DO I NEED A RECORD DEAL ?

Question: Do I Need a Record Deal?

Answer: Do you need a record deal? With everyone talking about how much the music industry is “changing” these days, many musicians wonder if they really need to worry about demos and labels any more, or if all of that traditional music business stuff is just so passe. In fact, you’ve probably heard a lot of people tell you that you definitely DON’T need a label – that labels are only taking a cut of your earnings for something that you could be doing by yourself anyway. The truth really isn’t quite that easy.

First – yes, you CAN release your record yourself. There are more avenues than ever before for indie music in general, and that means musicians have a better shot at success with a self release now. But make no mistake about it – there’s nothing especially revolutionary in the model of self releasing your record. You’re not “skipping” the record label – you’re really starting a record label. If you’re serious about selling your music and trying to make a living, then you are going to have to do everything a record label would do – both in terms of work and finances. The better question isn’t whether you NEED a label – really, you don’t – but whether or not you are ready, willing and able to do everything involved in running your own label. Not sure what that even means? These articles will help:

• Should I Self Release My Album
• Self Promote Your Music
• Digital Distribution
• Distribution
• Before You Start a Record Label

Of course, there are some benefits in going for a record label. Even a small indie label will know the ropes more than you if this is your first release, and they will have contacts in the press, with distributors, manufacturers, and so on that will help make the process go a little smoother. They may be able to arrange for some expenses – like manufacturing – to be covered on credit, whereas you, without a history with the company, will likely have to pay up front. It can be notoriously difficult to get distribution if your label consists only of your own releases, and getting press for your own music can be a challenge as well (imagine calling up journalists all day long asking them if they like your songs).

A major record label can offer you all of these things on a larger scale, and there are a few areas which are reserved almost exclusively for major label artists, like many mainstream commercial radio stations and MTV. Of course, nothing is impossible, and you may be able to be successful in these major label domains on your own – but frankly, it would take a great deal of luck. Realistically, you shouldn’t expect to achieve major label sales and exposure self releasing your record.

The bottom line? Provided you are up to the task of running your own label, it is a matter of weighing up the pros and cons for you personally. Think about how much time you have to devote to your release, what your goals are, and your finances (sharing the load with a label can help). Musicians have found success going down both roads, so the decision can only ultimately be made by you.

DO I NEED A RECORD DEAL ?

BY HEATER MCDONALD

 

Question: Do I Need a Record Deal?

Answer:

Do you need a record deal? With everyone talking about how much the music industry is “changing” these days, many musicians wonder if they really need to worry about demos and labels any more, or if all of that traditional music business stuff is just so passe. In fact, you’ve probably heard a lot of people tell you that you definitely DON’T need a label – that labels are only taking a cut of your earnings for something that you could be doing by yourself anyway. The truth really isn’t quite that easy.

First – yes, you CAN release your record yourself. There are more avenues than ever before for indie music in general, and that means musicians have a better shot at success with a self release now. But make no mistake about it – there’s nothing especially revolutionary in the model of self releasing your record. You’re not “skipping” the record label – you’re really starting a record label. If you’re serious about selling your music and trying to make a living, then you are going to have to do everything a record label would do – both in terms of work and finances. The better question isn’t whether you NEED a label – really, you don’t – but whether or not you are ready, willing and able to do everything involved in running your own label. Not sure what that even means? These articles will help:

• Should I Self Release My Album

• Self Promote Your Music

• Digital Distribution

• Distribution

• Before You Start a Record Label

Of course, there are some benefits in going for a record label. Even a small indie label will know the ropes more than you if this is your first release, and they will have contacts in the press, with distributors, manufacturers, and so on that will help make the process go a little smoother. They may be able to arrange for some expenses – like manufacturing – to be covered on credit, whereas you, without a history with the company, will likely have to pay up front. It can be notoriously difficult to get distribution if your label consists only of your own releases, and getting press for your own music can be a challenge as well (imagine calling up journalists all day long asking them if they like your songs).

A major record label can offer you all of these things on a larger scale, and there are a few areas which are reserved almost exclusively for major label artists, like many mainstream commercial radio stations and MTV. Of course, nothing is impossible, and you may be able to be successful in these major label domains on your own – but frankly, it would take a great deal of luck. Realistically, you shouldn’t expect to achieve major label sales and exposure self releasing your record.

The bottom line? Provided you are up to the task of running your own label, it is a matter of weighing up the pros and cons for you personally. Think about how much time you have to devote to your release, what your goals are, and your finances (sharing the load with a label can help). Musicians have found success going down both roads, so the decision can only ultimately be made by you.

INTERVIEW WITH JON MYER

Q&A with Jon Myer of BBC 6 Music

By Ed Pybus
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If you’re a music fan, then one of your dreams jobs must be working in music radio – playing music you like to people all day long…and getting paid for it. And if you’re an inspiring musician getting your first radio play is a career milestone. To find out about music radio in the UK I had a chat with the men behind the UK’s two premier new music radio stations, Mike Walsh, Head of Music at XFM and Jon Myer, music manager at BBC 6 Music the BBC’s new music station. Here, find out what Myer has to say about his job and check back soon for Walsh’s answers.

Question: How did you get started working in radio – was it something you always wanted to do?

It was something I wanted to do from a very early age. I did some volunteer work on a local BBC station while I was at university and was very lucky to be taken on by Capital Radio as a trainee studio technical operator when I graduated. I stayed with Capital for 14 years, gradually moving up “through the ranks” – technical operator – producer – executive producer, etc. I have been with the BBC since 1990.

You’re now music manager at BBC 6 Music, what does that job entail?

The station’s music policy is determined by Jeff Smith (Head of Music for Radio 2 and 6 Music) but the day-to-day implementation is my responsibility so than means administering the playlist, scheduling the music (with the help of a colleague), dealing with the record companies, keeping across release dates, etc..

What would be a good way for someone starting out to get a job in music radio?

So many people apply for every vacancy that, to stand out from the crowd, it really helps if you have done something in the media, however minor, already – maybe some work experience on a radio station or in a studio, that sort of thing. College radio or community stations are a good start. BBC 6 Music offers one month internships, giving people the chance to work on the Breakfast or Morning shows (click here for details) and a number of people have got their first breaks here.

You must receive a ton of music, how do you pick out the good tracks?

We hold a playlist meeting every week, chaired by Jeff Smith. I attend, along with the station music scheduler, the Programme Editor and the daytime producers. We look at the releases for a particular date (four weeks ahead of the playlist implementation date) and everyone brings along the tracks they feel strongly about that are due on that date. Then it is just a matter or debate and discussion. We usually end up with consensus on what should go on but there are sometimes more good tracks than there is space so they may be taken back the following week for a second attempt.

As well as the playlist, which governs those new releases which are played on rotation across the day, all the shows on 6 Music have a degree of free choice to allow the DJs to champion music. So, even if a track isn’t playlisted, it can still pick up plays on the station.

Any advice to bands sending music into radio stations – anything they should do? And anything they shouldn’t?

People are increasingly sending tracks electronically but, personally, I still prefer to receive tracks on CD. Having everything in the same format makes it much easier to keep track of what I have listened to and what is still waiting to be heard. It is depressing how many CDs I receive which don’t have basic information with them – obvious things like contact details, date of release, etc.

6 Music plays a very broad range, but there are some styles of music that don’t fit and it surprises me when I get phone calls or emails from people who are plugging tracks that are totally unsuitable. They obviously have never heard the station. I would advise anyone releasing a track to listen to the station they are contacting, just to make sure you aren’t wasting yours and the recipient’s time.

Should bands follow up sending in a CD with a phone call/email, or will you call them if you like what you hear?

I listen to absolutely everything I get sent so, if it doesn’t get playlisted, it is safe to assume that it isn’t suitable. I am afraid I can’t write back with a detailed critique for everything I receive – there just aren’t enough hours in the day.

The station playlist is published on the web site, as are the track-listings for all the individual shows, so people can easily check what is being played without having to listen to the station 24×7.

What’s the best thing about your job? And the worst?

The best thing: I have always loved being involved in live radio. There is something very satisfying about the way a radio programme can grow organically. A throw-away comment from a DJ, or text from a listener, can grow into an unexpected feature. Although I am not in the studio as a hands-on producer any more, I still enjoy being involved. And I still get excited when the post arrives! Every day there is new music to hear.

But that pile of music is also the worst thing about the job. It’s unending. I can never catch up. There is always a pile of CDs sitting there, waiting to be heard.

Q&A with Jon Myer of BBC 6 Music

By Ed Pybus

If you’re a music fan, then one of your dreams jobs must be working in music radio – playing music you like to people all day long…and getting paid for it. And if you’re an inspiring musician getting your first radio play is a career milestone. To find out about music radio in the UK I had a chat with the men behind the UK’s two premier new music radio stations, Mike Walsh, Head of Music at XFM and Jon Myer, music manager at BBC 6 Music the BBC’s new music station. Here, find out what Myer has to say about his job and check back soon for Walsh’s answers.

 

Question: How did you get started working in radio – was it something you always wanted to do?

 

It was something I wanted to do from a very early age. I did some volunteer work on a local BBC station while I was at university and was very lucky to be taken on by Capital Radio as a trainee studio technical operator when I graduated. I stayed with Capital for 14 years, gradually moving up “through the ranks” – technical operator – producer – executive producer, etc. I have been with the BBC since 1990.

 

You’re now music manager at BBC 6 Music, what does that job entail?

 

The station’s music policy is determined by Jeff Smith (Head of Music for Radio 2 and 6 Music) but the day-to-day implementation is my responsibility so than means administering the playlist, scheduling the music (with the help of a colleague), dealing with the record companies, keeping across release dates, etc..

 

What would be a good way for someone starting out to get a job in music radio?

 

So many people apply for every vacancy that, to stand out from the crowd, it really helps if you have done something in the media, however minor, already – maybe some work experience on a radio station or in a studio, that sort of thing. College radio or community stations are a good start. BBC 6 Music offers one month internships, giving people the chance to work on the Breakfast or Morning shows (click here for details) and a number of people have got their first breaks here.

 

You must receive a ton of music, how do you pick out the good tracks?

 

We hold a playlist meeting every week, chaired by Jeff Smith. I attend, along with the station music scheduler, the Programme Editor and the daytime producers. We look at the releases for a particular date (four weeks ahead of the playlist implementation date) and everyone brings along the tracks they feel strongly about that are due on that date. Then it is just a matter or debate and discussion. We usually end up with consensus on what should go on but there are sometimes more good tracks than there is space so they may be taken back the following week for a second attempt.

 

As well as the playlist, which governs those new releases which are played on rotation across the day, all the shows on 6 Music have a degree of free choice to allow the DJs to champion music. So, even if a track isn’t playlisted, it can still pick up plays on the station.

 

Any advice to bands sending music into radio stations – anything they should do? And anything they shouldn’t?

 

People are increasingly sending tracks electronically but, personally, I still prefer to receive tracks on CD. Having everything in the same format makes it much easier to keep track of what I have listened to and what is still waiting to be heard. It is depressing how many CDs I receive which don’t have basic information with them – obvious things like contact details, date of release, etc.

 

6 Music plays a very broad range, but there are some styles of music that don’t fit and it surprises me when I get phone calls or emails from people who are plugging tracks that are totally unsuitable. They obviously have never heard the station. I would advise anyone releasing a track to listen to the station they are contacting, just to make sure you aren’t wasting yours and the recipient’s time.

 

Should bands follow up sending in a CD with a phone call/email, or will you call them if you like what you hear?

 

I listen to absolutely everything I get sent so, if it doesn’t get playlisted, it is safe to assume that it isn’t suitable. I am afraid I can’t write back with a detailed critique for everything I receive – there just aren’t enough hours in the day.

 

The station playlist is published on the web site, as are the track-listings for all the individual shows, so people can easily check what is being played without having to listen to the station 24×7.

 

What’s the best thing about your job? And the worst?

 

The best thing: I have always loved being involved in live radio. There is something very satisfying about the way a radio programme can grow organically. A throw-away comment from a DJ, or text from a listener, can grow into an unexpected feature. Although I am not in the studio as a hands-on producer any more, I still enjoy being involved. And I still get excited when the post arrives! Every day there is new music to hear.

But that pile of music is also the worst thing about the job. It’s unending. I can never catch up. There is always a pile of CDs sitting there, waiting to be heard.

YOUR FIRST ALBUM

A lot of questions pass through the old About.com Music Careers inbox, and while these questions have been about everything from from how to write an album review to how to date a musician (yes, really, and answer: don’t. Ha! I kid, I kid), most questions come from musicians who have recorded an album and are wondering what in the world to do now. These are the five questions that come up most often – and yes, the five answers as well. Read on…
1. When Should I Release My Album?

Well, now, that all depends. If you have a major label, or at least a major budget, behind you, then you can kind of pick a date at will and go for it. But, let’s assume that you’re an indie label or an indie musician putting out the album yourself. The trick is to make a run at things when the competition isn’t very stiff. For get the holidays. The majors are throwing out all of their big guns then and spending like crazy to try to convince people to buy music as a gift. You’ll get lost in the shuffle. It’s better to go in January – late Feb, or summer – September/October. Stay out of that March rush, and November is getting too close to the holiday scene.

YOUR FIRST ALBUM

 

BY HEATER MCDONALD

 

A lot of questions pass through the old About.com Music Careers inbox, and while these questions have been about everything from from how to write an album review to how to date a musician (yes, really, and answer: don’t. Ha! I kid, I kid), most questions come from musicians who have recorded an album and are wondering what in the world to do now. These are the five questions that come up most often – and yes, the five answers as well. Read on…

1. When Should I Release My Album?

Well, now, that all depends. If you have a major label, or at least a major budget, behind you, then you can kind of pick a date at will and go for it. But, let’s assume that you’re an indie label or an indie musician putting out the album yourself. The trick is to make a run at things when the competition isn’t very stiff. For get the holidays. The majors are throwing out all of their big guns then and spending like crazy to try to convince people to buy music as a gift. You’ll get lost in the shuffle. It’s better to go in January – late Feb, or summer – September/Octoberish. Stay out of that March SXSW rush, and November is getting too close to the holiday scene.

A QUICK UNDERSTANDING OF WHAT I DO AS A MUSIC MANAGER

To all of you who needed to know, understand my role as a music manager

I seem to be among the rare managers in Johannesburg South Africa who advertise themselves on social media. And there will be a time when I’ll be sleeping in the silence.

Today’s music business has became more than mathematics and very complicated that why it’s not simply easier to become a musician. “Seule les plus forts gagnent” French saying

There is no way out in music business without strong connection of collaboration. My role as a manager is to help you as artist to improve, to boost, and to further your career from level zero or one to level X. we managers are different and deliver differently. When you come to me for the first time what I do is to submit to you my consulting file.

What is a consulting file?

 Written form to be completed by you as artist. Only this form will help me understand your music mind and the music business language. From that point I know where to start and where to go and know what to achieve with you. As said, that is my personal way of doing. And I hope and I am confident that I my works are from higher quality because no one of my artists has never came to me and cry for the waste and loose. Some of my artists who are reading this can reply publicly if I am talking lies.

Do not confuse consulting file with contractual agreement which will be explained next in another separate post. Regarding payment as asked in e-mail by a friend. All payment and repartition or percentage between the two parties the manager and the artist/band will have to be arranged on a writing contract. That says the consulting file does nothing to do with the contract and yes, I ask fee for the form to be completed by the artist/band. Why? Just because the fee will cover the printing costs.

That what I do and that my explanation to your question regarding money and consultation and contract.

Click on the about bottom to find more about John Milton Kalambay (BIO)

THIS POST WAS WRITTEN DIRECTLY BY JOHN MILTON KALAMBAY, managermusic1@gmail.com

 

Community Pool

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The Daily Post

The Community Pool is for those of you looking for input, whether on post ideas, writing, blog design and layout, or anything else. If you have a post, page, or idea you want to bounce off someone, leave a comment. Your fellow bloggers can then click through and offer input either on your site, or in the comments here (feel free to indicate which you’d prefer).

Read on for the ground rules and to leave a comment . .

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oh yeah

Why It’s No Longer Possible To Simply Be A Musician

Make a demo; send it to record labels; if you’re talented enough– get signed. Do you think this sounds like a good music business plan?

To younger folks just entering the music industry, that may seem like the biggest load of rubbish you’ve ever heard. Previously, however, this was the only business plan most musicians had.

Before the whole peer-to-peer sharing thing, musicians didn’t have to worry much about the business side of things. They only had one job: to be the best musician they could possibly be. They would spend all their time creating tunes, writing lyrics, and practicing live performances. They would record demos and send them to multiple record labels hoping they would get signed and be the next big thing. In terms of promoting themselves, that’s as far as it would go.

As I’m sure you’re aware, these days are long gone!

Being More Than A Musician

It’s no longer possible to simply be a musician. You now have to be a proven artist before a record label will even consider signing your act.

So what is the solution for the modern day musician? Simple: learn how to handle the music business yourself. Did I say simple? Please, ignore that part…

While it may not be ideal for everyone, if you want to get your music career moving as fast as possible, you will need to do more than just make music. Among other things, you will need to learn how to create products that people want to buy, how to promote your music to the right audience, how to get your own live gigs, how to make money from these gigs, how to get radio play, and how to collect royalties from any gigs and radio plays. This may sound like a lot of work to you, but it doesn’t have to be a chore. Learning all these things will mean you don’t have to rely on other people as much to get your music career moving.

Getting Help With The Business Side Of The Music Industry

Although record labels are unlikely to help you during the early stages of your career, that doesn’t mean that you can’t enlist the help of others. If you want some extra input or assistance, there are two paths you can take:
Seek out a manager, or
Take a music business course (or hire a consultant).

If you’ve got your act together creatively and professionally, I’d recommend getting a manager on board. The exact role of the manager will depend on your agreement with them and how much you want them to get involved in your music career. You may only want them to help get you shows and decide which promotional opportunities you should take part. Or you can have them read over contracts, run errands for you during tour, or anything else that will help your music career.

Whatever role your manager takes on, it’s best to agree to the terms prior to them working for you. Not making things crystal clear can cause a conflicts of interest, bad feelings, and lead to legal problems down the line.

If you’re still finding your feet in terms of you music, it may be better to enroll in a music business course or hire a consultant. These instructional opportunities will teach you the business side of things and allow you to take your career in your own hands while still honing your talents. By the time you’re ready to really push your music, you will have the knowledge to do so.

5 Tips On Finding A Manager

If you decide to go down the manager route, the next step is actually FINDING this person. Don’t just hire the first person who says they’re a manager, though. You need to make sure that person is right for you. Here are some things you need to think about when searching for a manager:

1. Make Sure They Are Enthusiastic About Your Music.

When hiring a manager, you want them to really believe in what you do. There’s nothing worse that having a manager that’s just doing it for the money, it’ll only make you feel like they don’t really want to be there. And what will happen if they start working with another act they DO really like? All their focus and attention will go to them, that’s what. Don’t hire anyone that’s not also a fan of your music, it won’t work out well.

2. You Can Find Managers On Online Forums.

One way you can go about finding a manager is by advertising yourself on music forums or in relevant magazines. Forums are often filled with music fanatics and people who already work within the industry. If you have the talent and can give people a reason to want to work with you, you are sure to get some interest.

3. What About Your Friends?

If you don’t want to work with someone completely new, why not get one of your friends to become your manager? You may have a friend that’s just as excited by your music and the music industry as you, but has no musical talent of their own. This may be how they break into the music industry.

While they may need to learn the business side of things themselves (And maybe even take a few courses on their own to speed up this process), it can work out well in the long run.

4. Make Sure You Keep Things Official.

If you decide to hire a friend as your manager, you need to remember that this is now a business arrangement. There should be no more verbal contracts; you need to get every business-related decision down in writing. Keep paperwork, have deadlines, and set goals. If they aren’t pulling their weight and are taking advantage of your friendship, find a new manager.

5. Measure The Success Of Your Manager.

The role of the manager at this stage should be to help move your music forward faster than you could by yourself. Because of this, it’s a good idea to keep track of how much impact they are making on your career. Are they getting you more shows? Are they helping out with promotion? Are they chipping in?

You really do want a go-getter as a manager. You shouldn’t always have to tell them what you want doing. They should go out there and help push you forward without being told to do so. After all, the more money you make, the more money they make.

If you don’t see any real results or benefits after a few months of hiring them, you may want to consider getting a new manager. Also, set the the terms for a “trial period,” after which either party can back out with no hard feelings.

Conclusion

If it was your plan just to make good music and let the promotion take care of itself, it’s time to rethink things. To make it in the current music industry, you need to be more than a good singer or a pretty face. You need to have business know-how, and you need to take action. Getting a manager or taking a music business course will make things a lot easier for you, but essentially you will still have a lot of work to do. But guess what? That work can be fun! This is the industry you want to be in, so you should be willing to do whatever it takes. If you want to make it as a musician, you’ll need to accept that, at least for now, you have to do more than just perform your music.