Tag Archives: EntreMusician

30 Proven Psychological Prefixes for Producing Your 1st (or 1001st) Band

paper_clips_colored_fixation_107505_1920x1080

EntreMusician’s Note: These Tips Apply ONLY to Producing Bands Other than You Own (which are fraught with their own set of zany fortuities!) Equally, This Advice May Not Work on Singers who happen to Be Solo Artists. Countless Articles have been written on Producing Up & Coming Divas; None of Which are in Agreement…These have been written to Prepare Yourself Adequately Before the Project Begins!

  1. Pray or Drink Heavily Beforehand (According to Your System of Faith)
  2. Only Talk to The Leader(s) of The Band to Decipher & Determine Goals 
  3. Do a Thorough Inventory of The Band’s Gear
  4. Know Your Own Gear Inside and Out
  5. Prepare a Flowchart of Microphones You’ll Need for the Sessions
  6. Own / Upgrade to The Most Quality Pre Amp You Can Afford
  7. Get a Non-Refundable Deposit
  8. Spend Several Days Listening to The Band’s Demos (If They Exist)
  9. See Them Perform Live
  10. Look For The Real Leader of The Band as You Witness Power Struggles
  11. Spend a Pre-Production Day Getting Great, Natural Drum Sounds
  12. Go Do Likewise with the Bassist
  13. Prepare Comprehensive Track Sheets for the Entire Session
  14. Determine the Emotional / Mental Stability of the Lead Singer and Massage It
  15. Review Your Written Production Agreement. Keep It Handy
  16. Never, Ever Use Cheap Chords
  17. Discover The Weakest Players (They’ll Be Easy To Spot Even Before Picking Up Their Axe) And Loudly Encourage Them in Front of the Others
  18. Rehearse The Band for Three Days to Get Sketch Recordings. Keep Them, You May Need to Use Them Later for Almost Anything…
  19. Help The Guitarist Decide Which Four (4) of the 27 Guitars Brought to the Session will Actually Be Necessary
  20. Create EQ & Compression Presets for Each Instrument & Vocalist
  21. Talk With The Real Band Leader and the Person You Originally Talked To and Make Sure The $$$ is Secure
  22. Learn Several Techniques that Keep Bass Players Calm and Apply Them Accordingly
  23. Vacuum Your Studio Before & After Each Session
  24. Do More Praying (or Drinking), but Not In Front of The Band
  25. Keep Your Harmonizer / Auto Tuner Ready and Active At All Times
  26. Discuss Music Theory Often with The Keyboardist in Front of the Drummer (It Makes Them Hyper Sensitive and they Play Better) 
  27. Make Sure Your Fire Extinguisher(s) Work
  28. Keep Your Hard Drives De-fragged and Uncluttered
  29. Hone Your Mediation Skills between the Real Leader and the Person You Originally Talked To When They Begin to Argue Over Absolutely Everything, Including Who Will Pay You
  30. Make Plenty of Back Ups

I was listening to “Underneath The Colours” by INXS on Vinyl while posting this 

Advertisements
Tagged , , , , , ,

5 Mechanisms Which Make Mountains Out of Molehills

mountains

Producers are Often Tasked with The Challenge of Sculpting Masterpieces Out of Minimal Talent. It’s Just the Truth. 

Often, Clients Approach You with Visions of Grandeur and Projects of Epic Proportions, but What they Actually Bring to The Table in Terms of Creativity, Skill and Experience Usually Pales in Comparison. The Contention is Amplified When the Blessed Souls Possess The Monies to Pay. In Cash. You Definitely Want to Pay The Bills, But Your Name & Rep are On The Line If You Don’t Provide Them the Record They Already Hear in Their Heads.

Sure, there is a Plethora of Technology that will Smash a Vocal into the Right Notes and Nudge the Drums into a Perfect Time Signature, but No Amount of Convolution Reverb, Compression or Wacky, Bounced Delay is Going to Compensate for a Lackluster Performance.

And it’s ALWAYS Going to Be YOUR Fault when You Playback the Take. Many Singers have Only Heard their Vocals in the Shower, Car or Garage with the Rest of their Band through Loud, Over Equalized PA Systems that Have Not Told Them the Truth. So When Your U-87 Unmercifully Reveals the Flaws and Cankers in their Nasally Throat, Prepare For War!

Many a Producer Friends I Know Cram Psychiatry on the Side, Ready to Soothe the Savages, but a Few of Us have Learned a Five Principles to Employ Prior to Pressing Record.

1. Find the Gold in the Dirt

Believe Me, It’s in There and Not So Hard to Locate, if You Know Where to Look. The Way a Word is Enunciated or a String is Unscrupulously Plucked or the Way the Drummer Smacks Her Hi-Hat Every Fifth Beat Can be Transformed into Some Interesting Accents.

2. Strip It Down

Help Your Artist Dial Down the Notions of a 72 Piece Orchestra Until They’ve Tapped into the Techniques that Make their Tunes Tick. Spend Three Days Alone with the Main Instrumentalist / Vocalist Recording & Re-Recording Their Arrangements so You Can:

a) Allow Them to Get Used to Focusing on Their Own Playing & Parts and to

b) Begin Building the Song Around Their Foundation.
3. Refuse to Baby Them

Holding a Guitarist’s hand through a Take is One Thing. Nursing them is Quite Another.

Don’t Take Attitude or Temper Tantrums Lightly. There is No Amount of Money You Can Pay Me to Eat Someone’s Crap.

Their Deposit, Minus Time Spent is Always at the Ready to Return. The Producer has been Hired to Lead the Process and Often Lives It Well After the Session is Finished. If You are in a Business where You are Recording Two or More Different Clients / Bands in One Day, You Don’t Need One Prima Dona’s Debilitated Dysfunction to leak into Your Next Session.

Worse is when You return to Mix, you’ll often find that the Messy Mood was Recorded and Can’t be Edited Out… My Ace Engineer & Friend Jerry Thompson Once Encountered a Beautiful Songbird who Sang Exquisitely, Destined to be a Future Star, but Displayed such Snotty, Condescending Behavior, We Promised God and Each Other We’d Never Work with Her Again and Haven’t.
4. Pull Out All The Stops 

It’s Highly Probable that This Session Reveals that the Challenge is Focused as Much on You As it is On Your Client. This is the Zone where You, Yourself Must Stand and Deliver. How Creative Are You? Are You Able to Massage that Subpar Bass line into a Grooving Pocket or Nudge those Nervous Sax Noodles into Ferocious Roars!

You Have The Power, Mr. & Mrs. Producer, of Patience, Persuasion & Perseverance. Remember, You’re Always Beginning with a Blank Canvas. Your Unique, Steadfast Ability to Build upon the Blocks Given You is the Real Magic that Turns Songs into Standards.

5. Always Tell The Truth 

Sometimes, The Musicians, Singers or the Song Just Does Not Cut It and there is Nothing You Can Do. Recognize It and Bow Out on the Front End. If Asked, Provide Your Expertise with Grace & Truth as to Why The Project Won’t Work. Unless You Like Making Enemies, Don’t Recommend Them to the Producer Across Town. Give Them a Timeline in which They May Be Able to Return and Try Again and Then Shake Hands and Walk Away. They Will Grow to Respect You For Your Honesty and in many cases will become Better at their Craft If Only to Prove You Wrong, which is Still a Very Good Thing!

I Was Not Listening to Any Music as I Composed This Blog. I Wish to Dedicate It to The Memory of My Dear First Cousin, Lori Jean White, who Passed Away Peacefully Last Night…Sleep on Sis!

Tagged , , , , , ,

EMOTIONAL PRODUCTION

emotional

The Approach to Music Production is just as Multidimensional as the stars in the heavens.

As I leaf through Rick Clark‘s over sized Mixing, Recording and Producing Techniques of the Pros,” it’s fascinating to explore the psyche of these Masterminds and Gauge their Approach. Obviously as One Not Yet Included in such a Stellar Institution of Greatness, albeit hopeful, I am Grateful for Every Opportunity to Produce Outstanding Songs by Serious Artists of Various Genre.

At the Genesis of Every Session, the Fundamental Framework I Build Upon is the Emotional Journey the Listener will traverse as the Song is Played. My Goal is ALWAYS to Reproduce the Exact Feelings of Joy, Anger, Sadness, Betrayal, Devotion, Militancy, Encouragement, Strength, Remorse, Warmth or Flavor the Songwriter(s) Intended to Convey. One Million Repeated Listenings of the Recording Must Evoke these Same Emotions, or I Have Failed, whether the song Sells One or One Hundred Thousand Copies.

I Perceive My Position in the Studio as Tour Guide, Ushering the Musicians, Arrangers, Vocalists & Engineers through an Expedition of Finding Moments. Every Chosen Person, Instrument, Sound, Note, Effect & Ambience will lend itself to the Nuance of Multiple Moments, Creating Symbiotic Memories that Outlast Lifetimes. Those are the Snapshots that Take Your Breath Away and Force You to Immediately Rewind the Song or a Section of the Tune to Allow Your Brain to Process What Your Heart Just Heard and then Begin Again.

Perhaps I am being melodramatic in My Interpretation, but I Offer No Apologies. Often Before Discussing DAWs, Plug Ins, Mic Techniques, Mixing & Mastering and the Usual Banter with Various Producers, I am Always Most Interested in the Range of Emotion sought after and how they wished to reveal them, even (especially) if they’ve chosen some Non Traditional or Outdated Means to Do So. In Berry Gordy‘s autobiography “To Be Loved,” he talks about how the Classic Motown Producers used to sit around the table and Vote On the Upcoming Release. Mr. Gordy stated the Main Question asked would be ‘If You Were Starving and Only Had Enough Money to By a Sandwich or This Record, What Would You Do? If the Vote was for the Song, They’d Release It! Hence the Company’s Enduring Legacy.

David Byrne confesses in his book “How Music Works” what most Producers already know. A “Tight” Recording or Performance has Nothing to do with Meter. It has Everything to do with The Groove! Singing or Playing in Front of or Behind the Beat or Harnessing a Vibe as Sloppy as Gravy Foaming Down a Mountain of Mashed Potatoes Feels as Wondrous as Classically Trained Precision if You’ve Channeled the Proper Emotions.

God Bless the Sacredness of Music Production and the Solace of a 3AM Session where the Sweat is Soaking Through the Walls…

Here are a Few Examples of Moments I’m Blessed to Have Captured:

Hermeneutics (SounDoctrine feat. Keith McKelley, Cliff Barnes, Derek Dixie & Paul Douds)

Meant2B (SounDoctrine feat. Keith McKelley, Stefano and Jazmine)

Source (SounDoctrine feat. Michaela Write)

Maranatha (SounDoctrine feat. John Thomas)

Stop On By (SounDoctrine feat. Eric Tyus)

I was Listening to “Elegant Gypsy” by Al Di Meola on Vinyl while composing this blog…full of Multiple Moments!

Tagged , , ,

The ONE Thing…

number 1

Much Love and Many Prayers to the Victims and Families who Lost Loved Ones in the Senseless Las Vegas Tragedy. My Heart Goes Out to All.

During September, we discussed Four Avenues EntreMusicians are able to Journey and Advance through simply by Applying Ourselves and Owning the Occasion. Just BE!

My Focus Today is to Zero In on the Truth that the Most Successful EMs, once Defining & Honing their Niche, Strengthen their Artistry by Building a Brand on One Singular Component. Just because we possess the capacity to perform 20 tasks simultaneously does not mean we should. Nor should we attempt to be known for more than One Great Consistency (think Michael Jordan in Pro Baseball), unless our Multifarious Talent IS The Brand (Think Prince).

Develop & Grow Your Specific with Eagle Eye Precision & Dedication as It will be that One Thing that People will Remember You for after you’ve left Our Planet. If for some reason folk should Remember You for Two or More Qualities, it’s most likely because they are corresponding, like “Husband & Father,” “Scientist & Researcher” or…”Multi-Instrumentalist.”

I Constantly Ask Myself if I Am a Composer // Music Producer // Drummer // Booking Agent // Manager // Actor // Event Coordinator // Publisher,  all the while maintaining my identity as Jesus Follower // Lori’s Husband // Father of Three Daughters // Pastor // Bible Teacher.

My Personal Identity aside, I Am Foremost a Music Producer. As an EntreMusician, this is the One Area I Continue to Maturate. Constantly Working with Extremely Talented Songwriters, Arrangers, Vocalists, Musicians, Artists, DJs, Engineers and Technicians Provide Me Exceptional Outlets to Experiment & Improve My Game. Interestingly, I Live & Think as a Music Producer in Every Area of My Life, especially as a Pastor – but that’s another blog…

What About You? What’s the ONE THING You Work At Harder than Any Other and Wouldn’t Mind Being Remembered For?

I was listening to Dave Grusin & Lee Ritenour‘s Exceptional “Harlequin” on Vinyl while composing this post.    

Tagged , , , , , , ,

BE The Publisher

clefnote

To Finalize Our Month of “BEING,” in which EntreMusicians can take advantage of a few of the Wonderful Opportunities which await those with Initiative, we’ll end September in a space that I cherish the most .

I have been passionate about Music Publishing since the eighth grade. I was the kid who read all of the liner notes on the album. I learned the Record Label Names, Executives, A&R Personnel, Where the Album was Recorded, Mixed, Mastered – Who the Engineers were, Producers, Arrangers, Session Players – Who the Songwriters were and then… Publishing? ASCAP, BMI, SESAC? What does this all mean?

I started reading. I went to the library and borrowed “Making It With Music” by Kenny Rogers and Len Epand. I didn’t return it. For the first time I heard and realized that the Song is the Most Important Instrument in Music and the Person(s) who Owned/Controlled the Song’s Publishing will be the Most Important Instrumentalist(s) overtime.

Upon further investigation, I found that the Term (Lifespan) of the Copyright lasts 70 years after the Death of the Composer(s) – or up to 120 years in certain situations.

Further along, I heard the incredible Horror Stories of the Thousands or more Songwriters who were completely skewered out of their Publishing Ownership, Royalties or Both, ignorantly traded for the Price of Fame, a Shiny Cadillac or even a House, while the Publisher went on to earn Millions. To add greater injury, I learned that although Tin Pan Alley may have started as a true collaboration between Songwriters & Publishers, many of the Corporate Conglomerates who Took Over Music and Earn The Most, by far, are Attorneys – some who can’t even whistle in key or snap their fingers on beat. Remember Paul McCartney of All People only recently began owning the rights to his music, having to BUY It Back!

I determined early on that more important than practicing my drums (which I do regret to some extent) that I would become a Student of Publishing, Start My Own Companies and Keep All that I could. I would Never, Ever sign away ALL of it, no matter how much moola I was offered, unless it was purchased outright. Overtime I saw how Technology alters the Art & Nuance of Publishing and that I Need to Pay Attention Often. It’s like being married!

Before I recommend that You BE Your Own Publisher (and I strongly suggest you do), I must admit that there are some very reputable publishers out there. All of them are Not Snakes, but You Need to Do Your Homework and Triple Check It Before Signing. Publishing is Extremely Difficult Work and since Your Territory IS The World, having a Strong Sub-Publisher Looking Out for Your International Affairs is Vital. Since Publishing can easily become a full time job, provided You’ve Got a few Songs shaking on Radio, TV and/or Film, You should Employ a Loyal, Committed Team who can Advise and Monitor the Very Best Deals for Your Career.

Remember, Your Number One Goal is to Help Your Song Continue Earning Money for You, Even Years After You Write/Release It. You Want Your Songs to Reap Royalties for Your Family and Your Estate when You Can No Longer Pick Up Your Drum Sticks. Publishing is a Space where “Exploitation” of Your Work is a Very Good Thing – So Having Multiple Artists in Multiple Genres Record Your Songs is a the Lifeblood of Your Team. Think PrinceStevie and for crying out loud, Think Diane Warren!

I’m blessed to be entrusted with publishing songs for several songwriters in my area. It’s a Trust that I Hold Sacred and Dear. I Preach Publishing and Make Sure They Know As Much as I Do about this Business and the Activity of their Music. Our Terms and Conditions are Beyond Fair, meant to Lease and Not Own, so that All Ownership and Control is safely reverted back to them. I haven’t made nearly as much in publishing as I’d like to – YET! But there’s always that Next Project, TV Commercial, Indie Film or Up & Coming Artist that keeps us Alert and Hustling!

Go and Do Likewise!

By The Way, If You Happen to be reading this Today, Thursday 9/28, Join Me with Trish Hennessey on Hybrid Jazz, where we will be discussing our Entire September “BE” Series and Celebrating the Humanitarian efforts of EntreMusicians in light of the recent Hurricanes! You can also Listen to the Archives!

I’ve been in an intense Azymuth mode lately. I’m listening to their “Outubro” on vinyl as I post this.

Tagged , , , , , ,

BE The Booking Agent!

concert audienceSince September is a Traditional Educational Month, I Will Spend it with You by Sharing A Few of The Ways I’ve Honed My EntreMusicianal Skills by “Being” All The Things I’ve Needed to “Be” to Advance My Artistry & Career, while making a few bucks along the way. 

Being an EntreMusician comprises being adept at all of the functions of an Artist’s Career. Managing all the aspects of your own career can be its own unsettling balancing act. However, when you’ve become adept at walking atop your own tightrope, you might find it profitable to help someone else gain stability. 

It’s Common Practice for any Musician to refer another band for a gig they aren’t able to do. The second step is becoming noted for intentionally hooking up other talent for an event or venue and receiving a reasonable fee for doing so. 

For a few years now, since my days as producer of the event formally known as the Youngstown Jazz Fest, I have been able to align various artists with a variety of regional events. Both parties are aware that I represent the Band/Singer/Musician as an agent exclusive to that performance.  

I charge an extremely affordable rate, based upon the amount of work I need to do – and I keep it very basic. This fee is ALWAYS Collected from the Venue and Never from the Artist. I am doing them both a favor, but the advantage is Always Towards My Fellow EntreMusician. 

I Only Recommend bands I KNOW are completely dependable with a Killer Show to Event Promoters that I KNOW will Treat Them Right and Will Pay. If I am Not Confident of Either of these Attributes, I don’t get involved.  

I Send an Agreement on Behalf of the Performer, Collect the Non-Refundable Deposit and Secure the Date. I don’t get mired into the tiny details letting the bandleader and venue owner customize the event. I Am Not the Band’s Manager and I Never Insert Myself into that Role. 

I’ve had only 100% Satisfaction Rate so far for these “Favors.” The best thing is I Don’t have to be there on the night of the event, unless I want to. I Invest My Time in Concentrating on My Own Production and/or Performance! 

Please Note: Some of the Larger Music Business Capitals have State Laws which govern and license the activities of Booking Agents. Make Certain You Are Knowledgeable of and In Compliance with any applicable situation!

Be The Booking Agent!

I was Listening to Chuck Mangione‘s “Live AT The Hollywood Bowl” on Vinyl while posting this…

Tagged , , , , , , , , , , , ,

The Four Hands of EntreMusicianal Networking

Mastering the Art of Consistent Networking is Foundational & Essential if we are to Succeed as EntreMusicians. Advancement eludes us when we consider ourselves islands and isolate ourselves from community. Albeit, We bear the bulk of the Responsibility for our Careers, True Achievement is Not Created in a Vacuum.

Many EntreMusicians swallow the Myth of the “Self Made Artist,” who Writes Everything, Arranges, Produces & Plays Everything, but never ascends from his/her basement studio because they’ve eschewed human social skills and ignore establishing relationships with other bands, artists and creatives.

Even Musicians who’ve been fortunate enough to secure management, booking or some significant ‘deal’ which somewhat sets them apart from their contemporaries, find they have a much rougher ride and eventually hit a wall because they have set themselves (or allowed others to place them) above or outside the Collective Visibility  of the Creative Culture. The Truth is that even at the Highest Level of Triumph, Connectivity Still Rules! So here are a Few Rules to Perfect the Practice of Networking at whatever Position You Currently Occupy.

1. Reach Out!

Take the Initiative to Find Other Artists of Like Mind/Spirit/Heart whether within your musical genre or not. Arrange a Coffee or Jam Session or Gig that’s Mutually Beneficial. Without Becoming a Pest, Be the One Calling, Texting or Messaging Periodically to Let Them Know You’re Interested in Them and What’s Happening in Their Career.

2. Give Out!

EntreMusicians are Extremely Generous. Any Valuable Information, Resources or Viable Practicality which can be freely offered, Give It! Go Out of Your Way, Be On the Look Out and Intentionally Create Opportunities to Be A Blessing to Another. Is there any Old Gear hanging around that you’ll likely never fire up again? Don’t Pawn It, Find an Up & Coming Hopeful and Give The Thing(s) Away!

3. Help Out!

Everyone Needs Help at Some Point in Time. EVERYONE! Even & Especially National Recording Artists. Find Out How You Can Assist – Yes You! Graham Cochrane, an Engineer/Producer I Follow & Highly Respect once said that every time he attends NAMM or some other Industry Function, he abstains from strolling up to higher profile Artists/Producers/DJs with Business Card & CDs in Hand, asking THEM to either Listen to His Stuff, Get Him a Deal or “Hook Him Up” in whatever way. Instead, He ASKS How HE Can HELP Them!!

Chances are They will be playing his City soon (he asks) and perhaps there may be some assistance they might need when they arrive and/or before they depart that he may be essential in accomplishing on their behalf. He Never asks for anything in return and Graham’s (and now my own) methodology is 85% More Effective that the ‘Star’ will remember His Name…There are a Million Ways to Help – Find Yours!

4. Throw Out!

Discard ALL Negative Motives, Attitudes, Thoughts, Words & Actions!* Live By The Mantra that You NEVER Compete, NEVER Compare & NEVER Criticize!**

Throw Out ALL Feelings of Envy & Pride! Concentrate on Doing Your Best Work and Find Ways to Assist Your Peers in Doing Theirs. Hold The Door Open and Help Balance The Ladder for Other, Again Expecting (And Not Asking For) Anything In Return! Overtime You Will See, by Osmosis, the Law of Sowing & Reaping bearing Fruit and Your Life & Career Blessed because You have Blessed So Many Others!

I would Love to Hear How You Utilize Networking in Your EntreMusicianal Pursuits and the Profound Results. Leave Your Comments Below.

Download My Free E-Book “50 Engaging Ways to Transform Your Fans Into Family” and Subscribe at TheEntreMusician.com for More Ways to Engage, Encourage & Empower Each Other!

 

I was listening to Spyro Gyra’s “Incognito” on Vinyl while writing this post.

* &** Quotes of Bishop David L. Thomas

Tagged , , , , , , , , , ,

Copyright or Wrong?

The First True Threat to Copyright’s Extinction in Our Lifetime was the invention of the Sampler and its Little Cousin, the Portable DAT , which blew open Recording Studio Doors to Unlimited Imagination and Unabashed Thievery. No Previous Song Was Safe From the MPC and against the backdrop of the late, great James Brown‘s roaring protests stood Chuck D‘s amplified mantra, “Yo, You Can’t Copyright No Beat!!”

The Recordable CD on Your Laptop gave birth to the First Napster and File Sharing introduced an new generation of fans to Led Zeppelin while making bands like Radiohead and Dispatch household (pun intended) names.

Music Buyers metamorphosed into Music Lovers who No Longer Purchased Music. Record Companies finally awakened from their Cash Comas (brought on by the CD Boom) and realized they could not NOT Negotiate with Steve Jobs. When the dust settled around the 99 cent download and Napster’s Socks were Sued Off, the entire notion of Copyright Protection for the Content Owner began to slip into the paws of the Content Provider.

Streaming seeks to further erode such protections more subtly as Subscription Models ensure the End User Owns Nothing and Access is Granted or Revoked based on Advantaged Licensing Agreements tilted toward the Providers, Not The Owners.

Less Copyright Protection Equals Far Fewer Royalties for Owners who are now relying on Congress to Change the Game. Many Say Copyright is Dead,or at best on life support with the hyper advance of technology and Creative Commons squelching the Conversation.

EntreMusicians would do well to Resurrect this Sacred Trust by Developing Technology which Secures our Unique Position as sole Owner/Provider, Creating our Own Subscription Channels Direct to our Exclusive Bases, Disconnected from the Snares of Apple, Google, Spotify and YouTube. Established & Marketed Correctly, This Vehicle would Guarantee that Copyright remains Right.

For More Engaging Articles on Copyright Fairness and Other Concerns, Visit TheEntreMusician.com, where you can also Download My Free E-Book, “50 Ways to Transform Your Fans into Family.”

I was listening to Jeff Lorber‘s “Galaxian” on vinyl while composing this blog.

 

Tagged , , , , , , , , , , , ,

Always In Writing

One of the Earliest and Most Critical Mistakes Any New EntreMusician tends to Make in this Business is Relying Upon Verbal Agreements.

It’s Easy to Do Because at This Stage You’re Extremely Excited that the Phone Even Rang!

And Before You Know It, Your Enthusiasm Gaining the Advantage, You’ve Locked in The Band, The Date and Invested Precious Time & Resources solely based upon what some Stranger (or Friend) Said she was going to pay you.

There’s already a degree of embarrassment because you nervously negotiated a price and most likely settled for less than Your Original Fee. So with the possibility of losing the entire gig dangling in your imagination, you choose to forego any further timidity and agree to most everything else.

You arrive on time, perform magnificently (of course), only to have the venue owner congratulate you on a wonderful show but with apologies that he didn’t sell enough tickets, drinks or secure the amount of sponsorship he was hoping to receive (which has absolutely nothing to do with you – unless you were not listening) so now he claims he can only pay you…

The very best way to avoid this type of robbery is to Always Place Your Agreement in Writing and Make Certain You place this important piece of conversation atop your discussion.

The All Important Question “And What is Your Budget for this Event?” will provide you all of the necessary information you’ll need before continuing “Please Email Your Agreement to…”

At this Point Either Two Significant Events Will Happen:
1. The Reputable Promoter will make sure they’ve spelled your email address properly and send you the requested document or perhaps ask you to send yours (more on that in a bit)

2. She will begin making several excuses about why she doesn’t use/have one or a Written Agreement, or begin to use those infamous words ‘trust me…’

It’s Vital that You begin to utilize a Written Agreement the moment you’ve formed your act. Even if only charge $50 for the night, get into the habit of using a contract!

If the club owner doesn’t have one, present one. If you don’t have one, create one or download one from http://www.theentremusician.com, and don’t forget the include asking for a 50% deposit!

Serious Venue Owners take you far more seriously when You Talk Terms of Agreement and are prepared to document them even if they are not prepared to present one. The offer itself adds major validation to your professionalism.

And Remember, That’s Exactly Who You Are!

Next Time, We Talk About Getting Paid BEFORE Your Performance!

Although I wasn’t listening to any music while composing this post, I going to be listening to Stevie All Month!

Tagged , , , , , , , ,

The Mystery of Generosity

One of the Wisdom Proverbs says:

“The Generous Person Prospers, The One Who Waters Will also be Watered.”

It’s An Incredible Statement for Every EntreMusician to Abide By as Most of Us Spend Many of Our Waking Moments Looking for Opportunities that Will Benefit US and Precious Few Searching Out Occasions to Benefit OTHERS.

If We Happen Upon the Good Fortune of a Great Promoter, Venue, Festival or Other Profitable Enterprises which Provide Advantage, Progress or Achievement in Our Own Careers, We Would Do Well in Seeking Such Favor on Artists, Musicians and Entertainers who would Never have the chance to Showcase Their Talents, Unless We Hold the Door Open for Them – Especially those Further Down the Totem Pole of Experience (Your Obviously Trusting that They Possess the Professionalism and Discipline to Handle the Gig!)

The Gift of What Comes To and Happens In You Is Immeasurable, the Wider You Open Your Heart. It Seems as If Platforms You Were Previously Denied Access To Suddenly Avail and Fees You’d Never Imagine Commanding Become Yours, with Less Effort on Your Part, Because You’ve Ignited the Miracle Circle of Blessings.

Of Course this Process Works Personally. I Must Confess that there was a Season in My Life Where I Held Tight to a Scarcity Mentality. When I Would Give, It Naturally Meant I Had LESS. So I Hoarded! When I Encountered a Disheveled Person at an Intersection, Holding Up a Cardboard Sign, I Rationalized 10 Million Hypotheticals as to How & Why They Ended Up in That Position OR That They Were Only Conning Me Out of My Few Wrinkled Dollars Tucked Away in My Ashtray. This Helped Me Justify Looking Away – and – Driving Away…

Thank God I Have Come to Learn an Abundance Mentality which Assures Me that Giving Really Means Planting! There’s Always ‘More‘ and at Some Point, in Some Scenario, My Seed Will Harvest and I Will Receive Exactly What I Need.

Try It!

Open A Door. Create An Opportunity. Give and Notice All that Happens.

You Become the Beneficiary of Bountiful Blessings, the Recipient of Joyous Transformation You Would’ve Never Imagine or Appreciated if You’d Remained All To Yourself.

 

Interestingly, I Was Not Listening to Any Music as I Wrote This Post…

Tagged , , , , , , , , ,