6 Ways To Save Money Recording Your Album ... Guest Post by Ari Herstand!

Albums seem to be a dying breed these days. Now more than ever we are in a singles driven society. Passive fans download and stream their favorite songs. But music lovers enjoy full albums.

I recently released my 3rd full-length album. It’s not a collection of songs, but rather a complete piece of art. The album makes sense to me and hopefully to my fans as well.

Artists love creating albums because it’s a process. A pause from life. A time to give credence to the vitality of our souls. To fully immerse ourselves in our first true love.

The reason artists continue to create albums is not because record labels tell them they need 12 songs to justify an $11.99 price. It’s because artists truly love to create albums.

I know I do.

But, unfortunately, the album making process is expensive. Record labels are signing fewer acts. And advances are lower than ever.

Most artists of the world are creating records on their own dime. And I don’t need to tell you that most artists aren’t rich.

Here are ways to save money creating your album.

1. Spend Time On Pre-Production

This is an incredibly important aspect of your recording process. Maybe even the most important step. Working out as much as you possibly can before you step into the studio (on the clock) will save you a tremendous amount of money.

You want to rehearse the studio version of your songs to the point where you could play them in your sleep. Get the arrangements locked in. There should be no debate about how to get out of the bridge when you’re tracking. Have your guitar/keyboard player and singer record scratch tracks to the click (of the exact BPM you will use for the song). Write the tempo BPMs down for every song, so when the engineer opens the first song on day one all you have to do is tell him “this song is called ‘Maybe’ and the BPM is 132.” Don’t waste time figuring out tempos in the studio.

You should figure out what program the studio is using (Pro tools, Logic) and if you can, record the scratch tracks in that program so all the engineer has to do is dump in those tracks. You’ll most likely do much of the pre-production with your producer before hitting the studio.

2. Don’t Waste Time In A Fancy Studio

It doesn’t matter how successful the previous projects that were recorded in this studio are. It matters if you like the sound of the albums. Sure, it’s a fun tidbit to include in the album’s press release, but at the end of the day it matters what your album sounds like. I can’t stress this enough.

You don’t need a state of the art studio to track vocals. You need a good vocal mic and an isolation booth. That’s it. But you do need a good sounding live room to get good sounding drums.

Shop around for great sounding drum rooms and spend a couple days tracking drums.

You can then track the majority of the other instruments at smaller home/mixing studios. It’s not super rockstar, but neither is having to remortgage your home.

3. Hire The Right Producer

This is the most important person for your project. When you’re seeking out producers, the first check you need to make is the gut check. Don’t hire a producer before having an informal meeting, lunch, jam, whatever. This person will be with you every step of the way. You guys need to get along. You need trust.

You need to know that she GETS your project, your songs, your band. Figure out what her favorite albums are. Listen to some past records she’s produced. Some producers will even offer to track one test song with you from start to finish for free. If you’re on the fence about this producer, take her up on it – even if it’s just in her home studio. It’s worth it to get a feel for how she works and to see how well you vibe. You don’t want to step into a $700 a day studio and start fighting with this producer. Not only will it mess up the overall vibe, you’ll waste a ton of money!

Similar to the studio, the producer’s resume is not as important as her skill.

There are so many “producers” out there who scam young bands into working with them because they promise stardom. Don’t take the bait.

You can get virtually anyone to work on your record if you can pay them. Remember that. Find the best person for YOUR project. Not the person with the longest resume.

4. Run An Effective PledgeMusic Campaign

I profiled PledgeMusic a couple months ago and discussed how they are looking to completely change the album creation process.

It’s a great way to raise money for your album and with a 90% success rate, PledgeMusic is the most effective crowd funding service out there – way above Kickstarter or Indiegogo.

PledgeMusic also brings your fans along for the entire process AND the moment your funding campaign finishes, the pre-order begins. You can continue to MAKE money while you’re in studio – well after the funding period is over.

Full disclosure: I’m not associated with PledgeMusic or being paid by them. I’ve never run a PledgeMusic campaign. I’m just impressed by their service.

5. Don’t Order Vinyl

I learned this the hard way. I promised my Kickstarter backers (before I knew about PledgeMusic) vinyl records for the $125 and above package. I didn’t do complete research on vinyl before I promised this to my backers. I didn’t realize that vinyl records can only hold about 22 minutes of music before the quality and volume is drastically reduced. The runtime of my latest album is 55 minutes. So, I needed to create a double LP. Nearly twice the cost.

Don’t make the same mistake I did. Yes, vinyl is cool and trendy. I’m happy I have it. But it cost me WAY more than I had budgeted. If you’re going to order vinyl, make sure you do your research and make sure there’s demand amongst your fans.

6. Shop Around For Mastering

My biggest regret of my first album was not hiring a professional mastering engineer (I was 19 and stupid). Mastering is an incredibly important step of the process – even if most people don’t really know what it is.

Mastering is the final sparkle. It can dictate the overall vibe. It’s the difference between a professional sounding album and an amateur sounding one.

Because mastering is so nuanced and elusive, it’s incredibly expensive. I’ve worked with some of the greatest mastering engineers on the planet. I sat alongside Bernie Grundman while he mastered my last record. He was worth every penny.

But that’s not to say that you need the best of the best. Do your research and shop around. See who mastered your favorite (newer) records. Get recommendations from engineers, producers and other musician friends and then LISTEN to those records and make sure you like the mastering.

Ask your musician friends for their final mixes pre-mastering and the final masters. Can you tell the difference? Did it bring the songs to life? Did it add the sparkle?

Don’t cut corners with mastering, but you don’t need to hire the first great mastering engineer who returns your email.

Photo is by Ann Larie Valentine from Flickr used with the Creative Commons License

Ari Herstand is a Los Angeles based singer/songwriter and the creator of Ari’s Take. Listen to his new album on Spotify or download on BandCamp. Follow him on Twitter: @aristake

How to be a Classy Self-Promoter ... Guest Post by Ari Herstand!

Why do we love it when politicians talk about themselves? Why do we love hearing them stump on the campaign trail talking about how great they are?

Well maybe we don't love it, but we accept it. And vote for them.

But we hate musicians who talk about themselves.

In the hip hop community it's more accepted. But outside hip hop, it's shunned.

I've been labeled a "shameless self promoter." And many other less flattering names.

But so was James Brown. Until he was the "hardest working man in show business."

And so has nearly every band who's ever made it. Especially in the last 10 years.

You don't make it by hiding out in your basement recording amazing songs. Well, even if you do, in the Owl City case, he did so by promoting the fuck out of his music on Myspace. He didn't do it on the streets with posters and flyers. He did it behind a computer.

It's a different era we live in.

Self promotion is, unfortunately, a necessary component to any musician's career. But it's a fine line between being confident and arrogant. Endearing and distasteful. Persistent and annoying.

So how do you know when you're crossing that line? I know I have many times in my career. I don't like being a self promoter. Despite what thousands of show posters might claim otherwise.

I do it because I believe my music can affect people. That my music can be therapy for others - like how it was therapy for me.

I do it because I am hopelessly addicted to the feeling I get when I play a packed show.

I do it because I'm madly in love with creating and sharing music and want people to reciprocate that love.

I do it because I don't want to play empty shows.

I do it because I don't want my album to fizzle out.

I do it because it's what it takes to succeed in the modern age as an independent musician.

Before you have a team around you to do it for you, you are going to have to share your music. If you don't, who will?

But there are classy ways to go about it that don't involve spamming.

Before you do any sort of self promoting, do the gut check. How would you feel if a friend of yours hit you with the same message? Remember, 10 personal conversations are more effective than 1000 Facebook invites. Or 1000 flyers left around coffee shops.

When you're self promoting stay humble, but confident.

Set your pride aside and remember the feeling you get when you succeed. When your music touches people. When you connect.

There are brilliant musicians who refuse to network and self promote. They never make it out of their local club. There are mediocre musicians who become superstars.

Be a leader.

You wonder why politicians can amass millions of followers behind just words? It's their confidence, humility and message.

If you can connect and inspire. You can affect millions.

Visit Ari Herstand's website for more fantastic music business info!

12 Ways to Earn Money From Your Recorded Music and Original Compositions - Guest Post by Chris Robley

In the modern music economy, many revenue streams must converge to form a river

If you want to build a sustainable music career, you need to earn money from your music in multiple ways, including:

1.Download sales on iTunes, AmazonMP3, Google Play, and more.

2. Streaming revenue from popular platforms such as Spotify, Beats Music, Rdio, and more.

3. CD and vinyl sales in record stores around the world.

4. Music sales on Facebook.

5. Music sales on your own website.

6. Download, CD, and vinyl sales on cdbaby.com.

7. Performance royalties when your songs are played on radio, TV, and in concert venues.

8. Mechanical royalties when your songs are downloaded internationally or streamed worldwide.

9. YouTube monetization (ad revenue generated by the usage of your music in any video across the YouTube universe).

10. Sync licensing fees from the usage of your music in TV, film, commercials, corporate presentations, video games, and more.

11. Download cards.

12. SoundExchange revenue, which is paid to artists, performers, and labels for the usage of a master recording on internet radio stations.

Get paid for your music

That’s an awful lot of ways to earn money from your music, to say nothing of performance fees paid when you play live, T-shirt and other merch sales at gigs, sponsorships, and more.

Editor's Note:  My Soul Band Mayfield released our debut album, 'Tempo of Your Soul' through CD Baby. This post was shared from the CD Baby Blog.

This Week's Tips - 28 March 2014

Last week I read a great newsletter by Madalyn Sklar of gogirlsmusic.com and wanted to share a bit of what she had to say:

"I want to talk about something I think is important: Accountability

Accountability is defined as:
An obligation or willingness to accept responsibility or to account for one's actions

I know. It's a scary word to most people. It is for me too. That is why years ago I started the GoGirls Elite Mastermind Group. If you don't know what a mastermind is, click here for details. And below is the definition of mastermind group.

Mastermind Group: A small group that you meet with for the purpose of reinforcing growth and success while offering support to one another; a group that has been identified and set aside to concentrate specifically on growth and manifesting success.

I'm a big believer in two heads are better than one. That is the whole basis for mastermind. Working together in small groups to elevate each other to new heights. It's empowering. It's enlightening. It's amazing! I decided back in September that I would restart the GoGirls Mastermind. It has been nothing short of magical. The best part about it is accountability. Doing what you say you are going to do. It's one thing to say it. But to then do it and have others cheering you on. Well that is a completely different thing because it gets you to do it.

Think about what is important for you to accomplish right now. What is holding you back? What if you surrounded yourself with like-minded people? I think you would reach your goals faster. That is what mastermind does."


I hope you enjoyed Madalyn's thoughts on accountability as much as I did. Visit her blog for some great insights about the music business, social media and more!  http://www.madalynsklar.com/.

10 Things You Should Never Say On Stage ... Guest Post by Ari Herstand

1. We’re Having Technical Difficulties

Even if your guitar just caught fire. Well actually, that would be hilarious if you said it then. But when bands sheepishly admit it into the mic, it’s uncomfortable and kills the vibe. Technical difficulties are your fault. Even when they’re not. It’s your stage. It’s your show.

You should know your gear inside and out. If something is cutting out or screeching or feeding back, you should either know immediately what it is and be able to remedy it in 13 seconds or know how to quickly figure out what it is.

It’s your job, as the performer, to command the attention of everyone in the room from start to finish.

2. I Forgot The Lyrics

The worst is when singer/songwriters sing a line like “I forgot this next line la la la.” That is so annoying. Not funny. If you can’t memorize your lyrics then bring a lyrics sheet on stage as reference. Or make shit up on the spot.

The only thing worse than shitty lyrics is forgotten lyrics.

3. I Want To Thank My Girlfriend

It’s like having a one on one conversation with someone in the audience off the mic. Uncomfortable for everyone else in the house.

Leave her out of it. It makes you look whipped. If she did something truly awesome, then you can say something like “we’d like to thank our friend Sarah for getting this song into the hands of the music supervisor at Parenthood.”

If your girlfriend needs to be publicly thanked for her support then you have bigger issues you have to work out.

4. I’m Sorry

Don’t ever apologize on stage. It makes you look weak. I don’t care if you just dropped a baby. Don’t apologize.

Making excuses for your shittyness makes everyone in the house uncomfortable and feel bad for you. I hear it all the time: “I forgot the rest of the song. Sorry.” “I’m sorry if this song sucks, we just wrote it.” “I’m sorry there aren’t more people here.” “We haven’t rehearsed this much, it might suck.”

Own the stage. Own the room. Own your set. Or don’t show up.

5. Your City Sucks

Should be a no brainer, but I can’t tell you how many touring bands I’ve seen make fun of the city they are in – ON STAGE. It may be fun to joke about in the van, but your audience takes pride in their city. No matter if you think their city is cool or not.

Never say anything negative about the town you are in while on stage unless you want a beer bottle thrown at you.

6. This Song Is About My Grandma Who Died Of Cancer. Love You Nana.

Don’t depress your audience. You can play a song about your dead grandma, but you don’t need to tell the audience that’s what it’s about.

People don’t pay money to come to shows to be sad. They come to be happy. To have fun. To be enlightened. To be inspired.

If you can’t communicate the power of your song by just playing it, then maybe the song isn’t really that good.

7. I’m Broke

Don’t make your audience feel bad for you. It removes the mystique and coolness factor. You can say “help us get to the next city and pick up a T-shirt.” That offers an emotional appeal in a positive light.

But saying “we’re broke, so buy a t-shirt,” just turns your audience off.

Guilting your fans into buying your merch never works.

8. You Guys Suck

Even if 95 out of the 100 people are screaming above your acoustic set while smashing glasses and vomiting in the corner, 5 people are engulfed in your set. Never insult your audience. They always have one ear to you – even if you are just background music.

You may think no one is listening, but you’ll be surprised at how many compliments you get and how much merch you sell once you hop off stage.

9. Any Requests

You’re never going to get the songs that you actually have prepared and there will always be that one asshole who yells “Free Bird” as if he just came up with the joke.

Play your set as is. If someone drove 300 miles to hear one song, she’ll yell it out whether you ask for it or not.

10. How Does It Sound

This is a slap in the face to the sound guy. Never ask the crowd that. It should sound amazing. If it doesn’t, then it’s either your fault or the sound guy’s fault. Either way, you just pissed off the one person not in your band who can actually make you sound WORSE.

Ari Herstand is a Los Angeles based singer/songwriter and the creator of Ari’s Take. He is hosting a music business meetup on March 29th in Hollywood before his record release show. Sign up here. Follow him on Twitter: @aristake

Ari's Take: Should You Pay to Play ... Guest Post by Ari Herstand!

I live in LA. I've only been here 3 years, but in that time I've met many excellent musicians in town all talented enough to explode at any moment. The sad reality is, in a town so saturated with incredible musicians, the cream isn't necessarily rising to the top as quickly as it would in other cities. Everyone who is great here is on the same level - getting little victories here and there. Some land a major tour and hit the road. Some get signed and go through the major label roller coaster. Some work the YouTube angle. Some make their livings on song placements. Some fly around the country playing colleges. Some get in their car and tour the coast/country on their own. But what all the non-superstar musicians in LA have in common is, when we play a show in town we accept shitty shitty deals. How do I know that these are shitty deals? Well, I've booked shows in nearly every major city in the country and know how other cities do it.

This isn't going to be a post about LA (as that could fill a book), but rather the issue of "pay to play" clubs.

Let's explore some of the many scenarios bands get offered by venues and promoters every day:

THE WORST

Require bands to purchase tickets upfront
WHAT IS IT: Typically this happens with "promoters" who scour Reverbnation (they used to use Myspace), find naive bands and promise them slots at well known venues. All you, the band, have to do is sell 35 tickets (which you must purchase in advance). But hey, you get to keep $3 for every ticket you sell! What a deal! Except you have to buy the tickets for $7 and sell them for $10. If you do the math, you are making 30% of the cover from the people JUST there to see you - which is the shittiest deal in the history of shitty deals. They usually put about 5-15 bands on a night, who each play about a 20 minute set. And the bands almost never fit together musically.

IS THIS FAIR: F NO! How these "promoters" get away with this is they prey on young bands who don't know any better and will do anything to just play the venue - including paying lots and lots of money for this. As tempted as I am to name the names of these fucktard promoters who do this (and boy would I like to) I will not and hope that enough of you read this article and tell these promoters to politely fuck off when they contact you (as I have many many many many times).
_{+++Fun story: My final year in Minneapolis, one of these promoters kept hounding me to play a club I had actually headlined many times. I told them that I typically get 500 people to my headlining shows and I'm not interested in their deal (as I had a very good relationship with the club already). They responded explaining how much money I could make with their shitty deal if I brought 500 people (duh). I responded telling them no thanks and to please not contact me again. I was then hit up by the same "person" with the same stupid form email multiple times in the coming weeks. Each time my responses got more and more annoyed, until finally I contacted the owner of the club and told him what was happening and how it was giving the club a bad name and that they should stop working with this promoter. The owner cancelled their upcoming show and hasn't worked with them since. BAM! More bands need to do this in more cities.}

LESSON LEARNED: Don't pay to play cool venues. You will be PAID (a fair amount) to play these cool venues when you are ready and can draw a substantial crowd.

+My Response To An LA Promoter
+50 Is The Magic Number (Book a Headlining Tour)
+How I Got 250 To My Debut CD Release

REALLY BAD

Venue takes a band's credit card at the beginning of the night to cover the difference in the required minimum draw

WHAT IS IT: This is almost as bad as the above scenario. A venue takes a band's credit card at the beginning of the night and unless a certain number of people pay to see that band (the door guy has a tally sheet) at an absurd cover price, the venue will charge the band's credit card to make up the difference. This actually happens at clubs on Sunset Strip.

IS THIS FAIR: No. You and the venue should be in this together. You took a chance playing their club, they should take a chance on you. I get it, they are trying to protect themselves financially, but there are much more ethical ways to do this.

LESSON LEARNED: If the venue doesn't have enough faith that you will bring a crowd, then don't take the show.

BAD

Venues charge a "rental fee."
WHAT IS IT: Music venues that also host private events like weddings got smart to the fact that they were making a buttload more money when they got wedding parties to rent out the venue than if they book a night of music. So, these venues figured, "why not ask bands to pay nearly the same amount to book a night in our beautiful venue?" They'll make you rent the place for, say $1,500. You can charge whatever cover you like and will make 100% of it (if you're lucky). You are essentially acting as the promoter. Oh you play music too? Eh.

IS IT FAIR: Well, it's not ideal. The venue is basically completely covering their ass and will make out on this deal regardless if you bring anyone. The venue is basically admitting they have 0 faith in your draw and they are doing YOU a huge favor in LETTING you play their club (for an exorbitant fee).

LESSON LEARNED: I would say pass on this deal typically. Play a different club that gives you a fair and standard deal. Or, crunch the numbers and if you think you will bring enough people to make this deal worthwhile then go nuts. It helps to fill a promoter's shoes once in awhile.
+BookingYour Own Tour: A How-To Guide

SNEAKY

Venues only pay you after a certain number of people come to see YOU
WHAT IS IT: I've only really seen this kind of deal in LA and NYC (some other cities are catching on though). Basically, the door guy has a tally sheet with each band's name on it. The venue works out a separate (standard) deal with each band. Typically, you get paid ONLY if a certain number of people (I've seen 15-75) pay to see you (and not the others on the bill). You then get a cut of the door from dollar 1 after the minimum number of people come. Meaning if the minimum is 35 people at $10 a head and you bring 33, you walk with $0 (and the venue takes your $330 - and all the drinks your fans buy). However, if you bring 35 (and your deal is 60%) you walk with $210.
+Booking Your Own Tour: A How-To Guide

IS IT FAIR: Kind of, but not really. On the surface it looks like they are just covering expenses, BUT if they have 5 bands on the bill and each are required to bring 35 people at $10, the venue is getting WAY more than just the amount to cover expenses. If every band brings 30 people the venue makes $1500 (30 people x $10 x 5 bands) and each band makes $0. Yikes!

LESSON LEARNED: I don't like these deals because it encourages competition amongst the acts and not a "we're all in it together" approach - like I stand by. You have 0 incentive to work with the other bands on the bill to make it a great night - encouraging fans to stay from beginning to end. Because of this, bands in LA and NYC don't get to know each other that well and typically show up right before their set and leave shortly after. "Hit it and quit it." Which rubs off on the fans too. It's VERY unique to see fans in LA or NYC come for a full night of music (because of this practice). Venues don't realize that if they stopped working their deals this way and started encouraging complete bills and promoting the entire evening of music, they would get more people in their club for a longer period of time (i.e. more drink sales). But hey, I don't run the clubs.

STANDARD

Venue takes expenses off the top
WHAT IS IT: A venue will take an amount off the top to cover expenses before they split the door. I've seen anywhere from $50-1500 for 700 cap and below clubs ($1500 was the Roxy on Sunset Strip). Standard is $50-350 depending on the size of the club. Anything above $350 for a club under 500 capacity is screwing you.

IS IT FAIR: Sure. They wouldn't need to hire a sound guy or a door guy if you weren't playing there that night. This money (typically) does directly go to these people and then the venue splits the remaining money with you fairly.
+What is a fair venue deal?

GOOD

Door split from dollar one
WHAT IS IT: Many venues are happy to have you and will split the door with you from the first person who pays a cover. This is ideal. If 10 people come at $10 a head and you have a 70/30 split with the venue, you walk with $70.

IS IT FAIR: Absolutely. I see this deal occasionally, but most will at least take $50 off the top for the sound guy.
+The Sound Guy

GREAT

Guarantee + % of door
WHAT IS IT: If you are more established and have a great relationship with the club, you can negotiate this kind of deal. It takes some serious clout though and a proven history in their club. Venues will do this to get you to play their club (and not the many other options in their city). Because of your proven history, they feel confident that with the amount of promo that they will do, they will be able to get enough people out to your show to make it financially worthwhile for them.

IS IT FAIR: Absolutely. You earned this!

There's a fine line at what is acceptable, ethical, smart business and career advancing.

Look at it from the venue's standpoint: They are taking a risk every time they open their doors for a show. If no one shows up, then they do lose money (door guy, sound guy, bar tender, electricity, heat, AC, on and on). If they are strictly a music venue and don't open unless they have a show, then they really are losing money the moment they open the doors, until people (ideally drinkers) enter their club.

The biggest misconception bands have about venues is that the venue is supposed to promote their show and bring people to the club. Venues think bands should promote the show and bring people to the club. In the end, neither end up promoting the show and no one shows up.
+How I Got 250 to my Debut CD Release
+50 Is the Magic Number (Book a Headlining Tour)
The reason all the clubs in LA and NYC can create such horrible deals for the bands (and fantastic for the club) is because there are SO MANY bands willing to take these shitty deals. If one band refuses, then there are 10 more waiting in line (maybe not as good) that will take the deal. Venues in smaller cities tend to create better deals to lure in the good bands who will bring a crowd. They realize that if they offer shitty deals and enough bands pass on the deals, there will be no bands left to play their club and they'll go out of business.
+Don't Be Afraid of The Phone (what bookers look for)
The most important thing to understand is don't play a big venue if you can't fill it. Take shows at a smaller clubs and fill them. Open for bigger bands at bigger venues to build your crowd. Keep selling out the small clubs and eventually you'll be able to move up the big clubs with enough clout to get a fair deal.
+My Response to an LA Pay to Play Promoter
+Our Tour Page Is Totally Full (of empty shows)

If you want to Get Specific with me about your project and situation shoot me an email (via the Contact Ari form) and we can setup a consulting session.

17 Things Local Bands Just Don’t Get ... Guest Post by Ari Herstand!

1. Trashing other bands in your scene isn’t hurting their rep. It’s hurting yours.

2. Acting disinterested with folded arms at the back of the room at other bands’ shows does not make you cool. Singing along at the front of the stage does.

3. Looking like a rock star isn’t as important as sounding like one.

4. Image is actually important. Cargo shorts are for dads at a barbecue. Not for musicians on stage.

5. Being respectful and friendly will take you much further than being superior and entitled.

6. Going to other bands’ shows is THE most important thing you can do to support your scene.

7. Your scene’s gatekeepers are friends with each other. Get in with one and you’ll get in with them all. If you piss one off, prepare to be blacklisted.

8. You don’t need press to pack a show. You need a strong work ethic

9. Physical promotional materials are still incredibly important. Get out into the world and put up some posters and hand out some flyers. Don’t spend all of your time on Facebook.

10. Facebook is dying. If your entire promotional plan relies on it, you’re doomed.

11. You need to conquer your hometown before you can hit the road. If no one cares about you locally, what makes you think people will care about you anywhere else?

12. Touring means nothing unless people actually show up to your shows. Do not tour unless you know how you’re going to get a crowd at every show.

13. Playing around town all the time weakens your draw. Spread out your shows so you can promote one big show every 6-8 weeks.

14. HOWEVER, when you’re starting off, you need to play out everywhere and anywhere all the time to get practice. Record every show. Once YOU love listening to your live set (and non-friends and non-family tell you they love your band) then you can book real shows and charge a cover.

15. If you suck, you do not deserve to be paid. Get good first. Then you can start charging.

16. No one in the industry cares about how good your music is. They care about how successful you have become on your own.

17. Go out of your way to help others in your scene. It will eventually come back around.

Ari Herstand is a Los Angeles based DIY musician and the creator of Ari’s Take. His record release show is Saturday, March 29th at the Hotel Cafe in Hollywood. Get tickets here. Listen to his new single “Keep Fighting” here. Follow him on Twitter:@aristake