Found 400 results
Found 400 results
I'm agreeing with all this. If you go to any of the "big player" managers, they won't be asking for fees up front.
This could be instructional though.... ask this potential 'manager' who else is on his roster. Contact those other bands and ask them what their experience with this person is.
Or, ask if he has a website. I mean, if he's managing bands, he HAS to have a website. That would just be part of his business model. On his website should be a list of other artists that he represents. Pick three and contact them, check out what they're doing, etc.
I know that.
guess I should have said "*The abuse of* autotune is the devil", but I thought that was obvious.
always been amused that whenever two or more people come together and agree on something, there's automatically some sort of magical bandwagon involved. If you agree that the overuse of autotune is the devil, then you're on this bandwagon too.
Actually, most of the time, it is painfully obvious when someone is using autotune. However, the closer the person is to the right pitch in the first place, the less obvious it is. Of course, the only way to make autotune completely unnoticeable is to be singing on pitch in the first place, in which case you wouldn't need autotune anyways.
You know bands don't get signed up by record labels for how good their Myspace looks or how many friends they have, its based on the music itself.
Any company that doesn't accept un-solicited materials is a company that requires a lawyer. Any big name company doesn't accept unsolicited because they don't want to be liable for any music you send in that vaguely sounds like their next big record.
The other bands at shows are more important than the crowd.
I say this because band networking is how you get more shows at more venues. From my experience, most venues are willing to take bands regardless of their draw. cause until you're well established, they won't recognize your name well enough to know what kind of crowd you bring.
However, other bands, will be how you get shows and therefore have more opportunities to make fans and build a base. Making four new fans is much more valuable if they're in another band rather than out infront of the stage.
Thanks for the advice for those who gave it... I think I will wait awhile to build a better following before I send off demo's.
Why do you think there is so much generic music out there? Partly because the lawyers who shop for demos (yes, they actually do this) are the ones "with the ears".
Well, then I guess the explicit warning I got from the seasoned veterans of the music industry are "false".
The precise reason why they don't explicitly state this requirement is to weed out people who don't know about it. They use the lawyer requirement as a barrier to entry because there is simply too much volume of demos sent to them.
Fun fact for you: most labels nowadays require a lawyer to submit demo material from a band.
Don't bother without a lawyer to send it.
Don't forget to send a copy to Jade Tree Records. They're only interested in the music, not the statistics of your band.
Go ahead and do it. It's free, and it's experience. Plus, if it ends up sounding good, you've got a demo track to throw on myspace or something.
So, we have recieved a couple of replies from places that seem interested in working with us.
And thanks for the advice. We have been working to network with some local bands and introduce ourselves/build a relationship with a couple of venues.
Actually, JackFlash (if you read this) we're currently students at UNT. Do you know of any places that would be interested in an alternative folk duo? A few songs of ours are uploaded onto my profile if you wouldn't mind listening (that goes to anyone, really). Just please forgive the sound quality. They are very rough demos.
Be a frequent customer at the places you wish to play. If you want to play there, they most likely have other shows often. Go to as many as possible and start networking like crazy. Don't even mention you're in a band, just talk with the staff, the guys who are running the show, the guys playing the show, and the audience. Make yourself a known individual, so they know you, and you know them....lots of rapport. After a while just kind of drop in that you play, and would like to perform there sometime. No way in hell they will say no if they know you, and your material is solid. Relationships in the business are key.
Edit: This whole process should take place over the course of a month, not a night.
Watch the language you use. You know the relative quality of how it sounds, so don't let what we say sway you, but is it a demo? Or is it an EP?
(I'm assuming it is all original material, as if it were covers, selling or giving it away are both illegal....)
If it is a demo, give it away. Nobody wants to pay for a business card that you can hear. Nobody wants to pay for a half-baked burned copy of a CD with some song titles scratched on with a Sharpie either. I wouldn't anyways.
If I'm going to lay out money for something, make it look like, feel like, and sound like other things that I buy.
If it is an EP, then it is a product. You've crafted your songs, gotten them the way you will want to hear them even 40 years from now, and this is how you want others to remember them. In that case, do NOT give it away. People will not attach any more value to it than you do. If you attach no value to it, then neither will they. It is easy to just chuck it and not even listen to it. On the other hand, even if they paid $5 for it, they'll at least hang onto it for a while, and will surely listen to it at least once or twice.
If it is half-baked, then decide whether to keep it as a demo, or whether to pursue it further and turn it into something you won't be embarassed about selling.
Ok well done u have a gf. Your goal in this thread is complete as you have shown-off the fact that u have 1.
old site is old, I'm pretty sure making this thread is a bannable offence, ask lt. shinysides...