Caught In The Snare

A MUSICIANS GUIDE TO SPENDING MONEY ON GEAR

How Musicians Spend Their Money

The music industry is a "Big Money" industry.  The irony is that it's the music makers themselves, those darned musicians, that are spending the most!  That's right... you and your fellow musicians are the biggest spenders!  Take for instance the cost of music equipment.  Nobody, besides the musician, would drop a cool few thousand dollars like a hot potato on a handful of gear without batting an eye.  And every day of the week, there are droves of musicians dropping a thousand or more for that piece of gear they so desperately need.  Ah... if only the music listeners were spending that kind of dough on CD's, live shows and downloads!  Sure, there are music consumers out there, and a lot of them.  But it takes a lot of downloads and a lot of concert tickets to equal the thousands of dollars that the musician will so willingly drop all at once!


The Local Pusher

With so many musicians so willing to spend their money on their next musical fix, the music retailers have taken their rightful place as the local pusher.  They're cutting deals all day long, every day of the week.  "And if you buy it this weekend, you'll get 15% off..." I overhear the guy at the counter say to a wide-eyed, aspiring musician, so enamored by the shiny new toy in his hand that he is completely unaware that he's been caught in the snare by spending more on music than what he makes on music.  Don't get me wrong.  Sometimes you must spend in order to make! 

As if the pusher wasn't already sinister enough, there is actually another part of this scenario that is even worse.  The larger retailers are not just cutting deals with the consumer, they are also cutting deals with the manufacturers.  But only certain manufacturers get this kind of attention, and the others that aren't part of the deal won't be found in any retail store!  So how does that impact the consuming musician?

The Drummer's Snare

 There comes a time for most musicians, when new gear is truly needed.  So the musician goes down to his local music store and begins to look around.  He may go online as well, and look up some gear on his retailers web site.  After looking at a variety of gear offered, he makes his decision and buys the equipment.  But what he doesn't realize is that he has been misled into buying that particular gear!

The retailer knows very well what kind of gear will sell the most.  And the kind of gear that sells the most is the only gear that the retailer will place on his showroom floor and on his website.  This equipment is marketed and promoted because it has a greater profit margin than other equipment being manufactured.  Even if there is an item with the same price that is better made or better suited to the needs of the musician, the musician will only be made aware of the equipment that has the largest profit margin for the retail chain.  The musician, therefore, is purposely misled by being given a false sense of what is available on the market.  Only a handful of musicians recognize this and are able to find the equipment that best suits them.

THE DRUMMER GETS TAKEN FOR A RIDE

Have you ever noticed that all of the drum sets for sale in your local music store all tend to be virtually identical in size?  You have the 22" kick drum with the 14" snare drum.  The toms are 12", 14" and 16" for the floor tom.  Nearly every drum set you see for sale falls within these size dimensions.  Yet, when you really take a close look at many of the professional drummers in the industry, you find that their drums are quite different!  The toms tend to be much smaller and deeper.  The snare drums are custom sizes, or sizes not available from the retail store.  So what is up with such a big discrepancy between the kits used by the pros and the kits used by everyone else?

The retailer knows that smaller drum kits look... well... small.  Since smaller kits look wimpy in comparison to the bigger kits, the bigger kits outsell the smaller ones.  It's a very natural and physiological response.  Drums invoke the sense of power, and the big kits invoke that sense of strong, bold rhythm.  A small kit simply doesn't go with our natural mental image of what a drum should be.  Even though the smaller drums sound far superior, control excess ring better, are easier and faster to tune, take less space and are just as loud on the decibel meter, they will never outsell the bigger kits.  So the drummer is "stuck" buying the kit that looks the coolest or that has been marketed as a better kit, even though there are numerous other choices available to him if he spent some time digging online.

Always Dig

 The only way to circumvent the buddy-buddy system between the retailers and the manufacturers is to get down and dirty and dig.  The internet is your best friend in this process, and with a little bit of digging, you will find gear that truly meets your needs.  I have repeatedly found my gear in this manner.  Often times, you will find that your local retailer will be able to order the gear for you with free shipping, even though they don't advertise that they carry that specific piece of equipment.  Again, this is due to the smaller profit margin for them.

Buy Smart

Through the process of digging, you will become much more educated about the gear you buy.  This in turn means that you will be buying less equipment.  Less because your gear will perform the way you need it to and it will last longer, as well.  You will be more satisfied with your purchases, and will have the confidence that you have spent your money wisely.  You will even find that others look at your gear and recognize that there's something different. 

It's Called "Show Bisiness" For A Reason

Seeing The Music Industry For What It Really Is

Concert lighting systems that dazzle the optical senses.  Speaker systems that fill the worlds largest auditoriums with massive sound vibrations.  Set designs that entice, intrigue and cost in the millions.  Wardrobes that are carefully chosen and planned.  Actions that are choreographed, memorized and performed repeatedly so that they become completely natural.  Camera shots that are scripted with the greatest attention to detail.  Yup!  That's the Show part of Show Business.  And the music industry is, indeed, both Show and Business.


 I am one of those musicians that has been late to the "Show" party.  I had spent years becoming a seasoned professional, capable of performing on the professional stage and under almost any circumstance, but I had neglected one very important part.  The show.

After watching the reactions of audiences over the years, I've come to place a much higher value on the showmanship side of the music business than I once did.  We have all seen some amazing musicians perform some pretty boring shows.  And in comparison, we've all seen the musician that isn't very good, but that possesses so much stage charisma, that, despite the very evident lack of sincere talent, people just think they are the greatest!  I never wanted to be THAT guy.  And I still don't.  But I recognize that what I DO want is to be able to harness that power of charisma and deliver it to my audience right along with the level of musicianship that I've worked for years to develop!  And so, I've learned to "put on the show".  Although it shouldn't matter, the more ridiculous, outrageous and over the top one makes the show, the more the audience will enjoy the experience of seeing the musician perform live.

There is an art, unto itself, of keeping your audience captivated and entertained for the entire duration of your time on stage.  Knowing what showmanship technique to do and when to do it are all part of your musical performance, whether you like it or not.  A pianist playing a very complicated piece of music will never sell as many tickets as a pianist whose piano catches on fire after the opening song.  And after the flames go out, having the next attention grabber ready is essential planning. 

Today, we take the stage with the assistance of modern technology on our side, and with it, there's no end to the level of entertainment that can be achieved, even on smaller budgets.  So, where does that leave the music?  Music is simply the vessel that is used by the musician to deliver the show.  And if the music is good, the delivery will be that much better!  Just remember, "SHOW" is what the people want.  If you don't deliver that, they will look elsewhere, and your music will go unsung to the masses.

GETTING DOWN TO BUSINESS
When looking at the business side of the music business, many artists tend to think too deep, way too soon.  They begin talking about royalties, points, t-shirt sales, ticket sales, swag, endorsements and on and on.  This part of the business can be dealt with when the time comes, and a real management agency (not a booking agent that calls themselves a management agency) will be able to explain all of the in's and out's to you, should it be necessary for the signing of your material.

So what part of the music business should you focus on?  Focus your efforts where it will give you the most traction.  And with the business environment that we live in today, becoming an expert with social media will be your biggest business assett.  With the availability of social media, we can connect with others in ways never seen before in the entire known history of mankind.  The ability to reach large masses of people is now done with a few effortless clicks of a mouse.  This is the very method by which you are reading this blog!  Within seconds, you are able to get your music and information to your audience of hundreds, thousands and millions.  This is a powerful tool that can be used as a business tool to attract your audience, even before they know they are your audience.  It's a sales tool that permits you to sell your music and your show, connecting you with those that are connecting with you through the musical talent that you have honed and perfected over the years.

Paying Your Band - Musicians Are Not Created Equal

Often times, the issue of pay can be a sore subject among band members, and is all too often the underlying reason for band failure.  To eliminate the issues associated with money, there are some simple rules to stand by, and you just might be surprised how well these methods work.

The first concept to grasp is that not all band members are equal.  Despite the warm and fuzzy feeling you get from spinning the "everyone's equal" line, you also get a good dose of dissension in the ranks further down the road.  This is because not everyone is as equal as you or they might want to think.  So do away with this failed method and adopt a better one that is based on the sound business practice that is used to pay employees by nearly every successful employer world-wide.  This is where a fair amount is agreed upon, and that is the amount that is paid.  This method does not fail because it rewards those who bring value to the table and it clearly sets a standard for excellence.  Those whose professionalism is sub-par will, by default, be replaced by an individual whose mindset is one with the others.

I pay all of my bands in this manner, and recommend this established business practice for all bands that are serious about their success.  But there are more considerations to be made in order to ensure the success of this method.  For instance, when planning live shows, the monetary amount that is guaranteed to the band is well established before doing the performance.  It is then logical to take that amount and deduct all known costs associated with doing the show, except for the amounts being paid to the band.  Only then should one calculate how much each band member will make for that given show.

If you are the person executing these actions, because of their very nature, it should be assumed that you are the business leader of the band.  If the band does not consider you as the business leader, then you are acting as such without the full support of the band.  This, no matter how you handle business, will always lead to failure.  It is essential that you establish yourself as the business leader based on the fact that you are the person in a position of authority, charged with the responsibility of these type of business transactions.

In my case, I establish my roll as both the band leader and business leader from the very beginning.  I am the one who gathered the musicians together, who hires them to perform as part of the team, and the one who establishes the business methods used by the group.  Because of the responsibilities I have taken from the very beginning, I will ALWAYS pay myself more than any other member of the group.  In business, it is well established that you ALWAYS pay yourself first.  In regard to a band, if there is failure of any sort, it falls upon my shoulders as the leader to remedy it.  This means that my personal reputation, not only with fellow band members, but with club owners, is continually on the line.  This level of responsibility is not to be taken lightly, and it rightfully demands a pay scale greater than that of a band member that is not sharing in this responsibility.  It is also my responsibility to assess the roll of each member and their level of professionalism, and assign a value to that accordingly.  They are paid the amount that has been agreed upon prior to the performance, and I do not waiver from that agreement unless it is to increase their pay. 

The final rule to remember when paying your band is to NEVER, under ANY circumstances, pay less than the amount you agreed to.  Your honesty and your word are of paramount importance.  I have taken the place of countless others because they made this mistake and caused irreversible damage to the organization of their band, thus resulting in the band members splitting in all directions. 

So there it is, in all of it's glory!  It may not be the method you want to use, but it is the method that has proven itself time and time again, and you really can't argue with success!

When The Thrill Is Gone

PERSONALIZING YOUR PASSION

Have you become Musically Frustrated?  Have you lost your drive... the excitement you once had?  That excitement was the one single thing that drove you forward for years, and now you find yourself not even feeling it any more.

And here it is.  Quite possibly the end of a dream.  A quest that has taken your entire life, yet you are no closer to your goal.  So what now? For you, there are only two choices.  Neither one is easy, but only one will let you live with yourself.

Choice One: Hang It Up
Throwing in the towel ain't so bad, right?!  You can work a day job until you retire, and retire with the mental comfort that everything will be just hunky-dory.  You can always go to a jam night and play with a small portion of the locals.  And every once in a while you can pick up your instrument and play a few bars before setting it back down, but not before that bitter bite of regret comes over you.  But wait... WOULD you have regret?  If your answer is "Yes", then there is only one way for you to choose, and to hang it up would prove to be disastrous to your life.  The conflict between your true inner passion and your outer circumstance would only intensify, making the depression and lack of self even greater than that which you are facing and experiencing right now.  There would be no way to take back the decision, for the time that you had taken away from your natural path would never be able to be replaced.

So that leaves only one choice.  But if you don't grab back a hold of your dream, and do so with every fiber of your being, then you have chosen to Hang It Up, and you will have a front row seat as the chaos ensues.  So instead of going down that long dead-end road, let's look at choice number Two!

Choice Two: Turn It Up
And I mean... ALL THE WAY UP!  You can not afford to rob yourself or others of the happy and fulfilled life you should be living by not following the natural path that has been set before you.  But there is only one way for this to work, and that is why you MUST PERSONALIZE YOUR PASSION.  The passion that you once had that was so easily invoked within the deepest part of your existence.  So how do you rekindle the fire?  How is it that you can wake up in the morning excited to do something... just ANYTHING that relates to your musical passion?

Despite whether or not you are currently a full time musician or whether you are a part-timer, the following list of simple things will be essential to greatly help you Personalize Your Passion.  These ten things will assist in moving you forward quickly and effectively with amazing ease.  Soon, you will begin to understand that the time you have spent up till now has NOT been wasted, but is in fact what has led you to this point of complete determination.  Do the following 10 things.  Don't just read them.  They may seem trivial, but behind these 10 actions are the proven building blocks of passionate success.

1. Play your instrument every day, no exceptions.  Just you, alone with your music.
2. Buy tickets to a concert.  Any concert.  It won't even matter which one.  Go to the show.
3. Go see a local band once every two weeks.  Make sure the band is no-one you know.
4. Listen to music that you never have listened much to.  Listen a lot!  Every day.
5. Write down your musical goals.  Don't think about how to achieve them.  Just write them.
6. Look at your goals every day, no exceptions.  
7. Change your hair.  No kidding.  Just do it.  Small change is fine.
8. Do some pushups.  No kidding.  Just do it!  
9. Arrange your music gear differently.  Place things in a different, maybe better order.
10. Notice how your focus has already changed, even just by reading this list, and notice that your mind has already shifted from the negative to the positive!

When you are concentrated on positive action, it is not possible for you to move in reverse from your dreams.  Once you choose to release your own complete passion in your life without restraint, there is no way to stop it.  The off button no longer works.

Want evidence?  You read this entire blog entry.  You did so because it is impossible for you to turn off the passion you have for the path that you were meant to take.  Now get going on the list!

Dedicated to Karl.  Told you that you'd make it!

The Power Chord Has Been Unplugged!

From beginner to professional, there is but one single chord that every guitarist knows.  It's not a G, C or a D.  No... it's the all-wonderful, yet not-so-wonderful, great and mighty Power Chord!  It's neither Major nor Minor, and in fact, it technically isn't even a legitimate chord!  Yet, it's over-use abounds, and has made many wanna-be rock star guitarists seem closer to their goal than where they really are.

For your average bear playing in a bar band, the sound of someone calling out "E Flat Minor" would be a cue for the guitarist to stop playing momentarily until the next "normal" chord came around.  It's at this moment when the guitarist puts on his rock star and gives a flashy show of some sort, covering for the fact that he has no clue how to play an E Flat Minor.  "E Flat..." he thinks.  "Hmmmm... my strings only go down to E...".

Although there is a place for the Power Chord, I have found that too many guitarists have used this simple beginner chord as a crutch.  So, how does one move beyond the mighty clenches of the Power Chord?  Simple!

First, let's realize that there are only 12 Major Chords.  For a guitarist, all 12 Major Chords can be played using the same fingering, yet most bar players haven't realized this yet.  Second, let's realize that there are only 12 Minor Chords.  They too can all be played using the same fingering.  So, if there are only 12 of each, how is it that a guitarist that has played for years doesn't know his basic chords?!  It's because of the crutch called the Power Chord!

It's time to officially unplug the Power Chord!  The most direct way to move beyond the Power Chord is to learn your barre chords.  You can find these all over the internet if you are not familiar with them.  Do yourself and those you play with a big favor and get them down.  There are only two fingerings you will need to learn in order to effectively play all 12 Major and Minor chords.  You will also find that those pesky chords like the E Flat Chord are suddenly an easy task to play!  With very little time and effort, you will be rewarded with the ability to play far better and with more versatility and confidence.

So why is the Power Chord not REALLY a chord after all???  Here's why... it takes three different notes to make a chord.  A Power Chord is made only of two different notes (even if played using three strings).  The first note in a Power Chord is the root note, or the note that the chord is named after.  The second note in a Power Chord is the 5th above the root, also known as the Perfect 5th.  If the Power Chord is played using three strings, the third string is simply an octave of the root note, thus only giving two different notes.

So a Power Chord is made of the root, or the ONE, and the FIFTH.  In order for it to be a true chord, it also needs the THIRD.  These notes come from the Major or Minor scale.  If you take a scale and play only the First, Third and Fifth notes, you have officially made a CHORD!  Two notes are an "interval", not a chord.

So power on ahead, my fellow rock stars!  But do so with more than just a tired Power Chord in your bag!

A Voice That Carries

Technical Tips For A Vocalist

There they are!  The band has arrived!  You see them loading in.  All that hair!  All that gear!  And here comes even more!  Yup, there's the drums that are too big for the venue, along with the guitar amps with too much ear-piercing treble and enough raw power to fill four rooms that are twice the size of the one being used!  And here's the PA system that sounds harsh and usually too loud except to anyone other than the already deaf or the dead.  Like the unveiling of the gods, out come the plethora of guitars soon to be dangled at knee height for maximum cool factor with the least amount of musical control.
But with all of that hair and equipment now on stage, there's something you usually DON'T see.  Hey!  Where's all the gear for the lead vocalist?  That's right... the lead singer has shown up in all his greatness and glory, and he's pretty much empty handed!  Not a lick of gear!.  After all, he is indeed the star of the show and the star doesn't carry gear, right?!  I don't get it... for some reason, the voice of the band is the one that sings into the road-beaten, crappy sounding Shure SM57 mic that came with the PA.  What else could  he possibly need besides some more eye liner and tattoos???


Well, here's a few tips for ya, boys!  In case you didn't realize it, the vocals are perhaps one of the most important factors in a band.  And most commonly, they are the factor that gets the least amount of attention.  Not only are most band vocals off pitch, they sound lifeless, being buried below the drone of the music as an afterthought for the boys about to rock your world.

So what does it take to have vocals that no other band around can touch?  Well, besides those well-deserved, overdue and much needed vocal lessons, having the right gear that will enhance your vocal prowess couldn't hurt.  There are two pieces of equipment that can help you achieve complete vocal bliss!

Of course, there is the mic.  As a vocalist, this tool should be selected wisely through a well thought out and deliberate method.   Knowing what a mic sounds like with your unique voice will help you make the right choice.  There are a great many mics available today with amazing advances in technology, giving you total control over how your sound is delivered to your audience.  I could recommend many different mics, but let me just say that this is a tool that you do NOT want to go cheep and cheezy with.

My personal favorites are now made by a company called Heil Sound.  I use their mics for all my personal vocals and have been amazed at the clarity, punch, richness and fullness from the lows to the highs.  These mics are not any more expensive than the others that are sold in the category of professional stage mics, yet they have taken over many professional stages, and for good reason!  I personally love my Heil Fin mic with its blue lighted windscreen.
The Heil Fin has that retro/deco look I wanted.  What is astounding is that this mic sounds even better than it looks, and at a price right around $200.00, you can't go wrong!  But a mic is only part of the equation.  The part that REALLY makes 'em week in the knees can only be achieved with a vocal processor.

In the category of vocal processors, there really is only one choice that puts you on top, unless your willing to spend 5k or more.  So, for the musician out there in the trenches, the casinos or the clubs, the choice is a no-brainier.  Sure, there are numerous brands with all kinds of goodies for you to play with, but only TC Electronics can do the job the right way, in my opinion.

TC Electronics makes a complete series of vocal processors they call the Helicon.  Some of these are fairly inexpensive, costing up to $200.00, and some, like the VoiceLive 2, are more spendy.  I personally use the TC VoiceLive 2 for every show I do.  It is a vital piece of equipment that I refuse to gig without.  From overall compression and EQ, this unit will also add my own reverbs, delays, chorus, loops and more.  The real fun begins when you use it's amazing ability to add vocal harmonies, all based off of the notes you sing!  The features on these boxes are designed with the performing musician in mind, and are packed with all the right tools.

The simple combination of having the right microphone and vocal processor will make such an amazing difference to your vocals and professionalism, that you will never again leave home without your own vocal gear.  It can change the dynamic of a band so dramatically, that people will actually LISTEN to music rather than attempt to talk over it!

Do yourself a favor and check these pieces of gear out!  Once you do, you will join the ranks of those who are the trend-setters and the movers and shakers!

Ah... The Sound Guys!

A Position of Power - The Infamous Sound-Man

As I am a working musician, I play with a lot of different bands.  Along with this comes the privilege of working with many different sound guys.  But there seems to be an underlying theme amongst the majority of them, and it's not necessarily a good thing!  After much forced optimism, I've found that I must live on the skeptical side when it comes to this crucial role... the roll of the Sound Man.

Here are experiences from three different sound "engineers" that I've just recently worked with.  I have summarized their follies in order for the well-read sound man to better understand what it is that makes him either Great or Awful.  

Sound Guy #1
He's a "professional".  He has his own "studio".  He is "soundly educated".  In fact, he will talk your ear off if he thinks you're listening, throwing out as many sound-guy terms as he can.  He will tell you all about slue rate, crossover points, signal to noise ratios and more!  In reality, all you really want is for the monitor to be up or down when you ask for it, and for that simple change to not take longer than the rehearsal.  And although he's the guy that can mix decently, he's slower than a turtle to get around to doing it.  And why is it so hard for him to understand that the "mono out" on the instrument only gives the left side of the signal path, eliminating half of the desired and intended sound, and that he really needs to get both sides of the signal even if the sound system has a "mono" sum output?! Yes, yes... I know the instrument says "Mono Out".  But stop talking and THINK about it.  The instrument is programmed to run sounds in stereo.  By taking the mono output, you are only getting 1/2 of the sound.  In the case of keyboards, you get the lower half of the piano sounds without the upper notes.  Sure, they can be heard, but not with punch or clarity.  The keyboard doesn't know that you only plugged in to the left mono jack!  Need proof?  Download the manual!

Mr. Sound Man... one more thing... do you not hear that high pitched ringing from the lead mic?  Oh, yes... I see you are now FINALLY getting around to fixing it... kinda! 

And where did you get the idea that a multi-tap ping-pong delay was a good idea for the interview mic?  If I played my instrument as poorly as you play yours, I'd be out of a job!  I'm not sure why you still have yours!

Sound Guy #2

He's the guy that really isn't any good at sound.  He doesn't even know how the signal path goes, but he's still breathing and willing, and he can turn knobs!  Yes, that's him running house sound with headphones on!  So, since he's new and inexperienced, he gets stuck up on the mixer feed for the live internet streaming of the show.  That's right, folks... tune in by the millions (potentially) to hear the worst mix possible online, even though we have all the equipment and goodies anyone could ever want!  You won't know it by the sound!

Yes, Sound Man #2, that's the mic for the sax you just brought up and made louder than the lead vocals.  Yes, Sound Man #2, that's the guitarist now being shown on screen that can't even be heard because you don't have the right fader up.  And no... delay and reverb are not good choices for the kick drum!

Sound Guy #3

I know you're the bass player in the band, and as such, you have deemed necessary to elect yourself to the position of "Official Sound Guru".  Of course, you own the hodge-podge system of which I speak.  In fact, you have so many wires going from this to that to the other thing, that it doesn't even work once you have it all connected!  And even though you use this system with only this band, the only consistency is how inconsistent the system is!

Here's an easy rule... K I S S.  Keep It Simple, Stupid!

WHAT A BAND WANTS FROM A SOUND GUY

A system that works.  No loud hums.  Monitors that can be quickly adjusted, and adjusted without having to hear the sound man bitch that he has to reach up and turn a knob.  No feedback.  Easy connectivity for stereo outputs via DI boxes.  Hmmmm... you're a sound guy but don't have enough DI boxes, eh?!  Go figure!  How about not muting the mics till the notes have all been fully sung or played.  Ever hear of the term "segue"?!

WHAT AN AUDIENCE WANTS FROM A SOUND GUY

No feedback.  Full, well rounded sound to all seats at the appropriate volume for the venue.  Yes... having the mic up when someone starts talking would also be a good idea.

SUMMARY

Ok, so I've picked on the sound guys a bit.  That's because most of them deserve it.  Get good or get out.  Your lack of professionalism affects everyone on stage and in the audience.  Take your job seriously or do the industry a favor and retire. 

SPECIAL THANKS

A very special thank you goes to those sound men who demonstrate excellence and enhance the live experience.  Thank you... to all of you who have done and continue to do an amazing job.  You are the only one who can make what the musicians do on stage come to life for all of those in the seats.  You are irreplaceable.  You are as much a part of the band as any of us on stage.  You are appreciated beyond words.  Thank you!