What to do and expect as a solo artist?

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Eurythmic

Eurythmic

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I'm not sure which forum would be more appropriate for these questions, but this one seems best...

Here's the deal. Like so many of you, I play in a band. It's a very classicist style of rock. We claim groups like the Beatles, the Who, and Counting Crows as our influences. Thing is, I have trouble thinking of this venture as anything but something to do for a lot of fun. I left college to pursue music, and I would be willing to do anything to be able to call myself a professional musician without a day job. The other guys in the band are not like this. They would never take a risk like leaving school; and who could blame them? Of course, you can say that there's always the chance of just being "discovered", but nothing in my life has ever just fallen into my lap. Why should I expect this to? Furthermore, I sometimes have trouble with the material. I LOVE rock and roll. I'd love to be Pete Townshend. But I'm not. What on earth can I do for rock music that hasn't already been done? I'll never write the next "Yesterday" and make you want to cry. I'll never write the next "Won't Get Fooled Again" and make you want to pump your fists and break things.

My feeling is, if I want to have any chance in music, I need to try to do something that hasn't been done before, or at least expand something that hasn't been fully explored yet - which I sometimes think that rock music HAS been.

And when I try to explain to the guys what I think we COULD do, they're not interested. They just want to rock.

Thus, I've been writing and recording most of my songs by myself. I consider the music to be "pop", but hopefully... uh, the "real" kind? I'm still trying to figure out what exactly my "vision" is, but I imagine something like... I dunno, the slickness of current synth-based teen-pop, the melodies of Duran Duran, the conviction of the Smiths, the truth of Pete Townshend... I dunno. Makes me sound awfully pretentious, doesn't it? I feel, in general, that the New Wave and New Romantic genres, minus the crazy fashion trends, were never fully fleshed out... and maybe a little of that would be a breath of fresh air for the charts. But whatever.

I'm just confused as to where I can begin. I'm looking for whatever random advice that I can get... I'm starting, of course, by writing the songs. I don't know if it's realistic, but my goal is to have an album's worth of songs that I believe in, in a couple of months or so. So, I spend as much time at home recording as I can, fleshing out arrangements, getting better at singing my songs, solidifying my ideas, etc. I already have one song that's just about ready to go, and a few others that are getting there. But then I hit the first stumbling block. There are a lot of difficulties here, but what I want is a professional sound - something I can't get on my own. Basically, the first goal on my list is to have one album to my name, that I can actually release to my friends or the general public, without disclaimers. Maybe that'll leave me with 900 copies of something that I can't move, but if I'm going to do this, I want to do it right. Because I can't move on to a "real" career without regrets unless I know for sure that I didn't suceed as a musician because I wasn't good enough - not because I didn't work hard enough.
Now, some difficulties. What can I expect from going to a pro studio? Here's an example, a studio that I found here in Lansing:
http://www.lighthouserecording.com/
Now, I don't plan to go in there until I have a DAMN good idea of what I want to do. But I've never been produced by anyone but myself before. In general, when you pay that $95 an hour, what can you expect to get? Do you get a producer, or an engineer? Take Beck, for example. He's amazing, but a lot of what you hear on _Midnite Vultures_ is the work of the producer. Beck didn't sit at his computer for hours to create those amazing backing tracks. Of course, I'm not expecting to just run into somebody who's going to turn out to be the next (big name producer here). Is this something I can expect input or help with, though? A lot of my stuff is synthesizer-heavy, with guitars and stuff used for color and maybe the occasional solo. And I can get some pleasing results with soundfonts on my AWE64Gold, but it's nowhere near the kinds of sounds you hear on most current pop. And that's what I'm trying to get. (Might be futile I know, but I'd rather not set my sights low) Have any of you ever worked with a producer who wanted to help build and mold the songs? Or can you not expect anything more than a highly qualified engineer, unless you've got thousands upon thousands to spend? What about synth capabilities? Will a studio ever have the kind of equipment necessary to make the kind of big synth sounds that you hear in modern music, or is that just going to vary from studio to studio?
What if they can only record the "real" instruments (guitar, vocal, etc)? Do I just bring in a CD-R with every synth track as an individual .wav file, and leave each track unprocessed and see what they can do? I know, of course, that I'd need a click track, and that it would be helpful to bring in a sample mix of my own... Can the tracks be improved that way? Or am I pretty much stuck with what I've got?
Basically, as a synth-driven solo artist, what can I expect from going into a studio and spending $100 an hour or so to re-record my songs? Just much better sounding vocals and guitars, with basically identical synths? Or will everything be improved? And, will the person that I work with possibly be a creative collaborator as well, or should I just expect an engineer? Or, am I just gonna have to pay them a visit and find out? :)
I know none of you can speak for this studio in particular. But I'm sure plenty of you have paid someone else to record you before, and I know plenty of you are getting paid to record people. I'm wondering what the general rules are, what I should go in expecting.
 
Couple more things.

I know this is pretty long. If anyone would rather just email me, you're welcome: artmanja@msu.edu .

Also, if anyone feels like checking out that studio's webpage and giving me their impressions, that would be great. It all sounds good to me, but I don't really know a thing about anything that's a level above home recording...
 
Eurythmic,

Pete Townshend had a band, so if you want to follow in his footsteps maybe you should be with a different band.

I too am a solo artist but by neccessity not by choice, if I could find a band to play the songs I write in the way I would like them played then I would be happy to be in a band. The trouble with bands is, that people always want to help with the songwriting or arranging whereas I like to do that myself.

Of course being a solo artist, I can't really perform live unless it's just me and an acoustic, but my songs are more complex than that and a performance like that would not do justice. I guess the ideal situation for me would be to do what Jeff Buckley did and find a sympathetic band that will follow your own artistic vision.

By the way, I too think Duran Duran, The Smiths and The Beatles are great role models for an original writer.

Yoo bad you don't live closer to me, we could probably create some good stuff.

Good Luck
 
Royston:

Hi! You make some good points. First, on Pete Townshend: I actually normally mention him in particular before I mention the Who, because though I ADORE the Who, and I have all of their albums, it's Townshend's solo work that really moves me. It's almost like there's a Pete Townshend song for every emotion I've ever felt. And also, he's a model for all of us home recorders. If you've ever heard a PT demo, you know what I'm talking about. His demos were often of "releaseable" quality on their own, and the Who often duplicated his performances to the note. Of course, he doesn't sing like Daltrey (though I do prefer his voice on a lot of his songs), he doesn't play bass like Entwistle, and he didn't play drums like Moon did. But still, they built upon a foundation that was laid by one guy. Glyn Johns, producer of Who's Next and Who Are You (and Who By Numbers?) has said that he often went into the studio wondering how he was going to compete with Pete Townshend's demos.

Hah. I just got an email that you posted a message to another thread that I'm following. :)

Will I EVER get to sleep tonight? Ha, ha.

Anyway...

It sounds like you're in the same boat as me. I wouldn't want to be an artist who only made albums. Playing live is half the fun, making recordings is the other half. And just like you, I don't want to go on stage playing my songs in a solo acoustic setting. It's not exciting to do, and it's not exciting to watch and listen to. And what are you supposed to say to the crowd? "Yeah, please pick up my new CD on your way out. It doesn't sound anything like this, though." :) And I'm sure as heck not going to make karaoke tracks to sing to, either!
But every musician wants to be a leader. How do you entice someone into the glamourous role of "A Member Of My Backing Band!"?
Don't get me wrong - you can, 99.9% of the time, get a better product with collaboration than you can by yourself. I know that if I had a band that shared my vision, I'd be making better music than I am right now. But finding a band that's wiling to follow my lead? That's tough.

Which begs a question - write, perfect, and record the songs, and then find a way to perform them live? Or, search for the musicians, and then write, perfect, and record the songs?

Lots more input from you and anyone else, please. :)

BTW, you're the only person I can think of who's also comfortable with mentioning those three groups in the same sentence. And it's a real shame that you aren't nearby. But hey, never rule anything out! :)
 
For what its worth:
1) Believe in yourself - 100%
2) Work bloody damned hard at it, and don't give up.
3) If you're not happy playing with the people you are playing with - don't play with them. Find likeminded good musicians and see if you can work with them. If not, keep looking.
4) Be ruthless - I don't mean be horrible to others - if something is not right, fix it there and then. If a person is not right, peplace them there and then, don't hang around waiting for change.
5) It IS a job. Look at it as a job. Consider yourself a professional, and work that way.

Its a tough business, you succeed if you've got the talent and are determined.
 
Sjoko knows -- listen to him.


One other thing: it doesn't make sense to me for you to do everthing yourself if you're not interested in performing that way. If you're going to put yourself out there you have to put yourself out there. Seek out your band, pilgrim...
 
Good advice, Sjoko. I'll take it to heart.
#1, I'm working on. I'm totally fragile and completely confident, at the same time. And I'm my own worst critic.
#2, You bet. I won't quit easily.
#3, I'll save till the end.
#4, Definitely something that I need to keep in mind.
#5, I totally agree. I look at music as both a career and a passion... What's the phrase - work to live, and live to work?

You've all given me a slightly different outlook on the idea of getting back into a band situation. Maybe the right solution isn't to write and record, then find a band, OR to find a band then write and record. Maybe I need to write WHILE I look for a band, and then hopefully by the time the songs are ready to go, I'll have the band, too.

So maybe the best idea is, have a clearly defined direction that I can explain to others, and have a good selection of material that I can start with, and then start looking for musicians. I'm not ready for a band yet, but I believe that I will be soon.

Any more advice that you all have would be much appreciated.
 
Dude - 1st: GO BACK TO SCHOOL IMMEDIATELY!!!!!
If you study some of your musical heroes, you will find that most of them are college graduates! Even Mick Jagger has a degree from Art School! WhY?
Because the old saw about "being discovered" is a myth! If you were to go to LA and hear some of the bands on the Sunset Strip, you would get a real education. These guys are incredible musicians, great showmen, and they still rarely get "signed".
I myself had the same dream. I've played all over the country for the last thirty five years, have lived as a full-time musician, and had to support my family doing whatever I could - because I lacked that little piece of pigskin that would mean security.
I don't want to kill your dream, if you want it and if it was meant to be you'll get it. I just wish someone had told me the real odds of making it in music when I was fifteen. Get the pigskin first, then go for your dream.
 
There's something in Bob's writing. I agree with it.
My son James (front man of Our Own - www.mp3.com/our_own ) finished college before he started music full time, but by then he did already make money with music and music related things.
I didn't - left school age 16 when I had my first hit - BUT, I've been lucky!! Not many people are.
 
Well, I think I might have a different definition of "making it" in music. In fact, I can imagine it changing over time. Right now, if I can quit my day job and still support myself, I've "made it". If I marry and start talking about having a kid, and realize that I won't be able to support my family, then I'll have to move on to something different. I don't think that my definition of success is completely unrealistic, being that I'm a person who's willing to put as much work as neccessary into it. Getting discovered, having a multiplatinum record - that's a dream. That's not the goal. You have to start somewhere, and I don't imagine myself starting at the top.
In fact, to me the idea of trying to be a professional musician while I'm in school IS pretty much counting on the discovery myth. Out of school, I'd be starting on a career path. I'd never get around to making music. Putting that on hold temporarily is the only way for me to give music a fair chance. Of COURSE I'm going to go back to school if it doesn't work out. Duh! But if I'm going to do this, it has to be now, while I'm still young and I'm not responsible for anyone but myself.
Anyway, returning to a big 10 university - or any school, for that matter - is not an option for me right now. Even if I wanted to do it, I can't.
But that's beside the point.
In two years at school, guess how many songs I wrote? None. No pop songs, anyway. I did some synth stuff for a computer game soundtrack, but that's it.
Around the beginning of March, I finally began to focus myself. In these two months, I've written about twenty. I think that's not such a terrible start.
 
I wish you luck, man. If you feel you HAVE to write songs, then you're probably a writer. That may sound strange, but writers do it because they have to, not for the bread. If you are one of these, keep writing and don't take anyone's advice. Besides; being a writer, you probably wouldn't take it anyway!
 
I don't believe I'm familiar with that band or song, did it do well in England or was it an American hit?
 
Hell no!! :) It was recorded in Holland, and was a hit in northern europe
(which goes to prove, there was live in music besided UK and US in those days)
 
hello your in a college town dude

not only should you stay in school but you will never find a better resource of tallented bandmates willing to work cheap or for beer.

also college towns spell big followings local if your good. start opening up for bands apearing at the college , network all you can with their managements.
get the attention of the industry.

if you have to start small go to open mics at the coffie houses. get out alot of flyers and invite alot of friends to these shows.

im sure if your writing is good you can attract some music students to play with you and they are allready smart.

and promote yourself alot but dont get to frustrated(charles manson was a frustrated musician allready recording with a big name producer when he did his famous murder spree)

do this and you will have alot of muscle in a small pondthat is a good thing
 
It sounds as if you need to spend your $ on a digital multitracker rather than spending it on time at a real recording studio. I believe that people with a decent ear can get nice results by experimenting with these machines for unlimited hours rather than blowing their budget under a time constraint. You could cut and paste to experiment with arrangements and kind of be your own producer. I have done t both ways and much prefer doing my records at home. I like the Korg d16 the best. Easy learning curve, built in rhythms, lots of good effects and for about 11 hours in that studio you can get one of these. I would be glad to hear your stuff or help you get started/answer questions. email me if you wish at: landwanr@supernet.com. Oh yeah, I would have to agree that a college town is fertile ground for other musicians. If there is any way to get back into school... Good luck.
 
Yes indeedie. :)

I was in the Michigan State University School of Music for two years. And that, along with the University of Michigan School of Music, are the primary sources from which I draw musicians. As I've lived here all my life, I definitely know how college towns work. :)

However, this has been the cause of the problem that I mentioned (I believe I mentioned it, anyway) - a lack of dedication. These people are already on track for different careers. Of course they all say "Hey, if we get signed, I'd drop school in a second!" But I'm a realist, and I know it isn't that simple. I mean, c'mon. Do you folks really get the impression that I don't have other skills or career options? :) I'm young, I'm not responsible for anyone other than myself, and I'm following my dream - partially by choice, and partially due to a lack of choice - but this is the way things have to be for the immediate future. Heck, it almost doesn't even matter how this turns out. I can't tell you how many older people have expressed jealosy at the fact that they were never able to follow their dreams. I'm trying to avoid a midlife crisis, here! ;-)

I've done all of my recording at home so far. Computer recording is a great tool for working songs out, but when I get to the point where I actually have something I want to release, I'm not sure I'd want to go that route. I sure wouldn't want to sell anything I've recorded - it doesn't sound good enough! But when I'm ready to go into the studio, I'll be frank with them - I'll bring my recordings in and say, "Hey, can you beat this?" If they think they can, then we'll give it a shot.

Going back to school is simply out of the question right now. I appreciate your concern, but it's like I said - even if I wanted to go back, I can't right now. It isn't even an option. Long story.

(No, I wasn't busted for drugs, I haven't killed anyone, or whatever else your crazy minds might dream up. :) )
 
school sucks anyway!

Hey man,
Don't mean to bum you out on the school thing. Believe me, I am with you. I left a semester early to pursue a soccer career and I am so glad I did. If your computer based recordings are not coming out as well as you wish even with unlimited time to tweak, you may be acquainted with some people that know how to use this stuff. It is all pretty nice so you should be able to get good results once you understand its capabilities. Do you have decent mics, instruments, sound card? This stuff is definitely worth gaining a working knowledge even if you plan on going into the studio. It will give you an idea of what will work for you, thus not allowing an engineer to run roughshod over your project and saving time (and frustration) in the studio as well. Once again, best of luck.
 
Awww yeeh. :)

I get decent results at home. I've been home recording for - oh, about three years now. Not as long as some, I know. But I would call my sound "really good amateur". But my standards are really, really high. Have you heard Poe's new album, for instance? That's something I could never, ever get at home. Going to an outside studio I probably still couldn't get something like that, but I could at least get closer...
 
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