Vocal Singing Tips

A couple weeks ago I judged 'TeenStar' a singing competition ran by Open Mic UK and they handed out a little booklet that was full of great tips for aspiring and professional artists.

I'd like to share a few with you!  Here goes ... 

Protecting Your Vocals
Keeping your vocals protected is primarily about lifestyle choices. Two good vocal singing tips are avoid speaking loudly or shouting (no more yelling at your siblings or shouting in nightclubs!), and avoid whispering as this causes the vocal cords to squeeze together tightly, which can create trauma. 

Hydration is one of the most key vocal singing tips, and drinking two litres of fluids a day, especially two hours before a performance, will do your vocals wonders. Avoid smoking, coffee and alcohol, as these will all dehydrate your vocal chords. 

Finally, keeping your general physical health in check, working to reduce any muscular tension in your body, getting enough sleep, and maintaining a happy persona will each allow your vocals to shine.

I hope you have found this weeks tips helpful.

SINGING COMPETITION AUDITION DATES ANNOUNCED

FOR - Open Mic UK 2014!

How to Make Money from Your Music on an Ongoing Basis! Guest post by Ari Herstand!

Last month I profiled Jeff Price’s Audiam on Digital Music News and how he looks to fix YouTube’s royalty system. That’s all well and good, but even if things worked perfectly in the YouTube royalty world, creators still rely on viewers to click ads. Then for those ads to generate revenue for YouTube and, eventually, sure, the creators. Maybe.

Enter Patreon.
Patreon skips the middlemen altogether and goes directly to the fans. Patreon is a Kickstarter-like service for constant creators. Instead of raising a bulk amount for one big project (like an album), Patreon is for those who create on a regular basis – like YouTubers, musicians, podcasters, bloggers and the like.
“Patrons” pledge a set amount PER CREATION. The average pledge on Patreon is $7. So if you create 3 videos a month, and a fan pledges $7 per video, you would earn $21 from that fan per month.
Jack Conte, a successful YouTuber in his own right (and one half of Pomplamoose), created Patreon because he saw the discrepancy between impact and monetary value.

“I think everyone is embarrassed about their low [YouTube] ad revenue dollars because they read stories about people getting rich off YouTube and they think ‘ugh I’m just not getting enough views. I’m just not smart enough’ And no one wants to speak out and say ‘Yo this model sucks! It doesn’t work for anybody!’ ” – Jack Conte, Co-Founder and CEO of Patreon

Conte (and his co-founder Samuel Yam) launched Patreon in 2013 and it already has built up a user base of 30,000 active patrons and 10,000 creators. Patreon.com gets 2 million page views per month.
The website lists that Patreon is for Musicians, YouTubers, Web Comics, Writers and Bloggers, Indie Gamers, Video Producers, Authors, Podcasters, Animators, Artists, Photographers and “Any creator who wants to share their work.”
Fellow YouTuber, Peter Hollens, is a singer who creates A Cappella videos and has over 558,000 YouTube subscribers. He puts out about 3 videos a month and so far makes $2,745.68 PER VIDEO.
Zach Weinersmith creates comics and books. He has 2,821 patrons and makes $7,777.61 per month.
Cara Ellison reviews video games. She makes $1,938 per article. Contrast that with the starting weekly salary of a New York Times reporter of $1,360.
There’s a woman who makes ASMR videos (which Time Magazine calls “a strange, tingly sensation, known in some corners of the Internet as a brain orgasm.”). She’s at 409 patrons and $2,859 per month.

And now, there's a dude with funny hair who writes blog posts that help independent musicians succeed with their careers.
Patreon can be used by any type of creator putting out regular content.
Unlike YouTube, Conte mentioned that the comments on these creations are 100% positive.
Creators can choose if they’d like to setup their profiles to collect per piece of content or per month. Fans can put a cap on how much they are willing to pledge per month.
Creators can offer perks and rewards (ala Kickstarter) to reward fans who pledge more, but aren’t required to. Unlike Kickstarter, all perks are digital. No breaking the bank on postage or cramping the hand signing lyric sheets.
Patreon just launched the Creation Page where creators can share a direct link to each new creation (video, song, blog, podcast, etc) to their social media so fans are directed to the page with the embedded creation and a link to become a patron. The Creation Pages look very similar to Kickstarter – highlighting the perks on the right side bar.
Like Kickstarter, Patreon takes 5% (after the transaction fee of around 3%).
Following in the footsteps of other tech giants like Steve Jobs and Eric Schmidt, Jack Conte is currently not taking a salary (well the others took $1). Conte says he wants to live off of Patreon as a creator. VP of Operations, Tyler Palmer mentioned that Conte comes to the team and says “Guys, we gotta change the product in this way because I rely on this and I need this as a creator.”
Musicians are putting out more music now than ever. Sure major label artists may only put out an album every 3 years, but Patreon is not for them. Patreon is for musicians and creators who put out regular content to connect with fans on an ongoing basis.
Fans will pay you for music. Ask them. Don’t make them.
I just launched my Patreon page for Ari's Take. Check out my page, become a patron and see how it works. Browse the site and launch one of your own!

If You're Not Selling Tickets & T-Shirts, You Don't Even Matter ... Guest Post by Ari Herstand!

This past Saturday I caught the Building Your Team panel at the ASCAP EXPO at the Loews Hollywood Hotel. The panel included entertainment attorney, Josh Binder Esq., artist manager, Marcus Grant from The Collective, business manager, Sean Welch, and A&R rep Walter Jones from Sony/ATV Publishing.

They discussed what they look for in a client, when artists are ready for representation and how to build the team.

The sentiment that sums up the entire talk came from the artist manager, Marcus Grant, when asked how artists can get his attention. He said:

“If You’re Not Selling Tickets and T-Shirts, You Don’t Even Matter.”

One of the most frequent questions I get asked is “how do I get a manager.” But the simple answer is: you don’t find a manager, a manager finds you.

Grant also revealed the hard truth to the room full of musicians:

“You’re not going to get a record deal by asking for a record deal.”

Believe me, I understand how frustrating it can be to think you’re ready for representation only to be greeted by cold shoulders and silence.

But that should not be discouraging, it should be inspiring. Inspiring to get better.

Can you sellout a club in your hometown? Or a club in any town? Are you getting hundreds of thousands of plays on YouTube, SoundCloud or Spotify? If not, then why do you think big players in this industry are going to care about you?

They want to know that you are proven. You don’t have to have the full package set in stone, but you have to be making some waves somewhere.

Engagement

Having a million twitter followers doesn’t mean anything if only 100 of them are actively engaged. If that’s the case, “you just have a lot of spies,” Grant joked. But it’s true. You don’t need Lady Gaga #littlemonsters engagement, but you need some influencing power that will get people to actively go out of their way to proselytize for you.

“When You Create A Business, People Will Come To You”
- Marcus Grant, Artist Manager, The Collective

You have to be killing it in at least one area of your music career before people will pay attention. If you want to work the YouTube angle, then model successful YouTubers, get high quality video up every week and start to build a solid subscriber base. If you want to work the Twitter angle, then study up on building a Twitter fan base and ENGAGE. If you’re a DJ, take over SoundCloud. If you’re working the grassroots, live scene then sellout your local venues and become the biggest band in your scene. Start touring and building a real ticket buying following.

Once you’re at a level where things are starting to happen, then people will take notice. If the right people aren’t taking notice (while things are actually happening), then it may be time for you to hire an entertainment attorney to get you in the door with a manger FIRST.

But don’t take the first manager who says yes. If the manager takes the meeting then she’s obviously interested. Ask her what she can do for you. What are her 3 year and 5 year goals for you. What tours does she see you supporting? What producers, labels, publishers or booking agents does she see you working with?

Remember, the gut check is the most important check before hiring anyone on your team.

Depending on the manager’s vision, she can start bringing others onto your team, like an agent, label, publicist, publisher and business manager. These people can manage the macro side of your career.

But you need to also have either a personal manager, a “best friend manager,” or yourself, to micromanage all of the day-to-day duties to build and sustain a career in the modern age of music.

“It’s up to me to build the story. I’m not promising you anything. My job is to build the best bridge to get you wherever you need to go.” – Marcus Grant, Artist Manager, The Collective

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

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/.