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Music News |
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Music News |
Daylle's News & Resources - Issue 35 I'm alive and well but haven't had time to do a new issue. Thanks to all of you who wrote to ask if something happened since they haven't gotten my e-zine for a while. This year I finished up 2 books that will be out in 2010 and am developing my thirteenth book! I still remember the words of artist David M. Bailey who said, "Blessings bring work." I know I am truly blessed! I hope that you are finding your own blessings. They're out there! --------- Feel free to contact me about my fees if you need CONSULTING on how to make progress in your music career or need a shot of motivation by using my CAREER COACHING. I do it in person and by phone. You can email me at consulting@daylle.com for more info. --------- Please forward this newsletter to your mailing list or anyone you'd like. If this was forwarded to you and you'd like to subscribe, send an email that says "subscribe" in the subject header with your name and city/state. If you'd like to post it on your site, please ask for permission and I'll give it. Read past issues at http://www.daylle/monthly.html If you prefer to be taken off my list, please say unsubscribe in the subject header of an email. --------- My other e-zine, Self-Empowerment Tips & Tools, for the body, mind and spirit, is also free. This WON'T come to you automatically. If you'd like to subscribe, send an email to subempowernews@daylle.com with you name, city/state. Read back issues at http://www.daylle.com/daylle/newsletter-growth.html --------- Please visit my website, http://www.idontneedarecorddeal.com/ to take advantage of the many resources for developing a career in music. Also, please come and be my friend at http://www.myspace.com/daylle. : ) --------- If you want a stronger dose of self-empowerment tips, check out my BLOG, Lessons from a Recovering DoorMat <http://www.lessonsfromarecoveringdoormat.com>. I have tips, interviews with successful people and guidance for using the Law of Attraction most effectively. You can subscribe to it and get the posts by email. I only do 2 or 3 a week. --------- This issue has input from British industry professionals about doing business in the UK and an interview with multi-instrumentalist, composer, remixer and producer, Justin Lassen. There's also with tips for improving your music production by Arty Skye, president of the SkyeLab Music Group, with 14 gold/platinum records. The rest is written by me. Please feel free to write with suggestions and questions that I can include in future issues. --------- Revenge Productions ---------- 1. Safe vs. Happy ----------- 1. Safe vs. Happy:
We think of prison as a place to lock up criminals. Keep
bad people away from the rest of us. I personally think it's criminal to make
yourself a prisoner of fear. That doesn't mean you need to risk everything. Or
even a lot. But avoiding that which might bring you pleasure because you're
scared it won't work out really does put you in prison. I hear many excuses from musicians about why they can't
do a tour outside their comfort zone, which means the radius they can easily
get to from home in an hour or two. They have all sorts of reasons for not
getting out on the road. Yet I can smell the fear behind their words. It's
safer to play for the same group of loyal fans a few times a month or keep your
day job so you have an excuse for why you can't make headway with your creative
career. The biggest fear is of the unknown. Not knowing the
consequences of steps you can take keeps those steps from coming, unless you
stop making excuses and start living and stepping toward your dreams. Security
is a good thing when it's not a roadblock. If you want to do your musical
endeavors, whether it's as an artist, manager, publisher, etc. as a hobby, then
stay securely in the place you're in and accept you'll just be peeking at the
possibilities for doing what you say you want. But if you want to be truly
happy, you often have to let go of what you perceive as security and take some
steps that scare you. Sometimes leaving your safety zone gives you FREEDOM! When I finally decided it was time to live instead of just passing time, my freedom of choice was exhilarating. Do you want to free yourself from fear? Are there things you avoid that deep down you wish you had the cojones to do? Think about your own life and ask yourself these questions: *How safe do I
really feel? Determine if you're safe or just avoiding things that might make
you feel unsafe. What scares you about getting out on the road or actively
working at the company you want to start? People who avoid because they're
scared don't really feel safe by avoiding what scares them. * How happy do I feel? I mean really happy! Content with your life, not relieved to pass another day unscathed. I mean happy with who you are and your life. Avoiding risks to stay safe doesn't usually make you feel happy. Often, you'll feel unhappier, wondering what life could
be like if you did what you really want. * Are you living
for YOU or for what others want or expect of you? We can get lost in trying to
please others and lose sight of our own journey. What others want is for them,
not YOU. There is a risk in saying no to requests or putting your own needs
first. But the cost is often alienating someone who's not out for your best
interests anyway. * Am I staying
with my manager or agent or client who does nothing for you because you're
afraid to be on your own until you find someone good? Boy, I relate to that
one! When you think you need someone, you grit your teeth and stay, rather than
risk being on your own. I've stayed with agents who got me NOTHING, literally,
but felt safer having an agent. Looking back I see how ridiculous that was, but
I was convinced I was safer that way. But I really was on my own. You must not
settle for easy representation if it doesn't do you a lot of good career-wise.
Otherwise they're just holding you back. Your career will get nowhere-safely. * Do I have things
I'd love to try but postpone them for when the time is right? There's never a
right time top pick up the phone and call a club you've never played at, or commit
your 2-week vacation to getting on the road. Or to search extensively for
places to submit your music for potential licensing or to give up a weekend,
and then hours each day to get your name out through social networking sites.
You just have to decide to do it, and do it. * Do I feel too
insecure about who I am to take risks or feel deserving of things that would
make me happy? When you don't have confidence, it's hard to trade what you
perceive as safety to do something you'd like. Build your confidence slowly by
taking one step until you have a small success. Then let that inspire you to
continue. Don't let me motivate you to take fast steps that might flip you out after. Work on appreciating your assets more and building your self-confidence. Just take a small step. Do affirmations for confidence
and make one call to ask for something you've been wanting or scared to ask
for. Prepare for the first step as much as you can. Do one overnight gig in a
new region, to get a taste of being on the road. Take on one client when you
still have your day job. As you conquer one small risk, your confidence will
increase and help you go for more. For example, I love hiking but had never done it solo. And I wanted to and began with taking a short hike by myself. I visited a national park in Montana and hiked a bit further. Doing my first solo backcountry hike felt scary. As I began, I reminded myself I could always turn around and go back. I saw no one the first hour. Then I saw a few scattered people who warned about fresh bear poop on the trail. They reminded me to make lots of noise if I saw one. I almost turned around but kept telling myself I could do it. I got tired and worried about running out of water before
I returned. But with each fear, I continued and affirmed over and over, "I can do it!" And I did! Finishing gave me an exhilarating feeling of
confidence. A few days later I climbed my first switchback mountain! I'm
blessed beyond measure because my strong faith keeps me going. I'm truly living
now-trying new things, giving up opportunities that would pay well but don't
stoke my passion, working more hours that most of 2 people put together, and
truly LOVING my life in the process. Yet I do feel safe because I trust myself
to come through it all, and I trust that God will support those thoughts. My
awesome career and life in general makes me feel happy almost all the time. Don't trade happiness for safety. You CAN be happy, AND safe, if you choose to slowly make small attempts to build your career instead of avoiding taking those steps. You can't get the time back that's wasted evading situations that appeal to you but seem scary. Find your own path to happiness and dance down it, even if you do the slow-step! ----------- 2. Doing Music Business in the United Kingdom: * Paul Adams,
Magnus Entertainment, moderator Work Permits: Tanya Goldfarb said if you want to work
(tour in the UK), you need to apply for a Certificate of Sponsorship, which we
know as a work permit. It's needed to tour, record or appear on TV in the UK.
The process is easy if you have a big agency to work with but takes more time
if you're trying to do it yourself. A sponsor has to be a business. It's good
to go for your biometrics, which is bio-digital fingerprints and your eye iris
scanned into your passport, necessary to get a VISA. You'd need a specific work
permit for each country you do work in. More info at < http://www.ukba.homeoffice.gov.uk> Access to Industry People: Nicky Stein said since the UK
is considerably smaller than the US, the gatekeepers are more easily
accessible. I found that when I ran my label and periodically went to London to
promote artists, especially me as the Rappin' Teach! Will Street said most of
their press is national, so it gets you immediately in front of people if you
get in. The main radio stations to covet are BBC Radio 1 and 2. NME is the
publication artists try to get into. Artists like The Killers and Kings of Leon broke there
first because of the accessibility to media. Nicky said, "If you have the
ability, you can rise to the top fast." He added that without BBC radio 1,
it would be very difficult to break into the charts. There are 2 kinds of radio
pluggers in the UK-regional and national. A regional one takes your record to
university stations. Music Week < http://www.musicweek.com>
has a directory of industry people every year. Touring: Becky Westlake said there's nothing easy about
touring. You should have a reason to come to the UK. It's best to have a
sponsor (a record label, agent, etc.) that can say that you're coming over to
do something specific and also vouch that you'll leave when you're supposed to.
She said you can book gigs on your own but if you haven't gotten any media
coverage or have no fans there, who will come to see you? Becky warned, "The British industry is so much
smaller than the US and we will talk. So if you come over to empty shows,
people will know." A lot of set up is involved with getting a tour going.
You'd probably need to come over moths before to organize it all. Some artists
hire people in the UK to help them since they know the market. American indie
labels actually open up an office in the territory they want to market in and
hire local staff who know the market. There are events that you can apply to perform at that
can help you get you in front of people who might become fans or be willing to
work with you. The best one is the Great Escape in Brighton. <http://www.escapegreat.com/> Like
many performance opportunities, this one does require a work permit. There are
some permit free festivals. You can check them out on the immigration website.
This website has lots of good information to make it easier to do business in
the UK. Getting Signed in the UK: Nicky advises you to be wary of
getting signed in the UK if you have nothing going on for your music at home.
But if you can get a deal in the UK, they tend to be more fair and favorable to
the artist than US deals. While UK labels have embraced 360 deals, it's not to
the same extent as US labels. Will said that UK labels are currently pop
driven, but can change quickly. Becky added that a lot of American R & B
music also does well in the UK and Nicky agreed, saying, "UK has always
embraced US urban artists." If you have something going on in the US, you
might be able to bypass some of the steps. Taxes: Becky explained that the FEU is a tax an American
artist pays if they come to the UK and earn over a specific amount from one
source. Currently its 1,000 pounds. 25% of the fee you get is withheld unless
you apply for an FEU exemption. Taxes vary from country to country in Europe.
Promoters usually handle it and it can get complicated. Becky advises speaking
to a UK qualified accountant who is an expert in taxes to help you sort it out. Find more resources at <http://www.visitingarts.org.uk> 3. DAYLLE'S SEMINAR & BOOKS: including: * Balancing
on and offline promotion and marketing The book is $22 + $6 postage & handling. Order by credit card at http://bit.ly/31femy Or send a check or money order for $28 payable to: Daylle Schwartz at: ------ My last book, I Don't Need a Record Deal! Your Survival Guide for the Indie Music Revolution, complements the new one. The focus is on making money from musical talent. It guides you to creating as many income streams as possible and has specifics on how to pursue a variety of opportunities. It's the only book I know of with so many specifics on how to tour and license music in international markets. People are surprised to find chapters on taking care of your physical and mental health too. But part of surviving and thriving includes taking good care of YOU. You can order this book or The Real Deal: How to Get Signed to a Record Label from me by sending $26 ($20 + $6 priority mail return) in check or money order (made out to Daylle Schwartz) with your name, address, and email address. My other books, and Start & Run Your Own Record Label are also available from me at the same price. Please specify if you want it autographed. Send it to: Daylle
Schwartz ---- My book Nice Girls Can Finish First (McGraw-Hill) is also
just out. I'm extremely excited about this book! When I began my record label,
I was one of the only girls with an indie label in a very male dominated
industry and wasn't taken seriously until I figured out ways to earn respect in
soft, friendly yet firm ways. I transferred these techniques to all areas of life-setting
boundaries with parents, getting more in a romantic relationship, turning down
requests you don't want to say yes to, stopping unacceptable behavior and
getting better customer service. While it's written for women, many parts of
the book work for both sexes. I plan to write one specifically for guys. A
sample of the many testimonials I got for the books is: "Nice Girls Can Finish First offers brilliant tools and savvy advice for making 'nice' work for you in business and in life. Nice girls do finish first and this is their 'how-to' manual." ~~Linda Kaplan Thaler, CEO of The Kaplan Thaler Group and bestselling author of The Power of Nice The book is $17 + $5.50 postage & handling. Order by credit card at http://bit.ly/1rP3zp Or send a check /money order for $22.50 payable to: Daylle Schwartz at: ----------- 4 Music Production Tips To Use Now!!! This same reasoning is apparently practiced when I see a "one size fits all" solution for making music. I've produced thousands of
songs through the years, and while I have certain habits and ways of organizing
my work, every single song gives birth to it's own path of evolution. While
technology marches on and the advanced features in music software offer some
great starting points in terms of templates and channel strip settings, they
should rarely be used as is. 4 GUIDELINES TO IMPROVING YOUR MUSIC PRODUCTIONS 1. Listen First! One More Time, LISTEN FIRST! This may sound self evident, but you'd be amazed by how many engineers and musicians don't follow this rule. Don't start adding plug-ins until you know what needs to be done. Putting a compressor on a vocal because you always do it, or it's one of the channel strip plug-ins for "Unbelievable Vocal Sound" is like pulling out a hammer to fix a leaky faucet.
Suppose the vocal was over compressed while it was being recorded? Your
solution is now to compress more? I can give you 20 more examples, but the
point is "LISTEN FIRST!" 2. Busses and Aux Sends Are Your Friend Carried over from the old days of analog recording, we
used Aux sends (often labeled as "busses" now in the music programs)
to add reverb, delay and chorusing to various tracks in the mix. Rarely would
we ever patch a reverb unit across a channel because we wanted a little reverb
on the guitar. And if we operated like that, we'd need about 10 reverb units
just for the drums! So learn to assign a lot of your common effects to Aux
sends. It will save processing power, make it easier to control the mix and
allow the instruments to "live in the same room" (when you want them
to). 3. Copy and Paste Correctly For Pete's Sake! Too common a problem here. If you're cutting and pasting
graphically, set your grid to "Bar" mode so that the material doesn't
get pasted a few ticks off beat. If you're entering the time in bars, beats and
ticks, make sure to stay on point. Do whatever you have to but make sure it's
in time! 4. Don't Rely on Stock Settings I'm sure that a number of you reading this article will rush to your computer and say "wow, I didn't know I had all these stock channel strip settings. Let's start using them!". Sometimes they are wonderful and can give you nice effects, like a ping-pong, phased delay with a distorted telephone voice. But even when that works, always refer back to "Rule#1. Listen First!" Can the high pass filter be adjusted to add more body? Is the feedback on the delay too long? Is the distortion too severe and making the voice un-intelligible? Listen, decide what must be done and then make your moves! These are just some very basic guidelines but I suggest that everyone with a home studio, looking to make a more professional sounding recording go a little deeper than just scratching the surface. As for my mom, I was told that her Java now needs some more Flash and then her Google can start checking for colds and viruses again. Can't wait to see how she does it! --------------------- Arty Skye has been producing and engineering in NYC for 25 years and has earned 14 Gold/Platinum records. He has worked with major stars such as Madonna, Santana, Alicia Keys and more. Skye is the president of the SkyeLab Music Group, which helps independent artists with professional production, promotion and marketing. <http://www.skyelabmusic.com> ----------- 5. INTERVIEW WITH Justin Lassen: He's produced remixes for artists including Madonna, Blue Man Group, Lenny Kravitz, Nine Inch Nails, Linkin Park, Evanescence and many more and worked on high-profile projects for game and technology companies such as Interplay, Cakewalk and Intel. In 2006 he released his successful 'Synaesthesia' series, melding the worlds of music and CG artwork together. When you read this, keep in mind that Justin only just
turned 28. He's accomplished more before reaching 30 than many artists do in a
whole lifetime! How do you see yourself? "From the beginning I have seen myself as a digital symphonist/composer. I work in classical/pop/rock/alt/electronic, though my main forte is groundbreaking material no matter what genre I work in. My goal is not platinum status, charting or sales. My goal is to change music and constantly be on the edge. I have been composing since a very young age. As a composer, singer, remixer, and producer, I've
accomplished many different things, worn many different hats and had the chance
to work with dozens of celebrities, industry people and companies, over and
over." How did you get to do high profile remixing? "By
being in the right place at the right time, and karma. There is no 'right way'
to work in the music industry. If you are meant to work in the business, your
hard work will speak for itself. I did not have an agent, publicist, label or
manager and did every single thing with my own hard work, professionalism and
persistence. I never set out saying, "I want to be a remixer." In
1999, after releasing several independent releases, I got a chance to remix one
of my all-time favorite composers out of the blue. Robert Miles. I had never
done a remix for a major label artist. That got me onto producer lists at
various labels, management firms and rosters. Remix jobs came in faster then I
could accept them. In a short few years I did dozens of remixes for various
independent and major artists around the world. My remixes generally add about
75% original material and create an entirely new composition, retaining the
heart and essence of the original. I sacrificed a lot of time to work on 'my music'
to do this." How has it helped you? "People tend to know the
popular artists and hear my work and the buzz got around that my versions were
more bombastic and the production was at the highest levels, and at times
better than the original artist's version in many forums and communities around
the world. It's nice to get fan mail and support since the remixes have days
and weeks, sometimes months, of work put into them. Compliments and reviews
came from some of the industry's best producers, publications, writers, labels
and artists. It's insane and surreal. I am grateful for all of the
recognition." What qualities besides talent help you succeed? "The
most important thing is to make the client happy. I make sure to turn my work
in on time. If they can depend on you then you can depend on them. Being
reliable goes a very long way in this business of 'talkers'. Give the client
something 1000x better then what they expected to get, and your buzz grows very
quickly. I have done that several times and it has been very kind to me. Always
turn in quality work that 'you' are proud of. Not just generic demos and crappy
catalogues of dozens of tracks." What things have you done that have gotten you the most results for your career? "The best thing I have done to get results is just to work hard. Nothing beats the proof to back up the hype, and that is why I continue to make proof. I work on music for me and me alone. The stuff I do for myself tends to be the most successful stuff. Do what you love, and they will come! When everyone else is out schmoozing and partying, I'm in
the studio, working on scores, remixes, music, and tracks. The biggest thing
I've done is to stay persistent. If I get knocked down by anyone, I just get up
and come back with 10 times more charisma and hard work." How do you stay centered? "I stay away from the industry as much as possible, for clarity and productivity. Sometimes you can get swept away in all of the bells and whistles of the industry and forget what you are doing, or get discouraged. I've been rich and I've been poor. I've been wined and dined, and I've been treated like #!@#, from both the 'big wigs' and 'little wigs'. It is very important to stay un-jaded and positive. Always have hope. I heard in a war movie that "once you lose hope,
you're dead anyway." It is most important to stay inspired and never
relent. Be a good person, and work hard. The industry sorts all the posers
out." How is doing music in Europe different? They tend to like
to try new things before us lazy close-minded Americans who listen to the crap
that is on the radio today. Europe is a COMPLETELY different music industry.
They're open-minded to new music, which is why many top US artists opt to
become successful there first. Labels and companies in Europe have said,
"what the #@!# is wrong with labels in the US? Why aren't you signed
yet?" US companies have only seen me as a producer, not as an artist. My
work in Europe has done a lot for my career even back in the US. I got several
corporate sponsors for my European tour, all of with my own hard work and
nurturing relationships with my sponsors. How did you get sponsorship? Some sponsors are overseas;
some are in America. I find more success with the ones overseas. All of the
sponsors were companies I approached because I was a fan of their products,
mostly musical and gear companies, and some clothing. I made myself known to
them, they liked me and especially my work and the way that I used their
products in cutting edge and 'hip' ways. That is enough to get sponsored by
most companies around the world. Capitalism is common sense. You want to sell
your products, get someone 'hip' to use them. Use a company's products in new
ways that elevate that company to higher levels, and they will love you for it. ----------- Check Justin Lassen out at <http://www.justinlassen.com> ----------- 6. MINDING YOUR MUSIC BIZ They also have online classes, help in getting grants, and other good services. Artists and arts organizations should check it out and see what might be useful to you. ----------- 7. ASK DAYLLE: I've been sending out CDs for a variety of
opportunities and have gotten no responses. I can't handle much more rejection.
How can I motivate myself to keep going? I know it can be hard. Rejection never feels good,
especially when it for something that's very personal and dear to your heart
like music is. When you spend your time, along with putting your heart and soul
into creating music, it's part of you. You're not considering that they might
just be looking for something different or it arrived after they found what
they needed or a host of other factors that have nothing to do with your music. I still remember how I felt when I was trying to get my
first book published. A friend sent a sample to a literary agent she knew and
he told her I wasn't a good writer. Ouch, that hurt! But I was so determined to
write books that I persevered until I found an agent who recognized my talent.
Looking back, the agent my friend knew reps books that are very different than
the kind I write so he didn't know better. Even at my level as a successful
author, when I have a new book, I have to brace myself to be turned down by
many publishers. It's just the way it is. I focus on the one who will sign me,
not those foolish enough not to. I advise you to lose the word REJECTION. They just aren't choosing you-yet! All it takes is one person who values your music to get you started. Then you can build from there. When I'm trying to get deals or recognition, I turn inward and tap my spiritual power. Feeling down shows a lack of faith and the Law of Attraction responds with being turned down more. Strong faith, especially in your music, will get you through if you're determined to succeed! ----------- A Few Final Words People come to me for consulting and ask if I think
they're wasting their time pursuing their musical dreams. I ask some questions:
Do you believe in your music? Have you done your best with your recording? And
the most important one: Are you enjoying yourself doing music? When it becomes
a tedious chore, you can lose your passion for it. Unfortunately, it's often
downhill from there. Sometimes you have to assess if there's something you can
improve or a different direction to explore. Maybe clubs aren't the best venue
for your music but playing at fairs or community events might work well. The
people who succeed are those who stay with it, and enjoy the ride. Even if
you'd like bigger crowds at your gigs, enjoy playing out! When your passion is
in the music you can keep going. When it's tied to fame and fortune, it's not
about the music and it's harder to succeed. You might finish up your CD, be super excited about it
and then feel down when folks don't instantly jump on it. That's usually not
how it works! If you're dream is passion driven but you feel discouraged, think
about the Disney empire. Walt Disney said, "If you can dream it, you can
do it. Always remember this whole thing was started by a mouse." The
Beatles played for years before getting noticed. While people always say in music
the cream always rises to the top, it can take a while. Decide if your music
career is worth being patient for. Until the next issue..... Keep your passion strong, © 2009 Revenge Productions http://www.daylle.com ------------ http://www.daylle.com |
