Loren Weisman

In some ways, when you purchase a certain effect or instrument, it’s like you have purchased a kitchen’s worth of supplies and food. When you only use a certain configuration or a certain set up, it’s the same as only using one kind of food from that kitchen. I have a favorite food, but I also like variety and I like to know what all my options are before I prepare or order what I want to eat. Why not apply the same ideas to your gear?

Play with your gear, change the settings, do the unusual to get out of the usual mode. You never know what you may discover. Take a little time to experiment each day with your gear and/or instrument to find out what might inspire something new and different.

Missing a string or not missing it at all.

This goes for tuning, setting up, and practicing. Guitarists? Have you ever worked on your songs with one string missing? How would you rephrase the chord or substitute for that chord if you are missing a string? How does it make you approach your soloing in a different way? Do you find yourself creating or finding new licks from having that string missing?

Why not try it over the period of six weeks where each week you remove a different string? Run through your tunes, your practicing and improvisation to see what happens. You may find you’re more prepared and able to continue playing during performances even if you break a string.

Write it down

Don’t spend time worrying about losing your settings and the ones you like the most. Write them down. List where you have knobs turned to or settings placed at. You can take pictures if that helps as well. Then write down the different settings you discover while playing with your toys. Keep a little diary of different settings and their effects, what you like, what you don’t like. Jot down both the good and the bad. Alyssa, a good friend of mine has a quote I like on the topic too. “Sometimes what doesn’t work is more helpful than what does. It’s so easy to skip over the discord, but, even though it’s not pleasing, it can turn into something beneficial and, ultimately, beautiful.” It will help you learn how to find and remember the sounds you like as well as help you learn what you don’t like and how not to avoid it.

Conclusion

It really is simple. Play with your food. Don’t just settle for the sounds you know. Take chances, take time and add some effort to learn the full array of the gear you have. Understand how you can change sounds and how those sounds can change your playing. From turning knobs, to taking away a string, to removing a drum to anything and everything in between, research, listen and think of different ways you can express yourself. You already invested the money in the gear. Invest the time to know it inside and out.

Loren Weisman is an accomplished music producer based in Seattle,
Washington. Having worked on over three hundred albums, Loren has also
worked on numerous television, film, video game and radio productions,
from New York to Los Angeles, Boston to Seattle. Loren is also the
founder of Brain Grenade Entertainment LLC, and the author of the
Freedom Solutions Recording Plan.

A songwriter or singer about to record a demo or CD intended either to garner industry attention or for direct sale to the public needs to be cognizant of this: not all producer’s are created equal. Some producer’s do little more than manage a recording session and take whatever is given them from the musicians and the vocalist. They may do a decent mix and create a CD that sounds professional. But in my opinion that is not producing, at least in most cases. Sure, there are times when an artist has a voice and style where staying out of the way and simply capturing the magic is the right approach. But most singers, songwriters and bands, even though they may be highly talented, are not unique enough to garner a deal as-is. It’s the producer’s job to bring it out.

I’m going to toss out a few names: Dolly Parton, Neil Young, Jennifer Nettles, Louie Armstrong, Michael McDonald, Josh Turner…If you hear any of them on your radio, you instantly recognize who they are. Know this, if you can’t create that same kind of instant identity, you are not very likely to get signed to a recording contract- you’ll be one of hundreds of soundalikes vying for that same deal- and if you do get signed, your latest pair of shoes my well outlast your career.

There are hundreds of male and female singers here in Nashville who have not a dime’s worth of difference between them. A few actually release major label singles and might have a charting hit or two but then they disappear from the charts, never to be heard from again. Why? Because they failed to differentiate themselves enough to attract a fan base. Think of it this way: Your sound is a product and just like any other product, must compete in the marketplace. If a copycat of Crest Toothpaste came out that cost about the same as Crest, tasted about the same as Crest and looked about the same as Crest why would Crest users switch? They wouldn’t, people are creatures of habit. Nor will fans share or switch their loyalty to a singer that isn’t clearly different from their favorites.

To create that necessary difference a producer has to look at the entire artist and find one thing or create one thing that is unique enough to differentiate them on radio. It could be the singer’s tone or their incredible range, or maybe the way they slur certain words…it could even be the way their voice is recorded and mixed. Then the producer must find material that showcases that difference. The bottom line is that when the CD is finished the producer should have achieved a clearly defined sound that is cohesive throughout the project- a sound you can build a career on!

Bill Watson is the owner of http://www.playitagaindemos.com which is a demo service for songwriters and song publishers. He has also written magazine articles for publications as diverse as Small Business Opportunities, Entertainment Weekly and Sports Afield.

Many pass over the thought of themselves actually working in the industry due to the common mindset… “if one has talent they have a chance in music.” If one wants weekly (or bi-weekly) pay with benefits one seeks a normal job in the 9-5 workforce. This is simply false. Most people love music to some extent. Those that are paying attention to their future and careers know or at least wish they can be involved with something they love.

Many will admit they believe they don’t have what it takes to make it in the music industry and some will admit they don’t have a desire to be a musical artist. But many will also admit they need a job, and for longevity’s sake will admit they need a career they love. They love music and need career involvement in something they love.

Well… it just so happens that the music industry employs millions all around the world in positions that are not directly artist related or even behind the scenes artist related. The fact is there are over 120 different careers with lucrative futures in the music industry. Now multiply that by the thousands of record labels, advertising agencies, law firms, and so on all over the globe. These careers range from secretaries all the way up to C.E.O.’s of major music corporations. Do you like manual labor, advertising, practicing law, or preparing clothes? If so the music industry has something for you and so much more!

The music industry has involvement in almost every facet of our everyday lives. The music industry alone is responsible for offering some of the most exciting careers known to mankind. These careers are no harder to find than any other types of job as long as you’re willing to look. Yes, of course some jobs require training and hard work and some don’t. But that’s nothing someone seeking a career wouldn’t find even if they were applying for a job at the local telephone company or the like. But! How many people really LOVE their jobs at the telephone company? Or rather how many people love their telephone company job when they can be doing the same thing in the music industry while waving to one of their favorite music artists as they walk down the record label’s hallway for a 2:00 pm appointment with the record executives?

You don’t have to settle anymore with the thought of just getting by in your 9-5 job that you either don’t think much about or that you even hate. You should be searching and conquering a job/career in an arena you can identify with. It doesn’t have to be in music but it should be in you! If you do identify with the music industry, remember there aren’t only 25 music careers. There are as many as you need to be happy.

Dave Weston is a music industry entrepreneur, song writer and music artist affiliate. He is also the author of the Insider Music Careers Guide. You can learn more about music industry careers at http://www.music-career-guide.com

Artists Who Are Not Being Seen Are Being Forgotten

It’s true that most independent acts nowadays are satisfied with self management, however, with self serviced public relations there is usually little or no accountability. In order to ensure your requirements are being met, you must be absolutely confident that the tasks your band need completed, are indeed completed as effectively and efficiently as possible.

Music Relation Services Are A Step In That Direction

No one can claim to be able to fulfill all of your business requirements, but getting you pointed in the right direction and primed for growth is an absolute must. With assistance in completing a professional website, a band/artist biography and a photographic portfolio, a music business team can move you from mediocrity to a well oiled musical machine. Independent music services are able to work with you to develop a fundamental and necessary plan of action, while staying within your budget. What these services provide you is a tangible road map to follow, allowing you to work on what you do best. Create great music!

Services like these not only provide assistance with the bare bones necessities of professionalism, but strive to be a catalyst in the development of your art. By providing you with creative and proven methods of increasing your mailing list, and some basic direction with the “business” end of your artistic development, these independent and progressive tactics can and do deliver.

Finding yourself mired in the middle of the music game and not really knowing how to take your career to higher levels can be quite daunting for the business challenged musician. Realizing that their are vast numbers of companies with the skills and experience necessary to assist you on your musical journey is priceless. Using these assets can take a career that has become stagnant and allow it to blossom to it’s full potential. Do your research and find all the help you can to get you and your band playing more gigs and making more money. Actively plan your career and your career will actively reward you.

It’s worth it in the end. So do yourself a favor and take the time necessary to nurture and develop a direct and true path to musical success.

Garth Duss Rodgers is the Founder & CEO of Catsask Music & Entertainment. An online resource for independent musicians worldwide, Catsask.com has helped thousands of independent musicians make their mark in today’s volatile music industry.  Visit Catsask.com for more information.

These are five of the top reasons why you will fail at a music career. It may sound like it is coming off a little harsh. That’s because it is. Too many musicians put too much energy and effort into talking about why things have not happened or why things are not working for them. Everyone has reasons, justifications and rationale to explain why they are failing, yet these same artists do not take the steps to problem solve, change direction, learn, educate or empower themselves with the knowledge and the tools to change the path.

Egos are a sensitive thing and musicians, as well as other artists, are very sensitive. Add stubbornness and delusions of grandeur to ego and you get a failure trifecta. The music industry has changed. It is not what it was twenty five years ago and, hell, it is vastly different than what it was even five years ago.

It’s the musician’s responsibility to learn the industry and the changes that are currently happening. Then formulate a clear understanding of what has to happen in order to ensure success. You must have problem solving skills. You must have the tools and patience to do the drudge work. You must watch for mistakes and missteps just as you watch for opportunities and new avenues. It is crucial to make corrections to keep yourself on the path to success.

Here are five of the top reasons or excuses for failure that I hear all too often. I’ve listed the reasons why they are bad and a way to look at them in a different light.

5. My friends tell me I am great. My fans love me and tell me I should be a star. Everybody loves me and I got a ton of reviews so I am in the right direction.

Congrats! Your friends like you and you have connected with some new fans. This is positive, but not something on which to base your business approach. When positive things are coming your way via comments, messages and personal reviews, then work to find magazines, websites and more reputable organizations and media to say the same thing. When you have a whole bunch of comments on your website or any of your social networks, you are in the same boat as EVERYONE ELSE. Many artists get cocky at this point and think world wide success is just around the corner because a song got 10,000 plays and some cute girl on myspace commented that she loved it.

Now is the time to work on getting 10,000 sales of that song. Now is the time to go after reputable media to review your music or your band. Now this is the time to work even harder and not get cocky. This is how you capitalize on successes. This is how you differentiate yourself from the thousands of other bands that think they are on the brink of success. If you do not, success may just be around the corner, but it will be at a day or night job working at a corner store.

4. I don’t need to worry about the business. The songs will take care of themselves. I don’t need to put the work into the business because it is about me and the music. I just need a manager or a label to take care of everything.

Great attitude. Just sign away the rights to everything then. Let some manager or label do the work. Okay, first off, a lot of labels out there have no idea what they are doing at all. They have templates of old record label contracts that they get you to sign. You then lose all sorts of percentages you are unaware of and they have rights to you without doing anything. On the other side of the coin, say by the smallest chance you get a solid deal, you are still giving up a great deal of ownership to other people to do work that you could easily help with and retain more of a percentage.

The reasons why you need to know the business are paramount and a book within itself. Here’s a summary:

The minute you sign contracts, you are giving other people rights to all aspects of your musical presence. These “other people” may or may not know what they’re doing.

It is required to know what these people are doing with your music, your booking you image, etc., what they can do and what could happen if things go well, just as you should know what could happen if things go poorly. You do need to worry about the business. Whether you are independent or going to a label or manager, you need a crystal clear understanding of what is being done with your musical presence. Otherwise you will—I repeat–YOU WILL BE SCREWED!

3. This artist did it 10/20/30 years ago/ They didn’t worry about this, why should I? These things worked for them. I am copying them and I will have the same success.

Gas prices were cheaper 10/20/30 years ago. We didn’t have a lot of things back then we do now. Why are you expecting the exact same methods used years ago to work today? This is one of the most foolish ideas I hear, and I hear it all too often. From logos, to recordings, to what it costs to put out an album, you cannot use the facts of the past to define the truth of the present. While certain aspects may apply, you need to be smart enough to understand change and what the change is.

If you are so sure that what Duran Duran did with Rio is the short answer to success, then I guess you should also have tens of thousands of cassettes made. Oh wait. People don’t use cassettes much anymore. This also goes for how marketing works, how recording works, how soliciting works. Things have changed. Be aware of the change and consider that the elements that may have worked twenty years ago may not be applicable to today.

2. If I just had the money, the backing, the ears, or if this famous person hears the music…

This is heard at every bar, music venue and music shop: if things were different. Well, you know what, if the world was flat, then it wouldn’t be round. There you go. This statement wastes time and energy that could be used to find ways to get investors or donors, work on a solicitation package for assistance or support from a manager, a label or a talent buyer. Get out of the excuses and get into going after what you want and figuring out how you are going to get it. It is all about productively and effectively building the promotion, marketing and branding in your solicitation to be recognized by people in the industry. It goes WELL BEYOND THE SONG. You have to be the whole package and worth the investment. Think about it: the upper level executives receive thousands of packages. They need to be impressed enough by the package itself in order to open it up and listen. They see you before they hear you. Keep that in mind.

On the other side, get real. Do you honestly think if a famous person hears you that all the sudden you will be signed to a multi-album deal? Not gonna happen. He or she can recommend you, they can send something along. But they’re just one person. Would you rather have one person hear your music or tons of industry professionals who might be willing to help you? Plan according to research. Examine and create lists of people that will look at your type of package, listen to your type of music and have had success getting things done that you want done. Build that list up everyday and, when the package is ready, spend time sending it out to every single one.

1. The industry is against me. I know how things work and they just can’t handle my sound and my image. They just don’t know and that is why I am not where I want to be.

See above response. The same thing goes. You can blame anyone, everyone and everything, but when it comes down to it, it’s about how you handle things. What will impress or turn off many in the industry is your reaction, your following action and the way you execute. You may even be right at times that things are against you, but if you just blame and agree, you are settling, giving up and giving in. None of those attributes makes for a solid investment. Plus, it makes them sound like they’re five. “Nobody likes me, everybody hates me, guess I’ll go eat worms.” Now, even more so, you are providing support for why the industry should be against you.

Buck up, gear up and fight for what you want. Work to show them what you are about and learn different ways to present your sound, your image and your goals. It might not always work, but it is a hell of a lot more effective than bitching and will get you worlds further.

Conclusion

Just do it. Don’t expect it. Plan, learn, grow, create, problem solve and empower yourself as well as your dreams. And then execute. Take those steps or quit. It’s your choice. It really is that simple.

Anyway, what’s great about the wonderful world of the web (www) is much of the information on its pages is toll free. Blogs, Social networks Indie music, art, images, eBooks, videos tutorials, etc; many sites give away information freely, some on a daily basis. Most are great places to visit. I circle the best on my bookmark road map for regular return visits.

Unfortunately on every journey, it is very easy to take a wrong turn off the information highway. There are many spy-ware dead ends, spam road blocks, redirect road maps and viral potholes that can slow you down on your journey, or stop you dead in your tracks; or worse redirect you to the back highway links to nowhere. Take it from me, its no where you want to be when you have websites to visit and information to find.

Want to find great places on the internet? Well here are some places to start your road trip:

1.    Google is usually a greats starting point. Not just any Google search,  find what many people are searching for in Google trends and start there. It’s always best to take the safe and most traveled routes. If you decide to take a more scenic route follow the links from trusted sites and resources.

• Since we are on the subject of Google, try searching in Google groups. By simply switching tabs from Web to Groups, your search term(s) will be repeated on the Groups archives. If you can’t find what you’re looking for in regular searches, try the groups search. You will be surprised what you find.

• I suggest taking the time to learn how to efficiently use search engines. If you spend any amount of time on the web, you should look into using the more advanced features. More importantly learn how to use them and search smarter. There are many tips and tricks on how to use search engines to your advantage. For more info, Google “search tips and tricks.”

• I haven’t used Bing as of yet, but I am hearing great things about its comparable services. I hear it is actually taking the lead in some areas of search. Bing’s Xrank would be the search equivalent to Google Trends.

2.    Many well developed and popular sites offer links to other pages on the same topic that they consider worthwhile. They are inviting you to compare their information with other pages. I usually find great links from sites I visit often. It is the main reason I choose to return.

3.    Take the time to search web directories; many take the time to categorize topics for you. The best directories pick and choose which websites are added to their list e.g.  sites such as DMOZ associated with Yahoo.

4.    Article Directories are another great resource. Ezine and Articlebase  often provide great content that lead you back to the author’s home page.

5.    For those of you who haven’t visited social bookmarking services such as Digg, StumbleUpon and Delicious, they’re considered a must stop in your list of destinations. They take much of the guess work out of searches for you and because they incorporate many social features, they are considered much safer routes.

6.    The list would not be complete without Twitter, the new highway sheriff in town. Jurisdiction, real time searches and trends. Make it a point to follow trusted resources, brands and people. I am always finding great locations on the web from sources that match my own interests. Just be careful who you follow. The amount of followers is not always the best indicator of a trusted twitterer.

Finally, regardless of where you start your search, use common sense when navigating on the information highway. Stay on the well traveled routes and follow recommended links and you should be fine

Happy trails!

You have to find radio airplay time if you’re going to be heard and we’re not just talking the local college campus. The trick is called promotion. Now that doesn’t mean you just put your press kit in an envelope with a demo and hope they take pity on you. Perhaps you call a station and they give you the standard pitch of, “Send it and if we like it we’ll put you in rotation.” After a few months of never hearing your music, you automatically think you’re not worthy.

First, don’t buy that. You’re one of hundreds, maybe even thousands depending on your city. Your disc will probably end up in the trash or, for more enterprising DJ’s, on Ebay in a one-cent CD sale. If you want to be heard and make potential sales, you have to stand out from the crowd, and in this jewel of an article, I’ll show you Five(5) Knock ‘em Dead Ways to Do Just That!:

#1 - Get your CD into the right hands. The intern that’s too busy to getting coffee or typing up a report for the station manager isn’t going to be the one making the airplay decision. So find out who the head honcho is in that department and touch base with them. If the club you’re playing at charges an admission or you have a show coming up offer to send the stations tickets to give away to listeners. Now keep in mind you can’t give the tickets to the staff, since that’s illegal and called payola, but you can offer free giveaway items to your potential audience.

#2 - If you’ve got one station in your pocket, then drop names. Let them know that WABC is playing your music and it’s getting a great response.

#3 - Make genuine friends in the business. If you’ve got a disc jockey that’s got you in rotation and really likes your sound, get to know them. Find out why they enjoy it and see if they’ve gotten any responses from listeners. If they haven’t, ask if perhaps they might Q & A their callers about your music so you get a feel for your target audience. It’s not a bad idea to ask them for a testimonial or quote if they’re well known in your area if you know them personally. People help people. That’s a fact so if you treat your area disc jockeys like a living and breathing human and not dollar signs, that’s a foot in the door. Another good source is club owners. If they play your music and the fans go nuts ask them to say a few words about your sound that you can pass along to prospective stations, but be sure to sit down for a drink with them. Ask them about the picture of him and the woman and two kids behind the Magic Kingdom. Don’t be fake, but be genuinely interested.

#4 - Network. Find out if someone you know (or someone they know) has connections to the music stations. Remember six degrees of separation - you’re only six people away from knowing anyone on the planet and yes that includes station managers, concert promoters and record execs. The trick is it takes a great deal of work and time, but if you’re serious, it’s well worth it.

#5 - Go local, state, national. Don’t think you’re going to skip your local and state stations and be the next Matchbox Twenty. It doesn’t work that way. Start small and then get big.

Making contacts and getting names can be tough, that’s why you should start with a tested and proven music industry resource like The Industry Yellow Pages - Music Industry Contact Directory at http://www.TheIndustryYellowPages.com

And just like any other marketer, you have to learn to grow along with these trends if you want to take advantage of them. Truth is, if you’re not making the most of social media outlets, you’re probably wasting big opportunities to be heard, reach new fans and grow your career.

OK, but how do you do that? It’s not easy, as an independent music artist, to have enough time to figure all this stuff out. You already have your hands full creating art — developing your passion — while building a business of sorts, your own personal brand. To stay competitive we have to adjust to evolving technologies and participate fully in social communities all over the Internet…and still make time for music.

It is challenging. And when you’re first getting started in social media, the learning curve can be pretty steep. Your vocabulary’s going to grow by leaps and bounds as you figure out new things like SEO, SMO, MySQL, Adwords, Adsense, ROI, VC, CSS, RSS, CPC, Ajax, coding, widget, Twitter, Mashable, TechCrunch, Digg, Facebook, Myspace…

…and all the news ones popping up week after week. It’s hard to keep up.

But you can, and it’s worth your while. My advice to independent music artists who are just familiarizing themselves with social media is simple: take things slowly and have fun. Don’t approach it as a new job or school assignment; you’ll probably just get discouraged and start ignoring it altogether.
To get started:

• Research the types of network you might be interested in. There are an overwhelming number of social media outlets you can join online, with a dizzying array of features and widgets to keep you connected.
• Once you choose the type, find the community that best fits your style, hobby or occupation.
• Find out where your friends and colleagues are networking, and then sign up.

Most networks are free to join and only require a valid email account. Once you sign up:

• Connect with friends. Make new friends. Find old ones.
• Get involved. Join a group. Attend an event. Comment on a blog or user profile.
• Ask a lot of questions. You’ll find people are more than willing to help or answer any questions you might have.
• Learn the lingo. Most of these sites are evolving into mini communities, with brand new terms and site-specific conduct guidelines.
• Update your profile regularly.

• Build quality relationships.

Remember what I said: have fun. Social media, luckily, doesn’t really feel like work. Yes, you’re building your brand and marketing your music, but you’re also meeting people, finding connections and playing (!) with all the fun little toys and gadgets that Web 2.0 is famous for.

by Mello Melanin

As a Hiphoppa whose been in the music industry for years, I have seen a lot of changes. I’ve seen the cassette come and go, vinyl get pushed from everybody to only deejays, and the birth and near death of the cd. I’ve also seen the rise of many independent record labels and fewer and fewer artists getting signed by record labels.

I’ve seen artists get signed and blow up and I’ve seen them go independent and blow up. So which is better: Going independent or getting signed? Both have their pros and cons. Let’s take a look at a few.

The benefits of getting signed can be huge…if you got the right things in place. Generally to get signed, you need a marketable demo, an 8×10 head shot, a bio, and a whole lot of patience and hustle. This is typically not an overnight process. Depending on your budget, it may take months to complete your demo package. With today’s technology, lets say it takes you 2 months.

You are going to need a place to produce your music and if you don’t have your own studio you either have to build one or find one to record. You also need to find a good photographer for your 8×10 glossys. The final major step is writing a compelling bio about your group. This is just the beginning!

Once you’ve got that done, you need to be able to reproduce it and solicit it to different labels and A&R’s. I remember sending out countless demos. An artist could easily get discouraged at this point. But if and when you get a record deal there is still more work to do. Now you have to actually negotiate your deal, promote your album, and hopefully make some money at the end of the day. Its a simple process but not an easy one.

A good label will offer marketing and promotions dollars for your project(s), distribution and fair accounting so that you can keep up with your sales, expenses, and true profit. You may even get tour support for your album. Sometimes artists get advances for the expenses and they often have to be repaid or recouped. These fees must be paid back to the label before you as the artist see your profit.

So how does going independent differ from getting signed?
Well, generally as an independent you don’t have the big budget that a big label has but you should definitely have more creative control over your career and business. That’s not to say its easy. Its not. Once again, simple but not easy. To me the independent route is better for several reasons though:

More creative control of your music
Easier to build a niche following
You control distribution of your music
You can sell your independent label for profit in the future
You can create powerful strategic alliances
You keep more of the profits
Different tax benefits, etc.

The list could go on.

However, and being real, it is a very rough road. For most independents, there are no overnight success stories. Its a daily grind with much to learn. It helps to have some written goals so you know where you’re going. The music business is a business. Never forget that. You should study businesses in the music industry as well as other industries to help make your business better.

Still, this knowledge doesn’t guarantee success but it helps you get closer to being successful in the long run than someone who doesn’t know.

And some of the steps for being an independent are the same as the steps for getting a deal. Recording 10 to 15 good songs, pressing them up on a cd or downloadable mp3, and marketing your work are almost the same things that need to be done when shopping for a deal.

With todays technology its not difficult to do these things. Why not press some up to sell and still shop for a deal? This is the way to generate income and still look for other opportunities? Once again its not an easy road but the lessons learned will be invaluable to your career.

And even though you are handling business, you still have to make sure you are creating songs. Don’t stray away from being creative.

Whether you are going the independent route or shopping for a record deal, the best way to success is to study the business. It has the potential to bring you many rewards. Much success!

There are a lot of factors that go into getting prepared to book shows for your band. I learned early on that there are many important factors that go into getting a band performance worthy. Many times I have went to see a band perform and have been disappointed at the final result. These bands are never around for long, and are not bands that I would wish to join.

MEMBERS

The first thing that is required are members. The most crucial part is often finding members who have the same level of interest in the proposed project. Many bands are composed of friends or of other local musicians found in the close knit community of musicians in your area. Potential members can be found through many free websites offering musician placement on the internet, or at a local music store that often provides a bulletin board for musicians looking for bands.

Another key issue is the number of members that will be needed for the project. I have worked with three piece bands and have made a nice payday, and I have worked with six piece bands and have barely broken even. I have always found it safe for most cover band settings to go with at least four members, consisting of Lead guitarist/vocalist, rhythm guitarist, bass guitarist, and drummer. The best thing to do is listen to the songs you plan to do and decide what you will need musically to perform them, and then base the number of musicians you will need on that.

SONG SELECTION

Remember this important factor in song selection that is often overlooked: It is not what you want to hear and like to play that will make your band popular, but it is what the crowds will pay to come and hear that will make you popular.

Song selection can be tough at times. I have always found it best, in a cover band, to go with the old popular songs that the crowd loves, and the newer popular songs on the radio. If I had a dollar for every time I have performed Paranoid or Roadhouse Blues I would be rich. These songs are usually on the set lists for most rock cover bands.

It helps to go out to your local clubs that offer live bands and watch to see what songs the bands are playing that really get a good response from the crowd. Listening to local radio stations to hear what is hot and being played is a good tool for song selection as well.

Depending on the type of venues you are going to play you are going to need 10 to 12 songs per set, based on one hour sets. You will need a good set list based on 40 to 50 songs for a four hour show. The venues in your area may want ‘two’ hour and a half long sets, or just require you to play from 10pm until 2am. However the venue is set up you will want enough songs to play the whole show.

PRACTICE

Here is the key to being a productive and popular band. The more time you put into practicing individually and collectively, the tighter the band will be and the better it will sound. Practice does indeed make perfect. It does take time and effort to get the songs down and get them tight.

I suggest at least two to three hour long focused band practices per week initially. Don’t overdo it and burn yourself or the band out with 8 hour marathon practices. This ends up being counter-productive and usually after a few hours into the practice everyone goes on auto pilot and just tries to get to the end.

Practice on making the songs interesting by starting and ending some of your songs differently than anyone else is doing. Make sure the song is recognizable, but don’t be afraid to add your own artistic flair to the song in order to make it something that people will remember you by.

If the band is having problems with a song and no one is able to click with it, replace it with another song. I have often found that beating the problematic song into the ground takes up too much time…plus, it usually gets cut after a few shows anyway. If you are not feeling it, the crowd will not be feeling it either.

Once you have your song list down and you are comfortable with it, practice on the show itself. Do not focus on merely reproducing the songs on stage, but also practice to perform the songs. Putting on a stage show helps people to remember you. Standing like a statue on stage is not entertaining, and you will soon be forgotten. At the same time do not let your musical quality suffer for showmanship. Practice your show and when you are comfortable with it, practice it some more.

BOOKING

Select your venues wisely. I cannot stress this enough. Do not agree to book a show without knowing about the venue first. I have showed up to gigs with my gear and found out the stage will not support our show, and had to downsize my kit at the last minute.

Usually one of the members of the band will handle bookings. There are a lot of important factors that go into this stage of the game.

• Start Local. If you want to extend your range, I would suggest doing so after you have played successfully at the local level for a while.
• Have a press kit together to give the club owner. Press kits should consist of set list, band biography, contact information, and a CD with at least four songs of your band performing the songs on it.
• Visit the venue in person to discuss booking with the owner. Get a feel for the venue, and look at how the stage is set up, so you can plan in advance of how much gear to bring. Check to make sure how easy your load in and load out will be in advance.
• Negotiate your price. Don’t agree to play for free at one venue for exposure…the other venues may learn that you performed for free and ask you to do the same at their club. You want to make sure that there are no hidden catches, such as agreeing to play for the door and getting to the show and learning that there isn’t a cover charge that night; or agreeing to play for a percentage of the profits the bar makes for the night, only to learn that the percentage is based on a few hours at a section of bar with little traffic.
• Check to see if the venue has hose pa and lights. If so, contact the person who runs sound and lights and let them know in advance what you plan to do, and see what kind of equipment they have.

Remember that often you will play for a certain fee the first time in order for the venue to see how well you do. You will get raises if you bring in a good crowd and are popular. Naturally you want to continue to rebook a venue only if it is worth your while.

When you book a date, make fliers for your show and drop them off at the bar so they can place the fliers throughout their bar to promote your show. This not only helps you, but it helps the venue owner. Post fliers on public bulletin boards that allow for such so you can promote your show. Many local newspapers will spotlight up coming venues for free, or little charge, if you contact them in advance.

PRE-SHOW

Now that you have a date booked, get your band together and practice the whole show through a few times to plan on how you want to execute your performance. If the theme is Halloween, you may want to adjust your show to fit with the theme, such as, playing in costumes or omitting a few songs for a costume contest the venue is having at midnight.

If the venue does not have house sound and lights, and you do not have pa and lights, you will need to contact someone who provides this service. This service can be found in the phone book. Many musicians know of popular sound providers from their prior experience in other bands. Pull your resources together and find a good sound provider. Keep in mind of what you will be getting paid for the show. Do not contract a sound provider if you are going to have to pay more than you make at the show. Shop around and find the best quality for the best price.

Make sure that everyone in the band knows how to get to the venue and what time load in will be, so no one is late. Decide in advance how you are going to transport all of the gear to the show, and make sure to keep in contact with anyone you have contracted for the show, so that they know when to be there and where it is.

SHOW TIME

Here is what we all live for. Now go out there and put on a memorable and entertaining performance. This is what you have worked hard for and this is what the patrons are paying to see. Make the patrons happy and the venue owner will be happy and that is always good news.

MOVING FORWARD

In order to maintain your popularity and continue to be booked, don’t give up on practicing. There is always room for improvement and there will always be alterations in the set list that need made. You will want to stay on top of your game because there are other bands out there and other bands working to get out there who would gladly take your spot.

Alter your set list as needed adding new songs that become popular or songs that people keep asking about. Listen to the crowd and make them happy. If a song isn’t getting good response, then drop it, and select a different one that will.

Continue to book shows. Ideally you want to play at least four weekends a month. At least one night per week that you do perform, but it is even better if you can play two nights a week. Be careful not to over saturate one area. You don’t want to play four clubs that are within a two block radius four weeks in a row. People will generally not come and see your show every weekend if it’s in the same area, but will go see other bands they like or have heard of.

ONE LAST POINT

Always remember to be flexible in the scheduling for the band. Many members of cover bands do it part time and hold full time jobs. There will be trying times in the practice schedule, or conflicts in booking certain dates due to band members’ availability when work or family issues arise. The most important thing to remember is to work hard, but have fun while you are doing it. Give your crowds 110% and entertain them. They will come back to see you again.

Ricky Roberts is a drummer who is currently working with the artist Brian Smoot on an original project.

Ricky has performed with a wide variety of cover bands and original projects in his 31 years of playing.