THANK YOU For 15 Years Of Music Recording Bliss

This summer marks the 15th year that my recording studio, TRH Music Group (The Recording House) has been in existence.  I opened the doors waaayyy back in 1997 and my intention was to record my own music and help other artists get high quality recordings for a reasonable price.  And, of course, to have a lot of fun doing it.  So far that's exactly what I've done and it's been a blast!

I'd like to thank all the great people and artists that I've had the opportunity to work with over the years, it's truly been a pleasure and I've learned a tremendous amount from all of them.

It's been inspiring and just an amazing experience to watch many of these artists grow over the last decade and a half.  I've seen some of them get out of the basement and onto a stage for the very first time.  I've been a part of some of their first pro recording experiences.  I've watched some of them put together their first tours across Ontario, across Canada, across North America and across the globe.  I've watched some artists build a sustainable business and make a living from music alone.  I've seen some artists sign recording contracts with independent and major record labels around the world.  And most importantly, I've built many great relationships -- many of which have been going strong for almost the entire time -- and I'm very proud to have been a part of their musical journies. 

The music business has changed so drastically over the past 15 years and it's been really interesting to witness the creative ideas many artists have come up with to keep pushing forward with their music careers and their dreams.  I'm certainly looking forward to seeing where things go in the future and I'm very much looking foward to many more years of making music.

Are You Really In A Band?

It seems that everyone and their grandmother is in a band nowadays.  But are all these people who claim to be in a band, really in a band?  I'd say no for the most part.  Sure, these people get together with other musicians a couple times a week and write some original songs and maybe even get out of the rehearsal room once in a while a perform in front of a live audience, but that's not really what being in a band is all about.

What Is A Real Band?

I think we need to redefine what it is to be in a band.  It should be a little bit more complicated than that and thus more of an exclusive club.  We can't just let everyone in because they've managed to accomplish the relatively simple tasks mentioned above.  To be in a band for real, you have to have a lot more than that under the hood.

You need to get together with everyone involved and nail down a solid vision so that you're all on the same page.  This is the only way you're going to bring something special and unique to the party.  If you just do the bare minimum, you're likely to fall into the abyss of mediocre bands that just clutter up the scene and make it harder for music fans to find the good stuff.

The Songs:

You have to know what kind of music you're going to write and play.  Obviously this can take a lot of time to determine, so don't feel you have to figure this out tomorrow, just make sure that you're conscioulsy moving toward your own unique 'sound.' 

Be aware of what messages are in your song lyrics.  Lyrics are such a powerful element in the songwriting process and you should definitely make the effort to ensure that you're using this power to its fullest potential.  And strive to be consistent in this area so you strengthen the connection between you and your fans.

When you're writing and recording original material, take note of what feels good and which songs are getting positive feedback in the online arenas and live on stage.  If the feedback you're receiving is somewhat mediocre then take a step back and try to determine what needs to be improved.  If you can't figure it out on your own, don't be afraid to bring in some outside help.  Look around for some pro writers who may be interested in working with you on new material.

The Image:

If you're going to be a real band, you have to have an image.  There must be something about your appearance that stands out and is recognizable so your fans can differentiate between you and the millions of other artists that fall into the same musical category.  Get creative here and tap into something within you that's honest.  Don't dress or act in a way that makes you feel uncomfortable.  Be sure to compliment and accentuate all the unique and amazing qualities you possess. 

If you're short on ideas, just look around at your favourite artists and borrow a few from them.  Successful artists make a considerable investment in their image by hiring image consultants to assist them in bringing their persona to the masses.  If it's in the budget, maybe this is something to consider.  And please don't look at your favourtie artists and conclude they don't really have an image.  Trust me, they do.  Look closer!

The Story:

What's your story?  Where did you come from and who are you?  What kind of struggles or victories have you had?  What is it about where you've been and where you're going that's going to make your fans want to come along for the ride?  Brainstorm with your band mates and try to be as objective as possible here.  If you were a potential fan of your band, what interesting little tidbit of information would entice you into learning more and connecting on a deeper level -- connecting beyond the music?

Again, don't come to the conclusion that you don't have a story.  You do!  The fact that you exist means you have a story.  Tap into that and deliver it to your audience with an enticing and entertaining twist.

A Comparison

I believe that these three things are the most important to have sorted out in order to consider yourselves a band.  If you don't do the work to create a strong and definite vision, then you'll more than likely just flounder around the scene and never really get anywhere or keep your fans interested long term.

Just look at some of the typical acts in your local scene.  If you were to compare one of these bands with Metallica, Bryan Adams, Avenged Sevenfold, or John Mayer, can you honestly say it's anywhere close to the same thing?  Of course not.  What's the difference between these local indie acts and the major players?  They're not super human, they've just done the work.  So get busy, because we need you!

Do Your Fans Want Really You?

Make sure you're creating something around your music that people want to be a part of. If you're begging people to support you in one way or another, you're doing it wrong. Build an experience that automatically attracts fans to you and makes them want to get in on it.

Do you see the same faces in the audience at your gigs, or are you seeing more strangers with every show? Can you honestly say that there's something significant that sets your band apart from other bands in your genre? Is there something that you do better than other bands? Doing something as good as other bands isn't good enough. Try to put yourself in your potential fan's position; would you rush to see your band live or buy your music? Are you using the available resources all over the internet in a creative new way instead of the same old, same old that every other artist has already done?

You probably love or hate some of the following bands/artists, but it doesn't matter either way. Learn from them. The fact that you love or hate them means they're doing something right. What sets them apart from others who don't share the same level of success?

THE BLACK KEYS
LACUNA COIL
JACK WHITE
LAMB OF GOD
ADELE
NICKELBACK
DRAKE
HALESTORM
PARAMORE
BRUNO MARS
TAYLOR SWIFT
LADY GAGA
JOHN MAYER
USHER

There's more choice out there than ever before so make sure you're offering your fans something solid enough to embrace and climb on board your very own rock and roll train. Look beyond the music and offer them an experience and a lifestyle and in time you'll find that you don't have to beg and cajole people into supporting you. They'll want you!

I Have A New Blog Page On My Website

Wow, that's a pretty dry title! But I guess it says it all.

A very BIG thanks to Bill Lankin of WjL Media Services for putting it all together for me and to Murray Daigle of MDS Recording for snapping the shots in my 'Gallery.'

I'm going to keep this blog going for now in addition to the blog page on my official website just so I don't lose anybody. Please head over to the new spot to check it out though and thanks again to all of you who keep reading my posts, I can't tell you how much I appreciate it. Cheers!!

Should My Band Record A Full-Length Record?

When you're at that point with your band where you're ready to record some new material, the discussion of how many songs you should record will soon follow. In my experience, most bands/artists seem to want to record all of the tunes they have on the table or as many as they can afford. They're excited about every song. Each song is very important to them, almost like it's one of their children.

And although I completely understand this kind of attachment (trust me, I've been there), the problem is that most bands/artists don't have the kind of budget that would be necessary to record ten or fifteen songs. Their budget is usually quite limited and in this case, you're spreading the attention and resources thin on all the songs on your list.

Many bands/artists want to record a full-length album because throughout history, that's what bands have done; they made records. And this can still be a good idea if you're planning on taking the DIY road and working your ass off to sell your album by touring extensively and setting up a brilliant marketing strategy. If you're recording your music in hopes that someone is going to discover you and take care of all the red tape for you, then it's probably not such a great idea.

When you record a full-length album and use it as your main calling card to submit to labels, publishers, managers and agents, etc., they're going to listen to the first 30 seconds of the first song and if that doesn't entice them to listen to more, they're going to throw it away and move on to the next submission. All that work, time, money and effort put into making your record and in most cases, only the first 30 seconds gets heard.

For this reason, I think it's better to put as much resource into a smaller number of songs. Even recording just one song can be a great way to go. Here's a few reasons why:

1. You don't get locked into a bad situation with a studio/producer for a huge project that is not living up to your expectations.

2. The amount of time you spend in the studio will be much, much less and subsequently, you'll see results more quickly. Results that you can share with music industry professionals and your fans to keep your buzz going strong. This is something you can do every month or every quarter and you will appear to be very consistent and hard working in your efforts.

3. The results will be of higher quality simply because you were able to put much more resource into the one song and because of this, it will be received more positively. Always leave your audience wanting more, don't make them wish you gave them less.

4. When a band records a full-length album, there's usually a consistency within the recording in that all the songs are a snapshot of where the band is musically and creatively at that time. Therefore there's not much growth from one song to the next. If you record one song every month, the growth in musicianship, songwriting ability and creativity will be much more significant. By the end of a year, you'll be so much closer to creating your 'sound' than if you were to record a whole album over a year.

Making an entire album is a huge undertaking! It can take a very long time because of scheduling conflicts among the band members and with the studio you're working at and because of this, it appears as though not much is going on from the perspective of your fans and industry pros. You can keep your audience tuned into what you're up to via youtube videos and so on and that's definitely a great thing to do, but I've seen this kind of thing go on and on for months or even years to the point where the fan base has lost interest and they've moved on. The buzz is dead.

I'm not saying don't make a record, I'm just suggesting that you think about exactly what that entails and if it's the most sensible move for you. Look ahead to what comes after the album has been recorded and manufactured and/or uploaded to the digital world. Make sure you have a plan of action that will make your efforts worthwhile.

Do You Know Your Band Members?

Do you really know your band mates? I mean really know them in terms of what their expectations and aspirations are regarding your band. I would say many don't really know.

It's really important to sit down with your crew and put it all on the table. You may find that one of the members wants to pursue another career path entirely and is just doing this now for kicks. If you don't know this, when he/she finally decides to jump ship, you may find yourself unpleasantly surprised at an inopportune moment. Perhaps when there's a huge deal in the works or an imminent touring opportunity. I've seen these things happen and it's not pretty.

Here's some things to hash out in a discussion. And make sure you encourage everyone to be honest, because you don't want your band mates to just say what they think you'll want to hear to avoid an argument. Knowing the reality of the situation will put everyone involved in a better position and you can move forward strategically from there.

1. Musical direction: Seems obvious enough, but you may be surprised to find that not everyone is on the same page.

2. Level of commitment: How far is everyone willing to go to accomplish the goals you've set for yourselves as a band? You may find that there's a limit to what some of your band members will endure to make it.

3. Splitting up profits: When there's money on the table, how will it be split up? It doesn't have to be the same for every revenue stream, so it's a good idea to know what everyone is expecting from each of the potential pies in the event you have a big pay day.

I would say these are the main points to cover, although you may find there are other things to consider that are specific to your situation. The objective is to just get it all out in the open as much as possible. If after this exercise you find that everyone within your camp shares the same philosophy, it will probably serve to strengthen your bond even more and that can be powerful stuff! Even if a particular member confesses that this is just something he/she is having fun with at the moment and they're not looking to it as a career option, don't feel you have to launch that person out of the band immediately. If the musical chemistry is there and the personal relationship is there, keep moving forward as long as it's working and makes sense. Knowing the truth will help you to avoid surprises down the road.

Two Things You Must Consider When Building Your Team

Every band and artist needs a team of people around them to make things happen. You cannot do it on your own because there's simply too many things that need to get done. Besides, there's always going to be certain tasks that you and your band mates are just not good at. Having said that, I do think that artists should always be very much a part of everything that's going on with their career, but you do have to learn to let go and hand over the reins.

Whenever you're hiring an individual or a company to perform a service for you, there's two very critical things you need to look at before you seal the deal.

1. The first thing is that the person/people you're hiring must be into the aspect of your band for which they were hired. For example, if you're hiring a producer to produce your music, make sure that person is a fan of the music you're making. If not, the end result could be disastrous. If they're fans of your music, they'll better understand you and vice versa. They'll be more effective at contributing useful ideas and helping you achieve your creative goals and they'll likely have more patience for the project throughout the duration of the process.

I've seen some indie artists enlist the services of big name producers because they figure if Band X had mega success after working with him/her then they will succeed to a similar degree. This is obviously not usually the case. In fact, more often than not, the artist winds up forking over an exorbitant amount of money for recordings that are mediocre at best. The quality tends not to fall within the realm of your favourite bands because top shelf producers are used to working with very large budgets, so what may seem like a lot to you is not really much to them and that will reflect in the amount of effort and attention they give to your project. So make sure every aspect of your band's career gets the attention it deserves by hiring people who share your enthusiasm for what you're doing.

2. The second thing is that the person(s) in question must be professional. Again, using an example within the recording realm, if you opt to have your buddy record your music on a small Pro Tools rig in his basement because he's looking to get some experience and he's offered you an unbelievable flat rate, then the likelihood of you reaching the level of quality you're after is slim to none. This also sends a clear message to others in the music industry that you don't think your music is worth much. They'll figure if it was really that important to you, you'd find a way to afford better.

What would you think of a restaurateur who hired his buddy to be the head chef because he was looking to improve his skills as a cook and is therefore willing to work for cheap or free? I don't know about you, but I wouldn't be making reservations at that restaurant.

Surround yourself with the best you can. Make sure that everyone you let into your circle deserves to be there and is truly adding value to what you're doing. Attitude is contagious so be certain you're always spreading the positive variety.

Cheers to your success!!

What Will 2012 Look Like On January 1, 2013?

So what's on your to-do list for 2012? What are the things that are most important to you? The things on which you're going to focus your energy? A year seems like a long time, but it really isn't. It's going to be important for you to prioritize things so that you don't get overwhelmed trying to do everything that needs to be done over the course of an entire music career during one relatively short stretch of time. Be methodical and don't worry about things like being picked up by a manager or a major booking agency until you have something tangible to offer.

Being in a band or being a solo artist is a ton of work and it's work that will never end. There will always be something on the table that needs to get done, so it's essential that you understand your goals well enough to know where you need to put your focus now and over the next twelve months so that when January 1, 2013 comes along, you'll be looking back on a very productive year. A year that brought you to a new level, a year that has set you up to take the next steps that will be required to move you toward achieving your ultimate goals.

If your band is just starting out, I'd suggest putting your efforts toward writing and recording songs, playing as often as possible to create a strong live show, developing your image and recognizing the strengths of each band member so they can be utilized to contribute to the greater good. This is assuming, of course, that all the members of your band are on the same page professionally. If this is not the case or even if you're not 100% sure that it is, then begin there.

If your band has been around for a year or more at this point and you haven't gotten this far yet, then it's time to sit down and figure all this out. Don't spin your wheels any longer, get a solid plan together and start taking action. These are all the things that professional artists have given a great deal of thought to and that is, in large part, why they're successful.

The main message I'm trying to get across here is for you to not just let things happen to you all year long. Decide what's going to happen and then take actions to make them happen. Here's to a successful and prosperous 2012!!!

Don't Think, Just Do - New Year's Resolution

A very good friend of mine has become fond of saying, "Don't think, just do," and it made me think. Perhaps I'm missing the point. ;) But seriously, if you think about it, it's very powerful stuff. Rather than getting bogged down with over thinking and over planning, just get moving. That's how things will get done. I'm no different than anyone else. I'm guilty of becoming overwhelmed with extraneous details too and at the end of the day, I know it's just wasted time and it can be paralyzing.

Quite often if we spend so much time thinking about what we should be doing, or have to be doing, or how we're going to do it, we invariably find reasons why it's not such a great idea, or why it won't work, or other things pop up that are seemingly urgent and take our attention away from what's truly important. In short, we come up with excuses.

Seth Godin talks a lot about the lizard brain and how it is largely responsible for holding us back from doing and achieving the things we really want to do and achieve. Here's a little video that introduces you to the lizard brain if you're not already familiar. And do yourself a favour and pick up a copy of Seth Godin's book, Linchpin.



If you have some music projects you want to start, then just start before the lizard brain swings into action and takes the wind out of your sails. Put a band together, write some songs, seek out songwriters to work with, start recording a demo, EP or full-length album, begin the necessary research to book your own tour, start a blog, build your website, whatever it is you really want to be doing. If you need help in a particular area, find someone who's knowledgable and experienced to help you get things rolling. Believe that there are plenty of people out there that would be delighted to help you, because that's the truth.

And make sure it's something that you truly want to be doing. Don't start taking action on literally every thought that passes through your mind. Just act on the ones that really resonate with you. The ones that excite you and keep you awake at night filled with enthusiasm. The way you feel about different endeavours is the key to knowing what to do. Check in with yourself and always be honest and that will keep you on the right path.

Don't get all worried about failing. Failure is good. Embrace it and learn from it. That's the only way to get where you're going. Like Godin always says, the most important thing is to ship. If you never ship, then it's just an idea in your head and that isn't worth much more than no idea at all.

In 2012, I will resolve to do more and think less. What are some of the things you want to do and experience in the new year? Please share!

Interview With Frankie Whyte of FRANKIE WHYTE AND THE DEAD IDOLS

Every once in a while a band comes along that really grabs my attention and stands above the crowd as something really special. I remember walking into Lee's Palace in Toronto one night back in 2008 and seeing Frankie Whyte and the Dead Idols ripping it up on stage and from that moment on they've had my undivided attention.

They are rock and roll... period! In fact, if aliens were to come down from another planet and ask me, "What is rock and roll?", I'd take them to see a FWDI show. They live, breathe, eat and sleep rock and roll and they work very hard at what they do. They're big thinkers and they've accomplished some big things since their inception.

Frankie Whyte took some time to answer some questions for me and I'm pleased to share this interview with you. If you're not familiar with FWDI, please check out their website and if possible, go see them live. I think you'll be glad you did.

Enough chatter... on with the interview.



DR S: When did FWDI form and how did it all come about?

FW: Our project came together in 2008, through connecting with like-minded individuals that identified with what I wanted to do. I’ve always had a clear vision as to the message, the steps and the goals I’ve wanted (and still want) to set for this project. Those individuals turned into what is now my family, my band: Dan Cavalcante, Monti and Rio Nicolle, with our phantom fifth member Duncan Coutts. We’ve expanded our team over the years- from our media team with Cut Cartel, to the co-writing team I’ve created with Andre Kaden Black. A band is bigger than just the sum of what you would see on a stage, these are people that relate to and support what we musically stand for. Our band, this project at this point, is a community of creatively fearless people that share similar ambitions to myself, which is why I think it works.

DR S: What do you think sets FWDI apart from other bands?

FW: We have something to say. We want to create a meaningful moment for our fans in 3 minute vignettes. It was said to me recently “you can’t change the world, you can only change yourself”. I remember thinking “how can we not even try to make a contribution or a connection outside of ourselves…”. Perhaps it’s an incredibly naïve notion – but I do believe that music changes people, we all notice those changes within ourselves when we hear the right song or the right words, right. Music brings us together through hope or whatever the common thread is-- and when people unite through their similarities and dissimilarities, that’s when change becomes a possibility.

DR S: You've played quite a wide spectrum of gigs since the band's inception. What are some of the most memorable and why?

FW: Getting banned from Sauble Beach this summer by the Chamber Council was probably the most memorable gig to date. I haven’t heard of that happening to a band for over 30 years. Doing our first tour with KISS… opening for Bon Jovi. It’s hard to put into words what those shows mean to us as fans of the music.

DR S: You've done a fair bit of work with Our Lady Peace bassist, Duncan Coutts. How did you hook up with him and what was the experience like?

FW: Duncan and I have worked together nearly every day for 4 years – writing and recording songs in a rehearsal space. Financial Times columnist Tim Harford wrote a book called “Why Success Always Starts With Failure.” How we deal with our mistakes and failures, how we grow and learn from them, can determine and enable our future successes. In music, young performers--perhaps if you’re a new singer--you’re afraid to go for certain notes, as you might be embarrassed of sounding bad in front of someone else; so you never go for that note, and you never build your range. Duncan gave me the opportunity to fail in front of him over and over and over again, as a songwriter/singer/performer in a safe non-judgemental environment. That kind of learning curve and experience is invaluable. I’m so thankful to him for giving me the chance to develop my skills.

DR S: Lately you've been involved in songwriting with many different songwriters. With whom have you been working and what have you learned from the overall experience?

FW: I went from writing with Duncan to working with over 40 different songwriters across North America in the past two years of my own accord. If there’s something to be learned from someone, I will find a way to that person and I will ask them a million questions about what I want to know. Since then I’ve come back around to working primarily with one person--my main co-writer Andre Kaden Black. Co-writing has been a real education. I could talk about forms and prosody, etc. I love the "craft;" I’m obsessed with songs. But above all, with everyone I’ve worked with, the commonality has been to just keep it real.

DR S: You've obviously had a positive experience writing with outside writers. What would you say to other bands who may be hesitant or averse to looking outside themselves for song ideas?

FW: Pushing a band or an artist into a situation where they feel artistically at risk isn’t right. For me, I love co-writing and I love making as much music as I can, with as many people as I can, for a variety of projects. But, that’s me. You like Milk Chocolate, I like Dark Chocolate. All good.

That being said, I do feel there is a common public misperception surrounding co-writing that is very negative; that the artist is no longer being real or true, or perhaps isn’t contributing to the process at all. Not everyone is so lucky as to have Lennon AND McCartney in the same band. Bon Jovi, Kiss, Desmond Child. Bryan Adams, Jim Vallance, and on and on. These are musical marriages that come together to create something bigger than the individual. The joining of super powers, if you will. Andre Kaden Black is the Black to my White… er, Whyte. And I’m the white to his black, you know what I mean? Together we’re just better, to the point where we’re now writing with/for other artists together. I would really like to encourage bands to be unafraid of experimenting with co-writing--you could be missing out on making some great music. And like anything in life, you get what you put in.

DR S: Please take a moment to introduce us to the musicians that make up Frankie Whyte and The Dead Idols.

FW:
- Danny C – guitars, background vocals, richie sambora.
- Monti – bass, background vocals, bad ass.
- Rio Nicolle – drums, gang vocals, machine.
- Frankie Whyte – lead vocals, lead guitar… you’d have to ask a Dead Idol as to how to describe me.

DR S: Many musicians have said that being in a band is like a four-way marriage. What is your take on this and what challenges have you faced as a band unit?

FW: Being in a band is definitely a four-way marriage, and relationships take a lot of commitment, care and time. Communication is key, having fun is also key. We laugh a lot.

DR S: What are the long term and short term plans for FWDI?

FW: We’re currently writing for a new album that we will begin to record in 2012. Look out for it. Shows/Tours to follow. See you out there!



Check out FWDI's video for their track, "Keep Walkin'."

How Much Does It Cost To Record?

When a new potential client comes along and inquires about working with me on a recording project, one of the first concerns they have is how much it will cost. And understandably so, as recording can be a rather expensive endeavor.

The problem is, when an artist asks me something like, "Hey, how much do you charge to record three songs?" I can't answer that question until I have more information.

Imagine someone who's in the market to purchase a new car and she walks onto the car lot to have a look around. The salesman greets her and she promptly asks, "How much does it cost to buy a car?" In a scenario like this, the answer to the customer's question would be another question. "What kind of car do you want, a Ferrari or a Ford Focus?"

You have to be specific about what you want when you're looking to record your songs. Here are a couple questions you should ask yourself before you pick up the phone or sit down at your computer to send an email to contact your producer/engineer of choice:

What are the recordings going to be used for?

Will these sessions be pre production sessions to help you pick the songs that will eventually make the cut on your EP or full-length release?

Is it supposed to be a low budget off-the-floor recording so you can get something out there to help you get gigs and give away free music to engage new fans?

Is it a demo for you ears only to help develop your sound?

Are you hoping to enlist the services of a professional radio tracker in hopes of getting your song(s) on mainstream radio?

Do you want your recordings to stand up next to the biggest of the big in your genre?



You need to be clear about this because the cost of recording a three song demo off-the-floor is very different from the cost of producing three songs that are ready for mainstream radio. We're talking a few hundred dollars verses thousands or even tens of thousands of dollars depending on the studio and/or producer you're hiring.

The next question you want ask yourself is:

What is my budget for this recording project?

Determine what you can afford to spend on the recording and make sure you look ahead at other expenses that you'll need money for such as graphic art, web development, touring, merch, marketing & promotion, radio tracking, videos, etc. If you don't have any money for the things that follow the recording process, then there's not much sense in laying down tracks in the first place.

I can't stress enough, if this is something you're trying to make a living at, you have to treat it like a business. If a brand new burger joint put all their resources into creating the world's tastiest burger, but they had nothing left to advertise and get the word out, it won't matter how good it is because no one will ever know about it.

Having said that, it is important to put as much as you can into your recordings because your songs are your most important assests. If your intention is to have your music stand up to the Bon Jovis and Lady Gagas of the world, then your investment is going to have to reflect that, otherwise your music will likely be rejected by the very people within the music industry that can help make that happen for you.

I'm not saying you have to spend a million dollars as an indie artist to compete with the majors, but you do have to spend a reasonable amount to bring some validity to what you're doing. Who is going to want to invest anything into your music if you haven't put much into it yourself?

Here's an article where artist manager Ray Daniels (Rush, Tea Party, Van Halen) breaks down the costs of making a hit song from writing and recording all the way to marketing and promoting.

WHERE AM I GONNA GET THAT KINDA DOUGH?

If you read the above mentioned article, you learned that it can cost about $78,000 to have one song written, recorded and produced. So, in order to put together a ten-song album, you're looking at $780,000 before you've even done an ounce of promo. For those of you who are writing your own material and therefore do not need to pay for songwriting camps, etc, the average cost of recording an album in the big leagues is still about $250,000. Again, lucky for indie artists, there are much cheaper alternatives, but you'll still have to come up with a considerable chunk of change to make anything happen.

Outside of attracting investors with deep pockets who love and believe in your music and brand, you're going to have to have some way of generating cash flow to support the necessary expenses of running your business. There are some very real costs that come with growing your music career and if there's nothing there to work with, nothing will get done. Be careful with your money too. Make sure you're getting good value for your dollar wherever you're spending it. Don't always look for the cheapest option though, because remember: Good work isn't cheap and cheap work isn't good.

THE BOTTOM LINE

So sit down with your band mates and figure out how you can generate income to finance your career. Don't negate ways you can make money with your music; after all, the idea is to make a living at it. And also, take a very close look at your spending habits and see if there's some waste that you can cut down on or eliminate altogehter. Remember the example of the band from my last blog?

It doesn't take much to find a few extra dollars a day to put toward something that's imporotant to you. If every member of a four-piece band put aside only $7 a day instead of buying frappuccino lattes at Starbucks, at the end of a year they'd have over $10,000 to invest in themselves. An extra $10,000 on top of the cash flow generated by day jobs, offering music lessons and selling your music and merch. Not bad!

Here's a great exercise to help you get a handle on your spending: Simply write down absolutely everything you purchase throughout your day. Do this every day for a week and then tally up the results. I've done this and it was an eye opener! After doing this exercise I cut my frivolous spending significantly and started saving hundreds of dollars every month.

See if you can find some creative ways of coming up with some extra cash, whether it's offering some kind of service or just plain old saving. Please share your ideas, I'd love to hear them.

Is Music Your Life?

"Music is my life" is one of the most common statements I hear from people these days; however, most of the time I'm not entirely convinced. Usually when I hear this statement, my first thought is, "Yeah, I know what you mean, me too." I take it seriously because music is my life and has been for three decades now.

I've been completely consumed by music as far back as I can remember. I know music is a big part of most peoples' lives, but I'm not talking about a casual enjoyment of music where there are a few artists or songs that bring back fond memories of days gone by or being in a band and recording some songs and playing a few gigs here and there, I'm talking about being completely consumed by the desire to create music for a living and doing whatever it takes to make that happen. And I'm proud to say that's exactly what I've done.

I started playing when I was about 11 years old and I absolutely loved it! Since the beginning of my infatuation, I played in bands, wrote songs, recorded, taught, signed record deals, licensing deals, publishing deals, toured with my own bands and other signed artists and opened up my own recording studio so I could help new bands share in the joy of making music and building something from nothing.

When I look back at my career from the beginning to the present, I can honestly say, music is my life. I make my living doing it and a very large portion of every day is dedicated to it.

What's Important To You?

Every day when we get out of bed, we automatically go to work on the things that are most important to us. Or at least the things we've been conditioned to believe are most important to us. These are the activities that take up our time and dominate our focus. Whether or not it's truly what we want to be doing is irrelevant, it's what we've become programmed to do.

So, if you think music is your life, then here's a couple questions you can ask yourself to find out for sure:

1. How much of your time every day is spent on your music career?

Once you determine this, take a moment to compare it to how much time you spend on other activities. Be really honest with yourself here and be careful not to blur the lines between recreational internet use and business use (networking with fans or industry professionals, booking a tour, booking studio time, etc.) or doodling on an acoustic guitar verses time spent on actual songwriting. You may be surprised to find that you're not putting forth as much effort as you thought you were. There may be some other things that are consuming more of your time than your music.

I'm not talking about your day job or raising your children if you have them. Of course your kids will demand a lot of your time and your job is necessary for now so you can generate cash flow to put toward your career. Plus I'm sure that just like me, you've probably become fond of things like food and shelter. Barring your kids and your job though, there should be nothing else that you spend more time doing than working on your music. If you don't have the responsibility of child or a job then I would expect that you'd be putting in the same number of hours towards music that would otherwise go toward your job and children. And even if you do have a job and kids, don't let those things become an excuse for why you're not producing results. An excuse is a lie you tell to absolve yourself of any responsibility for the actions you take or don't take. Remember, where there's a will, there's a way.

2. How much of your financial resources do you put toward your music career?

Again, it's a matter of becoming aware of where your priorities lie based on how you've been conditioned. Take a look at your spending habits. How much money do you put toward your music business expenses verses other items and activities? If you find that there's a lot of money going elsewhere that could be going toward your music career, you must ask yourself what's more important to you. I'm sure if most of us really looked at our spending, we'd see a lot of waste.

And don't forget, being in a band is basically just like a small business start-up and the idea is to eventually make a profit, but for the first few years you're likely going to be running at a loss. To keep things rolling, you'll have to put forth a sizeable chunk of your own dough on rehearsing, recording, touring, marketing and promotion, etc to see things through.

True Story

I once worked with a band that insisted music was their life. They came in with a very low budget to do some recording and over the course of the project I couldn't help but notice how much all of them smoked. I figured all four band members were smoking at least a pack and a half a day because they were out for a smoke or two every half hour or 45 minutes. If a pack of smokes is $8, then it's $12 for one and half packs. Multiply that by 30 and it comes to $360 per month. Multiply that by 4 band members and that equals $1,440 per month that they're spending on cigarettes.

This story isn't done yet! Through our conversations I found out a couple of them spent between $50 and $75 a week on dope. Let's find a middle ground of $62.50 and multiply that by 4 weeks in a month and the total is $250 per month. Multiply that by 2 band members and there's another $500 per month that's NOT going toward their music career.

This story still isn't done! I also estimated that these guys were collectively spending somewhere between $500 and $700 per month on alcohol. When you do the math, all of this adds up to over $30,000 per year that they're spending on cigarettes, drugs and alcohol. Do you think music is their life? Me neither.

I know that's a pretty extreme example, but I kid you not, this was their reality. Imagine what you could accomplish with $30,000 at your disposal. You'd have more money to put into pro recordings, marketing, radio trackers and essentially build a team of professionals around your band and your brand.

Only you can decide for yourself what's truly important in your life. It can be easy for us to get distracted by other things that take us away from what we really want to be doing, so I think it's important to sit down every now and again and be brutally honest with yourself. I hope this has helped you spot some areas in your day-to-day life choices that could be improved upon and help get you on track to what you really want to be doing with your life. If you have any stories or anything else you'd like to share, I'd love to hear it. To your success!

Great Records Aren't Created In The Studio

I was having a conversation with my good friend and colleague Bryan Crouch (lead singer of Hail The Villain) about making records and he said that, in a big way, a lot of the good stuff that goes into recording an album comes from places outside of the studio, like coffee shops and pubs. I had to agree. When you think about recording an album, you think about being in a studio with a producer, an engineer and lots of gear--and certainly this is where the actual recording takes place--but a lot of the ideas and the general approach comes from the conversations and communication that takes place outside of the studio. The studio is the place where you execute those ideas and bring them to life.

First Things First

I think it's really important for a band to sit down together, and with their producer as well, to hammer out all the details of exactly how things are going to go down so that when you're actually in the studio, there's a high level of focus and things are getting accomplished in an effective manner. This kind of preparation cuts down on the indecision and meandering that can really slow the process, lead to over thinking and kill the magic.

Most bands are on a tight budget, so figuring out these details will be essential to getting the most out of the recording process. I recommend determining what kind of overall sound you're going for. Is it going to be really produced and polished, or raw and dirty? Are you going to play together off-the-floor or record tracks separately? Do you want it to sound open and wet with lots of reverb and effects or dry and tight sounding? Discuss this with your producer so he/she can offer insights and suggestions to get you where you're going.

Who's In Charge of What?

Make sure you discuss what's expected of everyone during the course of the recording, so everyone knows what their responsibilities are. Figure out who needs to be present for which sessions. It's not necessary for everyone to be there for every session. In fact, it's usually better that only those who need to be there are there. When there's too many people hanging around, it can be distracting for those who are trying to perform their parts. Especially if they're being told by five different people with five different opinions how they should do it.

So, if you think you're ready to record your next album or EP, give me a shout and we'll meet at the local pub for a pint and start the creation process.

EMBER SWIFT'S New Album "11:11"

I remember the very first time I met Ember Swift (and in case you're wondering, yes, that is her real name). If I remember correctly, it was in the fall of 1997 when I went to a little club in Toronto at the corner of Queen and Bathurst called Holy Joes with the intent of attracting her as a client. I was blown away with her talent as a singer and a musician and I can honestly say that I knew right away that there was something very special about this young woman. She was on a mission and I could tell that she had the drive and determination to do big things with her music career. And in hindsight, I'd say I was bang on.



She's released ten CDs with her eleventh just around the corner and sold almost 60,000 units independently. She's toured all around the world playing thousands of shows in numerous countries and has been running her own independent record label Few'll Ignite Sound all the while. The truth is, I'm barely scratching the surface here, believe me, I could go on and on about all she's done during the course of her career, but then this blog/interview would become a book.

Before we begin though, I'd like everyone in and around the Toronto area to know that she's going to be performing at Hugh's Room (2261 Dundas Street West) in support of her new album on September 14, 2011. Come out and enjoy the show with me, it'll be a great one!

And now... on with the interview. :)



Dr Sean: You’ve been working really hard at your music career for almost two decades now. What is it about writing and performing music all over the world that keeps you going on your journey?

Ember: Well, I suppose in 2016, I’ll officially be at two decades ;-) I did start playing live as a teenager on the Ottawa scene in 1993, but didn’t release my first record until 1996. Still, I guess it’s been awhile, hasn’t it? Reading “almost two decades” made me sit back in my chair there for a second!

What keeps me going? I love writing songs. They’re the ultimate artistic riddle. It’s such a joyful challenge to bring melody and meter and rhythm and lyrics (etc.) together to create a unique concoction of sound that will hopefully move people when they hear it. I’ve always been passionate about the craft of songwriting and always want to improve. It’s a lifetime pursuit.

I also love performing. I love bringing songs and ideas into new geographies and I think I have the extensive travel throughout my life to thank for bringing me so much diversity of knowledge about the world. I feel really grateful for the opportunities music has given me. I also count many people I have met through touring as some of my best friends in the world.

So, what keeps me going? The joy of it all, really. There’s no other reason to do anything unless it brings joy, I say!

Dr Sean: When you set out to do this album, you sought financial assistance from your fans, peers and anyone else who was willing to contribute to its creation. Where did the donation idea come from and how did things go for you?

Ember: The industry has changed so dramatically over the past five years and now record sales are not really relevant to an artist’s ability or inability to survive in the industry. Without knowing that your album will be received by open ears, there’s no guarantees anymore that an artist will not suffer more doubt and wasted resources by creating a physical copy of their new songs in CD form. This kind of business risk is no longer a smart one for an independent artist like myself who is doing less touring but taking more international flights!

I decided that after ten albums and a solid following over the years that consists of really loyal and wonderful supporters, that I could ask them if they’d be willing to pre-purchase the new album. If they were, I could then rely on the community of supporters to bring the project to fruition and I could deliver it with a lighter financial burdern. It’s a new concept called “Fan-Funding” and many artists are turning to it these days. The response was overwhelming.

This fan-funded project, to me, is like community-supported agriculture. The supporters are supporting the art-maker (in this case, me) and then they reap the harvest of ‘song seeds’ that grow and bloom into a recording. In exchange, they get bonuses for their “Ambassador” status and it creates a sustainability model that keeps the artist (or song farmer!) alive.

Dr Sean: This is the 11th album of your career. Is there anything that you’d say is unique about this record compared to your previous releases?

Ember: It’s my 11th album that will be released in 2011. I feel it has a degree of auspiciousness about it, so the official release month is November. I have been making music for many years and there’s something about reaching the 11th project that feels like a pinnacle of sorts.

It’s also been a labour of language love. There are two linguistic releases: Mandarin (Chinese) and English. I’ve created a product that can be sold both separately and in the “box set” form, almost like old LPs had a side A and a side B. Most of the songs have their “twin” language versions with a few exceptions on each side. I’ve wanted to create and release this sort of project ever since I came to China and I feel really proud of finally accomplishing it!

Dr Sean: During the making of this album there were a couple unexpected challenges that came along the way. Can you tell us a little about that?

Ember: The project has taken a few turns with production crew. I imagined that my Montreal-based producer Tim Rideout, who was the producer on my 2009 release “Lentic”, would produce it. Tim, however, had to pull out of the project for personal reasons. I then turned to a production team here in Beijing. For mysterious (and culturally cloudly) reasons, they also pulled out. In the end, I went back to my roots in all ways (not just musically) and self-produced this record. After working with producers for my 2006 and my 2009 album, I had almost forgotten that I had the skills to self-produce a record. At this point, happy with the album results, I’m almost grateful for all of the production confusion! It restored a bit of self-confidence that I hadn’t realized I’d lost!

Dr Sean: For those who may not know, you're currently living in Beijing, China. How long have you been living there and how did it all come about?

Ember: Well, the shortened version is that I had always wanted to come to China and thought of it as my “dream destination.” I have a degree in East Asian Studies from UofT and assumed it would be my destination after my music career had fizzled out. In spring 2007, I was exhausted from touring at a hectic pace of @200 shows per year and I made the decision to “live the dream” rather than having it tucked away for “later.” I then booked a three-month journey to Beijing as a break, a vacation, and a retreat. My career hadn’t fizzled out, but I was afraid that I soon would if I didn’t do something for my spirit.

I wasn’t prepared for the love affair that I would fall into for China and Chinese culture, as a whole. I was so taken with the experience that I returned again for two months in late 2007, at which point I met my current partner who is also a musician here in China. When we fell in love, I knew that I had some sort of destiny to pursue in Beijing. I resolved to keep my heart open. After several more repeat visits, I moved here in late 2008 (part-time, that is, considering I still tour overseas). While I still retain my official status as a Canadian residet, living here has been a true adventure.

Dr Sean: How has this cultural shift affected your music and lyrics?

Ember: I’ve learned a lot about myself through this experience, on the whole, which has opened me up to a lot of different styles of music and artist expression. Learning a new language (Mandarin) has also influenced my ears and my tonal awareness. The instrumentation of China fascinates me, too, and I have enjoyed working with musicians who play traditional instruments here. All in all, immersing in a new culture is bound to have an impact on what we write about and how we express ourselves, musically and lyrically. I think I’ve only just begun to explore what those influences are.

Dr Sean: As I understand it, on this new album you've gone back to a more signature 'Ember Swift' sound whereas on your last release, “Lentic”, you experimented with some programming and synth sounds. What prompted you to experiment on “Lentic” and subsequently to come back to your roots with “11:11?”

Ember: “Lentic” was a departure record. I wanted to walk a new style path that was in-line with walking a new life path here in China. I really enjoyed the “folktronica” exploration that “Lentic” provided and it was a joy to write all the parts and build songs from just raw ideas into sonic landscapes, all with the help of a computer. I had always wanted to do this and I was thrilled to have the break from my touring career as well as the new surroundings of Beijing in which to explore in this way, musically.

That being said, sometimes departures lead us home.

“11:11” represents the founding of a new band (in Beijing) and the development of a sound in the way that I have always done it throughout my career—with great players and repeated live performance. I wrote and tested the songs on audiences and enjoyed the challenge of having to communicate in both languages (lyrically and through on-stage banter) depending on what side of the globe I was performing on. It became a lot like my pre-“Lentic” typical swirl of different styles and messages and humour.

In a way “11:11” is a homecoming, of sorts, where I have discovered that the core of what I am as a musician and a songwriter really hasn’t changed no matter how much my life and environment has.

Dr Sean: Tell us about the musicians who performed on this new record. Who are they and will they be touring with you as well?

Ember: The band won’t be touring with me in North America this time, sadly. They are Zac Courtney on drums (from Australia), Paplus Ntahombaye on bass (from Burundi, Africa) and Wang Ya Qi on erhu (from China). I’m on guitar and voice. Together, we represent four countries and we all live here in Beijing—a city that is incredibly diverse and home to people from all over the world.



Dr Sean: How many tour dates do have scheduled currently?

Ember: There are 24 dates in North America and there’s one big release show here in Beijing on the 2nd of September.

Dr Sean: Again, for those who may not already know, you're expecting your first baby very soon. How are you balancing this huge event with everything else that comes along with supporting a new release?

Ember: Yes, I’m so excited!! In a way, I’m expecting two babies this year: my new album and our new family member! I’m not sure how I’m balancing the two “projects” to tell you the truth, because pregnancy is truly a full-time project! But, I do know that I am ready to move into a new phase of Motherhood in my life and it is something that I have wanted for as long as I can remember. People often say, with almost a warning tone, “Your life is going to change forever, you know. After the baby, it will never be as it was.” My response is, “Bring it on! What makes you think I wanted it to stay the same?”

Dr Sean: I'm wishing you all the best with your new album, the tour and the newest addition to your family! Is there anything you'd like to say in closing?

Ember: Thank you so much, Sean.

I suppose the only thing that I might add is that I am returning to North America to spread these songs that represent a cross-cultural communication, a new global reality, a convergence with East and West (etc) and, in so doing, I am often confronted with the misconceptions that many Westerners have about what is truly happening in China. I know the media and political propaganda is to blame, for the most part, but as a result, I now continue to return to North America with even more fervor and conviction that music can make a difference in how people live their lives and see the world. I feel a sense of responsibility to deliver “witnessed truth,” or, shall we say, a less concocted perception through a glimpse into the realities that I have seen. I come with stories about people. Real lives. Real life.

As an activist and an artist—one who has combined my activism with my art for many years—I am often challenged by my fans as to how I can live in a country that has such a terrible human rights record, for instance, or live in a city that is struggling with such considerable air pollution. My response is that I am living in a place in progress, an imperfect world, in which there is so much in the way of cultural richness and pure humanity that I am convinced progress on all levels—not just in the building of highways, but in terms of quality of life and social infrastructure—will continue in China at a rate that no one can predict. Being a witness to a culture in high-speed transition and development, as an outsider, is a privileged place to be in. I’m an onlooker at a time of great historical change.

I’m returning with my new album “11:11” that contains songs about topics such as water conservation in urban settings, anarchy and youth, empowerment to women (and all those struggling for self-realization), cultural acceptance and diversity, and the greatest activist message of all: love. Because, after all, our capacity to love is the greatest power we have as human beings. Perhaps after coming to one of my concerts, people will walk away thinking differently about a country on the other side of the world, questioning the hype, and keeping their hearts open.

Album Productions I Love - Def Leppard's "HYSTERIA"

I thought it would be cool to talk about certain records that, in my opinion, have exceptional production quality. The first of this potential series is going to be about Def Leppard's "Hysteria."



Released in 1987, this album was such an important record for the band and it proved to live up to everyones' expectations and beyond. Since its release it has sold well over 20 million copies world wide and I'm sure that number is climbing every day seeing as it's such a classic album. Literally. You can check out the Classic Albums DVD for Hysteria here.

As a producer/engineer, this is the kind of record that I love to listen to, analyze and dissect to try and understand what exactly is so amazing about it. Ultimately, the songs are what it's all about and the songs on Hysteria are as strong as they come and I think it can be attributed to the magic and the chemistry between the band and the producer, Mutt Lange. As a team, they had a tremendous amount of success with their previous releases, particularly Pyromania which had mega hits like "Photograph", "Rock of Ages", and "Foolin", but with Hysteria, they really hit their stride. There was still a real hunger within the band because although they had sold over six million copies of Pyromania, they still hadn't really broken through in the U.K. which is Def Leppard's homeland.

Sonically, it's such a huge sounding album and I think the drums play an extremely important role to that end. After drummer Rick Allen's unfortunate car accident which left him without his left arm, they were forced to approach the drum tracks from a very different angle. The electronic drum sounds laid a very solid foundation from which to build on and it has become such a signature part of the band's overall sound.

I also love the brilliant layering of guitar parts which guitarists Steve Clark and Phil Collen were so good at writing together. This is also one of the key factors with regard to the album's BIG sound. All the guitar overdubs served to create such a lush tone and they work together with the vocal melodies to elevate the impact of the songs. Rick Savage's bass playing is simple, but extremely effective in terms of creating a solid groove with the drums for the rest of band to sit on top of.

Mutt Lange would always say that when you're laying your tracks in the studio, you always want to think in terms of playing parts that will translate in the context of an arena rock show. If a part is too complicated, it gets lost in that type of setting and, therefore, becomes much less effective if not totally pointless. This is precisely why songs like AC/DC's "Back In Black" and Def Leppard's "Pour Some Sugar On Me" are such monster songs when it comes to live performance.

I'd say Joe Elliott is one of those really unique vocalists that doesn't sound like anyone else. Arguably one of rock's best voices. His performances are filled with energy and conviction on Hysteria and his sense of melody and hooks is unsurpassed. It goes without saying that a weak vocal performance will kill a song, but there's no worries here, Joe delivers.

This blog wouldn't be complete if I didn't take the time to shine a bright light on the absolute genius that producer Mutt Lange contributed to, not only this particular record, but the band's career as a whole. What would songs like "Pour Some Sugar On Me" and "Love Bites" (or any of the songs for that matter) be without those incredibly HUGE backing vocals? Not to mention his impact on the songwriting and the tireless hours of work he put into all the little details and ear candy you hear throughout the record. In the Classic Albums DVD for Hysteria, Mutt confesses that he spent approximately four months just mixing the album. That seems excessive, but when you look at the results, not only creatively, but monetarily as well, I'd say it was well worth it.

To end this one off, I thought I'd slip in a short video clip from the Classic Albums DVD for Hysteria. And if this record affected you in a similar way, please share your thoughts here. Cheers and enjoy the video!

Some Social Media Advice From ARIEL HYATT

Every now and again I like to rummage through youtube in search of video content that may be helpful to an artist and their career. Ariel Hyatt of Ariel Publicity is someone who has a lot of great advice to offer and I've posted below an interview she did in the not-too-distant past.



In this video she offers some tips on how to effectively use social media to get the word out on your music and your brand. Please take a few minutes to hear what she has to say and hopefully it will inspire some new ideas and actions to take.

I'd also love to hear from you on what you've been doing with your social media music marketing. What's been working and what hasn't been working. Any info you have to share is welcome.

Hope everyone's having an awesome week so far. Enjoy the video!

ATTN: BANDS/MUSICIANS!! Do You Want To Be Good?

I just read a compelling (and extremely short) blog by Seth Godin entitled, "A Definition of A Leader..." and here it is:

Leaders lead.

Is that too simple?

Writers write. If you want to be a writer, write. And be sure to have people read what you write.

And leaders? Leaders lead.

If you want to be a leader, go lead.

So simple. And I think it applies to all the bands and musicians out there who are trying to get noticed and utlimately 'make it.' If you want to be a good band, then just be good.

I think we all know deep down when we're putting forth a half-assed effort. Make a committment right now to be good.

I know Seth's blog gave me a kick in the ass and I hope it did for you too. Here's to our success!! *raises coffee mug*

The Real Scoop On Managers For Bands & Artists

Wouldn’t it be great to have a manager to look after all the tedious tasks necessary to sustain a career in the music business? Here’s a few things to consider before you dive into your search for the right manager.

Where Do I Begin?

First of all you can expect to come across managers who are at different levels in the biz. Here’s some examples of what you might find in your search:

A friend of the band:
This is a person you probably know pretty well and he has a lot of passion and a real genuine interest in what you’re doing musically and believes enough in the potential you have to make it big that he is willing to devote his time to helping you make it happen for very little (if anything) in the beginning. If you choose this option make sure you have a lot of patience because just as it takes time for a band to build up a good reputation it’ll also take a newbie manager a lot of time to do the same. Just make sure they understand how much work is involved and they’re committed to it or you may wind up with someone who’s just helping you drink the free beer in the dressing room at gigs. :)

A veteran musician with a lot of experience in the music business:
This can be a great option because you can benefit from all the knowledge he’s gained from making mistakes throughout his career and wind up saving yourself a lot of time and headache. A person like this will understand you better too and will probably have some sympathy for your plight.

A person who works or interns for a reputable manager:
The advantage in this situation is that he’ll be right in the thick of things as he’s working in a professional office and will be very aware of the realities of the biz. He will also have access to the expertise and advice of his boss and will have countless other great connections available that would be much harder to acquire from the outside. This person will likely be very hungry for success as well.

A mid-level manager:
This is someone who’s been through it all and has achieved a certain degree of success, but is still waiting for the big breakthrough in the form of a gold or platinum record. There’s still a lot of hunger here and a wealth of experience and resources to boot. Not a bad choice at all!

A big-time manager:
The benefits here are obvious. This is a manager who’s at the top of the ladder with several gold and platinum records to his credit. Even with a manager of this magnitude there are no guarantees of mega success but your chances at having a serious shot at the big-time would be greatly increased.

Are You Ready?

So now that you’ve determined what your options are, here comes the BIG question: Are you ready for a manager?? Before you begin soliciting managers you need to look at the reality of your current situation and determine what the answer is to this question. Are you doing everything you can to further your career? Here’s a little check list to go through and please be brutally honest with yourself.

1. Do you have a professional press kit?




2. Do you have an EPK (Electronic Press Kit)?




3. Have you put a lot of effort into creating an image and a solid live show?




4. Do you have a professional recording of your songs?




5. Do you have a professional website?




6. Are you taking advantage of Facebook, Twitter, BandCamp, Email, etc. to network and engage with your fans?




7. Are you booking shows in your home town?




8. Are you building a favourable reputation with club owners and booking agents?




9. Are you getting press in print magazines and online?




10. Do you have a street team?




11. Do you have a promo video people can view online?




12. Have you put together a tour to help expand your fan base and sell more CDs and merch?




13. Have you and your band sat down together and come to a unanimous agreement regarding musical direction and career goals?

The last question is the most important one and should definitely be addressed first. You can’t bring a manager into the fold if your mission as a band is unclear. You’re manager is supposed to help you achieve your goals and dreams, so if you’re not clear on exactly what that is, you’re going to have some serious problems before you even begin. Do yourself a huge favour and sit down with your band mates and get this all worked out. It’s a much better alternative than wasting years of your precious time with someone who doesn’t share the same vision.

I’ve witnessed first-hand a very tragic ending to a great band that ignored this point. They wrote songs, recorded and played live for years and then finally they had a huge deal on the table with a major U.S. record company back in 2002. At the last minute the singer announced that going to university was more important than pursuing his music career with his band mates. Ouch! In a situation like that, you’re not just making a life decision for yourself, you’re making a life decision for the entire band, not to mention the time and money the label had invested into doing the deal up to that point.

We Are Ready!

Okay, so your whole band is on the same page and you’re doing absolutely everything you can at this point and you’ve determined that you do need a manager. You’ve searched high and low and you finally found the perfect manager for you band. Cool! Now you can relax and get back to just doing music, right? Wrong! Just because you have a manager doesn’t mean it’s going to be champagne and limo rides from now on. You’re going to have to do your part to keep things on track and unfortunately it won’t be all music related. This is also the reality even when you sign with a record label. With the extra resources and connections you’ll have with a manager on board, you’ll find there’s simply more work to do and it is absolutely in your best interest to be involved in that process. Please read the following sentence out loud: No one cares more about the success of my band than I do. Good, now repeat this to yourself everyday as a reminder.

Don’t forget, in many cases you’ll be one of several artists on your manager’s roster and if those other artists are generating more revenue from which he can pull a commission, then that’s where his efforts will be focused. Managers get a paid a percentage of your income, anywhere from 15%-30% or higher depending on many variables. Always remember that 15%-30% of nothing is nothing. I’m certainly not saying that you should do all the work and just cut your manager in for a piece of the pie because he’s a cool guy, but in order for everything to work in your favour you have to be pro-active and work as part of a team.

The End

A manager can be a very valuable addition to a band that has all its ducks in a row. You have to take what you’re doing seriously and show that you really believe in it. How people on the outside treat your band will be a reflection of how YOU treat your band. Running a band is kind of like running a big company and the company will only be as good as the CEO that’s running it. You’re the CEO and it all starts at the top.

Before You Worry About Anything, Worry About Being Good

There's no shortage of advice from every corner of the net on how to promote and market your music, use social media tools, set up a successful tour, create a professional press kit/EPK, distribute your music, and so on. And if you're looking in the right places, there's a great deal of relevant content to learn from; however, the most important element--and the one that seems to get the least amount of emphasis--is to make sure that you've really got something GOOD to offer. Something that people will really want.

Having all the infrastructure in place is great, but unfortunately it's all pretty useless if you're selling something that no one is really interested in. I understand that it's important to have artistic integrity, but it's also smart business to study the market you're selling to and make sure you've created something that will be well received if not by the masses, at least by a solid niche market.

In business, it makes very little sense to create a product and then search for a market after the fact. Your likelihood of success will be much higher if you determine where there's a need and then fill it. Lucky for you, people always need more good music and entertainment. Without it, life would be pretty blah, don't ya think?

And by 'good', I mean good in every area. Good musicianship, good songs, good live show, good image, good chemistry among band members, good work ethic, good organizational skills and a good attitude. Take a long, hard look at your band and your music in all the above mentioned areas and be honest with yourself about where you can improve, so you can get yourself to the required level of 'good.'

Maybe you're all very proficient players, but your songs are lacking. Or perhaps your image and branding are inconsistent. To figure all this out, sit down individually and as a band and brainstorm some ideas that will tighten things up for you. And don't be afraid to look outside of your band for help in some of these areas. Any band or artist that ever created anything good, didn't do it on their own. There's always a team of people contributing to the greater good. If you need lessons, seek out a good teacher. If your songwriting needs work, hook up with a good songwriter.

Keep this process positive too. It's important to keep the inner core of your band solid because there will always be plenty of people and circumstances on the outside that will present challenges for you. Cheer each other on and focus on your strengths as individuals and as a band unit. Assign tasks to each member that coincide with his or her talents and check in with each other on a regular basis to ensure things are getting done and to motivate each other. How you deal with your band mates throughout this process is of huge importance. Remember, getting upset and tearing a strip off one of your partners is not conducive to positive growth and productivity.

Once you're confident that you've really got something special to put out there, then you should plan your attack on the masses. You only get to make one first impression, so be sure that you're putting your best foot forward and leave everyone speechless. Always put a great deal of creativity, enthusiasm and care into every step of the process and you'll be sure to meet with success.

Interview With Drummer Extraordinaire RANDY COOKE

I'd say I'm quite blessed to be surrounded by and connected to so many extremely talented people. I assure you, today's interviewee, Randy Cooke, is no exception.

I could bore you with a long bio on his entire life story, but rather than do that, I thought I'd just make it really simple and share what it says on his Twitter account in 160 characters or less:

"I hit the crap outta drums for some pretty awesomely awesome singers/songwriters/bands."

So who are these 'awesomely awesome' people he speaks of? Well, I'll mention a few so you get the idea: Ringo Starr, Mick Jagger, Alanis Morissette, Hilary Duff, Kelly Clarkson, Smash Mouth, Ian Gillan, Dave Stewart, Alannah Myles, Kim Mitchell, Five For Fighting and many, many more.

So, without any further ado, let's begin!



Dr Sean: How long have you been playing drums?

Randy: Got my first drum kit for Xmas when I was 15 years old. So, from then till now. (Or many, many, many years).

Dr Sean: Were you in any original independent bands before you started playing for major artists?

Randy: Indeed I was! My first 'true musical love' was a band called Phase IV. We were an old school funk/reggae band comprising seven members all around the age of 15. The singer and bass player were brothers, the keyboard player and percussionist were brothers, one of our guitarists was a cousin to those four, and those five as well as myself. At the age of ten years old we were in a Cub Scout troop led by my parents. We had one more guitarist making up the complete seven. (he wasn't a brother, cousin OR Cub Scout - but he was awesome). :) Guess you could say it was a family affair.

Dr Sean: What was your first gig playing as a hired gun for a major artist in the realm of live performance and as a studio session player?

Randy: For live touring, that would've been with an incredible British blues artist who resided in Canada named Long John Baldry. I was lucky enough to get a recommendation from my drum teacher at the time (incredible drummer/human Rick Gratton) who at the time was his main drummer and needed a sub.
I was around 19 or 20 at the time.

For studio stuff, my first main full CD recording session was with a band called The Jitters. A couple of their songs got on the radio and were quite popular in Canada at the time. It was my first time hearing myself on the radio. Such a rush! :)

Dr Sean: Do you have a preference for live or studio?

Randy: I definitely don't have a preference. It's apples and oranges.
There's nothing like a group of people applauding your efforts during a live performance. It's so very gratifying, humbling and exhilarating.

In the studio - knowing that someone or some band has entrusted you with the task/honour of providing the drums for recordings that will be etched in stone (vinyl? digitally?) forever is incredible, nerve racking, and well, more nerve racking. It comes with a certain amount of responsibility to the project as well as yourself. It's a portrait of a musical moment that (hopefully) will be heard for many years to come.

Dr Sean: What particular skills and abilities do you think give you that edge when it comes to landing a gig?

Randy: I think it's a combination of things and definitely more than any one thing in particular. Rounded musical abilities, solid technique, the ability to play to a click track well, having good gear, and being an all around nice chap, all play a part in securing 'that' gig.

Dr Sean: How would someone go about breaking into the arena of live and studio work?

Randy: I wanna answer this one in two parts. They apply to both being a sought-after touring musician or session musician.

The first part, although somewhat frustrating at times, is the reality of breaking into the session scene. Session work isn't something that you 'go and get' per se. It's sort of a rite of passage that comes 'to' you. It comes to you because eventually enough people see you play, hear you play, hear about you and meet you and they wanna call you to play live with them, or play on their recordings.

The second part, which is my guide to being a more in-demand live player, absolutely applies to getting session work because most of the time one is a result of the other and it goes both ways. You can end up getting live work as a result of a session you did or vice versa.

Here are some things to consider (of course I'm coming from the 'drummer' angle, but most of this could apply to any instrumentalist).

Have great gear! You wanna do a country session? You wanna do a funk gig? You wanna jam a hard rock thing? Every genre needs its own 'sound' - that's half the battle.
So, it's important to have as many musical options as possible (different snares, kick drum sizes, cymbals, etc.)

Be able to comfortably play all of those genres and try and study with as many different teachers as You can (or college etc). Regardless of the music you dig the most, you gotta round your playing if you wanna work - especially in the studio - because generally speaking, there's way less of that than live work so why narrow your options by only comfortably playing one genre?

A lot of guys 'think' they can convincingly play a lot of genres, but in reality they can't. They think so, their friends think so, their girlfriends think so, but the people who matter know better (producers/other schooled musicians etc). So take a hard look at yourself and be honest. The quicker you do that, the faster you'll be on the road to bringing your playing level up a notch. Be realistic about your strengths and 'really' work on your weaknesses. Or just turn down jazz gigs like myself because who's kidding who - I'm lousy at jazz.

This next point's probably the most important, believe it or not. Play with everyone, everywhere at anytime for whatever money is offered, IF ANY.
If that means you need to sell Girl Guide cookies to pay your rent in order to be able to do gigs for nothing... do it!

Remember, you don't have to be a massively huge fan of the music you're playing. Just do a great job at playing it and you'll always find the joy in being a part of something great musically. Bottom line? EXPOSURE! People need to see and hear you playing as many different types of gigs possible. This has always played a key role in the popularity and demand for any successful musician.

Be able to play to a click track GREAT! Make sure your feel is comfortable and it doesn't stiffen your playing cause you're concentrating on being in time. People can tell. This in itself can be a huge learning curve.

Dr Sean: For those who aspire to get out there and attract the kind of work you're enjoying these days, what advice do you have to offer?

Randy: Be a nice guy, be on time, don't complain and don't have an attitude. Play what someone wants you to play, not what you wanna play. Leave your musical ego at the door. They may be paying you, so the bottom line is give'm what they want/need.
And of course, re-read the answer to the last question. ;-)

Dr Sean: Please tell us about some of the live and studio gigs you've been involved in recently.

Randy: I just spent a month touring in brazil with Colin Hay (singer from Men At Work) and I'm also on some of his tracks on his latest solo CD. I've been touring with Smash Mouth and recently recorded their new cd due out this fall. I'm still doing live dates with Five for Fighting with whom I've been playing since 2006 and I'm on a live DVD of theirs. I'm also doing live dates with a new Hollywood Records band called Red Light King and I recorded the drums their debut cd as well.

Dr Sean: And for all the drummers out there, tell us about all the gear you're using while on the road or in the studio.

Randy: Yay drummers! For a very long time now, I've been proudly playing/endorsing Yamaha drums, Zildjian cymbals, Remo drum heads and have my own signature stick with Regal Tip sticks. :)

As far as the configuration of shell size, cymbal selection and snare preference I'm using currently, it varies with every single session/gig I do. I can, however, tell you in my studio at home in Los Angeles, I have the Yamaha Phoenix kit set up and mic'd 24/7!

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