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Volume 1: Issue 4 | The B# Newsletter | May, 2000

Publisher: N.M.A. (National Music Agency)
http://nma.jumptunes.com
Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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Current Subscribers: 443

Copyright © 2000 N.M.A. (National Music Agency)

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"The B# Newsletter" is published exclusively for unsigned
and independent musicians and recording artists. Its
intent is to inform and enlighten artists through articles,
resources, products, and services that will significantly
benefit them in their careers.

We will never rent, sell, or release your private Email
address to any third party. Your discreet privacy in
becoming a subscriber is assured.

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IN THIS ISSUE.

1. Editor's Blurb

2. Music Career Stuff

3. "What You Should Know About Your Fans"
By Christopher Knab

4. "Charisma: Part 2 - Practicing It"
By Genie Webster

5. "Demo Strategies"
By Suzanne Glass

6. "Approaching the Studio"
By Mark Baxter

7. "MUSIC CONFERENCES"
(Taking advantages of their opportunities)
By Carolyn Ballen

8. "Selling Your Music On The Net: Key Strategies To
Success"
By David Nevue

9. "Test Your Music Business I.Q."
By Joy Butler

10. "What Do 'They' Really Want?"
By Derek Sivers

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1. Editor's Blurb:

Hi! Welcome to the May, 2000 issue of "The B#
Newsletter!" We would like to also extend a special
welcome to each of our new subscribers who has joined us
since our last issue.

We also welcome aboard the writing staff; Carolyn Ballen,
President of the Indie Music Forum, and Entertainment
Attorney Joy Butler, who is also General Counsel for east
coast-based Sashay Communications. They will lend their
own unique insights of the music industry for your benefit
each month as well.

Additionally, we welcome Special Guest writer, David Nevue,
who brings us an article regarding selling your music
online effectively. Some of you may recognize David as the
author of the new reference titled, "How To Promote Your
Music Successfully On The Internet." He's here to dispense
a bit of the content contained in his new book.

Two "shameless plugs" bear mentioning. We would greatly
appreciate you taking an opportunity to visit our sponsor,
the National Music Agency, at http://nma.jumptunes.com. We
believe you will find, at least, 1 area of interest there
that can benefit you/your career.

Additionally, feel free to join the companion list, "The B#
RoundTable" by simply sending a blank Email to
mailto:BSharpRoundTable-subscribe@egroups.com. We,
occasionally, get into some really great discussions on it.

So, sit back and enjoy some proactive reading from our
writers whom we greatly appreciate in assisting us with
their expertise in their respective industry areas.
Likewise, we greatly appreciate each subscriber of this
newsletter. Your wonderful comments regarding the content
of B# continues to energize us for each succeeding issue.
Much thanks to you all.

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2. Music Career Stuff

* What's so unique about "CDSTREET.COM?"
- No need to give up a HUGE chunk of each sale
- CDStreet.com collects ONLY 15% in service fees
- NO set-up fees
- NO waiting for 3 months to collect your sales royalties
- You are paid monthly for your CD sales
Check them out at http://www.cdstreet.com and tell them
you learned about them in "The B# Newsletter."

* "INDIEBIZ.COM" is a music marketing and networking
resource featuring a free promotion newsletter, daily music
news, industry contact database, and more for Indie bands.
Visit http://www.indiebiz.com/ today for more information,
or to add a link to our online database.
Kathode Ray Music -- http://www.kathoderaymusic.com/
"We make a living helping bands make a living..."

* THE MUSIC PROMOTION ACADEMY!
Musicians, looking for tips on how to promote your music on
the Internet? We feature news, articles, tips, and reviews
designed to help you sell your music online! Also visit our
career opportunity listings!
http://www.rainmusic.com/promotion/academy.htm

* Stop by the Indie Contact Bible sites to visit author
David Wimble's complete information. The ICB has extensive
worldwide music media contacts that you need to make your
career more successful. Check it out at
http://www.bestmusicbooks.com and
http://www.bigmeteor.com/links/promo.htm.

* Super-Charge your Music Career! Enhance EVERY aspect by
sending blank Emails to mailto:musereport@...
and mailto:muservice@....

Promote your own Music-Related Product, Service, or
Information in this space for only $5 for a whole month!
Deadline is the 25th of each month. We also reserve the
right to reject ads we deem inappropriate for this
publication.

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3. "What You Should Know About Your Fans"

By Christopher Knab

Stop trying to get a recording contract! You have NO idea
what is inside one of those 120-page, single-space
contracts anyway! Instead, get to know whom your fan really
is.

That's right! Study your fans...the people who come to see
your live shows, buy your records, merchandise, and visit
your websites. Those folks are the most valuable asset you
have, outside of the outrageously great songs you have
written. Studying the lifestyles of your fans will give
you a passport to making money with your music.

Why? Because when you discover who they are in great
detail, their habits, and lifestyles will inspire ways of
reaching them you never imagined!

Haven't you seen hundreds of entertainment products and
other merchandise for sale at unusual stores and other
places outside of the obvious stores? You know...stuff
like the action figures associated with some mega movie
promotion given away with a hamburger?

Or, how about those special deals where if you subscribe to
a certain magazine, you get a free book, or discount
coupons good for movie tickets? Well, if you have seen
these types of eye-catchers, it is because most every
company that has a product to sell, spends a huge amount of
time, effort, and money researching the lifestyles of their
potential customers.

So, here are some questions you can spend some time
researching and thinking about. Afterward, I will show you
some examples of how to utilize their answers.

1. How old are your fans? (determine the widest range of
their ages)

2. What gender are your fans? (if both, what percentage is
dominant, or is it even?)

3. Are your fans of a particular ethnic background, or a
mix of backgrounds?

4. If they attend school, what kinds of schools do they
attend? (grade schools, high schools, colleges, business
schools, universities)

5. Are they religious people, spiritual seekers, or
atheists?

6. What political parties do they belong to, and what, if
any causes do they champion?

7. Where do they shop for clothes? Value Village, Kmart,
or Nordstrom's?

8. What other music do they like...particularly, what other
bands and artists do they spend their money on?

9. What kinds of movies do they go see in theaters, and/or
rent at video stores?

10. What books might they enjoy reading, and where would
they buy them?

11. What TV shows might they watch?

12. What radio stations do they listen to?

13. What internet websites do they visit on a regular
basis?

So, how do you begin finding out all the answers to these
questions? Well, a client once came to me and told me that
for 2 years, they had been videotaping their live shows to
watch at rehearsals so they could see what their stage
appearance looked like from the audiences' point of view.
I applauded this habit, but told them that after 2 years of
doing that, they should now turn the video camera around
and videotape their audience!

Studying your audience for awhile should give you some big
clues to their lifestyles. You will see their ages,
genders, hairstyles, clothing, and if you look between the
lines you can make some pretty good educated guesses on
some of the things I have suggested in the questions listed
above.

When you see that most of your audience are 18-25, for
example, are more male than female, are in community
colleges or enrolled in a university nearby, and buy their
clothes at second-hand stores...then you can find some fun
and exciting promotion and marketing ideas that may catch
their attention.

For instance, concentrate your live shows on having house
parties, or playing campus venues, and blanketing the
campuses with posters and flyers. Get a campus
organization to sponsor one of your shows, get a listing or
a story about your act in the college paper, and partner
with a local record store to sell your concert tickets and
offer a dollar off your CD when they buy a concert ticket.

Make your show a partial benefit for that charity second-
hand clothing store, so that they can promote your show
with posters and handouts to their customers, and have a
small display at their checkout counter for your CD at the
clothing store too (don't forget to sell your CD and other
merchandise at all your shows, and have your mailing list
available for the new fans to sign up).

If your fan research shows that you have fans who are
older, you will need to go a different route. Lets say
they are females, 25-39, living an alternative lifestyle
that includes shopping, having groups of friends over for a
book club discussion, listening to acoustic music, and
preferring tea to coffee. Then, think about doing what I
call 'tell a friend' acoustic home concerts.

With this ploy, you select a fan to host a show at their
home and invite their friends to attend for free. You,
again, make your money by selling your CDs and other
merchandise to an ever-expanding fan base. Then, for
example, if you have a CD called 'Red', and you are sitting
around that tea shop and notice a brand of tea called
'Red', approach the shop owner and tell them you have a
natural co-promotion you can do with their tea and your CD
(A free box of tea with every CD sold at their shop!)

The list of promotional ideas and inspirations for creative
self-marketing are endless, when and if you know who your
customer is. The best independent labels out there are
thinking this way...all the time. That is why you may have
seen Hip Hop CD compilations for sale at shoe stores, or
found CD samplers given away at bookstores. Your customer
is really not that much different than you.

Just start paying attention wherever you are, and wherever
they are, and watch how other products are being sold and
marketed. The customers are out there, but they have a lot
to choose from, so get your music to them in fun and
creative ways. Your fans won't let you down.
______________

Editor's Note: Chris Knab is one of the most influential
and respected individuals in the commercial music
industry. His company, FourFront Music & Media, provides
a unique consultation and education service for independent
musicians and record labels that combines advice with
instructions on how to establish a music related career.
See his web site at http://www.knab.com.

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4. "Charisma: Part 2 - Practicing It"

By Genie Webster

In last month's issue, I defined "Charisma" as that
elusive, undefinable quality that is an irresistible kind
of magnetism that draws your audience in. I gave examples
of what charisma is and what it isn't, and I promised to
share some of what I do to help develop my own charisma
factor.

I said developing charisma is an inside job, and it is. I
hate to sound hoaky, or new-agey, but the development of
your charisma factor expands in direct proportion to your
personal growth. That is, "growing up," so to speak.
Growing up in a spiritual sense.

And so, I work continually at growing as a person. I work
at things like being more peaceful, more loving, more
tolerant, and less self-centered. Please don't
misunderstand me...I'm far from a saint! But I have found
that my appeal on stage increases in direct proportion to
my sense of joy and authentic sharing with the audience.

The first quality to develop towards that kind of openness
is confidence. I remember how terrified I was in grade
school when it came time for an oral book report. At some
time, some wise person explained to me that, to be so
nervous about doing a book report, meant that I thought
that every kid in the classroom would be totally focused on
my every word and my every move, and that it really was
self-aggrandizing to believe that people were paying that
much attention to me. That made sense, and I apply that
principle to my performing.

As I'm still paying my dues (that is, I'm at the low end of
the pay scale for performers), I look at each performance
as practice for the big time. I have an attitude of
sincere gratitude and excitement as I give the best that I
can give...while remaining relaxed. Because no one paid
big bucks to see me (most of the time they paid nothing at
all!)...no matter what I do, the audience is getting an
excellent entertainment value. So what's to be nervous
about?

That perspective helps keep nervousness to a minimum. And
when you're relaxed, you can be more spontaneous and
"real." If you're less focused on your own stress symptoms
("Are my armpits sweating?" "Will I remember these
lyrics?" "Does my hair look all right?"), then you can
focus on your performance and the audience. To be relaxed
is the key. But it takes practice and confidence.

Confidence comes with playing time, plain and simple. If
you're new at performing in public, get out and play to an
audience as often as possible. There is no substitute for
hands-on experience. Not practicing in your living room,
not recording in a studio. Play/sing in church, at open
mics, at parties, around the campfire...anywhere. Just get
your playing time in.

Once your confidence is strong, you can experiment with
losing your self-consciousness. The first time I
ever "went away" during a performance was while singing a
solo at a church service. At the time, I attributed the
phenomena to the Holy Spirit (who knows?), but now I know
that I can get into that trance-like state--where the music
just takes over--and a voice you've never heard before
comes out of your mouth--at will, in even the most
commercial of venues.

It takes a lot of trust--in your own ability, in the
support of your co-players, and in the empathy of the
audience--and trust takes courage.

What's the worst that could happen, if you get out of your
own way and let the music take over? You could choke,
freak out and get back into your control mode, or could
lose your place (the audience will forgive you). Or, you
could start crying, or let an authentic emotion come
through (that's a very scary thought to control freaks).
You could also become embarrassed (I have a high tolerance
for embarrassment. Otherwise, would I dare to write this
article)?

My personal practice in developing charisma on stage
involves developing confidence, trust, openness, honesty,
and a sense of self-worth off-stage. How you develop as a
person off-stage, translates directly to your performance
on-stage.

Some of my daily practices include yoga (which keeps me
flexible in all areas of my life), meditation (which keeps
me calm and centered), and simply going through the day
with awareness. I try to take full responsibility for the
state of my career and my life, and I take time to
cultivate important relationships, even if it's through
email!

When I'm on stage, I practice alternately letting
go..."going away" to that trance-like state where the music
takes over...and, consciously, connecting with individuals
in the audience.

I make eye contact with them, and really include them in on
my fun. I physically wrap my arms around them and tell
them I'm glad they're with me. And then, I "go away" for a
while, then come back, and re-connect. It's like a dance...
back and forth and close and apart.

What works for me, may not work for everyone, but it's a
beginning.
______________

Editor's Note: Genie Webster is a singer-songwriter whose
debut CD, "Walk the Dream," was released in 1999. Genie
also publishes "Temenos Journal," a newsletter with essays
about new-millenium feminism, songwriting, and spiritual
activism. Her website is located at
http://www.geniewebster.com.

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5. "Demo Strategies"

By Suzanne Glass

Musicians spend a lot of time and effort "demo-ing" their
music to other people. The word "demo" is a short form of
"demonstrate," and, technically. could mean anytime a
musician plays his music for anyone - live or recorded. In
this article, we're going to focus on the demo recording,
which is often shortened to just demo. "Demo," in fact,
has been used to describe so many different types of music
recordings that we need a short section of definitions.

Club Demo: A recording you send to club bookers and concert
promoters specifically to be considered as a performer.
The most representative demo for booking is a "live" demo.
This means it was recorded during a gig or performance, and
represents the way you sound when you play live, without
the benefit of overdubs or excessive studio processing.

Label Demo: This is a studio demo that a band puts together
specifically to present to record company executives.
Sometimes, these are financed by the band, and at other
times, a record label advances money for a band to record a
few songs.

Once the demo is finished, labels listen to it and decide
whether or not to sign the band to a record contract. Label
demos are the best representation of studio techniques and
performance that you can afford, and are designed to
compete with major label music you hear on the radio in
quality.

Songwriter or Publisher Demo: These demos are designed to
highlight the song itself, as opposed to the performer.
They are used by non-performing songwriters and publishers
to pitch the song to other artists for possible recording.
Songwriter demos can vary from simple guitar-vocal or
piano-vocal recordings made on a 2-track tape to
elaborate full studio productions with hired session
musicians.

Opinions vary on which is best - simple or full-production
recording. Some people feel keeping the demo simple allows
the future musicians to develop their own clear ideas on
the production sound. Others feel that the better you can
make it sound, the more likely it is to be heard and
noticed.

Review, Radio, or Media Demo: Be careful when sending
music to the media for review before you have had it
mastered and prepared for release. The reason is
that media people will compare your recording to the new
"Creed" CD, and you don't want to come up short on
production quality. Always take care to send the media
only the highest quality recording you can afford. Usually,
this means a finished, mastered, packaged product like a
CD.

Now that you know the different definitions and types of
demos, you need to send the proper kind of demo to your
various contacts.

For ALL Demos: Make sure you research who you're sending
your music to, and how they like to receive it. Get the
name of the right person to address your package to, and
spell the name correctly. Also, find out whether the
contact wants a full promo kit with photo, or just a CD.
Ask whether they need a live demo. In all cases, make sure
your name, address, website, email, and phone are available
on every piece you send out.

For Booking Gigs

Some club booking agents want to hear how you sound live.
To impress them, your demo will have to catch their
attention very quickly. One way to accomplish this is to
record several songs (3-10), then prepare of "mix" tape
highlighting a few seconds of each song in one continuous
medley. These mixes can sound very good, and can show off
your of chops in many styles.

Be sure to start with an upbeat, danceable song. In fact,
keeping your tempos up should be the rule. It's OK to
include one or two great ballads, but keep their feet
moving. Make the whole thing 2 or 3 minutes long, and put
it on a well-labeled cassette tape, or CDR.

If you choose to send full songs, keep it upbeat and
include 3-5 songs, with at least 4 seconds silence in
between songs (cassettes only).

Remember that bookers want to feel confident that you will
bring warm bodies to their venue or event. Any way you can
help bring people in will be appreciated, and will help you
secure the gig.

Flyers supplied to the club, notifying newspapers and
calendars, offering free giveaways, and other creative
promotions will help you bring in people. Having a demo
tape of your band playing live to a large and appreciative
audience conveys drawing power.

For Labels

If you are a performing artist who wants to be signed to a
record label, make sure your recordings highlight your
ability flawlessly. If your recording is not up to par,
it's not going to highlight your music's full potential.
Save your money a little longer and spend more time in the
studio. Even consider hiring a producer.

Not only do producers have fresh ears and attitude on your
songs, they may also have contacts at labels that they will
play your music for. A good producer will also help you
make the most economical use of your studio budget. 3-5
songs is enough for a label demo, but if you have the time
and money, you could record 10 songs and put out an
independent CD to sell at your gigs (Hopefully helping to
pay back some of your studio bill).

For Managers

Managers may want to hear both a live and a studio
recording, so they can see how you handle both. They will
also want to see photos, press clippings, reviews, gig
calendars, and any other forms of promo you may be using.
Ask before you submit, as each manager's requirements
may vary.

For Publishers

You send your demo to a publisher when you want to obtain
a publishing deal. Publishers enter into a deal with you
to share profits made on your song 50-50 (usually). You
contribute the music, and the publisher shops the demo to
other artists and labels who need songs for their
recordings. If one of your songs is recorded by a well-
known artist, it can be worth a pretty penny to your bank
account.

Many famous performers (especially in "Country" genres)
broke into the field first with another artist recording
one of their songs. It gives you brand name power and
credibility, increasing the chance industry execs will
listen to your performance material.

Sometimes, the publisher will have a new demo made of your
song at his expense. An old adage in the music biz is that
"A great song shines through a lousy recording, but a great
recording will not help a lousy song." Make the best demos
you can afford, but don't be afraid to seek out publishers
who accept simple demos if that's all you have right now.
Great songs can be discovered through the worst
recording/production.

But, we all know that if something is hard on the ears, it
is harder to appreciate the underlying song. A strong
vocal is usually required, along with making the lyrics
understandable. Don't hesitate to hire musicians if you
need to. Publisher demos are often accompanied by lyric
sheets or lead sheets.

In the music industry, your demo is your calling card.
Choose the right demo format based on who you're sending
to. Each recipient wants to make money from your musical
talents in very specific ways. The club owner needs you to
have a kick-ass live show to bring in patrons. The record
company wants to know you can make the highest quality
recordings, so you will sell when in competition with
Marilyn Manson, Garbage, or Garth Brooks.

A manager wants you to look and sound great so he can book
you and get a buzz going. A publisher wants a great song
that she can get recorded by an established artist. So by
presenting a product that solves all the contact's problems
(and hopefully makes money), you increase your chances of
being heard by the right person.
______________

Editor's Note: Suzanne Glass is Pres./CEO of Indie-
Music.com, where you can save time & promote your music
free! 1000's of contacts for musicians, no cost, no
hassles. Download a FREE College Radio E-Guide at
http://Indie-Music.com/radioguide/.

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6. Approaching the Studio

By Mark Baxter

Sooner or later you'll have to go in there, and sooner or
later you'll have to come out. For some, the studio is a
haven for creation. The controlled environment provides a
cocoon for exploring a song. People who love to record,
though, are usually reluctant to release their creations
into the hostile acoustics of the real world. Instead,
their songs remain a work-in-progress as they claim a quest
for perfection. This is not the greatest way to move a
career forward.

For the rest of us, the studio is a vacuum. Not only does
it suck the cash from our wallets, it drains our music of
its energy. It's frustrating when that beer-soaked, sweaty
stage vibe you've become known for, never makes it on
tape. Obviously, we can't hold the studio responsible
(although many do); a studio is just a room full of
equipment. The problem lies within. As soon as the red
light comes on we try too hard or become self-conscious.
Overcoming this anxiety, can be as simple as adjusting your
prospective going in.

Singing on stage is different than singing in a studio,
just like acting on Broadway is not the same as acting in a
movie. However, singers have to work in both forums while
actors normally focus on one. Treating the studio like a
live gig is a typical error in approach. No one cares if a
vocal was recorded in one pass, yet, many singers feel
embarrassed when they require multiple takes. What matters
is the end result.

Like a movie, the singing you hear on CD's is really a
quilt of the best phrases seamlessly sewn together. It's
not cheating; it takes stamina and a mental focus to
maintain vocal continuity for several hours. In other
words, chops. This doesn't have to result in a sterile
recording.

Even after many rehearsals, actors often screw up their
lines when shooting a film. Sometimes the mistakes work
better than the original idea. It takes a good director to
know when to wrap a scene.

When recording, a producer plays the role of movie
director. It's his or her job to organize the project
before approaching the studio and then to inspire better
performances once recording begins. Unfortunately, many
bands choose to save money by producing themselves, and
wind up paying in the end by wasting time on a demo which
falls short of their potential.

There is a physical connection when you perform and it's
hard to separate the effort from the outcome. A producer
provides an invaluable overview. Incidentally, it's a
dependence on the physical side of performing which tends
to make people say that your band "sounds" better live.
During a gig, your fans witness your effort and that plays
heavily in their experience of a song.

Recording, though, is like playing a concert for the
blind. Without the visual aspect, your music may not have
as much impact as you think. It usually takes an outside
observer to suggest some changes. If you can't afford a
producer, spread your recording session out over many
weeks. Let some time pass by before listening to rough
mixes in order to gain a fresh perspective on what you've
done.

Recording also requires an adjustment in the way you
rehearse. It's amazing how many people enter the studio
over-anxious and under prepared. There's no excuse for a
band to engage in momentum-killing arguments over a song
they've been playing for a year. Get it right before the
clock starts ticking. Rehearse the recording process, not
just the song. Use a 4-track cassette deck and run through
the steps just as you will in the studio.

Everyone should know what everyone else is playing. To
relieve "red light fever," get into the habit of recording
rehearsals. Experience will show that the best
performances come once everyone forgets that tape is
rolling -- a simple but important point to remember, every
time you approach the studio.
______________

Editor's Note: Mark Baxter is one of America's leading
professional Voice Coaches to Grammy Award-winning
recording artists. See his instructional web site at
http://www.voicelesson.com.

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7. MUSIC CONFERENCES;
(How to take full advantage of all the opportunities that
are available)

By Carolyn Ballen

Deciding Where to Go:

Below is a list of conferences that I am familiar with.
While you're going through the list and visiting each Web
site, you should:

* Ask around, find out what other people think about a
conference you are considering.
* See what works with your schedule.
* See which conferences you can still make the showcase
submission deadline for.
* See what cities you might want to tour through.
* See whether you can combine your trip with something else
that needs to get done in the same city.

IMPORTANT! Don't forget your budget. If a conference
involves travel and hotel, you must decide whether it's
worth it. I've seen far too many bands shell out a ton of
cash to go to a conference and end up getting nothing out
of it. To ensure that this doesn't happen, keep the
following in mind:

Decide what your goals are:

* Do you want to showcase for Major Record Labels?
* Do you want to showcase for Indie Record Labels?
* Do you want to showcase for club promoters?
* Do you want to make industry connections?
* Do you want to learn about the Internet? Emerging
Technology? Legal Issues?
* Do you want to make radio contacts?
* Are you there to find a manager? A lawyer? A publisher?

Each goal carries with it a different set of preparation
tactics. Decide what your goals are and do advance
planning accordingly. You should be able to get an advance
list of panelists to find out who will be at the show.

This is my list of Music Conferences. Some may be missing,
and if you'd like, please let me know of one I've forgotten
by sending an email to cb@....

The Indie Music Forum, Traveling, Next event: May 21, 2000,
San Francisco
http://www.IndieMusicForum.com

The Caribbean Music Expo, TBD
http://www.cme.com.jm/


CMJ, New York, NY, October 19-22, 2000
http://www.cmj.com/Marathon/

Eat-M - Emerging Artists and Talent in Music, Las Vegas,
June 7-9, 2000
http://www.eat-m.com/

NEMO, Boston, April 13-15, 2000
http://www.nemo99.com/

Next Fest, Nashville, February
http://www.nextfest.com/

Rockrgrl Music Conference, Seattle, November 2-4, 2000
http://www.rockrgrl.com/

Philadelphia Music Conference, January, TBD
http://www.GoPMC.com

SXSW, Austin, TX, March 9-18, 2001
www.sxsw.com

Mob Fest, Chicago, IL, June 22-24, 2000
http://www.mobfest.com/

IMX, Los Angeles, October 3-4, 2000
http://www.imusicxpo.com/

New York Music & Internet Expo, April 21-22, 2001
http://www.newyorkexpo.com/home.htm

Webnoize, Fall, TBD
http://events.webnoize.com/
(Online Music)

NXNW, Portland, OR, September 21-23, 2000
http://www.nxnw.com/

Atlantis Music Conference, Atlanta, GA, August 9-12,2000
http://www.atlantismusic.com/

Billboard Music Conferences, Several events covering Jazz,
Dance, R&B, Hip-Hop, Latin)
http://www.billboard.com/events/

Canadian Music Week, Toronto, Canada, March 28-April 1, 2001
http://www.cmw.net

KanawhaPalooza, West Virginia, TBD
http://listen.to/kanawhapalooza

Submitting for showcases:

* Make a note of submission deadlines so you don't forget.
Or, better yet, send submissions in immediately if possible.

* If you send a CD, mark which tracks you'd like the
conference to listen to first and as a courtesy, you should
take the poly wrap off before you send in your submission.

* If you send a tape, make sure you put your best songs
first.

* If you accepted to showcase, make sure you will be able
to "sound check." You're investing a lot into this show,
and you want to do everything you can to ensure that you
sound your best!

After you've decided on a conference, there are certain
things that you have to make sure you have a GREAT event:

Before you go:

* Get Flyers made. - You can buy reams of paper from a
local paper shop and get copies made quite inexpensively.
Consider an odd size flyer so it will stand out from the
rest. You could cut an 8 ½ x 11 sheet in half for your
flyer. You should print the flyers and cut them after
they've been printed.

* Get Posters made. - You can get 300 posters for $99 is
you order from Disc Makers, or another extremely cost-
effective way to make posters is to buy 11x17 colored paper
from your local paper store (approx. $7 per ream of 500)
and run off copies at the copy shop (approx. 7 cents
each). For higher quality posters, I recommend a copy
process called "Docutech."

These cost a penny or so more apiece, but they are
computer-generated and look better than regular copies.

* Business Cards - Kinko's makes some that are quick and
pretty cheap, but you can also print your name and info on
board paper, and cut cards up your self. I've gotten cards
like this and it makes no difference to me. As long as
there is contact information, it's great.

Note: If you don't have access or funds for a designer,
remember, simpler is better. It helps make your materials
look more professional. Also, try to think of ways to do
traditional things with a little creative flair. Always be
thinking, "How can I stand out from the crowd?"

* Bring a CD Walkman with a split-headphone jack. This
way, you can play your music for people who are interested
in hearing it. Having a dual headphone jack allows you to
listen along and see what parts of the song that people are
reacting to.

* Learn who else is going to be attending the conference
and get their contact info during the show. (cell phone,
hotel, booth #)

* Arrange meetings if you need to. Remember that if you
call a meeting, you need to go in prepared. Figure our
what you are going to discuss, and bring along a list a
questions. If you're trying to sell someone something, or
pitch someone on an idea, know the benefits that you can
provide...inside and out. This will be the key to
convincing them.

* Consider a promotional gimmick of some kind. At one
conference, a band presented balloons with the date and
time of their showcase as well, as the band contact
information. They filled them with helium and put them
everywhere! With a little imagination, you can come up
with something that won't be overly expensive.

* Promote your show to anyone you know who will be at the
conference.

When you get there:

* Pick up your badge and goody bag. Go through the bag,
taking a look at everything. Get rid of the stuff you
don't need.

* Go through the program and decide on the things that are
must -dos.

* Pick the panels that you don't want to miss.

* Keep a schedule with you. Write down the things that you
really want to do so you don't miss anything. Keep the
schedule with you at all times so that you can check it and
change it as you meet and greet folks at the show.

Spend some time in the exhibit hall:

* Talk to everyone at every booth (you'll really learn a
lot).

* Try to get business cards from everyone you speak
with in order to enter their contact info in your database
when you return home.

Handing out CDs:

* There are a couple schools of thought on this one, but my
feeling is that you should get a card and send the CD out
after you get home. UNLESS SPECIF. ASKED

* What would really be great is if you sent your CD with
something distinctive so you could say, "I'll send you my
CD when I get back home. You'll know it when it comes, as
there will be a peacock feather in the package," or,
or, "You'll know it, as it will be wrapped n a brown paper
bag and tied with green string."

* Also, don't forget to take the shrink-wrap off the CD.
If you think of it, you might want to tell your CD
manufacturer to leave a box or two unwrapped.

At your showcase:

* Arrive early for your sound check...this gig is
important!

* Be nice to the sound guy, give him a T-shirt, or even tip
him if you are able.

Some non-conference things you can do while you are there
to take full advantage of your time...

* Check out venues other than the one you're playing to see
where you might like to play if you return. Stop in, say
hello, and drop off a CD. Get a business card or contact
information. Make a note to follow up.

* You can do the same at local record stores...arrange
consignment, discuss in-stores.

* Try to set up a visit at the local college radio station.

Even if you can't arrange something in advance, you can
stop by. I have known college radio stations to do
impromptu interviews and live performances.

* While you're on campus, stop by the college paper and see
if they do music reviews.

* You are there, and you might as well stop by the
Activities Center to learn who is responsible for booking
music for the school.

When you get home:

* Enter all your contact names into your database. Also,
there is usually a registrant list in the directory which
can also provide you with valuable contact information.

* Send follow-up email to all the people you met.

* Send CDs to the folks you promised to send your CDs to.

* Go through your goody bag if you didn't do it at the
show. File the things that look interesting and get rid of
the things that you'll never need again. Try to eliminate
clutter as much as possible.

* Consider sending a thank-you note to the panelists that
you particularly enjoyed. It's a great way to stand out
among all the people they've met.

Boy, it's a lot to absorb. But the better you plan, and
the more organized you are, the more you will get out of a
conference. It's all about meeting people and networking.
For some, this is difficult, and for others it comes
naturally. If you're not the social type, this can be
tough, but with so many people brought together with a
common goal or interest, you'll find that it's easier than
you think to meet people.

My feeling is that there's no such thing as a bad
conference. There will always be people that you can learn
from and connections to be made, no matter how few people
you think are in attendance. Keep a positive outlook no
matter what, and any music conference will be a success.
______________

Editor's Note: Carolyn Ballen is President of the Indie
Music Forum. Visit her extensive web site located at
http://www.indiemusicforum.com/indie for more information.

************************************************************

8. "Selling Your Music On The Net: Key Strategies To
Success"

By David Nevue

So, now you have your own CD, and want to sell your music
on the 'Net. You probably have two burning questions:
"Where do I start?" and "How many CDs will I sell?"

There's no doubt that the WWW provides a unique music
marketing opportunity for musicians. If you market
yourself successfully, you could find yourself selling
music to new customers all over the world. But how
realistic of a goal is this to accomplish?

Just to give you some background, a recent GVU web user
survey located at
http://www.cc.gatech.edu/gvu/user_surveys/ states that 41%
of all responders had purchased music from the web. That's
great news, right? That's a very large number when you
consider there are estimates of well over 130 million
people using the Internet.

However, another survey of actual buyers indicates how this
worked: 70% of the buyers searched for the item they
bought, 16% searched for a topic related to what they
bought, and 4% searched for the name of another product.
Adding it up, 90% of the buyers used the Internet as a
modern-day cross between the Yellow Pages and the mail
order ads you find near the back of most magazines. So the
question is, what does this tell you about selling your
music on the 'Net?

Quite simply, it means that creating a web page to sell
your music is not going to be enough. Even if you submit
your site to the search engines, you're not likely to see a
significant traffic increase. Think about it. If 90% of
the buyers out there already know what they are looking
for, and are searching for that particular item or topic,
how will they find you...someone whose music they have
likely never heard of?

Here's the slap-in-the-face reality: In our experience, the
typical musician sells between 2 and 5 CDs a year from
their web site. That's it. Sales that low certainly do
not justify putting your music online. Can you do better?
Yes, you can do much, much better, but only if you have a
good product and market it properly.

Before you begin creating your site, there are a few
questions you should ask yourself:

1) What is unique about my music?
2) What general style of music are my fans most interested
in?
3) What artists am I often compared to?
4) What information would my potential customers be seeking
out?

The key to your own success as a musician on the Internet,
is to first determine what your target audience is truly
interested in. What topic, or subject, would your target
audience be likely to search the Internet for? Once you
have determined that, your site should be designed around
that topic. This is the way you will bring visitors to your
site; by offering them something they want, and providing
them with the information they are looking for.

In our book, 'How To Promote Your Music Successfully on the
Internet', we use the example of a Flamenco guitar player.
This guitarist has a brand new Flamenco Guitar CD out. How
could this musician bring Flamenco music fans to his site?
What are Flamenco music fans interested in? Well, perhaps
flamenco guitar-strumming techniques, gypsy music, Spanish
guitar, or popular flamenco artists like Jesse Cook or
Ottmar Liebert. These are all topics potential clients of
this artist are likely to search for.

Thus, this musician should design a site centered around
these or similar topics. In this way, this musician
targets his audience, bringing in those visitors most
likely to be interested in his music. Once he has their
attention, then he pitches his music. You can do the
same simply by taking the time to research what it is fans
of your music are likely to search the 'Net for.

Does that sound like a lot of work? Yes, you're right...it
is...because you, essentially, devote your time to
providing visitors with information. Not only that, but
you must consistently update that information. You want to
sell CDs? This is the kind of work required. If you do it
right, you'll find you're shipping CDs out on a regular
basis.

If you're going to make the time investment required to
sell your music online, why not do it right the first
time? Why spend money needlessly? You'll find there is a
lot to think about, and enough to keep you busy selling
music on the 'Net as long as you wish.
______________

Editor's Note: David Nevue is the founder of RainMusic.com
and The Music Promotion Academy. The above powerful
marketing strategy is but one that is covered in his
book, "How To Promote Your Music Successfully on the
Internet," which is updated quarterly. Review his web site
at http://www.rainmusic.com/promotion/academy.htm.

************************************************************

9. "Test Your Music Business I.Q."

By Joy Butler

Toni Braxton, Biz Markie, 'N Sync, Shenandoah, and Michele
Shocked have all enjoyed some degree of success as
recording artists. But what else do they have in common?
At some point, a business-related legal problem derailed
the music career of each - at least temporarily.

Highly publicized cases like these illustrate how a
one-sided contract, a band name dispute, or other legal
problem can interrupt a musician's career momentum. After
selling over seven million records, the three members of
the Hip-Hop group TLC found their careers stalled for
nearly five years while they fought to break their
management and recording contracts in court proceedings
that included each member filing for personal bankruptcy.

The Country band, Shenandoah, lost a recording contract and
sat sidelined while it battled to reclaim its name in
litigation costing the group millions of dollars and
pushing it into bankruptcy.

TLC and Shenandoah were able to make comebacks. However,
not all performers are lucky enough to recover from a
lengthy hiatus brought on by a legal challenge. Musical
artists frequently have only one shot at and a few years of
star status. A little music business knowledge is the best
defense against missteps that may lead to the abrupt end of
a promising career.

Here are some basic music law facts that every musician
should know.

1. Copyrighted Song v. Copyrighted Sound Recording.
Understanding the difference is crucial to understanding
any record deal or songwriting contract placed in front of
you. A song is the melody and any accompanying lyrics. A
sound recording is the recorded performance of that song.
One song can have many sound recordings. Copyright law
recognizes a separate copyright in the song and in each of
the sound recordings.

Although the copyright owner of the song and the sound
recording can be the same person, it usually doesn't work
out that way. Typically, the songwriter or music publisher
owns the copyright in the song, and the record company owns
the copyright in the sound recording.

If you're covering a song, you need a license from the
music publisher. If you're sampling from an album, you
need licenses from both the music publisher and the record
company.

2. Band names are trademarked. They are not copyrighted or
patented. You don't obtain trademark rights by just making
up a name. You obtain rights in a name by being the first
person to use that name in a commercial context in a
particular geographic area. The more distinctive your band
name is, the stronger your rights in the name will be.
While registration of a name with the U.S. Patent &
Trademark Office makes it easier to enforce your rights,
registration is not necessary to establish rights in a name.

3. Your record royalty rate is meaningless - unless viewed
in the context of the deductions your record company takes
before paying you any royalties. You probably know that
the record company deducts from your royalties all the
money it has spent on your career including the album
recording costs. What you may not realize is that
deductions can vary significantly from one record company
to the next. As a result, a 10% royalty at Big Time
Records may ultimately put more dollars in your pocket than
a 12% royalty at Uptown Record Label.

4. What's the exit strategy for your personal manager?
Your personal manager is paid a commission of 15-25% of
your gross income on contracts he helps you to secure. But
what happens if the management relationship terminates
before the contracts he negotiated terminate? He may be
entitled to continue receiving his percentage commission
for the length of the contract unless you've negotiated
otherwise.

While it's fair for your personal manager to continue to
earn commissions on income generated by contracts he helped
you get, there should be some limits placed on such post-
management commissions through a negotiated cut-off date, a
gradual reduction over a period of time, a negotiated final
payment to the manager at the end of the management
relationship, or some combination of these or other methods.

The importance of negotiating the phasing out of
commissions can't be overemphasized. After terminating a
relationship with one personal manager, you will most
likely retain another personal manager. You don't want to
find yourself in a position where you're paying a
commission of 15% or more to two separate personal managers
on the same income.

5. Instant partnership. Have you and some of your friends
formed a band, which performs for money? Guess what?
You've formed a business. Every business falls into one of
several categories. If the band doesn't select a category
for itself, it is automatically a general partnership.
While partners can have a formal or written agreement, one
is not required for a partnership to exist.

But if your band doesn't have an agreement, your state's
partnership law will impose certain conditions on the
working relationship among band members. This may be no
big deal until there's a disagreement involving an issue
such as whether the band can continue playing songs written
by a member who ultimately leaves the group, or who gets to
continue using the band name in the event the group breaks
up.

Without a formal agreement, you may not like the way these
issues are resolved under your state's general partnership
laws.

DISCLAIMER

This article is offered as an educational and informational
tool only, and should not be relied on as legal advice.
Applicability of the legal principles discussed may differ
substantially in individual situations. If you have a
specific legal problem, you should consult an attorney.
______________

Editor's Note: Joy R. Butler, Esq., is a principal and the
general counsel of Sashay Communications, LLC, a publishing
and media production company located in the Washington,
D.C. metropolitan area. She is the author of "The
Musician's Guide Through the Legal Jungle," a 3-hour
audiobook offering a faster, easier way to understand music
law. Visit http://www.legaljungleguide.com/musician.htm
for audio excerpts and a detailed outline of The Musician's
Guide, and for free music law resources.

************************************************************

10. "What Do 'They' Really Want?"

By Derek Sivers


Want to know the basic rule or marketing and promoting your
music?

Constantly ask, "What do they really want?" (with "they"
being anyone you are trying to reach)

Think hard, and don't take this one lightly.

Thinking of everything from the other person's point of
view is a seeeerious Jedi mind trick. If done right, it
will elevate you into the clouds along with a few select
immortal beings.

Every time you lift up the phone...every time you write an
Email...every time you send out a press kit...

Think why people in the music industry are REALLY working
in this industry. Try to imagine them as just a well-
meaning human being who is probably overworked, looking for
a little happiness in the world, and likes music (or the
music world itself) enough to do what they do, even though
they could be doing something else.

Think what their Email "IN" box must look like, and how it
would be unwise for you to send them an email with the
subject of "hey" followed by a 7-page Email detailing your
wishes for success.

Think what people are REALLY looking for when they go out
to a club to hear music. For some people, it's just a way
to be able to increase their popularity. For others, it is
searching for some music that does something completely
original and mind-blowing. Yet, others are seeking total
visual entertainment.

Nobody owes you their attention...not your audience...not a
person you happened to call or Email...not even the music
industry. Let go of your ego entirely. Think of everything
from THEIR point of view. Be THEIR dream come true. Do
what THEY really want.

(This even reaches down to the smallest levels; the kind of
phone message you leave, the kind of cover letter you write
and include in a package, even the kind of subject header
you put in your email).

And maybe, just maybe, they'll be, or do, exactly what YOU
want.
______________

Editor's Note: Derek Sivers is President/CEO of CD Baby.
Visit him and his organization at http://www.cdbaby.com.

************************************************************
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