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BAND Branding | Business | Networking | Art | Music

Up and Coming:

Twenty One Pilots

Use Your Press Kit to Headline How to Record Drums Like an Expert Secrets From a Seasoned Band Manager

Issue: 1 December 2013


Welcome

to Band Magazine. Band is a magazine targeted for younger bands who may just be starting out or have had some show experience. It is deigned to be informational and educational to up and coming musicians. Band  contains exclusive interviews with bands and how they made it, information on working with band members, gaining and interacting with fans, marketing your band, and how to manage your band. Band  will have information suitable for any musician regardless of skill or experience from specific instrument instruction to how to manage your social media outlets. Every musician is at a different place in their path and Band  allows other musicians to share experience and offer wisdom. Band  was created for musicians to have a magazine where they could pick up an issue and learn how to become better bandmates, musicians, and all around individuals. There are many different parts that make a band function and Band allows new and upcoming bands to get a head-start on their competition by learning from the pros. Containing information on band branding, managing, finance, merchandising, album artwork, recording, and gigging.

Johnny Foley, Editor 2


Artist to Watch: Twenty One Pilots page: 18

Rush: The Rise and Rise of the World’s Biggest Cult Band page: 9 Use Your Press Kit to Headline page: 24

Horrible shows and how to recover page: 40 Playing with a click track page: 38

Secrets From a Seasoned Band Manager page: 12

Exclusive interview: Tom Petty page: 34 Linkin Park’s Recharged page: 28

CONTENTS

How to Record Drums Like an Expert page: 4

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How to Record Drums Like an Expert By Björgvin Benediktsson

Drum recording is one of those things that you need to

get right. There is much less room for experimentation in drum sounds. What I mean to say is, you can have the most alternative guitar sound or effected vocal sound in the world but if the drums don’t sound right nobody is going to care. Sure, you can experiment with different mixing techniques and try different production tricks later down the line, but the first order of business is to nail that drum sound. If your kick drum sounds like a cardboard box beaten with a marshmallow then no amount of mixing is going to fix it. Get it right at the source or don’t do it at all. Correct placement and microphone selection is important to the sound of your drums, but so is the room you are recording in. Let’s get busy with some drum recording tricks.

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ROOM

Clap your hands say yeah! Indie music aside (not a big fan), clap your hands. Do it. Right now. If you’re in a typical office or living room then chances are it’s not going to last that long. The echo will die down within a second since the size of your room don’t allow for a lot of buildup of reverb or reflections. Now, imagine if you were in a gymnasium and clapped your hands. The perceived “bigness” of the echo and reverb of the sound is dictated by the size of the room you are in, therefore clapping your hands inside a big gymnasium will result in more reflections, a larger reverb and a longer “decay” time for the sound of your handclaps to die down. So, if we intend to record drums we need to take the room into account, since those reflections from your handclap are just peanuts compared to the amount of echoes and reflections a whole drum kit will make inside a gymnasium. Your ears heard them, and your microphones will most surely do so too. If you have a mobile recording rig, which today means a laptop, an interface and some microphones and access to some different rooms you can create a whole different feel to your drum sound depending on which you choose. Many engineers opt for a dead, or a very quiet room to track drums in since that will allow them to add the type of reverb they want later on during the mixing process. While this method is sound and valid, just look at all those great rock records that were made before the advent of digital reverb. Recording studios used to have amazing sounding live rooms to track drums in, and that became an inherent part of the drum sound. If you want to go the safe route, try to find a nice (preferably acoustically treated) room that doesn’t have a whole lot of liveness. But if you are up for experimentation then finding an interesting or great sounding room might yield some impressive results.

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Pre-Production Gourmet dishes are not cooked from leftovers. You don’t wear dirty clothes to a wedding and you certainly don’t record worn heads and out of tune drums. Make sure to replace each drum head and tune it so that each drum sounds both great in its own right and as a part of the kit. If you, or the drummer don’t know how to tune a drum properly (I don’t really know how, and most drummers are pretty bad at it) get someone that can. A great sounding drum kit in a great sounding room and you’ve won half the battle. Next we have to look at what types of microphones we want to be using.

Microphone Selections A few considerations when choosing the right microphone for recording drums. •

How Many? - How many microphones are you going to be using? Are you trying to mike up the kit with only one microphone? Then a full sounding large condenser should be the best bet. It has a broad frequency response and will most accurately capture the kit, especially compared to a dynamic microphone. Condenser Microphones - Condenser microphones (small or large diaphragm) are usually the default microphones of choice used as overheads. Overhead microphones are placed over the drum kit to capture the overall sound of the drum kit from a close distance. Condenser have the capacity to capture all the nuances of the drum kit, from the low end of the kick drum to the swash of the cymbals. Dynamic Microphones - Dynamic microphones can take more volume, but they lack the frequency response and accuracy of a condenser. They can take vthe pounding and volume of the kick drum and they have no problem with the incredibly loud whack of the snare. If you decide to close mike every drum, then you would usually opt for a good sounding dynamic at each drum; kick, snare and each of the toms. Ribbon Microphones - Ribbons might be a good choice if you can afford it, especially if you are only using a few microphones. Ribbons have a smoother sound, but are more delicate than the average condenser, and way more fragile than a sturdy dynamic.

Remember, each microphone sounds different and they will all act as a piece of the drum recording puzzle.

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Collection of Instruments One of the things you have to be aware of is that recording drums can be much more complex than recording a “regular” instrument that only has one sound source. Take vocals for example, the most standard way of recording vocals is placing a microphone in front of the singer’s sound source, i.e. his mouth. But when you are recording drums, every single drum is a sound source, and you also need to portray the overall sound of the kit as a whole. That’s the reason why modern drum recording puts a microphone on every drum and then some overhead mics to capture the complete kit. People want to control each drum as a specific sound source and then treat the whole drum kit as one sound source as well. Then, by mixing and matching the overall volume of all the tracks in the mixing phase people have more control over what kinds of sounds they can get from their drums.

Kick Drum I don’t care what anybody says. The kick drum is the most important part of the drum sound. You can argue that the snare sound is all you want, and it certainly is important, but if the kick drum lacks power and definition the overall drum sound is going to suffer. The kick drum is also the trickiest sound to get right since the placement of the microphone plays a pivotal role. • •

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Microphone - Your best bet, if you are just using one microphone to record the drums is a large dynamic microphone, such as the AKG D112, Audix D6 or Shure Beta 52A. They will usually have the frequency response needed to get the thick low end coupled with the snap of the beater. Placement - The default position to try is just inside the outer head (I hope there is a hole in the outer head) pointing at, or just a little off axis towards the beater. In this position the microphone is far enough away as to capture both the boom and the snap. Microphones placed too close to the inner head (the beater side) can’t capture the full resonance of the drum since they are facing away from the drum and are picking up too much “click” from the beater. Placing the microphone outside the shell can give you great results, but there is a possibility of the microphone capturing too much bleed from the other drums and that it will lack definition from the beater. Great if you want a natural bass drum sound, but bad if you want a isolated and “click” heavy sound. Best of Both Worlds? - By using two microphones you can capture both the beater and the boom by placing the microphones at different positions. Positioning one inside the kit close to the beater head and the other just outside the shell will result in two different sounds that can be mixed together to great results. Boundary, or PZM (Pressure Zone Microphones) work really well on the inside since they react well to transients and can usually just sit on the shell. By combining a PZM that reacts well to transients (initial attack) at the beater and a big dynamic picking up the low end on the outside you can get the best of both worlds.


Snare Drum The snare drum is the master of the backbeat, and thus must sound great in order to capture the groove. Whether you are producing a heavy rock song or light jazz, careful consideration must be put into the snare drum sound. •

Microphone - A trusty Shure SM57, or any other type of dynamic is a great starting point when capturing snare drum. If you looking for a different, more vintage sound then using a large condenser or a ribbon can give the snare a much different feel. Take into account how loud the drummer will be hitting the drum. If he’s going to be whacking that drum for all he’s got then a condenser might overload too easily, leaving you with a distorted snare instead of a smooth and full sound.

Placement - Consider angling the microphone 45° into the middle of the drum to get the right amount of attack from the snare. For a rounder sound you can angle the microphone into the edge of the drum. Make sure that the microphone isn’t in the drummer’s way since whacking the microphone will not result in a better sound. In general, for more harmonics angle the mic towards the edges, but if you want more resonance and/or attack then angling the microphone more towards the middle and center will yield greater results for each respective sound.

Above and Below - If you want to achieve a direct sound from the top but want to accent the rattle the snares you can place another microphone underneath the snare pointing up. If you decide to do this make sure you flip the phase of the under-mic either during the recording or at the mixing stage. Most audio programs have a phase invert switch that allow you to flip the phase of your waveform.

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Toms Those drum fills need to sound good. The toms need to sound clean, defined and tuned. There’s nothing worse than a tom that rings for seconds after it’s hit. Assuming you have made all the necessary arrangements and made sure each drum sounds as good as it can then you only have to worry about the right microphone and placement thereof. •

• •

Microphone - Dynamic microphones such as an Audix i5, Shure SM57 or a Sennheiser MD421 are a good bet to capture a full and powerful tom sound. Especially if you are playing any sort of hard music then going for dynamics is the way to go. Experienced engineers sometimes use condensers and even ribbons(!) but as always, you have to careful about not overloading those more delicate microphones. In live sound I used to use AKG C519 clip-on condensers for toms. They work really well through a powerful P.A. and can also work well in the studio. Each sound company has a drum miking package that is usually a good bet if you don’t have anything to work with. Placement - The microphone placement is very similar to that of the snare drum. If you want more attack and stick sound from the toms you should angle them towards the middle. If you want a thicker, boomier sound you should angle them straight down towards the edge of the tom so that the microphone picks up the full resonant sound of the toms. Underneath as Well? - If you have a crazy amount of microphones, an amazing kit in a sweet sounding room then more microphones will add to the sound right? Yes, well and no. If you have the resources to mike both sides of the toms then you probably shouldn’t be reading this article. But the same rules apply as if you were recording the snare with two microphones. Beware of phase and make sure both microphones are capturing something different.

Hi Hat

If you want to have added control over the hi-hat during the mixing stage, then adding a separate microphone for it wouldn’t hurt. •

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Microphone - You usually want a small condenser to record the hi-hat. Due to the fast transient nature of the hi-hat you want to capture all the definition and clarity of the hi-hat, even though you’re recording a garage rock track. Placement - Placing the condenser by the edge give you a much different sound than placing it at the center bell of the hi-hat. Also, try placing it in the middle and angle it to or from the edge until you find the sound you are looking for. Over or Under? - Some people swear by under-miking the hi-hat, others don’t see why anybody would do such nonsense. Personally, in live situation I place the microphone underneath the hi-hat, facing up but during recording it’s the other way around. Why? I don’t know. Probably just force of habit.


Overheads are usually placed over the drum kit, both to capture the complete kit but also to accent the sounds of the cymbals. There are a few microphone techniques that you can use to accurately and effectively capture both the cymbals and overall drum kit. X/Y - The X/Y microphone technique can be used

effectively as overheads. You don’t have to worry about phase problems when using this stereo technique since they are a coincident technique. Meaning that you place them beside each other at a 90° angle either pointing at each other or away, facing down onto the drum kit. A/B - This is the typical one microphone over each side of the drum kit. It’s a good rule of thumb to adhere to the 3:1 rule so that if you place one microphone a foot (30 cm) over the cymbal the other microphone must be placed at a distance of 3 feet (or 90 cm). Accent the Cymbals - Just like engineers that place microphones on the hi-hat, some engineers want to accent specific cymbals. For example, if we’re recording a minor blues shuffle we might like to record that crucial ride cymbal, giving you added control over its sound during the mixing stage.

Overheads

Room/Ambience

We’ve talked about how to mike up every individual sound source of the drum kit. That is, every drum has been covered as a single sound source. Now we need to step back and look at the drum kit as one instrument. When we use room microphones we want to capture the complete kit as well as the room that is complimenting it. If you are in a dead room there should be more thought put into capturing the kit as one instrument, whereas in a great sounding room, there is more preference to finding a good spot where the room and reflections help heighten the drum sound to a different level. • •

Microphone - I’d like to say that anything goes here. If you are trying to get a nice sounding “complete drum kit” sound then a large condenser will do the trick. However, ribbon microphones can do a very similar job, and often a better one since they sound so good. Even normal dynamic microphones can be used to get an extra dimension to the drum kit by placing it in the room. Placement - Placing a simple SM57 in front of the kit facing up towards the ceiling can give you some ambience from the room. A condenser that you want to use to capture the complete drum kit without adding too much room ambience should be placed at around waist level facing towards the kit. To get the drums an extra stereo dimension, two condensers can be positioned in the upper corners of the room. Experiment - Lastly, room microphones and ambient miking is very fun to experiment with. There might be a weird place in the room where the drums just really work. Walk around with headphones and try to find where the best place to position your mics is. A long hallway outside the drum room might have a great alternative sound that can work for you. Throw up a few room microphones all over, record a few measures and see which ones work best.

Conclusion

We’ve covered some important aspects of recording one of the most complex instruments that us engineers face. The complicated puzzle of multiple types of microphones, placements and techniques is sure to make the beginner engineer nervous. But if we break it down into small pieces, looking at each drum as part of the puzzle and then combining it into one sound source we can more easily understand what makes drum recording such a difficult, but ultimately enjoyable subject.

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How Do You Manage: Secrets From a Seasoned Band Manager By Gav McCaughey

W

ith the industry trending toward indie artists and the DIY model, it’s hard to know when going totally alone is best and when it’s time to bring on a professional. You may not want the label, but what about the manager? We’ve asked top-notch artist manager Gav McCaughey to field some of our questions and reveal the secrets of managing a band. McCaughey is the manager behind Ginger Wildheart, the power rocker from the UK who has already shot past 500 percent in one of the most successful Pledge campaigns we’ve ever seen. So, whether you’re a manager or an indie band functioning as your own management, you definitely don’t want to miss what this industry pro has to say. How Do Gav McCaughey You Manage: Secrets From a Seasoned Band Manager recording is one of those things that you need to get right. There is much less room for experimentation in drum sounds.

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What informs the vision you have for the artists you manage?

I think coming from an independent, DIY background has certainly helped mould my own management style. I’m very much hands-on. In the case of Ginger, who is a fiercely independent and creative artist, a similar outlook helped us to form a strong partnership fortified by a shared desire to pursue ambitious and often risky ideas with no fear. For me, it’s that partnership and trust between a manager and artist, combined with a very positive attitude and a strong work ethic on both sides, that really makes things happen.

What is the single biggest mistake you see artists making right now and how do you think it can be remedied?

I think many artists get too focused on trying to follow the latest trends and spend too much time trying to fit into a certain niche or style they believe will make them marketable or signable. They are looking backwards whilst running after a dying business model. The solution is simple: Rather than try and fit in with what is allegedly best for business, communicate to your fans directly and let them tell you what they want. When we approached distributers and labels for an advance that would allow Ginger to move forward with the triple album, we were essentially laughed out the door. They didn’t see it as a financially viable option. They were dictating what they thought fans did or didn’t want. The PledgeMusic campaign enabled us to ask the fans directly. In doing so, we had our answer within the first six hours of the campaign -- we had beaten our target. People love music, they love great bands and they love a great story. The industry is very different than it used to be but in many ways is stacked more in the artist’s favour than ever before. With such a direct line into fans, an artist has complete creative freedom to explore, and at the same time fans also have complete control as to which projects they want to see come into fruition. Its an ideal scenario for both parties.

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Through Ginger Wildheart’s campaign, your camp did an incredible job keeping Pledgers informed. Why is this important to you?

We really wanted fans to embrace what we were doing and to give them a new unique experience … After the first video update was posted, it quickly became apparent that fans were eager to be involved and to get a glimpse into a world that normally is very private. That process is unique to every project. The frequent, sometimes daily, videos we produced allowed the fans to follow the journey intimately. We could showcase some the band’s more “candid” moments in the studio as well as introduce the band as a veritable cast of characters, each playing a unique part in the recording process … Many people have said that the updates and videos have been worth the price alone, and the finished CD will now be the icing on the cake. That shows that we are are doing something right. It’s also important to have transparent and open communication regarding the schedule of events, so [fans] know exactly when music and product is due for delivery. Information is important, and the more you give them the better.

How have you seen fans respond to that relationship?

The fan response has been incredible. This whole process has added so much excitement and anticipation for this album release, which is something that has been lacking in the music industry in recent years. They are excited to be part of something that is new and different, and we hope this album will have a special place in people’s collections because of their involvement in the journey.

As the music industry has changed, how have you seen the role of a band or artist manager changing as well?

A manager’s role is a lot more hands-on than it used to be, which I think also applies to bands. Bands and managers have needed to become far more proactive in recent years than ever before.

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Are there times, in your opinion, when an artist doesn’t yet need a manager? If so, what can they do to most effectively act as their own management?

There should be no immediate rush to get a manager, an agent or a label. Every new band needs to find their own identity, write their songs and practice. A new band doesn’t need a manager to do those things, and it is helpful for a band to be proactive and involved in their own Internet presence. A fan’s emotional investment is in you -- not your manager. Any manager is more likely to notice a band that has great songs, a great live show and who is on top of their Internet presence.

What advice do you have for artists and bands who are in the process of choosing a manager? What should they look for or run from?

They should find someone who is as enthusiastic about the band as they are, as no amount of money can buy enthusiasm. If you need to convince someone to be enthusiastic and proactive, it is probably a business relationship you won’t get a lot out of. As a new band, you need someone who sees the potential in what you do and will stick with you through the leaner times to see that potential flourish.

What would you say your top three priorities are when helping an artist develop and maintain their career?

Rehearse. The importance of honing your craft can never be underestimated. There are so many bands that rush to play live and record. It really is a false economy. You only get one chance to make a first impression, so make sure it’s one people won’t forget in a hurry. No amount of tweeting and Facebooking will make up for your band’s miserable live performance! Connection. Bands need to connect with their fans in a live environment and continue that connection though an online presence and, ultimately, through the songs they write. If they can’t connect with fans on those basic levels then it will be impossible to build or maintain any kind of career. Planning. It’s vital everyone knows exactly where you’re going in order to move forward and progress. Its good for both band morale and business. Schedules are always adaptable over time, but if you start out with no direction and no goals, the chances are you will become disillusioned and remain exactly where you are.

Anything else you’d like to add about either this campaign or the industry as a whole? Ginger Wildheart’s campaign has been an amazing experience, and we’re very excited about the future. PledgeMusic has enabled us to give fans a very personal and special experience, which in turn has given artists like Ginger a brand new way to create music going forward. It’s sustainable, it’s fan-friendly and, ultimately, everybody wins -- 2012 is a very exciting time to be an independent artist and a music fan.

Ginger Wildheart’s campaign has passed 500 percent. What’s your strategy that has obviously worked so well there?

It was about going back to basics and making the fans -- the people who buy your records and come to your shows -- feel valued. This industry should always have been about that, but the bigger any organisation or band gets, people get replaced with numbers. It’s easy to become jaded from a business perspective when all you look at are falling sales figures and various industry stories of doom and gloom. However, if you remove the figures for a moment and put together something that you, as a fan, would love to be a part of, then you are starting off on the right foot. If the fans love it, they will join the process. Their overwhelming enthusiasm and support is ultimately what has allowed us to take a crazy idea and make it into a huge success. It was never money-driven. It was fan-driven, and they drive everything we do.

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Artists To Watch: Twenty One Pilots In

its purest form music acts as a conduit of selfexpression that’s free from the conventions of society and that spirit of fearlessness lies at the core of twenty one pilots, a group whose musical vision is completely their own. Over the past few years the duo of frontman Tyler Joseph and drummer Josh Dun have built a hardcore following that seems primed to reach a fever pitch with the release of their Fueled By Ramen debut Vessel. 18


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“The first song I ever played on the piano was my own. I never took any lessons,” Joseph responds when asked about his musical background. “I looked at the piano and realized that music was a way of being able to say something; the phrase I always use is that ‘music is a vessel’ and that’s where the album title comes from.” Before long Joseph was writing and recording his own demos in his basement and twenty | one | pilots was born. The Columbus, Ohio-based band started out like most acts but instead of aimlessly touring they concentrated on their hometown base and before long they were selling out huge local venues like Newport Music Hall despite the fact they only had two self-recorded releases available. “Every show we play our hearts out because where we come from you have to grab people’s attention and make sure that they never forget you,” Joseph says. “In our case we were able to build up a fanbase - one that walked with us to grab the attention of the music industry outside of our hometown eventually opening up the doors that have led to so many opportunities to take our music around the world on what is an amazing journey”. 20


“Every show we play our hearts out because where we come from you have to grab people’s attention and make sure that they never forget you.” -Tyler Joseph

The duo’s ability to build up this local base was confirmed when the band sold out the 2,300-capacity LC Pavilion last April to announce that they were signing to Fueled By Ramen, after being courted by over a dozen labels. That’s right, there was no fancy marketing or gimmickry that lead to twenty one pilots’ rise, it was based solely on the organic relationship they cultivated with their fans via their music, live performances and online content. “To our fans we say we never got our big break, you created our big break. Thank you,” Joseph says. For Vessel the band entered a real studio for the first time ever with Grammy nominated producer Greg Wells (Weezer, Adele) to craft an album which merges elements of hip-hop, indie rock and punk in a way that’s so seamless that you’ll be rapping along one minute and caught up in a lush orchestral line on a song like “Car Radio “ in the next minute. “We’re not trying to consciously do something different but we’ve just never emulated any other bands” Joseph explains. “We’ve never fit into any particular scene so we figured we would just make our own.” 21


“We want our fans to leave all of their problems at the door and immerse themselves in the music, the moment, when we perform live...� -Josh Dun

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From the impossibly catchy groove of “SemiAutomatic” to the high-energy hip-hop of “Holding On To You” and the ambient electronic experimentation of “Trees,” Vessel is a complex collection of songs that shows why twenty one pilots are the latest addition to Fueled By Ramen’s extremely selective roster. “’Ode To Sleep’ is a song I’m really proud of because it’s really odd when it comes to structure; it challenges the listener,” Joseph explains. “Ultimately I think those are the types of moments that make our fans really connect to our music.” Sounding so unique was never an obstacle for twenty one pilots early on, in fact it has been a trait that has endeared them to their fans. “I don’t think there are a lot of bands that can play a hardcore show one night or a hip-hop show the next night and know that it will work,” Dun explains, adding that the band’s live performances have always been integral to the act. “We want our fans to leave all of their problems at the door and immerse themselves in the music, the moment, when we perform live,” he adds. “In the end it’s a giant release for everybody.” “We went from not having a glimmer of hope to all of the sudden having the opportunity to leave Columbus and make a record and that’s something that we’re never going to take for granted,” Joseph summarizes. “The songs on Vessel represent who we are and now we get to take this collection of songs, this body of work, to the world,” he continues. “It is not a short term thing for us, we’re planning on being around for a long time.”

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How to Use Your Press Kit to Make Your Band the Headlining Show By Rick Joyce

So you’re a great band, you have a loyal internet fanbase, and your songs have been downloaded thousands of times. Now it’s time to take your band’s career to the next level. As any successful artist will tell you, succeeding in the music industry comes down to more than just talent. You need to be able to promote yourself well, and the center of most bands’ marketing campaigns is their electronic press kit. An electronic press kit is for bands that want to be taken seriously by the industry, and move from simply playing open mic nights to headlining the best venues available. We will discuss the essentials of an electronic press kit, and how you can go about setting one up for your band.

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Who Are You? An electronic press kit will often be the first image many agents and venue operators have of your band, so you need to make a good impression and make it fast. At the center of any press kit is your band’s history and mission statement. Don’t just provide a list of dates here; rather, write a compelling story of what it is your band believes in, how you started, and what you are aiming to accomplish. Try to be original as you are competing with thousands of other bands that are also trying to make it big in the music industry. Include brief bios of members, as well, but, as with your band’s history and mission statement, don’t just tell when and where members were born, where they went to school, what jobs they’ve held, etc. Tell the person who is reading your press kit what it is that inspires each member both in their art and their lives. 26


What do you play? Of course, as a band, you will need to provide a sample of some of your music. Many people will tell you that free samples are not necessary in a press kit, but any major agent or venue owner is going to want to listen to your music before signing you on. After all, you probably wouldn’t buy an album without first hearing at least one song that was on it, so why should anybody let you play at their venue without first hearing if they like your work? Include only your best songs as you want to represent your best image to potential agents.

The Details No matter how good your press kit looks or how great your songs are, if you don’t include some important specific details, it is unlikely you will ever get a response from agents and venue managers. Obviously, you need contact details (phone numbers, email addresses, etc.), but you also want to include things like what kind of equipment you will be bringing to your shows, a list of gigs you have played, and newspaper clippings if you have any. Also, be sure to include some professionally made photographs. If you feel overwhelmed by all this information, there are plenty of band press kit templates available online that will guide you through the process. Creating a great press kit is a necessity for any band hoping to make a breakthrough in the music industry. By making sure your electronic press kit tells an enticing story of your band, and includes some great songs and a few necessary details, you will be taking an important step in your musical career. See more at: http://www.band-brand.com/how-to/last-call-how-to-use-your-press-kitto-make-your-band-the-headlining-show/#sthash.rDIWddso.dpuf

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