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The First Step to Marketing Your Music You Probably Aren’t Doing

 

Over the past few years, I’ve been researching the marketing side of music to be of more value to the artists I work with. Heaven knows I’ve been avoiding the world of “marketing” for the same reasons you have….it’s HARD! It’s hard because:

It’s expensive

What do you actually spend your money on; ads on socials? Ads on radio or print? Billboards? Your grandma’s book club? What??

You don’t want to be annoying

You are afraid of the negative comments that are bound to come

You’ve tried it before and all you get back in return are crickets and you just can’t bear to hear any more crickets…

Right?

So after a gazillion workshops, conferences, books, and articles I’ve delved into these past few years, I think I finally figured out the one main component that most artists are not embracing or taking seriously.

Branding

By now you’ve heard this term thrown around but let’s talk about what branding really means, how to find yours and why it is the essential first step to building a sustainable career in the music industry.

Over and over again, artists I work with ask me as we are getting toward the end of completing their EP or album or single, “Ok, so now how do I get it out there”.

Get it out there

I have come to hate this phrase, even though I know it’s harmless and it feels as though there’s no other way to say it. But to me, it’s the same as saying; “I want to go to Japan. Will you drop me off at the airport and then I’ll wander around and hope that someone puts me on a plane that is heading sort of in the direction of Japan?”

We all know this will never in a million years work but I can’t think of a better analogy than this. The scenario of putting all of your time, resources and energy into the creation of music and then “hope” that it will be listened to by millions and voila you have a successful and sustainable career makes no sense.

Perhaps it’s because there are still some lingering, old stories out there about so and so being discovered in a coffee shop (the story is true for a few out of millions). Perhaps it’s the fault of the reality shows that seemingly catapult a few into superstardom (and we forget about the fact they are casting a reality show and millions and millions of talented artists have auditioned and are never pushed through to the actual show because they don’t fit what casting directors are looking for). Whatever the reason, the truth is that most artists I observe are creating with their entire heart and soul, then crossing fingers, closing their eyes, and “hoping” they’ll hit a target.

So, let’s talk about branding. I am not a branding expert, nor a marketing expert. So I am compiling notes and thoughts from quite a few resources which I will be linking you to at the bottom of this blog. Be sure to check out these amazing resources that are available to you, most for free!!

According to Stephen Linn of AmpliFLY Entertainment, branding is one of the three Artist Development Buckets that you need to focus on to have the best chance for success in the music industry. The other two are the business side (creating an LLC, registering with a PRO and with Sound Exchange, etc.) and the Digital Footprint (following, content, audience, etc.)

“Branding is what people say about you when you’re not in the room”, states Linn. I think that’s a powerful statement because it’s scary. Linn also explains that you can’t control it but only influence it.

Your brand secures your identity and makes you unique in a very crowded space.

Exercise time

Take out a piece of paper, notebook or digital notepad.

List 3 to 4 words that describe your personality.

Using these words, create (or hire someone to create) your;

Logo

Photos

Clothing style

Fonts

Wardrobe including jewelry, makeup, clothes, shoes, etc. (on and off stage, yes they can and should be different)

Everything about you that you are going to share *as an artist

Write down your Mission Statement and Elevator Pitch.

The mission statement should describe the “why” and “how” you plan to change the world with your music. Does this seem overly dramatic? Maybe a bit but don’t we all have at least one song that lifted us out of a depression, or brings back our favorite memories? Music does change the world one song, one artist at a time. Write down what your goal is for giving back to the world. Whenever you have options, doubts or decisions to make, referring back to this mission statement can keep you aligned with your brand and will even strengthen your brand identity.

The concept of an elevator pitch is if you only had 30 seconds to describe you, who you are and what your music is like as well as who it will appeal to, you should have this concise and clever summary not only figured out but memorized. Avoid statements like “unlike anything you’ve heard before” or “the best music you’ve ever heard” or some other egomaniac statement. I once heard music described as “It sounds as if Keith Urban and Taylor Swift had a baby and that child was raised in San Diego”. You can tell what that would sound like, right?? Be clever!

Define your vision

What do you see when you envision success? Will you be performing to a stadium full of fans? Will you be living comfortably as a songwriter? Will you be creating 24/7 in your own massive studio space? What does success look like to you? Spell it out in detail.

Make a list of all of your favorite products, hobbies, restaurants, social spots, etc. 

Brand Extensions and/or partnerships can become part of your brand identity. Not only this but brand partnerships can become a source of income for you as well as a way to extend your reach. If you have a hobby of skateboarding or yoga or kickboxing or knitting or have a love of Hallmark movies, include this in your list. You will be able to connect with people with similar interests who may not have otherwise come across you and your music. This approach can also prop you up into the visual space of the brands you use and love.

Write your story.

The contents of your story can later be shaped into an artist bio for your website, press kit and other sites. But make this story more detailed. Tell it in the second person (not “when I was 10 years old, I won the county talent show…”) Speaking of the county talent show, this is not the story that has the list of your performances or what school plays you starred in. Think of what you would want to know about someone sitting in front of you asking for you to invest in them. What parts of your story make you special and unique? Why do you feel called to be a public figure? What was the defining moment in your childhood when something spoke to your soul and clearly stated music is what you are destined to do with your life?

Make a Brand Binder.

This is for you and your team and not for fans or the public. The Brand Binder will include;

Colors, Fonts, Pictures, Logo (variations, colors), Look and feel (mood/aesthetic) using pictures, Offstage wardrobe, using pictures, On stage wardrobe, using pictures, Any other pictures or swatches of material that add to your brand

*Remember, you are not obligated to share every detail of your true personality with the world, only those parts you want them to see. Even if you are enhancing some qualities or hiding others, you are in control of what influences your brand. If you don’t want people to know that you personally have an obsession with collecting mini tea sets, then pull all photos of that down from your social media and pray that doesn’t get out. OR, you could embrace it and make that part of what you share. It’s up to you.

I like the idea of having a physical binder for this but you could also use something like Pinterest or Trello to organize your Brand Binder.

You might be asking, after you have gone through these exercises and put your Brand Binder together, “Ok, now what?” Your next step is 

Creating Brand Awareness

This is the Hardest Part

Honestly, I think creating your brand is really fun. I mean, who doesn’t like talking about all the things they love and organizing a visual presentation of it? Brand Awareness is something that takes time. Remember, the Brand Binder is for you and your team, not your fans. It will guide every decision you make about what photos are best, what album cover looks best, what should I post on social media, etc. It is not a substitute for the business of bringing awareness to your brand. That takes time, care and consistency.

So be patient. Building Brand Awareness is a marathon and not a sprint.

Just remember,

Your brand secures your identity and makes you unique in a very crowded space.

Stay “On Brand”. Create Consistently. Contribute Always. 

While you are at it, collect email addresses and give something back in return (free download, private invitation to live streaming event, etc.)

The good news is that if you do this right, you will attract fans outside of your regular circle of friends and family without spending a dime on advertising. You can also build brand awareness while you are creating music in the studio! As a matter of fact, that is great content to share as part of your brand building!

Make defining and building your brand the priority now and see how it changes things for you in six months or a year.

Happy Branding, friends!

Resources:

AmpliFLY Entertainment http://www.ampliflyent.com/

Ariel Hyatt of Cyber PR has a ton of free resources to help with all aspects of marketing, including PR and brand building https://cyberpr.com/

Mitch Joel, author of “Control Alt Delete” This book has incredible insights to brand development and building for all businesses and how to adjust your strategies when they aren’t working.

CD Baby Marketing 101 (ironically using the phrase “getting your music out there” haha!) https://cdbaby.com/campaigns/music-marketing-101.pdf

Disc Makers released this guide called “The Complete Marketing Process” by Bobby Borg. This goes into great depth about creating your vision statement and steps to marketing beyond brand building. http://www.musicianstoolbox.eu/uploads/2/7/2/9/2729124/complete-marketing-process.pdf

11 Ways to Get the Best Performance from your Singer in the Studio

 

I’ve read a lot of articles entitled something like “tricks for recording stellar vocals” or something along those lines, as I’m sure you have as well. I stopped reading them a while ago because they were all saying the same thing; 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 good does it do if the singer has not given their best performance? I know you already knew that. But what you might not know is that you, as the engineer and/or producer, can absolutely make or break the emotion/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 of self-doubt a demon can muster just as soon as they open their mouths. Your singers will love working with you if you can put them at ease in every way possible. What it comes down to is you need to wear other hats besides just “engineer” and “producer”. 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.

Do 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? Do you??? Yes. I know you do! So shift your mindset from being the dude/dudette at the console to being the singer’s advocate. Here is my list of the top eleven things you must do to get the best vocal performance from your singer ever.

Provide a low-stress, comfortable environment

  1.  Do what you can to make the temperature comfortable (for us home studio owners, this can be difficult but do your best with space heaters, 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 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 the 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 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 sing better 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.
  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…10 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. Here’s the other thing – singers burn out after a couple of hours! Four, five, or six-hour vocal sessions (for one song especially) will give you diminishing returns.
  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, 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. 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 “marker” (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, 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 they 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. 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 “make” people listen.
  10. Let them do “vocal markers” if needed. 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 if it was recorded. 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 the 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 comped, 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 comped 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 mix to stand scrutiny next to Selena Gomez and Shawn Mendez mixes, auto-tune must be used. It is not just about perfecting pitch within an inch of it’s 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 photoshoot “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 or Dan Reynolds from Imagine Dragons) 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 a hit song 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.

There you have it! I hope you can all become the singer’s favorite recording engineer by being their advocate in the studio. You’ll both benefit when the end product is something you can both be proud of!

Hiring a Producer Vs Booking a Studio

So you’ve written a song or two…or five. You want to put out an EP. What’s the first thing you do? Start googling “recording studios near me”, right?

Maybe that’s not exactly how to go about it.

“So how should I go about it, Becky?”

I’m glad you asked!

The first question to ask is this; “Am I wanting to take a snapshot of my song as it is or do I want to commercially release it and have it sound like other commercial releases?”

Before we get into this, let’s define some of the terms I’ll be mentioning so you know exactly what they mean.

Production/Arranging

The orchestrating of all parts in a song or facilitating the orchestration by the musicians either hired out or created by the artist/band themselves. Selecting the sounds, designing sound effects, bringing an artist or band’s sonic vision to life.

Recording: Probably obvious

Mixing: The process of using volume levels, panning (where a sound lives in the stereo left to right spectrum), frequency equalizers, reverbs, delays and other effects to create space and separation of all the recorded/programmed elements in a song.

Mastering

The final treatment after a song has been produced and arranged, recorded and mixed and sounds well balanced. This process usually brings the overall volume up to standard, adds a shine or polish, more punch or more smoothness to the overall sound, depending on what the song is calling for.

I made up these definitions so don’t yell at me if I’m not quoting your music production textbook.

Booking a studio

Recording studios are all about capturing a “snapshot” of what you are bringing. If you have a crappy-sounding acoustic guitar, their $6000 microphones and $10,000 worth of preamps and compressors will capture that crappy sound beautifully. If your singing is mediocre, your mediocre singing will sound silky smooth. You get my point?

A commercial recording studio usually has larger acoustically treated spaces for the best quality you can get, specifically for recording instruments like drums or string ensembles, or choirs.

A recording studio usually has a “control room” which is where the engineer is sitting at the recording console, and the artist or musician is in a separate room viewed through a glass window. This separation again creates the best possible acoustic setup.

The studio usually has at least one but often several engineers who will do the recording. This engineer can range from a beginning-level intern to a genius wizard and everything in between. You may find a favorite after working with a few different engineers.

Your engineer may or may not be a producer or arranger. Don’t assume that they will be.

There’s a good chance your engineer won’t care if your song sucks. You show up with your song that says “I can’t believe you broke my heart, I should have known from the start” they won’t say a word. Remember…snapshot.

The cost of the studio and engineer are usually separate. The studio space might cost $75/hr and the engineer may cost an additional $100/hr. Be sure to double-check before booking.

You can usually get “block deals” at a studio. This means you can book the studio for a whole day, including an engineer for a discounted hourly rate. This can be great for bands who are really well-rehearsed and want to record as a band at once with very little over-dubbing. The danger in doing block deals is that bands usually try to squeeze in as much as they can in that time. By the end of a 12-hour session, your singer may have lost their voice or everyone is just flat out exhausted. What happens at the end of the block could be quite different than what happens at the beginning of the block. Another deal studios sometimes have is something like “record your song for $100!” This might actually mean “we’ll take a snapshot of what you give us (see #1) and we only have 2 hours to do it so let’s hurry”. What you’ll have in the end might be a nicely recorded demo.

The studio may include mastering but may not. Be sure to check.

Hiring a Producer

As defined above in the terms, a producer is often the person doing all of the arranging and orchestrating. What this means is that your producer needs to have an understanding of exactly who you are as an artist and what your sonic vision is for your music. This means a lot of communication, not just a “show up and record”.

A producer is like the sculptor of your sound. The importance of open, respectful and honest communication both ways is of utmost importance. A producer who gets “offended” if you don’t like something or who doesn’t seem to “get” you mean you will be compromising every little decision about your song until in the end, you don’t love it. So find a producer you can trust to listen to you.

A producer is often the one recording and mixing everything. Make sure they have a good quality sound coming from their productions. Listen to their past works and make sure it lines up with your quality standard.

A producer is usually working out of a home studio. Make sure their recording space is comfortable and has a good vibe. While home recording spaces certainly won’t be as epic as a huge recording studio, there should still be a sense of professionalism and order there. If it’s messy or uncomfortable then you won’t be comfortable recording and may not give your best performances.

Oftentimes a home studio doesn’t have a separate control room which means leave your friends at home. The more people in the room where you are recording the more chance there is that your producer will have to keep shushing your friends which isn’t much fun.

A producer should be interested in elevating the “bones” of your song (aka the lyrics and melody). A great producer will want the song to be the best it can be and they know that the greatest arrangement and production won’t “fix” a poorly written song.

If you love the producers’ arrangement but the final mix and master are not at the quality you want, it is 100% acceptable to ask them to outsource the mixing and mastering or ask them to send you the “stems” (which has become the term for individually recorded tracks in your song) so that you can find someone else to mix and master the song.

A producer may also be a mentor, not just someone who makes your music. If they have experience in the industry and they are willing to share insight and wisdom, that is worth grabbing on to! Even better if they can help guide you in the backend side of your music business, including marketing and strategies for building a fan base. (PS That’s how we do it at VoxFox Productions! 😉 )

So before doing that google search, ask yourself what you want the end result to sound like and what it is for. In a nutshell, it could be simplified to this:

Wanna take a snapshot: book a studio.

Looking for a Creative Partner: Hire a producer.

9 Ways To Prep For A Vocal Recording Session

Great vocal performance on a record does not happen by accident. Many factors contribute to making a recording session successful or not so successful. After 30 years of coaching singers and 15 years of recording them, I’ve gathered some tips that should help your next recording session go smoothly, giving you the result you are looking for; a killer record!

BEFORE SCHEDULING THE SESSION

It’s true that you can hold lyrics in front of you while recording and no one would know. But after all these years of working with singers and being a professional vocalist myself, something magical can happen once you cross over from the “on-book” to “off-book” phase. You can focus more on the emotion, the subtle use of air and vibrato, scoops, straight tone, falls, attacks and releases, articulation, riffs, runs and so much more. If you have the time, get off-book so the song is really inside of you. Which leads us to #2…

Maybe this should be an obvious one but, I’ve definitely had vocal sessions where the singer was still figuring things out; timing, phrasing, notes, etc. Now, when I record YouTubers who literally try to produce, record, film and release a song in less than a week, there is no getting around this. I actually enjoy helping these recording artists work through the songs in this way because it is like a combined coaching AND recording session (which I LOVE!) If creating content quickly is your current strategy then that is the way it has to be. Just remember, it definitely doesn’t work for every recording session or with every recording engineer. If you have the time, putting in the same effort as if you were going to be performing the song live without lyrics in front of you will elevate your performance dramatically.

Before putting in the time to rehearse the song, make sure that you are singing in a good, healthy key for your voice and a tempo that feels right. If you are using a karaoke/instrumental track then obviously, you are tied to the key and tempo of the track. While a karaoke track can be altered, the quality of the karaoke track will diminish ever so slightly the farther away from the original recording you go. So, a half step up, not too noticeable. Four half steps…noticeable. If you are creating your own instrumental with a producer (like I do for artists all the time) then take the time to find the right key and tempo before the producer starts working on it, if possible. That being said, it’s really easy to change the key and tempo of programmed instruments before anything is recorded.  Don’t just sing through it once and call it good. Sing through it a few times in a row to make sure your voice does not tire after a few run-throughs. Double check that you aren’t rushing or dragging as you sing along, which could be a sign that the tempo isn’t quite right OR that you need to work on your timing 😉 If you are rehearsing the song, prepping for the session while using the track your producer has created for you and feel like the tempo or key needs to change, let them know ASAP so they have enough time to make a new track and you have enough time to rehearse with it before the session.

Equivalent to filming yourself perform a song prior to the actual performance, the benefits of listening to yourself are enormous. Simulate the actual recording session at home, even if you are just recording into your phone using an app. Going through the process of actually recording should highlight spots that need a bit more work or help you plan your session better. Do you need to record the low, soft verses first before the big, belty choruses? Or vice versa? Do you struggle with phlegm because you ate a cheese sandwich an hour before? Did you notice the overall emotional delivery falls a little flat and could use more thought? Invite a music buddy to listen back and provide feedback on this “scratch track” version.

Even if it’s just one session with a coach prior to the recording session, this is a much safer, efficient and cost-effective way to record a song. Getting feedback after the recording session can be very discouraging. Forking out more money to re-record vocals was most likely not figured into your budget. Be sure to include funds in your budget for at least one coaching session prior to and if possible, during the session. It can relieve so much pressure to have a team member with you that is listening only to your vocal delivery, who knows your voice and what your goal for the song is. Totally worth the extra dough to have someone in your corner at the session.

DAY BEFORE/DAY OF SESSION

The next four pointers are specifically for the 24 hour period before the session:

Get a good night’s sleep the night before your session. Make sure the session isn’t scheduled for 10 am the day after a late-night gig or at the end of a long workday. Be as rested as you can.

Do your best to stay hydrated hours before the session in addition to drinking water during the session. Bring plenty of water so you can stay hydrated during the session. Adding a lemon wedge to your water can help break up phlegm if that is an issue for you. Warm or room temperature will keep your vocal folds and all other tissues involved in singing nice and pliable. See #9 for more specifics about this.

Arrange your schedule so you’re not running late or in a hurry to finish. If you got in the biggest fight of your life the night before with your SO, see if you can reschedule without a penalty (I never charge people for rescheduling because what’s the point of forcing a session to happen?) Take some time before the session to unwind, meditate, calm down, whatever you need to do to get your mind focused and clear.

There are hundreds of lists out there of what foods and beverages to avoid. For the majority of people, these lists are pretty accurate. But there are exceptions. Be sure to know your body and your voice and how it might react to certain foods, either positively or negatively. I always tell people my own story regarding typical “no-no” foods and my own voice. You will always see “caffeine”, “dairy” and “sugar” at the top of the lists of foods/beverages to avoid before singing, but I had one of my best vocal lessons ever when I was going through extreme stress in my life and was living off of Starbucks White Chocolate Mocha’s which are loaded with caffeine, dairy and sugar. I had had 2 that morning! But seriously, for me at that time, it worked. Keep a journal that connects what you eat, when you eat and when you sing with how your voice feels. You will start to see correlations between certain foods and how your voice performs.

I hope this has given you some tips that will help you rock your next record. Feel free to email or pm me on socials for specific questions!

Becky Willard is a Warm Audio featured artist, a music producer, recording engineer, songwriter, composer, vocalist and mentor. She began working with artists almost 30 years ago as a vocal and songwriting coach.  It was a natural transition from coach to producer as she guided singers searching for their sound and began recording them in her home studio.

In 2010, Becky founded Vox Fox Studios and has become the go-to producer for many Utah artists as well as artists from all over the world. These artists go to Becky to produce their music because they know they will get their best vocal performances, modern production sounds and mixes that are “radio-ready”.  As a songwriter herself and session vocalist, her songs and voice can be heard in dozens of TV shows and movies. As a woman in a male-dominated field, Becky is actively engaged in educating and inspiring young women in her community and worldwide to pursue music production and engineering.

Read Becky’s Blog

8 Habits that Help Me Keep My Sanity as a Freelance Entrepreneur

In the spirit of New Years Resolutions and all of that, I thought I would share with you some of the tips I’ve gathered as a freelance entrepreneur. If you are an “indie artist” or a songwriter, a producer or engineer, running a music teaching studio, or operating your own business in any way, this is for you.

The thought of not having a boss or working for a corporate entity sounds pretty sweet, right? Well, it is. But it’s also really REALLY hard sometimes. I worked for financial institutions for 18 years while I built my music business part-time so I fully understand both worlds. As a matter of fact, I still have days when the security of the day job lures me into pulling up the “careers” page of my local credit union. These tips and habits are things I’ve figured out over the 12 years I’ve been a full-time freelancer, all based on my own experience. I can’t say for sure that I have it all figured out yet. I’m still a work in progress  However, I hope some of this will be helpful to someone. If you have other pointers or a different perspective, I’d love to hear about it.

Set a work schedule

It would be easy to sleep in, stay up late, wear PJ’s all day, show up at your computer whenever the heck you want, not take a lunch break, etc. Based on your current situation, set a time that is your “go to work” time, a “punch out for lunch” time and “leave work” time. For me, since I have a family and a husband who is a crazy morning person, I really had to adjust my work schedule to fit his (more on that in number 2).

So, I have my morning routine that includes a dog walk, meditation and scripture study and the gym (which I’ve learned in 2020 that those last two have to be a priority or my brain doesn’t function). After all of that, the soonest I can get to my computer for “work” realistically is 9:15-9:30 a.m. Then I have to take my dog on another walk in the afternoon (she is spoiled), which forces me to take a little breather and get some fresh air (very good for freelancers who are on a computer most of the time). Then I like to stop working when my husband gets home so I can make dinner and he can play the drums. My schedule follows that flow Monday through Friday with only an occasional exception. I also take the weekends off so I have time to clean my house, grocery shop, spend time with family and keep my life feeling balanced.

When we are not in a pandemic, my Sundays and Thursdays (and sometimes more) are busy with the Tabernacle Choir rehearsals and performances. It’s a volunteer part-time job and if I don’t properly balance it all, I start to feel overwhelmed very quickly.

Create boundaries

When I started my business I was single and basically had no life. I had also just moved to a new town and had to build my business and brand awareness from scratch. It felt like I had no choice but to work constantly, as late as I had to, on weekends (when I wasn’t out of town on a gig with the band No Limits) and holidays in order to turn projects over quickly. I also accepted every project that came my way at whatever budget the artist could afford. I was working constantly and barely making enough to stay afloat. Not a good strategy but at the time, it felt like the only way.

When I got married to my J-Dub in 2013, just a few months into our marriage, his teenagers started moving in with us. Quite suddenly I became a full-time mom with demands on my schedule I wasn’t used to. Driving kids places, parent-teacher conferences, dinner every freaking night (?!) Not only could I not handle the same work schedule but I needed to create a home that felt like a “home”. Family meals at a set time at the dinner table, being available to help with homework or just conversation with the kids, cleaning the house (OMG cleaning the house). I had to make changes. I had to create boundaries. It. Was. Hard.  I had to learn to say “I’m sorry, I don’t record after 6 pm.” Or, “I’m sorry, I don’t work on the weekends.” I was sure all of my business would leave and I would have to start applying for jobs at neighborhood financial institutions. But, alas…my clients respected that and worked with my new schedule. Thankfully!!

Planner

Create a schedule for yourself; daily, weekly, monthly and annual. An exercise I have started doing and am now having my artists do is create a daily and weekly schedule. First, determine your priorities in each of these categories:

Mental health – What needs to be part of your daily routine to keep you sane? Meditation in the morning? Turn your phone off an hour before bed?

Spiritual health – Set aside a day to turn it all off and connect with whatever it is you connect within the universe. Nature, family, God, whatever. Disconnect from technology at least one day a week if you can and be sure to schedule it so that it will happen.

Physical health – If you need to adjust your schedule to fit in 30 minutes at the gym or a walk with the dog or whatever, do it. Getting the blood pumping, eating right and taking care of your body will spill into every other category. Remember, as a vocalist your body is your instrument. Just like you wouldn’t leave your acoustic guitar in the trunk of your car overnight, you should feel protective of your health in the same way. And if you smoke, I strongly suggest trying to quit.

Creative health – As an artist, developing the necessary skills won’t just happen. Be sure to carve out the time you need for vocal work, songwriting/creative writing exercises, collaborating and co-writing sessions with other artists, work on your instrument, practicing your setlist, etc.

Now create a daily and weekly schedule that you will follow. Adjust as needed!

Here’s a free printable to An Artist’s Weekly Schedule for you.

Create goals as projects

It’s easy to write those goals down on January 1st but I found a “project worksheet” and started to use it for all of my goals this year and I actually love it. It helps me keep track of the steps needed to accomplish the goals and create checkpoints along the way. I extracted what I loved from that worksheet and made my own. Here’s another free printable for you! Project Worksheet

One “bold” action a week/month This is a new action for me that I started taking in 2020. Business was good but the vision I had in my mind wasn’t quite there yet. It began to feel that if I didn’t make a drastic move once in a while, things would stay the same. Was it ok if things stayed the same? Yes, but that was the problem. The safe zone wasn’t the goal aka the dream I had in my mind, but it was safe. Even as unpredictable as it feels as a freelance creative, I had found my groove and was scared to disrupt that groove. Therefore it was tempting to stay there. So I set the goal of making one bold action once a month. I picked once a month to start, but you can try once a week or even once a quarter.

Whatever feels right for you.  A bold action for me might be messaging an artist that I’ve always wanted to work with but has never reached out to me (Big time limiting belief voices in my head are always telling me that I’m not good enough so why would so and so artist reach out to me, right? So this is also a way for me to battle against those limiting beliefs.) Another big move I made this year was doing a total rebrand so that my business actually looked like what I wanted it to be rather than waiting for it to gradually happen. This included hiring TEA Creative on a continual basis to handle graphic design, website design and some social media work instead of trying to just do it all myself (and not very well, I might add).

That big move includes actual money going out the door to pay professionals to do something that will elevate what my business looks like online. I don’t know why that one was scary for me, but it was. It’s as if the statement “yes, I have a graphic designer” felt like I thought I was thinking I was a bigger deal than I actually was. ANOTHER LIMITING BELIEF WHAT THE HECK??? Another reason why this step is such a good one.

What is a BOLD action for you? Could that be finally finishing that song you’ve been sitting on that’s half done? Or actually, jumping in with both feet and working with a mentor (like me!) to help you build your business? Reaching out to an artist you admire to see about a collab writing session? Taking a mixing course or a songwriting course? DO IT!

Expand your network

Freelance generally means working with a variety of people but also working very much alone. It can feel isolating and overwhelming. Networking is often thought of when we’re trying to “build our business” or “make connections” to climb up our own entrepreneurial ladder. But what I am talking about here is expanding your network so that you can work with others who can do some of what you do, maybe even better. What if you outsourced one element of the project? If you are a producer, what if you had someone else mix it? What if you regularly hired musicians instead of trying to shoulder the load all yourself project after project?

This leads us to the next one…

Create processes

If you have been in your “freelance groove” for a year or two, think about what some of your tasks are that you do regularly, especially tasks that feel mundane or like an interruption to your “real” work. Is it something you can take 30 minutes to explain to someone with basic computer skills? Then it might be something you can train someone on and outsource. There are high school students or even virtual assistants who can do this work for you. It might mean taking an hour to type up a step-by-step guide or an afternoon to put together a tutorial video. But if it removes a task that someone else can do for you so that you can do the “meat and potatoes” work, then it’s worth that small investment.

Set financial goals and boundaries

One of the downsides of being a freelancer can definitely be the fluctuating income. Not to mention, an annual tax bill if you aren’t careful, more expensive healthcare, etc. It definitely took me a while to wrangle all of the craziness into something that didn’t feel like a wild roller coaster ride financially. It requires saving a percentage each month for taxes, medical expenses, unexpected expenses and regular savings. If you aren’t disciplined with money, then find an accountability partner (perhaps an accountant) that will hold you to these goals.

Creative brains at times have a difficult time staying on course. So for me, putting bumper pads on the lane of my life has helped me stay focused. Then knowing when to move them, expand them, or completely obliterate them has taken years of trial and error. I hope these guidelines can be helpful to you.

The First Step to Marketing Your Music You Probably Aren’t Doing 

Over the past few years, I’ve been researching the marketing side of music to be of more value to the artists I work with. Heaven knows I’ve been avoiding the world of “marketing” for the same reasons you have….it’s HARD! It’s hard because there are so many fears attached to it:

It’s expensive 

What do you actually spend your money on; ads on socials? Ads on radio or print? Billboards? Your grandma’s book club? What??

You don’t want to be annoying 

You are afraid of the negative comments that are bound to come

You’ve tried it before and all you get back in return are crickets and you just can’t bear to hear any more crickets…

Right? 

So after a gazillion workshops, conferences, books and articles I’ve delved into these past few years, I think I finally figured out the one main component that most artists are not embracing or taking seriously.

Branding

By now you’ve heard this term thrown around but let’s talk about what branding really means, how to find yours and why it is the very first thing you should be thinking about before you even start creating your music.

Over and over again, artists I work with ask me toward the end of completing their EP or album or single, “Ok, so now how do I get it out there”.

Get my music out there. 

I have come to hate this phrase, even though I know it’s harmless and it feels as though there’s no other way to say it. But to me, it’s the same as saying; “I want to go to Japan. Will you drop me off at the airport and then I’ll wander around and hope that someone puts me on a plane that is heading to Japan?”

We all know this will never in a million years work but I can’t think of a better analogy than the scenario of putting all of your time, resources and energy into the creation of music and then “hope” that it will be listened to by millions and create a sustainable career.

Perhaps it’s because there are still some long-held myths out there about being discovered in a coffee shop (the story is true for a few out of millions maybe). Perhaps it’s the fault of the reality shows that seemingly catapult a few into superstardom (and we forget about the fact they are casting a reality show and millions and millions of talented artists have auditioned and are never pushed through to the actual show because they don’t fit what casting directors are looking for). Whatever the reason, the truth is that most artists I observe are creating, crossing fingers, closing their eyes and “hoping” they’ll hit a target.

So, let’s talk about branding. I am not a branding expert, nor a marketing expert. So I am compiling notes and thoughts from quite a few resources which I will be linking you to at the bottom of this blog. Be sure to check out these amazing resources that are available to you, most for free!!

According to Stephen Linn of Amplify Entertainment, branding is one of the 3 Artist Development Buckets that you need to focus on to have the best chance for success in the music industry. The other two are the business side (creating an LLC, registering with a PRO and with Sound Exchange, etc.) and the Digital Footprint (following, content, audience, etc.)

“Branding is what people say about you when you’re not in the room”, states Linn. I think that’s a powerful statement because it’s scary. Linn also explains that you can’t control it but only influence it. Your brand secures your identity and makes you unique in a very crowded space.

Exercise time! 

Take out a piece of paper, notebook or your digital notepad.

  1. List 3 to 4 words that describe your personality. Using these words, create (or hire someone to create) your;
  2. Logo
  3. Photos
  4. Clothing style
  5. Fonts
  6. Wardrobe (on and off stage, yes they can and should be different)
  7. Everything about you that you are going to share *as an artist 

*Remember, you are not obligated to share every detail of your true personality with the world, only those parts you want them to see. Even if you are enhancing some qualities or hiding others, you are in control of what influences your brand. If you don’t want people to know that you personally have an obsession with collecting mini tea sets, then pull all photos of that down from your social media and pray that doesn’t get out. OR, you could embrace it and make that part of what you share. 

  1. Write down your Mission Statement aka Elevator Pitch. The concept of an elevator pitch is if you only had 30 seconds to describe you, who you are and what your music is like as well as who it will appeal to, you should have this concise and clever summary memorized. Avoid statements like “unlike anything you’ve heard before” or “the best music you’ve ever heard” or some other egomaniac statement. I once heard music described as “It sounds as if Keith Urban and Taylor Swift had a baby and it was raised in San Diego”. You can tell what that would sound like, right?? Be clever!
  2. Define your vision. What do you see when you see yourself as successful? Will you be performing to a stadium full of fans? Will you be living comfortably as a songwriter? What does success look like to you? Spell it out in detail.
  3. Make a list of all of your favorite products, hobbies, restaurants, social spots, etc. Brand Extensions and/or partnerships can become part of your brand. Not only this but brand partnerships can become a source of income for you as well as a way to extend your reach. If you have a hobby of skateboarding or yoga or kickboxing or knitting or

have a love of Hallmark movies, include this as part of your brand. You will be able to connect with people with similar interests who may not have otherwise come across you and your music. This approach can also prop you up into the visual space for the brands you use and love to actually see you.

  1. Make a Brand Binder. This is for you and your team and not for fans or the public. The Brand Binder will include;
  2. Personality traits you narrowed yourself down to in the above exercise b. Phrases, thoughts, statements, quotes that you find inspiring and represent who you are and what matters to you
  3. Mission Statement and Elevator Pitch
  4. Vision
  5. Brand Elements
  6. Colors
  7. Fonts

iii. Pictures 

  1. Logo (variations, colors)
  2. Look and feel (mood/aesthetic) using pictures
  3. Offstage wardrobe using pictures

vii. On stage wardrobe using pictures 

viii. Any other pictures or swatches of material that add to your brand 

  1. Include your list of products, hobbies, restaurants, etc. for potential brand partnerships

I like the idea of having a physical binder for this but you could also use something like Pinterest or Trello to organize your Brand Binder.

You might be asking, after you have gone through these exercises and put your Brand Binder together, “Ok, now what?”

Your next step is

  1. Creating Brand Awareness. 

This. Is. The. Hardest. Part.

Honestly, I think creating your brand is really fun. I mean, who doesn’t like talking about all the things they love and creating a visual presentation of it? Brand Awareness is something that takes time. Remember, the Brand Binder is for you and your team, not your fans. It will guide every decision you make about what photos are best, what album cover looks best, what should I post on social media, etc. It is not a substitute for the business of bringing awareness to your brand.

So be patient. Building Brand Awareness is a marathon and not a sprint. Stay “On Brand”. Create Consistently. Contribute Always. 

While you are at it, collect email addresses and give something back in return (free download, private invitation to live streaming event, etc.)

The good news is that if you do this right, you will attract fans outside of your regular circle of friends and family without spending a dime on advertising. You can also build brand awareness while you are creating music in the studio! As a matter of fact, that is great content to share as part of your brand building! 

Make defining and building your brand the priority now and see how it changes things for you in 6 months or a year.

This blog was originally published on Becky Willard’s website Vox Studios

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