Band Scenario 1 - You have a covers band, you have the equipment, and you have gigs, but you want more. You all have "day jobs," because the money coming in isn't going to pay all of the bills, and it probably never will, but you do this for fun (and money) and want to keep it up.
Band Scenario 2 - You have original songs - great songs that you want to get out there and showcase. You want to be a professional performer, but you don't want to know how to do all of the business stuff that it takes to get from here to there....
The answer may be that you are ready to hire a band manager. Booking agents either call you or you pursue them. Band managers do things for you on your behalf. They assist you in achieving your goals. You are the customer. You tell them what you want to achieve and then together you divvy up the responsibilities to get to your goals. You'll still have responsibilities, but so will they.
The Metro Gnome asked Rhonda Lewis, from Uptone Entertainment to tell us from a band manager's perspective what it takes to manage a band. We're not going to tell you that you have to engage a manager, in fact, we're going to develop a library of how to do a lot of things yourself - but here's one band manager's perspective on The Basics of Managing a Band....
The Basics of Managing a Band
By Rhonda Lewis, Uptone Entertainment
The following is of my opinion, lessons learnt, mistakes made and what I believe a manager should be.
Some Fundamentals
Firstly, I believe that a manager should be part of the team, whether it is a band, group, duo or solo act. There must be trust, good communication and understanding between all parties to enable the team to function well on all levels. I am a firm believer in contracts that are fair to both parties. Not so long ago there was a time when verbal contracts were the done thing, some of these are still in place now (decades later) and are still as strong as when first taken up. Don't get me wrong, I don't disagree with verbal contracts if that is what you prefer but with the system as it is today you must have a solid back up. Draft your contacts with honesty and care, do not sell yourself short and do not take advantage of your band. Some new bands do not know the ins and outs of contracts and it should be stated in such contract that they have it looked at by a solicitor or at least somebody in the know. There are several basic contracts on the web that can be downloaded, all you have to do then is change what you feel is appropriate to you and your band.
Another belief I have is that your band members should feel comfortable with you and that they can come to you with any questions, ideas, grievances, even personal problems. The more the manager knows about their band members the better the communication. Remember that you are not only their manager but also their shoulder to cry on and sometimes an imaginary punching bag (not literally). At times you will feel like a babysitter at other times a mum or dad, this is all part of management. I personally would never turn away somebody with a problem; even if I can't fix it I can listen and maybe sometimes advise. It's all part of the job, just don't let them become too dependant on you.
You must remember that you are their Band Manager not their Bank Manager, the band must self fund, I personally cannot have hand in pocket all the time and refuse to do so. If the band needs something, the band pays/works for it. Sounds harsh but it is fact. (Guess that comes from years of saying "NO" to my kids, just hope the band members don't ask my kids how they got me to say "YES").
Never stop working, always be on the look out for places for your band to play, ideas pop up in the strangest places sometimes. You are always learning in this business and always ask questions about anything you are not sure of, even those who have been around for ages are still learning something new all the time, and I don't just mean technology either. I have only recently retuned to the industry after a 27 year break and the quickest way that I thought I could catch up on the industry was to attend TAFE. It's working well and I can't believe how much the industry has changed. So if you are in doubt, do yourself and your band a favour and enrol into Music Industry (Business) Cert 111. It will open your eyes to a whole new world. (Especially Copyright & Royalties....wow!!!).
Presentation Pack
Remember to get the presentation pack right. There is nothing worse than underdoing or overdoing it. It should contain a tape or CD (sometimes best to have both), a cover letter and a bio. Hopefully the cover letter has been read first by whomever you have sent it to. Then they listen to your tape or CD. Don't forget that yours isn’t the only one they have received, they may receive hundreds every week. They must be interested in what they are listening to within the first 30 seconds or forget it; the rest won't be heard at all. Always use top quality tapes and CDs, then make sure the mix is perfect and the have somebody neutral listen to it for their opinion before sending it off. Always put your best track first, and then they are more inclined to listen to the others. Only have three maybe four tracks, they don't have time to listen to any more.
What a Manager Does
It can be difficult to put into words what a manager does, exactly. Firstly the act/band does the gigs and the manager does mostly everything else, i.e. dealing with agents, record companies, the press, radio and television stations, administration etc, etc, etc and so on. Learn how to delegate certain tasks. If you cannot afford to hire staff, there would be a lot of friends and family members willing to give you a hand, especially with office work and bookkeeping. Personally, I hate handling the money side of things and would prefer to have an accountant do it, but that comes at a cost, so I will delegate.
The band should also be involved in what the manager does so therefore I suggest that regular meetings are held, at least once a month with the whole band present and weekly with the band leader. This way, you execute the business plan and everyone knows what is happening. Because we all see things differently, it is a good idea to discuss everything and get it right the first time. Even the putting together of a band bio and demo for a promotional kit should be done with all involved so there is no arguments later about what should have been said and wasn't. Everything from where the photo shoot is to take place and who the photographer will be should be discussed and decided upon jointly. Nothing worse than organising a photographer to only find out that he's your drummers ex brother in-law that hates him. Just little things like that can be a big waste of time and energy.
In the end....
What you have just read is of my own opinion and what I have learnt over the years (plus at TAFE recently). It's not easy being a manager but don't let that deter you, if you love what you are doing and can be confident that there is trust and good communication between you and your band then all will be fine. There are so many sites on the web to assist you (and me) that you really can't go wrong. There are also many professional music industry personnel out there that are only too willing to answer any of your questions, just pick up the phone or send an email.
About Uptone
I have just recently started to manage a great bunch of guys who go by the name of Sculptors Mode. They are a rock band from the Hills district in Sydney and will be embarking on the gig scene sometime in July. They are fabulous and are an all original band.
Please feel free to contact me with any questions (if I don't know the answer, I will find it for you). Or if you have any suggestions for me, give me a call or send me an email.
Rhonda Lewis
uptone@gmail.com
Uptone Entertainment
Phone /Fax: 02 9670 1375
Mobile: 0402 459 316
Showing posts with label How To..... Show all posts
Showing posts with label How To..... Show all posts
Wednesday, August 18, 2010
How to... Run an Effective Rehearsal
Well hello!
Thanks for looking at this issue's How To... section. We're dealing with a topic important to all musicians - running effective rehearsals. It's a topic I find can make or break a band. And it's one many people (including me) seem resistant to address proactively. Why? Well, in my case, I don't want the rest of the band to see me as trying to dominate and control the band. But I still want an effective rehearsal. The fact is, someone does need to manage the band. To control the rehearsal. And everyone needs to prepare.
Anyway, I asked some seasoned musicians to tell us what it takes to run a great rehearsal. Here are their answers.
Doug "Uncle Buck" Lloyd, sax, juggling 3 bands
What do I think it takes to run an effective rehearsal? Hummmm......
* common well understood objectives/goals
* advance preparation
* start (and finish) on time
Let me elaborate.
Goals include lots of things, like type of band (dance band/stage band/etc), type of music, style, image - those are some of the more 'strategic' goals. Goals for one rehearsal might include creating a song or two, polishing some songs, introducing a new song or two. Make sure you all agree on why you are rehearsing - each individual has his/her own reasons, of course, but the band as a whole might be preparing for a gig, preparing for a recording session, or just building on the old portfolio, or creating new original tunes. It's good to let this overriding purpose drive the rehearsal - sort of keeps things on track.
SOMEONE needs to set an agenda several days in advance
Preparation - easy one here! But seldom done, in my experience. SOMEONE needs to set an agenda several days in advance - could just be a songlist. The whole band should be informed several days before the rehearsal what will be done at the rehearsal. Each individual should use that information to prepare for the rehearsal - have their part ready! In advance. Right. Other parts of preparation include securing a place, establishing a start and stop time, making sure everyone is informed and committed, etc.
Start time - It's really hard to rehearse when everyone is not there. Being late is inexcusable. Sorry, it just is. Musos aren't known for punctuality usually, but they should be. On time for rehearsal, on time for gigs. Be there early. The start time means start PLAYING, not start setting up! Tuned and ready to go. No shit.
Musos aren't known for punctuality usually, but they should be.
Well, there are some thoughts.
As far as a personal experience, the worst I can remember is simply getting there, setting up, and then waiting, waiting, waiting, and finally getting cancelled because someone (or two) didn't show and the sob didn't even call!
The best? The first rehearsal has been a great rehearsal for me many times. It's new, it's discovery, it's exciting. Nothing specific to point to, but I can remember several groups I've been in and the very first time we got together, and it was great! It continued to be great, too, but there's nothing quite like the first time. In music, too.
Hope this helps....
Mike Kent, guitarist, 1 band
It is a great question, and I have a few thoughts. Here goes....
A productive rehearsal relies on a few key fundamental principles.
Covers
Are you playing in a cover band? There is nothing wrong with that!!!! If so, find copies of the songs you are going to play, and learn your part as well as you can. This is very important! It's all very well to play covers by simply knowing the chords, but remember, the songs you are playing are well known for the way the arrangements and the parts fit together. Never try to learn more than 4 or 5 songs in a single 4 hour rehearsal block! Remember, you're paying real money, so knowing your bit will make the rehearsal go more smoothly. Oh, and don't do what I do, which is between every song, play little bits and pieces of other famous songs. This is bound to piss off other band members.
Don't do what I do, which is between every song, play little bits and pieces of other famous songs. This is bound to piss off other band members.
Original songs
Are you doing what we all aspire to, which is play in an original band? Then work with the songwriter/songwriters in the band.
Step 1 is to never go near a rehearsal room - where you're paying for the priviledge, until you have sat for endless hours in somebody's bedroom going over the arrangements, the chords, the lyrics etc with a few acoustic guitars. Again, never aim to nail more than a few songs at each paid for rehearsal.
The difference in an original band, is to ego manage. Usually, an original band has only 1 or 2 writers. Try to massage their creativity, understanding that their songs are usually the reason you're playing with them in the first place. Try to put your own playing aside, and service the particular song you are working on with taste. Think about it this way: what if Ringo wanted to play drum solos all the way through Hey Jude? Wouldn't really work would it?
You have to learn what may be the hardest musical lesson of all... TO LISTEN TO EACH OTHER!!
Hopefully, as in a covers band, some of the parts you will play will become apparent in the lounge room. This is not always the case in a louder rehearsal room situation. Once you are playing these songs LOUD, what worked at home may not work in the live situation. Then, you have to learn what may be the hardest musical lesson of all. Forget scales, forget chord shapes, forget image and a recording contract. YOU HAVE TO LEARN TO LISTEN TO EACH OTHER!! In fact, I think this is the singular most important piece of advice for rehearsing in any situation, originals or covers aside, and I'm very sorry for shouting it, but I believe it to be so.
By way of explanation, I can only offer my own experience. I am an older fella (44), who plays in a cover band for fun. In my younger days, I played in numerous original bands, but now have a real job, and just enjoy the experience of gigging with this band without the angst of having to write the material. There are 8 of us in the band - 3 singers, drummer, bass player, keyboard player and 2 of us cursed guitar players. I had never played with another guitarist before, let alone 3 singers and a keyboard player.
My first rehearsal, I did what I said in the section under covers bands. I learnt my parts as well as I could (some 35 or so songs) and went along. Because I wasn't used to the huge personnel, I promptly overplayed. And because I'm a little bit thick, it took me a few gigs to remember the other cardinal rule I outlined in this story: I began to listen to the other players in the band, not just myself!!!! As a result, I began scaling back what I was playing, because otherwise it was getting damn messy. Suddenly, the band began to sound cleaner and nicer, and the other lovely players and singers in the band were allowed room to shine (as they do, cos they're fine players - but that's another story).
It's all about the song - not about your ability to solo or preen.
So I guess kids, what I'm trying to say is (and I know it sounds as squeaky clean as an episode of The Waltons), regardless of you situation (covers or originals), the key to successfully rehearsing is to be as thoroughly prepared as you can and support the music you are playing as well as you can. It's all about the song - not about your ability to solo or preen.
Greg Dodge, Manager of The Australian Academy of Music in Brisbane
Greg runs jam sessions for large groups on a regular basis and has lots of experience getting people involved for a fun jam. Here he gives us his advice for setting up a jam and for running a rehearsal - obviously 2 completely different things.
Jam session
If more than thirty people in the room it works (60 or 100 great!!). A white board broken up into four squares. First person writes in first square what songs they want to play (suggest two). Others add what instruments they will play or sing. Next square is filled in same with two new songs. This means when the band gets up it is rubbed out and new songs are written up and on it goes. Everyone gets a go and no one ends up 'hogging the Jam".... For a jam this big, all gear should be provided by the Jam organisers (we run these in Brisbane).
Rehearsals
Be organised before each get there. Know the songs - or have a plan to what you may jam before walking in. Lyrics - chord changes etc etc. Also works best with a Music Coach. Someone who challenges the "whole sound" of the band. To get the best out of the band....
Thanks for looking at this issue's How To... section. We're dealing with a topic important to all musicians - running effective rehearsals. It's a topic I find can make or break a band. And it's one many people (including me) seem resistant to address proactively. Why? Well, in my case, I don't want the rest of the band to see me as trying to dominate and control the band. But I still want an effective rehearsal. The fact is, someone does need to manage the band. To control the rehearsal. And everyone needs to prepare.
Anyway, I asked some seasoned musicians to tell us what it takes to run a great rehearsal. Here are their answers.
Doug "Uncle Buck" Lloyd, sax, juggling 3 bands
What do I think it takes to run an effective rehearsal? Hummmm......
* common well understood objectives/goals
* advance preparation
* start (and finish) on time
Let me elaborate.
Goals include lots of things, like type of band (dance band/stage band/etc), type of music, style, image - those are some of the more 'strategic' goals. Goals for one rehearsal might include creating a song or two, polishing some songs, introducing a new song or two. Make sure you all agree on why you are rehearsing - each individual has his/her own reasons, of course, but the band as a whole might be preparing for a gig, preparing for a recording session, or just building on the old portfolio, or creating new original tunes. It's good to let this overriding purpose drive the rehearsal - sort of keeps things on track.
SOMEONE needs to set an agenda several days in advance
Preparation - easy one here! But seldom done, in my experience. SOMEONE needs to set an agenda several days in advance - could just be a songlist. The whole band should be informed several days before the rehearsal what will be done at the rehearsal. Each individual should use that information to prepare for the rehearsal - have their part ready! In advance. Right. Other parts of preparation include securing a place, establishing a start and stop time, making sure everyone is informed and committed, etc.
Start time - It's really hard to rehearse when everyone is not there. Being late is inexcusable. Sorry, it just is. Musos aren't known for punctuality usually, but they should be. On time for rehearsal, on time for gigs. Be there early. The start time means start PLAYING, not start setting up! Tuned and ready to go. No shit.
Musos aren't known for punctuality usually, but they should be.
Well, there are some thoughts.
As far as a personal experience, the worst I can remember is simply getting there, setting up, and then waiting, waiting, waiting, and finally getting cancelled because someone (or two) didn't show and the sob didn't even call!
The best? The first rehearsal has been a great rehearsal for me many times. It's new, it's discovery, it's exciting. Nothing specific to point to, but I can remember several groups I've been in and the very first time we got together, and it was great! It continued to be great, too, but there's nothing quite like the first time. In music, too.
Hope this helps....
Mike Kent, guitarist, 1 band
It is a great question, and I have a few thoughts. Here goes....
A productive rehearsal relies on a few key fundamental principles.
Covers
Are you playing in a cover band? There is nothing wrong with that!!!! If so, find copies of the songs you are going to play, and learn your part as well as you can. This is very important! It's all very well to play covers by simply knowing the chords, but remember, the songs you are playing are well known for the way the arrangements and the parts fit together. Never try to learn more than 4 or 5 songs in a single 4 hour rehearsal block! Remember, you're paying real money, so knowing your bit will make the rehearsal go more smoothly. Oh, and don't do what I do, which is between every song, play little bits and pieces of other famous songs. This is bound to piss off other band members.
Don't do what I do, which is between every song, play little bits and pieces of other famous songs. This is bound to piss off other band members.
Original songs
Are you doing what we all aspire to, which is play in an original band? Then work with the songwriter/songwriters in the band.
Step 1 is to never go near a rehearsal room - where you're paying for the priviledge, until you have sat for endless hours in somebody's bedroom going over the arrangements, the chords, the lyrics etc with a few acoustic guitars. Again, never aim to nail more than a few songs at each paid for rehearsal.
The difference in an original band, is to ego manage. Usually, an original band has only 1 or 2 writers. Try to massage their creativity, understanding that their songs are usually the reason you're playing with them in the first place. Try to put your own playing aside, and service the particular song you are working on with taste. Think about it this way: what if Ringo wanted to play drum solos all the way through Hey Jude? Wouldn't really work would it?
You have to learn what may be the hardest musical lesson of all... TO LISTEN TO EACH OTHER!!
Hopefully, as in a covers band, some of the parts you will play will become apparent in the lounge room. This is not always the case in a louder rehearsal room situation. Once you are playing these songs LOUD, what worked at home may not work in the live situation. Then, you have to learn what may be the hardest musical lesson of all. Forget scales, forget chord shapes, forget image and a recording contract. YOU HAVE TO LEARN TO LISTEN TO EACH OTHER!! In fact, I think this is the singular most important piece of advice for rehearsing in any situation, originals or covers aside, and I'm very sorry for shouting it, but I believe it to be so.
By way of explanation, I can only offer my own experience. I am an older fella (44), who plays in a cover band for fun. In my younger days, I played in numerous original bands, but now have a real job, and just enjoy the experience of gigging with this band without the angst of having to write the material. There are 8 of us in the band - 3 singers, drummer, bass player, keyboard player and 2 of us cursed guitar players. I had never played with another guitarist before, let alone 3 singers and a keyboard player.
My first rehearsal, I did what I said in the section under covers bands. I learnt my parts as well as I could (some 35 or so songs) and went along. Because I wasn't used to the huge personnel, I promptly overplayed. And because I'm a little bit thick, it took me a few gigs to remember the other cardinal rule I outlined in this story: I began to listen to the other players in the band, not just myself!!!! As a result, I began scaling back what I was playing, because otherwise it was getting damn messy. Suddenly, the band began to sound cleaner and nicer, and the other lovely players and singers in the band were allowed room to shine (as they do, cos they're fine players - but that's another story).
It's all about the song - not about your ability to solo or preen.
So I guess kids, what I'm trying to say is (and I know it sounds as squeaky clean as an episode of The Waltons), regardless of you situation (covers or originals), the key to successfully rehearsing is to be as thoroughly prepared as you can and support the music you are playing as well as you can. It's all about the song - not about your ability to solo or preen.
Greg Dodge, Manager of The Australian Academy of Music in Brisbane
Greg runs jam sessions for large groups on a regular basis and has lots of experience getting people involved for a fun jam. Here he gives us his advice for setting up a jam and for running a rehearsal - obviously 2 completely different things.
Jam session
If more than thirty people in the room it works (60 or 100 great!!). A white board broken up into four squares. First person writes in first square what songs they want to play (suggest two). Others add what instruments they will play or sing. Next square is filled in same with two new songs. This means when the band gets up it is rubbed out and new songs are written up and on it goes. Everyone gets a go and no one ends up 'hogging the Jam".... For a jam this big, all gear should be provided by the Jam organisers (we run these in Brisbane).
Rehearsals
Be organised before each get there. Know the songs - or have a plan to what you may jam before walking in. Lyrics - chord changes etc etc. Also works best with a Music Coach. Someone who challenges the "whole sound" of the band. To get the best out of the band....
How to Raise Money Before You Play a Note
You have a pretty good fan base; people who see you play live every week and who always ask when you will have a recording that they can buy. If only you had the money to make that next CD.
The Traditional Recording Industry
Record companies do it this way: they "find" you (probably after years of you telling them about you). Then they decide that they are willing to make an investment in you. They are taking a business gamble. They believe that you will make music that is attractive to a certain number of people and will generate a certain amount of revenue. So they provide funding and equipment for you to make that music. They're banking on the fact that they'll sell CDs - more CDs than the cost of the funding and the equipment. And because they win some and lose some, they make sure that they get a good cut when they win. At the most the artists get about 15% of the revenues from sales - 85% to the recording company, 15% to you. And that's how it has worked for years and years....
Of course, lately, it's actually gotten harder to grab the attention of these recording companies. If they had $500,000 to invest before, they might have spread that out over 10 bands or more. Now they put it all into one basket. So they need to look for very mainstream artists. Anyone with a small niche sound, well, they're out of luck. And that's how it's gone for years.....
The Old Fashioned Way - Patronage
Say you're Wolfgang Amadeus Mozart. You have a pretty good fan base - royalty and friends of royalty. And you have performed a few gigs around town that gave people a taste of what your music sounds like. So the royals support you and they want to hear more. What happens? Well, they give you money and resources to write your little ditty. You get all the perks. Good seats at restaurants. A stipend to ensure you have fresh fruit and veg. And all the musos you can shake a stick at. You're on cloud 9. When you're done, you get gigs all over the country and you perform over and over and over again. Like a record. J What does the royalty get - live performances of great music. What do you get - the opportunity to live off of what you do - making music.
This relationship is called "patronage." And what you might not know is that you can use it today. Of course you either have to have a great relationship with someone really rich - like a queen - or you have to have enough fans (modern day patrons) who want to hear your CD and are willing to pay for it. You want to find patrons. And when you find enough of them, well.... You can raise the money to fund the development before you even play a note. Here's how it works....
Say you have about 100 people you know would buy your CD. They all really like your work and, sight unseen, would be willing to shell out $20 bucks for a CD. That's $2,000. But your budget to produce what you want to produce is $50,000. How are you going to get the money?
Enter the Internet
The Internet, with all of the grief it's getting right now because it enables people to share music without paying for it, may just also be the funding partner that smaller niche artists need. Here's the new scenario....
You set up a website with a few words from you, perhaps a sample of your lyrics, maybe a few words about your vision for the CD, maybe you throw on some samples of your previous work or some demos of the songs you want to develop. And with a finished product in mind, you overtly ask people to pay for a CD now that they will get later.
And you offer them another perk - the opportunity to virtually participate in the process of recording. While your website is generating funds, you do your artistic thing. And you post photographs of recording sessions, post diary entries of what's happened, even post samples of what you recorded so that your patrons can see how their money is being used. They feel involved.
A side benefit of this to your fans is that you expose them to what their money actually buys. They may finally realise that their $20 investment doesn't really buy a physical disc with bits and bytes. Some people just don't understand why CDs cost $20 when they can just copy one in less than 5 minutes on their home machine for less than a dollar. By sharing with them the intricate elements of artistic creation (selecting an arrangement, finding musicians, improving equipment, etc) you are exposing them to the real value of their purchase.
There are software programs out in the world already that help you do this sort of thing. They handle everything like online payments, customer (patron) databases, and website content. There are also modifications of this idea out there - software and business arrangements that make online micro payments (transactions less than, say, $2.00) economical. You can sell one song at a time and never produce a CD at all.
The Result
The goal of course is to make more money than your costs (including paying you). So if by using the power of the Internet, you will market to millions of people instead of only your immediate fan base, you can see that this would likely increase your sales. And if your project is interesting to a small portion of that market (therefore unlikely to get record label funding - well, you can see how it would work well for a niche artist with a good reputation and a well-presented idea.... Theoretically, you can turn the old formula on its head. Instead of the artist getting about 15% of the revenue from a record company, the artist can get 85% of the revenue - the other 15% going towards the software. Pay for costs and keep the change.
So if you're wondering how to fund your next CD and don't want to (or can't) fund it yourself - think a bit out of the box. The ideas are out there.... You have choices. Get out there!
Gnome Links:
* This article was written based on a 3 part series on National Public Radio in the US. You can listen to that series and see other links by clicking here http://www.npr.org/templates/story/story.php?storyId=391823.
The Traditional Recording Industry
Record companies do it this way: they "find" you (probably after years of you telling them about you). Then they decide that they are willing to make an investment in you. They are taking a business gamble. They believe that you will make music that is attractive to a certain number of people and will generate a certain amount of revenue. So they provide funding and equipment for you to make that music. They're banking on the fact that they'll sell CDs - more CDs than the cost of the funding and the equipment. And because they win some and lose some, they make sure that they get a good cut when they win. At the most the artists get about 15% of the revenues from sales - 85% to the recording company, 15% to you. And that's how it has worked for years and years....
Of course, lately, it's actually gotten harder to grab the attention of these recording companies. If they had $500,000 to invest before, they might have spread that out over 10 bands or more. Now they put it all into one basket. So they need to look for very mainstream artists. Anyone with a small niche sound, well, they're out of luck. And that's how it's gone for years.....
The Old Fashioned Way - Patronage
Say you're Wolfgang Amadeus Mozart. You have a pretty good fan base - royalty and friends of royalty. And you have performed a few gigs around town that gave people a taste of what your music sounds like. So the royals support you and they want to hear more. What happens? Well, they give you money and resources to write your little ditty. You get all the perks. Good seats at restaurants. A stipend to ensure you have fresh fruit and veg. And all the musos you can shake a stick at. You're on cloud 9. When you're done, you get gigs all over the country and you perform over and over and over again. Like a record. J What does the royalty get - live performances of great music. What do you get - the opportunity to live off of what you do - making music.
This relationship is called "patronage." And what you might not know is that you can use it today. Of course you either have to have a great relationship with someone really rich - like a queen - or you have to have enough fans (modern day patrons) who want to hear your CD and are willing to pay for it. You want to find patrons. And when you find enough of them, well.... You can raise the money to fund the development before you even play a note. Here's how it works....
Say you have about 100 people you know would buy your CD. They all really like your work and, sight unseen, would be willing to shell out $20 bucks for a CD. That's $2,000. But your budget to produce what you want to produce is $50,000. How are you going to get the money?
Enter the Internet
The Internet, with all of the grief it's getting right now because it enables people to share music without paying for it, may just also be the funding partner that smaller niche artists need. Here's the new scenario....
You set up a website with a few words from you, perhaps a sample of your lyrics, maybe a few words about your vision for the CD, maybe you throw on some samples of your previous work or some demos of the songs you want to develop. And with a finished product in mind, you overtly ask people to pay for a CD now that they will get later.
And you offer them another perk - the opportunity to virtually participate in the process of recording. While your website is generating funds, you do your artistic thing. And you post photographs of recording sessions, post diary entries of what's happened, even post samples of what you recorded so that your patrons can see how their money is being used. They feel involved.
A side benefit of this to your fans is that you expose them to what their money actually buys. They may finally realise that their $20 investment doesn't really buy a physical disc with bits and bytes. Some people just don't understand why CDs cost $20 when they can just copy one in less than 5 minutes on their home machine for less than a dollar. By sharing with them the intricate elements of artistic creation (selecting an arrangement, finding musicians, improving equipment, etc) you are exposing them to the real value of their purchase.
There are software programs out in the world already that help you do this sort of thing. They handle everything like online payments, customer (patron) databases, and website content. There are also modifications of this idea out there - software and business arrangements that make online micro payments (transactions less than, say, $2.00) economical. You can sell one song at a time and never produce a CD at all.
The Result
The goal of course is to make more money than your costs (including paying you). So if by using the power of the Internet, you will market to millions of people instead of only your immediate fan base, you can see that this would likely increase your sales. And if your project is interesting to a small portion of that market (therefore unlikely to get record label funding - well, you can see how it would work well for a niche artist with a good reputation and a well-presented idea.... Theoretically, you can turn the old formula on its head. Instead of the artist getting about 15% of the revenue from a record company, the artist can get 85% of the revenue - the other 15% going towards the software. Pay for costs and keep the change.
So if you're wondering how to fund your next CD and don't want to (or can't) fund it yourself - think a bit out of the box. The ideas are out there.... You have choices. Get out there!
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* This article was written based on a 3 part series on National Public Radio in the US. You can listen to that series and see other links by clicking here http://www.npr.org/templates/story/story.php?storyId=391823.
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