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Tax Returns and the Music Business

It’s “tax return” season in the U.S. Every furniture store and car dealership is begging us to come spend our big cash “bonus” we get from the government on something new and shiny. My favorite ad I see is the tax businesses who say “Let us help you get the biggest refund possible!”

Many years ago, when I was a brand-spanking new adult, my dad (who is a money guy) taught me something that I think about every year during this “tax return” season. He said, “Why would you want to give the government an interest-free loan?” What we are essentially doing is giving the government our hard-earned money to use however they want for free. And then, if we did our figuring right, we get a bunch of it back the following April. Dad explained to me that you want to figure out the amount of tax taken out of your check each payday as closely as possible so that you get ZERO back in April. You may even be better off having to take a few hundred out of your savings to pay them because at least you earned a little bit of interest on that money over the previous months.

So, instead of giving the government a couple hundred extra dollars a month FOR FREE, why not put it in an interest-bearing savings account??

This was a big shift in my thinking. It grinds against the cultural message here in the US that you must be doing something wrong if you don’t get a big tax bonus in April. In addition, there are a lot of companies that profit from you NOT thinking this way. They want you to get a big chunk of change every April. They are counting on it.

This blog isn’t meant to be about taxes, though. I mean, feel free to argue with me and my dad in the comments if you’d like. But I’m here to discuss how making a major mindset shift as big as this, is an essential part of being a musical entrepreneur today. It occurred to me how many MAJOR mindshifts we have to make year after year as independent artists, singers, producers, songwriters, and performers. Some of these mindset shifts require looking at things with a new perspective. Some may have you saying… “MIND BLOWN”. At least I hope so 😉

Mindset Shift #1: “I only have 96 followers on Spotify! How can I get more followers??”

Thinking this way will keep you focused on numbers rather than fans. It’s hard not to get excited when a new release gets an influx of streams and followers, or even a post on Instagram gets a lot of love. What happens though if you stop there? Do you do anything when you get those surges? Or are you just happy about it and take a screenshot and post about it? The most important part of building your music business and fan base is the nurturing that takes place after you are discovered. As a musician of any type, your focus should be on real people who connect with your music. How many of those people listened once and never listened again? Or never listened to another song? How can you get those new listeners to buy a ticket to your show when you are in town? The short and simple answer is to nurture your fanbase, one fan at a time. The numbers mean nothing. It’s the people who want to sign up for your email list because they want more from you. They are the ones worth getting excited about.

Mindset Shift #2: “No one is finding my website! Maybe I need a new design or need to use a different hosting platform?”

I saw someone say this in a Facebook group. Of course, everyone jumped in the comments to tell this person their recommended website platform. “WordPress is the best!” “Squarespace!” “Wix”! Etc. Then a couple of comments said, “If your problem is discoverability, it’s not about your website. It’s about SEO.” The individual didn’t even know what they were referring to. Search Engine Optimization. If you have a website and you are expecting to be “found” when anyone searches, you have to have this aspect dialed in. While I’m not an expert on SEO and won’t get into this, if you are an independent artist or you have a music business and haven’t hired an expert to help with your SEO, there is no possible way strangers will find you with a search. 

Social media platforms and even streaming platforms use the same type of “math” for discoverability. They call it “algorithms”, to grossly simplify it. This is where the use of hashtags, consistency, and types of content comes into play. Just as having no keywords, or the wrong keywords, in your SEO settings will keep you from being found in a Google search, posting a static picture once in a while with no hashtags will do you no favors.

Mindset Shift #3: “How do I sell my songs?”

I see people ask this question in songwriting groups all the time. It tells me that they don’t know how this industry works. First of all, as a songwriter, you most likely will never want to outright “sell” your songs. In music news, you may have seen major artists such as David Bowie, Bob Dylan, or Sting recently sold their catalogs. For MILLIONS. I don’t know their reasons but I’m sure it has something to do with just being done with the industry and ready to cash out. What if David Bowie had “sold” his songs at the beginning of his career for something like $100,000? That would have probably seemed like a lot of money for him back then. But what sort of sinking feelings would that bring to watch some other company making millions of dollars on that same song? If he had just waited until the catalog value was high enough, he could have created wealth for his family for generations. $100,000 might buy a nice camper trailer.

The question you are meaning to ask as a songwriter is, how do I get artists to record my songs? The answer to this could be a separate, long blog. So I’ll give you the general answer. The point, however, is to shift your thinking from “selling” your songs to “signing, assigning, licensing.” If you have zero connections in the music industry and are just starting out, join a group such as NSAI. You can also purchase a book called “Songwriter’s Market” which, for years, was published every year with updated information. But, since the industry has changed so much, it looks like the last publication was released in 2016 (!) Still, the information in this book is essential for songwriters just getting started. Specifically, songwriters who aren’t interested in being an artist.

The way to a major artist is by their manager. Usually, a major artist and/or their manager will not accept song submissions from anyone but a reputable publishing company or other industry pros they are already connected with. Getting a song signed with a publishing company that pitches major artists may be your first target. Major publishing companies usually have the same “barrier to entry”, however. So, with no connection, start out by finding a smaller music publisher who is interested in working with “undiscovered” songwriters (who write great songs).

Also, don’t forget that there are probably artists in your own town and music scene that could be a good fit for your song. I’ve had the joy of connecting artists with songwriters in my local scene and it’s a really neat experience. Keep your mind open to these sorts of opportunities as well!

Mindset Shift #4: “How do I get on the radio?”

When I hear this question, I always ask….why? I understand it’s the novelty of it. I remember the first time I heard my own music and voice on the radio. I cried. It is surreal. That was in the 90’s, though. Can we get over the novelty of this now? The reason why you should ask yourself, “Why should I get my song on the radio?” is that the purpose needs to make sense for your demographic and promotional plans. Who listens to the radio? People commuting to work, most likely, right? Is that your fan demographic? Getting on the radio can help with local events or promotional plans. Will you be doing a show in a few weeks? Then you should be not only on the local radio station but also, sitting in as a guest on a local radio show and early morning TV shows. But what if your fan demographic doesn’t listen to the radio *at all*  and has never watched local morning shows? Then, it doesn’t make sense to worry about it. Ask yourself the question, “Where are my fan demographics’ eyes and ears?” If you don’t know your fan demographic, then you need to do this Fan Profile Worksheet.

Mindset Shift #5: “This management company that has worked with Beyonce wants to sign me. It’ll cost me $70,000 and I’ll have no control over my songs, my artist brand, or promotional strategies, but … .Beyonce!”

Need I explain this one? Unfortunately, I’ve seen artists jump into these agreements. They aren’t necessarily scams because these companies do have great connections to amazing producers and the best songwriters. But what I’ve seen is that they are not interested in the artist and helping them develop but are only interested in getting hit songs out the door as fast as possible. And, even after you (or your parents) have paid them a ton of upfront money, they own the masters. This is like an old-school record deal, only worse because YOU fronted the investment upfront and never recoup that cost. Don’t fall for the name-dropping. It looks like a fast track but it’s more of a big debt you can never pay back.

Mindset Shift #6: “Streaming companies are ripping off artists! There’s no way we can make any money when they only pay $.0003 a stream!”

Streaming is not going away. And, if you take a good look at the reality of what happened when the internet took over the music business, you’ll see that the only resolution (to keep people from flat-out stealing music from creators) was a platform such as Spotify. Is it perfect? Absolutely not. And we as creators need to continue to advocate for reform as new technology continues to change the landscape for us. Blaming your failure in the music business on the amount we make on streaming platforms is a waste of energy. First, complaining about it won’t change it. Second, there are many other ways you can and should be earning money from your music. Are you aware of all of them? Are you registered in all of the places you need to be registered to collect all of the royalties? Do you know Spotify is paying only one of several types of royalties? It’s like getting mad about the price of gas and blaming your corner gas station for all of your financial woes. Grab this Releasing Music Checklist so you know you are registered in all of the right places.

Mindset Shift #7: “I just need someone to discover me.”

This out-of-date thinking was never good thinking, even back when the music industry was completely different. We would hear stories of stars being discovered living out of their car, playing in dive bars, and then suddenly signed to a label and now a megastar. Those occurrences were so rare. The chance of being discovered by a legitimate company or executive that will be able to catapult you into sudden stardom is even less now. Do you know why? Because millions of artists are already releasing music… GREAT music, who already have their crap together and will therefore take a lot less effort, money, time, and investment into. Record labels are only looking at artists who have done most of the hard work. What this means is that you need to be building a music business on your own. Once you reach a point where you might think you don’t even need a record label, that’s probably when they’ll start hitting you up 😉 Now you are the one in the driver’s seat.

The priority as an independent artist is to figure out what makes you unique. Your BRAND. If you haven’t yet figured this out, you know of course I have something to help you! Grab this Building Your Artist Brand Workbook for free.

I hope you had your mind blown maybe a time or two. Or at the very least, you’ve realized you need to shift your thinking just a bit to make some movement in your music career. The key is to think like an entrepreneur and business owner, rather than an artist. That shift alone can be a big one to make.

7 tips for Making Your Recording Session Go Smoothly

As a freelance music producer and recording engineer, the recording sessions are a key component of your business. The success of the recording sessions directly impacts the quality of your final productions. With a little bit of forethought, you can ensure that the sessions go smoothly, resulting in an overall much better experience, as well as high-quality music.

Have a pre-production meeting with the artist prior to the recording session(s) so there are no surprises.

There will be no greater obstacle to overcome than having to figure out what the vision for the project is during the recording session. As a producer and engineer, unless YOU are the artist, your job is to bring the artist’s vision to life. They are depending on you and your expertise to make sure their vision is realized. They don’t know what you know, in most cases, so it is up to you to have a thorough pre-production discussion beforehand. This should drive the approach to the production of the entire song and will bleed into each recording session with every musician.

Make sure everything works at least the day before.

A cable can work one day and then start crackling the next. A tube can blow overnight. Even your computer can suddenly go out. Check all of the equipment you are planning on using for the recording session the day before. Fire everything up, do a quick mock take of something, listen back, and make sure all is working as it should.

Have everything on and warm before the session is to begin.

Turn everything on at least an hour before to give the equipment enough time to warm up. This will also allow you to double-check that everything is working (even though you checked the day before, something could still go out overnight, right?)

Keep your space clutter-free, clean, and comfortable.

Do a basic overview of the space to make sure there’s no dust or clutter. Check the bathroom and make sure it is properly stocked and clean. Make sure the room has lighting options, depending on what the musician or artist might need. Many studio owners (including myself) have fancy LED lights with various colors so we can create moods in our studio space. I always let the artist know that I can adjust the colors to be whatever they want. Sometimes I’m asked to remove all color and make the lights white and bright because they are reading sheet music. Be ready to accommodate so that the artist/musician is comfortable. Temperature can be a tricky element of home recording spaces as well. You’ll have to turn off the AC or furnaces to remove background sound, so be prepared for that. You may need to open doors or turn on AC during breaks or have space heaters nearby to bring some heat.

Give yourself a buffer of time between sessions.

People run late, sessions run long. Cramming sessions too close to one another will create a more stressful situation for you, keeping you from being your best. If the artist or musician is rushed at any point during their session, their performance will likely be hindered. By the same token, really long sessions with no pre-production meeting ahead of time can be very tiring and can wear everyone out. Only book sessions as long as you want and are comfortable with and definitely don’t push a vocalist to sing for longer than 4 hours. Most vocalists don’t have that kind of stamina.

Do not overbook yourself.

Make sure you are prioritizing your mental and physical health. Make sure you are getting enough sleep, eating well, and getting outside for a little walk (at least) once a day. The session will only be as good as the engineer.

Have rules and boundaries for your studio.

To keep your studio environment healthy and conducive to creativity but also technical quality, you need to create rules for your studio. You also need to be ready to enforce them. What these rules need to be is up to you and may change over time. Remember, it is your space and you are the one in charge.

Getting the Best Performance From Singers in your Studio

There are many tutorials and blogs out there titled something like “tricks for recording stellar vocals” or something along those lines. We’ve all seen them. They all cover the same type of information; what preamps to use, the best vocal mic, mic placement, acoustic space treatment, mic technique, etc. rather than addressing what I think is the most important element: getting the best emotional, confident and believable performance out of your vocalists! As important as the equipment and recording techniques are, what does it matter if the singer has not given their best performance? As the engineer and/or producer, you can absolutely make or break the emotional/mental state of the singer in your studio.

Here’s the thing. Most singers are incredibly nervous or at the very least, a bit anxious when they come to record vocals. They usually have inner demons waiting to hammer them with all the worst words a demon can muster. Your singers will love working with you if you can put them at ease in every way possible. What it comes down to is how the singer feels. They need you to wear other hats besides just “engineer” and “producer” during the session. You must also be a therapist, life coach, cheerleader, bff and psychic.

Now, you can complain all day long that singers need to be professional and just deal with the stress and blah blah blah. But have you not figured out that the vocals are the most important part of the song? It doesn’t matter if you have the best drum sounds on the planet or the coolest guitar solo ever created. If the vocal falls flat, the song will not connect with people.

I know you want your singer (whether they are Kelly Clarkson good or not) to give the best vocal performance of their life in your recording session. So shift your mindset from being the dude/dudette at the console to being the singer’s advocate, sharing the common goal of creating a killer piece of art. Here is my list of the top eleven things you must do to get the best vocal performance from your singer ever.

  1. Provide a low-stress, comfortable environment. Do what you can to make the temperature comfortable (for us home studio owners, this can be difficult in the summer when you have to turn the AC off but do your best with fans, windows open between takes, etc.) This also means making sure they know ahead of time if you are going to have any visitors or observers. And if possible, keep your schedule open enough to where they don’t feel rushed in or out.
  2. Start with one run-through of the entire song as a “warm-up”. Record that first take, but tell them it’s just a warm-up. Because it is. But it’s also a take. I’m surprised at how often I go back to that warm-up take to use a word or a phrase at comping time because it was their best take.
  3. Let them hear themselves back after the warm-up take, whether it sounded good or bad, with some compression and EQ and a bit of reverb sweetening so that they sound legit. I’m not sure how or why this happens, but when they hear themselves played back the first time, it gives them the confidence they need to level everything up once you start doing real takes. Especially if they sang that first take timidly, they’ll hear themselves singing all wimpy and tell themselves, “Wait. I totally got this.”
  4. Be willing to adjust the input gain, but do it carefully. Some singers are very dynamic and will about blow the roof off on their loudest notes and be whisper-soft during the quiet spots. Others will be more even. You can figure this out very quickly during the warm-up take. As you decide what sections to record (see #6), if you need to adjust gain for the different sections, then coordinate it so you will only need to adjust the gain once; maybe twice so as to not have level change issues. What I have seen is engineers telling the singers to not sing so loudly. Which throws them totally off. Now they are holding back and in their heads and self-conscious. Rather than telling them to not sing so loudly, or softly, be the engineer that embraces their dynamics and finds the technical solutions to capture it best. (*If their technique is really bad, that’s a different conversation 😉
  5. Don’t do takes just for the sake of getting takes. I’ve had vocal files sent to me recorded at another studio where I had 8…9…12 takes of the entire song. And guess what? They all sounded pretty much the same. Sometimes it does take a singer a few takes to get into their groove, and that’s fine. But if you are working with a pretty seasoned singer, after the warm-up take, you might only need 3 or 4 to make sure you can comp the best vocal take ever. Going through the entire song and having them do 10 to 12 takes will make them pretty tired. The takes will diminish in quality and won’t be useable anyway.
  6. Record the song in sections. Ninety-nine percent of the time, this is the best way to go when recording a vocalist. When they are singing the warm-up take, make note of sections that seem harder for them, places where they have to take a catch breath in the middle of a phrase, and parts that might be too high or too low. Most singers have a harder time singing low when their voice is more warmed up so have them start with the low sections. The cheerleader hat comes on for the hard parts. Get really good at punching in and punching out so that they can get a great take on difficult notes that might need a focused breath right before or a vocal “placeholder” (more on that later). If there is a section that is especially hard or taxing on them vocally, only get a few good takes, then move on, go back again later if needed.
  7. Take a break if they seem tired (either you can see fatigue or you can hear fatigue). Chit-chat, offer them water, and start asking questions about them so you can get to know them better. Get their mind off of it for a bit.
  8. For crying out loud, don’t get mad at them when they are not meeting your expectations! Need I say more? Really. Yelling at them, showing frustration with passive-aggressive comments, mocking them, or whatever will most definitely not help the session go any better.
  9. Emotionally engage with the song they are recording. It seems like a no-brainer but one thing I hear from vocalists who love to record with me is that most engineers “just hit record and check out”. If the singer is struggling with getting the emotion to come across or can’t decide between two different deliveries, they could use your opinion! They may even ask for it and if all they get is a shrug from you, they take that as a sign that they are completely on their own with this. Listen to the lyrics. Discuss hidden meanings or motivations behind the song with the singer. If they wrote it, have them tell you the story behind the song. If they are creating a music video, have them tell you the visual concept and let that help drive the vocal decisions. Help them explore ways to sing this song in a way that will draw in the listeners.
  10. Let them do “vocal placeholders” if needed. I also call it “marking”. The first word of a verse can sometimes be the hardest to hit perfectly. A little trick for singers is to sing the note while the pre-roll is playing to keep the note in their voice. Then at the last second, they take their breath and begin singing the phrase. You’ll obviously need to edit out the placeholder note later. This can also be a great help when they are singing harmonies as sometimes the melody is so stuck in their mind, coming in on a harmony note accurately can be tricky.
  11. Have a good idea of where you will want doubles and multiple stacks of vocals before recording starts. You might get more than your 3 or 4 good takes in spots where you will want a fuller stacked sound, like in the chorus. It’s easier to get a few extra takes when you are first tracking that section than later when you are recording backing vocals. Sometimes you may not know what you’ll need until after the singer is gone. Once you have your lead vocal comp’d, use other good takes as doubles and stacks when inspiration strikes. You’d be surprised at how many times I decide quite far into the production process, long after the singer is gone that a double of that one phrase would bring the right emphasis to it. I use 2 of the other good takes (maybe even from the warm-up take) and add them to the final lead comp’d vocal – pan one hard left and the other hard right and there you have it.

***A word about auto-tune – The use of some type of tuning plug-in has become the industry standard, whether you like it or not. The problem is that the music we hear on our streaming playlists is littered with singers that sing un-humanly-possibly pitch perfect. For your vocal mix to stand scrutiny next to Dua Lipa and Shawn Mendez mixes, auto-tune must be used. It is not just about perfecting pitch within an inch of its life, but it is a processing effect that listeners, without realizing it, expect to hear on polished productions. Expecting a singer to sing as perfectly as the pop music coming from major labels is like expecting a model to walk into a photo shoot “photoshop perfect”. “Why do you have blemishes and scars? I don’t see those on any of the models in the Victoria Secret catalog.”

Not all productions call for the tightest auto-tune you can get, however. This is where you as the producer of the vocals must know the genre you are working in and stay true to that genre. I think of it on a scale of 1 to 10. Adele, as far as I can tell uses no to very little auto-tune (because she’s pretty pitchy haha). Similarly, some genres such as indie rock or alt-rock (think of Brandon Flowers from The Killers) require the singer to have some natural imperfections to keep the raw, emotional element of the song. You’d better believe their backing vocals are pitched, however. So if you’ve got a more soulful singer in a genre that is more forgiving of that effect, then keep the pitching loose and natural. If you are aiming for hit songs on the charts, you must learn how to massage auto-tune to where the singer still sounds “natural” (meaning, not robotic like T-Pain) but has no pitch imperfections. Melodyne is my plugin of choice for the most natural-sounding tool.

Follow these tips and I know you can become the singer’s favorite recording engineer! You’ll both benefit when the end product is something you can be equally proud of!

Being a “Modern-Day” Music Producer

Just like how 50 years ago, you could have been “just a singer”, these days you need to be almost supernaturally gifted as a singer, plus you need to be a songwriter, record your vocals, dance while performing, be an aerialist, and overall just be a better singer than the trailblazers before you.

For a music producer, it’s the same. Being a producer in today’s world means more than simply making a beat.

Being a “music producer” means various things to different people, and the duties of a producer have dramatically changed over the past 50 years. We won’t get much into what those differences are in this blog, but rather, we’ll go into what being a producer means right now. This will be generally expected of anyone who decides to put up the “open for business” sign as a music producer. While you can create your own music production business that focuses on your strengths, the more value you can add to the artists you work with, the more likely you are to build a music production business that thrives.

  1. Recording Engineer – While this can be intimidating if you’ve become comfortable working “in the box” creating beats, setting up your room and a good vocal chain (mic to preamp to computer) is all doable, affordable, and not too techy! As a matter of fact, I’m happy to give you my eBook “Recording Sweet Vocals at Home” for free. This will take you through the basics of shopping for the equipment setting it up and getting signal.
  2. Editing –  The skill of editing, which includes compiling takes, blending takes to mask edit points, time aligning instruments and vocals, tuning vocals, removing noise before, between, after takes, etc. can be really tedious to some but super satisfying to others. If you have tried it and absolutely hate it, there’s a chance that you just need to practice so that you can get faster at it. If you still hate it after you get faster (and better), this is something you can outsource. Since we are focused on adding value to the artists we work with, outsourcing to someone who can do it better may be your best option. If you kill the editing game, that’s how you can add value to your artists.
  3. Mixing Engineer – Mixing is a skill that can take years to develop (contrary to what many YouTube gurus will tell you). Mainly because it’s not necessarily about the tools you have but more about your ear and how clearly you can hear detail. I am constantly amazed at how my ears can “zoom in” to things if I really concentrate. But if I’m tired (sleepy tired, mentally tired, or “ear-fatigue” tired) I have a difficult time hearing that detail. You also have to know how to use your tools correctly! Mixing can be a fun and creative part of the production process. It can also be a huge part of your production business, though some producers will still outsource the mixing. Again, since we are focusing on adding the greatest value to your artists, if you can hone in on this skill set, you can really become a creative partner with your artist and potentially keep the timeline tighter and even their cost lower.
  4. Songwriting – It may be tempting to produce any and all songs an artist throws at you. But, as hard as this is to admit, most of us songwriters don’t write our best songs when we are first starting out. Even after we have some good songs in our catalog, an occasional mediocre song will surface. An artist will truly be grateful if you can help them elevate their songs (ok, maybe they won’t be grateful at first, but eventually they will!). Having an instinct for what makes a song really great can make you a valuable partner to your artist. Even without becoming a co-writer, if there’s an awkward line, a boring melody, a monotonous arc, saying so (in a respectful, professional, and helpful way) and then being able to offer suggestions, can elevate the song so that you are both proud upon its release.
  5. Great Arrangements – If you haven’t already, study your favorite productions. The arrangement consists of what instruments are used, what they do, and when they occur on the timeline of the song. Every single decision you make will have an impact on how the artist’s song will (or won’t) connect with its listeners. Once again, contrary to what many YouTube gurus will tell you (produce hit songs in only 4 hours!), this also is a skill that can take years to refine. I’ve found that really listening to every detail of production as a “listener” can be challenging. The BEST way to learn what a producer did in a song is to reverse engineer it. I wrote up a blog about that a few years back. Give that a read here. The more skilled you are at arranging, the more likely you are to know what a song needs to cut through and connect artist to fan.
  6. Vocal Coach – The greatest disservice you can do to an artist is to mentally “check out” during their recording session. It’s literally what helped me carve out a space in my own local music scene as a producer. Since I came from the angle of being a singer/songwriter and vocal coach turned vocal producer, artists flocked to me because they knew that I would help them get their best vocal performances in the studio. While you don’t actually need to be a vocal coach, hearing the details in a singer’s performance, such as the diction, the vowel shape, the emotion, the phrasing – all of it is important, as is the skill of how to communicate in a helpful, supportive way to the singer. If you are checked out while they are recording, they will feel it and will surrender to the fact that they are “on their own” for this part. Engaging will help them feel accountable to do their best, and give them a sense of having someone in their corner, coaching them along. Remembering that this is a KEY moment for your artist will establish trust with them and keep them coming back to you.
  7. Recognizing Trends in Instruments, Effects, Sounds, and Songwriting – While you can certainly choose to produce only a specific style or genre, a thorough knowledge of what defines a genre or style or even an era or decade of music can give you more access to a greater pallet of sounds. For example, if an artist gives you an Amy Whinehouse song as a reference song and they can’t say exactly what they love about it but they want the vibe of their song to be similar, you should be able to recognize that what made her music “special” was the techniques used in recording, the songwriting format, and mixing approach, all designed to give her music a throwback, 60’s, retro vibe. This is one specific example, but when your artist provides reference songs for you, it should be easy to recognize what they want to hear in their music. You should also feel comfortable recreating specific sounds, effects, mixing techniques, etc., so that you can help the artist bring their vision to life. Reverse engineering (as mentioned in #5) is a great way to improve this skill.
  8. Thorough Knowledge of Instruments – You don’t have to be able to play every instrument that you use in your productions. Thank goodness! I’m a pianist…not a great one if we are talking about technical proficiency. But really comfortable on the instrument. You should be at least “comfortable” on an instrument; preferably a piano or guitar. Having a grasp on the circle of fifths will allow you to program any virtual instrument to play what you want. With today’s technology, virtual instruments are quite incredible at sounding like real instruments, because real samples (ie, recordings) of the actual instrument are used. However, you DO need to know what those instruments do and how to nuance the virtual instruments to sound more real using the settings and triggers. This can all take time to learn but will ensure your productions sound really legit. If there’s an instrument you find you are being asked to create virtually often, invest in a really good virtual instrument, then spend time learning how to nuance that instrument before moving on to the next one.
  9. Understanding the Music Business: what do I do now? – Contracts, songwriting, marketing, copyright, publishing, splits, sync,  etc. There is SO MUCH for an independent artist to know and do. The more you know about the infrastructure of the music business, the more value you can potentially add to your artists, therefore, deepening that relationship with them. If you feel confident in your ability to create great music, add another layer of service to your artists by providing a Releasing Music Checklist or something similar. It’s another way to build trust between you and the artist and to add value to their journey as an independent artist.

It can be overwhelming to think about all you need to be good at as a Modern Music Producer! Just remember, growth comes slow and steady if you stay consistent. Take one area at a time and focus on improving your skills in that area before tackling the next one. Build your music production business to be one that keeps artists coming back to you over and over again; the one that the artists tell everyone about because of the positive experience it is to work with you. Be that producer!

 

Why You Are Failing in our Music Career

Or at least why it feels like you are…

Over the past few years, I’ve been diving deep into marketing for musicians because the truth is, I really knew nothing about it. I gave it a go as a singer/songwriter in my 20s which was a gazillion years ago and didn’t know anything back then. As my focus shifted to becoming a voice teacher then later a vocal producer then a music producer and audio engineer, I really had no reason to learn what went into marketing music. Until artists I was working with started asking me, “So….how do I do this? How can I get people to listen to my music”? Since I didn’t know, I’ve been determined to figure it out.

This is what I’ve learned. During the initial phase of “going for it”, it is so hard that most artists quit and give up before they break out of this phase and into the next one. The first 3 to 5 years are THE HARDEST! You could probably say, this is the case with almost every hard endeavor in life. How many little 8-year-olds say they want to be astronauts? How many of those 8-year-olds who love watching rockets take off actually make it through all of those hard-core physics, math, science, and on-and-on classes that it takes to actually become an astronaut? Most of us have unrealistic ambitions as a child. With music, it is something that brings us JOY! And the microscopic sample of successful musicians that we actually see are having the time of their life! So, it must be pretty straightforward, right?

Music is, for most of us who decide to pursue it, a passion that envelops our entire being. We feel spiritually, emotionally, and physically attached to the creation of music. The problem is that, unlike becoming an astronaut, there isn’t a clear path from the “dreaming and wanting” part to actually doing it in a successful way. This is why we flail around, trying different things, spinning our wheels, and then ultimately give up.

So I came up with 6 things that are keeping you from actually achieving what you want with your music. This isn’t a “do these things and you’ll find guaranteed success in 30 days!” type of thing. These are all HARD things to accomplish or overcome. As hard as they are, tackling these six steps are the foundation to building a real music business.

You haven’t clearly defined what success looks like to you.

We all have various dreams and goals. The thought of singing in front of Katy Perry on live TV is enough to put me in a coma. For you, however, that might be the ultimate! I used to travel every weekend with a successful party band. After a few years, I was so tired of traveling. But you might be looking forward to that day when you can travel the world touring with your band! I love being alone with my computer creating, editing, and mixing. You may absolutely live and breathe the experience of performing live. Create a clear vision of what success looks like to you, regardless of how ridiculous, hard, or inconvenient it seems right now. Get the vision clear so that you always know where you are heading. When Alice in Wonderland saw two path options, she asked the Cheshire Cat, “Which path should I take?” The Cat answered, “Where are you going”? Her answer was, “I don’t know”, to which the Cat replied, “Then it doesn’t really matter, does it?”. Knowing where your destination is will help guide you in every decision you make.

You haven’t created a unique brand or story that attracts people to you and pulls them into your world.

With over 100,000 songs being uploaded to Spotify a DAY, this is an essential step that many disregard. It’s the day of the Indie Artist right now. It used to be that being an independent artist, which means you are not signed to a major record label and are using your own resources to create and market your music, was being a really small fish in a massive ocean with a few mostly large fish (label artists). Now, this same large ocean is FULL of millions of really small fish. The problem we have now is being just another small fish among all the other small fish. How can we get noticed? How can we set ourselves apart and be truly unique in a way that pulls eyes and ears to us? Creating your brand is a way to define who you are, which helps you stand out in this crowded space. If you have no idea where to even start with creating your own, unique artist brand, download your free Artist Branding Workbook here.

You haven’t put together a clear, functioning, professional infrastructure or ecosystem.

This is your website, your email list, a regular posting schedule, and a regular conversation with your fanbase. This is a big one because it takes some investment in time, a little bit of money perhaps, but more significantly, it forces you to make decisions. What should my domain name be? Is my official artist name right? Too common or boring? What are my colors? I guess I need new photos…etc. As cumbersome as this step feels, it is again, foundational. Without it, you are just “pretending” to be an independent artist. OUCH.

You haven’t been clear about what you want.

If I had a penny for every time an artist told me “I’m not interested in making money” or “I don’t want to be famous or anything”, I would be a millionaire. And that is no exaggeration. I’m sure those same words came out of my mouth in my early twenties. Because I think it’s absolutely true for most of us! We AREN’T pursuing music for money or fame. Here’s the problem with this thinking, however; you are leaving out the most important part of making music. Music is meant to be shared! I believe this is what motivates all of us. Your purpose with music is to connect with people, to move them and help them. Inspire them. Heal them. Excite them. You want to MAKE PEOPLE EXPERIENCE SOMETHING! Right? For some reason, we as musicians have come to believe that if we are focused on marketing, it means we are being selfish, or delusional, or have lost sight of what music is for. Or that it gives the appearance that we are too focused on money. The opposite is true, in my humble opinion. If you do not concern yourself with marketing (aka; reaching the people in the world who will be moved by your music), then WHAT IS THE POINT? Do you see what I’m saying? I’ve had this conversation with people about making sure they have their email list and the ecosystem in place. But then when I ask the question, “Ok, now, what do you want people on that list to do? What do you want them to feel compelled to do?”, the response is the old “deer in the headlights”. This is what I mean by getting clear on your purpose. How do you expect to move people if you shut out the process of finding them, nurturing those relationships, and then providing ways for them to support you?

Your music is the last priority.

This is a toughy, I know it. Especially for the young adult just starting a family or just getting out of high school with no real money to speak of, or the average adult who is spread thin. The importance of prioritizing a portion of your day or week for this pursuit is the same as prioritizing your gym time or alone time or friend time or spouse time. Whatever stage of life you are in right now, it will always feel hard to carve out the time that you need to work on your music business, because you’ve convinced yourself, or someone in your life has convinced you, that it’s frivolous and not important, that it should be last. Have a conversation with your loved one. Have a conversation with YOURSELF if it’s your own false beliefs that are telling you this. I created a Prioritize Your Life and Schedule Worksheet (download for free by clicking here) because this is such an issue with every artist I talk with. Even if it’s only 30 minutes on a Wednesday afternoon, if you consistently spend 30 minutes a week on your music, you will be much further along in 6 months than you would be if you spent zero time on your music. You get me?

You are doing this alone.

Does it feel like you are alone in the ring, fighting some big brawny bully called “the music industry”? Maybe the opponent is your own circumstances; not enough time, not enough money. The struggle is REAL. What you need is a support system. Just a few people in the corner of the ring, cheering you on, telling you to breathe, patching up your skin and giving you water, and wiping the sweat from your eyes can make all the difference. We may not be able to fight the fight for you but we can certainly be your support system. Find people and groups that are positive and encouraging. Find a mentor and accountability partner! Just as an athlete needs a coach or we look to a personal trainer to level up in the gym, find that mentor to help you develop the areas where you are struggling. 

With all the love in my heart, these are all meant to be helpful and encouraging! Take one of these at a time and make it your goal for the next month. I know you can do it!

 

Ready to start your own Recording and Music Production Studio?

Are you thinking about starting your own business as a recording studio or music producer?

Have you recently finished audio school or interning? Have you simply been recording and producing on your own for a while, but are hesitant to go into business for yourself?

It can be intimidating or outright terrifying to think about putting up your virtual “open for business” sign as a freelance audio engineer or music producer. I totally understand! I had been teaching voice and songwriting lessons for 15 years but had only been “dabbling” in recording and production for a few years. I was terrified when I moved to a new city with no contacts and publicly announced that I was a recording engineer and music producer. At that moment in time, it was sink or swim. I had to buckle down and do it or I was going to have to go find a regular day job.

Now that my production business has been thriving for about 12 years, I’ve learned a few things! I came up with  8 tips that should help you get started today.

Create a business entity.

The easiest way to establish a business in the US is to start a sole proprietorship. Check your local city and state requirements, but it should be very simple using your social security number and home address. There are other entity options if you think you may have a more complicated situation, so be sure to check with your tax accountant to figure out what is best for you. In most cases, however, keep it simple and set it up as a Sole Proprietor and establish a “Doing Business As” or DBA. If you have a studio name or producer name you’ve been dying to use, make it official!

Establish your brand around your strengths and talents.

There are a lot of recording studios and a lot of producers. What sets you apart? What areas are you feeling really confident in? Focus on those areas and build your brand around them. Since I was a voice teacher when I started to learn how to record and produce, I started working with my students on their songwriting and creating demos to present to their producers. We did mock recording sessions to prepare them for their real recording sessions in the studio. After doing this for a number of years, I began recording the vocals for their final projects, eventually learning to edit them, mix them and do all vocal production. It was a process that took me several years but I was proficient with vocal production long before I knew how to mix a drum kit. What could be your niche? Are you a guitar player so you really know how to dial in tones? Are you an expert at micing up a drum kit? Create your niche around what you do best while you continue to build your knowledge in the areas you are less confident. As soon as you feel confident in other areas, shift your messaging and your brand to include it.

Create your client avatar around the niche you’ve established.

Now that you know what your niche will be in the recording and/or music production business, figure out your client avatar; what is their age, gender, what are their insecurities, and what are their problems you can solve? Will they all be remote or all local or a combination? All of your messaging and marketing; from your website copy to your photos should appeal to this client avatar.

Take yourself seriously.

You’ll be tempted to charge the lowest rate possible, work the craziest latest hours, and bend over backward to please clients that are never happy, just to bring in work. Knowing your value, in whatever niche you decide to focus on, and presenting yourself that way will attract people who are willing to pay what you are worth and respect your time and talent. Keep your rate competitive but shine in other areas, such as attention to detail, turn-around time, professionalism or just being fun.

Make your studio a comfortable, professional space with a vibe that makes you happy.

Do your best to present your space as professional and comfortable. Especially if you have clients coming to your home studio, make sure that it’s clean and presentable and as disconnected from “family living” as possible. I understand it’s not always possible to make a home studio feel like it’s not in your home. Believe me, I’ve had a variety of home studios and some situations were more ideal than others. Two studios ago, clients had to walk through the living room, kitchen, and family room to get down to the studio. Ugh! I hated it, but it was the only option at the time. I always kept the house as clean as possible (with teenagers….it wasn’t always easy!) And remember, this will be your “workspace” which is why you want to create a space and vibe where you are happy. If it’s adding plants, lava lamps, LED lights or whatever, do it a little at a time and make it your “happy place”.

Set up your website with testimonials and portfolio.

Marketing 101 advice is to have your own website because platforms such as Facebook and Instagram are just rentals. You do not have a direct connection with your clients or potential clients on social media. Every business should have a “home base” where people can come and get a clear picture that you are legit. Grab a domain with your business name that you’ve registered using GoDaddy. The annual fee to own this domain is relatively cheap. As soon as you have even just a few songs that demonstrate your abilities and a few happy clients, create a website (use a simple website-building platform such as Wix or Squarespace). Remember to keep the website simple. It could even be one page. Make a simple statement about who you are and what you can do for your client avatar, a professional picture, a few testimonials and a playlist widget featuring your work.

Start your email list.

This is how you connect with your audience and potential clients. Use a free email marketing program such as Mailchimp to add a “subscribe” widget to your website. Begin building this list and send updates once a month. These don’t need to be time-consuming or extravagant. What this does is it builds your authority and lets people who stop by your website know, “Oh, this person is serious.” Provide value to this audience and nurture it. Ask them to reply to questions so you can better understand them. Be real in your messages so that they feel like they can trust you.

Conduct yourself like a professional in all aspects of your life.

Keep the angry rants at your mother or ex off of social media. If your branding is political, keep it professional and “kind”. Go to networking events and shake people’s hands. If you “cold call/message” potential clients, do not spam them with copy/paste messages. If a client decides not to work with you or isn’t happy with your work, be humble and understanding. If given the opportunity, ask them what they were unhappy with and listen, rather than get defensive. Do not gossip or talk badly about others in your field.

That’s it! See, it’s not really that hard at all. I hope this was helpful and that you can ROCK your own Recording Studio/Music Production Business!

Creating Your Mission Statement as a Creative Entrepreneur

As a creative person, it can be a pretty big shift to think like a business owner. Entrepreneurial instincts aren’t exactly natural for all of us, just as musicality isn’t as natural for some as others. As I’ve worked with artists, songwriters, musicians and creatives of all kinds, I’ve found that creating a “mission statement” of sorts can get the ball rolling into a disciplined music business that is an authentic reflection of who you are.

“Authentic” is a word that’s a bit overused these days, however finding and embracing your authentic self as a creative entrepreneur in today’s world is perhaps the most important part of your journey to finding success. As an artist, it is what will draw fans to you and keep them there. As a music producer or audio engineer, authenticity builds trust and loyalty with your clients. As a songwriter, telling stories from a place of authenticity will keep your music fresh and relatable.

In the “authentic only” environment we have today, posers or fakers are relentlessly called out, and then inevitably, virtually crucified. That being said, the driving force behind finding your authenticity shouldn’t be fear, but a desire to find your place in this musical landscape and to find the people who feel they belong there with you; to create your own world and invite your “people” to join you. This is the very foundation of being a successful creative today.

Yes, there is still room for showmanship and even gimmicks, as long as it’s an extension of who you really are. I just had an interesting conversation with an artist about this. I was convinced he was making a choice with his branding that was confusing and off-putting. By the end of our conversation, I “got it”. I could clearly see that what wouldn’t work for most artists was perfect for him, as it reflected his rebellious spirit and a virtual finger to the establishment. He sold me on it because his feet were so solidly planted in his “authentic” self that I could see without a doubt that he wasn’t simply being stubborn, but was completely confident in who he is and has a clear vision of how he wanted people to experience his brand.

Finding who we are can be a process of digging, questioning, discovering, and peeling back layers. It should always start with these four questions:

Take about 20 or 30 minutes to sit with these questions without distraction. Brain dump your answers with no filter on a piece of paper or note app.

Now, shape the answers to these questions into your official mission statement. Your mission statement should only be a paragraph long, not a full-page essay. If writing isn’t your skill set, ask for some help. Also bear in mind that it doesn’t have to be perfectly written, only that we the reader should have no questions about who you are, what you stand for, and what your “mission” with your music is.

Going forward, every move you make (on social media, in your fan newsletter, in your youtube engagement, or wherever) as a creative should align with your mission statement. If you contradict yourself one too many times, your fans will detect this lack of authenticity and lose interest. They may even question why they liked you in the first place. This should make it easy for you! You never have to worry about what someone else is doing or what the current trends are. Just Be YOU!

 

Eight Tips for Getting Started Mixing in any DAW.

If you’ve spent any time recording in your DAW, you are certainly aware by now how hard it can be to get things to actually sound good. As soon as you do a little Youtube search to get some help, you’ll find hours and hours of tutorials ranging from the very basic steps to master-level mixing. Where does one even start figuring it out?

I decided to write up my own basic mixing tips for anyone who knows how to record but just can’t seem to get things to sound good yet. These are easy, baby steps that work in any DAW. I hope it’s helpful!

Bring the level of every track down to at least -10db to -15db. Your Master Bus should remain at 0 dB. This is part of what is called “gain-staging” and it basically means that you need to always be conscious of not crowding the ceiling of your mix. If every track is at zero (the loudest) then you will only hear a crowded, jumbled, even distorted mess once all the tracks are there. What often happens is the first track that is recorded stays at zero. Let’s say that the first track is an acoustic guitar track. Now you’ve recorded a vocal. You want the vocal a little louder than the acoustic so you turn up the vocal 2db. Before you know it, you are running out of headroom fast. So, if you start out by bringing everything down at least -10 to -15 db, you’ll give yourself the headroom you need to turn things up or down as you build out the production.

Organize your tracks into folders. Categorize them into groups, such as; lead vocals, backing vocals, drums and percussion, electric guitars, pads, keys, etc. Staying organized will allow you to focus on the more technical aspects of mixing.

Create sub-mixes or buses. These should be grouped according to how you want them to be mixed. I usually have a submix for all lead vocals, and a few different categories of backing vocals (stacks, gang, texture, etc.) Drums and Percussion, Electric Guitars, Acoustic Guitars, Bass, etc. The sub-mixes should be instruments that belong together and you want to mix them as a group. I will mix electric guitars and acoustic guitars differently, for example. So even though they are both guitars, I will create a submix for each. I approach backing vocals the same way.

Try some basic panning. Panning is the “left to right” spacing of sounds in the stereo field (my own definition, probably not textbook!) Generally speaking, your lead vocal, snare drum and kick drum, and bass are all straight up the middle, in the center. Everything else is fair game! Play around with spacing individual tracks throughout the stereo spectrum. You’ll be amazed at the difference in sound you’ll get by doubling (not cloning or duplicating the track but recording a second pass) certain instruments and panning one hard left and the other hard right. Try this with electric and acoustic guitars as well as with backing vocals.

Don’t be afraid to use presets. In the mixing world, presets are frowned upon. Apparently, it’s only for noobs. If you are a noob, then use them! When you are learning how to mix, presets can be incredibly helpful as a starting point. They can also help your ears hear the difference between different settings. I still use presets as my starting point on a few things. I tweak from there until I dial it in. Eventually, your ear will be trained enough to dial in your own settings from scratch, if you want. But if the preset provides you with a great starting point, why not use it? You can also save your own presets, so once you do get comfortable dialing in your own EQ settings on a lead vocal, for example, you can save your settings as your own preset!

Use EQ instead of the volume knob/fader. If something is too loud or too soft, the volume knob may not be the solution. Try using eq and find a specific preset and see if it helps an instrument to pop out more or not stick out as much.

Use inserts for a reverb (make sure the plugin itself is completely wet) then dial up or down the insert level. You can do this on your buses as well which helps add cohesiveness to a group of instruments. It helps all of your instruments sound like they are living in the same space.

Focus on learning one mixing tool at a time. There is a lot to learn and it all takes time and practice. The fundamentals are EQ, compression, reverbs, saturation, and chorus. Each of these fundamentals has a string of other tools and techniques. De-Lessing vocals, parallel compression, side-chaining, and so on. It’s easy to get overwhelmed once you dive down even one of these fundamentals. Pick one at a time, take some courses, or find tutorials for that specific tool and move on once you feel confident.

Learning to mix is much like learning a new instrument. If you approach it like learning an instrument, then you understand and respect the amount of dedication it takes to improve. Start with these basics and I promise, you’ll start to gain confidence and your mixes will start to sound legit.

 

6 Steps to Starting Your Freelance Business

If the thought of being a freelancer scares the bajeebers out of you….I completely understand. Because it IS scary. Especially if you’ve had a good few years feeling the comforts of a steady paycheck and insurance a “regular job” can bring. After being a freelancer (aka being a music business owner or entrepreneur) for 15 years now, I’ve figured some stuff out. I’ve put together six steps that can help you crunch the numbers, zero in on your skill sets, and help you take that first step into entrepreneurship!

Assess your priorities.

We all have different circumstances. We are all in different stages of life. What worked for one person taking the plunge into freelancing is not guaranteed to work for another. So, we must start by assessing where our priorities are. I created this worksheet (opt into my email address and I’ll send it to you here) that helps you organize your priorities in order of the absolute must-dos/must-haves (for some people, it’s their day job, for others, it’s their gym time).

Envision your dream future exactly as you want it 5 years from now.

Jot it down. Share it in a comment for us all to see. Give us excruciating detail. Not simply saying “I want to be making a living from my music”, but describing what a day in the life of “future you” would look like. The purpose in creating this vision in detail is so that we can map out the exact steps necessary to get us there. It keeps us focused on why we are getting up at 4 am or why we are turning down another gig that does not bring us closer to our optimal life. Write. It. Down.

Assess your skills.

Since we want our “dream” to actually be realistic, here’s where you are going to take an honest and detailed inventory of all of your skills that you can monetize. Think of evvverrryyyything.

Next to each skill, do some research and see if you can make an estimate as to how much you could charge for that particular skill or service. If it’s a remote job, you could visit sites such as https://www.airgigs.com/  or https://soundbetter.com/  to see what others are charging. If it’s for a local clientele (such as in-person teaching), see what the local market charges by visiting websites of people working in the same industry.

Assess areas that need attention, growth, or development in order to monetize them.

If your list of skills seems a little short, figure out what other skills you think you might be able to monetize with just a bit more work. Write that down and then make a plan of action to get you to the level you need to be at. For example, let’s say you can record vocals but haven’t really gotten good at editing them yet. Editing vocals is all about practice. Make a plan to take on some vocal editing jobs (can be music or podcasts) for a discount so that you can get more experience.

Assess your financial situation by creating a budget.

Adulting 101 includes creating and living within a budget. Be sure to include an emergency fund, savings, advertising, investing back into your business for equipment, etc. Figure out your bottom line in real $$ to sustain you and anyone who depends on you to provide. Include your day job income, if you have one. See what the actual dollar amount is that you need to live comfortably and make that your hard dollar goal for your freelance work. Remember that the typical freelance cycle can be very “feast or famine”. It’s important to SAVE! It’s also important to budget it the unexpected. Don’t create a budget based on the “best case scenario” but the “worst case scenario”. Then when you have the more plentiful months with extra income, stash that extra into savings so that you have a bucket to draw from during the famine periods.

Assess consistent income sources.

How much does each income source make, and how many of those jobs can you realistically do per week or month? For example, teaching can be a very consistent income source. It also demands a certain amount of time. Figure out how many regular student slots you can have weekly, then how much income that generates. How much time is left every week? How much more $ do you need to make to meet your monthly financial goals? Be realistic.

By this point, you should have a solid plan in place. “These are the skills I can monetize now, starting today.” This should help you formulate a real business. Give it a name. Grab the domain name. Build a site. Start making it happen. It’s important to not jump all in too soon. Be realistic about your bills and goals. If you are still working a day job and only have time to allocate 5 hours a week to do side freelance work, then start there. If you are disciplined with your budget and hone more skills that can be monetized, in time you’ll arrive at that place where you can replace the day job income with freelance income.

 

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