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Hello
to you all!
I hope that you are feeling the good vibe of a
new year! Did you make resolutions that you're
struggling to keep? Often we set lofty goals
on New Year's eve and then beat ourselves up
if we don't achieve them. Concrete resolutions
- I'll lose 10 pounds, I'll double my gigs,
I'll get major radio play - are hard to keep.
My resolution is always to do
the best I can to continue to live up to my
potential. That's easier to keep.
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Things are continuing to go well with me. I'm
getting interviewed in a lot of publications.
On February 8th I leave for Stavanger Norway
to be a guest speaker at Scandinavia's biggest
music conference called by: Larm (http://www.bylarm.no).
It's very exciting and I always love a
courtesy vacation. I'll tell you what this
conference is like in the next issue.
I'm planning to do a national indie music tour
this fall for my book, How Do I Love Me? Let
Me Count the Ways. I'm currently speaking to
people about being sponsors and have some
exciting ones so far. If anyone is interested
in getting involved, please contact me.
Come see my new website.
http://www.daylle.com
I just launched it!
In about two weeks I will have the first issue
of Self-Empowerment Toolkit, a newsletter for
the body, mind & spirit. I'll send the
first issue to everyone on this list but will
not keep sending it unless you subscribe. It's
free. It won't be all in an email. I'll send a
synopsis and you'll be able to download it on
my website. If you like the personal growth
articles I write for this newsletter, you'll
probably enjoy my new one.
In this issue, I've got an interview with Jose
"Chilitos" Valenzuela, author of the
Complete Pro-Tools Handbook. I've also got an
interview with Jennie DeVoe, a
singer/songwriter from Indiana who has carved
a successful niche for herself, proving you
can do that without moving to one of the big
music cities. I hope that you'll find the
other resources in this issue helpful too.
Please feel free to write with suggestions and
questions that I can answer in future issues.
Revenge Productions
http://www.daylle.com
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1. Balancing Nice and Friendly with Getting
Taken Seriously
2. ProTools - Interview with Jose "Chilitos"
Valenzuela
3. My next seminar
4. Raising Money Alternatives - part two
Alternative investors: Rich people
5. Interview with Jennie DeVoe
6. Minding Your Music Biz: Having a User
Friendly Website
7. Ask Daylle: How can I find a manager?
8. onlinegigs.com
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1. Balancing Nice and Friendly with Getting
Taken Seriously: They say that nice guys
finish last. Many do. I'm just developing a
new book called Nice Girls on Top based on
classes I've taught, which included Nice Guys
On Top. There a big difference between being a
nice person and
being someone who allows himself to get taken
advantage of by others. People can be taught
the difference with your actions! This biz is
about networking and meeting people. Friendly
gets you further. But friendly can also give
people the wrong impression - that they can
call on you for everything. It's up to you to
set them straight.
I get calls and emails every day from people
who ask for my help. It's VERY rare that
someone asks for my fee. They assume because
I'm friendly and care about people, that I'm
just sitting here waiting for people to ask
questions. Some people actually insult me when
I tell them I do
consulting for a living and don't have time to
answer them. I remember them. What goes
around, comes around. I believe that people
who don't show respect for your time and
talent won't usually get far. I confess, there
were 2 rude artists who stood out in my
memory. I recently checked their websites, out
of curiosity. Both were gone.
I've learned not to worry about what others
think of me, as long as I try my best to be
considerate and give when I can. There are
people who call me in such a considerate way
that I do give them some time. You know who
you are! :) But I get calls from people who
say things like, "Someone gave me your
number and I have questions." They don't
introduce themselves to me or even say hello.
Just a barrage of questions. They learn
quickly that it's rude. If they don't like me,
oh well.
Watch
out for those who think they can always get
help from you, while you get nothing from
them. You must protect yourself. People will
take advantage if you let them. That's human
nature. And there are a lot of lazy musicians
who don't want to spend the time to research
and find
info. It's easier to bother you. Learn to say
no. Or "It's not
convenient for me" if that's easier. But
be selective about how much you help others. I
do try to help people whenever I can. But I
can't have my writing continuously interrupted
with questions that are answered in books or
on the internet. You shouldn't have to give
your gig contacts
to people who don't want to put in the work.
And you don't owe everybody who wants
something from you. Keep your integrity with
others, and with yourself. You must take care
of you first, because no one else will! And
yes, I do consulting by phone and in person
about all the marketing and promotion topics I
write about, if you're interested. : ) When
folks are trying to eat your time, say,
"Focus on self" as a mantra. And
force yourself to set boundaries.
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2. ProTools - Interview with Jose "Chilitos"
Valenzuela: Chilitos is founder of
AudioGraph International and author of the
Complete Pro-Tools Handbook. I asked him to
help my readers understand what Pro-Tools are
and some tips for using them properly. Here's
some of what he said.
What is Pro Tools? Pro Tools is
basically an entire recording studio in a
computer. Musicians nowadays buy Pro Tools LE,
which means Limited Edition. A single M Box,
music box, costs about $400 - 450. If you are
a songwriter you can do everything. The user
interphase is so simple,
unlike many other systems. The quality is
amazing. On the LE system, you can record 32
tracks at the same time. Imagine the 24 track
systems of the old days. You can do everything
to your tracks that you need to now and record
32 at the same time with Pro Tools. The LE
systems come with the interface.
How do you do vocal tracks? You put a
microphone into what they call the audio
interface. That's where you connect all the
cables like a microphone or guitar cable in
the back of this little interface. It enables
in the software and you're ready to record.
It's as simple as that.
Is Pro Tools a separate box that you connect
to the computer or is it software?
It is both. When you buy Pro Tools, the
software is included.
What makes it so easy? It's like
recording a cassette. You press playand record
and you start talking. With Pro Tools, as long
as you connect your microphone, for example,
you just click a recording enable button which
is a button right on the screen of your
computer and you'll see the signal coming in
for voice or guitar. That is enough to record
so
you just press like a cassette, play and
record and you start recording.
To start a home studio, other than Pro Tools,
what is needed? A good microphone,
a keyboard, a synthesizer just in case you
want to put something in there, 2 pre-amps.
That is good for giving good quality vocals.
It is always important to have a good
microphone and a good
pre-amp.
Where do people make mistakes in mixing?
Sometimes people use processors, reverb units,
delay units, compressors. They overuse them.
When you compress a single, if you
over-compress it, you are not letting
it breathe. Many people make a big mistake by
over-compressing singles. Also, it can be
distracting when people EQ it. They should
take out instead of adding more. When you
record an instrument, it's important that you
know how to record it instead of just adding
EQ on the mix. It can overdo it.
Why
are plug-ins necessary? Plug-ins
are the effects. You have to purchase those.
Those are expensive. Nowadays it's easier
because anybody can use them online for I
think $20 a day per plug-in. You may not use
it for 5 or 6 months and this way you can just
rent it. They embellish the sound. EQs have
compressors. You have reverb units. You
can put delays in your signals.
What kind of computer recommend to use with
Pro-Tools? If you're using the LE
system, you will need at least a G4 or G5 for
Macintosh. You can now use the faster and
cheaper system but it has to be XP operating
system. If you can afford it, it is better to
get a word processor Macintosh. That does a
faster processing of the data. When you're
doing an automation for a fade out of guitar,
the real time is just very fast.
For those of you who want to learn Pro-Tools,
Chilitos' book will teach you everything you
need in simple language.
http://www.chilitos.com
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3. My next seminar: My next seminar is Start
& Run Your Own Record Label on Saturday,
February 26, 2005 from 11 am - 5:30 PM at The
New Yorker Hotel, on the NW corner of 34th
Street & Eighth Avenue. The seminar
is $95 in advance or $115 at the door. http://www.daylle.com/seminar.html
Credit cards can be used on my website or the
payment can be mailed to:
Revenge Productions
PO
Box 8016, FDR Station
New
York, NY 10150
This will be the only private seminar I do
this year. I am available for speaking for
others who put the event together, like the
one I did for VLA. As usual, there will be
guest speakers. I normally have 4 speakers but
I have so much new info to pass on that I'm
keeping it to three so
there's more time for nuts and bolts,
including new international info. They are:
Wallace Collins, Music Attorney
Patrick Arn, founder of Gotham Records
Clint Arent, Marketing Manager for DiscMakers
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4. Raising Money Alternatives
- part two
In the last issue I wrote about ways to find
investors in your music. Now I'll tell you
another source - rich people. Rich people can
often afford to give you what seems like a lot
to you but is chump change to them. Years ago
I managed a rock band who had a Wall Street
fan. He gave
them many thousands of dollars to get their
music out. He called it an investment but used
it as a tax write-off, like record labels do
with artists they sign and ignore. But rich
people who love your music do it to help, and
then take whatever benefit they can. Some
people call them
angels if they give you money because they
believe in you. Many rich people find their
fields unexciting. So they love the
opportunity to feel part of our *glamorous*
biz. Many will ask nothing in return. Some
want a piece of the profit but will let you
handle it. Others want to get involved
hands-on. Those are the ones to avoid. It's
your music and
you will usually know better than a corporate
person in an unrelated field. But they know
biz and may think they know what to do. And
they may mess you up more than they'll help.
Be careful of anyone who wants to control your
career!
Where do you find angels? Wherever you go, put
it out that you're looking for investors. Work
it into conversations with friends and family.
EVERYONE. You never know who has a desire to
be affiliated with the music industry. If your
music is appropriate, ask everyone you know
who works for a large company if they have
events with entertainment and
to please find out who books the musicians.
Corporate gigs pay well and also give you
exposure to more people with money. Send
material to corporations a few months before
December and try to get booked for a holiday
party. You can cold call and ask who would be
appropriate one to
receive it. When you get a good response from
the crowd, introduce yourself, give a brief
history of what you've done and casually
mention you're working to get to the next
level, when you get your investors on board.
People may approach you. Or during the breaks,
talk to people
there and work it into the conversation. It's
always a long shot but mention it to people
you talk to anywhere you go. One of my clients
met the founder of a famous chain at a
personal growth workshop. They bonded and the
guy invested in his label. Seek and ye shall
find.
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5. Interview with Jennie DeVoe: Jennie DeVoe is a full time
singer/songwriter who's run her own Rubin the
Cat Records since 1998. She's sold 25,000 CDs
independently. She's featured in my next book,
as are most of the people in the interviews I
share with you. I sent her a bunch of
questions about being an indie artist. Over
the weeks she sent
me long, fantastic info with her take on an
assortment of topics. It was such fun to
receive her emails. I've including a sample of
it here.
Where do you see the place of indie music
now? I think the tides are turning so
fast that it seems like the music industry is
in trouble. There are more free agent-artists
- very cool. If the general public could get
educated as rapidly as things change, well,
that would be the best thing for artists
across the board. The music industry has been
so thorough in establishing the train of
thought that leaves the general public
brain-washed into thinking that only
major-label artists are good. Enter, the
discerning ear, the think-for-yourself
listener. That's all indie artists really
need.
How did you get started? My goals when I
began were to never work behind a desk.
I just wanted to make a living singing. I
worked in a studio after graduating from
college. They did music and post-scoring for
commercials for radio and television. I poured
coffee and tried to be in the right place at
the right time so I could make money doing
something I was good at and loved. I offered
myself up every time something seemed like I
could do it. Little by little I was making a
pretty good living at singing and talking for
commercials. I quit my day job and that's
still the best supplemental income to writing
and singing my own music that I have. It was a
gift, because I got as close to music
as I could by taking a job that a lot of
people might not take. It allowed me freedom
to travel around, do music and build up my fan
base. I'd be lying if I said it was a 'plan'
per say. It sprouted out of a passion for
writing and a love of performing.
How did you start gigging? I got a
couple guys together, bought a PA, started
doing bar gigs and collecting fans and slowly
building my name. We did some covers until
eventually the originals were well known. I
staked my name on my original songs. The
motivation is still passion.
The first steps are having a product to pedal
? your songs, your voice, your performing
abilities. You only have a few times to prove
to a bar owner that you're going to capture an
audience, make it grow and perpetuate a need
for you to come back. So, a band better have
something to offer before they get a gig or it
could do them in. Working a market until you
own it is smart. Then work a few more markets
and build your name.
How does an artist get to tour out of their
hometown? To get into new markets, a good
press package is key. So, you really have to
earn your press package in a market. There are
usually local music rags, city papers with
music editors, local dejays. Work on getting
some quotes and reviews from these folks so
you can build your press package. Once you
have a 'story' and following in one or more
markets, begin some detective work about clubs
in other areas that you want to play and start
calling and sending your package to those
places. It's good to have a relationship with
someone over the phone so they know your
package is coming and they expect it and open
it. It's even better to have someone book you
such as a friend or true booking agency.
Sometimes it takes a while to prove to a
booking agency that you are a worthwhile
investment. They need to make money off of
you.
How can touring be expanded for more
income? Gigs that make the most money
are probably different for everyone. I've
worked pretty hard in the Mid West and have
festivals and clubs that know I will bring in
a crowd so they are the ones who pay me the
most. You can ask for any amount but you want
to be realistic. I will open for a
national act for almost nothing because the
trade-off or benefit is that I'm gaining
exposure to their audience. Exposure is
priceless. So you always have to be prepared
to weigh the pros and cons. Who has the most
to gain from the situation is going to depend
on your worth in each situation. Maybe
you can ask for $2,500 because you are going
to be worth it. Maybe you do a gig for free
because you are going to gain exposure. If you
ask for too much money when it comes to
opening for a national, they will just move on
to the next act who will do it for free or
close to free.
Getting gigs is a personal art. It has to do
with your reputation, your drawing power, your
type of music and so on.
Do you use contracts? I usually work with a
simple one-page contract clarifying all
expectations of both the purchaser and the
artist. Getting a deposit that is
non-refundable keeps clubs and festivals in
check if at all possible. Having a
rain-date clarification within your
contract is key for outdoor events. You want
to be flexible but you also need to get paid
if the date is on your books. Lots of venues
have in-house soundmen. They might work a deal
with the artist that charges $5 at the door,
artist keeps 80% but the soundman's money
comes out of
that, usually $50-$100 is standard. You can
work any deal you have the power to work
though. Perhaps you'd like a flat rate. Then,
the advertising pressure to cover the cost of
hiring you as an artist falls upon the venue.
Jennie has done shows with many name acts,
including Joe Cocker, John Hiatt, and Susan
Tedeschi and played on the Lilith Fair tour.
She's earned three John Lennon Songwriting
Contest Honorable Mentions and won 1st play in
Billboard's 2002 Songwriting Contest, the Pop
category. Jennie continues to license her
songs to major television shows and Corona
Beer. She gets songs placed in film and TV
from doing research. Jennie continues to live
in the Mid West, dispelling the argument of
having to move to a major music city to
succeed. A lot more of her interview will be
in my book. Check her out at
http://www.jenniedevoe.com
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6. Minding Your Music Biz: Having a User
Friendly Website: If you have a website,
and you should have one if you're marketing
music, be careful about how complicated you
make it. I've been to some lately that I can't
get into because they have the latest version
of something that I don't have time to
download. When I'm looking for an act to
interview, I check out sites. If one is hard
to get into, I hit stop and try another act's
site. I LOVE the people who have 2 versions -
flash and HTML. Even when I use DSL, I always
go to HTML because it's easier for me to
access the
info I need. Do yourself a favor if you choose
to design a high tech site and have an option
for those of us who don't respond favorably to
it. Your fans may not have the fastest
computer or the latest technology. Make your
site accessible to even us low-tech people who
want to check you out by having an HTML
version.
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7. Ask Daylle:
How can I find a manager?
I hear it all the time - "If only I had a
manager I'd be set." People come to my
classes and for consultations, expressing that
*one bitty* piece that's missing from their
career. They're stunned when I ask, "What
do you have to offer a manager who only makes
a percentage of your
earnings?" They look at me like I just
asked how to get to the moon. Like their
perceived talent should be enough. Duh! Rent
doesn't get paid from talent unless it's
talent that's earning bucks, not just
applause. With few exceptions, the ONLY way to
get a good manager is to get your career going
first. Put yourself in a position where you're
earning money and then fax potential managers
a one-sheet highlighting your accomplishments.
You might find a fan with no experience to
manage you at the beginning. But if you're
expecting to get a pro, be professional enough
to work the streets and get a grass roots buzz
going, a very loud one. Get out of your
hometown into other regions. Pay your dues.
Then
you might be in a position to attract someone
who can help you advance.
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8. onlinegigs.com: Onlinegigs (www.onlinegigs.com
) is a subscription service that virtually
automates the administration of booking and
promoting bands. For those of you who want to
get on the road and don't know where to begin,
this touring resource is worth it. For a small
monthly fee, it offers a huge directory of
industry contacts and the ability to track
correspondence with them, print labels, issue
contracts, automatically update any website
with gig information, automatically generate a
tour itinerary with directions, and issue
press releases to local media in those
markets. Use this and you'll have fewer
excuses for not getting on the road! I
interviewed musicians who say that when
they're booking a tour, they always fill in
dates with venues from this site. Here's an
even better reason to try it. You can get a
free trial month if you click here.
http://www.huttonlane.com/webapps/affiliate/bnrsvr/
bc.cgi?PID=100007&BID=112539&AID=100114
(cut and paste this into your browser if
clicking it doesn't work.)
Actor
Henry Fonda said, "Get as much experience
as you can, so that you're ready when luck
works. That's the luck." Lucky people
earn their luck. Sitting around waiting for
good luck to bring you to what you want will
probably bore you. When you do everything in
your power to become
better at what you do and get as much exposure
as possible, more opportunities come your way.
Then people will call you lucky. But you'll
know that you created your own good luck. I
work VERY hard and I'm a VERY lucky girl. Hard
work and good luck go hand in hand. So dig in,
get
serious, and make others envy how lucky you
are!
Until
the next issue.....
Keep your passion strong,
Daylle
© 2005 Revenge Productions
http://www.daylle.com
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