Notes on the Music Industry
Section 1 | Playing Live
Rehearsing & Material
Rehearsing is vital to a professional performance. You must rehearse until the band knows every song thoroughly and the other members of the band can cover for someone who forgets the words of breaks a string. It is not necessary to rehearse at full volume, even though it might feel better, which means that home rehearsal is possible without making enemies of the neighbours. Lower levels should allow you to hear all instruments at all times and pick up on errors. However, for greater freedom and a work-like atmosphere, rehearsal studios are very useful.
In rehearsal you should decide what material you want to play. Playing your original songs will be the most satisfying and if the material is good there is a chance of recording. However, your work will be unfamiliar to audiences and potential employers so initially it may be harder to get work. You might decide to play 'covers' of other people's songs the audience can identify with, then gradually slip your originals into the songlist as your audience grows. 'Cover' bands can become very successful, but have little future as recording artists, and be warned - once you establish a public profile for a certain kind of material it is very hard to alter that image.
By the way, it is a good idea to record your rehearsals so that they can be listened to, objectively, at a later time - and to allow you to judge your progress as a band.
There are a number of rehearsal studios in Perth. (see "Industry Contacts" on the back page or ask other bands where they rehearse) but it is far cheaper to use a warehouse or garage if you can find one.
Getting Gigs
There are three ways to organise gigs.
1. The first, and cheapest, is to visit the venue yourself. Make an appointment to see the person who books the bands, and turn up with your press kit (see section called "PRESS KIT"). This includes a biography of the band, a black and white photograph and a demo recording. If the band booker is not interested, take your publicity gear away with you again, or it will wind up in the bin. You'll be able to work out which venues are appropriate to approach for your band by looking at the gig guides in X-press & Hype.
2. The second way is to work through a booking agent or agency. There are a few of these in Perth. Some of them are agents for venues as well as bands. They control who plays in their client venue, so you wouldn't be able to get a gig by talking directly to the venue. If an agent takes a real liking to your band and music you can expect powerful support. But if you're a new band just starting out, be polite but persistent.
Agencies will charge between 10-20%. For this you get - a. Their contacts with venues and promoters, advice on media promotion and poster placement/design. b. Weekly worksheets fully detailing dates, times, places and special conditions of gigs c. Most importantly a contract of performance. This will spell out how much you will be paid to play for exactly how long, when and where.
There are basic rates of pay which have been set out by the Musicians Union of Australia which all venues must pay as a minimum fee. However, be warned that in many cases you will not be offered union rates. Much of the problem of low rates of pay for musicians has been caused by their willingness to work for less than the award.
3. The third way of getting gigs is by allowing a manager to do it for you. This is much less of a headache but you need a really good manager to do it effectively. He must be able to sell you enthusiastically, have established contacts in venues, recording companies and publishing companies and be careful enough to deal with every detail of organising the gig so you only have to get up on stage and play (well, that's the ideal situation)
When you are booked into a venue, make sure your agreement is on paper and signed by band and venue representatives.
Payment for bands varies from a flat fee to a door deal where you get all the door money. Sometimes you wind up with a combination of both and if you're creative you may invent a new way of being paid. But whatever the deal, make sure that you've done a budget that actually sees you make money!
Creating The Event
Make sure your performance is not boring. An entertaining presence on the stage is everything to take a new crowd, especially if you are so loud they can't talk to each other. Avoid too much talking. Keep communication short and if possible, funny. Don't play at your audience. Play with them. They love to be involved with the music. It's a great feeling when the audience gets into you.
Create a visual impression that reinforces your musical image. Dress can make people remember you.
Before you perform, especially if you are supporting, make sure you are thoroughly aware of where everything is on stage so your exit will be lightning fast. You'll stay popular with the crew and the venue that way.
Also make sure you find out before you play who is paying you your money and when. This can save hours if not days chasing money after the gig.
Production
You really need to understand how production works. It will make your gig run without hassles.
Make sure you know how much the production costs before arranging payment with the venue. Then you'll know exactly how much money each member of the band will eventually earn.
Production companies vary from cheap and nasty to more expensive and professional. The advantage of paying more money to a respected sound or lighting company is that you know you'll sound and look great.
Don't get talked into hiring a big PA when something one tenth the size will do the job perfectly well.
If you get a gig supporting a main act you will most often use their PA and lights (but usually not stage gear). In this case you will be expected to help with the load-in and load-out by supplying 'luggers' (usually you!) or by paying a fee. This fee may also apply if you use the main act's sound engineer. Make sure you, or your agent or manager, know the details before the gig. Crews work hard and won't appreciate what they will see as your failure to honour a contract.
Some venues have house sound systems and you can use their house sound engineer which works out a lot more cheaply.
Don't be too impressed with the sheer quantity of lights in a rig. A really creative lighting engineer will do possibly a better job with a small 18 can show than a large one. It's not what the audience see that matters. It's what they don't see that makes the boldest statement. This thinking will save you a lot of money.
Touring
Going on the road is expensive. Most bands do not make any money from touring for the first 2, 3 or 4 years. The best time to tour is when you have some product to promote. Even then, there is one golden rule - KEEP THE COSTS DOWN.
There are all sorts of new costs involved - transport, accommodation, fuel, meals, promotion, extended PA and crew hire and insurance.
Be as lean and mean as possible. Take as little stage gear as possible, cut down on vehicles. Try to get accommodation in the pubs you're playing in (cheaper than motels). Don't drink the mini-bar! Ring ahead or get your agent to try to hire local PA's in the towns you play in. Let the local media know you're coming (See Section 'Using the Media').
Choose your road crew carefully. Ask around. find out who is respected for their skill, enthusiasm, knowledge and experience. Perhaps most importantly, find out how easy they are to work with. A good crew can turn a boring tour into a lot of fun while getting a great result at every gig.
Notes on the Music Industry
Section 1 | Playing Live
Rehearsing & Material
Rehearsing is vital to a professional performance. You must rehearse until the band knows every song thoroughly and the other members of the band can cover for someone who forgets the words of breaks a string. It is not necessary to rehearse at full volume, even though it might feel better, which means that home rehearsal is possible without making enemies of the neighbours. Lower levels should allow you to hear all instruments at all times and pick up on errors. However, for greater freedom and a work-like atmosphere, rehearsal studios are very useful.
In rehearsal you should decide what material you want to play. Playing your original songs will be the most satisfying and if the material is good there is a chance of recording. However, your work will be unfamiliar to audiences and potential employers so initially it may be harder to get work. You might decide to play 'covers' of other people's songs the audience can identify with, then gradually slip your originals into the songlist as your audience grows. 'Cover' bands can become very successful, but have little future as recording artists, and be warned - once you establish a public profile for a certain kind of material it is very hard to alter that image.
By the way, it is a good idea to record your rehearsals so that they can be listened to, objectively, at a later time - and to allow you to judge your progress as a band.
There are a number of rehearsal studios in Perth. (see "Industry Contacts" on the back page or ask other bands where they rehearse) but it is far cheaper to use a warehouse or garage if you can find one.
Getting Gigs
There are three ways to organise gigs.
1. The first, and cheapest, is to visit the venue yourself. Make an appointment to see the person who books the bands, and turn up with your press kit (see section called "PRESS KIT"). This includes a biography of the band, a black and white photograph and a demo recording. If the band booker is not interested, take your publicity gear away with you again, or it will wind up in the bin. You'll be able to work out which venues are appropriate to approach for your band by looking at the gig guides in X-press & Hype.
2. The second way is to work through a booking agent or agency. There are a few of these in Perth. Some of them are agents for venues as well as bands. They control who plays in their client venue, so you wouldn't be able to get a gig by talking directly to the venue. If an agent takes a real liking to your band and music you can expect powerful support. But if you're a new band just starting out, be polite but persistent.
Agencies will charge between 10-20%. For this you get - a. Their contacts with venues and promoters, advice on media promotion and poster placement/design. b. Weekly worksheets fully detailing dates, times, places and special conditions of gigs c. Most importantly a contract of performance. This will spell out how much you will be paid to play for exactly how long, when and where.
There are basic rates of pay which have been set out by the Musicians Union of Australia which all venues must pay as a minimum fee. However, be warned that in many cases you will not be offered union rates. Much of the problem of low rates of pay for musicians has been caused by their willingness to work for less than the award.
3. The third way of getting gigs is by allowing a manager to do it for you. This is much less of a headache but you need a really good manager to do it effectively. He must be able to sell you enthusiastically, have established contacts in venues, recording companies and publishing companies and be careful enough to deal with every detail of organising the gig so you only have to get up on stage and play (well, that's the ideal situation)
When you are booked into a venue, make sure your agreement is on paper and signed by band and venue representatives.
Payment for bands varies from a flat fee to a door deal where you get all the door money. Sometimes you wind up with a combination of both and if you're creative you may invent a new way of being paid. But whatever the deal, make sure that you've done a budget that actually sees you make money!
Creating The Event
Make sure your performance is not boring. An entertaining presence on the stage is everything to take a new crowd, especially if you are so loud they can't talk to each other. Avoid too much talking. Keep communication short and if possible, funny. Don't play at your audience. Play with them. They love to be involved with the music. It's a great feeling when the audience gets into you.
Create a visual impression that reinforces your musical image. Dress can make people remember you.
Before you perform, especially if you are supporting, make sure you are thoroughly aware of where everything is on stage so your exit will be lightning fast. You'll stay popular with the crew and the venue that way.
Also make sure you find out before you play who is paying you your money and when. This can save hours if not days chasing money after the gig.
Production
You really need to understand how production works. It will make your gig run without hassles.
Make sure you know how much the production costs before arranging payment with the venue. Then you'll know exactly how much money each member of the band will eventually earn.
Production companies vary from cheap and nasty to more expensive and professional. The advantage of paying more money to a respected sound or lighting company is that you know you'll sound and look great.
Don't get talked into hiring a big PA when something one tenth the size will do the job perfectly well.
If you get a gig supporting a main act you will most often use their PA and lights (but usually not stage gear). In this case you will be expected to help with the load-in and load-out by supplying 'luggers' (usually you!) or by paying a fee. This fee may also apply if you use the main act's sound engineer. Make sure you, or your agent or manager, know the details before the gig. Crews work hard and won't appreciate what they will see as your failure to honour a contract.
Some venues have house sound systems and you can use their house sound engineer which works out a lot more cheaply.
Don't be too impressed with the sheer quantity of lights in a rig. A really creative lighting engineer will do possibly a better job with a small 18 can show than a large one. It's not what the audience see that matters. It's what they don't see that makes the boldest statement. This thinking will save you a lot of money.
Touring
Going on the road is expensive. Most bands do not make any money from touring for the first 2, 3 or 4 years. The best time to tour is when you have some product to promote. Even then, there is one golden rule - KEEP THE COSTS DOWN.
There are all sorts of new costs involved - transport, accommodation, fuel, meals, promotion, extended PA and crew hire and insurance.
Be as lean and mean as possible. Take as little stage gear as possible, cut down on vehicles. Try to get accommodation in the pubs you're playing in (cheaper than motels). Don't drink the mini-bar! Ring ahead or get your agent to try to hire local PA's in the towns you play in. Let the local media know you're coming (See Section 'Using the Media').
Choose your road crew carefully. Ask around. find out who is respected for their skill, enthusiasm, knowledge and experience. Perhaps most importantly, find out how easy they are to work with. A good crew can turn a boring tour into a lot of fun while getting a great result at every gig.