Since going “solo”, I’ve stuck to instrumental writing. Often I find a riff, or a melody, or a groove and I’ll record it. Sometimes that’s all I’ll have and I’ll loop it and just start improvising over it. A song usually starts to develop and I can start arranging it, putting more instruments in, tweaking the beats, etc. Very rarely do I begin the recording process with a fully formed idea.
I love the album format. But in this new climate of releasing singles, it seems that’s what people want. Less music/more often. So it may be some time before I release a full length album again.
No matter what I’m working on, the buildup to a release is very important and I do a ton of social media blasts and promotions. It’s hard to make it in the fusion/instrumental/guitarist realm, so brand awareness is key.
The full length albums I’ve released I agonized over the sequencing of the tracks. It’s so important, especially with instrumental music as you have to tell a story and the flow of the album can make or break it.
I produce everything myself, but I have a folder in dropbox that I share with my closest and most respected musicians. We each can drop our current ideas, mixes, masters, and get outside perspectives. It’s great. Kind of like having a few producers who you know won’t sugar coat what they think of the tune.
Everything is done at home. I use Logic, have some great plugins, lots of analog equipment, cool mics, and other hardware.
I do have several guests all over the different records I’ve worked on. It’s all musicians I’ve know and played with in some capacity over the years. My dad has guested on keyboards on a tune and my wife played violin on another. A few of my closest friends Jamie Pate, Nick Pappas, Lloyd Paul, Patrick Tyrrell, and Matt Nichols have sat in on plenty of tunes. And a fellow teacher J.T. Lee was on my last EP. I’ve got a few releases coming up with David Brimer and John Clark. These are all incredible musicians and it’s nice to have outside input from musicians I respect and know I don’t have to give tons of direction.
I’ve only done two physical releases since 2015 and that was more of an afterthought since the majority of exposure would come through digital streams/downloads. So no, I didn’t do anything different.
The only way to get physical copies of any of my albums is in person at shows.
If I could figure out a better way than facebook/twitter/Instagram I would do that in a heartbeat. But it seems those are still the best options.
I barely sell CDs anymore. The whole industry is a mess from a financial standpoint. But this past year my music was heard in 65 countries on Spotify. Being in a band in 1999, I never would have imagined that my music could reach that far.
Instagram is a big one for me. I find a more organic response there. Facebook still works, but you have to gain the system to be seen. Live videos on facebook seem to be the best way to reach an audience.
I have used sponsored posts on all platforms with basically no response. I’m hesitant to recommend anyone use them. Maybe it would work for someone else?
I don’t. That’s one of my goals for 2019. I’m probably missing out on a whole demographic.
I’m not sure FM or even satellite radio will exist for much longer. I think most people would rather throw a spotify or pandora playlist on than listen to the same classic rock songs over and over.
I think it’s great. Yeah, I think we all deserve to be compensated better, but that’s just the cards we’re dealt right now. It’s making it so I can be heard in countries I didn’t know existed. How cool!
I’ve always managed myself and my bands. For better or worse, I’m not sure…
The only time I travel out of town to play gigs is for cover band type gigs so there’s really no need to promote. The crowd is built in.
I’m trying to set up a merchandising shop this year. They have so many print to order options it seems like it’s a win/win situation. Just think, you could wear a shirt with my name on it (haha!)
I haven’t organized any but I’ve been a part of them and yes, they are awesome. We played a New Year’s Eve house concert and the audience was more attentive there than at any bars I played at this past year.
Make sure you have enough room!
I can get spacey or uneasy before a gig. It’s more out of excitement to get on stage. My wife calls it “gig mode” and she knows I’ll only be half listening to her because my mind is going through the setlist, stage setup, soundcheck, crowd, etc.
I’d much prefer to pack 50 people wall to wall in a small room than play to 500 in a huge room. Maybe that’s why the house concert idea is so appealing.
I’ve played in a ton of different bands. Usually, the first show with a new band or new group of musicians is the most fun. I wish I could feel that every time.
I try to do a bit of networking everyday. Over the last few years that has been in playlist pitching for spotify. That is a full time job!
I wish creating music was the highest percentage, but unfortunately the business side of it takes so much time!
Yes, you have to be a business-oriented person or else you hire someone to do it for you.
As I’ve stated before, I am a music teacher by day. I work for an Atlanta based company called Metro Music Makers and am supported by a fantastic team of musicians and entrepreneurs. I love working as a teacher and my students are some of the most inspiring kids I’ve ever worked with.
I know that you are working really good in the “new world” of streamings, playlisting etc. Can you tell us what do you think about it? Have you learned any “promotional strategy” that you would share with the music community?
A year ago I had 50-100 monthly listeners. I thought that was pretty exciting.
Then I started looking at other player’s stats.
I saw that there were musicians out there who were not on tour, not gigging out five nights a week, who were just writing and recording in their home studios and they had anywhere from a thousand listeners to a hundred thousand listeners!
So I started concentrating on playlist pitching.
I followed a lot of the strategies that have been outlined by many of the blogs online and started to find success. My numbers really grew. I topped out around 50,000 listeners over the summer.
But the thing that has helped me the most, is connecting with other musicians on social media. That’s why I’m doing this interview.
Through meeting the great Roberto Diana in different facebook and twitter circles, we’ve shared countless songs with each other and with the members of different facebook groups and communities.
Help other musicians and you’ll see the benefits come back to you. We’re all in this together!
Go all in. It’s scary, but if you want to really be a full time musician you have to willing to make sacrifices. You may not have a nice car, or be able to go out to eat a lot, and you may have to live a frugal life for a while, but it will pay off in time. Music is about passion. Passion doesn’t usually come with a big paycheck.