Get Ready, Get Set, Get
Signed |
| IntroductionLearn baby learn
Success is achieved when preparation meets
opportunity. You have to be ready when opportunity knocks. Proper preparation will not
only put in a position to capitalize on your opportunities but will to help create them as
well.
One of the best ways to prepare yourself is by learning as much as you possibly can. The more you know the better off you are. Most artists make the mistake of concentrating souly on learning their craft. That in itself is not disastrous, but not have a general understanding of the business side of music is. Never forget that music is a business. Big business. It’s all about business when they sign you and it’s all about business when they don’t. There are plenty of players in the music game, all with their hands out. Knowing them and their roles increases your chances of success. Get Ready. Get Set. Get Signed is an overview of the music business, it’s players, their function, their connection with each other, and where you fit in. Written in plain English for easy understanding of industry terms and the laws that govern it. The music industry is legendary for ripping off unknowing artist. Learn from the mistakes of others, learn the business. It’ll save you some heartache as well as money. The opportunities will come. Prepare yourself. Get ReadyIt won’t be easy I’m sure by now you realize you have set out on no easy task. The world is full of broken dreams and littered with has-beens who never were. To say that competition is stiff would be misleading. Competition is fierce (and that’s still an understatement.) And it will not happen over night, or over two nights. Maybe not even after a year or two. It’s going to take hard work, both physically and mentally. And let’s not forget about the music industry’s well-earned reputation as being a shady business. It was probably a recording artist that first coined the term jerked. And what in life doesn’t take money? This is not meant to discourage you, it is meant to prepare you. Too many chase the dream just to give up because they didn’t know just how hard it really is to succeed in the music business. Nothing in life worth having comes easily. This is a job and you will work for everything you’ll get. Having the proper frame of mind is critical. You’ve got to want it more than anything----because that’s the only way you’re going to get it. There will be obstacles of every shape and size. Some obstacles, such as complacency, will not be easy to recognize. You must be able to identify your problems before you can solve them. If you can anticipate the obstacles before you encounter them, then hopefully you will be able to avoid them. A smart man learns from his mistakes. A wise man learns from the mistakes of others. Once you have made up your mind that you want it, really want it, then go for it. Really go for it. Start by developing a plan. Don’t fall into the trap of waiting for things to happen. No one plans to fail, just fail to plan. Set goals and deadlines. Outline the necessary step to success. Know exactly where you want to go and how you plan on getting there. Use deadlines to help motivate you and keep you on track. Stick to your plan, but do not panic if you hit a bump in the road. The best-laid plans go astray. Things do go wrong. Schedules suffer setbacks. People miss appointments. Don’t let any of it stop you. Make adjustments and move on. You are almost guaranteed a rough ride. The stress of searching for a deal is just training. Life does not get easier after you are signed. Shall we continue? Pep talk No matter how high the odds maybe stacked against you, they’re not unbeatable. But before you can overcome any obstacle you must first believe that you can. Nothing will be achieved until you first believe. So first and foremost: believe in yourself. If you don’t then don’t expect others to. Confidence will do more for your career advancement than any piece of equipment you can buy. This can not be stressed enough. It will be your belief in yourself and talent that gets you through the trying times. If you are confident that you have what it takes, then competition is a non-factor. Do not become overly concerned with some one else’s career, there are too many other things that warrant your attention. There will always be competition. Competition is healthy. It’s what going to drive you to come up with something better. It’s what’s pushing you to the next level of music. Money should be another non-factor. As long as you make a commitment to yourself that you will find a way to raise the money, then you will raise the money. Maybe you will have to use a percentage of your day job salary. Maybe you will have to stop smoking or drinking or both. Maybe less personal entertainment and more career oriented spending. Do what you must (within then law) to get the money together. It’s that simple. It will take some sacrificing, but remember you are investing in your future. Success is not achieved overnight, so develop balanced expectations. This isn’t a get rich quick scheme. Be patient. Don’t expect too much too soon. There will be disappointment. And there will be accomplishments too. Focus on the positive. Small steps are steps and little victories in themselves. Be content with minor achievements but do not become satisfied until your goal is reached. Stay hungry. A style is born So now that you’re focused and nothing can stop you, you need to make yourself marketable. Record companies make money selling records. It’s your job as an aspiring artist to show them that you have the potential to make money. You want to make yourself look as attractive to them as possible. If you are knowledgeable about your craft, have honed your skills and have gained a modest following through performing, then you will look like gold to them. Keep these points in mind when putting together any aspect of your music:
Every artist must first find his/herself. Who are you? What type of person are you? What type of music do you like? Study the genre of music you like (i.g. R&B, rock, pop, rap...) Determine what it’s lacking in that genre as a whole. What don’t you like about it? What would you change? Develop a variation on that style of music adding what you feel its missing and leaving out what you don’t like. Do it your way. What unique qualities do you posse that could bring to the table? Add your touch to it. As previously stated, competition is tough. So you will have to find something about yourself that sets you apart from the rest. Play to your strengths. As you’re putting your style together you should keep in mind who your audience will be. Who are you trying to reach? Identify what type of person would buy your music. Consider their age, race, and their location (i.g. Inner city, suburban, East Coast...) After finding them, target them. Have them in mind when you chose your lyrics. Talk to them. What issues concern them? Keep them in mind when you chose production. What will they groove to? I know music is personal and you’re not going to please everyone, but you have to sell to someone. And to do that have to develop a specific musical focus and image an audience can identify strongly with. Get a handle on the attitude, sound and image you want to portray. Just make sure it is a sincere attitude that is really apart of you. No one likes a phony. It’s hard to be yourself and marketable at the same time. You want to reflect who you are and how you see the world. But it’s to no avail if you’re the only one who buys your music. You don’t have to become something you’re not but keep your audience in mind. You have to first be able to attract an audience before you can attract a record company. Now you need a name. If your given name won’t do then you’ll have to think of one. Be creative and think long term. Don’t chose a name you could out grow a few years down the line. You want your audience to be able to follow you with the greatest of ease. Your name should be something catchy. Think long and hard. Once you do chose a name you should take the appropriate steps to protect that name. Research your decision, making sure the name is not being used by any other performer anywhere. There are agencies you can contact that will research the name for you. If no one’s using the name then trademark the name for yourself. Do this as soon as it’s financially possible. You do not want to have to change your name or have someone else using it. They’re all connected All aspects of your music are linked together. Therefore, there must be consistence as well as harmony.
Songwriting Any A&R will tell you that the key to a record deal is a hit song. A hit song is money and money is the bottom line. Everyone is looking for the next hit. It’s a hit-driven business. A&Rs want instant hits. Artists no longer have the luxury of developing to a point where their second or third album produces a breakthrough hit. You must posse a hit to have a chance. A hit song starts with great lyric. It must make an emotional statement. That statement needs to be something alot of people can relate to. Structure is also very important. Having a pre-chorus and bridge help break away from the standard melodic scheme that you have established in the verse. You need a great chorus. One that is singable, hummable and imprints the brain quickly. The chorus is the part of the song everyone gravitates towards, so something catchy is preferred. It seems that more and more artists are writing their own songs. And why not? There is a lifetime of money to be made in songwriting. But do not think is easy because so many are doing it. Songwriting is a craft that takes creativity and talent. You can be taught essential songwriting skills but you can not be taught imagination or feeling. You can start by analyzing your favorite song. See what style of writing was used. Identify the different parts of the song and examine the structure. How is the song put together? You do not have to copy the format, just let it inspire you. Have the overall theme of the song in mind as you write the lyrics. There is no set order to writing a song. If you have an idea for verse one write it down. If you draw a blank when it comes to the chorus, skip it and move on to the second verse, or maybe even to the bridge. You should never stop writing until you feel it’s your very best. Once you consider a song finished, leave it alone for a week and come back to it. If you still feel it’s your best then you are done. Writer’s block does occur, but don’t use that as an excuse. Keep writing. Force yourself to write. It’s the best way to work it out. Songwriting tips:
There are poems and there are songs. Songs are more limited because the words have to be singable and there is structure involved. Therefore, not all poems can be sung. They may need some modifying.
Vocabulary Bridge - the part of the song that is different, both lyrical and musically, from verse and chorus Chorus - a section of a song that is in contrast to the verse, repeated in the song, usually having the same words and melody Form - format; structure Hook - the most identifiable section (or phrase) of a song, usually the chorus Melody - the tune of a song Rhyme scheme - pattern in which rhyming words fall Verse - the part of the song that is repeated in melody but different lyrics each time
Sweet Misery by Leroy Ware Verse I knew (a) But when we’re alone (a) Pre-chorus Seems love crept up (a) Chorus You don’t know (a) Bridge If you knew (a) There are many variations to these rhyme schemes, so don’t limit yourself to a few. Use different rhyme schemes for different parts of the song. Also, with each new song try a different arrangement. If you have a really great chorus or hook, start with that. There are no rules. Practice makes perfect Whether you’re going to record a demo or perform you need to practice as often as possible. Always practice as if you were performing. If you never do it in practice, you can’t expect to effectively perform it. Hitting high notes, gestures, talking between songs, interaction with the audience and band members, taking the mic off the stand...all need practicing. Practicing should not lead to a mechanized presentation. Instead it should help your performance to be well oiled. It’s hard to practice performing when the only real time you perform is in front of an audience. Still, you must try your best. Rehearsal is the next best thing to being there, so make the best of them. Don’t be shy. You can’t let embarrassment keep you from doing your thing. If you want it bad enough you’ll overcome any fear. The best practice is getting out there on stage. Try a couple off open mics and talent shows. Hone your skills and stage presence. Life on stage is very different from daily life, prepare for it.
Recording Your demo is your shot a stardom. You want to make the best of your attempt. The job of the demo is to demonstrate to an A&R that you have the potential to make hits. A&Rs (Artist and Repertory) are the people in the record company that selects and deals with new artists, songs, and records. A&R are trained to sniff out a potential hit. There’s no need to spend a ton of money on recording, trying to make your demo record quality. A demo will cost you, but it doesn’t have to cost a fortune. Stay within your means. A&Rs able to recognize a hit even with 4-track production. Besides, no matter how much money you spend on recording, if the song is weak the audition is over. One way to keep cost down is by making good use of your rehearsals. Studios cost money. You want to have as much of the idea put together as you possibly can. When recording, saving time is saving money. Another way to cut cost is by trying to work out a deal with the studio. They may give deals on block time, wee-hour sessions and weekend rates. Home recording Most artists start out with one piece of equipment. Maybe a four-track recorder, just to get a couple of ideas together. A drum machine is soon added to help keep time. Then a month or two down the line keyboard sounds are desired, so a synthesizer is added. Only to discover that a sequencer is needed to arrange and sync everything. Then a... The point is you will always need just one more piece. Stay within your needs and means. Remember your original goal. A full-blown studio is not needed to just get your ideas together. But if a home studio is what you need, then buying equipment is a sound investment. For starters you can have unlimited practice and creative time. When you are ready to record in a larger studio, you can save time and money because you have worked out the bulk of the production at home. You learn other aspects of the music field, producing and engineering. You also have the option to charge others to get their ideas together, thus generating income. Before buying any piece of equipment make sure it does exactly what you want it to. Know what features you want out of the equipment. Research every brand that makes that type of equipment. Ask questions. Reliability, flexibility, how easy is it to use, and ability to interface with your existing equipment all should be taken into consideration before buying any piece. If it is financially possible, buy the model just above the one you need, this will give you room to grow. Different people have different needs. You can custom build your studio to fit your needs. The more you have, the more you will need. Buying equipment can get expensive. Shop around for a good price. Or wait for some sort of holiday sale. Most musicians take good care of their equipment, so buying used is also a way to go. Today’s technology makes it easier to make good sounding demos at home. Home studios are popping up everywhere. Most of them well enough equipped to produce a demo worthy of shopping. Some hints
Copyright and you Copyrights are the right to sell and reproduce a musical work through publication or performances. Simply put copyright is the right to copy. Copyrights apply to all original musical, literary, dramatic and artistic work. Instrumentals and song (words and music) fall under the heading of musical works. Lyrics alone fall under the heading of literary works. Ideas, titles, short phrases and facts are not eligible for copyright protection. Copyrights can be sold, bought and shared. Ownership of a copyright is very important because royalties are paid to the copyright owner. There is a misconception that you send to Washington for a copyright. That just is not so. Copyright protection is applied to a work as soon as it is fixed in a tangible form (written or recorded.) Though it is not mandatory, it is customary to place a notice of copyright on your work. The copyright notice includes the copyright symbol, the year of the copyright, the name of the copyright holder and the phrase all rights reserved. Example: © 1995 B. Ware, 1971 All Rights Reserved Registration When you send to Washington what you are doing is registering your work with the copyright office. This establishes a public record of your claim. A copyright registration is the evidence of your claim to copyrights. As a rule you registration is required before any infringement lawsuit can be brought about. To register unpublished works complete the appropriate form and supply one lead sheet or cassette. If the work has been published then you must include two lead sheets or cassettes. The cassette doesn’t have to be wonderfully produced. It should contain the words and basic melody. There are two types of forms used to register your work. Form PA (performing arts) and form SR (sound recording.) Form PA is used for published or unpublished works of the performing arts. Used for lyrics only. Form SR is used for published or unpublished sound recordings. Use this form for registering an actual recording in the specific way the music and lyrics are conveyed. Royalties A royalty is the money paid to the copyright owner for the sale or use of a musical work. There are two types of royalties; performance and mechanical. A performance royalty is paid for the public performances of a work. Performing rights organizations collect the performance royalty. A mechanical royalty is paid for the manufacture and sale of a musical work. Infringement Infringement is the use or reproduction of someone else’s work without their permission. Plagiarism, copying someone else’s work claiming it to be your own, is a well-known form of infringement. A license gives someone permission to use copyrighted material for a certain purpose and under certain conditions. A song must first be registered before any infringement suit can be brought about. It is not the job of the copyright office to look for infringement, that’s up to the copyright owner. Performing rights organization Since only the owner of the copyright has the exclusive right to perform his work, a performance royalty must be paid to him for any public performance of his work. Performing rights organizations collect royalties from the users of their members’ music. If you have a song that is registered and is being published (distributed to the public by sales or other means) you can join a performing rights organization. Besides collecting royalties, another function of performing rights organization is the enforcing of the copyright law. They will be the ones that sue broadcasters, clubs, and any other who publicly perform their members music without a license. There are three performing rights organizations. ASCAP, BMI, and the lesser known SESAC. You can only belong to one organization at a time. ASCAP members pay dues; $10 for writers and $50 for publishers. BMI has no dues and no fees for writers. Publishers pay a one-time fee of $100. There is no fee to be affiliated with SESAC. Though they’re calculating of royalties maybe different, there is no clear concise evidence that one pays more than the other does. Choosing the right organization is an important decision. Contact each for information before deciding. ASCAP - New York ASCAP - Los Angeles One Lincoln plaza 7920 sunset blvd., Suite 300 New York, NY 10023 Los Angeles, ca 90046 Tel: (212) 621-600 Tel (213) 883-1000
ASCAP - Nashville ASCAP - Midwest 2 Music Square West 1608 W. Belmont Ave, Suite 200 Nashville, TN 37203 Chicago, IL 60657 Tel (615) 742-5000 Tel (312) 472-1157
BMI - New York BMI - Los Angeles 320 W. 57th 8730 sunset blvd., 3rd fl west New York, NY 10019 Los Angeles, CA 90069 Tel (212) 586-2000 Tel (310) 659-9109 BMI - Nashville 10 Music Square East Nashville, TN 37203 Tel (615) 401-2000
SESAC - no fees for affiliation
Publishing companies A work is published when it is distributed to the public through sales or other means. A publisher’s job to get your work published. You agree to give up a percentage of your mechanical royalty in the hopes that they will get your work published. On a quarterly basis the record company pays the publisher of a composition. The publisher then in turns pays the writer according to their contract, normally fifty percent. Performing rights organizations divide the performance royalty into two portions; the publisher’s share and the writer’s share. Each is paid his share directly. And because of this each must be affiliated with a performance rights organization. A work for hire is when a writer is employed to write a song. In this case the employee, not the writer is the copyright owner. Get SignedAnd now the hard part There is no standard procedure when it comes to getting the ever so elusive record deal. It can happen a million different ways. Usually at the core of every scenario is the demo. Your demo is your calling card. It is the first step into the music world. There are a few basic rules when it comes to the demo.
Generating a buzz Generating a good buzz is the best way to get signed. If you make a name for yourself and establish a following record companies will seek you out.Buzz:
Generating a buzz will be work, but it will be fun. You’ll do alot of performing, but that’s what recording artists do. Via help Most A&Rs usually never take unsolicited tapes. Demos come in about 100 a weak. The numbers are overwhelming. A&Rs depend on producers, managers, and lawyers to filter through the mess and bring them the cream of the crop. It’s sometimes a task to even get the help you need. They usually do not take unsolicited tapes either, but they are a bit more accessible. It’s a producers job to find and develop new talent, so they are a good start. Getting a manager may help push thing along. Be confident he has connections. It is in a manager’s best interest to get you signed, since he only gets paid if you get paid. Lawyers are businessmen. If you can get one to believe in you, he will call his contacts. If you must mail it In all honesty sending your tape through the mail is a long shot. If it’s your only shot then you have not done your job of getting exposure for yourself. If you are going to take a shot in the dark then you should try and increase your odds. Research the potential label. Does it promote your genre of music? If so, call and find out the name of the A&R that heads your genre of music. Ask if they are accepting new material. If they are, send your demo package federal express to the A&R you spoke with. Be sure to mark the outside of the envelope requested material. Your demo package should include a cover letter, demo, lyric sheet and picture.
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