Vol 3, Issue 14: Key Steps to Starting Your Own Successful Indie Label Pt #1

Back in 2003, when I was still a teenager, and when I was convinced that being in an all girl band was a good idea (how we learn as we age), I devised the plan to create my own indie label, HER Records, in order to release our debut album in a more professional manner, in hopes of attaining major label attention. Taking note of the fact that competition in the indie world (well the music industry, in general) is ridiculously steep, I wanted to create a package - something to sell the record labels that would stand out from the rest of the pack. Several years later (but with a different band mind you), after a great deal of learning, growing, and touring, this dream of mine finally became a reality.

But after years of enduring abuse, and a lack of support from our so-called record label, it is clear to me now, more than ever, that self-representation is really where it’s at (and I’m sure you’re aware that I’m not the only artist who states this case). But you learn through experience right? And had it not been for our “getting signed” (and “selling out” as they call it), I wouldn’t be where I am now, and I certainly wouldn’t be able to offer you the insights that I’ve learned.

Taking into account the current climate of what many foresee as the very crumbling of the music industry’s infrastructure, it only makes sense to consider the viability of going indie. At this point in time, because of the widespread accessibility to artist-friendly services, it is more feasible (and cost effective, and beneficial in so many ways - I could go on and on) than it’s ever been in the past. But, before you decide to go out and choose a name, logo design, and a MySpace url for your new cutting edge independent label, if you want to be taken seriously and as a professional, there are a few essential steps that must come first.


Step Number One: Network, network, network
As an indie artist, funds, as we know, are limited, and so it is essential, right from the beginning to establish loyal and mutually beneficial relationships with various providers of services (ie: photographers, publicists, producers, distributors, web site designers, instrument repairmen, entertainment lawyers etc) which you will require at different times in your career. If you are able to learn any of these crafts yourself, all the power to you - it’ll save big time on expenses, and is one last thing that you’ll have to worry about.

Now approaching a high end service provider that typically works for major label artists won’t get you anywhere, BUT that does not necessarily mean that you’ll be forced to sacrifice on quality. There are tons of extremely talented people out there that are working to establish a name for themselves just as you are, and if you can create long-standing alliances with these people, it’ll be one of the best things you’ll have going for you.

For example, when my band ANTI-HERO first got going, we, obviously, didn’t have a lot of cash on hand, but desperately needed professional photos for our website and for promotional purposes. We hooked up with an aspiring photographer (fresh out of Fanshawe’s photography program, in fact) that was willing to work with us for a reasonable price, and to this day, I can honestly say that he produced some of our favourite images of ourselves. After establishing his portfolio by working with bands such as ours, he has gone on to become the head photographer and editorial designer for Loreal.

In this relationship, we each helped each other: he gave us fantastic photos at a low cost, and we helped him build his portfolio and get other jobs through referrals. But taking advantage of the very talented student community at Fanshawe isn’t the only way to work the connections, attending concerts, and talking up established bands, as well as, building a rapport with local venues is also strongly recommended. In fact, if it weren’t for my long standing relationship with Call the Office, we wouldn’t have been offered so many jealousy-inducing opening spots throughout our career, nor would we have been able to shoot our music video, on location, with a full staff at our disposal (free of charge, I might add!).

The most important key to establishing these networks of individuals is 100% sincerity. If they scratch your back, you better make damn sure that you scratch theirs back. It’s all about creating a relationship, much like a romantic one, that serves both partners, and fulfills some sort of need. To put it bluntly: keep the promises that you make, and make absolutely sure that you always (and I mean ALWAYS) thank those who help you, especially when you reach a certain degree of fame. Put in other words, never forgot those who helped you get your start, you never know what those relationships may do for you in the future.

Case in point: to make a long story short, if it weren’t for my befriending of a small indie band when I was 15, I would have never gotten certain touring spots for my later band ANTI-HERO, nor would have I been introduced to our awarding winning producer who in turn hooked us up with the talented man responsible for our mastering. When ANTI-HERO first came out, and had yet to establish a rep and fanbase, it was strictly by “name dropping” our producer that we got our first major gigs.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase. Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.

Vol 2, Issue 15: Alternative Sources of Revenue Pt VI: Session Musicians

As we learned last week, jingle writing can be a major source of employment for session and freelance musicians, but that barely scratches the surface in terms of what these talented individuals are capable of. Scoring work as guest players on major albums, television and movie soundtrack writing to touring support for popstars and even orchestras, session and freelance musicians are defined as artists for hire that are not committed solely to a steady project. While session musicians, as one may deduce from their title, primarily lend their talents to studio work, freelance players typically perform live with touring acts.

Being a session or freelance musician requires a great deal of performance diversity, and quick learning ability; skills that can only be mastered with age and experience. As a result, you’ll notice that most players in this field are in their elder years, or as they prefer to be called, “seasoned”.

Typical of any aspect of the music biz, connections and networking play a vital role in terms of finding gigs. According to both Kelvin Gumbs and Dale Anne Brendon, becoming session/freelance players was something that they just “fell into”. While Gumbs initially had to pick up the instrumental slack on some tracks he was producing for clients, Brendon found herself bombarded with drumming opportunities after graduating from The University of Western Ontario’s music program, but neither of them had envisioned this as their master plan. However, that doesn’t mean that having the sole ambition to become a freelancer is unfeasible. On the contrary, it would seem that opportunities for these players are plentiful, you just need to know where to look.

Though as mentioned, word of mouth and networking play crucial roles in finding employment, there are also several job boards with musician classified sections that regularly list gig possibilities such as http://www.craigslist.com/, www.kijiji.com , www.overhear.com and www.indbamusic.com . Brendon recommends trying to make a personal connection with each potential employer when you come across a gig that interests you, as from her experience, she has found that simply cold-calling and sending out promotional packages rarely works.

In terms of payment, prices generally vary from player to player depending on their contributions and the type of project. When it comes to recording, on average there is a base fee of approximately $100 - $200 per hour with a minimum of three hours guaranteed employment. On the other hand, touring pay scales begin approximately at a $300 minimum per hour, again with no less than three hours of contracted work. Of course, depending on the length and travelling associated with a tour, this rate may be negotiated. However, regardless of whether a scheduled live performance is a success or failure, freelance musicians maintain their same set rate of pay.

Brendon feels it’s essential for anyone interested in pursuing this avenue to familiarize themselves with the American Federation of Musicians’ (AFM) fee policies. The AFM standardizes pay scales for different player positions within each musical project, and through membership to their organization, one is provided with contracts for each opportunity undertaken, that they will enforce, if necessary. As you’ll recall from previous editions, I’ve referenced the AFM several times in regards to national touring pay scales and policies. For more information on their organization, please visit http://www.afm.org/

In exchange for these set rates of pay, session musicians are not eligible to collect royalties in the future, if a project on which they were featured, takes off. Additionally, it is understood that they do not own their musical contributions from a legal perspective. These principles are agreed upon amongst both parties (employers and musicians) and the tradeoff is considered fair.

A major benefit to this arrangement for session and freelance musicians is that there is no waiting period for payment, nor is their income contingent on the success of the project. According to Gumbs, usually directly after a project is completed, session and freelance musicians are compensated with upfront cash. Though these terms are well understood within the industry, Brendon still urges musicians to establish written contracts for each engagement to ensure that their rights and best interests are always protected, as verbal agreements can be more difficult to prove.

If you’re interested in pursuing this route, Gumbs recommends being aggressive and persistent in terms of self-promotion, and building up one’s network and reputation. Adding to this piece of advice, Brendon suggests that the best way to learn about this avenue is to pry at the brains of experienced fellow musicians who have, as she puts it, “been around the block.”

Though initially scrounging up work may be challenging, once you’ve established a reputation for being reliable, respectful, and professional, employment opportunities will begin to come your way. Above all, one should have fun with this alternative venture as it will allow for the expansion of one’s ability and repertoire.

The biggest tip for freelancers that Brendon emphasized was the importance of knowing one’s employer. Just as you wouldn’t achieve success by applying for an office job in full out gothic attire, you likely wouldn’t be chosen as a freelancer for an orchestra gig if you showed up to the audition covered in piercings. Gauging the needs of one’s employer is as easy as looking at their audience; if you see mohawks in the crowd, tattoos and torn jeans are encouraged, but if the arena is filled by men and women in suits, one may want to rethink the bright pink hair.

For more information on Dale Anne Brendon, please visit her official website located at http://www.daleannebrendon.com/

For more information on Kelvin Gumbs, check out his official page at http://www.kelvingumbs.com/

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/