| Introduction
Welcome
to The Indie Band Bible.
Why are
you reading this book? You've probably got this crazy idea you
want to be a rock star or at least play in a successful band.
Is it worth it? Definitely. Being a musician is both the best
and the worst job in the world. The workload is unbelievable
and much of it doesn't really have anything to do with playing
guitar or pounding the drums. The more successful you become,
the more you find yourself being business guy or interview master
or postering superman or diplomatic wizard. You'll be busier
than you've ever been before. But it's your baby - your band
- so there's a sense of adventure to the whole thing. It's your
calling and you're doing something most people envy but can't
get it together to do. Let's face it, it's cool to play in a
band.
So you decide to take the
plunge. Will you make it? If you make the decision to really
go for it - persevere, dedicate your life and make informed
decisions along the way - you have a decent chance. Your greatest
assets are your brains and your dedication. But success doesn't
happen overnight.
Read any of the hundreds of
rock star biographies out there and the story's always the same:
Everyone started by sleeping on someone's floor. It takes time
to build a following, develop some momentum and quite simply
to "get good."
This isn't a "get-rich-quick"
book. If you think you're going to get rich, choose another
business, chump. People do get rich in the music business, but
for every megastar there are literally thousands of bands struggling
to sell out a small club. Even platinum-selling artists in Canada
don't really get rich. It's better to think about it this way:
doing what you love, travelling, and experiencing the rush of
live performance makes for a great job.
Money, however, is an issue
for any band. There are many expenses, such as PA rentals, rehearsal
space charges, Gibsons and Fenders, studio fees, photocopying
for posters - the list goes on. Where does the money come from?
How should it be spent? How can you make more of it? These questions
loom pretty large for struggling bands that are always low on
funds.
The Indie Band Bible will
help you realize your band is a small business. By playing in
a band you're selling your music and more than that, you're
selling yourself: your ideas, your skills, your face, your name,
your attitude. To use a word all artists hate and all industry
people seem to use, you're selling a product. In a weird way,
you're the salesman and the merchandise, which can be a difficult
thing to accept. This might sound a little jaded and the p-word
has nothing to do with the rush of an awesome jam, but the music
business is a business.
Ultimately, it's business
that brings you and your music to an audience. It starts at
the level of the bar gig and moves right through to the monster
rock stadium shows. Don't fall for the line that successful
people are simply lucky. Microsoft or McDonalds didn't get where
they are because of luck, so don't think for a second that U2
got to be U2 by chance. A successful band is a finely tuned
artistic and business machine.
***
Before I sat down to write
this guide, I had no idea what a huge undertaking it was going
to be. To assemble the required material and ideas I had to
conduct interviews, do research and speak to pretty much everyone
I've ever met in the business. I also drew on many of my own
experiences (both good and bad) as a professional musician in
Moist.
Moist has done some pretty
cool things over the past few years. We've signed record contracts,
toured worldwide, and made hit records and videos. I guess you
could say we've "made it." For better and sometimes for worse,
we've always controlled almost every aspect of the band. We've
made many mistakes, but we've also constantly tried to move
forward and learn from those mistakes.
For years we were managed by
a friend who had no more experience in the music business than
we did. He did an amazing job with very few resources and remained
our manager until we released our second album Creature.In
the beginning we were all very green, so we always talked through
every move, every decision and managed to learn a lot about
the music industry along the way. Now that we have an established
manager we're a real hassle. We ask tons of questions and need
to be in the loop on everything, and we wouldn't have it any
other way.
I can remember not knowing
anything and, worse, not knowing anyone who knew anything about
the music business. There were always people who said they knew
someone who had sort of, kind of, talked to a real industry
player once, but there were never any real answers. I could
play guitar, write songs, jam and perform, but the music business
was like a black hole. There seemed to be a huge divide between
where we were and where successful bands were.
In the music business, it's
vital to start on the right foot and make smart moves along
the way. Think of The Indie Band Bible as a road map
to get you started and lead you on to the next level. It will
cover everything from band fundamentals and basic promotional
strategies to making contact with the music industry giants.
There are many pitfalls bands
can fall into and never really get past. Knowing what those
pitfalls are and how to avoid them will only increase your chances
of success. And increasing your chances of success is what this
book is really all about.
There are no guarantees in
the music business. However, more often than not, success comes
to those who have prepared themselves to succeed. You've got
to educate yourself and be smart.
***
This guide can be used in a
number of different ways. It can be read all the way through
or used as a reference book for specific problems or questions.
There will be times when you'll say, "wait a minute, I already
know this." Cool. Skip that section or read it to confirm what
you already know. You can also just read the blurbs contained
in the margins. They're snapshots of the music world which I
hope will add some humour and dimension to the read. Who knows,
this book could find a permanent place in jam-space bathrooms
across the country.
***
Let me paint a lovely picture
for you. Imagine a beat up, unreliable fifteen-passenger van
hurtling down a snowy highway in the dead of winter, in the
middle of the night. Imagine five unwashed musicians, a pile
of maps, a mountain of amps and drums and bags and everything
else you can think of squeezed into said van. Imagine sleeping
sitting up, and having to crank the windows down to ventilate
because someone's passing gas. It's like being in grade eight
again, but without the discipline. Our longest drive was from
Detroit to Vancouver via Thunder Bay, non-stop except for gas
and 7-11 burritos (see above). This is the reality of being
in a band. If you think you can hack it, read on. Hey, it's
got to be better than your day job...
Chapter
1 - Band Basics
When you're first starting
a band, some of the most basic starting blocks can actually
be quite daunting. This chapter addresses basic band philosophy-how
everyone can work together, instead of against one another-to
make everything run smoothly. There are tips for finding compatible
bandmates to what kinds of gear will work best. Improving your
chops (proficiency on your instrument) and basic songwriting
structure are also covered. Makoway explains in very understandable
terms how a band is actually a business, and offers some excellent
advice for how to deal with this fact, including how to best
manage your band money. And of course, the all-important and
ever challenging question of "how to name your band" is addressed
here. Don't worry-it's hard for everybody.
Resources/Links
www.socan.ca:
Society of Composers Authors and Music Publishers of Canada
(SOCAN) organizes songwriting workshops
www.goodmedia.com/sac:
Songwriters Association of Canada organizes songwriting workshops
Chapter
2 - Introduction to Promotion
Now that you have your band
members assembled and you can actually play enough songs to
warrant a show, how do you let the world know that you exist?
In this chapter Makoway introduces the concept of promotion,
and how best to use the resources you have at hand to make sure
your band's name gets out there-everywhere. Postering, stickering,
how to get (and give) interviews and even the fine art of creative
busking are covered in-depth.
Resources/Links
www.brokenpencil.com:
A cool magazine dedicated to reviewing indie magazines, zines,
CDs, and newsletters.
www.moist.ca:
The Moist page at generally receives over three-hundred visitors
per day.
www.networksolutions.com:
Domain name registry .
www.domainnameregistry.com:
Domain name registry.
www.realaudio.com:
Download the RealEncoder software for making RealAudio files
for free.
www.webpromote.com:
A site and newsletter with free advice for promoting your website.
www.ubl.com:
The Ultimate Band List (UBL) a massive database of bands.
www.chartnet.com:
Lets you link your site and add a RealAudio clip to let people
hear a sample of your music.
www.mp3.com:
Huge archive for on-line independent music.
www.goodnoise.com:
Large repository for on-line music.
www.listen.com:
On-line music source for indie bands.
www.sonicnet.com:
Music news. Got news? Let them know.
www.allmusic.com:
Lists pretty much every CD known to mankind, released anywhere
in the world.
www.musicvideos.com:
Send a copy of your video. If they like it, they'll make it
available for viewing or downloading.
Chapter
3 - Gigs
Getting and organizing gigs
can be a nightmare if you don't know what you're doing. In this
chapter Makoway covers all the basic points, starting with assessing
whether you're ready to play. He discusses and details how important
advancing is for ensuring that when you show up to a gig everything
you need is there, and for making sure you get paid for your
performance. He walks you through how to do a proper soundcheck
so there will be no nasty surprises when you play. The art of
setting up a good set list, which is all-important when it comes
to retaining the audience's attention, is described in very
easy terms. Makoway also addresses how to build your audience
without overexposing your band.
Chapter
4 - Getting Down to Business
The term music business is
a bit of an oxymoron for many to be sure, but the bottom line
is that it is ultimately a business, and best way to ensure
you get the most out of any business deal is to understand what
the suits are talking about. In this chapter Makoway discusses
the nitty gritty details of management, contracts, and copyright
an approachable and unintimidating way. You don't need to be
an expert, but you have to have a clue. Additionally, Makoway
walks you through how to put together a professional looking
promo pack in order to secure gigs and press. He discusses the
various performing rights societies, provides and introduction
to the musician's union, and demystifies the somewhat baffling
CanCon regulations.
Resources/Links
www.cipo.gc.ca:
Copyright Office Canadian Intellectual Property Office (CIPO)
Industry Canada 50 Victoria Street Place du Portage, Phase I
Hull, PQ K1A 0C9
www.lcweb.loc.gov/copyright:
US Copyright Office Library of Congress 101 Independence Ave.
SE Washington, DC 20559-6000 Tel: 202-707-3000 email: copyinfo@loc.gov
www.bandname.com:
North American Band Name Registry to find out if anyone is using
your band name.
www.bdson-line.com:
Broadcast Data Systems (BDS) is a company that uses a computerized
system to monitor the airplay of radio and television stations
across North America.
www.socan.ca:
Society of Composers Authors and Music Publishers of Canada
(SOCAN) to register for performance royalties.
www.nlc-bnc.ca/ehome:
If you release an album that has at least some Canadian content,
you are required by law to send a copy to be kept on file at
the National Library of Canada. If you don't, they will eventually
track you down (I'm serious).
Chapter
5 - Independent Recording
Recording your
songs can be one of the most exciting steps a new band can take.
It somehow makes real all the work you've been doing, and can
help you with songwriting, getting gigs, and even making a few
bucks selling CDs. Unfortunately, recording can also be very
disappointing and a big waste of time and money if you're not
properly prepared. This chapter goes into detail about the different
levels of recording you can do and what will best suit your
needs at the time. The recording process, from preproduction
to mastering, is well covered here. He even covers applying
for grants-with a little effort and planning you could be eligible
for government funding-and who wants to say no to free money?
Resources/Links
www.cmrra.ca:
Canadian Musical Reproduction Rights Association Ltd. Administers
mechanical licenses for recorded cover songs within Canada.
www.nmpa.org/hfa:
Harry Fox Agency. Administers mechanical licenses for recorded
cover songs within the US.
www.factor.ca:
FACTOR is a nonprofit organization that provides assistance
for "the growth and development of the Canadian independent
recording industry."
www.canadianrecordingstudios.com:
A free service that connects artists and music industry professionals
to Canada's premier recording studios.
Chapter
6 - The Independent Release
More and more bands are looking
to their own resources for releasing their CDs. Releasing your
CD independently can be a great learning experience because
it provides first-hand exposure to the music business, but if
you don't do your research it can be a big waste of time and
money. There are a number of options available to you: should
you set up your own indie label? What about signing with an
established indie? What are the advantages when it comes to
distribution, marketing and promotion? Makoway explains how
you can take care of all of this yourself, by comparing and
contrasting what the majors do. He also covers the somewhat
confusing world of manufacturing and CD packaging. Don't want
to be stuck at the border sticking a bunch of stickers on your
CDs so you can take them to the US? This, and much more, are
covered in this chapter.
Resources/Links
www.indiepool.com:
Handles distribution for over 2,000 independent artists in Canada.
They can also provide e-commerce, database cataloguing, toll-free
mail order, retail special order fulfillment, SoundScan registration
and website construction.
www.cdbaby.com
Internet-based company that works with independent artists.
www.theorchard.com
Internet-based company that works with independent artists.
www.chartattack.com:
For information on campus radio playlists .
www.canoe.ca:
For recent (week-old) SoundScan statistics.
www.nor.com:
Music Directory Canada professional directoriy for the Canadian
music industry (also available at all major bookstores.)
email:
Dunn-Farrell@home.com: The CONTACT directory for the Canadian
music industry, (also available at music trade shows.)
Chapter
7 - Independent Video
In Canada, getting a video
into rotation on one of the music stations can be one of the
most powerful promotional tools for a band. However, it can
also be a big waste of time and money if the video isn't a part
of a well-planned promotional strategy. Makoway covers the pros
and cons of shooting a video to help you decide if this is something
your band should do. If you decide to go for it, this chapter
is chock full of information, including how to find the right
director and where to apply for government grants.
Resources/Links
www.muchmusic.com/videofact:
VideoFACT provides financial
assistance to artists, record companies, music producers and
video directors for producing a Canadian music video.
www.factor.ca:
The FACTOR Video Fund provides video financing for currently-release
albums by Canadian artists.
Chapter
8 - The Road
Touring is one of the most
loved-and the most hated-of all the activities a band has to
undertake. If you want to get serious about your music career
and increase your audience, it's a fact: you have to tour. Organizing
a tour properly is a time-consuming task, and it has to be done
right or you could find yourself in the middle of nowhere, with
no gig, no money and no place to stay. Makoway covers everything
in this chapter, from setting up your tour to advancing on the
road and contracts. He even details the various modes of transportation
(the camperized van) and addresses the touchy issue of hiring
friends. Getting sick on the road is a big concern, because
a day off sick is a day of disappointed club managers and no
money. Makoway offers sound advice on how to stay healthy on
the road.
Resources/Links
www.byofl.org:
Resource guide for the punk/hardcore DIY community primarily
used for booking tours.
www.coca.org:
(Canadian Organization of Campus Activities). Yearly conference
of post-secondry entertainment coordinators.
Check your email on the road
by taking advantage of Internet cafes, university computer labs,
and perhaps even the computer at the house you're crashing in
(if you go this route, get a free account at Hotmail.com
or Yahoo.com
and check your mail via their websites)
Chapter
9 - The Next Level
There comes a time in every
good indie band's life where doing everything yourself becomes
impossible. It simply becomes too much to balance the music,
which is what you're into this for in the first place, with
the incredible demands of the business. Because you've been
doing everything yourself to this point you'll have pretty good
insight into what is required to keep things moving forward.
But how do you begin to assemble the team of people that are
going to take you and your career to the next level? Makoway
explains the types of roles different people play in your career
and makes suggestions for the best way to start establishing
long-term relationships with people you can trust.
Chapter
10 - Record Deals
There comes a time in every
good indie band's life where doing everything yourself becomes
impossible. It simply becomes too much to balance the music,
which is what you're into this for in the first place, with
the incredible demands of the business. Because you've been
doing everything yourself to this point you'll have pretty good
insight into what is required to keep thins moving forward.
But how do you begin to assemble the team of people that are
going to take you and your career to the next level? Makoway
explains the types of roles different people play in your career
and makes suggestions for the best way to start establishing
long-term relationships with people you can trust
Resources/Links
www.taxi.com:
A high-profile shopping
service that brings bands and labels together.
Thanks
Jeff Pearce, David
Usher, Paul Wilcox, Kevin Young, Graeme McDonald, Don Carmichael,
Dan Cassar, Brent Clark, Marc Crain, Mark Finkelstein, Craig
Finlay, Anthony Greenham, Keith Maryanovich, Duncan McTavish,
JP Newton, Gord Reddy, Glen Reely, Dave Retson, Mark Vreeken,
Stan Wardle
Ralph Alfonso, Cathryn France
and everyone at Madrigal
Terry McBride, Dan Fraser,
Chris Fisher, Coleen Novak, Pierre Tremblay and everyone at
Nettwerk
Michael McCarty, Barbara Sedun
and everyone at EMI Music Publishing Canada
Deane Cameron, Tim Trombley,
David MacMillan and everyone at EMI Music Canada
Bruce Allen, Andrew Atkins,
Toren Atkinson, Joe Bamford, Dave Betts at Socan, Steve Blair
and Steve Jordan at Warner Music Canada, Blanche, Karen Bliss,
Albert Chambers, Derek Danielson, Denise Donlon, everyone at
Much Music and Musique Plus, Adam Drake, Dorothy at En Tour,
Bobby Gale, Kevin Hamilton, Craig Martin, Jeff McKay at Canadian
Musician Magazine, Mitch Joel, Andrea Knoblauch, David Leonard,
Yvonne Matsell, Mark Milne and Tim Potocic at Sonic Unyon Records,
Paul Northfield, Phillip Rambow, Paul Sanderson, Shaw Saltzberg,
Mary Boutette and everyone at S.L. Feldman & Associates, David
Steinberg, Chris Taylor, Gregg Terrence, The Agency Group
Nicola, Sara, Beverly, Barry,
Sean
My family, friends and everyone
who has helped along the way
Credits
Publisher:
Cathryn France
Managing Editor: Ralph Alfonso
Original manuscript editing: Nicola Makowy
Book design: John Rummen
Cover design: Ralph Alfonso
Web Design and editing assistance: Kim Kinakin @ artwerks design
Cover photo: Anthony Greenham
Back cover photo: Al Robb
Illustrations: Toren Atkinson
Author photo: Ralf Strathmann
© 2001 Mark Makoway
All rights reserved. No part
of this book/website may be reproduced in whole or in part by
any means whatsoever without the written permission of the publisher.
Published by Madrigal Press
Ltd., 1650 West 2nd Avenue, Vancouver, BC V6J 4R3 Phone (604)
654-2929 Fax (604) 654-1993
Email: books@madrigalpress.com
Distributed in Canada by Raincoast
Books, 9050 Shaughnessy St., Vancouver, BC V6P 6E5 Printed in
Canada |
