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Monday, 30 July 2007 |
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Why do most independent artists fail? This is a question that I am most commonly asked. The answer is pretty simple ñ most independent artist do not understand that concept of marketing let alone online marketing.
Obviously I can not cover an entire marketing course in this article but I can however give you a few facts that will put you on the right road.
The first thing that you MUST do is learn to put yourself in the shoes of your target audience or in this case your fans. That is a lot easier said than done. Without a fan base you do not have a music career.
As a independent artist it is crucial that you own your own domain name. If you have MySpace as your primary internet presence you are making a huge mistake. Now before you go on a rant allow me to explain.
If you are using MySpace as your Internet presence you are placing your entire career in the hands of another company. Lets say that you have spent your time and effort in promoting your MySpace page and everyone knows that is where they can find you. You wake up tomorrow to realize that MySpace has decided to shut down while the getting is good. Where does that put you? Iíll tell you where back at square one!
No Iím not suggesting that you forget about MySpace Iím just telling you it is a bad idea to have MySpace as your primary website.
MySpace should be used to drive traffic back to your domain, where you have control over your destiny.
Another common mistake that I see independent artist doing is they fail to invest in the business aspect of their careers. No I am going to guess that when you just read that last sentence you probably said to yourself, ìI do invest into my career.î If you do not have at least one Internet Marketing book or eBook you my friend are on the wrong track.
I can pretty much bet that you have your webpage set up all wrong.
Nine out of ten independent artistís websites are what I like to call, ìlook at me websites.î The harsh reality of it all is nobody knows you! When a potential fan comes to your site they have one thing on their mind and one thing only, and that is WIIFM! That stands for ìWhatís In It For Me!î They want to know what do you have to offer them ñ why should they come to your website over the million other independent artist? This is were your marketing strategies come into play!
I know this is going to sound a little crazy but lets role play for a few minutes. Letís say that you are a country music fan (the genre doesnít matter) and you go to a website and a video pops with a young lady on it and she says, ìI just want to thank all of my fans, for showing up at my last concert, and I appreciate your supportÖ In fact I have two free tracks that I just posted for you onlineÖ Let me show you where to go download them now.î POW the video ends and you are automatically taken to a special download area exclusively for the fans!
How do you think that would make a fan feel? Do you think that someone would actually go and download the special fan tracks ñ located is an exclusive areaÖ Your dog on right they will.
I hope that this article sparked that marketing genius that dwells deep inside of all of us. I wish you the best of luck with your music career and I hope that I have the opportunity to do a personal interview with you real soon.
Tim Beachum is owner of the http://MusicBizCoach.com, http://MusicBusinessInaBox.com, http://Jackin4Beats.com, and author of the audio CD ìThe Ultimate Guide To Self-Promotionî. You can contact Mr. Beachum via email at:
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Monday, 30 July 2007 |
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I have been a musician since the tender age of 7 and in my career I've passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.
In this article, I want to shed some light on what an audition process looks like from the point of view of the "auditioner" rather than the "auditionee". I'll give you seven tips that hopefully provide some help.
I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I'll talk about will mostly relate to cruise line entertainment auditions.
Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.
The most obvious type would be the live audition, where you go to the audition location in person and play what's asked of you.
You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you'd play almost exactly the same music.
And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don't have to perform music that the company provides, but rather your own repertoire.
There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.
1. Get the details on the job description
This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won't waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.
Also, if sight-reading is the main focus of the job you're applying for, there is no point in hoping you'll slip by simply because you can improvise like Charlie Parker.
2. Be flexible enough to present what's actually needed
Let's assume that you got all the details on the job description and you realize that you don't exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it'll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project thatís geared to the job in question.
3. Audition only when you feel that you have a good chance of passing
Often musicians apply for a job they are not qualified for. Now, you could argue that that's what auditions are for, and people couldn't possibly know in every case whether they are qualified or not. I agree, all I'm saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.
Being dishonest about what your skills really are can hurt you in more ways than one. Let's assume for a minute that you slip through the cracks and you end up in an orchestra but you can't cut the gig. First and foremost, you'll be humiliated in front of other musicians, you'll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it's begun. (This happens all too often...)
So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you're about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you're lacking.
4. Put some time and effort into preparing your best possible package
This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn't supply a package that's appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.
Usually, demo packages include the recording itself, which should present the exact repertoire you're planning to play on the gig, a short resume of each member, and a list of your repertoire.
You won't impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that's asked of you, played with energy and skill.
5. Try to impress with your playing, not with your resume
I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won't get you a gig if you can't play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they've played with. You're doing yourself a disservice if you hype yourself up with your resume and you can't back it up later during the audition.
6. If you fail, accept the criticism and use it to prepare better for your next audition
All the practicing in the world may sometimes not be enough to pass an audition. If that's the case, accept the reasons that you're given by the jury, and go home and practice those specific things. If they aren't forthcoming with specific reasons, ask questions. I think it's only fair that a jury tells you what your weaknesses are if they turn you down.
I'll spare you the details of all the things we've heard from people that have been rejected. Just watch "American Idol", and you'll get a good idea of what we go through sometimes.
7. Be honest about your strengths and weaknesses
This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you're being judged on. Weaknesses you've been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?
Those are my "7 Steps to a successful audition". I hope that some of you will find this information helpful. Please visit my website for more information on the subject of "Music on Cruise Ships". Contact me if you have questions or if you'd like to audition.
Marco Kasel is the president of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers.
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Monday, 30 July 2007 |
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NOTE: This article is written regarding performing magicians, but many of the principles discussed apply to the realm of music as well, so I felt it would be worth reading. I've always felt that bands should see themselves less as musicians and more as entertainers. I hope you enjoy the article and gain much from it!
My name is Kim Wist and Iím a professional magician from Finland. Finland is a rather small country, and we have only about 10 professionals who make their living on performing magic.
Despite this above mentioned fact, I do around 150 gigs per year, and that is about as much as I can handle.
I have been around the world in many magic conventions and seen a lot of good performers and sleight of hand artists, but the big question remains; why do some make a living performing this art, and other donít.
Is it personality?
To some extent I would say yes, definitely. You have to be an open person and you must find it easy to communicate with people. Letís say you do close up magic (which I strongly suggest you should also do if you want to make a good living in magic) but you find it difficult to confront people up close. This will obviously make you somewhat unnatural and the audience senses this very quickly.
It is of vital importance for a performer to be very bold, strong but at the same time sophisticated and not too aggressive. It is very important to be able to read the audience correctly and to ëtune iní into the audience.
A performer is not just anybody. He is someone people are used to look up to, give him the space and enjoy the ride. But if the ride is not enjoyable and the performer is uncomfortable it will end up very quickly.
Is it my technique?
The skill of the performer is also very important. A skillful performer always gets credited, take for example a good juggler; it is enjoyable to watch heís pure skill and the excitement of the art.
So being skillful is also important and will add up to the total entertainment value. This should also not be overused and never just show off, blend skill into the performances with taste. We are speaking of the whole package here and that is what people are going to remember.
What magic style should I choose?
Well, obviously the one that suits you best, but there can be variations and exceptions.
What I do, is mixing comedy and magic. This is very common and many do this, but you need to be very good and very funny to make it really pay off.
Let me give you an example:
I used to perform more seriously, but I also wanted to have comedy in my shows. I ended up being confusing and probably not funny at all. I thought that the tricks I do will make people wonder and it is not so important what I say. Still after many performances I felt confused and lost. I havenít found my stage person, and I did not get the reactions I knew were possible.
Then I saw a younger friend of mine perform in a magic competition. He was so funny I could not believe it, the audience loved him and he was having a good time on stage.
This was a big lesson for me.
I started to work with my program from scratch and really going through every second of it. What I say, how do I look, what gestures etc.
I had always on my mind my goal, which was to do good quality tricks but to be very funny at the same time. I rehearsed my show over and over and left out parts that did not really work and finally ended up with a 15 minutes of solid material.
I went to gig with this material and the response was amazing. People laughed, enjoyed themselves, and wanted to get my cards more than everÖ
I knew I was on the right path.
Then I started to do the same to my close up magic. I was always a more natural close up worker than a stage performer, but I took my close up to another level also.
Finally I had a stage personality and I knew what I was doing and what I wanted to do.
What a relief and how nice it felt doing gigs and make people happy.
That is the secret how I get so many bookings.
Marketing is important, but the most important is the gigs you do, because there is always someone in the audience who is arranging a party in the near future and need a good entertainer. And the word gets around. Many times when a new customer calls me, he says he got a reference from somebody else who had seen me somewhere.
Customers want to get a good performer, because we all experienced the annoyed feeling a bad performer generates and if you do corporate magic you will never be booked again if you do a bad job.
Summing it up; be natural with people, practice your art, practice and review your show and donít risk anything. Have a complete script for your show and follow it.
Keep improving and the gigs will come.
I hope you found something of value in this short article and wish you good luck and happy performances.
Kim Wist is one of the leading entertainers in Finland, mixing comedy with magic he is giving hes audiences unforgottable enjoyment. Web site: http://www.kimwist.com.
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