james_face
New member
should I call or go in person to get my self booked so that I can preform?
How much money should I ask for my preformances at first?
How much money should I ask for my preformances at first?
how do I approach a club?
- Thread starter james_face
- Start date
BentRabbit
New member
Just you or a band?
Do you have a promo pack or press kit? I'm guessing that if you haven't been playing out, any bio sheet may just list previous bands or influences... Make sure you have a recording of a good representation of what you will be bringing to their stage...
Many clubs will allow new acts to play on the 'off nights' for the door or a precentage of the door...
Knock em dead by filling seats a few times, and they may invite you to do a weekend gig...
Good luck!
Do you have a promo pack or press kit? I'm guessing that if you haven't been playing out, any bio sheet may just list previous bands or influences... Make sure you have a recording of a good representation of what you will be bringing to their stage...
Many clubs will allow new acts to play on the 'off nights' for the door or a precentage of the door...
Knock em dead by filling seats a few times, and they may invite you to do a weekend gig...
Good luck!
james_face
New member
whats a press kit?
what does it contain?
what does it contain?
BentRabbit
New member
james_face said:
This is a pretty good article explaining all you need to know to put yours together:
http://vt.essortment.com/buildingpressk_rfwu.htm
Have fun!
David Hooper
New member
I'd ask bands who have been at the club how they got booked. Your research will pay of.
Usually better to go in person, but some folks just want you to send in a kit.
How much you ask for is directly related to how many people you can bring in. If you can't bring in many people, try getting on as an opener. You can sometimes do this directly through the main band that is playing.
Usually better to go in person, but some folks just want you to send in a kit.
How much you ask for is directly related to how many people you can bring in. If you can't bring in many people, try getting on as an opener. You can sometimes do this directly through the main band that is playing.
Long Guide to Playing Venues
I better see some positive feedback on this post.
I was a marketing director for a restaurant chain that had live entertainment. I booked 4-10 bands a week across a number of restuarants. I can only vouch for what was effective for ME, but this should give you some general insight.
First the preliminaries:
Never show up at the corporate office unless invited. Don't try to get free food/drink when interviewing--but take it if offered. If you go to the venue find out WHO you ask and how to contact them about booking. Don't waste anyone else's time because they can't help you.
Also, don't undersell yourself! I can't tell you how many bands would fall for the "how much are you getting per night for a gig" line and would honestly tell me! One person who was very talented played for 125/night (4 hour set) when my next lowest paid band was 250/night plus 100 food/bar!!!
On the money issue... be upfront that you want to get paid as soon as they have agreed to hire you (not before!). DO NOT MENTION PRICE! This is important so I'll say it again--don't name your price. Make *THEM* make you an offer because trust me, how much they are going to pay you is definately on their minds. If they ask you how much you want to get paid you MUST give them a figure, so make sure to know the upper-end of the standard gig rate for your type of act/performance.
If they say they will pay "X" amount and it is way more than what you expected act like this is normal. Don't talk them down! I've had people do that to me. If it's too low say how about "X+100 bucks" or "X+100 bucks food/drink for the band" or something similar.
In general, if you are doing a 4 hour set at a restaurant/bar I'd say 350-400. If it's strictly a bar I'd say 300-350, if it's a concert venue ask for either 5% of the gate or about 300 bucks. Like all negotiation start HIGH and let yourself be worked down. Heck, they might just say YES. No matter what, if you are in any non-pay to play joint EXPECT to be paid.
If you have a specific figure you are used to getting quote a little bit higher than that. Maybe 100 bucks more. Give yourself some leeway to be worked down.
And just because you think you may not be 'good enough' to play a venue keep in mind that I hired all ranges depending on what I needed, could budget, who cancelled. Sometimes I needed to FILL A SLOT and could care less if the band was horrible. It was my job to book bands, not find the best talent. Morale of this story--SHOOT FOR THE SKY and ask all venues that are appropriate for your music. It may take time but if you're persistent you'll get at least one gig. Granted, if you sucked I would *ONLY* use them for emergencies but.... having a bad band was better than no band because the CEO would chew my butt if there wasn't a band on live entertainment nights!
Even if the band cancelled last minute. Which means I'm going to have to find a replacement, and generally at the 11th hour I'd take anyone regardless of how horrible they were. Beggars can't be choosers.
A *great* tactic that I would do, if I were a gigging musician anymore, would be to CALL PLACES UP A DAY BEFORE OR EARLY IN THE DAY OF BIG SHOWS. Who knows, maybe there was a cancellation or they need another band. Definately ask for some money, because you may be saving their ass. Just pretend it's a follow-up call or a get-to-know-ya call and if they need you they'll let you know.
About press kits:
Press kits were generally important for me to remember you and have your contact information. Pictures, contact info, *brief* resume and a quality demo on CD is essential. If you gave me a cassette tape you went into the garbage. If you had no music included you went into the garbage. If I had to spend more than 5 seconds getting your mp3's or whatever to play I ejected CD and into the garbage you went. I rarely listened to the whole CD--I would listen to about 1-2 minutes of the first song and about 15 seconds of the rest of the songs. Needless to say, long "artsy" intros to songs are NOT a plus. I want to hear the SINGER and if they can SING. Put your best songs forwared that get to the singing within a few seconds. Mix in a few standard covers along with an original song or two.
All original bands got ZERO play at our venue. Make sure to understand the types of acts they hire so you can focus on the few venues suited to your style and not all the venues. Literally make a list and cross off places you aren't suited to. Focus on the remainder.
If you sucked I filed you just in case I got into a jam. If the band was obviously good but the production on the CD blew I would book them anyways (however, as a musician I can tell 'good' from 'bad'... don't count on the average booking mook to necessarily know!).
Most important thing about press kits: THEY HAD TO LOOK PROFESSIONAL AS HELL. I recieved about 2-3 out of a few hundred that looked pro. Some of the ones that looked really bad I never bothered to even listen to. How the press kit looks determines whether or not I'm even going to open it up or listen to you... this is factored in by how many kits I got that week/day. If I got a whole bunch only the best looking ones got played period.
Communications with the venue:
First off, and this is a no-brainer, don't curse AT ALL until you know the type of person you are dealing with. Act and sound like a BUSINESS professional until you figure out your bounds. I'm a pretty loose guy and let the expletives roll--after all, the only person in the company higher than me was the president and CEO--I cussed all day long and that was just how it was. Keep in mind that until I got to know anyone that *THEM* cursing was a little bit of a negative; after we had a few drinks after a few gigs it wouldn't matter.
So no cursing, not at least for a few weeks. And NEVER curse on stage!!! I did a big event with Clear Channel and hosted a huge parking lot party with 5 bands. The first band, a pop punk band that stank, all they did onstage was curse and bad mouth Clear Channel! The regional programming director was furious and vowed revenge. That band got banned from pretty much every local venue after a few phone calls to booking agents, AND had their sponsor drop them (they used to do ads for a car stereo place that used them and their music). I pulled the plug on them mid-set and chastised them over the PA in front of all their fans. They looked like total morons.
In other words, they screwed themselves big time.
Second is contacting the venue. Do this by phone. If you showed up at the corporate office without an appointment to see me chances are I was in a meeting, at a restaurant or busy. Even if I could find time for you expect to wait 30-45 minutes. As far as I was concerned they were on MY time and if they didn't like it they could F-themselves. I was *always* busy doing something and pulling 80 hour weeks easily.
Call the venue and ask to speak to the person in charge of booking, or if you can leave them a message. Be persistent. It's not that I'm blowing you off, it's that I have a million and one things to do. DON'T WASTE MY TIME. If you want to send a press kit fine--here's the address, either drop it off to my secretary or mail it in--but don't try to "sell" me and waste 5 minutes of my day.
Overly-chatty people would get hung up on. PERIOD.
Your goal should be 5 second intro, say you want to send a press kit (don't ask for permission--just say you need the info to send it... wishy washy people automatically lost points) and you need the info, and thank them for their time. Aim to be on the phone for 1-2 minutes TOPS--and time yourself. This is how professionals that are busy operate.
About a week later call them back and ask if they *recieved* the package. If they did, ask them if they listened to it and if its possible you could play some shows. Keep in mind that a lot of places are booked WEEKS in advance. Sometimes I couldn't get someone in for a month because I like to keep my ship running tightly. Morale of the story: get off your ass and do this stuff asap because you may not get hired for a month or two. The quicker you send your stuff in the better.
If they didn't recieve it say you'll send another and thank them for your time. If they did recieve it but not listen to it tell them that you are available and if they get a chance to listen to it give you a call.
Then call back about once every 1-2 weeks until you get a YES or they tell you to stop calling because your band sucks, the style is wrong, or they aren't interested in any bands. Even if they say NO tell them that if any booking emergencies come up to give you a call asap and you will fill the spot.
IMPORTANT!
On average I would tell a band no about five times. Yes--FIVE TIMES.
Be persistent. Extremely persistent. It will pay off. If you don't call me back I assume you don't care about the gig or found another one. I will only call you if I'm in a jam, and that didn't happen every day. Keep calling once a week until you get a YES or a STOP CALLING ME.
The only people that got hired immediately were the bands *I* was going after or stealing from our competition. If you are a hot band venues may try to steal you. My standard tactic was to go to a gig, buy them a round of drinks and explain who I represent and if they are free for some future gigs. Then I get contact information. Then I call them and see if they are happy at that place, offer food/bar tabs. One guy was really hot and the sole reason a competitor stayed in business and I flat out offered him DOUBLE his rate. I couldn't believe he had to think about it for 2 days! He was getting 700/night... but he brought at least 120 people per show.
Anyways, back to persistence...
I CANNOT STRESS IT ENOUGH!!!
I can't tell you how many times I booked *terrible* bands because somebody cancelled for whatever reason and they happened to call an hour later when I was trying to call other bands. FIRST COME FIRST SERVE! Or gave a band a chance because I needed my butt bailed out of a jam. A few bands became regulars and had a weekly gig earning them 450/night for a 4 hour set plus 150 dollar bar/food tab PER GIG. They called me for MONTHS every week looking for a gig. One day someone backed out and I called them about 3 hours before the show. They were even early, and they rocked out a lot better than their demo CD... so I kept them.
Things go wrong in the booking world, and you should exploit that. Be of service to the people that are hiring you... and trust me, I treated it 100% as an employee/employer relationship. Be professional.
I fired one band from a 2 show/week at 400/night and 100 bucks a night bar/food gig because they got really drunk, were pinching waitresses asses, and their performance stank. But the owner of the restaurant chain called me at home at 1 AM in the morning to tell me what was going on. So I had to get out of bed, get dressed and drive 45 minutes to the restaurant. Needless to say I pulled the plug on them and had them removed from the premises. They blew a wonderful gig, because it was a 2 person acoustic band.
Morale of the story: don't blow the gig once you get it.
Other tidbits:
VOLUNTEER to work the crowd, announce beer/food specials or whatever marketing you are asked to do. If they don't give you any MAKE IT UP AS YOU GO ALONG. Plug the venue. You work for us. If you weren't a whore you wouldn't be playing these types of places. So act like the whore you are. (Sounds mean, but this is how venues see the musicians... we are paying for something and we want something--if you can't INCREASE the amount of ticket/booze/food sales by being there then you aren't going to be there long.)
I'd track the average sales of the bands, based on the typical night's revenue without live entertainment, and then track them against each other. If the band didn't produce more than they cost I'd replace them... PERIOD.
Point is--you are a salesman. You have to sell your music and the venue.
Play song sets that will get people happy and wanting to drink. I'd suggest for bands to invent drinking games to go with songs everyone knows. It also can build crowd participation and the 'fun factor'. Let's face it... you are a total whore and need to act the part. Don't make it sound like a chore, try to at least fake enthusiasm when telling a joke that works in how awesome our wings are and how it made your ass burn for a week.
Other obvious points: make sure the venue has a PA or if you need to bring yours, first gig show up at least 2 hours early for setup because it may involve moving stuff around etc, don't play too loud... this pisses everyone off. Always be on time. Don't get drunk. Don't invite obnoxious friends to see you. Invite as many people as you can to increase traffic to the restaurant. Try to thank the owner/manager/guy that hired you. Try to figure out what music the guy that owns the place or hired you digs and hit appropriate songs in that genre.
Talk to the floor manageres and staff at the venue. Be friendly. Make sure they remember you. 75% of the time I would NEVER go to a show from a band I booked, but would rely on the staff to tell me how it went. If I didn't get a rave review I would look for a replacement immediately.
After your first gig re-contact the decision maker and ask how it went, if there are any ways you can improve, and more importantly--can you come back. Make sure to throw on tons of adjectives about how great the venue was and the gig. Flattery will get you everywhere.
I better see some positive feedback on this post.
I was a marketing director for a restaurant chain that had live entertainment. I booked 4-10 bands a week across a number of restuarants. I can only vouch for what was effective for ME, but this should give you some general insight.
First the preliminaries:
Never show up at the corporate office unless invited. Don't try to get free food/drink when interviewing--but take it if offered. If you go to the venue find out WHO you ask and how to contact them about booking. Don't waste anyone else's time because they can't help you.
Also, don't undersell yourself! I can't tell you how many bands would fall for the "how much are you getting per night for a gig" line and would honestly tell me! One person who was very talented played for 125/night (4 hour set) when my next lowest paid band was 250/night plus 100 food/bar!!!
On the money issue... be upfront that you want to get paid as soon as they have agreed to hire you (not before!). DO NOT MENTION PRICE! This is important so I'll say it again--don't name your price. Make *THEM* make you an offer because trust me, how much they are going to pay you is definately on their minds. If they ask you how much you want to get paid you MUST give them a figure, so make sure to know the upper-end of the standard gig rate for your type of act/performance.
If they say they will pay "X" amount and it is way more than what you expected act like this is normal. Don't talk them down! I've had people do that to me. If it's too low say how about "X+100 bucks" or "X+100 bucks food/drink for the band" or something similar.
In general, if you are doing a 4 hour set at a restaurant/bar I'd say 350-400. If it's strictly a bar I'd say 300-350, if it's a concert venue ask for either 5% of the gate or about 300 bucks. Like all negotiation start HIGH and let yourself be worked down. Heck, they might just say YES. No matter what, if you are in any non-pay to play joint EXPECT to be paid.
If you have a specific figure you are used to getting quote a little bit higher than that. Maybe 100 bucks more. Give yourself some leeway to be worked down.
And just because you think you may not be 'good enough' to play a venue keep in mind that I hired all ranges depending on what I needed, could budget, who cancelled. Sometimes I needed to FILL A SLOT and could care less if the band was horrible. It was my job to book bands, not find the best talent. Morale of this story--SHOOT FOR THE SKY and ask all venues that are appropriate for your music. It may take time but if you're persistent you'll get at least one gig. Granted, if you sucked I would *ONLY* use them for emergencies but.... having a bad band was better than no band because the CEO would chew my butt if there wasn't a band on live entertainment nights!
Even if the band cancelled last minute. Which means I'm going to have to find a replacement, and generally at the 11th hour I'd take anyone regardless of how horrible they were. Beggars can't be choosers.
A *great* tactic that I would do, if I were a gigging musician anymore, would be to CALL PLACES UP A DAY BEFORE OR EARLY IN THE DAY OF BIG SHOWS. Who knows, maybe there was a cancellation or they need another band. Definately ask for some money, because you may be saving their ass. Just pretend it's a follow-up call or a get-to-know-ya call and if they need you they'll let you know.
About press kits:
Press kits were generally important for me to remember you and have your contact information. Pictures, contact info, *brief* resume and a quality demo on CD is essential. If you gave me a cassette tape you went into the garbage. If you had no music included you went into the garbage. If I had to spend more than 5 seconds getting your mp3's or whatever to play I ejected CD and into the garbage you went. I rarely listened to the whole CD--I would listen to about 1-2 minutes of the first song and about 15 seconds of the rest of the songs. Needless to say, long "artsy" intros to songs are NOT a plus. I want to hear the SINGER and if they can SING. Put your best songs forwared that get to the singing within a few seconds. Mix in a few standard covers along with an original song or two.
All original bands got ZERO play at our venue. Make sure to understand the types of acts they hire so you can focus on the few venues suited to your style and not all the venues. Literally make a list and cross off places you aren't suited to. Focus on the remainder.
If you sucked I filed you just in case I got into a jam. If the band was obviously good but the production on the CD blew I would book them anyways (however, as a musician I can tell 'good' from 'bad'... don't count on the average booking mook to necessarily know!).
Most important thing about press kits: THEY HAD TO LOOK PROFESSIONAL AS HELL. I recieved about 2-3 out of a few hundred that looked pro. Some of the ones that looked really bad I never bothered to even listen to. How the press kit looks determines whether or not I'm even going to open it up or listen to you... this is factored in by how many kits I got that week/day. If I got a whole bunch only the best looking ones got played period.
Communications with the venue:
First off, and this is a no-brainer, don't curse AT ALL until you know the type of person you are dealing with. Act and sound like a BUSINESS professional until you figure out your bounds. I'm a pretty loose guy and let the expletives roll--after all, the only person in the company higher than me was the president and CEO--I cussed all day long and that was just how it was. Keep in mind that until I got to know anyone that *THEM* cursing was a little bit of a negative; after we had a few drinks after a few gigs it wouldn't matter.
So no cursing, not at least for a few weeks. And NEVER curse on stage!!! I did a big event with Clear Channel and hosted a huge parking lot party with 5 bands. The first band, a pop punk band that stank, all they did onstage was curse and bad mouth Clear Channel! The regional programming director was furious and vowed revenge. That band got banned from pretty much every local venue after a few phone calls to booking agents, AND had their sponsor drop them (they used to do ads for a car stereo place that used them and their music). I pulled the plug on them mid-set and chastised them over the PA in front of all their fans. They looked like total morons.
In other words, they screwed themselves big time.
Second is contacting the venue. Do this by phone. If you showed up at the corporate office without an appointment to see me chances are I was in a meeting, at a restaurant or busy. Even if I could find time for you expect to wait 30-45 minutes. As far as I was concerned they were on MY time and if they didn't like it they could F-themselves. I was *always* busy doing something and pulling 80 hour weeks easily.
Call the venue and ask to speak to the person in charge of booking, or if you can leave them a message. Be persistent. It's not that I'm blowing you off, it's that I have a million and one things to do. DON'T WASTE MY TIME. If you want to send a press kit fine--here's the address, either drop it off to my secretary or mail it in--but don't try to "sell" me and waste 5 minutes of my day.
Overly-chatty people would get hung up on. PERIOD.
Your goal should be 5 second intro, say you want to send a press kit (don't ask for permission--just say you need the info to send it... wishy washy people automatically lost points) and you need the info, and thank them for their time. Aim to be on the phone for 1-2 minutes TOPS--and time yourself. This is how professionals that are busy operate.
About a week later call them back and ask if they *recieved* the package. If they did, ask them if they listened to it and if its possible you could play some shows. Keep in mind that a lot of places are booked WEEKS in advance. Sometimes I couldn't get someone in for a month because I like to keep my ship running tightly. Morale of the story: get off your ass and do this stuff asap because you may not get hired for a month or two. The quicker you send your stuff in the better.
If they didn't recieve it say you'll send another and thank them for your time. If they did recieve it but not listen to it tell them that you are available and if they get a chance to listen to it give you a call.
Then call back about once every 1-2 weeks until you get a YES or they tell you to stop calling because your band sucks, the style is wrong, or they aren't interested in any bands. Even if they say NO tell them that if any booking emergencies come up to give you a call asap and you will fill the spot.
IMPORTANT!
On average I would tell a band no about five times. Yes--FIVE TIMES.
Be persistent. Extremely persistent. It will pay off. If you don't call me back I assume you don't care about the gig or found another one. I will only call you if I'm in a jam, and that didn't happen every day. Keep calling once a week until you get a YES or a STOP CALLING ME.
The only people that got hired immediately were the bands *I* was going after or stealing from our competition. If you are a hot band venues may try to steal you. My standard tactic was to go to a gig, buy them a round of drinks and explain who I represent and if they are free for some future gigs. Then I get contact information. Then I call them and see if they are happy at that place, offer food/bar tabs. One guy was really hot and the sole reason a competitor stayed in business and I flat out offered him DOUBLE his rate. I couldn't believe he had to think about it for 2 days! He was getting 700/night... but he brought at least 120 people per show.
Anyways, back to persistence...
I CANNOT STRESS IT ENOUGH!!!
I can't tell you how many times I booked *terrible* bands because somebody cancelled for whatever reason and they happened to call an hour later when I was trying to call other bands. FIRST COME FIRST SERVE! Or gave a band a chance because I needed my butt bailed out of a jam. A few bands became regulars and had a weekly gig earning them 450/night for a 4 hour set plus 150 dollar bar/food tab PER GIG. They called me for MONTHS every week looking for a gig. One day someone backed out and I called them about 3 hours before the show. They were even early, and they rocked out a lot better than their demo CD... so I kept them.
Things go wrong in the booking world, and you should exploit that. Be of service to the people that are hiring you... and trust me, I treated it 100% as an employee/employer relationship. Be professional.
I fired one band from a 2 show/week at 400/night and 100 bucks a night bar/food gig because they got really drunk, were pinching waitresses asses, and their performance stank. But the owner of the restaurant chain called me at home at 1 AM in the morning to tell me what was going on. So I had to get out of bed, get dressed and drive 45 minutes to the restaurant. Needless to say I pulled the plug on them and had them removed from the premises. They blew a wonderful gig, because it was a 2 person acoustic band.
Morale of the story: don't blow the gig once you get it.
Other tidbits:
VOLUNTEER to work the crowd, announce beer/food specials or whatever marketing you are asked to do. If they don't give you any MAKE IT UP AS YOU GO ALONG. Plug the venue. You work for us. If you weren't a whore you wouldn't be playing these types of places. So act like the whore you are. (Sounds mean, but this is how venues see the musicians... we are paying for something and we want something--if you can't INCREASE the amount of ticket/booze/food sales by being there then you aren't going to be there long.)
I'd track the average sales of the bands, based on the typical night's revenue without live entertainment, and then track them against each other. If the band didn't produce more than they cost I'd replace them... PERIOD.
Point is--you are a salesman. You have to sell your music and the venue.
Play song sets that will get people happy and wanting to drink. I'd suggest for bands to invent drinking games to go with songs everyone knows. It also can build crowd participation and the 'fun factor'. Let's face it... you are a total whore and need to act the part. Don't make it sound like a chore, try to at least fake enthusiasm when telling a joke that works in how awesome our wings are and how it made your ass burn for a week.
Other obvious points: make sure the venue has a PA or if you need to bring yours, first gig show up at least 2 hours early for setup because it may involve moving stuff around etc, don't play too loud... this pisses everyone off. Always be on time. Don't get drunk. Don't invite obnoxious friends to see you. Invite as many people as you can to increase traffic to the restaurant. Try to thank the owner/manager/guy that hired you. Try to figure out what music the guy that owns the place or hired you digs and hit appropriate songs in that genre.
Talk to the floor manageres and staff at the venue. Be friendly. Make sure they remember you. 75% of the time I would NEVER go to a show from a band I booked, but would rely on the staff to tell me how it went. If I didn't get a rave review I would look for a replacement immediately.
After your first gig re-contact the decision maker and ask how it went, if there are any ways you can improve, and more importantly--can you come back. Make sure to throw on tons of adjectives about how great the venue was and the gig. Flattery will get you everywhere.
Last edited:
David Hooper
New member
David Hooper said:
Good advice. In fact, if you're waiting to see somebody or otherwise have the opportunity to buy food, I would. When you do something nice for somebody (like support their business), they're more likely to do something like for you.
Which is why you get those free address labels in the mail with a fundraising letter, etc...
Keep in mind that if you are trying to get a gig at a venue 95% of the time meetings will be at the venue itself. Always ask the decision maker where THEY want to meet.
stonepiano
Member
By now, I'm assuming that all those interested in booking gigs at bars and coffeehouses realize the importance of having a strong press kit, a great demo and persistent personalities!
Cloneboy has thrown a great wealth of info so far and for that, I tip my hat.
As an example of several of these theories put into practice, I'll offer my press site.
http://www.haresmusic.com/press.html
Basically, my overriding premise is to make us the easy choice for the talent buyer/booking agents.
I hope this helps some of you.
stone
Cloneboy has thrown a great wealth of info so far and for that, I tip my hat.
As an example of several of these theories put into practice, I'll offer my press site.
http://www.haresmusic.com/press.html
Basically, my overriding premise is to make us the easy choice for the talent buyer/booking agents.
I hope this helps some of you.
stone
Cloneboy has outdone himself (again) and just about covered it all. Well put and to the point with some great advice to anyone interested in getting out there and on stage. I just want to stress one point, playing is a job, you have to work at it if you want to make money doing it. Remember you (or your band) are there to entertain, you are a reason to party, a gig is not a reason to party, stay sober, it will pay off in the long run.
HangDawg
bUnGhOlIo
Hey Clone
Did anyone ever give you a demo that was the band playing live?? That's what I've been thinking about doing. When we play the larger places, I always take the HD24 along and record the show. I was thinking about taking 5 or 6 songs and edit them down to 20-30 secs each and fade them in and out. It would give them a real good idea of how we sound.
Did anyone ever give you a demo that was the band playing live?? That's what I've been thinking about doing. When we play the larger places, I always take the HD24 along and record the show. I was thinking about taking 5 or 6 songs and edit them down to 20-30 secs each and fade them in and out. It would give them a real good idea of how we sound.
HangDawg said:
I had a few live demos similar to what you describe. Generally I preferred those because it gave me a good idea of what to expect without any studio trickery, overdubs and so on.
However, as a musician I know the difference between a live tape and studio... not all the people that hire you may. Some people may think you "suck" because the audio quality isn't professional CD.
DO NOT have incomplete 'snippets' of songs!!! Pick *three* songs and let them play 100% of the way thru. Most exciting song first. Pick your best material. Include at least 1 cover song... preferrably 2 (unless you're in a non-cover genre like metal or punk).
If you went that route I would highly suggest MIXING and MASTERING the live show to the best of your ability, or hire someone that is good. The sound quality has to be there to be safe.
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HangDawg
bUnGhOlIo
Cloneboy Studio said:
It's multi-tracked and taken back to the studio for editing/mixing. The sound is quite good actually. I thought about the aspect of people not knowing it was live so I left some crowd noise and you can hear the singer talking as it fades in. I printed the track names on the face of the CD and the first one is named live clips. I have not given it out to club owners yet but I've played it for some other people and the liked the live clips. They said they were just long enough to make them want to hear more. Hopefully that will be the reaction from owners and they will hire us
CyanJaguar
New member
Cloneboy Studio said:
Hi cloneboy, excellent post. THANKS. That is information that should be bought not free, so thanks again
Love & Light
New member
Cloneboy.....great post. Think I'll print it off for future reference!
the edzell
New member
Cloneboy has good information use it.
On top of that if you know another band and your buddy / buddy enough with them (and ask management if it is ok) either warm up (be the opening act and play the first set usually just as people are arriving) or play a few songs when the main band is taking a set break. Most of the time you don't get paid or maybe they'll give you a beer or two from the tab. But it's a great way to get attention and if worse comes to worse you didn't pay cover and have a great pickup line.
This works as a live audition. If the person who books the shows likes your band and likes the way the crowd reacts they're more likely to ask you back instead of some band whose CD they've only spent 2 minutes listening to.
On top of that if you know another band and your buddy / buddy enough with them (and ask management if it is ok) either warm up (be the opening act and play the first set usually just as people are arriving) or play a few songs when the main band is taking a set break. Most of the time you don't get paid or maybe they'll give you a beer or two from the tab. But it's a great way to get attention and if worse comes to worse you didn't pay cover and have a great pickup line.
This works as a live audition. If the person who books the shows likes your band and likes the way the crowd reacts they're more likely to ask you back instead of some band whose CD they've only spent 2 minutes listening to.
Agreed. First time my band played in a club, we opened for a band we knew personally, got free drinks all night, 70 bucks each, and by the time we were ready for our 3rd show there, we were the main band and 350 people showed up and we got an ad on the mtv equivalent here.
Not bad for 17 yr olds...
Not bad for 17 yr olds...
crosstudio
New member
our band took some time off while our lead singer was 'away on vacation'. after his vacation he still wasn't allowed to leave the state where he took vacation for 2 years.
we started calling clubs in his new home state, then sent a press kit over which included a 5-song EP. we ended up opening up for Mobb Deep at a club in Greenville, NC because the group that was supposed to open up... broke up.
Then a competing club owner heard about our show, and invited us to open up for 50 Cent at his club.
After those two shows, we were able to book shows at both clubs as the local headliner.
we started calling clubs in his new home state, then sent a press kit over which included a 5-song EP. we ended up opening up for Mobb Deep at a club in Greenville, NC because the group that was supposed to open up... broke up.
Then a competing club owner heard about our show, and invited us to open up for 50 Cent at his club.
After those two shows, we were able to book shows at both clubs as the local headliner.