Here’s an interesting question that I found in my inbox recently:

“I’m a keyboardist but my vocals are not the greatest. What part of the industry should I be looking to get into? And how?”

This is the kind of question that a LOT of musicians are asking. So it’s important for me to address it.

But what I want to point out about it is the fact that this is fundamentally the wrong question to ask.

First of all, this question is laden with false assumptions. 

If your vocals are not the greatest, that doesn’t automatically disqualify you from doing what you want to do and relegate you to being assigned to a particular part of the industry by someone else.

It may just mean you need more vocal training.

Secondly, I’m not here to tell musicians what they should be. 

That’s not my bag, baby! **cheeky British accent**

I’m here to help you realize your full potential in doing what you WANT to do. That’s where satisfaction and happiness come from.

Let me tell you a story:

I should NOT have been an athlete.

I come from a long line of short, chubby, nerds. And I’m not particularly coordinated. “Clumsy” is pretty accurate.

But after watching Greg Louganis dominate the 1988 Olympics in Seoul, I KNEW I wanted to be a diver.

We didn’t have any youth diving programs in my area so the opportunity didn’t come until I got to high school, where we had a team but no coach.

The older divers taught the younger divers. And we watched the training video “World Class Form” pretty much every day.

Needless to say I didn’t become a world class athlete in high school. I became proficient (at best) on the 1-meter springboard.

Then, when I decided to go to the University of Michigan for college, I wrote the diving coach a letter asking if I could walk on to the team there. 

I had no idea at the time that I was writing to one of the most renowned coaches in the history of the sport. Dick Kimball coached divers in EVERY Olympics between 1958 and when he retired in 2003. Including several gold medalists.

And I definitely wasn’t at a skill level that warranted joining the winningest team in NCAA history (in ANY sport).

But Kimball didn’t care. He only cared that I give it my full effort, and was coachable. So he graciously allowed me to join the team and he treated me just like anyone else.

By the time I graduated, I had not only learned to do the same dives as the Olympians on the 3-meter springboard, I had come to specialize in the 10-meter platform. 

I finished as high as 4th at the Big Ten Conference Championships and as high as 17th at the U.S. National Championships. (I bet you didn’t see THAT coming)

Kimball even told me that turning me into a REAL diver was one of his proudest accomplishments.

Of course none of that would have ever happened if I had asked somebody else which sport I should participate in. They would have probably told me to join the mathletes or the debate team. 

I decided to pursue what I WANTED to do and worked with a great coach who helped me realize my full potential. And I accomplished a lot more than I ever thought was possible.

I realize that’s a pretty long-winded answer as to why I can’t tell you which area of music you should pursue. So I’ll keep the answer to “How?” short and sweet: 

Work with a world-class coach who helps you realize your full potential.

Which is exactly who I am to musicians in the Musicpreneur Apprentice Program.

Are you ready to pursue your dreams?

http://schwillyfamilymusicians.teachable.com/p/musicpreneurapprenticeprogram/

Over in  The Schwilly Family Musicians Facebook Group I was asking about what excuses people are allowing to hold them back.

As it turns out I’ve had a LOT of the same excuses hold me back over the years. So I reckon it would be useful for you to know how I put them behind me.

Interested? Here we go!

1 – I’m Tired/Out of Shape:

This one hits REAL close to home. On a road trip last summer, I got to the point where I couldn’t even sit in my car comfortably. And every time I ate, I felt an unearthly pressure in my chest. 

At one time in my life I was a near Olympic level athlete. And my wife was antsy to start having kids (our first is due THIS December!). So hitting a low point like that was a real eye-opener.

One thing I can truly attest to is that “you ARE what you eat”. That didn’t mean so much to me when I was in my 20’s. I must have been eating steel and adrenaline. But now that my “grown up” body has taken over, it’s time for me to think in longer terms as far as my health.

After I got home from that trip I discovered a book called “The End of Dieting: How To Live for Life“. And this book has changed my life. Within a few days of eating the recipes from Dr. Furhman’s website my CONSTANT heartburn, which had been plaguing me for decades went away. I also lost 20 pounds and gained a TON of energy within the first month after changing my diet.

 2 – I Don’t Know What to do Next:

Who HASN’T been there? Especially with the OVERWHELMING amount of information online, it’s way too easy to get stuck in “learning” mode, which ultimately prevents you from taking action.

If you don’t know what your next step should be, look around for someone that’s where you want to be and follow their lead. 

You can ALWAYS ask me what your next step should be. And I will ALWAYS have an answer for you. So the only question that remains is: “Will you listen AND take action?”

3 – I Don’t Have Enough Money

Hey, you’re talking to a guy that was homeless and unemployed when I decided to take ownership of my future. I KNOW about not having money. It’s practically my scientific speciality 😉

How did I do it? I sold my blood plasma to pay for my website and email list. Then, I got a job. Yes, a J-O-B! And instead of getting an apartment, I continued to live in my van and invested that money into a $1,000 training course on how to build entrepreneurial businesses online and OTHER business related investments.

Call center jobs are pretty easy to come by in the U.S. and they are pretty easy to leave, which makes them GREAT opportunities for Musicpreneurs.

And even if there weren’t any call centers in my area, I would have sold fruit by the side of the highway or showed up at the Home Depot parking lot at 5am everyday to stand in line with the rest of my people looking to improve their lives.

Why? Because I wanted it THAT bad. How bad do YOU want it?

Already have a job, but a bunch of bills and responsibilities to go along with it?

Here’s a little something I learned more recently that made it so I had the $3,500 I recently invested into my business: PAY YOURSELF FIRST. It’s pretty simple. For EVERY dollar you make, AS SOON AS it hits your bank account, take a dime (10%) and use it to either pay down a credit card or stuff it in a piggy bank until you need it for your business.

It will force you to get creative about fulfilling your other financial obligations. But they will still get met AND you’ll have money to invest in yourself when you need it.

4 – I Don’t Have Enough Time

There was a point when my business was growing but I was still tethered to my day job to make ends meet. So I hit a glass ceiling in the growth of my business because I didn’t have enough time to put into scaling it up. Then I discovered “The 4-Hour Workweek” by Tim Ferriss. It’s seriously the best $15 ANY entrepreneur can invest in their career. Within 4 months of buying that book I left my last-ever day job for good.

Also, “Pay Yourself First” applies to time just as much as money. Before I do any client work, or marketing, or even write you these emails, I spend 1-2 hours working on building my business. Currently I spend that daily time working on the 2.0 version of the “Musicpreneur Apprentice Program”.

If that means taking a later shift at the factory, do it. If that means getting up at the butt-crack of dawn, do it. Again, how bad do you want it?

5 – Location

Technology trumps geography. Anyone with an internet signal has access to BILLIONS of potential fans.

Sure you can move to Nashville. But you’ll face an INSANE amount of competition in a horrifically “cliquish” environment. 

OR you can set up a comfortable music space in your home out in the forest and use the interwebs to grow > engage > and monetize your fanbase. 

I love my home and wouldn’t want to be anywhere else. And I certainly didn’t leave the backbiting, childish, political, corporate world just to get into the same type of environment. In fact, I stay away from anything “Music In-DUH-stry” related as much as possible. I’ve personally found that success is much more attainable without all that BS.

6 – It’s Not Perfect Yet

In an artistic field, like music, perfection is an illusion. It’s entirely subjective and everyone who consumes your music has their own idea of what “perfection” is.

As a Musicpreneur, you don’t have to get it perfect. You just have to get it going. 

Lack of ACTION is what’s holding you back, not lack of perfection.

7 – Technology is Hard

Seriously? You’ve probably already learned to operate musical equipment and recording programs that are MUCH more complicated than WordPress.

Sure, technology might have been “hard” in the 90’s. But nowadays it’s quite user-friendly and any software company worth their weight in bubbles has Tech Support and Customer Service that will help you overcome any obstacles you encounter.

And there’s always the option of hiring some help with all that money you saved by paying yourself first.

8 – No One Buys Music Anymore

That’s a myth. I just bought some music TODAY. But don’t take my word for it. Here’s Vlad’s comment from that post: 

“I believed this for a long while. Oddly enough it’s when I started CHARGING for my music that I realized it wasn’t true at all. Someone paid me $20 for my $3 EP on Saturday. And a majority of buyers have paid OVER my asking price. People are awesome.”

Welp. I’m out of excuses. And I hope you are too 😉

Back in the heyday of the Grateful Dead, a special sub-scene emerged: The Tapers. Not to confused with tapirs, an exotic animal, Tapers would record the live shows to share with other people later.

Does that sound familiar?

I would argue that, in many ways, livestreaming your show is a new form of taping. It’s an attempt to capture part of the experience so as to give something to your current audience, and hopefully reach some new enthusiasts as well.

The thing with taping or livestreaming is that the physics and logistics have not really changed. Sure, the delivery endpoints are different, especially with livestreaming being a whole bunch of intangible data being fired over the Internet, but how you get usable material is still the same. As such, here are some hints from the production-staff side for maximum effectiveness, at least as far as the sound is concerned.

1) Directional microphones are your friend.

While it might seem like a good idea to grab a wide, or even 360 degree soundfield, you will generally get a better result overall by being selective. Especially if you’re streaming from a bar or club, it’s really not a great idea to capture all the conversations, room reflections, and general disruption happening around you. A full-on shotgun mic probably isn’t necessary; Just find a decent cardioid or super-cardioid and point it at what you want to hear.

2) Keep your gear out of the way. Super out of the way, actually.

Audiences have an incredible ability to walk into, stand on, swat, and otherwise mess with your recording setup, often without even trying. Endeavor to find a spot where your streaming goodies are protected from the general public. The audio human’s spot can be pretty good for this. Just remember to ask politely first.

3) Run your own gear as much as possible.

As a sound operator, I am (as a rule), happy to help by pressing record on your device. However, it’s important to understand that the start of a show can be a bit like getting an airliner off the ground: A lot is going on that requires my close attention. I may end up forgetting to hit the little red button. If you can do it yourself, that’s much better.

Also, if there is any complexity at all to getting things rolling (beyond just pressing the aforementioned button), you really should take care of it yourself. It’s THE way to ensure success.

4) A direct feed might sound better, but…

…remember that many direct feeds are just a split from some output, often the main bus. There are many rooms and situations where the main bus is carrying a ton of vocals and just a touch of a few other things. Unless the PA is truly doing all the heavy lifting, you may find that a line-level feed isn’t musically balanced.

I like clean audio as much as anybody – maybe even more – but I can also recognize when “clean” isn’t necessarily the best capture of the show as a whole.

(There are some ways around this conundrum, but they are beyond the scope of this article.)

5) If you want a feed, please do your advance work.

Find out the day before, or earlier, what kind of connections and signals might be available to you. Sometimes, it’s easy for a sound tech to get something sorted out for you…and sometimes, it’s nearly impossible. The difficulty generally rises as the amount of time before the show decreases.

And please, please, educate yourself on the different kinds of audio connections that you might run into, and have your own adapters. Again, when speaking for myself I can say that I’m happy to help out in whatever way I can – but it’s always best when YOU are “Johnny On The Spot” in terms of having what you need to make your own gear play nicely with everything else.

A while back, I went out to see a hard-working Schwilly Family Band at a venue near my house.

They dazzled the crowd with grace and charisma in a way I hadn’t seen before.

They get booked a lot, playing about 300 shows a year.

They had one of the most diverse and interesting merch setups I’ve seen in a long time. ALL homemade stuff. Even the CDs.

They were truly impressive in every way, so I figured they must be making some pretty decent money.

But alas…

As it turned out, they were still struggling to make ends meet and to make sure they had enough gas to make it to the next city.

It only took a short conversation in front of their awesome merch table to get to the bottom of it.

They had implemented the genius idea of DIYing their merch. Really beautiful and creative stuff. And a GREAT way to save on costs.

But then they undid their efforts by WAY underpricing their stuff.

Here’s the deal:

DON’T try to be the “Walmart” of music. They have to move a LOT of volume to make up for their small profit margins. And you’re not ever going to move that kind of volume.

You make premium art, which should be reflected in your pricing.

If you have the time and creativity to make your own merch (or anything else related to your business), that’s great! Use that as an opportunity to lower your costs… NOT your prices.

Otherwise you’re just undercutting other musicians, undervaluing your own work, and reducing the perceived value of music in general.

And worst of all… you’re being your own slave labor!

Put a value on your time. Account for that in your pricing, and pay yourself for your work.

I promise that REAL fans will be happy to pay what your stuff is worth. And those who aren’t, must not be that into you. So there’s no reason to cater to them.

It kind of reminds me of an unsubscribe message I got recently: “Thanks, but I’m trying to save money”.

I didn’t bother to respond to her, since she has opted out of receiving my free advice.

But I’ll happily give that advice to you…

“Saving Money” and “Making Money” are two VERY different goals. But it’s a LOT easier to save money when you’re making money (as opposed to saving it as a way of avoiding spending it).

As Adam Carolla (an actual rich guy who started out poor) says:

“Focus on making dollars, not saving pennies.”
When I was working for “The Man” just to make ends meet and living from paycheck to paycheck, my savings account was full of dust.

But now that I MAKE money and pay myself first by funneling 10% into a secret savings account before I even touch it, I have enough in there to cover a few months worth of expenses if anything goes wrong.

If you want to learn REAL business skills (which are often at odds with conventional wisdom), that’s exactly what I teach in the Musicpreneur Apprentice Program.

If you want to start MAKING money so that you can start SAVING money, the best thing you can do for yourself is invest in an education that will teach you how.

Click Here To Join The Musicpreneur Apprentice Program

Photo by Jon Tyson on Unsplash

I’ve got good news and bad news for you.

Which do you want first?

I hope you said “bad news” because that’s what I’m starting with.

It’s a difficult truth that a lot of musicians have a hard time swallowing. But an important part of my job is delivering difficult truth’s and helping musicians move past them.

Here goes, like ripping off a band-aid:

You will never be able to only make music if you want to make a living at it.
I know it sucks to hear that, so let’s get on with the good news:

As soon as you swallow that pill, you’ll be able to start moving towards a profitable AND fulfilling music career.
If you ask anyone in the music in-DUH-stry they’ll most likely tell you that the sky is falling and it’s practically impossible to make money as a musician anymore.

The truth, however, is quite the opposite.

What is becoming impossible is the sustainability of large corporations with huge overhead in the music in-DUH-stry.

All of the non music-makers and middlemen that have been banking on the
“traditional” music in-DUH-stry are having the rugs pulled out from under them and scrambling for the last pennies of a dying business model that’s based on “mass marketing” and “mainstream appeal”.

The REAL truth is that there has never been a better time in the history of music to be a professional musician. Demand is higher than ever, and opportunities abound…

IF (OF COURSE there’s a big fat “IF” attached to it)…

IF you are willing to LEARN HOW TO and DO THE WORK OF building your own entrepreneurial business around your music…

In other words, IF you are ready to become a Musicpreneur.

You still have to make great music. But that’s just the entry point. There is more great music happening right now than ever before.

Contrary to popular belief, that does NOT mean that there is more competition. What that actually leads to is more demand for a greater variety of music.

Think about it. You’re not selling cell phones. People aren’t just going to pick one and then be satisfied for 2 years.

You’re making music. And the digital age means that people can literally (not figuratively) carry around all the music that their hearts desire.

What REAL music superfans WANT is to connect directly with music, and musicians who inspire them, heal them, and give them permission to be themselves. And REAL music superfans are STILL happy to pay for it.

So the only questions that remain are:

~Are you willing to let go of the traditional music industry model and start creating your own rules?

~Are you ready to learn what it takes to build and manage your own business, focusing on creating the music you want to create, and serving a community that loves what you create?

~And are you willing to do the work?

If you answered “yes” to ALL THREE questions, then you’re ready to join the Musicpreneur Apprentice Program. So click here to enroll!

“Hey, Man. It’s a touch loud in the house. Can I trade you some amp volume for monitor gain?”

“But my amp’s only on, like, two!”

Have you been part of a conversation like this? I have. It rarely ends well, because somebody is always frustrated or disappointed at the end. Oftentimes, there are at least two somebodies: The audio human and the amplifier user.

The sticking point in the debate is an idea that “low knob position = acceptable volume.” Unfortunately, this notion is anything but watertight. The reality is that acceptable volume = acceptable volume, with the position of any relevant control being nearly immaterial.

To put it another way, the position of the knob is the cause, and the resulting audio output is the effect. In the end, the effect is what matters. If the effect is causing a problem for the band, then the “state” of the cause isn’t a valid argument that the overall result is okay.

Nobody has ever fought a speeding ticket by claiming that the car’s accelerator was only a third of the way down.

The same reasoning also applies when the disagreement ventures into drive percentages. Somebody might say, “I’m only using about 10% of the amp, and for it to sound right I need at least 40%.” That’s fair enough in some respects, but it points to an issue of bringing an artillery piece to a neighborhood cap-gun game. If the amplifier doesn’t sound good until most people think it’s too loud to sound good, then the amplifier doesn’t actually sound good.

It’s the wrong tool. And the wrong tool at the right price, or with the right look, or with the right capabilities for some other job is still the wrong tool.

If two is too loud for the band, then two is too loud. If you’re finding yourself in this kind of situation, it may be time to do some horse-trading. Find yourself a rig that’s just a little too hot for the band when it’s wound up all the way, and you’ll have lots more room to actually use the front-panel settings for creative control.

You might even end up with something easier to carry, as a bonus. (Maybe.)

Dear Musicians,

Over the years that I’ve worked with you, many things have become apparent. One of those concepts is that, quite often, you need me to make some sort of change in the middle of a show. Often, that change is necessary to make your life on stage more comfortable, such that you can create the best possible experience for your audience.

At times, it may have been hard to get that change made for you. Such difficulties commonly arise due to communication problems. As such, I am writing this letter to help you transmit your needs and wants to the audio humans you will inevitably encounter.

First and foremost: Please use your words.

I understand that there is a stubborn stigma attached to “talking through” an issue in the middle of a show. However, any aesthetic problems this can cause are quite minor, especially when you consider that not getting a need met may cause real problems with your performance.

When it comes to a complex topic, especially in a pressure situation, the ability of spoken language to convey nuance and relay information unambiguously is a huge bit of leverage. By speaking over the PA, you can make it very clear, say, that “I think my vocal is starting to feed back in the highs.” There’s actually a lot of information in that sentence, yet it comes across quickly and elegantly when turned into speech.

On the flipside, I’m not sure how that concept would be effectively transmitted by way of hand signals – unless there was a lot of rehearsal time with the engineer involved.

Also, concerts are full of distractions to the eye. A sound operator may have their visual attention elsewhere, while still devoting their ears to the music. As such, addressing them over the PA is generally a sure method for getting their full attentiveness returned to you.

My second point is in regards to visual signals: Think big, think simply, and think patiently.

When you don’t have the opportunity to verbalize a request, visual communication is a necessity. However, as I’ve alluded to already, it has limitations. You have to restrict yourself to basic concepts that have a small number of interpretations, and require no rehearsal to understand.

(Many years ago, I had a musician attempt to take me through a large number of hand signs that would convey things like “The stage-left guitar needs more midrange in the monitors” and “Less reverb on my vocals for this next tune.” I can’t say that it worked out very well.)

Simplicity and “largeness” go together. Remember that the audio engineer may be quite a distance from you, causing detailed motions to become lost. Ad-hoc sign language at shows must be “big” so that it can be seen, and only so many ideas should be signaled in a short period of time.

I highly recommend the approach of “Who, What Instrument, Where, and Up/Down.” For instance: Point at the guitar player, mime the guitar playing, point at your monitor, and then make an up or down motion until the guitar level is where you want it. It’s compact, relatively unambiguous, and the involved motions are easy to see.

As to patience, please do remember that it takes time to interpret your signals, figure out how to get you what you want, and then start to make it all happen. Several seconds may have to elapse before you hear any change, and some “iteration” may have to take place before you’ve gotten exactly what you want. This is simply an inherent hazard of doing things on the fly, but when taken in stride it’s not too hard to handle.

Hopefully this all makes sense. Effective communication is important for a good show, and a little bit of forethought about how to go about it can make a huge difference.

Thank you for taking these thoughts into consideration.

Your friend,

Danny (An Audio Human)

I seem to be on a bit of a theme lately.

The last time around, I talked about how most bands don’t need more or better gear to solve their problems. Mostly, they need to work as a team.

That idea closely ties in with equipment used to reproduce the sound of the band and it’s gear. You know – PA systems. There’s a myth about sound-reinforcement gear which can be voiced in many different ways, but usually boils down to this: “This problem will get better when we’re on a big stage, with lots of monitors and a big FOH system for the audience to listen to, all with enough power to melt somebody’s face off.”

You know what I’m going to say, of course. The above is not true.

Bigger and better reinforcement rigs are sort of like fortune or wealth, as understood by Marie-Jeanne Riccoboni. She said: “Fortune does not change men; it only unmasks them.” In the same vein, I can tell you that more and better PA rarely solves a problem with a band. Rather, it confirms the problem, or makes it more obvious.

I’ve been in more than one situation where the monitor system was far, far better than what a band was using in rehearsal. We had much more power, better initial tuning, and a ton of EQ available. Do you think the poor singer could finally hear themselves?

Not really. All that the extra toys did was confirm that the rest of the band wouldn’t give the vocalist any room to work. They were convinced that pro-audio could make up the difference in their teamwork (or lack thereof). Unfortunately, the difference was too great to be mended. There wasn’t enough gain-before-feedback to undo their steamrolling.

On the other hand, a PA becomes a powerful tool when used with an act that sounds balanced and beautiful right out of the gate. In that case, the system’s reserves can be used to optimally translate the group into whatever space they happen to be in that day. Tasteful sweetening can be applied, just as one might season a bit of carefully prepared food; Good ingredients can be enhanced, but bad ingredients will stay bad.

There are limits to these metaphors, of course. In some cases, an engineer can use a powerful system to blast over a problem. Depending on the situation, this might result in a tolerable sound. It might also be so loud that half the audience leaves. Even so, the need to take drastic measures is an unmasking: It tells you that something is very wrong somewhere.

A great PA with an experienced operator won’t fix inherent flaws with your music or performance. What it will do is make them obvious, because everything that can be improved will be improved. The unsolvable problems, then, will remain…unmasked.