February

Secrets to NOT Getting Booked for a Gig.

Posted In: Band Management, Career Building, Marketing & Promotion, Uncategorized by claybutlermusic

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How NOT to get booked for a gig You’ve seen the tips on how to get booked for a gig. But I bet you haven’t seen the secrets of how to NOT get booked (or booked again) by a club or venue. Here are seven sure-fire ways to ensure that you won’t get a call to perform:

1.) Don’t give them a complete press kit. Venues and club owners want to know what they’re getting when they book you. While CDs are a given, most venues would like to see a bio, press clips, or fact sheet.

2.) Don’t put your contact info on everything. Press kits get misplaced and separated from CDs. If the venue loves your music and wants to book you, but your contact info isn’t on your demo, then you can bet you won’t get the call back.

3.) Don’t follow up. Club owners get busy. After all, they do have a business to run. If you don’t get called back after a reasonable time, it may not always be because they don’t like you. They may not have gotten around to listening to the demo, or they may have forgotten to get in touch with you. Out of sight, sometimes really is out of mind. So not following up with leads may just make you lose that gig.

4.) Don’t start on time. Fashionably late doesn’t exist when it comes to gigs. Similarly, taking breaks that are too frequent or too long are deal-breakers. Crowds get antsy. Owners get antsy. Keep them waiting, and you likely won’t get hired back.

5.) Don’t fill the venue. Club owners really don’t care about your music. They care about filling their establishment with PAYING patrons. They want to sell enough food and drinks to cover your band and make a profit for the night. Playing to an empty club definitely won’t get you hired again.

6.) Don’t cater to the audience. Even though your adoring fans show up to support you, not everyone in the audience is there to see your band. Some people just like the establishment. Make that crowd react negatively with your music, volume, or antics, and you won’t play there again.

7.) Advertise other gigs on nights that compete with the current venue. You’ve got a gig tomorrow night at a competing club across town? Great! Your fans need to know it, but do it discretely. Announcing that gig on the microphone tells a club that you’re stealing their crowd. That’s bad business. Do it and you won’t be asked back.

What other tactics can you think of that ruin your chances of getting booked?

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February

5

Balancing your Creative Musical Mind with your Business Mind

Posted In: Band Management, Career Building, Marketing & Promotion, Uncategorized by claybutlermusic

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I often struggle with the balance between my Creative Brain and my Business Brain. While one would think I gravitate to my creative side, there are times, like recently, when I find myself hanging out in business mode and generally being uncreative. While trying to motivate myself, I ran across an article on the Music Biz Academy that I found quite interesting, The Creative You and the Business You. While I don’t typically do link posts on the MusicIsMyBiz blog, I would like to pass this along to you guys.

You can view the blog here http://www.musicbizacademy.com/knab/articles/creativeyou.htm

Here are some related posts from the MusicIsMyBiz blog:

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February

4

Outsourcing your Music: A Real Asset to the Indie

Posted In: Recording, Uncategorized by claybutlermusic

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I’ve always been a die-hard do-it-yourself kind of guy. I like things to be done the way I want them done, so I tend to try to do everything on my own. After enough time spend trying to do everything myself, I started to reach the point of burn out. I was getting frazzled trying to complete projects, so I never seemed to get anything done. I found that, even though I could do some things decently, I still couldn’t approach the quality of having a dedicated professional do those things for me. The hardest part was being able to relinquish my control to someone else, and risk spending money on something that may not be exactly what I had in mind. But I’ve found that, even in music, outsourcing is a most valuable asset to my operation.

Outsourcing is frequently used in the business world to help get things done faster, better, and cheaper than one could do himself. On the other hand, outsourcing is rarely thought of when it comes to music. Sure, you would outsource your music to a replication house such as Discmakers, but there are other avenues to consider when it comes to completing your recording project better and faster.

Hiring a Producer. Most people hate the notion of handing their creative control over to a producer. Somehow, it’s equated with selling one’s soul to the devil. But consider this: if you’ve worked on a project for a considerable amount of time, particularly if you feel like you’ve been spinning your wheels, then a producer’s fresh ideas may just revitalize your project. If you’re starting from scratch, a good producer will help you zero in on a particular creative direction, help you stay focused, maintain organization, and generally help a project get to completion faster.

Using Session Players. Unless your specific project is a solo one-man-band album, then hiring session players highly recommended. I used to be adamantly opposed to the idea, preferring to try to play all the other parts on my own in order to save money, until I realized that hiring great, professional players only helped to make me look better. Somehow, I used to think they would make me look bad by playing better than me, but, in the end, the opposite was true. They played the parts solidly, with more feel, and faster than I could on those other instruments. Since they’re truly professional players, they know what “fits” within the context of the song, and they deliver quickly and consistently every time. Session players are a must for singer/songwriters, songwriter demos, and solo instrumentalists.

Mixing. If you’ve recorded your own music, then using a professional mixing engineer (or at the very least, one other than yourself), will breathe new life into your project. In general, a project will benefit from a fresh set of ears. As a project progresses, a person tends to develop preconceived notions — right or wrong — about how a particular mix is supposed to sound. A pro engineer will invariably help you maximize your sonic possibilities with new ideas and techniques.

Mastering. If there’s only one area you can afford to outsource, make it mastering. In fact, you can’t afford not to have your project professionally mastered. Mastering is the final step before pressing and release. In essence, makes your program “radio ready” with the use of compression, limiting and equalization. Mastering is what helps your recording to sonically compete on a professional level. Most importantly, however, it is conducted in a finely-tuned, acoustically treated room. Not only is it a good idea to master your project, but it’s best to have it be performed by someone other than the mix engineer. Here again, a different set of ears will do wonders for improving the overall quality of your recording project.

I know most “Indies” are staunch do-it-yourselfers. I also know outsourcing may cost a little more up front. But I also know it will help you get your recording project done faster and at a higher quality, with less stress than taking it all on yourself. That will, in turn, make your fans more likely to buy your music. Happy recording!

For your next project, let Butler Productions help you with your audio outsourcing with recording and production services, session players for your tracks, or disc duplication.

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February

1

Product Review: Behringer BCF2000 Control Surface. Use It or Lose It?

Posted In: Reviews, Uncategorized by claybutlermusic

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I love working with computer-based digital audio production. However, one thing that I’m not particularly fond of is having to mix “in the box”. It’s cumbersome, time-consuming, and not very intuitive. I had been considering a control surface for the studio, but it had to have certain criteria: it had to have motorized faders for automation, and it had to have some transport controls. For the longest time, I’d been searching for a decently priced control surface, but none were automated. Since I didn’t need it to act as an audio interface, I was hoping that would reduce the cost factor. I was delighted when I heard that Behringer was releasing a control surface — complete with motorized faders — for less than $200.

I know many people harp on Behringer products as being sub-par quality, but I find, if you pick your products wisely, you can get some really decent gear for a budget-conscious studio. Plus, I figured, since I was needing it to act solely as a MIDI control surface and not something critical (like an audio interface), that I’d give it a shot. At that price, I didn’t stand to lose much.

The box itself has surprisingly small footprint, so it fits nicely on my workstation desk. Although the BCF2000 is built using plastic and some metal, it’s ruggedly constructed, and it doesn’t feel “cheap” at all. The unit consists of 8 motorized faders, as well as 8 rotary encoders (assignable for pan, aux sends, etc.). There are also various user-assignable buttons for bank select, transport controls, or other functions. It can connect to your computer via USB or MIDI. If using USB mode, the MIDI ports act as an extra MIDI interface. There’s also a standalone mode to control a live MIDI rig. The BCF2000 has various modes and settings to function with different software DAWs. It also works under Mackie Emulation and Baby HUI.

The BCF2000 comes in two colors, white and dark blue.

The first drawback that struck me with the unit was the lack of a Master fader. That would have been a really useful addition to the control surface, but it wasn’t a deal-breaker for me. Upon testing the unit, I did notice that the faders weren’t equally smooth. One in particular was worse than the rest, but, again, not a deal-breaker. At slower automation speeds, they can also be a bit jerky, but that’s not a significant issue either. Unfortunately, though, it was disappointing that the motors were a bit noisy and the faders were a little “clackety” as they traveled to the extreme top and bottom of the throw. Excess noise isn’t welcomed in a recording studio environment.

The setup itself wasn’t too terribly complicated, however, the manual left much to be desired. Even though there are so many potential uses for the BCF2000 and numerous software applications with which it can be used, it seems like Behringer neglected to put some important information in its manual. For example, I use MOTU’s Digital Performer (just upgraded to version 7, the latest version as of this writing), which, considering that it’s a major contender in the DAW world, is inexplicably nonexistent in the manual. On the other hand, it does give info on ProTools, Cubase, and Logic. Most of my information on setting the BCF2000 up for DP was found online in various forums, but only for DP6 or earlier. Even more shocking, after consulting the Digital Performer 7 manual for information on setting up control surfaces, I find the DP7 manual actually mentions the BCF2000 (and only the BCF2000) and the setting to use! Once I learned (from the DP7 manual) to use Mackie Emulation mode, we were good to go.

All-in-all, the uses for the BCF2000 are virtually limitless. It can be used to control your sofware synth or sampler, DAW or live MIDI rig. It can also be used as a lighting control surface in conjunction with LightJockey, LightFactory, or Cuelux.

So, what’s the virdict, Use It or Lose It? If you’re looking for an inexpensive control surface for your DAW, Lighting, or MIDI rig, the BCF2000 is definitely a Use It!

Behringer BCF2000

Price: $179

Purchase one for yourself.

If you would like us to review your product or CD on the MusicIsMyBiz.com blog, just send it to us!

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January

29

Music Is Your Business. Is Business Good?

Posted In: Band Management, Career Building, Marketing & Promotion, Uncategorized by claybutlermusic

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No matter what your particular niche is when it comes to music, the ultimate goal is to make a living doing what you love. Making a living from music requires more than just talent. It requires dedication, drive, perseverance, and a burning desire to succeed. Unfortunately, most musicians’ brains cease to function once they cross the threshold from creating art to running a business. It’s a delicate balancing act, but music is still a business. So, we must learn from the business world?

Create a Business Plan. A business plan can range from simple to complex, but they merely function to keep us on task. They clearly define our business structure, who is in charge, and how decisions are made. They serve to define our goals, especially fiscally, and helps to identify how to reach them. It helps you in your search for funding, and helps lenders know how you intend to pay them back. Your local small business administration can help you to develop your plan. There’s even software to help with the task of creating a business plan.

Create a Marketing Plan. A business plan is not enough to succeed. You need to know how you will get your music, products, or services to the masses. That requires a marketing plan. These help you to know what avenues you will use to advertise your products or services, create budgets, and build your brand.

Build a Team. No man is an island. Only few people can perform every single duty when it comes to running a successful business. Even fewer of those people keep their sanity. So, develop a team of people who can help you succeed. It’s difficult, but don’t be afraid to Recruit fans to help you promote. Outsource tasks like printing, cd duplication, photography, or graphic design (even more so if the tasks aren’t your strong suit). Hire a bookkeeper and tax professional. Even hire a roadie and recruit someone to work your merchandise table–vital if you want to preserve your strength for gigs! Outsourcing to trusted professionals only serves to help you maintain a professional appearance, which is crucial in business.

Keep the Books. If you’re making money from your music (or anything for that matter), you can bet Uncle Sam wants his share. On the up side, though, being in business affords you certain tax deductions of business expenses. Be sure to keep up with all of your income and expenses. It’s not enough just to write them down; you MUST be able to show proof in order to receive your deduction. So, keep your receipts, log your mileage for business-related trips (including odometer readings and purposes for the trip), and organize your income and expenditures. Intuit’s Quicken Home and Business edition is a great way to stay organized, but it’s always a good idea to consult a tax professional for preparation and general advice.

Focus on Customer Satisfaction and Loyalty. Keeping your fans happy (and coming back again and again) is what will keep food on your table. Engage them. Show some interest in them as people and not just as numbers or dollar signs. Foster their trust and loyalty and then the sales will follow. Here’s a related post on building a loyal fanbase.

These are just some simple guidelines to help you succeed with your own music business endeavors. Comment and tell us what helps you succeed!

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January

27

Your Music Ministry: A Real-World Business Model

Posted In: Band Management, Career Building, For Businesses, For Worship, Marketing & Promotion, Music Theory, Uncategorized by claybutlermusic

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Many churches prefer not to think about it, but, like it or not, a church’s music and multimedia ministry is a part of the music and entertainment industry. If music and multimedia is a commodity for day-to-day operations, you are indeed a part of the music biz.

Anyone who is in business will tell you that you must study and analyze your competition in order to survive. In music ministry, we are in competition with the secular entertainment market. In order to draw people in and engage them, our “product” (in this case, the worship experience) must offer a viable substitute to what congregants can get anywhere else. A growth-focused contemporary church’s music, video, multimedia, and visual experience must rival what people find on the radio or at a concert–relevant and “in the now”. Don’t get me wrong, I’m not saying that worship is a concert or performance, but let’s face the facts: those things get people through your doors. Now that you’ve drawn them in, it’s the substance that’s combined with the experience that creates true relevance.

So, how can we build a vibrant and relevant music ministry? Let’s take a cue from a real-world business model, by adapting what works in the secular markets, and putting it to work to help further the Kingdom of God.

Sales and Marketing. In music ministry you’re engaged in sales and marketing. You’re basically getting someone else to “buy in” to a ministry opportunity with their time and talents. You must publicize available positions, special events, etc. If no one knows, then no one will volunteer or participate.
Human Resources. You’re also responsible for seeking the right person for the “job”. You’re saddled with the task of conducting auditions and interviews. This task is a weighty responsibility for any ministry team, because desperation to fill a given position most often results in a poor decision.
Public Relations. Your team must portray the image of your parent company, in this case, the church. This image must be exuded both inside and outside the church’s walls.
Employee Evaluation. A ministry’s responsibility is to constantly asses the work ethic, attendance, and attitude of each “employee”. Furthermore, you must assess each team member’s competency in his/her job. Are they growing and learning their instrument? Are they progressing with their musical knowledge? Can they pull their weight? Are they growing spiritually?
Legal Department. Churches all over the world break the law every week, and they don’t even know it. It’s the ministry’s moral obligation to understand intellectual property rights and the church’s legal responsibilities as it pertains to those rights. You also often deal with member contracts once players are recruited.
Maintenance and Quality Control. The ministry must supply a quality product (i.e. worship experience) each week. So, the ministry must seek out and address areas of weakness and constantly look for ways to improve.
Research and Development. Again, to compete and survive, you must analyze and learn from the competition. A ministry must learn from the most current trends and seek out ways to push forward. You must research and implement new ways to improve and become more productive. You must test ways to make your product become a viable substitute to what’s on the radio and in other entertainment.

While this is just a basic overview, there are many other parallels and lessons to draw from the business world when it comes to building a vibrant ministry team. See www.butlerproductionsmultimedia.com/seminars to bring this and similar information to your church.

Comment and tell your ministry’s Startup Story!

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January

25

My 50th on My 30th

Posted In: Band Management, Career Building, For Businesses, For Educators, For Worship, Marketing & Promotion, Music Theory, Recording, Uncategorized by claybutlermusic

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Today marks two milestones. First, I turn 30 today. Second, it’s our 50th blog post!

I don’t really feel like I’m “in my thirties”. Looking back, I did achieve one of my major goals of owning my own business and working for myself while still in my twenties. I’m so blessed that I get to do what I love–making music–for a living (sometimes in my pajamas). I like being able to say that I’m an author, musician, and an entrepreneur. More than that, I love being able to help others down that same path with the MusicIsMyBiz blog, classes, seminars, and books. Life is good.

So, this marks our 50th blog post! It’s been my goal to create a place where aspiring musicians can go for information about the music business. It’s a place where teachers and business owners can learn how to use audio to improve their productivity and achieve their goals. It’s a place where churches and ministries can learn how go grow, improve, and protect themselves when it comes to music and multimedia. If you use music or audio in day-to-day activities, then MusicIsMyBiz is designed for YOU.

It’s my desire that you succeed. That’s why I’m unveiling our new book on MusicIsMyBiz.com on such a day as today. If you’ve ever wanted to learn how to record and produce your own music, then I’ve put together the beginner’s guide, Recording Basics: A Beginner’s Guide to Producing Music. We’ll cover all the necessary information to get you started producing and recording music for yourself or for others.

Basic Acoustics
Digital Audio
Common Studio Equipment
Microphone Techniques
Recording Common Instruments
Microphone Types
Microphone Placement Techniques
Tracking a Live Band
Mixing Guidelines
Thinking Like a Producer
Chord Charts and Song Matrices
Musical Arranging
Audio Editing Principles
Introduction to the Mastering Process
Plus lots more…

As a bonus, you’ll receive the guide Home Recording Savvy: Tricks to Tracking Great Sounds at Home. Let’s face it, many times we can’t afford the luxury of a professional recording studio, especially when starting out. However, that doesn’t mean you can’t get great sounds, even if you’re recording at home. With this additional guide, you will learn great tips and techniques that you can apply in the home recording environment.

If you’re a budding songwriter who wants to make your own demos, or if you’re an aspiring producer who wants to work with other artists, then this book is for you. Check it out. If you don’t think the information you learn from reading this book helps to make your recording skills better, then let me know within 30 days, and I’ll give you a refund. You’ve really got nothing to lose.

Recording Basics Ebook

$19.95 Blog readers, receive a $5.00 DISCOUNT by entering the Discount Code MIMB.

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January

23

The McTrademark and Intellectual Property Rights

Posted In: Band Management, Career Building, For Businesses, For Worship, Recording, Uncategorized by claybutlermusic

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I’ve been teaching a series of seminars and classes on taking your church’s music and media ministry to the next level. We start off by focusing on “keeping it legal” by acknowledging and respecting the intellectual property rights of others. This morning on the WalletPop blog, there’s an article of a teen named Lauren McCluskey, along with another girl with Mc in her surname, who raised $30,000 for the Special Olympics with a charity concert series they called the McFest. McDonalds claimed it was infringement of their “Mc” trademark. In the December issue of Recording Magazine, another teen was sued by four record labels for illegally downloading and sharing 24 songs. The verdict after two trials? Punitive damages of 1.93 MILLION dollars. It seems like every time I pick up a magazine or turn on the computer, there’s an article dealing with an infringement case. It just serves to further remind us that INTELLECTUAL PROPERTY RIGHTS ARE A BIG DEAL!

If you’re a songwriter, performer, or artist, those rights are a big deal to you, too. It’s how you make a living. (See our previous posts on How to Get Paid for your Music and How to Start your Own MusicPublishing Company.) If you’re a venue, church, or broadcaster, they’re also a big deal for you, as well. Understanding the rights of others, in addition to your responsibilities pertaining to those rights, ensures that you don’t get sued (if you abide by them).

The law allows Intellectual Property owners certain EXCLUSIVE rights:

To reproduce the works
To create derivative works
To distribute the works
To perform the works
To display the works

No one else can do those things (well, legally, anyway). So, then, how does a potential music user get permission to do any of those things? Licensing. You must purchase a license in order to use the music of someone else for any reason. Each potential use requires a specific license.

To have music at your venue, club, or restaurant, you need a Performance License from a Performing Rights Organization (PRO) such as ASCAP, BMI, or SESAC.
To broadcast music on television, radio, or the internet, you also need a Performance License from a PRO.
To use music in a church worship setting, copy music, or display music/lyrics, you need a CCLI license from Christian Copyright License International.
To record someone else’s music onto a CD, for example a compilation, you need a Mechanical License, which can generally be obtained through the Harry Fox Agency and a Master Use License.
To record your performance of someone else’s music, for example a CD of cover tunes, you must also have a Mechanical License, but not a Master Use License.
To use someone else’s music on a video for broadcast, you would need a Broadcast License, a Synchronization License and a Master Use License. If it then goes on a CD or DVD for sale, you must add a Mechanical License.

Keep in mind that when you buy a CD, the ONLY thing you own is the little plastic disc and a License to listen to the music. You in no way own the music. You cannot copy, perform or distribute any of that music. Period. Well, unless you buy a license.

Comments? Questions? Keep ‘em comin!

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January

21

New Look, New Name, Same Great Info!

Posted In: Uncategorized by claybutlermusic

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Ladies and Gentlemen, Boys and Girls,

We’ve made a few changes! But, don’t worry, they’re only to make your experience here EVEN BETTER! Since we’re focusing on bringing you great tips for how to use music in your business, we’re now calling ourselves the MusicIsMyBiz blog. We’re still dedicated to bringing you great information for using audio and music in your classroom, business, and worship services. For you musicians and bands, we’re still going to provide the same great information to help you succeed in the Music Biz.

Let us know what you think. Comments and questions make us happy.

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January

16

Going Viral with your Pants on the Ground

Posted In: Band Management, Career Building, For Businesses, Marketing & Promotion, Uncategorized by claybutlermusic

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Since “The General” performed on American Idol, the country has been obsessed with “Pants on the Ground”. The absurdly entertaining, yet socially relevant performance has spurred everything from hats and handbags, to shirts and skivvies. There are mixes, remixes, and acoustic covers. Literally overnight, the entire world was talking about Pants on the Ground. You can’t turn log onto the internet, especially Facebook, without hearing the phrase, seeing the posted video, or seeing a link to some apparel emblazoned with the phrase. Truly, this is what it means to Go Viral.

So, what can we learn from The General when it comes to our music and marketing? With the right blend of cheese, relevance, entertainment value, and a certain endearing quality, people will talk about you. Granted, being on the highest rated and most watched television show in history, American Idol, doesn’t hurt. But, nevertheless Viral is possible.

Quite simply, if everyone is talking about something, then people can profit from it. This is precisely what we see when we log onto the internet with “Pants on the Ground”. Countless people are using his idea to make money for themselves. While you don’t necessarily want others to profit from you, the real key is to make this principle work for YOU and your music, video, or product.

Although no one can really guarantee viral status, what can we do to help get noticed?

Make it really entertaining–keep the viewer engaged.
Make it original–do something fresh or unexpected for the viewer.
Make it mindless–don’t make the viewer think too hard.
Keep it relatively short–leave the viewer wanting more.
Get a reaction–shock the viewer or make it endearing.
Make it catchy–make it memorable for the viewer.

Once you get the viewers talking and sharing, you’re over the biggest hurdle. To make viral marketing really work for you, you must have them associate the content to you or your brand. So, make sure the video has your web address and/or branding visible at some point. They’ve found your content, now make sure they know who it belongs to and how to find YOU.

Again, no one can really guarantee that their content will go viral, but keep these tips in mind when you produce your next web video or publicity campaign. Here’s a great book titled The New Rules of Marketing and PR, which goes into great detail about “Going Viral”.

Good luck!

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