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6 Music Recording Secrets of the Beatles

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6 Music Recording Secrets of the Beatles

by Jessica Brandon

The Beatles in the Recording Studio

         The Beatles in the Recording Studio

The Beatles is undoubtedly the greatest and most influential band in the history of pop music.  Along with revolutionary producer George Martin, ‘introduced the recording studio as an instrument’.

Yet the first two Beatles albums, Please Please Me and With The Beatles, were recorded on very simple BTR two track machines; with the introduction of four-track machines in 1963 (the first 4-track Beatles recording was “I Want to Hold Your Hand”) there came a change in the way recordings were made—tracks could be built up layer by layer, encouraging experimentation in the multitrack recording process. This is a far cry from the unlimited tracks you are able to create on a laptop today.

How did they do it? Here are some examples of creative music production techniques used by their producer George martin and the group and the talented crew of engineers that helped create a catalog of albums that have sold well over two billion copies:

 

  1. Half-speed recording on “In My Life”

There were three separate recording sessions booked at Abbey Road, in which George Martin was there to record the baroque-style piano overdub onto “In My Life”.

Martin initially tried a Hammond organ solo, but was unhappy with the results. He then attempted to play a part on a piano, but had difficulty playing the complex solo in time. Eventually he instructed engineer Stuart Eltham to slow down the tape to half speed, and played the solo an octave lower, so upon playback it gave the desired effect.

There are numerous other examples of the engineers using this technique on Beatles recordings, including extensive use on “Strawberry Fields Forever.”

Using the “varispeed” mode in Pro Tools’ elastic audio can perhaps yield similar results.

 

  1. Backwards Tapes

As the Beatles pioneered the use of musique concrète in pop music (i.e. the sped-up tape loops in “Tomorrow Never Knows”), backward recordings came as a natural exponent of this experimentation. “Rain”, the first rock song featuring a backwards vocal (Lennon singing the first verse of the song), came about when Lennon (claiming the influence of marijuana) accidentally loaded a reel-to-reel tape of the song on his machine backwards and essentially liked what he heard so much he quickly had the reversed overdub. A quick follow-up was the reversed guitar on “I’m Only Sleeping”, which features a dual guitar solo by George Harrison played backwards. Harrison worked out a forward guitar part, learned to play the part in reverse, and recorded it backwards. Likewise, a backing track of reversed drums and cymbals made its way into the verses of “Strawberry Fields Forever”. The Beatles’ well-known use of reversed tapes led to rumours of backwards messages, including many that fueled the Paul is Dead urban myth. However, only “Rain” and “Free as a Bird” include intentional reversed lead vocal in Beatles songs.

The stereo version of George Harrison’s “Blue Jay Way” (1967, Magical Mystery Tour) also includes backwards vocals, which is actually a backwards copy of the entire mix, including all instruments, which is faded up at the end of each phrase.

Essentially every modern DAW has a reverse audio capability, but actually taking the time to write out the performance before the effect is applied will definitely result in something unique.

 

  1. Splicing tape loops together on “Being for the Benefit of Mr. Kite!”

In a 1968 interview, Martin recalled that he achieved this “by playing the Hammond organ myself and speeding it up”. In addition to Hammond organ, a 19th century steam organ was found for hire to enhance the carnival atmosphere effect.  After a great deal of unsuccessful experimentation, Martin instructed recording engineer Geoff Emerick (as instructed by George Martin)  to chop the tape into pieces with scissors, throw them up in the air, and re-assemble them at random.

The resulting effect is quite unique, and fits in perfectly with the rest of the psychedelic Sgt. Pepper’s Lonely Hearts Club Band.

This type of effect (if desired) is not only much easier to do in a modern DAW, it is certainly cheaper than mangling sought-after analog tape.

 

  1. Muffling Techniques

The use of tea towels and other drum muffling techniques on multiple recordings are one of the big trade secrets of the Beatles. As early as 1962, Ringo can be seen using John’s Harmonica to dampen his snare drum.

Whether it be how hard or light he hit a drum, a cigarette pack or wallet on his snare, masking tape or tea towels on a tom, creative mic placement or the type of mic used, the tightening, loosening or complete removal of a drumhead, the use of  calfskin or mylar drumheads, etc. Ringo was a creative genius in the use of basic drum kits and getting the most out of them. It’s amazing. This list of techniques may seem ordinary by today’s standards but Ringo is the guy who knocked down the door in the recording studio with these simple and effective ideas.

Using tea towels or other muffling devices can allow for more control over the volume, attack and decay of individual drums. Especially considering it was common for the engineers to apply extreme compression on Ringo’s kit with a Fairchild limiter, dampening the drums allowed for a tighter, more focused sound.

 

  1. Outtakes, Vocal Warm-ups, Practicing singing on “Oh! Darling”

Performing a song until the performance sounds the way the artist wants it to — what a concept!

McCartney later said of recording the track, “When we were recording ‘Oh! Darling’ I came into the studios early every day for a week to sing it by myself because at first my voice was too clear. I wanted it to sound as though I’d been performing it on stage all week.” He would only try the song once each day, if it was not right he would wait until the next day. In order to make sure he got every precious first take right, McCartney would practice the song in the bathtub. He once lamented that “five years ago I could have done this in one take”.

 

  1. Artificial double tracking

Artificial double tracking (ADT) was invented by Ken Townsend in 1966, during the recording of Revolver. With the advent of four-track recordings, it became possible to double track vocals whereby the performer sings along with his or her own previously recorded vocal. Phil McDonald, a member of the studio staff, recalled that Lennon did not really like singing a song twice – it was obviously important to sing exactly the same words with the same phrasing – and after a particularly trying evening of double tracking vocals, Townsend “had an idea” while driving home one evening hearing the sound of the car in front. ADT works by taking the original recording of a vocal part and duplicating it onto a second tape machine which has a variable speed control. The manipulation of the speed of the second machine during playback introduces a delay between the original vocal and the second recording of it, giving the effect of double tracking without having to sing the part twice.

The effect had been created “accidentally” earlier, when recording “Yesterday”: loudspeakers were used to cue the string quartet and some of McCartney’s voice was recorded onto the string track, which can be heard on the final recording.

It has been claimed that George Martin’s pseudoscientific explanation of ADT (“We take the original image and we split it through a double-bifurcated sploshing flange”) given to Lennon originated the phrase flanging in recording, as Lennon would refer to ADT as “Ken’s flanger”, although other sources claim the term originated from pressing a finger on the tape recorder’s tape supply reel (the flange) to make small adjustments to the phase of the copy relative to the original.

ADT greatly influenced recording—virtually all the tracks on Revolver and Sgt. Pepper’s Lonely Hearts Club Band had the treatment and it is still widely used for instruments and voices. Nowadays, the effect is more often known as automatic double tracking.

ADT can be heard on the lead guitar on “Here, There and Everywhere” and the vocals on “Eleanor Rigby” for example. The technique was used later by bands like the Grateful Dead and Iron Butterfly, amongst others.

 

With today’s technology, you have pretty much carte blanche to create any music you want on your laptop, without even stepping into a recording studio. Your technology you have on your laptop is far more advanced than the recording studios the Beatles used in the 60’s.

 

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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IAMA Podcast 2017

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Thank you for tuning into our 2017 podcast episode for the International Acoustic Music Awards.

Acoustic Music Radio

Acoustic Music Radio

  1. “Crossing the Bar” by Bertie Higgins & Bellamy Brothers
  2. “Novocaine” by Tim Schou
  3. “For You” by NEeMA, featuring Emmylou Harris
  4. “Drive” by The Well Pennies
  5. “Voyageur” by Rob Tardik
  6. “I Don’t Know My Name” by Grace VanderWaal
  7. “Where Do You Go” by Marty Cintron
  8. “Hurry Home” by Zane Williams
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6 Secrets to Produce Great Recordings at Home

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6 Secrets to Produce Great Recordings at Home

by Jessica Brandon

Home Recording Secrets

                     Home Recording Secrets

Remember the old days of recording on a 4 track cassette recorder and find out that the recordings are to plain and you need to go a 24 track recording studio to get a great recording? Well, those days are over. An old laptop with some inexpensive gear can now produce high fidelity recordings that can rival those made in expensive studios!

However, many musicians who aren’t recording engineers can find the task of recording and producing a great track really daunting. Here are 5 great tips that home recording enthusiasts can employ right now to start getting more polished recordings…

 

  1. Obtain a Preamp

Plugging a guitar or microphone directly into your recording interface can often produce a very transparent sound that lacks the warmth and volume that a great track requires. There is an easy and inexpensive way to get a better source sound: plug the guitar or microphone into a preamp first.

A decent preamp one can be obtained for as little as $50 and will immediately add volume and warmth to everything that you record. A few technical things to note: First, if you buy a tube preamp, it’s best to junk the tube that comes with it and replace it with a better one (doing so requires nothing more than a screwdriver) which you can buy at a guitar shop.

An example, I used PreSonus Studio Channel for a mic preamp and it really made a difference in my recordings. I used LR Baggs Beltclip Preamp with Passive 2-band EQ for an acoustic/electric steel string guitar and it made a bug difference in the sound quality.

Secondly, keep in mind that the output of the preamp will require a balanced audio cable such as a TSR or XLR cable. Don’t try and connect the preamp to your interface with just an instrument cable, even though it will fit into the input.

 

  1. Obtain a Large Diaphragm Condenser Microphone

It is important to get a good condenser microphone. I used a Audio-Technica AT2035 Large Diaphragm Condenser Microphone for just $150.00 and I could hear the big difference compared to my previous use of Shure SM57 microphone. The Audio Technica AT2035 is widely regarded as the ideal first mic for anyone starting a home studio on a shoe-string budget. Among the dozens of terrible mics in this price range, the AT2035 is one of the few that actually delivers on its promises.

I strongly recommend that anyone mastering their own recordings, even on a shoestring budget, make purchasing a large diaphragm condenser microphone mandatory. The reason I believe in this item so dearly is that in addition to recording vocals, you can also record acoustic instruments (banjos, acoustic guitars, mandolins, etc.), light percussion (tambourines, bongos, etc.), and a whole host of other things.

If you start buying separate condenser microphones of various shapes and sizes for all of these different tasks then your wallet is going to take a beating, and the results really won’t change all that much.

 

  1. Obtain Good Mastering Software

I use a product called Ozone 7  by Izotope. You can get it for about $250, and older versions of the product can be had for even less. This gives a pretty cohesive, pleasing mix, with enough dynamics to master.

One thing that virtually any new home recording enthusiast inevitably says is, “my track is done, but it’s not as loud or punchy as my favorite band’s tunes are.”

Many folks will then turn to professional engineers to master their finished songs. While these consultants often do great work (at increasingly cheap rates), it is no longer required that artists use them.  If you are like me and like to record a lot of material, using a lot of outside engineer help is just too expensive.

 

  1. Obtain Decent Monitors

Many home recording honchos fall into the trap of buying really expensive monitors for playback. But if you are on a budget like me, nothing fancy is required.

I used a pair of PreSonus Eris E5 5.25″ Powered Studio Monitors, and I obtained it for just $275.00. These speakers sound fantastic; very balanced, plenty of Bass, plenty of volume, etc. At this price and size, you can’t go wrong.

The only important thing is to simply know how your monitors compared to other speakers. Listen to your tracks, as well as commercial recordings on headphones, car stereos, and cheap computer speakers and compare what you hear to the sound profile of your monitors. Maybe your monitors don’t project certain frequencies especially well so you know to turn those up a little bit when mixing. If you follow this rule your tracks will be just as well mixed as the guy or gal who is using an exceptionally expensive monitoring system.

 

  1. Avoid the overuse of Auto-Tune and other Effects

A common mistake that many musicians make when attempting in-home recording is to rely on “Cher inspired” Auto-Tune and other effects that they hear on radio, both pre-amp and post-recording, to make up for the lack of clarity, warmth and overall quality of a recording. Here at USA Songwriting Competition, we have listened to demo tracks where the auto-tune, reverb and other effects overwhelm the song to the point that it is hard for the judges to listen to the actual melody and lyric.

The most commonly over-used effect is reverb, which is all too often used to make recordings sound less ‘flat’ or ‘more professional’. However, the proper amount of reverb to use to remove the flatness of a vocal recording is rather difficult and is why so many make the mistake of drowning out their recordings by making them so ‘wet’ with reverb that the notes become slurred together and indistinguishable.

A rule of thumb should be to always try to record each track as clean as possible, avoiding pre-amp effects whenever possible, and then only using effects to do minor touch-ups or additions afterwards.

 

  1. Obtain a decent Mixing Control Surface

If you use a DAW (Digital Audio Workstation) , you may want to use a decent DAW controller. I used a PreSonus FaderPort 8 Production Controller for less than $500. This 8-fader control surface features motorized, touch-sensitive faders that handle effortlessly and follow automation precisely. Channel controls include all the standards, such as level, pan, solo, mute, and record arm, and a full set of digital scribble strip displays also help to keep you on track. The great thing is that this FaderPort 8 has native support for PreSonus Studio One DAW (got this a few years ago for less than $400).

So, do you have any more tips you wish to add? If so, please add your comments below!

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

 

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Singer-Songwriter: 5 Ways To Improve Your Chances of Success

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by Larry Butler

Singer-Songwriter

Singer-Songwriter

We’re all familiar with the standard rules given to those who think they want the fame, glory and money that comes from being a successful singer-songwriter––work hard, practice, smile, be nice to people, etc. In the 40 years or so that music industry veteran Larry Butler has worked with some of the most successful artists in the business, he says he’s found a number of pieces of advice that you’re probably not going to find in those well-worn lists. Here are five taken from his new book The Singer-Songwriter Boot Camp Rule Book: 101 Ways To Improve Your Chances Of Success. None of them involve smiling.

 

1. Be a solo artist or a duo, at most. There’s way less overhead and you never have to attend any band meetings.

In addition to being less expensive to mount a career (vis-à-vis a band), at every step along your uphill career path you are going to have to know how to perform and entertain in some kind of solo, acoustic, stripped-down, bare bones situation and sometimes at the drop of a hat.

For instance, to get the attention of radio programmers, music supervisors and ad agencies you’re going to have to set up in a solo acoustic setting and perform in office break rooms and convention/seminar showcases. Your goal is to be better than the singer-songwriter who was performing in their conference room the day before. Is your show way more entertaining? It had better be or you lose out.  And you can’t be just good or even very good––you have to be GREAT!

 

2. Get your own vocal mic. God knows where the club’s mic has been. And stop hiding your mouth behind your mic. Stop it!

Most clubs and sound companies use Shure SM58’s for vocals––they’re the standard of the industry. The trouble is that to get the SM58 to sound good you have to sing directly into it and hold it as close as you can to your mouth. But then your mouth is hidden, isn’t it? And your mouth is one of the three ways of communicating with your audience (the other two being your eyes and your hands).

You can change that! Modern audio science has developed a microphone design that allows the singer to sing above and across the top of the mic by holding it at a 45-degree angle at the chin while preventing feedback and other noises from the stage. In fact, it doesn’t work that well when the singer attempts to eat the mic!

It’s called a hyper-cardioid dynamic mic and it comes in many styles, sizes and price ranges. I prefer the Telefunken M80 for high pitch voices or M81 for lower pitch. Try them both and see which one you prefer.  Sound techs don’t care if you want to use your own mic at a show; in fact, it’s usually a sign of a professional, and they welcome that any night.

 

3. Develop a stage personality with an attitude and a different way of looking at things. Show it off in your between-song patter.

Presenting your musical work in an entertaining manner is the presentation of personality. First, you need to have one––a personality, that is. And the best place to present that personality is in your essential between-song patter. Heretofore, you’ve probably not rehearsed anything to say from the stage and decided to “wing it.” If you’re going to do that, why even bother to rehearse your songs? Why not “wing” those too? Exactly.

I believe that the between-song patter is at least as important as your songs (and perhaps even more entertaining) and needs to be presented with the same amount of thought, preparation and rehearsal as your songs. Entertaining patter leads the audience to a better understanding and appreciation of your song and of you.

The idea here is to not only shed some light on the songs, but also how you FEEL about the songs, and the world, and relationships, and music, and whatever. You need to generate a reaction from the audience and not be afraid to step on a few toes. You need to present a relevant, consistent and personable attitude.

 

4. Lose any appearance of pride on stage, even to the point of looking foolish. Be vulnerable. People love that.

I don’t mean like the pride you take in your musical skills or professional standards. I’m talking about the pride that everyone hides deep in their ego that prevents them from making fools of themselves in front of other people. But there’s nothing wrong with looking foolish on stage––as long as it’s scripted and rehearsed and delivered with a wink. That’s entertaining!

The thing you have to get over is your reticence to doing something foolish on stage. Show your vulnerability by letting that foolish pride go––all successful entertainers have done so. Being vulnerable on stage is the best way to emotionally connect with an audience. If you can’t (or won’t) do that, then you are doomed to keep performing at the level you are now.

 

5. Studies show that creative artists have more emotional problems than the average person. Solution? Seek and accept help.

Creative artists’ lives are, more often than not, ruled by their emotions, which take undue precedence over rationale, reason and reality.

Drugs and alcohol are thought to be the shortcuts to creativity. But they’re also the express lanes to dysfunction. And don’t think you’re immune––you’re not. It’s not about will power or common sense, even if you had either one to begin with.

And addiction goes beyond the poster children of alcohol and drugs. There’s nicotine, caffeine, antibiotics and Afrin, for instance. They’re all good in moderation, but moderation is not a common attribute of singer-songwriters and artists.

There are solutions and there is help. Search out someone who has suffered through many of the same problems as yours and could offer some suggestions. And when help is offered, accept it. It’s the only way out.

[Permission Reprint by Music Connection Magazine]

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

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How to Improve Your EPK/Press Kit in Six Steps

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How to Improve Your EPK/Press Kit in Six Steps

by Kari Estrin

EPK/Press Kit

An EPK/Press Kit

Having an effective Press kit or Electronic Press Kit [EPK ] will not only increase your chances of getting gigs, but will ensure you receive better publicity for the ones you get. Also, that more strategic publicity you’ll receive usually results in attracting more audience members, with the chance for better pay scales and more CD’s/merchandise sold. However, you would be surprised at how often press kits don’t give the important information and delivery that venues, festivals and publicists need. Unfortunately, when your kit is not only ineffective in providing info to entice a venue to consider your booking request, another artist that may not be as accomplished as yourself, but with a well thought out and professional kit, might be the one who snags the gig instead!

Here are six elements of a good EPK which I’ll also explain below. I recommend hosting your EPK on your own web site, as either a separate tab or a link solely for booking, as with your own site you can control the format and the data while sending the venue to one source for everything. You can still keep an alternate kit set up on other digital sites, but I would encourage artists at every turn to ultimately drive the traffic to their own website. It is not uncommon when a platform other than your site is the host, entire kits can be wiped away if you don’t keep up with communications from them.

What Makes an Effective EPK

1) an informative bio

2) a quote page and/or review shorts

3) various publicity shots

4) music to stream

5) video

6) downloadable posters

7) stage plot, sound requirements in your basic contract rider

 

Explanation of Each:

1) An informative Biography

This is perhaps the most misunderstood component of a press kit by artists – as to what makes a good bio and what you should include about yourself. I highly recommend hiring a writer for this, as they will know how to look at your life, musical achievements and make it an interesting and effective read. But if you’re writing it yourself, here are a few tips. First, A bio should captivate the reader with a strong first sentence – perhaps to pique interest or to give an intriguing summation of the artist and what s/he does, filled out in the first paragraph’s subsequent lines. The second and third paragraphs might delve more into specifics about the artist’s current sound, musical life and past achievements. If you’ve received lots of songwriting finalist awards, no need to list them all in a sentence. You can summarize your achievements. Then usually, the last paragraphs might talk about where the artist was born and grew up with some more historical information. Be prudent here, giving homage to your 5th grade teacher or that role in the school play is not usually interesting to others. That said, in general, when writing your bio, when looking at our own lives, we often leave out some of the most fascinating things about ourselves that may stimulate human interest in your story. It’s that memorable content that helps you stand out from a crowd. The trick is in how to incorporate it. Again, If you are unsure of how to write about yourself, talk with friends who may be accomplished writers or hire someone who professionally writes bios. It will be worth it!

2) A Quote page and/or Review Shorts

If you have received some reviews and/or quotes, it’s quite illustrative and impressive to include these in your press kit. The key to selecting quotes when they are three to four sentences long is to create a shortened version of the quote for quick reading. You want the reader to be able to skim over the quotes, not to be weighed down in them. It’s ok to edit out some of what is said – to make the quote have more punch! But, this is also an art, you can’t put words into their mouth, and your edits must keep their intention the same. However, taking out extraneous words or even thoughts focuses the reader to know what the most important take away is. As to reviews, it’s fine to print them in their entirety if they are well written and informative, but many times there will be a lot of filler information found elsewhere in your press kit, so feel free to reproduce a paragraph or two from a longer press clip. If you have a particularly strong and brief quote that sums up the essence of what you do, that may also be included on the front of your website; the top of your bio, placed under your name; on a business card; etc. Do not include fan quotes; try to get quotes from reviewers, people in the business who run/book venues, other well-known musicians, etc. One last caveat – you can use a quote if it is published or asked for, but if someone says something or writes to you personally, it’s best to write back and ask for permission before using – and at that time, they can even clarify what they said once they know you’re looking for a quote.

3) Various Publicity Shots

It’s important to have a good publicity shot – one that is something a newspaper or venue can use to generate interest and attract attention. Depending on your image and branding – having a shot that also can reflect your music is a plus. Clothing, settings and good lighting and camera work are important in getting your shot chosen over others for print. Sometimes a photo editor picks the pictures for previews and it is not uncommon for an unknown artist with a better photo to have it printed larger than someone famous! Therefore I advise hiring a photographer, since if you find one whose work you like, you will usually get a picture that will be more professional which will garner attention. Whether you are looking at the camera, looking away or are relaxing, the shot should convey something about you and your music, albeit in abstract terms. A professional photographer can help you find your best and most interesting camera angles, encourage you to relax and give your shot the polish and nuance it needs. Please avoid taking your pictures in front of barns and brick walls – these backgrounds are overdone. You can scout out interesting backdrops for your photo, or your photographer will have some in mind. If shooting indoors without natural light, your photographer will have the proper lighting with them. You can have a variety of types – head shot, full body shot, horizontal and vertical. The final shots should be available and downloadable in both hi resolution pictures (300 & 600 dpi)and low res (72) for computer screens and should be indicated as such on your site.

4) Music to stream/download

Of course, your kit should include your music – this is easy if you have a CD – you can either include a few (5 or so tracks) from your CD – or stream the CD itself. And if making your music downloadable, you can also have a private link on your site for your whole EPK, or just the music in full, so that only venues/festivals can have that access to your press kit and music. If you don’t have a CD, then put together maybe five or so tracks of your music, well recorded. Indicate if you are about to record an album and that these are some of the songs that you will include. If you are a band, whether in a recording, demo or video, record your sound as you usually perform. However, if you are a singer songwriter and usually perform solo, your CD most probably will include other instruments that you don’t take on the road, but that enhance your sound. Venues look for what is somewhat reproducible in your performances, but not literally. Instead, leave off those drum kits and electric guitars if you don’t perform with them, but it is fine to add bass and some additional instrumentation that doesn’t dominate your sound. Read on to the next section as venues not only need to know what you sound like on CD or recorded, but also live.

5) Video

When booking a gig, it is important for many presenters to know how you are live in performance, not just what you do on your CD. So instead of hiring everyone who played on your CD to record your booking video, when you may only intend to bring two or three or go solo, be sure to include at least one video on your site that represents you in performance. It’s always a plus to have a two or three camera edited shoot, but not necessary if your video, which can even be recorded on an iPhone, is recorded up close enough to see your face, (not from a distance where you are barely visible) that is not shakey (!) and that the sound is not muffled or distorted. That type of video will turn off a promoter. Also, If you’re planning a nationally-released recording, it is always an advantage (but not necessary) to have a story-line type video, in addition to a straight-up performance. Some artists also may include a video of their own story – a bit of a biography – and these can be fun. Just keep them to roughly 3 minutes or so, to hold the attention of the viewer. If you sometimes play solo, but can also bring a trio, record the trio – when you negotiate your contract, then you can see if their offer allows you will bring the trio, come as a duo or perform solo. The booking agent for the venue will have an idea what they are negotiating for either way, you can quote a price for the trio – then if there is not enough money for all three of you, can offer to just bring the duo or come solo.

6) Downloadable Posters – yes, some venues want a poster or two to put up – usually 8.5 by 11 is sufficient, as there is not always space for a larger one. You might even have postcards they can reproduce with your info. But you can have these different sizes on your site, including something larger like 11 x 17 – with the artwork completely done except for the white space where the venue can print their information and reproduce for their own purposes. Your graphic designer can assist you with this. Make sure your design is professional, clean and easy to use – and having it downloadable frees you of the responsibility of having to mail them to the venues, if they can use the downloads.

 

7)  Plot, Sound Requirements and a Basic Rider (optional)

 

If you can, include this as well on a presenter only link on your EPK, it is helpful to the venue to know where you are standing on stage, where the equipment is placed, who is performing with you and what their sound needs are. There are drawing programs on your computer – where you can create a pro stage plot without much fuss. You can indicate where you are standing, what side the microphone is placed, where the equipment will be, etc. That is referred to the stage plot. You can also include a list of equipment that each person needs, you can suggest brands you prefer and list some alternate brands as well. And all of this can be included into a basic “rider” – a document where you let the venue know not only your sound/light specifics and preferences, but for backstage purposes, what you might appreciate and any other special information in making your performance more comfortable and less confusing. For new performers who are not in demand, you do not want to ask for too much, it is more a guide for your sound and backstage preferences, if the venue can provide them. Just remember, when you send this to a venue, they will read it over, then “mark it up” – deleting provisions they don’t provide – then send it back to you for your signature. But here is a good place to indicate if you have an oversize vehicle to park, if you need a keyboard, etc., so this can all come into your booking negotiations. It just allows the presenter to have the best possible picture before making an offer to you.

Kari Estrin

Kari Estrin

Summary:

I hope these tips have been helpful as a general guideline. Each of these items has a wealth of information to delve into further, but this post will start you off on knowing what components to consider including. It is always preferable to seek out help in areas where you or those around you don’t have the expertise to create your most professional press kit – in terms of graphic design, photography, writing and video, if you are looking for better gigs and to improve your overall profile. You don’t have to spend lots of money for this or record in and with expensive places/equipment. It just has to look well done and sound clean. ­If you don’t know anyone in your area, networking with other musicians may be helpful to help you find these resources. And graphic designers and writers can be found at any distance to complete your work. A good press kit will pay itself back over time in better gigs and more of them! www.kariestrin.com

 

For more information on the 14th Annual IAMA (International Acoustic Music Awards), go to: http://www.inacoustic.com

 

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