 | | 
06-12-2007, 03:53 PM
|  | Band Member Screamo for Emo | | Join Date: Dec 2004 Location: ocean springs, ms. Age: 31
Posts: 226
Rep Power: 49 | | | [quote=clockworkengine;143363]! And what's more, Alex, how many big events featuring local unsigned bands do you think people will be interested in? How long before they're like, 'Hey look, honey, another big festival featuring bands we couldn't give a rats ass about!'
ron, the kid's first festival was actually successful. gina did alot of leg work to get that thing off the ground. the venue liked the idea and the turnout so they decided to make it an annual event. i'm not saying make every gig you play a festival, but promote it. you might not be able to compete with the hard rock as far as big names, but you can still get a so called baby band to come headline your show pretty reasonably. also older more established ones need gigs too, and if they're in the decline of their career, you can get them reasonably as well. it comes down to planning, and knocking on sponsor's doors. music is a business and the goal is making money. sometimes musicians tend to forget that. |
06-12-2007, 03:55 PM
|  | Productive GCB Member | | Join Date: May 2007 Location: Gulfport Age: 26
Posts: 1,577
Rep Power: 22 | | Quote:
Originally Posted by clockworkengine  I can't even get you out to skeeters and you live a few feet away! | HAHAHAH!!!
Seriously though I think that Spert does have a point about playing every weekend.. Maybe once a month and when you do get a few great bands a make a damn concert out of it not just a "so and so is playin at the bar" show.. There are so many opinions on this it's really good to hear what everyone has to think!
__________________
We're adults. When did that happen? And how do we make it stop? |
06-12-2007, 03:57 PM
|  | Productive GCB Member | | Join Date: Dec 2004 Age: 30
Posts: 1,178
Rep Power: 50 | | | I DIDN'T KNOW UNTIL 7 PM THAT NIGHT YOU WERE PLAYING! AND LANCE ALREADY TOOK OFF WITH THE CAR! AND I HAVE AIDA! BOOGER! YOU STOOD ME UP FOR CHUCK E. CHEESE, SO NERNERR!
And I dont' think you are barking up the wrong tree, we have all kinds of musicans here, I think. |
06-12-2007, 03:57 PM
|  | Band Member Band Whore | | Join Date: Dec 2004 Location: Henry, CO Age: 26
Posts: 509
Rep Power: 50 | | | Right on, Alex.
But don't forget that it is not the unsigned band's place to make money. It is the unsigned band's place to get signed to a label and THEN the money starts coming in. Until then it's like school- you pay in but do not get paid... unless you're in a cover band.
I know it's 2007 and everyone is down on the labels these days, but those labels are still going strong, and they're still the only real way to go to get the most out of your career.
__________________ Censor this, bitch.  |
06-12-2007, 04:11 PM
| | Band Member Band Whore | | Join Date: Dec 2004 Location: Henry, CO Age: 26
Posts: 509
Rep Power: 50 | | | Oh come on I didn't stand you up! You already had a date: Evil.
__________________ Censor this, bitch. |
06-12-2007, 04:23 PM
| | Band Member Screamo for Emo | | Join Date: Dec 2004 Location: ocean springs, ms. Age: 31
Posts: 226
Rep Power: 49 | | Quote:
Originally Posted by clockworkengine Right on, Alex.
But don't forget that it is not the unsigned band's place to make money. It is the unsigned band's place to get signed to a label and THEN the money starts coming in. Until then it's like school- you pay in but do not get paid... unless you're in a cover band.
I know it's 2007 and everyone is down on the labels these days, but those labels are still going strong, and they're still the only real way to go to get the most out of your career. | i'm not saying they don't have any pull. it is alot harder to make it on your own. the labels these days are playing catch up to figure out how to make money in the digital age. for every file sharing site they can shut down 3 more pop up. form your own label and start making money and then the big boys will come to you. artist developement doesn't exist anymore, think of like a business: would you sign a band that hasn't been able to sell their own cd's and haven't paid their dues, or would you sign the band just by hearing their demo. while true, the latter does happen occaisionally, they want the whole package now. right now if you want a serious look from a major you'd have better sold around 3500 cd's, and have a way to prove it. they want bands that have taken risks and have experience doing for themselves on a smaller scale. as hard as it is just to get a connected person in the industry to talk to you should be an indication. do not sit back and wait for something that may not happen. |
06-12-2007, 04:28 PM
| | Band Member Band Whore | | Join Date: Dec 2004 Location: Henry, CO Age: 26
Posts: 509
Rep Power: 50 | | | What you said is perfect, Alex. And that only further cements my theory that touring is necessary. Not even the Gigolos in their prime could have sold 3500 cds around here. But what if they had toured?
It is a waste of time to play on the coast if you've got any desire to do business with said labels.
__________________ Censor this, bitch. |
06-12-2007, 04:35 PM
| | Band Member Screamo for Emo | | Join Date: Dec 2004 Location: ocean springs, ms. Age: 31
Posts: 226
Rep Power: 49 | | | i've got to admit you're right ron. you have to go where the action is. not saying it can't be done here, it's just alot harder. |
06-12-2007, 05:06 PM
| | | Quote:
Originally Posted by Spert Gas at $3 a gallon doesn't make it any easier either. | Sure as hell doesn't. Glad I get to get an easy ride every time baby  hehe |
06-12-2007, 05:12 PM
|  | MODERATOR BY DAY / NINJA BY NIGHT GCB Senior Citizen | | Join Date: Mar 2005 Location: A Padded Cell
Posts: 2,915
Rep Power: 50 | | | FOUR THINGS TO HELP ACCOMPLISH YOUR RECORD LABEL GOAL
1:Have the right tools for the job...
The life of a professional musician has all the allure of a million dollars and a one-way ticket to being famous. Is it worth it? Heck, yes! But the only way to becoming a professional musician (and by "musician," we mean singers and bands, not professional flautists) is to land a record deal. Whether you're aiming for a mainstream or an indie share of the pie, you need that label to get heard.
Wait, but it's tough to get signed to a label, right? True. And while there are many changes happening in the music industry right now (especially on the technological side), there is still no better way to make money as a musician than by having an established record label market your music. So how do you sell your soul to the corporate devil? It's rather tricky, but we'll walk you through the steps. (And don't worry, it won't involve an evening with RIAA President Hilary Rosen, a bottle of tequila, and a Barry White album.)
2:Locate potential A & R Reps...
Like tailoring a résumé to a specific job description, you can greatly increase the impact that your demo package will have by knowing exactly who your audience is. The person that you should be most concerned with is the Artist & Repertoire Representative, also known as the A&R rep. It is the A&R rep's job to find new artists to sign and to develop their careers into a success story. Most bands get heard by A&R reps the same way you are trying to get heard - by sending them a good package. As a result, not only do you want the A&R rep to get your demo package, but also you want it to knock his/her socks off!
So what do A&R reps look for? Well, that varies widely between companies and depends largely on what they think is going to be the new trend in popular music. You already know about the talent, the "look," and the professional demo package, but what else can you do? Well, this is where it starts to get a little fuzzy. There is not a single record label out there that will sign a band solely on hearing a demo. So expect an interested A&R rep to want to see your band perform live. Also, it is around this point that the decision to sign or not sign a band becomes based on a gut feeling just as much as on the past band's previous record sales (if any) and size of their fan base. Does the music match where the label wants to go? Does the band have a good shot at becoming a success? These are important questions for A&R reps because their job security is highly dependent on whether they sign successful acts.
Now that you know who these A&R people are, where do you find them? Well, many would say under a large and slimy rock-but we like to think a little better of these fine people. Here are some options:
* First, try a contact directory like the CMJ Directory (published by the College Music Journal), The Musician's Atlas, or the Musicians' Guide To Touring and Promoting. These will give you a good list of record labels (and some other good contacts such as clubs, radio stations, and press outlets).
* Since you are playing in a band that has some level of local name recognition, it probably wouldn't hurt to ask local club owners, record store proprietors, music directors, or editors whether they know anyone at a good record label who might be interested in receiving your demo package. It can't hurt to try.
* Showcases. The question often comes up about whether or not showcases (e.g., South By Southwest (SXSW), North By Northeast (NXNE), CMJ, etc. are effective and appropriate ways to get your band noticed by record labels. The answer is a resounding yes! Given any chance for your band to get in the eye of the public - and the industry-types - you should go for it. Unfortunately, getting into these sorts of showcases can often be difficult for an unsigned band.
3:Get One to listen to you...
Wouldn't it be nice if all you had to do was get an address, slap a label on the demo package with "Attention: A&R" and just wait for the offers to roll on in? Yes, Dorothy, it sure would be. But it's time to come back to planet Earth and realize that getting heard at all (much less by the right people) takes as much effort and planning as writing and performing songs. There are several steps that you should go through when attempting to have your band seriously considered by an A&R representative.
Once you have a list of record labels that you are interested in sending your demo package to, call each and every one of them PRIOR to mailing anything and verify that:
* They are accepting unsolicited demo submissions
* They are interested in your style of music
* You have the correct name/address to send the package attention to
Why go through all this trouble? Three reasons:
1. The worst mistake that you could make when sending out packages is to engage in "shotgun mailing." Essentially, this means that you're sending out unsolicited junk mail to a number of record labels that may have changed addresses, gone out of business, or may not be accepting packages because they are not looking to sign any new bands. Shotgun mailing is a waste of time and money for both you and the labels.
2. What do you think would have happened if Big Pun sent his demo to Epitaph Records? Probably not a whole lot. If your music doesn't "fit" what the label wants, then you won't get signed, no matter how talented you are.
3. There is no quicker way to get your demo package thrown into the garbage than to send it attention to a former A&R executive. So call. Sometimes, they will simply say you should address it to the A&R Department. That's fine, just do what they tell you to.
When calling the record label to verify all of this information, be on your best behavior. If the person on the other end of the phone says that they are not accepting unsolicited demos, do not get angry, scream, and say, "You'll be sorry when I'm a big rock star!" Simply thank them for their time and ask if it is all right to call again in a few months. Chances are they will be much more impressed by this than by a hissy fit. Also, make sure you mention your band's name at least once (and if it doesn't make you sound like a freak, several times).
So you've made the initial phone call and everything went smoothly. The record label is in fact accepting demo submissions and you have all the correct information. Now what? Wait. If you do not hear anything in 4-8 weeks, make a follow-up phone call. Ask for the person who you addressed the package to. If he or she is unavailable, or if you simply addressed the package to the A&R Department, speak with the secretary. Verify that they received your package, if they had a chance to review it, and their reactions. Now take a deep breath and brace yourself. If they 1) didn't like the demo, 2) blow you off, or 3) never got it, do not overreact. Thank them for their time, hang up the phone, and gripe to a friend. There are literally thousands of record labels in the United States alone; don't waste any more of your time on one that's not interested in your band. Does this mean you should never send them another package? No. After about 6 months to a year, if you have a new recording (or other significant change in your demo package) give the label another call. You never know; they may like your new stuff, or they may be trying to change their image.
4:Know what to do when you get the offer...
The long journey to the Promised Land is finally coming to an end: you've gotten an offer from a record label! You've done the research and they seem like an organization you would be happy to be a part of. Not so fast . . . once you get the offer, there are still several things you need to consider:
1. Get yourself a good entertainment lawyer. This cannot be stressed enough - he/she will be your best friend, confidant, and advisor through what is bound to be a complicated and arduous process. Entertainment lawyers tend to be very expensive, anywhere from $75 - $400 an hour, but they are worth every last penny of it. The terms of a record contract can vary widely, so rely on your lawyer to translate the legalese into English so you can fully understand what you are getting yourself into. You don't want to trap yourself into something you hate.
2. Make sure you have a good idea of what you want out of a record deal and where you would like to go with your career. There are many pitfalls for a band, particularly a new/small band, when signing a record deal. How many albums do you want to release on the label? How much money/royalties can you demand from the label? How large should your advance be? How does this affect future royalty payments? Who owns the copyrights to the songs? The list of debatable items could go on for a mile. Talk with your lawyer about all of the options and make an educated and informed decision. After all, this is your career.
3. Pick up a copy of This Business of Music. While about as entertaining to read as a chemistry textbook, it is an outstanding resource for learning the business and legal side of the music industry.
Even though the process of getting signed to a record deal can be difficult, the prospect of being able to make a living as a professional musician is often too good to pass up. While good looks and some catchy tunes probably wouldn't hurt, you now have a huge edge over all those morons who are sending out 10-page bios. And hey, if all else fails, there's always the Army. | | |
Posting Rules
| You may not post new threads You may not post replies You may not post attachments You may not edit your posts
HTML code is On | | |
All times are GMT -5. The time now is 11:43 PM.
|  |
|
