Daylle's News & Resources

                               Issue # 17

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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Please forward this newsletter to your mailing list or anyone you'd like. If this was forwarded to you and you'd like to subscribe, send me an email that says "subscribe" in the subject header with your name and city/state. If you'd like to post it on your site, please ask for  permission and I'll give it. Read past issues at http://www.daylle/monthly.htmlIf you prefer to be taken off my list, please say unsubscribe in the subject header of an email.

 

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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