ION INDIE MAGAZINE August 2014, Volume 3 | Page 81

me started on AUTO TUNE! A true vocalist can sing anytime, anywhere without the support of auto tune. It’s the difference between
a stellar vocalist that has honed their instrument and a fair vocalist whose LIVE performance is thin and yes, sometimes, off key.
Yes, STUDIO ENHANCEMENTS can add a lot of texture and interest to a voice or a song, but how does that translate to the LIVE
experience?
I am a musician/vocalist of 40 years and besides being the Editor of an Indie music magazine, I also work in Public Relations. I’ve
seen the biz from both sides. This is not meant to offend, but I have found that often artists make poor businesspeople. It’s that old
“right brain, left brain” thing at work. Artists can get lost in the CREATIVE PROCESS and forget that this is a BUSINESS. Handle
your business like a CEO. If you don’t know how to market yourselves, find someone who does. Hey, I GET it--Indie artists are not
exactly known for having a huge bankroll with which to work. But there are some things you CAN do. And perhaps your best tool
is a professional EPK (Electronic Press Kit). These can range in price and some can be quite costly. There are websites that can
guide you in creating a DIY EPK. Also, REVERBNATION offers this service to their artists. Again, in my opinion, it is one of those
things you should spend your money on. It presents you as a PROFESSIONAL and streamlines your project in an efficient way-thus, increasing your chance of getting noticed.
If an EPK is not doable at the moment, when submitting music, make sure your file is in mp3 format and CLEARLY LABELLED!
Thus, should your music need to be referred t o later, it is easily retrievable and identifiable. How often it is that I download a song
and have to go on a hunt to revisit it. “Track 01” doesn’t tell me who the artist is or the title of the song. Just this one omission can
be the difference in getting that interview, gig or airplay.
ALWAYS BE MARKETING! Work your SOCIAL MEDIA. And tell everyone you know about your music. Value your fans--they are
GOLD. Although the number of “LIKES” on Facebook are not a measure of talent—you are fooling yourself if you thing that decisionmakers do not weigh your presence on social media.
Be gracious--even in rejection. People have long memories. Resist the urge to write a letter demanding to know the reason you
were rejected or worse--attacking the reviewer (trust me, it happens!). Although the entertainment industry is vast, word travels fast
about an artist with a poor attitude or one that is “difficult” or demanding. In the publishing field, Magazines are planned way in
advance. Just because you weren’t immediately selected, it doesn’t mean you are not a candidate for a later issue. A confrontational
artist can squash any plans for inclusion in a future edition. It’s unprofessional and can be destructive to an artist’s reputation.
NEVER BURN A BRIDGE!
Also, although it should go without saying, HONE YOUR CRAFT and put your best foot forward! The devil is in the details. LISTEN
to your music with fresh ears and invite others to do so. Prepare for brutal honesty and be grateful for it. You can’t be thin-skinned
in this business. REJECTION is part of it. And, being turned down is not always a commentary on your talent. Sometimes, it is a
simple case of a particular genre, a sound, or in some instances, even a LOOK that a reviewer is seeking. In the magazine biz,
especially in our case, where we are covering all genres of music worldwide (a tall order), it can be that we need more representation
from a particular genre or want to feature artists from a certain locale from a global standpoint. It’s a tough decision--whom to select
and whom to decline. Remember--ART IS SUBJECTIVE. At the end of the day, it’s someone’s opinion! If rejection discourages
you, you are in the wrong business. TENACITY is the key! Even what looks like an “overnight sensation” is not usually the case.
Though it may appear that an artist “came out of nowhere”, it is probably far from the reality. They more than likely have worked
very hard, plodding along and steadily paying their dues.
Last, but certainly not least, when you are selected by the Media for a story, airplay, etc., be RESPONSIVE! Provide requested
materials in a timely manner. In publishing, we work on deadlines. I recently had an experience where I planned a full feature article
on a band and in a month’s time, they couldn’t get their act together enough to send me what I needed to complete their feature. I
had to kill the story--it really put me in a bind and made me pressed for time to meet a looming deadline. Luckily, in this business,
there is always an equally talented artist eager for the OPPORTUNITY…and there was! However, the probability that I will entertain
the notion of featuring that band again is not likely. A major faux pas on their part and a definite missed opportunity.
In closing, the likelihood for PROMOTIONAL SUCCESS can be greatly increased by OPTIMIZING YOUR EXPOSURE
OPPORTUNITIES. This is done by balancing all the components necessary from both a creative AND a business stance.

BE AN ARTIST…BUT ACT LIKE A BOSS!