Wanted:Tips for making a living as a musician

[russrags]

Bud Ice Man,

 

The biggest plus you have right now, is your DREAM, and that you live in Nashville. I swear it's just as easy as following your dream. In Nashville, you will accidentally run into more people that can make a difference in your career, than any where else no matter how hard you try.

 

Here is something that was floating around a year or so ago, that I think you will find inspirational .... good luck man:

 

 

College Commencement Address

to the North Carolina School of the Arts

Class of 2007

 

Danny Elfman

 

June 2, 2007

Roger L. Stevens Center

Winston-Salem, North Carolina

 

First, I

[russrags]

Cut to

[Will Chen]

That is an excellent commencement address and very inspirational.

[RockViolin]

I extremely appreciate all of this very sound advice you have all so graciously given to me. 1. Playing out in public every night. Should be obvious to some but a very good piece of advice that I need to initiate immediatly 2. Wedding ceremonies- There has to be money in that gig 3. Teaching- Ditto 5. Go to a booker/agent for those types of bands in your area and get a contact list. I will do that for sure! 4. Regular day job- Having a reg. day job probably can't be overstressed. What kind of day jobs do musicians apply for? 5. Stay in school- I have seriously been thinking about this one, I wouldn't mind it at all, honestly. It would help me identify what exactly I want to do with music and guarantee new contacts with musicians 6. Network- Once again, maybe obvious to some but cannot be overstressed at the end of the day Sight reading will be an advantage I have over 90% of guitarists out there, most guitarists I know do not read at all, and those who do usually are not that great. Contiuning to study Jazz will be probably be very beneficial to me. I also have my age going for me (25) and I have a pretty good personality (so they say ) Russrags, I will definetly pick up that Mix magazine and hopefully that will help me out a bit. Anything else you guys can think will be a great help. Thank you all so far! -Melvin

 

I think I'd like a word with your professors. Pardon me, but you seem a bit out on a limb, and I don't think that's right. The school doesn't have to hand you a job, but you should know the steps that will get you one and be more prepared to take them IMO.

 

1. A cart for the horse. To play out you need a setlist, or 3, obviously. Know it extremely well...so that you can keep playing no matter what is going on around you. You can play just about anywhere if you are playing for nothing, or with your case conspicuously open. Just be careful.

 

2. Again, you need a set list. The Mendelsohn, and Wagner wedding music, etc. Brides make requests and sometimes the arrangements for those can be hard to find. Arranging and transcribing skills are good to have, or knowing and being very good friends with someone that has them.

 

Here you'll need the nerve to do it when the whole room is stone silent and all the attention is on you. You have to be very solid. If you're making any mistakes at home, if anything is dodgey, you're not ready.

 

3. I bet there's a lot of people teaching guitar on the side in Nashville. How are you going to make an impression on possible students? Why should they study with you?

 

5. You need a promo pack. While you are getting your picture for that taken you can pass the info that represents the wares you are shopping to the professional photographer. Photographers and caterers are good people to make friends with.

 

4. A day job that doesn't drain you much physically or mentally would be good. You'll need your sap for the show. But, I'm with BlueStrat.

 

5. Nothing to add. You have two 5's BTW.

 

6. NTA.

 

Most of the guitarists you know aren't really who you are competing with. You're trying to get work in a biz where the Pros read extremely well. Continue to work on your sightreading.

[tocs100]

Learn to eat cheap and do without what you do not need. This may sound like a smart-assed reply but I am being serious. The better you manage your money the less pressure you will feel to do something else to ease financial woes. Like many other professions, sacrifice comes early and reward later on.

 

That's essential advice not only for the entertainment industry but also for plowing through college (unless your parents are loaded )

[Magpel]

I mean, are you interested in doing it via that confederated, fraternal effort we call a "band" in which you throw your lot in with one particular family of players, one of whom, at least, should have a way with a song?

 

It seems to me that's the huge divide among musicians, in my experience. Music school grads typically view themselves as free agents, good-natured mercernaries who honor their commitments BUT who will gravitate naturally toward the most productive and profitable gigs, whereas the rest of us (though, oddly I am a music school grad) tend to see the best opportunities coming from a really committed band identity. It's a big question. If you just want to play, play, play and make a living, then put your degree to work and be a player for hire, but if part of you is drawn more to what is possible with serial band monogamy , well, think about that too. Are you already affiliated with any gifted writers that you--genuinely--think are very good? Whose songs you genuinely love? They're hard to come by for sure. Everyone, above a certain line, is almost good enough...but is there anyone whose tunes really truly fire you up? Marry him/her.

 

What I mean is if you take every gig offered by everyone, you may never fully explore any one of them. I am seeing this happening with a couple of fine young players in my circle right now. It leads to one kind of career. Focusing on one project leads to another, but usually requires non-music gigs as well.

 

So...I guess I am giving you tips on how NOT to make a living. I'm an expert

[BlueStrat]

I mean, are you interested in doing it via that confederated, fraternal effort we call a "band" in which you throw your lot in with one particular family of players, one of whom, at least, should have a way with a song? It seems to me that's the huge divide among musicians, in my experience. Music school grads typically view themselves as free agents, good-natured mercernaries who honor their commitments BUT who will gravitate naturally toward the most productive and profitable gigs, whereas the rest of us (though, oddly I am a music school grad) tend to see the best opportunities coming from a really committed band identity. It's a big question. If you just want to play, play, play and make a living, then put your degree to work and be a player for hire, but if part of you is drawn more to what is possible with serial band monogamy , well, think about that too. Are you already affiliated with any gifted writers that you-- genuinely --think are very good? Whose songs you genuinely love? They're hard to come by for sure. Everyone, above a certain line, is almost good enough...but is there anyone whose tunes really truly fire you up? Marry him/her. What I mean is if you take every gig offered by everyone, you may never fully explore any one of them. I am seeing this happening with a couple of fine young players in my circle right now. It leads to one kind of career. Focusing on one project leads to another, but usually requires non-music gigs as well. So...I guess I am giving you tips on how NOT to make a living. I'm an expert

 

 

There's a third type of which I am one (and know many others)...the non-music school grads who are free agents-we play in bands we play solos and duos we teach guitar lessons (though I don't- I suck at it). We'll play bar gigs, weddings, art galleries, civic events, private parties, festivals and concerts-whatever pays. We do it for fun and profit in more or less equal amounts. We play originals but we'll play covers too-whatever the gig calls for. We'll play country, blues, classic rock, newer stuff, standards, or what have you. For us, playing music is fun and an essential part of our lives-but getting paid decently is part of the fun and an indicator of how you are esteemed in your profession by the public and your peers. Guys who can earn more than $100-200 a night or more each consistently are an exclusive club around here, and getting into it is a lot of work but part of the reward one gets for pursuing a life of music.

 

I could make a nominal living off of playing if I wanted to, though certainly not enough to take the place of what I make in my day job. If I really hustled, I could be booked 4-5 nights a week and learn to teach basic guitar. Then I might make 2k- 3k a month. But to earn that I'd be constantly making phone calls, juggling the calendar, sending out contracts, chasing down money, and so on. I'd have to cut out my cable TV, hi speed internet, drive sparingly and hope my cars didn't fall apart. It's doable but for most full timers you're always just a couple of canceled gigs away from a financial disaster. My duo partner is in this boat, because what I described is exactly what he does.

 

As has been said here a million times, it ain't like the old days. When I was 25, I was playing 5-6 nights a week in the same club, and making $400-500 a week in 1980 dollars for a 20-24 hour work week. My friends framing houses made about half that.

 

Now, you're hustling for the same $400-500 a week from gigs (more if you get the plum gigs but they aren't constant) only in 2008 dollars. Hardly worth the energy you have to expend and the risk you take, IMO.