A Few Home Truths about The Music Business
By Motiv8
Choosing any career path is a big deal, but deciding to take a shot at the music industry is an especially major step. Working in music is more than just a 9 to 5 job - it requires a lot of commitment, often for not a lot of compensation or recognition. It doesn't help that there is so much misinformation about there about how to get into the music industry and what to do once you're there. So, here we have a few home truths about the music biz. Some are for musicians, some are for people on the business side of things, and some are for everyone. Some are encouraging, and some fall into the category of reality check. They all, however, are pretty important to understand...read on..
Knowing A Lot about Music Does Not Mean You Know A Lot about The Music Business
I hate to start out on a negative note, but this one is a really big one to get out of the way up front - and I say this because this is a lesson I myself had to learn the hard way. Scoring 100 on a music quiz, going to tons of shows, being able to rattle off a list of labels - these sorts of things don't automatically make you able to book the shows, run the labels and so on. There are practicalities - financial and otherwise - in the music business that are simply not apparent until you actually have to, say, make sure the manufacturing is on schedule and the review is really going to be published when promised. Even if you understand the relationship between labels, distributors and retail or what have you, you don't really "get it" until you "get it" - and that won't be until you experience the process from the inside rather than experiencing it as a fan. The two worlds are VERY different.
Don't get me wrong. Loving music and know a lot about it is required if you want to do well in the music industry (well, not really REQUIRED - some people running music businesses don't know much about music and are just skating, but that house of cards always collapses). However, don't enter the music industry with the idea that a lifetime of music nerd-dom has made you a music biz expert. Not only will you annoy people, but you'll also be dead wrong and miss out on the chance of really learning what makes things tick.
Reviews Don't Translate into Sales
At least, not always. Getting reviewed all over the place may be good for getting your name out there, but even if you can point to 50 reviews that all say your album or single is the pinnacle of music making and no one should even try to record again because it's so impossible to beat, the percentage of people who run out and buy your record based on those reviews is going to be surprisingly small. Radio airplay is much more effective at selling music than print reviews.
Reviews are really only part of the picture. You can use them to generate interest from labels and to get shows and so on. But even if you get reviewed in all of the top publications and sites/blogs for your genre of music, don't assume it's time to go out shopping for the fancy new car. If you don't work to leverage those reviews into something else, they'll just be a minor blimp on the screen.
You Can Still Make Money Selling Your Music
Now, here's a controversial one. There is a big debate going on in the music industry about free music, and some people believe that all music must be free and that the only way to make money is live shows. That's a little extreme. Yes, music sales are decreasing. Yes, free music is available. The fact remains that your fans want you to keep making music and they are willing to pay you for your services so you can keep it up. The trick is striking the right balance between enticing your fans with free goodies and offering them the chance to buy quality music at a fair price in the format that they want.
There's no blanket answer here for what will work for you. Trends in terms of releases and release formats are different in different genres of music. If your fans want vinyl, save up your pennies and give it to them. If they're all digital, all the time, then give it to them. If they want CDs, give them to them. (And yes, people still buy CDs. Really.) You have to know your fan base. It might take some trial and error to find out what works. The one thing you can do, however, is dismiss the idea that your music is nothing but a promotional item created to sell t-shirts, coffee mugs and concert tickets.
You Can't Repeat The Past
You can probably think up a long list of musicians and labels who have pulled off stunts you think are great, from getting discovered on a social networking site to a kitchy marketing campaign that went like gangbusters. These sorts of things are great for inspiration. They're not so great for copying. Just because you can list 25 bands that were discovered on MySpace does not mean you should expect it to happen to you, and just because band Y ended up being profiled on TV for their marketing idea doesn't mean you can repeat their plan with the same result. There just isn't any rule book about how to be successful with your music, and past success is no indication of what will work in the future. You're best off learning from what others have done but coming up with your own road to your music goals. Don't let anyone sell you the idea that they know how to repeat these kinds of past successes either - beware PR people and others who want you to pay them to show you how to do what (insert favourite band) did.
A Record Label May Be Able to Help You
Since the music industry is in flux, there are a lot of people out there promoting the extremes, like the idea that record labels have nothing to offer musicians, period. Although there are more tools and avenues than ever for a musician to release their own music and manage their own career, that doesn't mean it is the right choice across the board. Not every record label is run by frothing morons who want to steal your money. The vast majority of labels are run by music lovers who want to make sure people hear your songs and who handle some of the business side of things that may be tough for you to do yourself.
Some musicians really like taking care of the business side of their careers, and they really have a knack for it. Others simply want to be able to focus on the creative part. That's where a record label can help. Labels also bring a wealth of knowledge of the business, contacts it takes years to build up and a budget you may not be able to swing by yourself. The DIY route is perfect for some musicians. The idea that it is for everyone is ludicrous. You need to filter out the background noise and decide which route is the one for you.
The Basics Still Matter
These days, there is so much attention placed on this app and that app or this social networking tool or the other for musicians. These things may have a place, but they are secondary to the basics. Writing good songs and playing shows still form the foundation of any good music career. You can make it in music without the special software or this, that and the other, but you can't make it without the music and the shows. At least not for long.
Further, no one has ever said, "I'm not that into the music, but wow, I really love this group's thoughts on social networking and music promo. When are they playing?" Now, that is not to say that you shouldn't educate yourself about the issues facing the industry or that you shouldn't actively be involved in shaping the direction your chosen industry should take. It IS to say, however, that a good song is more powerful that a blog, a blog comment, a headline, a new software program or new social networking website. If you're a musician, your priority should be your music, every time.
Social Networking is Not Going to Save Your Musical Life
Social networking CAN be handy tool in connecting with your fans and keeping them on board and interested. It can also be a huge distraction if you don't give it the right place on your list of priorities. Now, I know you can think of a lot of musicians who have gotten something going on a social networking site. Go ahead, see how many you can list....ok, now what percentage of the total number of musicians who are on the net does your list represents? Exactly.
Don't neglect the other parts of your music career in favour of being active on social networking sites. Ever. Learn how to use social networking sites effectively, but know it is not all that counts. There is no magic formula. None. The best way to be successful on these sites is to be yourself and figure out what feels right to you. It's not rocket science. Just jump in. You'll get it. If you need some advice about what works and what doesn't, there are resources dedicated to offering advice on this kind of stuff than you could hope to read in a lifetime. We have lots of them on this blog.
Making a Living in Music is Possible
Let's finish off on a positive note. Not everyone working in music will be looking at a life of swimming pools and movie stars, but making a living in music isn't as crazy as your mom might tell you it is. From labels to distribution to promotion to booking to manufacturing and more - there are lots of music related jobs that allow you to pay the bills. Patience and hard work are a must, but you can get there.
Some info about making money in the music industry follows. Watch out!
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Creative Ways to Make Money as a Musician
By Motiv8
If you're going to go full time as a musician, you're clearly going to need to make some cash. How can you make money as a musician without resorting to heading back to look for a day job? It can take a little creativity as your getting your music career off the ground. These ideas will get you started.
Here's How:
1. Play Live:
Playing live is an obvious choice when it comes to making money as a musician. You can make money through show guarantees from show organizers. All you need to do is find and connect with show organizers, promoters, DJs, etc. Even artiste managers, radio personalities, MCs and comedians can give you access to shows. Of course, if you don't have much a proven track record when it comes to pulling in an audience, or you don’t have a known song, you're not in a great position to demand performance fees. Building up to this will take time. Every little bit helps, though, and even if you go home with no money, take the long term view and treat each non-paying and low paying gig as a step towards increasing your earning potential.
2. Sell Your Music:
Well, duh, you think. Of course you should sell your music, but the trick here is to make sure your fans don't have to look far to find it. Digital distribution is a must, whether you go through a PR that places your music all over the net for you or if you approach services on your own, one by one. Selling your music at shows is also a point to consider. You can sell CD at shows, as long as you price them accordingly.
3. Sell Branded Merchandise:
Diversifying what you have to sell will boost your earning potential. Make your own t-shirts, buttons/badges, stickers and so on and sell them to friends, fans, at your shows and on your blog. Merchandise does especially well at shows, after your fans have just seen you play and are all caught up in the spirit, and as long as you keep your overhead down, merchandise can give your income a nice little boost. Give it a shot!
4. Provide Back-Up For People's Music:
The talents that you hope will allow you to make a career out of playing music can help you make ends meet until the day you get to play your songs exclusively. Back-up musician work for other musicians can help you bridge the financial gap and make some extra money. As a bonus, you'll be honing your own skills and meeting people who can create opportunities for you. Works just fine.
5. Musical Odd Jobs:
OK, so the point here is to move away from a day job, but if you need to make some extra money, doing something music related - even if it doesn't specifically involve YOUR music - is a good choice. Much like working as a back-up singer, the idea here is to use your knowledge and talents to help other musicians (and get paid for it). Are you a great producer? Get some studio work done for others. Are you a pro at booking shows? Do it for other musicians. Got design skills? Do cover art or blogs for musicians or music related businesses. Tap into your music skills to put some extra money in your pocket.
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DJ TROUBLES: Why You’re Not Getting Booked For Shows (And What To Do About It)
By Motiv8
It’s an all-too-familiar story: a DJ of any experience level with plenty of mixing skills, fancy DJ gear, and the latest killer tracks, but no gigs in sight. As DJing continues to grow in popularity around the world, gigs can be difficult to pick up. Today, we will examine some of the most important pitfalls to avoid when trying to get booked for shows, plus concrete advice on how to make sure you’re doing your best to get into DJ booths on a regular basis.
GIG-LESS FRUSTRATION
Every once in awhile I see frustrated DJs who have tried it all: they bought equipment, spent thousands of naira on music, practiced for countless hours, and want to play out – but they’re just not getting gigs. I know exactly how this feels. I wish I could say getting booked is easy, but the harsh reality is that it simply isn’t. The market is flooded with DJs, all of who are as driven and dedicated to establishing themselves as you are.
It’s no secret we’re witnessing tectonic shifts both in dance music, as well the role of the DJ, in 2013. Before the Internet, DJs were coveted because they were the “gatekeeper” of the music. It was much more difficult and expensive to build a decent library in the 1980s and 90s. Their importance even became grossly overestimated by the rise of the “superstar DJ” persona at the turn of the century. The playing field has since been leveled, with fewer barriers to entry or “gatekeepers”. Everyone can become an “expert” on dance music nowadays…and as the famous saying goes:
When everyone is an expert, nobody is.
Similar to most other endeavours, who you know will get you much further than what you know. This was true 25 years ago, and its true today. I’m sure you’ve heard this a million times already, but the nightlife industry is all about connections. Skills get you nowhere if you don’t know people. Period.
This is not the type of article where I’m going to spew a bullshit 10-step list you can follow to put you on the road to fame, five-figure paydays, and the red carpet treatment. The fact still remains that DJing is an activity that calls many, and chooses few. Fewer than 5% of DJs who start out will be able to make a living just from playing music that isn’t Top-40. Yet I’m willing to bet ALL of those “chosen few” aren’t making the mistakes I discuss below, especially during their formative years.
Think carefully to yourself if you are getting caught up in any of these traps as well; they could be the difference between routine bookings and complete obscurity. You’re not getting booked because:
1. YOU HAVEN’T DEFINED YOURSELF AS A DJ
Ask yourself one question: Who are you as a DJ? This can be answered by identifying yourself through your music selection. There is software out there that can mix and key match for you, but no machine will be able to SELECT your music the way you can. It’s still the one way you can separate yourself from the rest of the pack. You aren’t giving promoters any reason to book you if all you do is rally behind the anthems everyone else hammers. There are countless other DJs who can do the exact same thing. Do you want to be a clone or do you want to stand out? Define yourself.
2. YOU’RE NOT PRACTICING ON A REGULAR BASIS
“If you don’t practice, you don’t want it.”
Practicing means a number of things. It means taking the time, every day, to search for unique music, and building an encyclopedia-like knowledge of it. It means organizing your digital collection by key & tagging, adding cue points & metadata, and more. It means knowing every song in your library inside and out. Figuring out which tracks go best together, where the build-ups and break-downs are, when to mix in and out, and on which occasions it is most appropriate to play each one. What good are 25,000 tracks on a hard drive if you only know a couple dozen?
DJs who don’t practice struggle to build a cohesive set that organically evolves in response to what the dancefloor is doing. There are thousands of DJs who haphazardly chuck songs on that don’t fit together, or even worse, pre-plan entire sets without taking any cues from the crowd.
More importantly, practicing is the only way you will truly define yourself. It’s quite uncommon to become successful just from DJing, but the ones who do have generally added a different or unusual twist to the craft. And just because you are really good at mixing doesn’t mean you are going to be the next Jimmy Jatt, either. Think of how you can approach the craft of mixing songs in new and different ways, and this will surely help you take more creative ownership in what you are trying to do. This vision only becomes a reality after years of practice.
3. NOT SUPPORTING EVENTS YOU SOMEDAY HOPE TO PLAY AT
This one should be obvious: if you’re not already well known as a DJ locally, don’t even consider asking a promoter to play at their event unless you’ve checked it out a couple times. Successful local events target specific music styles. They attract people who know exactly what to expect when they stop by after a long stressful day at the office. You really won’t know whether the genre you currently play will fit the theme of the night until you check it out a few times.
Remember, DJ gigs are about who you know, not what you know.
4. YOU’RE AFRAID OF THE WORD “NO”
If you’ve not already made a name for yourself, get ready to hear the word “NO”. A LOT. You may think you can rock a party, but most promoters, club owners & event organizers have a very long list of well-qualified DJs, many of whom have spent years building working relationships with them, to tap into for playing their events.
Similar to searching for a job, opportunities aren’t just going to find you. You’ve got to go out there and pay your dues first. Talk with show promoters, friends & potential clients on Facebook who throw events that are based around the kind of music you play. Let them know you exist, what you play, comment on some of the events they’ve thrown, and describe to them why you think you are a good fit to play their show. Think of what YOU can do for THEM. Essentially this is a cover letter. Copy-paste generalized messages aren’t going to cut it. Limit your introduction to a single paragraph (promoters are busy, remember) and close with a link to your website or blog and maybe your Soundcloud account. You have both of those, right?
Following this, consider every response you get a pleasant surprise, because they’ll be few and far between. You have to be persistent, which means you have to be persistent in handling rejection. If you aren’t playing out frequently, you are going to be more of a liability than an asset as you haven’t proven yourself. There is no way in hell they’re going to let you go behind the decks to command a packed dancefloor with their reputation on the line unless they’re convinced you know what you’re doing. Plain and simple.
You need to make yourself visible. And if you’re afraid to sell yourself, I’m willing to bet you lack the confidence in your ability as a DJ to justify the self-promotion you need to be doing. Back to the studio to keep practising until you’re 100% confident you’re ready for the prime time.
5. YOU’RE NOT SEEKING FEEDBACK FROM STRANGERS
You need to be soliciting feedback on your mixes from people you don’t already know. Sorry, but your friends and family are biased. Anything you do is going to be “amazing” to them. Spread your mixes beyond your inner circle. Start by posting links to them (with a track list) on communities frequented by ruthless seasoned listeners who have no clue who you are. Send them to veteran DJs in your town who have been spinning for longer than you’ve been alive, and see if they can give you some constructive feedback. I know that music is subjective and you’ll occasionally have to deal with harsh comments and trolls, but spreading your mixes outside your comfort zone is the best way to get honest feedback.
A lot of artists fail because they allow the positive feedback from their friends and family to go straight to their head, causing them to become arrogant, or even worse, complacent. There’s not a single DJ under the sun who hasn’t had friends tell them how amazing they are behind the decks.
Another mixtape tip: the only thing “studio” mixes prove nowadays is what your current taste in music is. They do not show how well you can read the crowd, mix without the luxury of being able to edit afterwards, and deal with technical difficulties at events (which happen FAR more often than you think). Mixes still help get your name out there, but don’t think that a promoter will be convinced in your ability to DJ just because they’re good. Showing them you can play a great set live carries far more value.
6. YOU’RE TRYING TO GET FOLLOWERS INSTEAD OF FANS
Social media is the biggest change in dynamics to take place on the Internet since the birth of the World Wide Web itself. What’s awesome about places like Facebook, Twitter, Tumblr, and Soundcloud is they have enabled major artists to engage more closely with fans. They’re no longer high up in an ivory tower. Fans are curious and want to know what sort of debauchery their favorite producers and DJs are up to.
People aren’t going to flock right over to your Instagram feed or Facebook wall to read every mundane detail of your life. A drawback to social media is we’ve all become narcissists to a degree, myself no exception. We’re obsessed with trivial things like how many followers we have and how many people “like” our status updates. Everyone wants to build a following. But doing such can take years, and you need to be adding value in a way that justifies your audience having your content in their daily Internet lives.
Want to know a surefire way to NOT get followers? Treat them as followers, instead of fans. Posting only generalized information about your DJing, the events you’re involved with, and the obligatory what-I’m-eating-for-lunch status, are surefire ways to get ignored. You look like an advertisement. Add to the signal instead of the noise. Post other artists’ work you admire, post open-ended statuses that spark conversations with other like-minded people, thank the people who came out to your last gig, and carve out a unique persona for yourself. It’s okay to use Facebook and Twitter to let people know about your shows and mixes, but don’t be that guy who has nothing else to add to the conversation. Stop worrying about the “likes” and the follow count. What’s the point of having 10,000 followers if only a few are engaging with you? Worry about the 500 fans you have right now, not the 10,000 followers you wish you had.
Oh yeah, DEFINITELY don’t be “that guy” who stops at nothing to post your mixes everywhere: on the Facebook walls of people you don’t know, on Facebook event pages you’re not involved with in any way, as a status update several times a day, and on other people’s tracks on Soundcloud. Ever notice how these are the people who NEVER get booked to play anywhere, ever?
Remember that everyone sucked not only as a DJ, but also at building a following, when they started out. There’s nothing to be ashamed of by not having a large fan base during your formative years. Find your rhythm when it comes to promoting yourself online without being invasive or desperate. At the end of the day, the mixes and the music do the talking, followed by your fans if you’re a class act about it.
7. YOU AREN’T THROWING PARTIES OR PRODUCING MUSIC
Ever noticed how the non-headlining lineups of most parties are comprised of DJs who are also promoters? This is no coincidence. Whether or not promoters will admit it to you, booking swaps are the norm. In case you’re new to the scene, a swap is when a promoter (who also happens to be a DJ) invites a DJ (who also happens to be a promoter) to play his/her event. The first promoter/DJ hopes the second one will return the favor. Generally, they will.
Starting a night of your own doesn’t have to be a major commitment, however. The thing I recommend doing is to approach a bar or smaller venue that is struggling. Let them know who you are, the kind of event you wish to create, what your goals are, who the target market is, and how you will help get those heads through the door. You may consider starting it up as a monthly first, and joining forces with one or two other like-minded people to make it happen. Don’t bother with headliners early on, just focus on spreading the word of the night around town and figuring out how to make the experience unique. DON’T book promoters in the hopes of them returning the favor. Instead, book yourselves and the people you believe in.
8. You think of DJing as a hobby
Nowadays, judging a DJs mixing skills is like judging a hockey player’s ability to ice skate. Everyone who plays hockey can ice skate, much like everyone who DJs can mix. But if you can’t play the game you will end up on the bench, regardless of how well you can skate. That would make you an enthusiast, not a player.
How does a hockey player avoid being an enthusiast? Focus. Determination. The will to give up most of your free time for it. The players at the top of the totem pole don’t view hockey as a hobby, to them it’s a lifestyle. It’s ALL they know. It’s what they hope to make a career out of (well at least until they get injured). They’re in it to win. You need that level of drive in order to be a “player” in DJing, too. Enthusiasts play in their bedroom. Players play in clubs. Other DJs should have to run to keep up with you. DJing needs to be part of your DNA if you hope to get paid money doing it.
DJing may be expensive and time-consuming, but as with most hobbies, is an awesome way to enhance your life and meet people from it. If those simple pleasures are in line with the goals you hope to achieve with it, more power to you!
A FEW ADDITIONAL TIPS FOR SUCCESS
· If you don’t already have them, you need to sign up for Soundcloud and Mixcloud accounts. Today. These are amongst the best resources at your disposal for getting your mixes out there. But remember: don’t just worry about the followers. Build a FAN BASE.
· Gear is irrelevant. Your skills as a DJ come down to your ability to work with what you have, which songs you play, and how to read a crowd. Not whether or not you are using CDs, vinyl, Ableton, Traktor, MIDI controllers, ZIP disks, or whatever. New gear is being released these days at mind-numbing speeds, and it’s easy to fall into the marketing trap of absolutely “having to have” that new controller or software update. Just stick to what you’re most comfortable with. If you have to purchase something, have a clearly justified reason for doing so. You’re probably spending enough money on music as it is.
· Support others even if they couldn’t give two shits about you. If you think people are preventing you from succeeding, kill them with kindness.
· Don’t forget to support the talent of other like-minded producers who live in your backyard. As long as their music fits your style, you should be including their tracks in your sets. This is another great way to get support from some of the key influencers in your local scene.
· Share your mixing with the world by playing online & radio shows. While they won’t prove your skill set radio shows are great ways to practice while other people are listening.
· Be patient. VERY patient. Overnight success as a DJ is almost unheard of these days.
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