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- February 2001 -

The Indie Bible: Independent Music Promotion
Cover Design By Bob Masse
$24.95 + Shipping

Get More Information on how to Promote
Your Music by Purchasing The Indie Bible!

Table of Contents

8. LOOKING FOR AN AGENT by Jeri Goldstein
YOU GO INTO THE STUDIO by Lynn Carey Saylor
10. ARTIST MANAGEMENT CONTRACTS II by Joyce Sydnee Dollinger


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The February issue of the Indie Contact Newsletter welcomes a new monthly contributor....Steve Veloudos of Zebra Music. Steve V. has graciously offered to submit a monthly column that will explore key issues that will help to create success for your band and your music. Steve's column this month addresses a fairly touchy issue, and that is how to go about choosing band members.

One of the newsletter's regular contributors, Joyce Sydnee Dollinger, has submitted the second half of her article on "Artist Management Contracts". Joyce has a unique way of taking this very confusing area of the industry, and making it understandable for the working musician and songwriter.

Lynn Carey Saylor continues her series on recording tips. Lynn's column this month is a highly informative article on how to get yourself prepared for a recording session. These are things you can do prior to the actual session that will save you a lot of money and wasted energy. Lynn's ideas will help ensure that your sessions run smoothly, while encountering as little nerve damage as possible.

I'm also honored to have an article submitted by well known author Jeri Goldstein. Jeri has helped me a great deal by promoting the Indie Contact Bible at her seminars. Jeri's expertise is in the area of Music Agents. Her article gives some valuable pointers on how to go about finding an agent that suits your needs and the goals you wish to achieve.

As always, there are a sizable group of new contacts listed that can help you to gain exposure for your music.

Rainmaker Publicity, founded in 1996 by ex-ABC Radio exec,
Rhonda Kelley , is looking to add a few new bands to their roster
this year. Rainmaker works with unsigned artists and indie labels ONLY!!

For more info and rates, go to: www.rainmakerpublicity.com

Below are the contacts that were submitted to me in January. As is the case in The Indie Contact Bible, the contacts listed are sorted into five sections.

1. Sites that will review Independent Music
2. Radio stations/shows that will play Independent music
3. Online services that will help to sell your
4. Sites where you can upload your band's MP3 files
5. Sites where you can promote your band online for FREE!




The Eagle Music Co
Hannah Eaglemusicco@cs.com
We will review Hip-Hop, R&B and other urban music.

Sub Culture Magazine
James Addesa TrypWyreX@aol.com
(no web site)
We are a small publication on hardcore, punk, and metal. We concentrate on lesser known bands and steer clear of mainstream music.

Colonel Buster Doss cbd@vallnet.com
A Country Monthly Magazine dedicated to helping Indie Artists!

The Original Sin
Pat Gorta Pat@the-original-sin.com
The Original Sin is a webzine that covers Ska/Punk/Emo and their respective sub genres. We accept any format of music, and will review anything! Please contact us so you can send us your releases to review.

Sway Magazine
My personal web site about women in music, featuring interviews with Alanis Morissette, Lauryn Hill, Britney Spears, Shania Twain and more, plus women behind the scenes in a&r, management, booking etc. I also do music reviews of indie artists!

Lilith's Child
Erin P. Capuano LilithChildMAG@cs.com
Our webzine does not turn any female artist away for publicity...its free exposure.

Sin dedkitty@optonline.net
http://dencity.com/dedkitty Onluie
music zine. Punk, Hardcore, Metal,.....whatever. Interviews, CD and Show Reviews, Pics, Online Radio.....and more!

Billy Infantis Byfantis@yahoo.com
SKYLIGHT is an on-line zine that covers classic rock/hard rock and also has a partnership with The Dog Zine that is distributed for free all over Greece.

Morrice Blackwell morrice@jazzreview.com
We specialize in reviewing new jazz releases.

Independent Songwriter Web-Magazine
Jan Best jan@independentsongwriter.com
Independent music web-publication with CD reviews, internet radio station, and much more.

The Posh Rock Rail
B.J. Weikert chef3@hargray.com
Hello, I write reviews for The Posh Rock Rail, an entertainment rag that covers SC and GA. My column "Juke Joint Boogie" covers alt-country, americana, roots-rock, bluegrass, folk, blues, etc. Any promos that you would like to send my way will be listened to. The Rail also has a web site currently under construction at www.poshislandrail.com where my reviews are featured. Send material to: B.J. Weikert, 409 Shady Glen, Bluffton SC 29910

Stephen Zimmerman Mononsterzine@aol.com
Underground Music Magazine For People Who Like Music.

Blues On Stage
Ray mnblues@aol.com
Send 2 copies of CD along with any promotional material for reviews to: PO Box 582983, Minneapolis, MN 55347

The Paper Street Music Company
Paul communicate@paperstreetmusic.com
The site is interested in electronica, punk/hardcore/ska, metal, indie rock, and noise/experimental.

Altar Native
Omar Perez omar@altarnative.com
We review indie music and also feature bands in our Local Native section, which covers the local music scenes of various areas around the United States.




BandsRadio.com - New Internet Radio
jeff streammoam@prodigy.net
6 Channels including the best NEW artists in Funk, Boogie, Groove, New Grass, Americana, and Southern Rock.

Club Virtual
Michael M. djsky@pngusa.net
Based around dance music, Club Virtual provides latest sounds from independent/well established artists, information, and much much more.

Emily Cheramie EmCher24@aol.com
I am the host of a weekly - all-female (primarily indie-music) radio show called EVE OUTLOUD (91.7 FM WICB Ithaca). We're ALWAYS looking to promote new artists! Send material to: Emily Cheramie, Host of EVE OUTLOUD, Park School of Communications, 953 Danby Road, IThaca, NY 14850

The Michael Anthony Show
Michael fmyshow@hotmail.com
"I found this amazing project put out by a certain guy named Michael Anthony... unknown bands of all sorts were represented... the stuff that bypasses the central nervous system and sets you uncontrollably shaking... sadly falls into the scatological humor a bit too often... Anthony with his blend of wit and humility, has presented the world with a chance to hear something different"..... University of Maryland Retriever News TO SEND DEMOS, PRESS KITS...The Michael Anthony Show, 7526 Fisher Drive Falls Church, VA. 22043, FOR AN INTERVIEW: (703)731-6353

2001 USA INTERNATIONAL SONGWRITING COMPETITION The world's leading international songwriting competition is currently accepting entries. Win a $50,000 Grand Prize worth of cash, merchandise and exposure (largest prize package in any annual songwriting competition).

Also, winners' songs will be featured on a nationally syndicated radio program serving over 60 cities in the US and Canada! Judges include record labels such as Warner/Reprise Records, SONY Music, Epic Records, Mars Music Records and Peer Music.

For more information on this event's rules, regulations and entry forms visit the competition website at: http://www.songwriting.net





***note: The online vendors and labels listed below are those that offer artists a NON-exclusive contract, meaning, you can join up with as many of these services as you like.

Northern Thai Classical Music
Ms. Usa Suwan nokmusic@hotmail.com
Thai music, Asian Music, Chiangmai, Khantoke, Thai handicrafts

Sounds Unique
Lisa Hayhoe sounds@hotmail.com
http://www.soundsunique.co.uk A UK based record label specializing in UK Funk/Disco House. We have many missions, one is to present otherwise unsigned exceptional artists and material to the world.

Playhouse Radio
Ingrid Harding indiemusic@playhouseradio.com
Web station for kids 0-8 streaming all kinds of music, selling artist CDs and custom CDs. Artists get paid when a song is selected for a play list or added to a custom CD!

Maniac Records
Mike Allen mallen@maniac-music.com
We offer artists of ALL genres the opportunity to sell their music through our label. Highest royalties in the country!!

Ray Dietrich promos@nowsites.com
We can offer web design, online promotions, booking, management, getting you sponsored, print media exposure, college radio exposure, mp3 distribution, CD distribution, street promotions, recording, and much more.

GUERRILLA MUSIC MARKETING HANDBOOK by Bob Baker This is your guide to independent music success secrets, featuring over 175 ways to thrive and prosper with your own band or record label. Goal setting, networking, lists of distribution channels, offbeat promotional ideas. It's all here!

Purchase it today at BEST MUSIC BOOKS




Shane Silk info@Mp3-Rock.com
Indie Rock Music Mp3 Directory with feedback ratings and links to your site.

Kranzke Online
Eli Swenson eli@kranzke.com
Upload,Promote,and Sell your music...We review and choose all music submitted to our site to uphold the integrity of the musical content.

The ILE is a list of music people who wish to exchange links with other music related sites. With over 400 current listings, it's a great way to get some free exposure Everyone involved with the music business is welcome to place a listing. It's a one-to-one exchange of text links or banners, and as I mentioned....it's FREE!




Live Club
We are a non profit organization that does many services for new bands, all for free!!

The Country Music Search Engine
Shane Silk admin@country-music-club.com
Mp3 Directory, Artists Directory, News Magazine with online submitter, classifieds, Specialized Banner exchange, Tips & other resources all free. Plus the Country Music Search Engine.

"HOW TO PROMOTE YOUR MUSIC SUCCESSFULLY ON THE INTERNET" by David Neuve, shows you powerful Internet marketing techniques to help sell your music merchandise online!

Buy it today at BEST MUSIC BOOKS


8. LOOKING FOR AN AGENT by Jeri Goldstein, ? 2001


You have reached that point in your career development when adding an agent to your team would be a logical next step. Before you pick up the phone and start calling around, I suggest you do the following three steps.

1. Take inventory and create an overview of your career position to date. This process and information will help you present a clear picture of your career for yourself and assist you in making a more powerful pitch to any agent you are considering.

Taking inventory includes re-evaluating your past two year's growth. I would include a list of all your past performance venues, the fees you actually received, the capacity of the venue and the number of seats you sold. If you haven't been keeping track of this information, it is not too soon to begin. Along with these details, I would also list the merchandise sales you had for each venue. All of this information helps assess your growth from year to year and venue to venue especially when you play a specific venue a number of times during the year. If your numbers increase each time, there is good indication you are building a following. This is exactly the type of information a booking agent wants to know when determining whether they will invest their time and money to add you to their roster. When you present an organized evaluation of your career development to an agent along with your promotional package, you immediately set yourself above most scouting for an agent. This presentation tells the agent that you are mindful of your growth and are organized in the manner in which you conduct your business. These are attractive aspects of an artist's livelihood to any agent.

2. Create a set of career goals, timelines and projections. Most artists are looking for an agent to relieve them of work they dislike doing for themselves-making calls to book gigs. Look for an agent to help you raise the level of your performance dates and increase the number of dates and the performance fees. Set career goals for the types of venues you would like to play and present this to prospective agents. Determine a specific time line in which you would like to have these goals accomplished. Then based on the kind of concrete information you've gathered from your evaluation (step 1 above), you can make some realistic projections about what percentage of increase you foresee in the next two years. For example, based on last year's information, you are able to determine that your bookings, fees and merchandise will increase by 20% during the next year and 20% the year after. When you present an agent with hard numbers they can more effectively evaluate whether or not it is worth their involvement.

3. The final step before making phone calls, is to do some research. It doesn't matter how well organized you are or how talented you are, if you are calling the wrong type of agent, you are wasting your time. There are many different databases or agency listing one can review. You may need to purchase some of these directories, but it will be well worth the expense when you begin calling appropriate agencies for the type of performance you present. Some resources with agency listings are:

* Pollstar- www.pollstar.com
* The Musician's Atlas- www.MusiciansAtlas.com
* Music Review- www.musreview.com
Some agents book specific genres music or styles of performance. When researching agencies, determine if the genre of music or the type of performance is compatible with your own. Check their roster of artists to see if you recognize anyone. There may be some acts for which you might open-when finally speaking with someone at the agency, mention that. Create a list of appropriate agencies and make sure you get the names of one or two or the head of the agency if it is a small company. If you know any acts who are working with a specific agent with whom you might be compatible, ask that act if they would mind sharing some information about their agent. You may get some insider information regarding whether or not it is a good time to make your pitch based on who the agent just signed or if they are looking for new acts to add.

Another method of researching agents is to attend booking and showcasing conferences. Agents often use these conferences to scout for new talent. Seeing acts in live performance help agents get a sense of audience reaction as well as getting a better picture of what they might potentially be selling. The other great benefit to attending booking conferences is that you can walk around the exhibit hall and meet all the agents who are representing their acts. View their booths to see who is on their roster as well as examining how the agency presents their artists with their booth display. You can get a sense of the agents organization and creativity by the manner in which they represent the talent. Stand by and listen to the way they pitch their artists to prospective buyers.

In conclusion, with these three tasks under your belt, you can confidently present yourself to appropriate agencies when you feel you are ready to make a pitch. You will present a much more professional overview of your act with a clear evaluation of your past performance and a realistic projection of your future.

Jeri Goldstein is the author of, How To Be Your Own Booking A Performing Artist's Guide to A Successful Touring Career. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents, managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, arts councils and to organizations. Her book and information about her other programs is available at www.nmtinc.com or phone 1-888-550-6827 toll free.


BANDS, are you making the kind of $$$$$ that you really want?
Thousands of bands and entertainers make Hundreds of Thousands
of dollars a year, and you can too!!!
- are you booked through the end of NEXT year?
- are Record Companies, Clubs and Agents knocking on your door?
- are you making TOP $$$$ for your gigs?
- are you getting weekly press?

DOUBLE even TRIPLE your current income !!

Purchase it today at BEST MUSIC BOOKS!




There are several keys to ensuring success in the recording studio of course, but much of what you can do to help increase your chances of a positive result (that won't send you to the poorhouse) occurs before - not during - your recording session. Absolutely first and foremost, before you book any time in the studio, you and your band need to spend considerable time in preproduction. Everyone must know their parts inside and out and be able to play them with or without the accompaniment of the other members of the band. A lot of studio time can be eaten up working out parts, changing parts, or doing take after take of the basic track.

I like to think of preproduction as two separate areas of equal importance. The first phase seems simple enough - merely picking the songs worthy of being recorded. Often, however, this is easier said than done. Generally, you should play all of your songs up for consideration of recording for as many people outside of the band as possible. Rule #1 is: You cannot be objective about your own music. In fact, even the biggest of stars have problems with objectivity toward their own music. It's a known fact, for example, that Tina Turner hated the smash hit track, "What's Love Got To Do With It" from her multi-platinum album, "Private Dancer," to the point of almost not allowing the track onto her record. Tina eventually got her sense of objectivity from her record producer who convinced her the track was a hit. Since many independent artists aren't yet able to employ a producer, gaining some sense of objectivity must come from other sources. Playing live gigs around town is extremely helpful to this end. If you play your songs enough times in front of an audience, you will get a good sense of which songs are strongest by the crowd reaction to them. If you are doing a demo, and not going in to record an entire CD, then you should think in terms of determining your best 3 or 4 songs. A&R people generally do not want to hear more than that on a demo.

The second phase of preproduction is to record the songs beforehand any way you can and listen carefully to all the parts for what works and what doesn't, who needs to practice a bit more, working out background harmony parts, etc. Ideally, bands should have an inexpensive 8 track recorder to do their preproduction with at home. Prices have come down considerably in recent years on these machines, enabling them to be affordable for almost everyone, especially if each band member contributes equally to its purchase. For example, I found both the Boss BR-8 Digital 8 track and the Korg D-8 Digital 8 track for under $700.00 when I did an Internet search. $700 split between band members may save you thousands of dollars in studio time.

Once you are certain that you've picked the right songs to record and done all your preproduction homework, it's time to start "auditioning" potential recording studios. Most commercial studios will do what we refer to at Skip Saylor Recording as a "show and tell." This is where you have the opportunity to check out the facility, play some music in the room (bringing your own is perfectly acceptable), and have all your questions answered about rates, equipment, amenities, engineers, etc. A tip about calling studios to schedule a show and tell is to call them in the morning, around 10:00 a.m., as that is the time that the studio owner or manager is generally less encumbered with session activities of the day. If the owner or manager seems unwilling to fit you in or burdened by your call, that's a bad sign and you should then move on to the next studio on your list. I suggest you go to a minimum of 3 show and tell appointments at different studios before ultimately picking the one that feels right to you and meets your budget requirements.

During your show and tell appointment at each studio, the important subject of price will inevitably come up. A rule of thumb that you should keep in mind is that for each song you are going to record, you should allow at least 12 hours from start to finish in the studio - 4 hours to lay down the basic track, 4 hours for overdubbing various instruments, vocals and background vocals, and 4 hours to mix. At our studio, we typically offer a "lockout rate" which is a block of 12 hours for a set price. Some studios will let you work on an hourly rate (particularly during periods of slow business), but most of the higher-end studios prefer to set a lockout rate for a given number of hours.

If you visit a studio and you think it has everything you could possibly ask for except that the price is too high, then you may certainly try to negotiate a deal for a better rate. Find out if the studio is willing to give you a discount for coming in on days that are open around the schedule of the studio's ongoing projects. These days might typically fall on the weekends or around major holidays throughout the year. Also, if you are willing to be "on call" to fill in time that is canceled on short notice, the studio may be thrilled to have you as a client and give you a discount that greatly enhances your ability to maximize your budget.

One last thing I would like to mention is to caution you about falling into the trap of working the "midnight session." It is unlikely that you will give your best performance at 4:00 a.m. and equally unlikely that the engineer will get his best sounds for you and your band at that hour. You may pay 1/2 price for studio time after midnight, but your project may also come out 1/2 as good.

Preproduction, objective selection of songs, show and tell visits to at least 3 studios and knowing the etiquette of how to negotiate with the studio to help you get the most for your money are some of the key concepts that every band should keep in mind before they book time and play their first note in a recording studio. Following these guidelines will go a long way toward your goal of ultimately producing the best product that you and your band are capable of delivering without breaking your budget in the process.

Lynn Carey Saylor is a singer/songwriter/guitarist and co-owner of the Los Angeles area recording studio, Skip Saylor Recording. Grammy Award winning records such as k.d. lang's "Ingenue," Guns n' Roses' "Use Your Illusion I and II" and the track, "Wishing It Was," from the 8x Grammy Award winning and Album of the Year Santana release, "Supernatural," are a few in a long list of gold and platinum records that have been mixed and/or recorded at the facility.

In early 2000, Lynn founded the Web site, GuitarGirls.com, which seeks to promote up and coming female singer/songwriter/guitarists with her GuitarGirls Contest as well as to pay homage to such successful female artists as Sheryl Crow.

Lynn has a degree in Communications (Radio, Broadcast and Film) and a music minor from the University of Nevada, Las Vegas. She is also a member of the Screen Actors Guild with television commercial and film credits.

If you have a question that you would like Lynn to answer in an upcoming issue, please e-mail her at: Guitargirlsmail@aol.com

JOIN THE INDIE REVOLUTION! "Booking, Promoting and Marketing Your Music" by Nyree Belleville, provides the step-by-step tools that you need to make a good living as a musician and performer.

Purchase it today at BEST MUSIC BOOKS!


10. ARTIST MANAGEMENT CONTRACTS II by Joyce Sydnee Dollinger


"Music is a business and you must well versed in the business to make a career as a musician." -- Music Industry Executive

The legal relationship between a personal manager is usually based on leverage in the music business. Those artists who are new to the music scene, have less bargaining power when contracting. However, this does not mean they will not enter into a fair deal with personal manager they want to work with. Fair is not the same thing as leverage.

Management contracts can be long and hard to decipher, but don?t let them scare you. Just remember what is important to you and what your common goal is since this will lead to the path of a fair, intelligible contract. Exclusivity and the term of a personal management contract are necessary topics that should be discussed first.

In a personal management contract, exclusivity is one-sided. An artist must accept the personal manager as the exclusive personal representative for the artist. However, a personal manager?s services are not exclusive to that artist. A personal manager must be at all times free to perform the same services for others and be able to engage in other business ventures.

If the artist is signing with a corporation or partnership, but has a personal relationship with a particular manager in the corporation or partnership, the artist may be able to request a key-person clause to be added to this term in her personal management agreement. Again, it depends on the leverage of the artist and the company the artist is signing with. This clause guarantees that the personal manager, not some other person in the management corporation or one of the manager?s friends, will be primarily responsible in rendering services to and on behalf of the artist. The artist may also request that a clause be added stating something to the effect that if the personal manager works with another client or in another business venture, the manager will have sufficient time to dedicate to the artist.

The term in a personal management contract can be based upon a fixed period with options, measured by third party agreements, or performance criteria. Most fixed period contracts are for a minimum of three (3) years and go to six (6) years. These fixed periods exclude the option periods and are at the manager?s discretion because the manager is the person required to perform certain services for the artist. Options are usually exercised yearly.

If the term is to be measured by long-term third-party agreements such as a record release or publishing agreement, the personal management contract is usually defined co-terminously with the third-party agreement. These agreements are usually for signed, established artists. This is fair to both parties since the artist will need someone to help her during that time with promotions, press and making sure the third-party is doing its job for the artist. The term in a third-party contract may also be based on a number of albums deal, such as a three album cycle.

The term can also be based upon performance criteria, such as procurement of a record deal, a bona-fide business offer, or income levels. Contracts with newer artists usually have a "shopping period" and state that if a recording agreement or other third-party entertainment contract is not procured within a period of up to twenty-four (24) months, but usually eighteen (18) months, after the commencement of the term, then the management agreement may be terminated by either party.

Other personal management contracts state that if a bona fide business offer is not accepted by the artist, such as a booking agent, publishing, or literary contract, the personal manager should be allowed to extend the term of the contract. A personal manager may also be allowed to extend the term if the artist is not meeting her end of the bargain or in a group situation, one of the members leaves and holds up the process of the band.

Artists can also insert provisions that provide for a minimum of earnings which the artist must obtain during the period before any option period may be exercised. This extension of a personal management contract is based upon gross earnings during the years preceding the relevant option periods.

Realistically, it is hard for both parties to terminate their contract just because they don?t like each other anymore because there is a personal investment which needs to be returned. There has to be a breach of the contract.

The artist, along with the personal manager, must understand that their relationship grows with time and that a personal manager needs a fair length of time to help an artist gain success in the music business. It can take a really long time before an artist starts obtaining notoriety or financial gain. Artists must be realistic with obtaining their goals.

Please note that this article only touches on the key points of a management contract. I do suggest that if you are negotiating a deal with a personal manager, you consult an attorney first.


Joyce Sydnee Dollinger is an attorney admitted in New York and Florida and currently works at a major label in the Corporate Legal & Business Affairs department. She is also the Vice President of 2 Generations SPA Music Management, Inc. and SPA Records, Inc.. 2 Generations (www.2generations.com) is a music management company representing signed

and unsigned bands/artists, producers and songwriters in all genres of music. 2 Generations also represents entertainment organizations/ businesses and provides consulting and entertainment services. SPA Records, Inc. (www.sparecords.com) is a record label dedicated to developing, promoting and distributing breaking acts to the US and the World using traditional and innovative distribution channels. You can reach Joyce by email at joyce@2generations.com or by voice at 212-879-6997.


It's no secret that the Internet is a great way to get your music out to the world. There's only one problem. The Internet is so big it would literally take you thousands of hours to find all of the places and people that are interested in your music and are willing to help you and your band out. A solution is finally here. It's called the Indie Contact Bible.

The 2nd Edition is 360 pages and contains:
2200 publications that will review your CD
1600 radio stations will play your music
250 services that will help you to sell your CD
300 sites where you can upload your music files
150 sites where you can promote your band (for FREE!)

Check it out today at: http://www.indiecontactbible.com/icb




I can tell you from experience that finding the proper band mates is never easy. This article will give you a guide to follow that should help you make the correct choices, and hopefully a long lasting relationship with them.

TALENT You must try to find musicians that are on the same talent level as yourself. If you do find that great player that is willing to work with you, be aware that there may be problems associated with him or her. He or she might get frustrated by the rest of the band holding him or her back and quit. Because of the talent this member has, he or she might have more control over decisions being made because you are trying to keep this member happy. He or she might have some type of problem (drinking too much, drugs, etc...). This may be why he or she is willing to play with musicians not up to their level. Whatever the case may be, these all spell disaster for your act.

DEDICATION We all know how hard it is to make it in music. Your band members must share all of the responsibilities. If one person is doing all of the work, this member will eventually start to resent the other members and the band will break up. Also check out anything the prospects have going outside of the band. Hours they work, school? Are they available for rehearsal 3 nights a week from 6:00PM to 10:00PM? Do they have reliable transportation? All of these question should be answered.

PAST EXPERIENCE Try to find members that have a similar experience. This is especially true for stage and studio experience. Ask if they have a video of their last band and make sure this is the type of personality you want on stage with you. Always listen to any demos that they may have and talk about their recording experience. First timers often choke the first time they are in a real studio.

PERSONALITY Do you like this person? Try not to get involved with someone that has a pushy attitude or is totally introverted. Make sure this person can talk and listen and does not have some sort of chip on his or her shoulder.

MUSICAL STYLE Does this person have a style that is similar to yours or the bands? Putting a jazz guitarist in a metal band will not work. Make sure that the person knows what the band is going for musically.

GOALS Do you want to make it in music, or do you want to just play the local bars and play a few gigs to have some fun? Whatever your plan is for your band, you had better make sure that all of the members share the same goal.

MONEY It is best to discuss this right up front. If the band is planning on playing original music and to dump any money it makes back into the band, then any musicians thinking about joining should know this. If the band splits up the money after each gig, then that needs to be known. All of your members have to agree on these issues.

There are a lot of issues when considering members or a new member for your act. If you follow my guidelines you will have a solid starting point, and hopefully a rewarding career in the music industry.

The Musicians Tip Sheet is a free newsletter for musicians which includes many industry contacts and informative information about the music industry. To subscribe please send an email to: mailto:musicians-tipsheet-subscribe@egroups.com

Zebra Music Web Site http://www.zebramusic.com An information depot for musicians featuring hundreds of Industry Contacts, The Gig Sharing Network, The Musicians Tip Sheet, Industry Interviews, Music FAQ's, Music Chat, The Musician Discussion List and many Cool Links to help your musical act.

VERSUSMEDIA focuses on designing unique websites for artists, record labels, venues, and any other form of media that supports them. Don't just add your band to another music database, have VersusMedia create your own web presence. We also offer our extensive music industry knowledge for audience targeting and promotion. Tired of fighting the industry alone? Let VersusMedia fight the battle for you.


If you are interested in advertising in the next issue please contact me at bigmeteor@home.com or (613) 596-4996. Ads are $25 for 10 lines. If you advertise for five consecutive issues, your ads will only cost $20 each.

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Music Promotion Tips Selling More CDs Do You Really Need a Record Deal?
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