Reaching Audiences with a Voice of Integrity (www.ArtistConsultant.com)

Working in the studio can be a very "ear tiring" business. I often don't even realize that I need to take a break, and if I don't, the quality of my work suffers. This is generally due to ear fatigue.

After listening to music in the studio for a long time, your ears get tired and no longer accurately hear all the frequencies. All too often people monitor at unnecessarily loud volumes, which greatly contributes to fatigue. I keep a decibel meter in my studio and monitor at an average volume of 90db - loud enough to feel it, but not quite enough to do damage. I also take frequent breaks. Five minutes here, five minutes there. It helps immensely. Try these tactics and you'll hear the results in the mix.

The hardest part of songwriting for me is finding inspiration. There are so many things that happen in our lives, but it's often difficult to find poetic and musical ways to express them. The following are some techniques that help me:

- I always keep a note pad and pen with me, as well as a micro digital recorder. Whenever I hear an interesting quote or phrase, I jot it down or record it. Even leaving an idea on your own voice mail from your cell phone can capture an idea in a pinch.

- I often listen to other artist's songs and get interesting ideas. Sometimes I'll borrow a line of lyric and write an entire story based around that one line or idea.

- Sometimes when I sit down with my guitar, I think of another song or groove and expand from there. Often I am inspired by the "feel" of another song and end up writing a tune, usually sounding very different from the song which initially inspired me.

Writing good songs is hard work, but a lot fun too! Don't be discouraged if it takes time and effort, the result is always worth it, even if you end up not liking what you have come up with. The exercise is priceless. Keep your eyes and ears open; you never know where the next great idea will come from.

When performing in front of an audience, it is imperative to captivate their interest. There are so many ways one can lose them. No matter how good you sound, if you have a lot of dead space between songs, the band loses its momentum giving the audience a reason to tune out.

There are several things you can do to prepare for your show, ensuring a smooth set from beginning to end. I am a big believer in set lists. Every band member knows what song is coming up, and you won't have "on stage" debates on what to play next. Although watching a band argue over songs can be amusing, the audience came for the music.

It is also important to make sure that the set list works. Songs should vary in key and tempo. I find that several songs in the same key, one after the other, can tire the listeners' ear. Tempo or groove variances can be tricky. Be careful where you place slow songs. I usually like to start and end "up tempo." Generally, right in the middle of the set, depending on the type of performance, is a good place to slow things down for two or three songs. However, be sure to pick it up again because too many slow songs will put folks to sleep.

For a long time, I was disappointed with the outcome of my photo shoots. I spent a lot of money on photographers, waited a few days, got the proofs and..."ugh!" Getting the "perfect" photograph of yourself is difficult.

Take many test shots. Have a friend shoot a few roles of film or digital snapshots first. Try some different angles and different expressions. Find out what works. This is a much smaller investment than an hour of a good photographer's time.

When you figure out what you like, tell the professional photographer ahead of time. He or she needs to light you in a certain way for the best results. If you like to be photographed from your left side, the photographer needs to light you accordingly. Perhaps you do not like to be photographed from below. Maybe you prefer not to look directly at the camera. Slightly cocking your head to side may provide better results.

When you do the professional shoot, have the photographer take Polaroids periodically. He will want to test the lighting anyway, but you can use these test shots to check your poses and expressions. Look out for wallets and keys bulging from pockets. Sometimes those become intrusive only when you enlarge your prints.

These photos may be your first impression on others. Make sure they are always the best they can be.

So often our music teachers assign homework and expect us to go home and practice. However, many teachers only tell us what to practice, not how to practice. The following are a few guidelines that I give my students to make their efforts more efficient.

Dedicate a set amount of time to your instrument. Make a commitment to that time.
When practicing, give it your full attention. Working in front of the TV may still help your "chops," but total concentration on what you are doing will also improve your playing intellectually and creatively at the same time. Why not kill three birds with one stone.
Try to practice every single day. Practice sessions don't need to be long. Working 15-20 minutes everyday is much more productive (and usually less painful) than cramming in 3 hours over the weekend. Especially when first learning, repetition is the key to success.
Try to balance the material. It's important to practice what you enjoy, but it is also necessary to work on everything your teacher assigns you. Do the stuff you least enjoy first. Get it out of the way.
If you're struggling with a particular piece, try to get all the way through it at first, mistakes and all. Then go back and work on it section by section.

Remember that the key is to have fun. If you become frustrated, don't be afraid to put the instrument down and come back to it later.

The hardest thing about performing is overcoming stage fright. I have taken the stage for many years now, and a few nerves still creep in. Ironically, I found performing in front of 40,000 people in a huge amphitheater in Toronto less intimidating that 100 people at a Border's Books and Music in New Jersey!

When I started performing in high school, I would freeze up before a show. In fact, I would tremble all day. Then finally show time came around. After the first song (or maybe the first guitar solo) it all went away. Even when I was older and playing in bars, I still had anxiety. I remember not even being able to eat dinner before a show.

A few nerves are good thing. It is a symptom of excitement, and excitement is a good thing. After all, we do what we do because it is...exciting. But many of us suffer from stage fright - extreme nerves, preventing us from pursuing our dreams of performing. This is when you have a problem that needs to be addressed.

The only way to overcome this is by forcing oneself to perform in front of audiences. Work up to it. Don't jump in front of Madison Garden on your first gig (unless you really have that opportunity)! Start with performing for a few friends and family in your own home. Then move on to a friend's home. Do it as often as you can. The more you do, the more confident you will become. That's all stage fright is - a lack of confidence. You'll be fine!

I have taught music for a number of years. One class in particular helped me overcome my inhibitions about performing. This was a class about the history of classical music. I had 25 adult students and had to give a two hour lecture once a week. Yikes! I was so nervous...not even a guitar to hide behind. But after a few years of this "public speaking," I could get up in front of almost anyone. I'm very confident now.

There is no stage that I can't handle. That doesn't mean that I don't get nervous. It just means that I can get up there and enjoy myself. Remember, a few nerves are a good thing!

Recording a demo for your band doesn't have to be an expensive, painstaking ordeal. It depends on what you will use your demo for. Will you use it to get gigs at local clubs, schools, or community centers? Perhaps you want to perform in theaters opening up for major acts? Or maybe you are trying to get a record deal with it? Do you want to sell it directly to the public?

For local gigs: Do a very inexpensive demo that will sufficiently represent you. Find a decent sounding room, such as a rehearsal studio. Get a hold of a DAT, CD, or minidisk recorder and a small mixer. Imagine a person standing in front of your "stage" listening to your band. Walk around until you find the best sounding spot to stand in and listen while the band is playing. At the sweet spot, place two microphones in "V" formation, pointing away from each other, but towards the band - as if they were two ears on a person's head. Now, plug the microphones into a mixer, panning one hard left, and one hard right. Keep your levels in check and run the output of the mixer into the recorder. Before recording your entire first track, do a short test and listen back.

If you are looking to sell it, you have to do a great recording. People will be paying for it, listening to it over and over. Represent yourself in the best way possible on CD. Take the band into the studio (a small quality project studio can produce big results), record, and then have a replication company professionally duplicate your master. Always rehearse your band as much as possible before you enter the studio - studio time is expensive; don't use it to rehearse.

The same goes for getting good openers for major acts. You want a good representation of yourself. A professionally duplicated CD looks better, but a CD-R will suffice - this is still a demo. I do suggest going to a studio and producing great sounding tracks.

The same applies for shopping for a record deal. You want the best possible recording to represent you. However, remember that this is about songs more than anything. Make sure that what you are capturing is the best you have to offer!

One of the most frustrating things for me as a songwriter is that I come up with so many ideas that I can't turn into songs. I'll often be into a riff, and after hacking away and trying to force a song out of it, I don't like it anymore.

What I found is that 99% of the time, I never use that exact idea. However, by trying to work with it, I come up with new ideas and variations that I turn into several cool songs. The key is to let go and persevere. Don't be afraid to drift away from the initial idea - in fact, force yourself away from it. Experiment and see where it takes you. Free yourself from boundaries that you construct and explore new places. Don't give up either. If you get frustrated, put it on tape and come back to it later.

I archive most of my ideas. Because I'm constantly coming up with them, it is difficult to organize them and I often don't use them. Nonetheless, occasionally I'll toss an old tape in the deck and be presently surprised by something that I had recorded, and long since forgotten. You never know where that hit song will come from. I have two schools of thought on ideas, both of which I subscribe to. Ideas are like gold, and should be cherished. However, some are more like Doritos - "crunch all you want, we'll make more!"

One thing all artists should have is a press kit. This is what you present prospective clients/employers, as well as the media. The more impressive your presentation, the better gigs and PR coverage you will get.

The following should be included: Bio, Photo, Demo, and Press Clippings. When putting it together, don't think about what you want them to know, but rather what they want to know about you. That is how they will peruse your materials.

Bio: Write it in an active tense using strong and colorful words. Make it captivating. Don't start from birth and how you first got into music. Instead, begin with the most exciting part of your career, the biggest achievement, and work around it. My bio (found at http://www.heyravi.com/) begins when I was the guitarist for the top selling band in the world...that keeps people reading. It goes on to track my career to the present, followed by a flashback to my personal background and entrance into the world of music. Give a description of each member of the band (individual credits - assuming that it is a band and not a solo artist with sidemen), the most prestigious venues in which you have performed, and any accolades that you have received. I update my bio regularly. When I was in high school, I included things like performing in talent shows, community events, charity benefits, community theater, etc. To make it more impressive, my band would do local radio interviews and public access cable TV shows (often connected with a teen center or school). It is important to do things like that- not just for the bio, but also for the experience. There are many opportunities if you go out and look for them.

A photo is essential. Everyone wants to see an "image." An 8x10 black and white picture of the band is still the standard and generally ideal. However, I have used smaller ones printed by Modern Postcard (standard postcard size) and it has always been reproduced flawlessly. Be creative, but make sure that the image is true to who you are. 8x10's can be expensive to print. Color photocopies are often acceptable (although the press should get a professional print). The press kit that Hanson sent me used a color Xerox! I also include a color photo with every press kit so the recipient has the option. This is probably not necessary, but it is usually appreciated.

The demo CD should also be an accurate representation. Don't give club owners a heavily produced CD if you sound completely different live. Generally, if you are looking to play clubs or community events, a live recording is good. If you are hunting down a record deal, give them the "big bucks" production! Send the media your latest commercial release, as that is ultimately what you want them to comment on musically. When you do send a full CD, highlight three tracks for the recipient to focus on.

Include press clippings. Assemble a page of quotes (put the most prestigious sources first), and back it up with a few (three or four) appropriately selected complete articles. I would scan them into a desktop publishing program and create a professional looking, easily readable layout. If you don't have any press - get some. The best way is to ask your local paper to run a press release about an upcoming performance or recording that you are releasing. Keep it concise and write it well. Otherwise, you may be subjected to the editor's decision of what to keep and what to discard. Often my releases are printed word for word. When I played the teen center in my local YMCA as a high school kid, I wrote up a release and my local paper printed it. In fact, after so many releases, they decided to write a big story on me. All of a sudden, I had a lot of ammunition for my press kit.

Finally, assemble everything in a manageable folder. Loose papers are a nuisance and may be lost. Put your contact information on EVERYTHING. Make it easy for the client to reach you, even if they have misplaced parts of your kit. Include a couple of business cards with your presentation.

When sending, accompany your press kit with a short cover letter. Do not repeat your bio in the cover letter. No one wants to read the same thing twice. Outline what you have included in the kit and why you are sending it to them. I like to send press kits by Priority Mail in a US Postal Service Priority Mail envelope. This is cheaper than an overnight courier, but stands out amongst the general mail delivery.

NOTE: If you have a website (and you should), all of this can be organized the same way online. It should be separate from your website, as you want it streamlined and designed to deliver information (no bells and whistles), but it can pull pages from your main site. For example, see www.heyravi.com/presskit

I am very proud to be working with the six companies that I professionally endorse. I love these products, use these products, and would do so regardless of any professional relationship with these companies. That is the key to endorsing with integrity. You are looking for long term relationships and must be willing to service your endorsement.

Almost every performing artist can secure an endorsement deal, at some level, but one has to bring value to the table, as manufacturers are not in the business of giving away product. The more value you bring, the better deal you can strike - usually anywhere from dealer cost to free product, and maybe even some cash for the road. Here's how to go about it.

Choose products that you already use and really believe in - ones you would continue to use even if the competition tried to lure you away with free products and grand exposure. That is that kind of commitment that justifies your endorsement. Don't limit yourself to music gear, as cars and other household items (such as batteries) also yield opportunities.

Assemble a one page marketing proposal, as the people receiving it are very busy. Include the reasons why you wish to endorse their product, the degree of exclusivity you are willing to give (I will not endorse two acoustic guitar companies, for example), and what advertising benefit the company will have from this relationship. Create as much added value as possible, and use real numbers to back it up. Consider your show attendance, the size of your email list on which you will include a link to their site, the number of hits on your own site (on which you will highlight your endorsement), and any other exposure that you can offer, such as conducting product clinics in your local and regional music stores...which is great promotion for everyone!

Most unsigned artists simply cannot offer enough, but that does not eliminate the sponsorship/endorsement opportunities. Jim Beam, Budweiser, and others (mostly alcohol) have existing alternative marketing programs in place and offer financial support to bands through a submission and review process. You will be putting your name along side of theirs - everywhere including on your own website - so, unless you honestly and personally use and love the product, you are better off going elsewhere.

Local businesses are often willing to sponsor a band for a particular gig. If you are playing a festival in Connecticut, and the festival is not paying enough to cover your travel expenses, perhaps a local Connecticut car dealer will pony up the difference. Why? Because you will offer them exposure to a few hundred thousand potential customers - not your local fans, but their hometown community. "RAVI presented by Joe's Volkswagen of Connecticut" would appear in every program handed out to every attendee throughout the entire festival, not just the day you are appearing. Plus they could have VW brochures available on your merchandising stage, and would likely be included in any press covering your appearance since they are presenting you. It may benefit both parties even more to use some sponsorship money to buy an ad in a local paper for your performance.

When going after endorsements and sponsorship, think big and small, look outside of the box to create added value, and most importantly, don't attach you name to anything that you don't truly believe in.