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Showing posts with label CD Baby. Show all posts
Showing posts with label CD Baby. Show all posts

Wednesday, August 22, 2012

5 Live Show Mistakes Bands Make

Band playing image from Bobby Owsinski's Big Picture production blog
I recently came across a post on CD Baby's DIY Musician blog about the Top 5 Mistakes Musician's Make With Their Live Show that I thought was great. The post was by Tom Jackson, who specializes as a live show producer, which is something that we need a lot more of. I've written a lot on this subject in How To Make Your Band Sound Great, but Tom has some tips that I'd never thought of.

Here are the 5 mistakes that many bands make:

1. “Winging it” is mistaken for spontaneity.  I constantly run across the attitude of “Dude, I’ve got to be spontaneous – I can’t rehearse my show!” Sometimes my reply is “Awesome – but if you really want to be spontaneous, make up the song right in front of the audience… that’d be real awesome!”
Instead of learning the right way to be spontaneous onstage, they mistake “winging it” for spontaneity! They jump around onstage and try different things, hoping something will work. And here’s the irony – when they do something verbally, visually, or musically in front of the crowd one night that gets a great response, they do that same thing the next night, too.
So where did the spontaneity go? They do the same thing they did the first night because it worked! That’s because spontaneity and winging it are 2 different things. In fact, if we rehearse right, we will leave room for spontaneity in our show.
2. Practice is mistaken for rehearsal. But most artists don’t realize there is more to getting a live show ready than just “practicing” the music. Rehearsal involves the musical, the visual, the verbal, the rearranging of songs that were written for radio so they work live, and more.
3. Song arrangements intended for radio are mistakenly used for live shows. We know the rules for getting played on radio: 3-4 minutes long, a certain form, short intro, etc. But a live show and radio are 2 different things! Your audience’s expectations are different at a club or concert hall than they are when they turn on a radio. If you play your songs just as they were recorded for radio, you’re making a big mistake. Those songs need to be rearranged to create a compelling live show.
4. Artists assume the audience wants them to sing songs or play music. Audiences go to a live concert for 3 reasons: to be captured & engaged, to experience moments, and to have their lives changed in some way. As musicians, we make the mistake of thinking (partly because it’s us, our adrenaline is flowing, and we’re playing our own music) that we are awesome onstage and there are “moments” all through our songs. And there are – for us. But we need to create moments for our audience!
5. Artists’ songs all look the same, even though they don’t sound the same. As an artist you know your songs are all different. They have different themes, melodies, rhythms, and tones. They don’t sound the same. But (for 95% of artists out there) they look the same. You need to be as creative with your show as you are with your music. Communication with your audience is 15% content, 30% tone or emotion, and 55% is what they see. So it can be a real problem if your songs all look the same, because to an audience that doesn’t know who you are, your songs will start sounding the same. Most artists typically do the same thing onstage over and over for every song: the same movement from the same place… big mistake!
This last point I think is especially important. When you go to a concert to see a world class act, the show has a dynamic flow, not only song-wise, but visually as well. That's something completely missing with most club bands, but that's perhaps the most important part of a live show.

This is an excerpt from the original article, so be sure to check out the whole thing.

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Wednesday, December 28, 2011

5 Tips For Performing In Cold Weather

Anyone who's have had to play a gig outside during the winter knows just what kind of hell that can be. Forget about just being cold, what really makes it bad is when your fingers are freezing and they won't move, or every time you open your mouth to sing you get this huge gulp of icy cold air that dries your vocal chords out.

That's why this article for CD Baby's DIY Musician blog is so apropos to the season (at least here in the Northern Hemisphere). Here are their 5 tips for performing in cold weather:

"1) Get to the gig early and let your instruments acclimate to the temperature. Radical shifts in temperature (both up and down) can damage your equipment. So I recommend bringing the instruments in their cases, leaving them on stage IN their cases for a while, and then taking them out.

Once they’re out of the cases, don’t play them yet. Give them more time to settle. That direct contact with the air might make them tense up again. Finally, allow yourself enough warm-up time before the performance begins and the crowds arrive so you can play the instrument, tune it, play it, tune it, play it, and tune it.

Oh, and if your instrument is your voice, go easy. Warm up slowly, first in the car, then outdoors.
Be sure to cool down and load out in the same way.

2) Warm up your amps. The same advice above could be applied to the amplifiers. Let them adjust to the cold. THEN put them on stand-by for a while. Once your guitar is tuned, fire up the amp and let it sing.

3) Wear fingerless gloves (or drummers, where gloves with grip). This may not be possible for every musician, depending on the instrument and style of music you play, but I’ve gotten away with wearing fingerless gloves on a few cold occasions, especially at gigs with limited lead playing, complicated chord comping, or right-hand palm-muting. So if its your typical rock, folk, or pop show,… try fingerless gloves. But try it at practice first!

4) Limit your set time. Don’t get stuck entertaining Jack Frost for 3 hours while the hungover bassist catches hypothermia. I’d say that 30-45 minutes in the cold is more than enough. If the event planner or promoter wants more music, they can hire an additional band and you can work out the backline details together ahead of time.

5) Construct your sets so each player gets some relief. Space out the songs where Sarah’s gotta belt out those high notes. Let a different player carry the lead on the next song. That way, when the spotlight and pressure are on someone else, you can take a minute to tune-up again, warm your hands, whatever else you need to do to keep rockin’."

I hope you don't ever have to do a gig where it's freezing, but in the event that you do, remember to use these tips wisely.
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Tuesday, November 29, 2011

Which Holiday Songs Are Public Domain?

So you want to do that Christmas album that everyone has been asking for? You probably waited a little too long to get it out this year with any effectiveness, but no problem, except that if you're releasing it yourself you should know that not all holiday songs are public domain (i.e. free to use without paying a publishing royalty). Now you have to ask yourself, "Which songs are public domain and which aren't?"

CD Baby's DIY Musician blog has a great post today about the songs that are in and out of the public domain. They also have a PDF guide to holiday music that you can download for free. Here's the list:

In The Public Domain
“Angels We Have Heard On High”
“Away In A Manger”
“Deck The Halls”
“God Rest Ye Merry Gentlemen”
“Good King Wenceslas”
“Hark! The Herald Angels Sing”
“It Came Upon The Midnight Clear”
“Jingle Bells”
“Joy To The World”
“O Come All Ye Faithful”
“O Come O Come Emmanuel”
“O Holy Night”
“O Little Town of Bethlehem”
“Silent Night”
“The First Noel”
“The Twelve Days of Christmas”
“We Wish You A Merry Christmas”
“What Child Is This”

Not In The Public Domain (including the songwriters - Johnny Marks gets extra props for having 3 songs on the list)
“All I Want For Christmas Is My Two Front Teeth” (Donald Yetter Gardner)
“Do You Hear What I Hear?” (Noel Regney, Gloria Shayne Baker)
“Santa Claus Is Coming To Town” (Fred Coots, Haven Gillespie)
“A Holly Jolly Christmas” (Johnny Marks)
“Carol Of The Bells” (Peter J. Wilhousky, Mykola Leontovich)
“Feliz Navidad” (Jose Feliciano)
“Frosty The Snowman” (Steve Nelson, Walter E. Rollins)
“Have Yourself A Merry Little Christmas” (Ralph Blane, Hugh Martin)
“Here Comes Santa Claus (Right Down Santa Claus Lane)” (Gene Autry, Oakley Haldeman)
“I’ll Be Home For Christmas” (Walter Kent, Kim Gannon, Buck Ram)
“It’s The Most Wonderful Time Of The Year” (Edward Pola, George Wyle)
“Jingle Bell Rock” (Joseph Carleton Beal, James Ross Boothe)
“Let It Snow! Let It Snow! Let It Snow!” (Sammy Cahn, Jule Styne)
“Little Drummer Boy” (Katherine K. Davis, Henry V. Onorati, Harry Simeone)
“Rockin’ Around The Christmas Tree” (Johnny Marks)
“Rudolph The Red Nosed Reindeer” (Johnny Marks)
“Silver Bells” (Jay Livingston, Ray Evans)
“Sleigh Ride” (Leroy Anderson, Mitchell Parish)
“The Christmas Song (Chestnuts Roasting on an Open Fire)” (Mel Tormé, Robert Wells)
“White Christmas” (Irving Berlin)
“Winter Wonderland” (Felix Bernard, Richard B. Smith)

As you can see, there's a good mix of both, although the newer hipper songs must be cleared before using. If you want to cover a copyrighted song, check out Limelight, a service that specializes in clearing copywritten songs.
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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating social media and the new music business.

Wednesday, June 16, 2010

A Strategy For Getting Gigs

Musicians are in bands so they can play in front of people, but getting gigs is probably one of the most difficult things to occur during the lifetime of a band. I came across the following article about getting gigs at your local venue in CD Baby's DIY Musician, and it really made sense. Here are the main points.

Step 1. Get familiar with the venue’s calendar – There are many inside tips and secrets that can be gleaned just from consistently checking out a venues calendar. Most clubs are meticulous with their calendar (which are usually posted online). Start looking for specific clues. Do they have a standard number of bands on the bill every night? Is there a night where they tend to give new bands a shot?

Step 2. Look for holes in the schedule – Once you pick up on a club’s booking patterns, you can start finding holes in their schedule where THEY are in need of a band.

Step 3. Make sure your music is a match – Now that you have identified the shows where the venue is most likely looking for bands, narrow it down to the shows where you music is a true fit (time to be honest folks!). Remember, in order for this strategy to work, you must only pitch to the shows where you fit!

Step 4. Target that specific show in you email pitch – Now you are prepared to approach the club booker in a way that HELPS THEM out! Just put the show name and date in the subject line of your email and politely let them know that you would be a good fit to round out that bill (Keep the email brief!). The chances of getting a response to your email, and better yet a gig, just went way up!

Go to the DIY Musician for the entire article entitled, A Booking Strategy That Works.

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Follow me on Twitter for daily news and updates on production and the music business.

Don't forget to check out my Music 3.0 blog for tips and tricks on navigating the music business.

Wednesday, August 12, 2009

10 Major Milestones In Modern Music Marketing

Bruce Houghton wrote a nice post on his ever entertaining Hypebot blog today about the 10 major milestones in modern music marketing. It's hard to argue with any of these, and they all are certainly milestones in some way, shape or form. I've added my comments in italics afterwards where appropriate.

In no particular order:

1. Seth Godin writes "Permission Marketing" way back in 1999 pointing the way towards a new era of artist and fan relationships. I personally thought that his book "Tribes: We Need You To Lead Us" is more of the milestone, but Permission Marketing certainly ranks right up there.

2. CD Baby offers indie and d.i.y. artists a home to reach a wider audience on the net.

3. The Arctic Monkeys parlay internet pre-release buzz into the fastest selling debut album in UK history.

4. OK GO proves the power of YouTube with an ultra-low budget "treadmill" video "Here We Go Again."

5. TuneCore tears down the last barriers to distribution offering low flat fee no strings attached access to the worlds top digital stores.

6. Radiohead releases "In Rainbows" asking fans to pay want they want for the download.

7. Trent Reznor grosses $1.6 million in first week sales by offering fans options from $5 to a $300 limited edition package of his latest Nine Inch Nails release "Ghosts". Whether it's calculated or just an inherent feel for Internet marketing, Trent is the master and deserves to be on any top 10 list.

8. Jill Sobule asks fans for help recording her new album raises more than $80,000. Pretty good considering she was only looking for $75k and could've raised more had she not cut the offering off.

9. David Byrne & Brian Eno release a new collaboration via Topspin. While more evolutionary than revolutionary, this was one of the first well planned and executed releases that took full advantage of modern music marketing techniques with impressive results.

10. Amanda Palmer made $19,000 in 10 hours on Twitter proving the music marketing potantial of micro-blogging platform. I wonder about this one. Seems a bit fishy somehow.

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