleep in a hotel, the cheaper, the better. A bed, hot and cold running water, and a phone are all of the amenities you’ll need. And guys, get used to sleeping 5-6 in a single room. Look for motels that are located within a mile or two from the club. This saves mileage and gas. The club booker can be helpful in suggesting places to stay overnight.

» Part 2

Excerpted from the book, Going Pro by Kenny Kerner, published by Hal Leonard. Available at all bookstores and at Amazon.com.

About Kenny Kerner:

Discovered and produced KISS. Also produced albums for Gladys Knight, Jose Feliciano and Badfinger. As a publicist, he represented Michael J. Fox and Jay Leno. Was the former Senior Editor at Music Connection Magazine and wrote a best-selling music education book called “Going Pro” Kerner is currently the Director of the Music Business Program at Musicians Institute in Hollywood. Specialties include Personal Management, Artist Development and Music Business

Kenny Kerner
Musicians Institute
Director / Music Business Program
(323) 860-1122
Fax: (323) 462-6508
kennyk@mi.edu

Want to learn about the Music Business? You’ll find lots more info about the Music Industry, including Promotion, Touring, Websites, and other Music Biz info at TAXI: The World’s Leading Independent A&R Company.

Game One

One of the most unpleasant tasks a manager has to face is the in-person meeting with an A&R guy. At the meeting, the manager is supposed to play a tape of his artist and expect the A&R guy to both listen to it and make a decision regarding seeing the artist live, signing him, or throwing the manager and the tape out of his office. No pressure, right?

I can’t tell you how much I despise these meetings. To begin with, whenever I agree to manage a band, it’s only because I believe in their talents, their songwriting and their ability to entertain. I feel that they are destined to become one of the biggest bands in the world—or I don’t get involved. Period.

But there I am—handing over a three-song CD to a perfect stranger, believing that he will listen through the first chorus and then, as if by wizardry, share my visions for the band! Not likely. Instead, we both sit there uncomfortably, and suffer. I suffer because I am convinced that what I am handing him has the word GREAT written all over it and he suffers because he knows he cannot commit to anything now.

So we play the game: He listens politely and tells me it sounds good but he needs more time and more songs. I thank him for taking the time to listen, promise to get back to him with more songs and then leave. And the beat goes on.

Game Two

Ever try to get an A&R person down to a show? What’s interesting is that you’ll probably get a commitment over the phone—especially if you’re persistent. But nobody will actually come down to the performance. Naturally, if you happen to manage a superstar act, labels will roll out the red carpets for you—but handle a local, unsigned band, and it’s like pulling teeth.

Not too long ago, I met with a certain major label vice president of A&R (who shall remain nameless and clueless) at his office. I scheduled the appointment in advance, so I was expected to show up. After shooting the breeze for a few minutes, he played the tape all the way through. All three songs. A good ten to eleven minutes worth of music.

When the music was over, he turned to me and asked when he could see the band perform live. “These are good songs,” he said, “where are they playing next?” He wrote the information down in his appointment book and actually came to the show!

The following day we spoke on the phone and he gave me his critique of the show. Basically, he liked it—but he wanted to hear more. So I followed up a week later, sending him a second selection of songs. I gave him a few days to digest the new stuff then phoned him for a follow-up. He said that there was “some interesting stuff” there on the CD. More positive reinforcement. All of these comments led me to believe that he was interested in following the band’s career over the next few months to monitor their development. Wrong!

I kept inviting him down to one show after another, one club after another, month after month—each time following up with phone calls and fax messages. Nothing. After about three months, he stopped taking my phone calls completely and his assistant answered for him. So here’s the question: What do I tell my band? Is this A&R guy interested or not? If not, why not just say so and stop wasting everyone’s time? If interested, why not just do something—anything?

Game Three

This third A&R game can be called “What Do You Think?” because it involves the original A&R person attempting to ask everyone else at his label for an opinion. Here’s how it works: If an A&R guy likes your tape, he will ask to hear the band live. If he likes what he sees and hears, he will ask for a second tape with three or four new songs.

If he likes the second tape, he will want to see the band live for a second time—just to be sure. Then, when he’s sure he wants to proceed, he’ll ask to attend a third show at which he will bring other members of his label and ask them for an opinion. A single negative reaction is more than enough to kill the deal. Many times, that is exactly what the A&R community looks for—a reason to not sign an artist.

If all is positive, he will still want opinions from the East Coast office and then from the President of the label. All of this screening can take well over a year. Ever wonder why artists decided to release their own records?

Tips is excerpted from the book “Going Pro” written by Kenny Kerner and published by Hal Leonard.

Do you need Manager for your band? Read this and other articles about Management, Music Producers, Distribution Deals and more at TAXI: The World’s Leading Independent A&R Company..

When you promote yourself via e-mail or with the words you use on your web site, you have a choice. You can be straight-forward and matter-of-fact (also known as bland and boring). Or you can communicate with pizzazz.

Case in point: My friend Gregg Hopkins plays in a band called The Melroys. He could have sent a run-of-the-mill e-mail to promote a recent show, including the rudimentary club name, address, phone number, etc. Instead, he sent this:

Git yerself down to the Broadway Oyster Bar tonight where The MELROYS will present our little Rock and Roll fandango. The food is delicious, the adult beverages are cool and refreshing, the music will be swinging, and you’ll fit right in with the other beautiful people there. Showtime is 9-1. See ya there!

Gregg Hopkins
TheMelroys.com

P.S. Any person peeved by perpetual pestering such as this posting will be promptly purged from this list upon proper petition.

Ya gotta admit, this short message is a fun read — which leads one to assume that a Melroys live show will be a fun event. And that’s smart marketing. (The only thing I might add is an address and phone number of the venue for those fans who might not know where it is.)

So don’t be afraid to show your personality. In fact, go out of your way to do something fun or different or creative any time you communicate with the public about your music. Got it? Good.

Use Hypnotic Descriptions

Here’s another example from a longtime musical pal, Michael Schaerer. In this recent e-mail, he does a great job of painting word pictures of the venues he plays and describing what it means to him:

We’ll be at Felix’s starting around 9:30 Saturday night … if it’s anything like last week was, it’ll be a full-fledged rock concert … and it’ll sound better than most of them too! It’s really like seeing your favorite band in your living room. So intimate and powerful at the same time.

Come early for a fine dinner, or eat late … the kitchen is open ’till close, baby. You really need to come out to Felix’s and see why it’s so popular! Call ‘em at 314-645-6565. Felix’s rules. Period.

On Sunday, Amy Miller and I close out my work week at the Tin Can Tavern on the south side. We play 9:00 to 11:30 or so and we like playing together so much that we usually have to be told to quit! Great new songs, and Amy just sounds like an angel … amazing. Please attend. www.TinCanTavern.com or 314-865-3003.

Last week was a great week for me. So many people came and enjoyed my music that I was overwhelmed. Thank you, really. It means everything to me.

Michael
www.msgstl.com

This example is so powerful for many reasons. The way Michael describes the places he plays, you can’t help but want to go and experience the vibe yourself. And you know the venue owners have got to love the ringing endorsements, too.

Finally, as Michael illustrates in his last sentence, always remember to thank your fans. They’re the reason you’re doing more than just playing music in an empty room. Without people to listen, enjoy and support you, your creative process would be a lot less satisfying. So be sure to regularly express your gratitude.

Your Comfy, Cozy Computer

The challenge when promoting yourself online is this: There’s only so much human warmth you can get from a computer. Anything you can do to make your online communication more warm and fuzzy will make you stand out and be more appreciated.

No one does this better than Derek Sivers and CD Baby. If you’ve ever purchased music from cdbaby.com, you’ve probably received this shipping confirmation e-mail — one of the classic “power of personality” messages you’re likely to see:

Your CD has been gently taken from our CD Baby shelves with sterilized contamination-free gloves and placed onto a satin pillow.

A team of 50 employees inspected your CD and polished it to make sure it was in the best possible condition before mailing.

Our packing specialist from Japan lit a candle and a hush fell over the crowd as he put your CD into the finest gold-lined box that money can buy.

We all had a wonderful celebration afterwards and the whole party marched down the street to the post office where the entire town of Portland waved ‘Bon Voyage!’ to your package, on its way to you, in our private CD Baby jet on this day (date inserted here).

I hope you had a wonderful time shopping at CD Baby. We sure did. Your picture is on our wall as ‘Customer of the Year’. We’re all exhausted but can’t wait for you to come back to CDBABY.COM!!

Thank you once again,

Derek Sivers, president, CD Baby
the little CD store with the best new independent music

Now that’s powerful .. and effective! Think twice before sending your fans another e-mail message. And always remember the power of personality!

Bob Baker is the author of “Guerrilla Music Marketing Handbook,” “Unleash the Artist Within” and “Branding Yourself Online.” He also publishes TheBuzzFactor.com, a web site and e-zine that deliver marketing tips, self-promotion ideas and other empowering messages to music people of all kinds. Get your FREE subscription to Bob’s e-zine by visiting http://TheBuzzFactor.com today.

If you are a start up band you may want to offer to play for free to get exposure for your band. Eventually, you may gain a fan base and shows and have to negotiate a gig. Now that the club booker has listened to your demo and may be interested in your act, it’s time to negotiate and get your band a gig. Many times a booker has a specific price or arrangement that they have for bands. For example, there are a variety of ways a club can pay for your bands services. They may offer Door or a percentage of the Door amount. This means that they will charge a fee at the door to whoever shows up to see your act. So, what you make is up to how many people you can draw to the venue. The more people you get to the show the more you will make. The club may also only give you a certain percentage of the door. Negotiate this ahead of time so you know what percentage you will be making at the venue.

A club owner may also offer you a Flat Fee to play the club. For example, the club may offer $200 for your bands services. This is a flat fee and they should pay you that amount no matter how many people come to the show. You still want a good number of people at the show for exposure and to keep the club owner happy. Another way that clubs pay you is a flat fee plus door which means you’ll get a guaranteed amount plus door or a percentage of door. Sometimes, you can negotiate free food or drinks for you band as well. Talk about all these things when negotiating with the club band booker.

One Tip to remember. Just because you negotiate it, doesn’t mean that you will get that amount at the end of the show. Some club owners are more reputable than others. One excuse a club owner may use to short your negotiated fee is that you didn’t bring in enough people to the show. So make sure you promote your gig. So, if you don’t have a signed contract, it may be difficult to get what you verbally negotiated. Most start up bands don’t have contracts signed and just want to play music. While this may be ok at first, eventually you’ll want to get a contract signed or get in with a booking agent that will take care of this for your band. A booking agent will negotiate usually a standard fee for getting your band a gig. They will take a percentage of your earnings, but they will do all the negotiating for your gigs. If you want to learn how to work up contracts for your band a great resource is the book ‘Music Law’ How to Run Your Bands Business. It comes with a CD containing all the basic contracts your band should need. It’s a great Do It Yourself Resource for bands.

If you plan on negotiating a show with a verbal agreement just be aware of the pitfalls listed above. Try networking with other bands and make sure which clubs are reputable and which ones are not. Chalk it up to experience if you get stiffed on a gig. It happens to almost every band at some time in their career. It just gives your band more reason to play reputable clubs, use contracts, and possibly get a booking agent.

Some other things to talk about with a booker are PA Sound, Sound Techs, and Lighting. Ask the venue if they have any or all of these items. If so, do they charge the band to use their services. It depends on the venue. Some clubs have PA’s and sound guys, some don’t. If the club Does Not have a sound board etc. you will have to supply the PA, Sound Tech, and or Lighting. Make sure the club will pay you enough to cover these items. Check with your local music store to see if they rent out these items and supply a sound tech. You will need to give them an idea of the venue size (how many people you will be playing for), When, Where, and How long you will be performing at the club. These will all factor into the price. The PA Rental Co. will quote you a price based on what you tell them. These services can get expensive depending on the venue, so get a quote before you negotiate your pay for a gig.

Listed above are some tips on negotiating gigs for your band. These ideas should lead you in the right direction to start booking your band. Good Luck on negotiating your next gig.

This article has been provided by MediaWebSource.com

In order to submit Band Demos to Venues, Club Owners, and Record Companies, you will need a great quality demo cd or tape. There are a variety of ways to record a band demo to pitch songs to venues, club owners, record companies, and booking agents.

Home Recording – You may want to rent or invest in a portable home recording unit. Most music equipment stores rent and sell these units. Some are more complicated than others. Make sure that you use one with a good amount of memory so that you don’t have to stop recording and dump your material on CD or tape to early. Once the demo recording process is complete, it is usually fairly easy to burn your songs to CD on your home recording systems. You will want to read the instructions on mastering your music before you burn your demo CD. Maybe you would like to add effects to your songs, equalize, double your vocals. All are good techniques to use before Burning the CD. Most home recording units come equipped with CD burners. Try reading some home recording magazines to get some tips on perfecting your sound for your demo CD.

Computer Recording has now become popular to record music for demos. There are many software programs available from Pro Tools to Cubase to record on computers. Your band will need a decent computer with enough Gigs or memory to hold the amount of music you want to record. You will also need professional audio interface equipment to record to your computer. Some recording software may come with this interface equipment. Basically, the audio interface allows you to plug in your mics, guitar, bass, etc into the interface that takes the sound to the computer recording software. Check with your local music stores and do research on the internet to decide which software would be best for your band. A good number of professional musicians have used pro tools in the past, but this software can be expensive.

Studio Time – Your band may want to book studio time. Check with other local bands whose CD quality you really like. Make sure the company is reputable. You may want to check the Better Business Bureau www.bbb.org to make sure the company does not have any complaints issued. Also, have your material practiced and ready before you enter the studio. This will save you time and money in the long run. Most studios will give you a few master CD’s from the sessions. You can then burn more CD’s on your computer or CD Recorder, or have them done through a professional CD duplication firm.

CD Cover and Jacket – Also, you will need a good Quality CD Cover and Jacket for your demo or CD. If you just need a small amount of CD covers to send to local venues, why not try a computer program that prints CD Labels, Covers, Jackets, and more on your color printer. You can find these programs at most music stores or department stores. Just be aware that if your using color, your color ink will deplete quickly with a lot of graphics of pictures. Therefore you may just want to do a few, and maybe go to your local copy center and see what they would charge to print out a larger quantity for you. You may also want to try a professional CD Cover company. Do some research on the web and price out the best few companies.

Demo Contact Info – It’s a good idea to have your contact information on your demo, especially if your sending to clubs or venues. That way the will have your info in the event your press kit is lost in the shuffle. 3 or 4 Song Demo Limit for submission to Record Companies – In general it’s a good idea to keep submission demos to Record Companies, Publishers, Producers to a 3 song limit. Include only your best material and make sure the songs are copyrighted. Visit www.copyright.gov for copyright information.

Quality – Make sure that your demo is of professional quality even if it has been done through home recording. Rest assured, the competition is putting great amounts of work into their demo, and you don’t want a rejection due to poor quality. If your having trouble mastering your demo through home recording, try getting your material mastered by a studio or someone you possibly have networked with in the past that records music. Many computer programs can help with mastering your music. You know what sounds good and doesn’t. Keep at it until it sounds as good as it can get.

The hints above should help your demo get a listen. Of course, I can’t guarantee anything, but if the right amount of work is put into your demo, you should be a step in the right direction.

This article has been provided by MediaWebSource.com

Promoting your music online has never been as easy as it is now. In 2008. And for fans and bands alike, this is incredibly exciting.

Why is music promotion easier now for the average musician, band and songwriter? Why was it hard before?

There are two key reasons why music promotion was hard before.

Firstly, music production and distribution was largely the domain of five big record companies.

Between them they controlled a catalogue of some 3.5 millions songs (2004). This catalogue of songs took over seven decades to compile. And they were only increasing their catalogue by a negligible 36,000 or so albums annually.

Secondly, their power was based on controlling an offline based, bricks and mortar music industry where fans purchased expensive CD’s from record shops.

How easy do you think it was to get your songs noticed, produced blockbuster-marketed in those times?

Why is it easier now?

Mark Vidler, of Go Home Productions in the UK, summarizes the benefits of the new music environment.

“You don’t need a distributor, because your distribution is the internet. You don’t need a record label, because it’s your bedroom, and you don’t need a recording studio, because that’s your computer. You do it all yourself.

In just 37 words, a musician has just told you what things have changed.

Internet marketing pioneer, Mark Joyner, observes on his Simpleology blog that “You don’t need a label. You don’t need an agent. You don’t even need a huge budget. Some people do this on a zero-dollar ad budget.

In just 27 words, a marketing maven has given you three success secrets for promoting your music online.

Let’s put the experts aside for a second and bring it back to you, the songwriter, the musician, looking to make music to share with fans.

In the beginning when you are holding down a day job, scores and hundreds of fans will make you feel famous.

When you have played to hundreds then you will want to play to thousands of fans. When thousands have viewed your videos or downloaded your music, then it will feel normal to shoot for millions of video views, downloads and sales.

And you know what? In the internet age, going for millions of fans is just that: normal.

Let’s look at just one specific internet development that underlines the new normal.

MySpace started in February 1999. In February 2008, MySpace has musician profiles numbering 13.4 millions. Musicians typically register for three profiles so 13.4 million profiles actually represents around 4.45 millions artists and bands.

That’s quite a few.

Each profile offers their visitor an average three songs to listen to. Which means that on MySpace.com alone, there are about 13.4 million songs posted.

That’s 13.4 million songs.

Did you notice what just happened? In nine years (less than one decade) MySpace has compiled more songs faster than the record companies.

Nearly four times more songs seven times faster!

What a record company nightmare. Worse, this is only one web site that’s buried them. What about all the other music websites?

iTunes for example, are up to a million paid music downloads. Daily.

Has the game changed or has the game changed?

Has promoting your music online just got easier or has it just got easier?

About the Author Taura Eruera

Taura Eruera is a New Zealand based musician, songwriter, broadcaster and author who, himself, is just coming to grips with music promotion online. He is also interested in music software development and has a long standing interest in online music search.

You can read more case studies and examples of ordinary musicians, who are marketing their music online with minimal budget yet achieving extraordinary results, in this article entitled promoting your music online.

Article Source: http://EzineArticles.com/?expert=Taura_Eruera
http://EzineArticles.com/?Promoting-Your-Music-Online&id=987828