Beginning Musician's Gig Equipment List

So you've got a gig!

But now you're wondering what equipment you're gonna need to bring...


Well, it's not too complicated for musicians who are small-time and just starting out.

First, what instruments are you looking to play? For most spotlight-name artists, there will be keys and/or a guitar as the main instrument(s) played by the artists. If you want to play an instrument, you should have an electronic (acoustic guitars can be equipped with readers) version of what you play. Many venues will have a nice piano tuned for you, but it can't make all the different sounds a keyboard can, and it's always best to be prepared.

What instruments are in your band? A typical band has at least a bass player, electric and rhythm guitarists, and a drummer. Drum kits are expensive, but if your drummer is good, he/she probably owns one that he/she can take down and put up. If you want (and can afford) sound-boards with pedals for the guitars, go for it.

How many members are singing? If your band has four members, you probably only need two microphones, but I'd have three to be safe. If your band has seven or more members, you likely still won't need more than five microphones.

You want stands and cases! Mic stands, music stands, guitar stands, and cases for EVERYTHING. Trust me.

You need amps, at least two, for the bass and the electric guitar.

Quarter-inch and XLR cables, one of each per instrument at least. Better to have more than enough.

DI (Direct Input) boxes are necessary for the guitars, bass, and some drum mics to avoid blowing amps or (worse) the soundboard.


Although the venue will try to accommodate you, it's always best to have what you know you need on hand and ready to go!

Free Audio Software!

Audio editing software can be incredibly expensive. For example, ProTools is one of the higher quality audio softwares available...but it costs a good bit to learn how to use it properly, then it costs a lot to buy and install the actual program (on a mac, which is in no way the cheapest of computers), and finally, you have to buy a 'key' (a small registered USB) that has to be plugged in to your machine to let it know that your name has been paid for and you are a registered user of the ProTools Program.

To be fair, for all the hassle ProTools updates constantly and produces some fantastic results.

But when it comes to being a musician who's just starting out, you've got to look at your options: buy an exorbitantly priced recording program or eat something other than Ramen for two years.

The good news is that there are a number of good sound editing programs out there that are either free or cheaply priced. I'm going to list just a few that have had excellent user reviews.


Audacity:
http://audacity.sourceforge.net/download/mac

Acoustica:
http://www.acoustica.com/

AudioTool:
http://www.audiotool.com/

Reaper:
http://www.reaper.fm/

Fission:
http://rogueamoeba.com/fission/

Kristal:
http://kristal-audio-engine.en.softonic.com/



The last lovely thing to note is that after you've made yourself several singles and demos and EPs and started to garner an audience, you can pick the couple of tracks that are doing the best and go buy time in a studio!

The studio has the recording quality you need, and you have mixers and professional producers who will (should) leave you with a much better overall quality track that you would have had if you tried to mix your music is a program like ProTools yourself.

Promote Your Art: TuneCore

So, while browsing media promotion options the other days, I stumbled across a new site I'd never heard of: TuneCore.

I decided to do a little research. One of the articles I read actually stated that TuneCore was "...a household name in the music business".

I really just wanted to confirm that the site was definitely not a scam before sharing it here, but it turns out that I simply managed to miss one of the bigger site for artists that make a living. TuneCore is dedicated to insuring fairness for artists when it comes to their music royalties.

The pricing is not terribly expensive:  a  one-time $75 admin publishing fee,  $30-50 a year for an album, etc.

The main thing for me, though, is this: in all cases, TuneCore makes sure that the artist retains 100% of the rights to their music.

When it comes to the three big PRO(Publishing Rights Company)s, that is, SESAC, ASCAP, and BMI, there tends to be complications with using your music after you've registered, because suddenly you've got complications with which rights you have and how you can perform your own songs.

For me, I'd think long and hard about what it means to make bigger money but double-check every year after about how legal your performances are.

I like the idea of publishing/distributing your music well, but also retaining 100% of your music rights. I'm willing to pay extra money for that, so TuneCore has definitely caught my attention.

GUEST AUTHOR: Connor Ferrell, photographer

Today I have a guest section written by Connor Ferrell, author of the Peintre de Lumiere photography blog!

I asked that he give some insight into the relationship between photography and the artist, and he has quite graciously provided the following:

Photography and the Musician

The photographer is the painter of light, and the musician is the master of sound. Music is not exactly something I have much skill in creating. I have always had a passion and ear for music but never so much on the skill side of things. But I have on the other hand had some success in photography, both as a passion and a skill. I have had a passion and desire for many years to do photography for musicians, both in portraiture as well as conceptual album cover art. I want to capture visually what the musician is telling me. A picture is worth a thousand words? I want to place a thousand words to a song or artist. But, what do I try and aim for? Photography is tricky and creativity is trickier still. However there are some things that remain constant.

What makes a good photo for a musician? Well, capturing their sounds and personality. That is the first step. But secondly is good lighting. Matching the light to your subject is key. Someone with a harsher sound might want an edgier photo; this could relate to very harsh light such has having an image where everything but one small part of the subject is black. For a softer sound having a softer light would work well, with a nice even lighting leading to that smooth skin complexion. There is no need to go and do something cliché with portraits, so DON’T pose musicians with there instrument. The people seeing these headshots often know that this person in the photo plays something. Keep it clean and professional. A few quick tips for quick simple and classy portraits.

 1. Don’t stand parallel to the camera lens. Tilt/turn your shoulder into the camera lens a little bit.

 2. Bring your chin out and your forehead toward the camera slightly. 

3. Place subject at a solid background for ease. But do not place them right up against the background because it will make the subject look flat. Also for professional purposes a smile isn’t exactly the best choice for everything. A pleasant expression usually means I don’t want to see you frowning.

4. Band and group photos are a lot harder but these basic rules apply.

Although I said no instruments, it is occasionally important to get the instrument for the musicians themselves, as well as for fans who want to see it with their favorite musicians. Just make sure to capture the sound of the artist in some manner. Bands often pose with their instruments for at least one or two photos so that the audience will know who they are in relation to their position. To all you musicians out there. Be kind to your photographer, work well with them, and bring various outfits and makeup weather you are a guy or a girl.

A few examples of some good music photos:

 Being creative for musician photos means find new angles as well as using color to light the scene the way you want it. This was an image for a custom guitarist.

This image is lovely in that it really shows the soft light that I mentioned, also it is important to get the eyes in focus as well as the ability to capture emotion.

When capturing someone, it is important to get a good light on him or her and a good moment. Also when there is no studio mind your backgrounds. Compose the image and wait for the light if you cannot modify it.

Find a Patron!

One way to support your or your band's touring and recording endeavors is through a patron.

Patrons were a common concept in Europe in the 1800's, when it would be impossible for a musician to support himself by paid shows. Instead, the artist's patron provided for all of his supplies and lodging, and the musician/composer would write and perform solely for his patron and his patron's guests.

 As royalty became more confused, noblemen had less funds and the patronage system began to crumble. Artists began to move to specific locations and charge admission for shows, and these measures evolved into the common audience system we use today.

However, if you've gone to a ballet or theatre production recently, you've probably seen the portion of the playbill where the names of large donors are listed. 

Musicians and bands do this too!

Patrons are people with extra funds and a love for the arts and for philanthropy. 

They understand that artists may struggle to make ends meet. They also see potential in an artist or group, and believe that with a little extra funding, a group could make a huge leap in their artistic production. Patrons are willing to give a good bit more than the average fan; their funds are intended as support for the artist/band, rather than payment for a service.

My friends of the band Life Size actually were able to find a patron willing to fund their album release and some beautiful recording sessions. 

The relationship between the artist and the patron is closer and a little more in-depth than the relationship between the artist and the fans. There's common times when the patron will ask how the artist/band is doing, and the artist may produce some examples of his music for the patron that is never published to the rest of the world. 

The relationship actually strongly resembles the relationship a child has with an aunt or uncle that has bought him a paint-set or model kit for his birthday. In this case, though, the art produced and growth stimulated is intended to help spread the beauty of art further around the world than just within the small sphere of the artist and patron.

How To Host Your Album Release!

The album release is a celebration. You've put many months, perhaps even years into crafting this sound-based piece of art, and you've finally decided that it is ready to share with the world.

((This is one of the better photos I caught during my friends' 

album release party for their Mockingbird Alarmclock EP.

 The band's called Life Size, go check 'em out!))

The album release is a big deal. A huge deal, really.

 For touring artists, the album release show marks the first performance of the tour...the tour that is intended to promote your new album and get your fans used to the new sound you've been crafting.

For non-touring artists, the album release may be the only large-scale promotion the album gets, so it is doubly important.

Hosting Your Album Release:

Start planning early! As early as possible, really.

The first step is to set a date. Most tours kick off in the late spring/early summer and run from there. For a smaller indie act, you're looking at a 3-5 month tour at most, and you want to pick warmer weather (that's when people show for concerts; also, well, if something happens and you're broken down, warm-ish weather's a lot easier to deal with.

Next, select a location. You're going to have a long-ish show that you will be headlining, so you need to choose a location that you are sure of at least reasonably filling. You also are most likely going to host in in your band's town of origin; for my friends in the band Life Size, that meant Salsibury, NC. Many bands try to pick a venue that has some sort of deeper meaning to the band or the fans, like an old record-shop in the area or a venue where the band was a opener long ago when it was still 'small-time'.

You're going to think carefully about your opener. First, your opener is helping to set your audience up for your arrival. Don't pick a band that will exhaust your audience energy before you've even made it onstage, but also take care not to pick a set of amateurs. Letting a band open at your album release is almost like referring a friend to a boss you really, really respect. They are directly reflecting you and your taste.

A good idea for promotion is to boost our audience's involvement. You'll be spamming their different social media feeds leading up to the day of the album drop, but you want a little participation. Two great ways to do this: host either a smaller acoustic set at a different location before the show or host a big party hang-out after the show. Often, bands will determine which fans are invited by posting contests to their social media page that fans can enter (to win party-time invites, of course!). However, these mean extra planning and budgeting for location and funding.

On the day of,  set everything up as early as you can. You really don't want anything to go wrong. Make sure you've had your rehearsal and the members have the show locked down tight. Plan what you will say and do beforehand. Your setlist should open with a song the fans all love, transition into another song most of them love, and then dive into some new material(about three songs)  from the album you're releasing. From there, you can pretty much do whatever you like. If you are basically guaranteed a call for an encore, a good idea is to build the audience up really well, end on a song they all know and love, and have a very involved encore rehearsed that is from the new album and requires playing/singing that makes for a good show(shredding guitar solos, ridiculously complex or times harmony that the singers have to hit, that sort of thing). This leaves the audience with a song from the new album in their heads and tags that 'show-high' emotional association with your new track that will be triggered the next time they hear it.

Play your best. I know in a previous blog I said to play your hardest every night, but really, play your best tonight.

Afterwards, thank the audience well for coming out. You should have recordings and videos taken, but wait for about three or fours days at least before putting them on your social media. The exception to this would perhaps be a short clip on Instagram or Vine, but for both of those, clip of the band members laughing together while they work (during loading, or during soundchecks) is better and will have more effect on your fans.

It's scary to plan such a momentous, important show, but don't be daunted. You're showing off your art to the people who actually are invested in it-your fans! Like I said, it's a celebration!

Stage Presence

Stage presence is a huge part of the audience experience at a show.. especially for artists who are supporting their own names.

((I'm going to shamelessly use this photo of me playing bass my freshman year of college)) 

Sadly, many artists either ignore their stage presence factor, or (perhaps worse), assume their presence is already excellent and needs no improvement!

The latter of these is never the case; there is always room for improvement!

While there are a few artists who have been able to pull off the shy-ish, quieter, my-art-is-the-only-reason-I'm-here type of stage persona, most of the time the audience wants to see you completely LOSING yourself in your music. Since the audience-to-stage-members ratio is heavily tipped, you have to utilize all of the space that stage gives you while skillfully producing the music. This is difficult, and if you're doing it right, you should be leaving that stage sweaty and exhausted, but high and happy as a kite.

Here are just a few tips for the artist who doesn't know how to start tearing up the stage:

Play the music that you love. It should mostly be your own, but covers(well-done covers) are good; people love what they know.
 If you're not producing the type of music that you enjoying singing and playing, you either need to get to work on a new album or find a new career( unless you want to wind up playing someone else's music for a manger who's sold you out to Disney. That works for some people. I can say that it's a good way to make money).

Sleep well beforehand. If you're touring, it's easy to get caught up going out for drinks late after the show, but you owe it to your fans and to yourself to be rocking that stage when you're on it. Not only will you have more fun, but this 'sleeping' method actually helps prevent the misuse of energy aids (drugs). You know.

Go big. If you want to want, wave huge, with your whole arm. If you're gonna jump, jump high or leap far. Own your space and make your existence within it tangible to the fan in the very last row. It's just like when you were a little kid trying to be what you wanted instead of what you were-make yourself known. The people are there to see you loving your life in the magical sphere of sounds, and going big is not too much, however grandiose it may feel to you.

Thank the audience after the first or the second song. It never ceases to amaze me that bands either leave this til the second-to-last song or forget it altogether. You're there to share with the audience, so address them as soon as you can, Bring them in to your circle. Furthermore, you're there because they paid (or because you're hoping that that later, they will pay) to be on that stage sharing your art. So thank them.

Don't insult the sound guy, and don't have that one band member who's the butt of all the onstage jokes. Even if that's your band's dynamic while you're hanging out in the cramped tour van (let's be honest, there's usually that one person who's just so easy to laugh at), you don't need to show that side to your audience. Not during a show. It make the audience feel like you're one of 'those people', the ones who are cool because they're "in" and they get to choose who's not. Good-natured ribbing is alright, but overall, the audience is buying into a magical world for a few hours, a world where the music makes you feel and makes your neighbor feel and everyone's feeling and that sort of atmosphere requires a safe environment.
You're onstage, you're the one who sets the tone.
Make the environment.

If you're playing a festival or opening, don't forget to mention you or your band's name a few different times. Make 'em remember you.

Obviously, the whole point is to enjoy yourself and enjoy sharing what you've made with your fans while you're making it.