Judy Rodman - All Things Vocal

Tone deaf? Try Target Practice

2009-07-03T16:27:00.000-05:00

Someone asked me this week if I had any suggestions for training people who are considered "tone deaf". First we need to agree on a definition of what "tone deaf" is. I like this one from Webster's Dictionary-

"...relatively insensitive to differences in musical pitch."

Other names for chronic pitch problems are: "being pitchy", "not being able to sing in tune", and "not able to carry a tune in a bucket". These are varying degrees of "tone deafness", with different sets of limitations.

A session singer who is consistently 1/4 step sharp or flat can be considered too tone deaf to hire.

In this case, serious professional training should be sought out. The problem is usually one of breath control and/or a tight throat. This singer does hear the pitch but can't fine-tune their aim, hence the small but professionally limiting degree of tone-deafness. Pitch accuracy, for a session singer, has to be surgically precise, and pitch problems can short cut a studio vocal career.

A singer who can sing very well in tune in one key but can't find the melody if you change the key has a greater degree of tone deafness, and is prone to embarrassing themselves by singing a song in a completely different key than the band is playing. I've heard major stars do this. Really.

This singer needs to become aware of their pitch problems. Someone needs to speak up for their sake, because tone-deafness is limiting their options. They will always have to have a band that knows their limitations, will have to be very careful singing "on the spot" with strange players and will need to avoid singing acapella, when they may change pitch in the middle of the song (how many times have you heard someone do this with the Star Spangled Banner?!) Again, the solution is some serious target practice with someone who knows whether they are on pitch or not. This singer may also need help not straining or tightening their throats, as well as using good breath support, control and posture habits.

A beginning singer whose pitch-matching ability is akin to "pin the tail on the donkey" is considered someone who can't sing in tune. Or in short... who can't sing, period.

This singer will need to understand that it is indeed possible for a beginner to learn to sing in tune, but that it will take consistent practice over a period of time to educate the ear-brain-voice connections.

As a vocal coach I have successfully trained people who were "tone deaf"- even with some hearing loss and breathing limitations - to sing in tune! Unless there is true organic (physical) damage to the ear which eliminates the ability to process sound signals, anyone can learn to sing. Being tone deaf is what I would call a "lack of aural education". Somehow you missed a natural training of your hearing abilities to distinguish differences in pitch.

The question is-- are you are willing to dig in and do some consistent target practice? Simply play a note on a keyboard, guitar, or listen to a note sung by someone else, and try to match it. At first you will need to have someone present (a vocal coach would be great) to tell you if you are right. If you are wrong tell they need to be able to tell you you that you are too high (sharp) or too low (flat) so you know which way you need to go. Then move up to target practice with patterns of several notes in a row, then notes in strange intervals, etc. Practice daily if possible because the more you practice, the faster you will improve your ability to hear and "sing in tune" or "on pitch".

You also need to be able to apply good breath support and control, to keep your throat open and flexible, to know how to listen well to pitch in music tracks, and to eliminate subtle sources of inappropriate tension, in order to sing the most accurately.

For more help, here are some articles I've written on pitch problems:
Pitch Problems In The Recording Studio - 7 Solutions
Do You Have Pitch Problems As A Singer? 10 Solutions

For information on my vocal training classes and products, comment or reply to this post or contact me through my website.

Anyone else have experience with tone deafness? What helped? What didn't?

Help for Allergies- New Therapy Available

2009-06-29T06:59:00.003-05:00

Singers and speakers plagued with allergies are not able to be at the top of their game. The problem, of course, with many treatments for allergies is their side effects, including dryness in the voice and zombie-like alertness. Vocal performance is definitely affected.

I'm always looking for what works for you... so when my chiropracter Dr. Dwaine Allison told me about his new therapy I was thrilled. The following is a guest post he kindly agreed to write for "All Things Vocal" blog:

Life in the "Bowl"

How often have you heard someone say, "I never had these allergies until I moved to Nashville?" Or maybe it was you who said this to someone else! Our fair city is positioned neatly in a paradise filled with hundreds of varieties of trees and other pollen generating plants, cradled within beautiful hills serving as a sort of biosphere that allows all that pollen to hover gently within our breath's reach.

It makes for great pictures, however the camera won't reveal the ravages felt by those suffering with seasonal, or environmental allergies. And for those who depend upon a good set of lungs to make a living singing, it can be annoying or even disastrous! As a wellness coach and practicing chiropractor, I see it all the time, and have looked for ways of helping fellow Nashvillians cope with and ideally overcome allergies. The physical problems range from sinus drainage, congestion, infections, irritation, and diminished impaired respiratory capacity. Then there's the distraction of itchy eyes, skin upset stomach, fatigue, and general malaise, none of which serve well when laying down a vocal track, or giving a live performance. I've seen otherwise intelligent people reduced to a state of stupor when resorting to over the counter or prescription med.s. They lose their sharpness, awareness, and coordination, so much so, that many med.s have label warnings to avoid driving or operating machinery, but, people still do.

So, what's the solution? There are a lot of things a person can do nutritionally to curtail many of the above problems. A few simple things such as; limiting or avoiding all together dairy, gluten containing wheat items. Avoiding refined sugar, or worse artificial sweeteners is a good idea. Keeping your diet free from processed foods which contain numerous health and performance diminishing chemicals like MSG, high fructose corn syrup, salts and the like.

Since a singer's body is their instrument, it follows that overall health practices should be practiced daily. Much like a guitarist would not dream of subjecting their instrument to extreme temperature or humidity, or otherwise handle it carelessly, a vocalist must maintain and protect his or her own body. Habits like getting enough rest, managing emotional stress naturally, keeping a positive perspective, observe good body mechanics and posture, and doing suitable exercise are a few basics. They are not optional. If you don't have some coaches to give some objective guidance, then there are frequently gaps, or uncovered bases that will inevitably make themselves know in the form vocal or health plateaus that will frustrate or severely jeopardize your performance.

Coming back to allergies; There is another problem that makes things dicey. There are two primary types of allergies. Five percent are rapid response allergies known as "I.G.E.". These occur within minutes to an hour after being exposed to an allergen. These are usually obvious to us. However, ninety five percent of the time people experience "I.G.G." or "delayed response" type allergies. These are the ones that occur two to three days after we've been exposed to an allergen. Exposure can be anything eaten, drank, breathed or touched. So, a person may have any of the common allergic signs, or it may be more more obscure. A person may have indigestion, headache, fatigue, heart palpitations, joint pain, or emotional swings. And given that because delayed response is days after contact it can become virtually impossible to connect the dots.

Until now, delayed allergens have been difficult if not impossible to identify through traditional methods. Fortunately, there is a way to uncover these hidden irritants. It's based upon biofeedback technology that can evaluate foods, environmental, and chemical allergens, as many as sixty five thousand substances in total. This is more than could have been tested in a lifetime. And it can now be performed in minutes.

I recently tested a boy who his parents thought was allergic to beef and pork. Sometimes he'd eat and be fine, other times he would be reduced to tears and in anguish with pain. His test revealed no allergies to either meat. Although, he did have a sensitivity to citric acid, (contained in certain fruit). His dad who fashioned himself as a gourmet chef would sometimes spruce up the meat after cooking, with lemon juice to "wake it up" a bit. And as it turns out, this was what was flipping his switch.

So, then what? It gets better! It is possible to use a class three laser coupled with a homeopathic dosage in the form of an energetic frequency to gently reprogram the nervous system to not overly react to such substances. And it only takes about four minutes to accomplish, is totally safe for all ages, and you don't feel a thing, except, in most cases you are over the allergy. Science is great!

Of all the things I've seen for allergies, I believe this method, along with a healthy lifestyle, to offer the most hope for all of us living in the Nashville bowl. It is a paradise, here, but, only to those who can enjoy it. Breath easier!

For more information on allergies and living healthier, contact:
Dr. Dwaine Allison, D.C.
128 Holiday Ct.Ste. 107 Franklin TN 37067
615-790-6363

Spasmodic Dysphonia: What Treatment Options Are Working?

2009-06-24T10:19:00.006-05:00

For my last post in this series on Spasmodic Dysphonia, I will report on treatment options and currently available, controversial alternative viewpoints and will offer my further thoughts as a vocal coach:

WHAT ARE THE TREATMENTS FOR SPASMODIC DYSPHONIA?

The first thing we need to know is that medical treatments now available will only manage symptoms in true SD cases. That is the major diagnostic difference between SD and MTD (muscle tension dysphonia) disorders; MTD cases can be cured by re-training vocal habits and eliminating physical and psychological tension. Please note: MTD cases are much more common than SD.

Medical options pretty much boil down to two things: Botox and surgery.

First of all, several experimental surgical treatments involving such things as paralyzing nerves and splitting the thyroid cartilage to make more room for vocal cord stretch have been found to be ineffective. These surgeries also cannot be reversed, and are not now recommended.

One surgery reporting better success is called "selective laryngeal denervation-reinnervation"(SLAD/R), which is suggested for some with the AdSD type of Spasmodic Dysphonia. Patient response has been reported to be 85 - 90% positive, with life-long results of improved vocal function instead of eventual re-occurring symptoms, as has happened with other surgeries.

What has been reported to be more than 90% effective for SD patients is Botulinum toxin (BTX or Botox) injections, which involves injecting a very small amount of the toxin directly into the overactive vocal muscles. It weakens these muscles so that spasms are diminished and the speaking voice is improved. Patients experience best results more often having one side at a time injected instead of hitting the whole set of overactive spasming muscles.

The drawback to Botox therapy is that it is only temporarily effective, and must usually be repeated every three to six months. It is important to find a doctor who is skilled in delivering this injection because a needle must be inserted into the vocal muscle affected, frankly a tricky spot to hit. The treatment is expensive and can be painful, but is the method of choice by most SD sufferers at this point because surgery is considered a last resort.

ALTERNATIVE/SUPPORTIVE TREATMENTS

I would be remiss in my three-part series look at SD not to tell you that there are also reports of this disorder being overcome with vocal and breathing therapies and re-training. The website www.spasmodicdysphonia.us discusses these alternatives, reporting that many vocal coaches including Roger Love and Gary Catona report success treating SD patients with vocal training. Another such viewpoint comes from Connie Pike, CCC-SLP. A quote from Connie's website:

I have come to view SD as a mindbody disorder; not psychological or neurological, but both. I believe we cannot separate the mind and body functions, including the function of the brain... The track record for voice therapy is a poor one. I believe this is because speech therapists are not properly trained to administer voice rehabilitation with the intensity and the holistic nature that SD therapy requires. The emotional piece of SD is huge and there are breakdowns not just in voice production, but in breathing, voice image and more.The “feeling” of proper voice production is lost in a case of SD and must be rediscovered.

Chiropractic, Alexander Technique and Feldenkrais Method can provide symptomatic help in certain cases, and a breathing technique is discussed here.

MY THOUGHTS FOR VOCAL COACHES

The medical professionals I heard and spoke to at the Nashville symposium last week all say that much about spasmodic dysphonia remains a mystery. They wanted me to know as a vocal coach that if I run into a frustrating case I can't cure with my vocal training, I should send them to get evaluated for vocal damage or spasmodic dysphonia, which of course I have done and will continue to do. They also affirmed that patients with SD can, especially if they have mild to moderate severity of the disorder, be helped to a limited degree with vocal therapy and retraining.

However... an SD sufferer was the person who invited me to the symposium, because she had been so frustrated by seeking help from drama and vocal coaches with no positive results. She quite rightly wanted to get the word out about SD to vocal coaches so they would know to recommend medical evaluations instead of continuing ineffective training if they suspect this condition in a student.

Could alternative treatments cut out the need for Botox injections? Are the above websites just selling false hope to suffering people? I don't have the personal experience to form an opinion.

Vanderbilt Voice Clinic suggests the following website for the most accurate information on spasmodic dysphonia: www.dysphonia.org .

My course of action:

If a student comes to me with signs of spasmodic dysphonia, I will not tell them I think they have it, because I know you can talk someone into manifesting a disorder just because they believe it.

I will try using the training that so far has helped everyone I work with, at the first lesson. If I cannot get quick results moving in the right direction with vocal improvement, I will suggest a medical evaluation from experts in the voice such as Vanderbit Voice Center to rule out physical vocal damage or conditions such as spasmodic dysphonia which might require medical intervention.

If spasmodic dysphonia is diagnosed, I will consult with the medical professionals concerning any vocal training that I could try which could mask or better the symptoms of the particular client.

I will keep up on the research into spasmodic dysphonia, which I believe is vitally important for all vocal coaches everywhere.

May a cure be found ... and soon... for all sufferers of spasmodic dysphonia.

Spasmotic Dysphonia: Causes and Diagnosis

2009-06-22T18:50:00.001-05:00

So how do you get spasmodic dysphonia? How is it even diagnosed? There are currently unsolved mysteries in the answers to both these questions.

WHAT CAUSES SPASMODIC DYSPHONIA?

Here's the current state of research... no one really knows for sure. Somehow improper and inappropriate signals are sent from the brain to the vocal cords that produce spasms of the muscles controlling the vocal cords. Estimates are that 5 in 100,000 people are affected, twice as many women as men. Onset it usually mid 30's to 50's, but can begin in teens.

Sometimes the onset occurs after a viral illness or psychological trauma, sometimes after some kind of physical vocal damage. Sometimes the person has been poisoned by taking a medication or being exposed to heavy metals. Sometimes there is family history of some kind of dystonia, or muscle spasm disorder. And sometimes it seems to come out of thin air, someone just wakes up one day and the voice has a strange uncontrollable sound to it. And sometimes the voice is normal!

What is known is that SD is exacerbated by stress, fatigue, pressure and tension. An SLP at the symposium explained it to me like this: the threshold for vocal dysfunction is much lower in SD patients, and the stress that can trigger a worsening of the symptoms can be mild. There is usually gradual onset, it gets worse, then levels off.

HOW IS SPASMOTIC DYSPHONIA DIAGNOSED?

Many times the voice disorder called Spasmodic Dysphonia is ignored until it interferes with a person's lifestyle or employment. Often the first help sought will be from a vocal coach. That's a huge reason for all vocal coaches to be familiar with SD.

The presenting symptoms occur with the SPEAKING VOICE! If the speaking voice is fine, spasmodic dysphonia is extremely unlikely to be a problem, in fact I would dismiss the possibility outright, and suggest re-training the singing voice which is likely to have problems with "muscle tension dysphonia" (MTD) instead. IMPORTANT: if vocal lessons and re-training does NOT result in quick progress, the presence of SD should be considered.

Symptoms run the gamut:

You have trouble speaking, sounding chronically hoarse.
You are frequently asked if something's wrong with your voice.
Your speaking voice sounds tight, strained, strangled, breathy or whispery.
Spasms in your larynx often interrupt sound, causing words and sentences to be broken up.
But...breathing and swallowing feel normal.

Here is a video illustrating the sound of a voice plagued with variations of spasmotic dysphonia. Here are some audio file illustrations from a different source.

Getting an accurate diagnosis of SD is difficult. It can take months o r at least weeks to get a definitive diagnosis, because the symptoms of SD and MTD are very similar, and other vocal issues must be ruled out. Diagnosis IS important, however, because treatment is different and must be tailored to the disorder, or the combinations as listed in my previous post defining SD and its various types.

What to do if you suspect spasmodic dysphonia or any other voice disorder? If in doubt, get checked out- by a medical team expertly familiar with SD such as the Vanderbilt Voice Center. As vocal coaches, choir directors and drama teachers, if we suspect a physiological or neurological disorder like SD, we should always suggest a medical examination.

At your check up, you will have your vocal cords "scoped" to see if there is any physical problems that can be found in your larynx. You will be asked, probably by a speech language pathologist (SLP) in the medical team to speak certain phrases such as

"Aaron eats apples & oranges",
Help me hold this hoop, pet the pound puppy"
and sustain certain vowel sounds like "ee" and "ah", among other speaking and singing tasks.

But there is no brain scan or blood test for definitively identifying this disorder. The two evidences most relied upon for diagnosis of true spasmodic dysphonia are -

...the sound of the voice (vocal nuances can tell an experienced clinician with a good ear whether or not to suspect SD)
...and whether or not a round of speech therapy and/or vocal training will work. The experts at the SD symposium suggest that if re-training offers limited or no success, the problem must originate in the wiring of the brain, possibly the basal ganglia, which cannot be re-trained. I will discuss this theory as well as report on alternate theories in my next post about treatment options for SD patients.

After various stages of testing, treatment options for spasmodic dysphonia are offered. I'll discuss these in my next post.

Spasmodic Dysphonia: What Is This Mysterious Voice Disorder

2009-06-20T17:58:00.006-05:00

I had the pleasure of attending a conference on Spasmodic Dysphonia (known as SD) sponsored by the Vanderbilt Voice Center this week. Instead of being a dry, boring medical recitation of things I already knew, it was fun, full of kindness and caring... and truly illuminating. I'm so glad I went.

This will be the first post in a series on this disorder with information gleaned from the doctors, speech pathologists and speakers with SD at this event. These experts included Charlie Womble, NSDA Board Director, Jennifer Muckala, M.A. CCC-SLP, C. Gailyn Garrett, M.D. (Medical director at Vanderbilt Voice Center), Fenna Phibbs, M.D., Amy Zeller, Ms. CCC-SLP, Brienne Ruel, Gwen Sims-Davis, Jill Van Vliet and several NSDA support group members who have SD.

First, before you self-diagnosis and scare yourself, let me state this firmly:
In all probability- YOU DON'T HAVE THIS! But if you did... or knew someone who did... you'd want it to be properly diagnosed and be pointed towards something that could actually help instead of frustrate. So here goes my first post...

WHAT IS IT?

Spasmodic Dysphonia (SD) is a voice disorder which is part of a family of neurological disorders called dystonias. Dystonias cause muscles to contract and spasm involuntarily.

Here are five forms of SD:

Adductor spasmodic dysphonia (AdSD), which is by far the most common, is where the adductor vocal muscles (thyroarytenoid or TA muscles) are too active and spasm frequently on voiced speech sounds like vowels in the words "eat, back, in, I, olives, nest". The voice has a strained, strangled sound.

Abductor spasmodic dysphonia (AbSD) occurs where the adductor vocal muscles (crycothyoid or CT muscles) are too active and spasm on voiceless speech sounds like "f, K, c, t, h, th." The voice is very breathy and the person feels short of breath when they talk. It is also often accompanied by chronic constriction... grabbing and holding of the vocal folds.

Mixed... where symptoms of both AdSD and AbSD are present.

SD with tremor... where there is also a tremor in the voice. In this case, the SD problem is compounded and accompanied by a separate disorder... tremor. The voice will have a rhythmic fluctuation when sounding vowels if a tremor is present.

And lastly... SD may be mixed with... or misdiagnosed as... muscle tension dysphonia (MTD). This sometimes happens when a person with AdSD tries to control their vocal folds, holding them too tight and causing a chronic tension to occur. MTD, unlike SD, is functionally based and can be cured by modifying behavior (vocal re-training).

SD is maddenly consistently inconsistent... that is, it doen't necessarily happen all the time, or happen in the same way. Sometimes you can fake it out for a while by speaking in a pitch or accent you don't normally use. One of the panel members with SD demonstrated in a hilarious Swiss accent that she could speak without spasm when she did this. A speech therapist expert in this field said that this would only be a temporary fix; if the person began speaking the new way all the time, the spasm would return.

The speakers at this conference were unanimous in saying that SD is NOT a psychological disorder, it is a neurological one. What's the difference? A psychological disorder can be treated by learning different thought patterns. A neurological one is physiological... re-training treatment is limited in effectiveness. There is something wrong in the wiring of the brain itself... which manifests in the end-organ, in this case, the larynx.

Posts to come: What Causes SD? How is SD Diagnosed? What are the treatments for SD? What can a vocal coach do to help?

Singing with Bands Unfamiliar With You

2009-06-15T17:59:00.002-05:00

I got a great question about singing with musicians in "instant situations" where you sit in with those who don't regularly accompany you.

This situation can happen at big and small events, such as:

Bars and clubs who invite new singers to sit in.
Contests or auditions where the accompaniest plays for you with no rehearsal.
Informal jamfests where you're invited to "do something you know", and someone there plays for you.
Events where artists have to fly or bus in and perform with a house band of some kind.
TV shows where the artist plays with the house band.

It's always tricky. Sometimes a musician or band can be awesome, but even with great musicians this is never the optimum situation. What you can do is limited, but here are some suggestions from my days of doing these things:

ALWAYS know the key for a song you are considering singing.
ALWAYS be able to give them the "feel" and the tempo right before they count off. If you are confident with doing so, you count the intro off yourself.
ALWAYS show respect to the band, no matter how limited or strange they play.
ALWAYS try like crazy to get a rehearsal or at least a soundcheck. Not always possible, but try anyway.
Be ready to sing as if you're singing acapella. If they don't play the song the way you know it, you'll need to confidently plow ahead and let them follow you. Practice this by doing a lot of acapella singing.
If the players ARE good, consider changing your own performance to an "in the moment" feel. You'll have to literally feel this out.
Sometimes you have a situation where your own band member(s) can't get to the gig for some reason, and you may be offered the services of a substitute. If you can rehearse, and if you have the authority and confidence and kindness do so with respect, pay rehearsal fee to a player who hasn't had time enough to master your songs. Then tell them you're just not going to be able to use them for this show, because it came together so fast. It's usually better to play with just one musician (or trio) than to play with an unprepared band.
Remember to sing TO THE AUDIENCE... don't perform as if you are rehearsing.
Leave the band and the audience wanting more:)
If asked to sing and you don't think you and the band are a good enouth fit, politely decline the invitation. The last time I declined to sing was an event where the band was absolutely incredible... and I didn't know any of their genre of songs! I saved myself some embarrassment there!

Lest we condescend, remember that plenty of musicians have stories about having to sing with singers who don't have a clue, too! Make it easy on them... be prepared... and be respectful. Let that be your reputation among musicians and it will pay off in droves. The last thing you want is for a band to groan as you asend the stage towards the microphone:)

Anyone else have suggestions?

I play 6pm Bluebird show this Wed

2009-06-15T12:48:00.003-05:00

I'm doing the 6:00pm show at the Bluebird this Wed (June 17th). If you want to come... go to the Bluebird Cafe website- specifically this page link here - and pick your table! You might want to hurry, though, there are not many seats left.

Singer/songwriters performing in this round include me (Judy Rodman), Jennifer Adan, Cassandra Kubinski and Nicole Witt.

There is a minimum $7 drink/meal fee for the early show and $1.50 reservation fee (per person) if you make a reservation. First come-first served seating is available at the bar and on the back benches.

Hope you can come! - Judy

ALERT:PPP vocal workshop at Indie Connect Monday night (June 8th)

2009-06-07T22:02:00.002-05:00

Hey guys & girls...

I'm speaking at Indie Connect tomorrow night (Monday June 8th). For this event, I'll be giving an introductory "hands on" vocal workshop. If you or anyone else you know would like to get your voice assessed, this is a once in a lifetime opportunity, because my full workshops are expensive.

Also, I will be attending the Monday morning session as well, because my music business mentor, Mike Coleman, will be speaking... 11:30am Monday at Corkey's in Brentwood.

Other Indie Connect events this week:

Nancy Moran speaks on "Alternative ways for an artist or songwriter to make money"...Tuesday, June 9 at 11:30 AM
Ryan's Grill Buffet & Bakery
405 S. Cumberland St. in Lebanon TN

and... Vinny Ribas will be speaking on "Booking Yourself" ...Tuesday, June 2nd at 6:00 PM
Shoneys
Exit 65 off I-65
1306 Hwy 96 East in Franklin TN

No Vocal Competition with Vocal Uniqueness

2009-06-06T22:58:00.004-05:00

I have a unique slant on what performance is. This may surprise you in this day of gladiator-style vocal competition. You can quote me:
The best voice comes not from competition with other
voices but from a pursuit of its own excellence.

I say there is no competition with uniqueness. The REASON we sing will be a big reason for the WAY we sing. If your first goal of performance is money or celebrity, sit down and listen. A strong ability to move someone with vocal performance will trump the fame and fortune in soul satisfaction, and oddly enough, fame and fortune often follows. The business should follow the music, not the other way around. This paradigm shift has set many a voice free, immediately, in my office, and several careers have been born or re-born. It's a beautiful thing!

Angela Martinez Invites Us to the Scleroderma Walk-A-Thon

2009-06-03T19:55:00.003-05:00

I believe in pay-it-forward. My precious student Angela Martinez does, too. She asked me to spread the news of an upcoming Walk-A-Thon to benefit a cause which has touched people she loves. Here's what she'd like you to know if you're in or about Nashville on June 13th:

Angela wants to encourage everyone to come support the Seventh Annual National Scleroderma 5K Walk-A-Thon (3.1 miles).

It will be Saturday, June 13, 2009 at 9:30 a.m. Registration begins at 8:30 a.m.
Starting Line: The large picnic shelter near the train in Centennial Park, Nashville.

Scleroderma is an autoimmune disease which literally means "hard skin", and not only attacks the skin but also the vascular system and internal organs. Angela has a dear friend who has Scleroderma and through her introductions Angela has met more people with this disease. Greatly touched by their stories, Angela immediately wrote a song for them. Angela is hoping to raise awareness of their need for support for finding a cure.

Her new song is called "Right There" and you can hear it on her "Myspace" page. Angela will be performing at the Walk-a-Thon and will have "Music Down Load" cards available, featuring her new single. All donations will go to benefit the Scleroderma Foundation.

Pitch Problems: Tips To Fix Them

2009-06-01T07:50:00.001-05:00

Pitch problems can be frustrating... especially subtle ones that are not quite a half-step off. Here are my thoughts on the matter.

I often find pitch issues to be directly related to physical tension. This unnecessary tension can act like someone tugging on the arm of a person playing a fretless instrument. There would be no way to hit the notes perfectly in tune with that kind of outside interference. I've had a lot of fun double-teaming a few of my students with Ethan Kind, who guest-posted on the Alexander Technique previously on this blog.

Another source of inaccurate pitch is physical tightness in your throat channel when you sing. Your throat should open in three directions... up (soft palate and nasal membrane), down (jaw and tongue positions) and back (head balanced, tension-free, on tailbone instead of in front).

Problem-causing physical tension can originate from what I like to call "tense thinking"... psychological anxiety, causing physical guarding, collapsing the "scaffolding" from which the voice works most accurately. Here's where my post on the vocal magic of intention and expectation could help you.

Pitch problems can also stem from wrong vocal technique habits, such as powering your voice from too high in the body. Move your feeling of where power comes from lower... at the pelvic floor... (squeeze your butt for power, not your neck, chest or shoulders) and get taller, lengthening your spine when you sing instead of compressing it and make sure your head is not forward.

An action that can help get pitch right is to make sure you've warmed your voice up throughout your whole range. When the muscles controlling your head and chest voice are equally strong, aiming at pitch becomes much easier. Important: don't just do vocal exercises... find out how to do them CORRECTLY!

Another positive action is to focus your listening to an acoustic instrument in the track or band, instead of swimmy things or low instruments whose overtones tend not to be accurate and will through your pitch off.

To summarize, here are 6 big tips to help increase your pitch accuracy:

POSTURE... stand or sit tall and confidently, head balanced on tailbone.
WARM UP... your voice correctly throughout your whole range, mixing it.
LISTEN ...to the music, especially acoustic instruments such as piano and guitar.
DON'T LISTEN... to swimmy instruments or bass to get your pitch center.
AIM ...at the pitch... intend to hit a specific note.
CONFIDENCE... expect to hit it!
PRACTICE PERFECTLY... don't allow yourself to be content with pitchiness. Practice hitting the note you're aiming for, instead of allowing yourself to sing "pitchy". You'll train your ear to be much more accurate when you practice accuracy.

Let me know this works for you... and anything else you'd like to add!
To book a pitch fixing lesson in person or by phone, contact me here.

Singing Into a Spotlight

2009-05-22T09:36:00.004-05:00

Singing onstage while being blinded by a spotlight can be disconcerting if you're not used to it. I got a great question from a reader about it; with her permission I'll post her question and my answer here:

Hi, Judy,

My gigs are mostly small, in dimly-lit rooms where I can make eye contact with people. I recently had an experience performing in a theatre seating 600, in which I looked out into the black abyss with a blinding spotlight on me. Felt like I was standing in the road at midnight with a motorcycle coming at me. Suggestions? Thanks, Devora Gila

My answer:

HAHA... yes, been there done that.. it can be disconcerting indeed to look out at the audience and see only "the LIGHT"!

Here's what I do:
I pick a spot in the whiteness, in the middle of where I think the audience will be sitting, and sing to that spot like it is a person. It WILL be a person... and they will think you're singing right to them. When you do this, everyone around that person will ALSO think you're singing directly to them, because that's the way it will look from their point of view.

I move this focal "spot" several times while I'm singing the song, to another place in the whiteness and sing to someone else. I don't do this rapidly, I try to make it real to myself and pace it as if I were really connected to each person.

Don't move the "spots" you sing to too far up or you'll be perceived as singing over everyone's heads. Keep them at about audience level. You'll get used to it quickly.

You can use this trick if ever you need to talk or sing to a camera. Many times you will be directed NOT to look at a camera when performing, but if you are supposed to (say for a video, or for a photo shoot) just look directly at the eye of the camera like you would look into human eyes... the eyes of whoever you'd logically be talking or singing to at the time.

This works in the "blackness" you see, as well. Just pick a spot in the general direction of where you think your audience is. Let me know how this works for you!

Comments, anyone?

Vocal Rehearsing... Can You Over-Do It?

2009-05-15T18:32:00.004-05:00

I got a great question from a rock artist I communicate with on The Modern Vocalist website:

...I'm having a heck of a time getting the energy and motivation to work these 11 songs (for my upcoming recording project). I love them (if I do say so myself since I wrote them LOL); they're good songs; they require some challenging vocal work; they have good arrangements...it's pretty much all there. But it's like I'm bored with them?!!!!!! Though I'm not exactly sure what's going on... In your opinion, should I just sing other material and give them some rest so I can come back to them fresh? ... I dont' feel i have the time to do that.

I will pass along what I told her to you, and I hope it helps you any time you seek to make your songs so routine you don't have to "think" when you perform, but also deal with the catch-22 of being over-rehearsed:

James Taylor (one of my heros) was once asked if he ever got bored singing "Fire And Rain". He responded that during rehearsals they ALL are bored stiff with it, they can't hardly take it seriously but of course they must rehearse it. There is a lot of goofing and kidding around concerning that song at rehearsal.

However, he said that every single time he sings it in live performance before an audience, it comes alive again... it's like he's doing it for the first time again. To this day.

What is the difference? There is more than JT and band in the mix... there's ... the LISTENERS!

Somehow, I think you need to separate rehearsing technically from rehearsing performance communication. Imho, you should rehearse technically until you don't have to think, then completely go on stage in your mind and perform to the unseen other who will be listening to your CD. You have to make this person real for yourself... much like an actor going into character.

DO NOT practice performance much. Just when you're ready, once or twice at the most, a day. Only practice the drills of technically performing the song.

It's a mind thing, and a set-place thing. When you perform, the act won't be authentic without the listener involved. AND THE CONTROL ROOM DOESN"T COUNT! Sing to the beings who will be listening to your CD. But then once you've performed, it can't feel authentic again for a while, because after all, the listener's already heard it... and for goodness sakes you don't want to bore them!! hehe. And think about it... once someone performs in an olympic event, does anyone ask them to repeat that all-out performance again that same day??? Not and live to tell about it, lol!

And I mean not only in live performance, but in seeking that studio master vocal as well. If you have to sing it too many times, you need to park it and come back another day. Even making an actor do a scene too many times takes the life right out of it as they lose perspective and inhibition creeps in.

Does this make sense? Hey, one of the best wishes I can make for you is that you get sick of hearing these songs on the radio :)

Does anyone else out there have experience with this conundrum?

Auditions for "The Singing Bee "

2009-05-07T21:30:00.005-05:00

OK People, I have NO idea what this contest will be like, nor do I know the promotors, but I do trust the casting agency that sent the info to me, so I'll pass it on with this disclaimer.

I think the general idea is this:
it's a contest for people who know a lot of lyrics to hit songs. Soooo... if you are a collector of memorized lyrics and think it would be fun, here's the info from Moore Casting:

If you have LYRICS in your head, From COUNTRY music to POP, You could WIN BIG MON*Y!

You DON'T have to sing it well; You just have to sing it right!!
Come Audition!

Date: Saturday 5/9 & Sunday 5/10
Time: Starting @ 10:00AM
Location: Millennium Maxwell House Hotel
2025 Rosa L. Parks Boulevard
Nashville, TN 37228

Call 818-508-7706
Or Email casting@thesingingbee.com

MUST BE AT LEAST 18 YEARS OF AGE

The Alexander Technique and Singing: by AT Practitioner Ethan Kind

2009-05-07T11:09:00.002-05:00

Today I would like to introduce you to Ethan Kind. Ethan is an Alexander Technique practitioner who I met at an Indie Connect meeting here in Nashville. He wrote an article on singing and the Alexander Technique that blew me away, so I asked him if he would write a guest post about what he does for my blog readers. I consider him a go-to team member of what I do when I see chronic, mysterious tension in a client that I'm having trouble helping them release. His contact information will be at the bottom of this post. - xoxo Judy

Ethan Kind:

My approach to all musical performing as an Alexander Technique teacher is...
...how can I show the performer how do to do the least amount of work and sing with high dynamic and intensity, without the pain and tension of hunkering down in fear trying to do his or her best work?

I do this by giving the singer back control over her body. What this means is, I give the singer back the ability to release the accumulated tension in his body as he performs. I make the performer aware of where she is habitually holding in her body, and gently teach her how to release this tension, which in many singers manifests as strangling the voice and causing physical pain.

The effect of letting go of the tension that doesn't work, is to let the voice come out bigger and with more beautiful tone. We have a saying in this technique,

"If you can let go of the tension in a muscle, you have control over it and can do what works".

If you replace one set of habits with another set of habits, even if the new habits are much better technically, you can still get back into physical trouble. Unnecessary tension causes compression in the joints, forcing you to hurt and be off balance, and makes what looks right fail.

Singing with high dynamic means you perform with expressive intensity. It is my job to see that you do this without sacrificing your body, without hurting yourself. When you work with an Alexander Technique teacher you become taller and balanced as you stand or sit to perform, so that you are free to really go for it, which means it sounds like you want it to sound.

Ethan Kind is a certified Alexander Technique teacher with a private practice living in Nashville, who has been published in this country and abroad. He can be reached at 615-353-9915 or at ethankind@hushmail.com.

Recording Producer: The Politics and The Money

2009-05-02T23:10:00.002-05:00

This is a follow-up post about choosing a recording producer. We'll also talk about costs.

There is one more factor in your choice of producer - the POLITICAL factor. Questions you may wish to explore: Can this person get your project heard by the industry? Who does this person know and are they willing to submit (pitch) your project to record labels? What is their track record of getting artists signed?

You may be surprised, but I suggest it's smarter to go with someone who will not promise to submit your project. The truth is, a producer that submits every project they do to the label powers-that-be will have a very poor reputation. This is because not every project is going to fit the business models of the people the producer knows. The wise producer knows to wait until the final mix is done before deciding when, where --or if -- to pitch it to their contacts.

There are, of course, producers who do pitch everything they produce. These are major producers with track records of commercial success which they want to keep building. They will only take certain projects on - because they know that they are gambling their reputations with the labels on every project they pitch. If they agree to work with you, their fees and negotiated points will be much more expensive. Actually, they usually only take on projects already signed with significant record labels.

Bottom line:

Your project could end up being something YOU have to promote and sell -- or pitch to powers-that-be. You need to know and be willing to do that before you commit your time, heart, energy and money to a recording project. A producer may legitimately fully intend to pitch you to his or her contacts. But if someone promises that if you choose them to produce your project they will make you a big star, run the other way. And don't look back!

A creative, independent producer of the highest integrity with whom I work as vocal producer is Tom Paden. I asked him for his opinion as to what a new artist can typically expect to pay an honest producer who can get a great, possibly radio-ready project done on a limited budget. His thoughts confirmed my experience:

A common range of producer fee is from $200 to $500 per side (song), according to time in the studio and type of project required (demo or master, backing vocals or not, is there a vocal producer on the team, how long to budget for lead vocals, tuning, mixing, etc). This usually brings the cost range of a "limited press" project to around $1000 - $1500 per side (song).

An average fee for major producers (if you can get one) is $5,000 per side plus 2 to 6 "percentage points" of sales. Total costs per side can be from $10,000 per side upwards.

The producer's fees of course are added to the budget along with the costs of musicians, studio, engineer, pre-production vocal lessons, etc. If you are doing a project for sale, remember to budget for photo shoots, graphics & duplication, etc.

Hope this gives you some framework when you are speaking to prospective producers. Any more thoughts or questions? Comment! Thx!

PS... You have another opportunity to hear performance coach Diane Kimbrough and music business pro Vinny Ribas speak at Indie Connect this week:

"Making Your Act As Commanding Visually As It Is Musically Is What Sells" with Diane Kimbrough

Monday, May 4th

11:30 AM - 1:30 PM

Corky's Ribs & BBQ

100 Franklin Road

Brentwood, TN

"Making Money Making Music" with Vinny Ribas

Monday, May 4^th

6:00 PM - 7:45 PM

The Closing Bell Wall Street Pub

1524 Demonbreun St.

Nashville, TN

Mike Coleman speaks at Indie Connect, Mt. Juliet... this Tuesday

2009-04-19T08:50:00.004-05:00

Heads up, heads up... for any of you dear readers who are near Mt. Juliet, Tennessee, this coming Tuesday morning there is a new "Indie Connect"music business networking luncheon beginning there next week. AND... the speaker will be my business mentor, Mike Coleman. I can't tell you how much he has enhanced my business and my day-to-day life since I began working with him. I highly recommend that you attend this meeting, hear Mike give you some very valuable information and network with others who will be there. Here is the information Mike sent me:

Cost - $5
Date – Tuesday, April 21st
Time – 11:30am
Location - Logan’s Roadhouse / 401 S. Mt. Juliet Road, Ste. 130 / Mt. Juliet, TN
Directions from Nashville - Take I-40 East to Exit 226A. Merge right to red light. Turn left and Logan’s is on the right.

Description: Playing The Right Cards To Create A Successful Music Career
In this presentation, you will learn five key elements that will have a dramatic impact on your success in the music business. You will also learn skills that will help you better manage your time and resources to achieve a balance between creative side and running your day-to-day business. You will be able to put everything I show you in this presentation to work immediately to take your music career to the next level.

Songwriters, performers, artists, managers, producers, studio owners, and others involved in the music industry are sure to learn something they can start using today to take their career up a notch. If you are serious about your music, you do not want to miss this opportunity.

Mike Coleman
Charting My Course
Lebanon, Tennessee
615-308-8078
www.mikecoleman.net

Working with professionals and small business owners who want to be more successful in their business

Creator of:
Playing The Right Cards: How To Successfully Market Your Small Business or Professional Services Marketing System.

Follow Mike on http://www.twitter.com/mikecoleman99

Today Is World Voice Day!

2009-04-14T15:47:00.004-05:00

This is a day when the international community of vocalists is celebrating... the voice! According to the official World Voice Day website:

Every year on April 16, otolaryngologist-head and neck surgeons and other voice health professionals worldwide join together to recognize World Voice Day. World Voice Day encourages men and women, young and old, to assess their vocal health and take action to improve or maintain good voice habits. The American Academy of Otolaryngology-Head and Neck Surgery has sponsored the U.S. observance of World Voice Day since its inception in 2002.

To honor this day, I'd like to ask you, dear readers, some questions:

How is your voice feeling? sounding?

What vocal techniques have you learned (and from where) that have helped you stay out of the otolaryngologist's office?

What are your burning questions about how your voice works and what affects it?

What are the ideas you want the sound of your voice to communicate?

Why do you sing?

How do you maintain the physical health of your voice?

Your answers to any and all of these questions will be shared with the community of blog readers here. We all thank you!

Click the comment link at the website to share your thoughts.

Performance Coach Diane Kimbrough to Speak at Indie Connect Monday!

2009-04-10T18:17:00.001-05:00

I know I've done more blogposts this week than ever, (don't get used to it :) but I couldn't let the day go by without giving you this Special Alert:

If you are in or near Nashville and are or will be performing live in your career, you would be nuts to miss next Monday night at Indie Connect. My friend, pro performance coach Diane Kimbrough will speak on live performing- for $5 fee you will get some very expensive information: Here's the Indie Connect Blurb on Diane:

On stage or on camera - making your act as commanding visually as it is musically is what sells.

Think about this. Why is it that people won't spend a dime on an album, download it for free so they can listen to it a thousand times, but be willing to spend $100 to see someone once and then it's over? It's because that live performance is an irreplaceable experience. In a world where instant gratification is at every corner, people are clamoring for something that stirs their feelings. Now, more than ever before, it's all about the live performance.

Live Performance Coach, Diane Kimbrough, currently working with Columbia Records new duo, Caitlin & Will, discusses the artist/audience relationship, how to make it work for you and why it's paramount to success.

When: Monday, April 13th (Next Monday night) 6:00pm

Where: The Closing Bell, 1524 Demonbreun St. Nashville, Tn

******************************************************************************
Also...If you missed Vinny Ribas' speech last month, he'll be giving two next week:
"Making Money Making Music" - How to insure your music career is profitable"-

If you want to have any measure of success in the music business, you need to know both the music and the business side of things. One of the primary reasons that artists fail is because they don't do the math regarding their performing and their recording income and expenses.

Vinny Ribas has been a sought-after business consultant and is the author of "CEO Secrets - What They Know About Business That Every Entrepreneur Should". He has written business plans and financial projections for artists, independent record labels as well as traditional businesses. He will describe in plain English how to plan and analyze the financial side of your career to insure that you really are making money. He'll give this speech at...

MONDAY April 13th.
11:30 AM at Corky's Ribs and BBQ, 100 Franklin Rd. in Brentwood

And "Booking Yourself"- at the new Mt' Juliet Indie Connect location. Here's the info:

In order to get gigs, your act, regardless of its size or nature, must 1) find the appropriate venues, and; 2) be sold to the entertainment buyers. Until you are in demand and commanding enough money to make it worthwhile for a booking agent to represent you, you most likely are going to need to book yourself. This doesn't need to be an intimidating process if you know where to go, what to do, what to say, how to present yourself and have confidence in your ability to deliver. You will learn all of these things in Vinny Ribas' presentation on "Booking Yourself". Besides being the founder of Indie Connect. Vinny has 20 years experience as an artist, artist manager and booking agent!

He will be giving this speech at...

TUESDAY April 14th.
11:30 AM at Logan's Roadhouse in the Providence Mall, 401 S. Mt. Juliet Rd. in Mt. Juliet, Tn.

PS... I'll be doing that second post on production next week.
Oh, and may God bless you and yours with a very Happy Passover and Easter, dear readers... love, JR

Recording Producer: How Do You Pick One?

2009-04-09T08:00:00.001-05:00

Getting the right person at the helm of your recording project is essential to getting the biggest bang for your bucks and your artistic efforts. In this first post of a two-part series, I'd like to offer some factors to help you decide how to pick the recording producer for your next project.

Like a CEO of a company is responsible to the shareholders, the producer is ultimately responsible to YOU. You must pick someone you feel can pick your brain and make an accurate assessment of the project YOU want to record- and get it done within the budget upon which you agree after consultation meetings.

The first thing your producer must do is to help you find and/or possibly write songs (if the producer is a great songwriter), then help you choose the final group for your project. If you are recording your own songs, your producer's informed and objective opinion should help you to choose the best ones for this particular project. There are legalities and credits that must be addressed: If you're new at the music business, your producer should make sure you obtain publishing information, performance rights licenses, etc. from the songwriters and publishers of the songs you choose. If you're the writer or co-writer, care should be taken that you are signed up with a performance rights organizations like BMI, ASCAP or SESAC.

The next step would be pre-production. This involves experimenting with sounds, keys, style and vocal lessons to optimize your singing ability. Sometimes the producer will choose and call a "band leader" into pre-production meetings so that this lead musician can add to the brainstorming discussions. The producer or bandleader will then do music charts for the tracking sessions.

Your producer should be able to design your project to fit within the genre you want to be in. Or like Kurt-Cobain-before-grunge-was-a-genre, if you are confident enough already with your artistic style, your producer should be able to help you make YOU-MUSIC, possibly inventing a whole new musical genre! And "niche music" success has never been more possible than right now, with the marketing and promotion options open to us through the internet and the consolidated corporate music bottlenecks like major labels and radio conglomerates breaking down.

You should choose a producer who you are confident can pick the right team for your project. This would include choosing the best musicians and background singers for the type of tracks you need. Your tracks can be paired down acoustic tracks with only a basic band or a full-blown production with strings and other genre-specific extra instruments. Or it can be electronic or hip-hop music which demands a lot of synthesized sounds you get from gear, which your producer should understand.

The producer should also be able to suggest the right studio, recording engineer and mixing/mastering engineer(s) for your budget and for the quality of "sonic envelope" you want the final mix to have.

And very important: your producer should either be a qualified vocal producer, or have one on the team. Don't spend all your money on tracks and leave the quality of the vocal to chance!

Next post, I will discuss the politics and ethics that you should know concerning your choice of recording producer. If you'd like to know about my production and vocal production services, check out this webpage and contact me through my website.

Vocal lessons In Reverse: Focus On The Buzz

2009-04-08T19:09:00.004-05:00

At a certain point in vocal training, my students reach new plateaus in vocal improvement by starting at their voice's end result first. I have them consciously focus on creating buzz!

Buzz is not just a music promotion term, you see. It's a synonym for vibration, and for the voice it is all important where that vibration sets in. When vocal sound is created most effectively, the singer will feel a buzzing sensation in the chest, mask, I've heard some people say they even notice it in the tailbone!If we purpose to make a buzzy sensation in these places, we can (if we've developed the appropriate muscle memory before-hand), find our automatic nervous system directing our anatomy to line up and do just that... buzz our bones & sinuses!

We must be careful not to confuse a buzzing mask or chest with throat voice. We must NOT be conscious of buzzing our larynx, unless we put our hand on the middle of our neck and feel it. We must also not confuse the mask buzzing with nasality caused by a closed or tight nose. The masky buzz desirable for great vocal tone has to have an open nose to vibrate.

The buzz, if properly created by supported and controlled breath pressure, will travel as the pitch changes. You sometimes feel it in the skull, eye sockets, cheekbones, soft palate, jawbone, sternum. Just keep the buzz from becoming muted. Unless you don't want anyone to hear you :)

Buzz yourself, and you buzz your audience. They will love the feeling, too!

A Great Vocal: How Long Does It Take? How Bad Do You Want It?

2009-04-03T16:55:00.008-06:00

I've been in the studio a lot lately and have become freshly aware that new people are frequently freaked at how much effort it takes to capture a truly great vocal performance.It's harder for men to understand this, but it's kind of like having a baby. The "labor" can be truly intense, but when that "baby is born", you are so proud of your labors you hardly remember the toil! (Well, OK, you might remember but you'd do it all over again!)

First, ask yourself: how bad do you want to land that great vocal?

My son's cat, "Hayes" demonstrates the intense determination you need to muster if you want to land the big fish- a performance you can play back for days with a big grin on your face!
Don't settle for less than the prized goal, given time and money constraints (or a hooded glass aquarium).

OK, then, Prepare for your recording date:

Train your voice to optimal condition at vocal lessons and vocal exercises.
Practice your songs so you know them like the back of your hand. Experiment with phrasing, melodic variations, keys.
Record worktapes of your efforts and playback.
Memorize your lyrics, reading them will be like a wall between you and your audience and will negatively affect your performance in other subtle ways.
Sing at full performance voice level for at least two or three hours every day for a week before your recording.
Drink plenty of water the day before your session.
Eat a non-mucus forming healthy, protein rich breakfast and/or lunch before you sing.
Keep your mind stress-free, peaceful and calm on the morning before you sing. Don't get into arguments, long phone conversations, don't watch TV, etc.
If you think this is like preparing for an Olympic event, you're right.

Now that you're ready, how long should it take to capture that incredible vocal?

If you are doing a demo or a budget project, I usually recommend figuring on from one to three hours per vocal. 1/2 an hour is possible, but I wouldn't count on it. Don't put that violin, 4th background vocal, oboe or second guitar on it if that means sacrificing lead vocal recording time.

If you are trying for master vocals (vocals good enough for radio airplay) two songs a day is a good goal. Be sure and dress comfortably; if possible, have someone producing your vocals that you trust knows how to get the best out of you, and who empowers you personally. Schedule your recording time when you are usually awake, warmed up and at your vocal best. Noon or 2:00pm is a good start for me, but there are morning folks who sing great at 10:00am. To thine own self be true.

Warning: Yes, there is effort involved but know when you're beating a dead horse. You can coax, wait for and give time for, but you can't force a great vocal. For master quality vocals there should be enough budget that if you are sick, not in best voice or mood on the day of recording, you stop, pay the studio for the time and reschedule your lead vocals for another day. That's right, just eat the recording money for the day and chill out. It just kills you to do this but, as I know from experience, you'll come back and be able to get a better vocal in much less time than you ever would by trying to MAKE it happen on a bad day.

Hayes does not give up. He may go eat a snack, sleep or torment the dog. But to this day, he has not given up on landing the big one. Neither should you!

Snowball - Another One Bites The Dust

2009-03-20T16:53:00.001-06:00

There is NO way to be in a bad mood watching this aviary groove-meister!!! Thanks... GO SNOWBALL!!

Booking Yourself Highlights from Vinny Ribas Speech

2009-03-18T10:15:00.000-06:00

I was thrilled to hear veteran booking agent and musician Vinny Ribas speak about booking yourself for live performance gigs. It was filled with practical knowledge, applicable in today's music market. Vinny is founder of "Indie Connect" and truly cares about career success of independent artists and musicians. The good news is, success is more possible now than possibly EVER, with the right tools and information.

Here are some highlights from his information-packed talk (all credit for the following goes to Vinny Ribas, ):

Know and understand that don't get booked because you are good. You get booked because of the value you can bring to the owner of the venue. This should guide your "selling points. Know your strengths and weaknesses here.

Like other business people, you should have your 'elevator speech' down... "This is who I am" and "This is what I can do for you".

Determine what price you need to charge to be able to make a profit! Don't lose money unless the exposure at that particular venue is very important.

Always confirm your engagement 2 weeks before the gig.

Vinny explained that different types of venues obviously require different abilities. Bars would need acts who know how to sell food and drinks... how to get people thirsty & hungry, stay a long time, tip the waiters well. Churches need to be able to minister to congregations. Some venues completely depend on the act drawing the crowd (do you have an email list with people from the area of the venue you're wanting to play? Tell the owner you have this list and can expect 10% or more of them to show up... etc). Headliners for whom you wish to open need you to get the crowd excited. Weddings need you to know the routine...play the music they prefer, get people dancing, generally make the day go smoothly with a minimum of confusion.

BE PREPARED... a buyer could ask you for such things as:

Website (Vinny says preferably not just your MySpace site)
EPK (Electronic press kit)
List of past performances
Photos- live performance shots are even better than studio shots
CD- live recordings best
Live video, online or DVD
Bio- several, geared to different kinds of gigs
Serious press reviews (not just press releases you wrote)
References from other venues (A HUGE selling point)
Song list (some venues want to know the cover songs you know, and that you are not going to play something offensive, etc).
A "one sheet" synopsis [Bio, recent performances, calender, bio, picture, contact info to go along with CD]

FINDING GIGS:

Vinny suggests you identify the kind of gigs for which you are most appropriate. Don't mix messages of who you are, it can be fatal to your "branding".
Pick one kind of gig to research... ask your fans at gigs and in your email lists to call the venue and request they hire you.
Put surveys on your website and social networks
Check out venue websites, see who they've booked that would have an audience similar to yours. Then check the websites of those artists to see where else they have performed.
Ask your fans to tell you about bands that are similar to yours. Find them online, check their calendars to see where they perform. Those venues might be a great match for you, too. Use website resources like: Eventful.com, OnlineGigs.com, GigFinder.com, Indie bible, Indie Venue bible, SonicBids.com, ReverbNation.com
Use organizations and events than can refer venues or showcase you to entertainment buyers such as Naca.org, Fairsandexpos.com, FolkAlliance.com, SXSW (the largest indie artist conference/showcase in the world, held annually in Austin, Tx.) Especially check out the "Red Gorilla Showcase", and other genre specific associations (Bluegrass, Blues, Country, etc.)
Trade referrals with like-bands and artists! Offer to introduce them to a venue in exchange for them doing the same. Find out the typical price range they get.
Find out whether or not the venue expects YOU to draw the crowd. Don't disappoint them by building false expectations.

CREATE A BUZZ

Develop a local fan base in no more than 4 or 5 regional locations. Start from the center and gradually expand in concentric circles. Try to come back to play again about once a month.

Vinny had a lot more to say, for instance, contact venues where you are getting radio airplay, offer to do radio and TV interviews to promote shows, do your homework before you make your calls, know what to say when you do make the call. Look for a video on his speech to be uploaded soon at IndieConnect.net site. There are many other videos uploaded there now, my speech on the voice should also make its way there soon.

I think from the info in this post, you can tell what a value these Indie Connect meetings are, for $5.00 (more if you order food, of course). The networking is important, the community is quite wonderful. You might want to consider checking it out if you're in or near Nashville.

Anyone else with booking tips to share?

Getting Your Music into Film & TV meeting tomorrow

2009-03-15T15:33:00.002-06:00

Hey everyone... this will be short and sweet because I'm a bit slammed. But I wanted to help Vinny Ribas of Indie Connect spread the word about the speaker at both meetings tomorrow. I plan on attending the evening meeting.

Vinny says:

Getting their music into film and TV has launched the careers of quite a few independent artists. Lisa Aschmann, a prolific songwriter with over 600 cuts to her credit, gets 4-8 placements of her songs into these mediums EVERY MONTH! Come find out her secrets!

Monday, March 16 at:

11:30 AM at Corky's Ribs & BBQ, 100 Franklin Rd. in Brentwood, and;

6:00 PM at Pie In The Sky Pizza, 110 Lyle Ave. in Nashville

Cost: $5.00 plus the cost of your meal.