Indie Music Marketer .com

Home computer music recording has become extremely popular, both as a hobby and as a legitimate means of live recording and mixing. For the serious musician or recording technician, the computer/software combination offers ease of use and lower cost, and it requires less space than traditional methods of recording. 

Recording can be accomplished by using a "mixing board" to pre-mix multiple signals with their corresponding analog effects (if desired) before sending them to the computer, or each "plain" signal can be recorded independently to its own track through a computer audio interface, software effects applied, and the individual tracks then mixed together. 

Using a mixer and analog effects, one could conceivably record without the benefit of multiple tracks, resulting in the need for less expensive, more simplistic software. For much greater control and a more polished sound, a quality multitrack software with effects is preferred. 

Although more difficult to learn and use, multitrack software provides many more options for the user. The cost for quality multitrack recording software can range from $40 to several hundred dollars. Don't let the low prices fool you though, many a great recording has been made with shareware recording software. 

If you aren't experienced in multitrack recording, purchasing at the low end of the spectrum makes sense. It's best to choose a product that will accept plug-ins, though. Plug-ins are small pieces of software that provide various functions (typically effects) that can be installed into the multitrack software, providing greater flexibility to the sound engineer. Several companies produce audio software plug-ins of the vst or directx variety that will work with even low cost software. A number of the plug-ins are actually offered free of charge. 

For the more serious enthusiast, the computer (pc) should contain at least a Pentium 4 or Athlon 64 processor, 200gb, 7200 rpm IDE or Serial ATA hard drive, 1 gigabyte of dram, a good video card, and a high quality sound card. Any on-board video should be disabled in the cmos setup and a quality graphics card with at least 64mb ram installed. 

A flat panel monitor with a 19" screen is preferred over a crt. With the large viewing area, the video resolution can be set at 1280 x 1024, enabling more of the audio recording software to be viewed on the screen at one time. 

On-board audio (if available) should also be disabled and a high quality sound card installed into the computer. Also, invest in a pair of quality, amplified, near-field monitors. These speakers are designed specifically for music recording. Remember, if you're serious about your recordings, you'll want the music to be reproduced as realistically as possible. 

A computer audio interface of some sort is a real necessity. It should have 1/4" inputs for instruments such as electric guitars or keyboards, as well as XLR inputs for microphones. 48v phantom power should be avaiable for condensor mics, as well. A mixer could even be plugged into the audio interface if more flexibility is needed. 

More and more, musicians are realizing the high quality and low costs associated with producing their own recordings, while those interested in the technical side of recording can see the increased benefits of digital recording, mixing and mastering. 

Have you ever thought how important music has become for us? I cannot remember a day when I didn’t hear any music at all. I love the stuff. You might have a collection of CDs, or albums, or you simply turn on the radio while commuting to work. Have you ever considered how the music gets to you and who makes the decision about what music gets played? Maybe you have wondered why only certain artists get played and have their music sold in major retail stores. Have you thought about what trends are going to take over music next? I suppose you will find the answer to all your questions in major record labels. 

When you love or hate an artist is it because you like or dislike their record label? The major record labels take on new artists and promote their music, they might also assist other companies in planning tour promotions and other public events. 

Generally a recording company takes on an artist for a certain period of time or a certain number of recordings. Take a look at your CD and DVD collection. Do you see that nearly 90 % of them come from one of the five major record labels? 

The big five are Universal Music Group, Sony Music Entertainment, EMI Group, Warner Brothers and BMG entertainment. They make up the five major record labels. They deal with millions of artists, videos and movies. In case you would like to work in the music industries you should turn to any of the big five record labels. 

Are you looking at your CD covers to find information about the record labels? In case you see a name different than one of the big five, don’t worry. Your CD is not necessarily duplicated. 

It is more likely that you have purchased a CD from one of the major record labels subsidiary companies. They all own subsidiary companies. 

For instance, do you remember the once great Motown record label? Now it is a subsidiary of Universal Music Group, while Capital Records is a member of EMI’s subsidiaries. There are hundreds of other companies, too. 

What we listen today is mainly determined by the major music labels. But I suppose you don’t really care about the big fine when you are enjoying this new hip hop hit or singing along number one country song. What is undoubtedly true is that with the help of major record labels music plays a large part in our lives. 

Licensing you music into films is a great extra income stream for you as an independent artist. But, as with any other aspect of the music business, you have to go through the learning curve and networking process. My experience with film licensing, just like everything else, revolves around whom you know. 

Your first (or tenth) licensing deal probably won’t be the next Hollywood blockbuster, but that’s ok. There are a zillion independent films that need and want your music. No, you won’t be immediately rich and famous from having a song in an indie film, but you will probably get paid, and you’ll get some good exposure. Remember, a good ling music career is not built on one big hit. It’s built on a series of small projects and successes building to bigger ones, and, of course, multiple streams of income. 

With that in mind, independent films are a great place to start. So where do you begin? Well, listing sites like Versus Media, Film Music Network, and Taxi are a good place to start, but it’s hard to rely on a steady income from people you’ve never met. Also, something I’ve learned recently from a couple of music supervisors, is that follow up on your package is not required, nor particularly appreciated. So you really are relying on your package and your music being picked out of the pile. However, the listing services will give you access to projects you may not have known about otherwise. They are, therefore, a good investment. 

An even better way to hook into independent films is to go out and meet film people. As musicians we tend to get stuck in our own little world. Hanging out with musicians, going to music workshops and events, etc. You must take your product to the people who need it instead of waiting for them to come to you. 

A great place to start is Indie Club. This is a worldwide organization of independent filmmakers, actors, crew, and everyone else. Find your local chapter through the IndieClub.com website. It’s free to join. Where I am, San Francisco, we have the country’s largest chapter. Join their discussion list and introduce yourself as a music artist. Go to their meetings and get-togethers. When I went to my first Indie Club meeting, I was one of two music artists in the room. The cries of “We need you!” were not just the voices in my head (this time). That room full of independent filmmakers was looking for good music that they could license and still stay within their budget. 

I scored my first licensing deal within an hour. Two songs in the same film, one I’d already written, the other to be written specifically for the movie. My tactic was simple. Ask them about their latest project. They’ll be happy to tell you about it, I assure you. They’ll ask what you do. Tell them, but don’t exaggerate. I explained that I had not yet written for films, but just came to see where I fit in. This particular filmmaker then explained to me that he couldn’t find a particular song for this one scene he was working on. I told him I’d be happy to custom write it for him. And there it was. I was being paid up front to write a song. How much? I received $100 for the new song, $50 for the previously written and recorded one. Like I said, you won’t get rich off of these. But hey, $50 to let him use a song that I’d paid for long ago is free money to me. 

For the new song, the director arranged for recording time at the local recording arts school where his sound editor was studying. This was fortuitous, and not necessarily normal. Most other project I have to record myself. Because I kept the copyright for the song (which you should always try to do), I was able to release the new song on one of my future CDs, which put more money in my pocket. There’s that multiple streams of income again. And, as a topper, I was able to perform at the premier and sell more CDs there as well. I got all that just for showing up to a meeting and talking to people. I made a few other deals at that meeting too. 

So the moral of the story is to just go where filmmakers are and talk to them. Besides Indie Club, I’m sure there are other film clubs and organizations in your area. Find them and make yourself a part of them. Get to know everyone, and you have your tunes in the movies in no time! 

Next time: How to get your music in movies by getting yourself in movies! 

Today I want to talk a about getting an agent. It is perhaps the most important thing on the minds of artists. Yet, despite all the interest, it is perhaps the one area least understood. 

In my lifetime, I have gone through a number of them. But the question should never be how do I get an agent; but more, "How Do I Get A GOOD agent?" Agents are a dime a dozen. Most are overwhelmed with clients. So if you happen to sign with one of those, you'll be another name in their client book. Even Spike Lee admitted that when he signed with William Morris they never called him for work. 

So let's throw out the idea of getting one for the sake of just having one. Sometimes, believe it or not, a smaller agency that really believes in you can do more for you than a big-time agency. And as with any agent, it takes time to build up rapport and trust. As I said, because they have so many clients YOU need to stand out. Opening the channels of communication is the best place to start. 

What bothers me is the fact that actors walk around with the notion that if they get an agent, all their problems will be solved. The agent will send them out on calls or get them studio work, etc. It doesn't work that way. Agents want actors and writers who are going places. If you are sitting back complaining, "If I only had an agent things would be different," then you need to get out of this industry. Why would an agent want anyone not willing to put the time and effort in, on their own, for the advancement of their career? Think about it. 

Who wants to work with a lazy person? If you want a good agent, then you have to get their attention. If you are out there getting work on your own and making a name for yourself, then the agents will come to you. Trust me on that. After I did my first feature film, one of the biggest agencies in Hollywood, International Creative Management (ICM), called me! The best part about that is, if you have demonstrated that you are a hot commodity, then you may have more than one agency after you. So you'll have options and won't necessarily have to sign with just the first one that comes along. But on the other hand, if you are sitting at home eating potato chips and watching "Family Guy," then it is going to be really hard to get any agent's attention, good or bad. 

It's your career. You have to treat it like a business. If you want a certain agency to represent you, then you have to bring something to the table. What is your body of work? What do your resume, reel, writing samples and or portfolio look like? Don't just have this magic idea in your head that your agent will put all that together for you. Sure, there are agencies out there that will sign you just because you have a dynamic look. But don't hold your breath on that one! 

You should also build a list of names of every agent out there. Get to know them as if they were your personal friends. In LA there are certain restaurants, department stores and events they frequent. You should make it a point to frequent them as well. Some time ago, I attended an event in New York where I happened to run into a very famous director. The next day I had to fly out to LA to attend another event. Guess what? That same director was there as well. He was so surprised to see me that we become friends. He called me Mr. Jet Setter because it seemed I was bi-coastal. He even tried to help me get financing for my first film! 

So, I want you to start thinking in terms of getting things moving on your own. Hit those auditions. Build your reel. Take your acting classes. Write more than one screenplay. Network with everyone in the business. Send out a press release. Put yourself on the radar screen! If you are truly working hard, I guarantee you an agent will find and discover you! Opportunity meets preparedness. Peace! 

It’s every musician’s fantasy. The tour bus rolls up to the arena (full of groupies, beer and pizza). Fans are crowded out front hoping to catch a glimpse of America’s hottest band. The group is escorted to their dressing room (full of more groupies, beer and pizza). They enjoy the various pleasures of stardom while roadies set up the stage. It’s show time. The artists take the stage. The crowd is screaming. The lights are glaring. The amps are humming. The drummer clicks off the first song and… 

You wake up in the back of your PT Cruiser. Your bass player’s elbow is in your ear and the drummer’s asleep on your foot. You’ve eaten nothing for the last week but corn dogs and frozen burritos. This is not the tour you imagined. This is not your Lilith Faire. This is not your Lollapalooza. This is not your Warped Tour. This...sucks. 

Every musician dreams of touring. Getting out of their same boring town. Trying their tunes out on new crowds, in new areas, for fresh faces. Bonding on road, writing new tunes in the motel room, free food, free drinks, getting paid, getting laid…living the life. 

But the music biz is full of touring horror stories. Bands stuck on the road with no money to come home. Musicians not eating for days. Clubs canceling gigs the night of with no warning. Negative reactions from bar patrons and local bands. The list goes on.

So, how do you make sure that your touring experience is a positive one? What can you, as musicians do, to eliminate potentially negative experiences and create positive ones. 

The following are a few tips that add success to your touring experience: 

1.) Don’t Plan A Tour Because You’re Unhappy At Home---Just as an affair will not fix the problems in a marriage, a tour is not the cure for: problems within the band, problems in the band members’ lives, or a general malaise for your local scene. A tour is strain and stress and loads of work. You should be excited, and enthusiastic and positive when planning. 

2.) Over Prepare Before You Leave---You can never plan too much or take too many precautions. At home is the time to rethink ever scenario and arrange accordingly. Get the van tuned up. Pack extra emergency money. Bring a list of additional clubs in the area in case your gigs fall through. Pack extra strings and sticks. Bring a backup guitar. Pack extra merchandise. Bring emergency food/water. Pack extra batteries and power cords. Bring cell phones. 

3.) Be Humble And Thankful---You’re in a strange town and a new club, act like a guest. Nothing ticks off a club owner/promoter who’s taken a chance on an unknown band more than out-of-towners swaggering into a club like Paris Hilton in an episode of “The Simple Life.” No matter how cool you are in your own town, this is unproven ground and your first impression is important. Ask, don’t demand. Set up quickly. Play at an appropriate volume. Clean up after yourselves. Be friendly and courteous. Say “please” and “thank you”. Unless you’re booking in Jerkville USA, this positive attitude could set you well on your way to a repeat booking with better perks and more local support. 

4.) Seize Every Opportunity---If you’re going to take the time away from work, family, and the buzz you’ve built in your own music community to head out into the great beyond and conquer unknown lands…you might as well come back with something other than lovely memories and an out-of-state parking ticket. You’re in a new place and the possibilities are endless. Sell CDs. Sell T-shirts. Get new names on your mailing list. Solicit local reviews, interviews, and radio. Introduce yourself to other club owners for future bookings. Find out who books local festivals. Play an impromptu house party after your gig. Make new friends that can street team for you next time. Think of something I haven’t even written here and do it!

Don’t Expect To Conquer The World In One Tour---Rome wasn’t built in a day and neither will your touring empire be. Have fun. Enjoy each trip and using it as a building block to make each tour to that particular place better and more elaborate. Play your cards right, and after a few trips you may be making terrific money, have secured lodging (either new friends let you crash or a club pays for a motel), get food and drinks comped, and guaranteed press and radio coverage. 

In short, touring can be the best thing that ever happened to your band if you work hard, play it smart, and follow through correctly. But no matter how much you love to tour, always remember to keep your foot in the door locally. It’s the great work that you do at home that makes other clubs excited about you bringing your show to their town.