Free work experience with a record company on how to approach them to request this?  Question (2) Hi Dec I am looking forward to my second mailing of the course I read the first several times on the day it came so as not to miss anything, and it really is helpful and eye opening. Have you got any advice for someone who wants to do free work experience with a record company on how to approach them to request this? Do you ever offer that yourself to young people?  Best Wishes .... Shirley [UK]

Shirley

Interesting question. I know a few guys who have actually pulled it off.

The most important part is knowing what to write and who to write your letter to.

In the 'How To Make A $Million' program I give great ideas on letter writing, simply because a letter works, every time.

It is important to identify the Company/studio you want to work with. For instance it is no good offering your services to a Christian Studio [such as ICC] if you are a devout Muslim. Or an extreme Indie Company where everyone is stoned all day long, if you are a convent educated girl...see what I mean?

So research the Company you want to be with and then construct an exciting letter telling them how much they will benefit from having YOU on board.

In business this is called "what are you going to bring to the table?"

You could offer your services for two weeks for free....and tell them that if they like you, and more to the point, if you like them, then you can negotiate a salary [again I explain all about negotiation in 'How To Make A $Million']

As regards getting hands on experience in a recording studio....this is hard to get. The reason is that most studios are owner driven. In other words 90% of the work is done by one guy in front of a computer and mixing desk. Quite frankly, novices get in the way. This is why it is so important for you to be able to 'offer' something that they will benefit by...even if it is the fact you make the greatest Cappacino in the world....or you bring in home baked cookies each day...or you have an exceptional back vocals voice with sensational ideas.

It is all about being able to write that sensational exciting letter to get a 'meet' and then stunning them with your talking abilities whilst offering them an offer they can't refuse.

Simple?

PS: I never offer work experience, for all the reasons above....a novice would simply annoy me to death and get under my feet.

PPS: Shirley, just remember that there are 50,000 semi illiterate twits trying to get work experience in studios. You have to prove your value right from the first word you write in your letter.


Regards

DEC [Cluskey]
mailto:dec@makehits.co.uk

'Mad About Music' the seminar on CD and CDrom is now ready....Dec at his best! Check out http://www.makehits.com/madaboutmusic.htm or call 01323.728005 [+44.1323.728005]

 

I noticed all his faders are all flying around the mixing console. Question (3) Dear Dec, Good day and how are you doing. I am writing you this e-mail to ask you a question - Can you please tell me want to do in this situation. I just got employed to be an assistant sound engineer [live] and while setting up, the chief engineer always sets the power amplifier to just about half it's amplitude. I really want to turn the power amp to up to it's 'full tilt' but I am scared of being 'fired'. also to tell him that something is wrong somewhere.  Also, I noticed all his faders are all flying around the mixing console...I really don't know what to do. Or in live situations, 'do the speakers 'get fried'. Do you think it's a good idea I turn on the power amp to full tilt also bringing down the faders to 'Unity Mix' i.e Odb. Regards, 'kk' [Nigeria]

KK

You are in very difficult situation.

What you are saying is absolutely theoretically correct....amps at full and all faders at 0DB [during a show the faders can be moved slightly to give gain for solos etc.]

Basically that is how a desk and amps are designed to work at their most efficient and quietest.

You will find that your boss has had no proper theoretical training. That is why he operates his way.

In a joke ask him this: "if you got injured going to the concert tomorrow night and the mixing desk got shaken in the truck accident, so all the faders were knocked back to their lowest point, how would I know where to set them for the show. We arrived late due to the accident and no sound check?

In real terms the rotary inputs would still be at the same level. If the desk was balanced right then you simply put the fares to 0db and you have an excellent 'start point'.

Normally at the end of each show the mix engineer should pull all faders back to their lowest point, anyway.

As regards the amps at full....simply say that in every book you read, the advice is to operate the amps at full so that the speakers work at maximum efficiency [they will not sound louder]. If the amps are at full they can never 'fry' the speakers. That is a fallacy, a myth.

Also say that the only way you can damage speakers is by the amps descending to D.C. [direct current] ...this is a technical fault within a damaged amp. Or musicians etc. plugging and unplugging without giving notice to the engineer thus the speakers will get a huge 'thump'. The only other problem is when amps are driven too hard and 'clip'. Therefore they turn off suddenly [to protect themselves] causing the speakers to stop operating....when they turn back on within seconds the speakers are back to working hard...thus the cones get ripped. Clipping is caused by using amps too small in wattage for the job...thus they are over working. Always use amps 5 times more powerful than needed...this is what hire companies do.

Simply be calm, quiet and undemanding....your 'niceness' will always convince him...no one in authority wants a newcomer to be smarter than him.

He will eventually be pleased with the quieter, more efficient, and more reliable, industry standard way of working. Every photo of a mixing desk at a major professionally run concert will show the faders at 0db....ALWAYS.

Eventually, you will hear him lecturing other engineers on the correct theory, claiming he learned it all himself!

Regards

DEC [Cluskey]
mailto:dec@makehits.co.uk

The Boss, Dec, and managing director Vicci Esselle chat with AC/DC superstar Brian Johnson at The Water Rats...a great man for charity.

The Serious Writers Guild is run by real, successful, active music people....not faceless businessmen.

 

WHAT DO I GET OUT OF THIS? Question (4) Hello Dec Just arrived back from Rome today. Wow! What a place. I´m sure you´ve been there (played there). What an eye opener. Anyway, onto more important things. You may have heard what´s been happening with ****** in the last week or so. I´ve been bringing him along, working with him, trying out various ideas, keeping his chin up when he gets deflated. etc. You understand. Then I manage to get him into a group waiting for a young singer, songs ready to record for a reputable label where I sometimes work myself.  Now they definitely want him for their project and he records there next week. Release date already being set for the Summer. My question is this..... WHAT DO I GET OUT OF THIS??????? I thought to have ****** sign some sort of management contract stating that whatever he makes through my intervention, **% goes to me. Does that make sense? Also, I´ve heard from another little bird that there are such things as finder's fees. A myth? Never heard of it myself.  The point being that I did all the hard work, spending months on him, recording at my place, going to these people, playing the songs, showing the pictures and basically selling the package. Then he gets accepted. Sounds a bit like an agent to me. There is also a young female artist who I did exactly the same thing for last week with a label in Cologne who are affiliated with Universal. They want to work with her, and same story - I did the set up. That's two in as many weeks! Now both artists know that they´ll have to commit to some sort of deal with me for my efforts but I haven´t nailed it down yet. That´s why I´m writing to you. Anyway, best wishes to you and hope you´re all well there kind regards ****  [**********]

****

FOR YOUR EYES ONLY and without prejudice. The content of this Email should not be construed as legal or financial advice within the meaning of any law of any country today or in the future.

How many times have I heard this scenario? And I have done it myself. Only once though! I learned the lesson hard.

Artists say: "It would be a great business without the agents/managers" Agents/Managers say: "It would be a great business without the artists"

Sadly you have made the age old mistake. Have everything signed and agreed before you switch on the studio lights.

This is so true. About song writing, production, music making...everything. And most particularly when you get involved with an artist deal. THEY NEVER WANT TO PAY!

Always write down the deal [whether it be co writing, co production, management...whatever] in front of them and preferably with a tape machine running....trust me! A brown Manilla envelope before you even start a project...write all the detail on and store all the material in the A4 envelope, lyrics, music, track sheets, mix details, writing percentages, artist management percentages...every single detail. And also quietly record it. I have loads of cassettes etc. with such negotiations on.

Now that you are in this situation [self created!] there is little chance of coming out alive. A fact of the Universe.

You can only act strong, be brave, and DEMAND **%. But that **% has to be worked out to the finest detail. What **%?

Recording royalties? Mechanicals? Production points? Music writing royalties? Publishing? Live gigs? Merchandising? Franchising? TV, Radio, Film involvements [musical and appearing] Public Appearances [shop openings, signings+ more].

I have found in the past that anyone who lands in this situation is always shafted! The artist never, ever wants to understand that the opening was supplied by A.N. Other [yourself] and that their $Million career would not have happened without you. the most famous case, and the one that created the watershed, was The Spice Girls ....they totally shafted the father and son who put the whole thing together. Before then, we all did it on a hand shake...now we don't even talk without a contract. They changed the goalposts completely [Geri Halliwell]

The way forward now is to very forcefully, but nicely, DEMAND that they sign a management/mentoring contract with you [have a tape machine handy, not in view]. Never be the one to suggest the amount...whatever they say, double it!

A signing fee is usually negotiated with the company signing the artist. Because this was not negotiated first, there is little chance that you will get anything.

In the future you can make a bit with original demos and recordings, provided they did [the artist] did not pay for them In other words, whoever pays always owns the copyright. What is an original demo of U2 worth today? Brian May paid a pal of mine [L***** D*******] £30,000 for a track he played on, just to stop it being released.

The main point, ****, is to talk, talk, talk....do not get lawyers involved [no one wins except the lawyers]. Keep being friendly but direct and keep talking. AND NEVER DO IT AGAIN!

Why do you think I will NEVER get involved with managing artists? I've been burnt too many times. You have to be a tough b*stard for that game. That means tough with the artists.

Regards

DEC [Cluskey]
dec@makehits.co.uk

 

What is your recommendation? To imitate the original Or not. Question (5) Hi Dec We need your help This is Yosi from Israel member of the serious writers guild My question: For our show We have 10 new songs (from the upcoming album) and 4 covers. My brother is the singer and he can perfom the cover songs exactly as the original. For example he sings “I started a Joke” (bee gees) and he can sing as Robin and also he can sing it without imitate Robin. What is your recommendation? To imitate the original Or not. Best Regards Yosi  [Israel]

Hi Yosi

<<<<<<<<<<,My brother is the singer and he can perfom the cover songs exactly as the original. For example he sings “I started a Joke” (bee>>>>>>>>>>

Absolutely wrong.

By this time you should have a very distinctive easily recognisable 'sound' for the band. When you make a 'cover' it must sound in YOUR style, not the style of the original.

It is best to stay away from male songs. Always make covers of female songs, so they cannot be compared with the original male version. Simply change the words to male words .

Also make sure that there is massive vocal arrangement [much more than the original] and lots of noise samples and filter sweeping. Those effects will definitely ensure that your 'cover' is not compared with the original.

If the original was guitar based then make the cover synth based...if the original was synth based then make your version guitar based. Also make sure to not study the original. Simply get the sheet music of the original [from the publishers or in a muisic shop...keep away from the Internet]. This will ensure that you do not use the original recognisable feel.

Regards

DEC [Cluskey]
dec@makehits.co.uk

Would you like to know your toon is a hit before you send it to anyone? Try www.makehits.co.uk/demo.htm the professional demo consultation service.

 

We also want your help in helping us give your professional input on what songs she should record. Question (6) Hi Dec, I would like to know how much signing up for the serious writers guild will cost me ie: If there is an initial payment and subsequent monthly fees and how much? I appreciate who you are at this point. You've made your points and they are impressive not with standing the testimonials. I am confident Paulina has what it takes to get signed, good people around her but she lacks the one on one manager that knows what she needs to do for herself. We have received LOTS of encouragement form both industry and lay folk, now it's time to spill the beans to you in a little more detail initially. (You received an email overview of Paulina's goals a while back and when she is signed up with the Serious Writers Guild I would like to have her talk with you and move forward in your helping her with her goals).  She is working with a fine producer and vocal coach preparing for recording original material in New York with her producer who is co- writing the music with her lyrics. Her vocal coach is very highly respected in the industry and is also helping us pick the songs to record a 7 song demo to shop to labels (Paulina, her vocal coach and Producers contacts so far) however we also want your help in helping us give your professional input on what songs she should record and then label submissions you might be able to help us with if you like the completes package. Our approach is "team" work with all those that believe in her and have the know how to try to make her a "star: talent/ world class.  Now back to the costs. Within the next 4 weeks I will sign her up. Please send me costs itemized in an email from you not your email order page. When ready I'll then go to your order page to submit my payment then. I really appreciate your responding to this email.  Have a great day! James C Franz [Chicago] www.chicagogigs.com/paulinafranz

Hi James

<<<<<<<<I would like to know how much signing up for the serious writers guild will cost me >>>>>>>>

The cost is clearly shown at https://secure.mistral.co.uk/makehits/howtoappsecure.htm

By purchasing the first program 'How To Make A $Million From Your Music' you are automatically enrolled in The Serious Writers Guild for life...giving all the benefits of membership Access to Demo Consultation Service, the FREE collaboration service and full access to myeself by private phone faxe and Email.

<<<<<<<<<I am confident Paulina has what it takes to get signed, good people around her but she lacks the one on one manager >>>>>>>>

It is a fact of our business that for Paulina to succeed she needs to do it HERSELF! No one can do it for her. A manager will only be worthwhile when Paulina has something to manage. Like an agent is only good when she has something to sell. She simply has to learn this business. That is exactly what all the major stars did. Hard slog.

<<<<<<<<<<She is working with a fine producer and vocal coach >>>>>>>>

I would rather you say a Hit producer. 'Fine' does not mean a lot in our business. It is a pedigree of Hits that is important. I am confident that she had the sense to train with a Gospell orientated, commercial, R&B/Soul vocal coach. The others simply produce voices for Broadway and musical shows.


<<<<<<<<<<with her producer who is co- writing the music with her lyrics>>>>>>>>

I am sure you will have the knowledge to have her own Publishing Company in place to publish and collect royalties?

<<<<<<<<<<helping us pick the songs to record a 7 song demo to shop to labels>>>>>>>>>>

We only talk in terms of ONE Hit record to present to labels. Any more is simply contributing to the studio owners new Mercedes fund. It also conveys that you do not know what a Hit record is. Also we do not refer to 'demos' any more. We produce either a finished, ready to go product with the option of taking the lead voice off and replacing with the label's flavour of the month act or a 'stripped down demo' which is simply the vocal arrangement [note that phrase!] and a single backing instrument...keyboard or astonishing solo acoustic guitar. [check out Sugababes: 'Breathe Easy from their album 'Angels With Dirty Faces' for a superb example of this.

<<<<<<<<<professional input on what songs she should record >>>>>>>>

Simple! Potential Top Three song.

<<<<<<<<<<label submissions you might be able to help us with if you like the completes package>>>>>>>>

We do not 'submit' to labels, we get them excited about the complete package, performing, looks, house full signs, standing ovations, database/fanbase. As regards the 'complete package'...today, success is achieved by understanding that this game is 80% visual and 20% music...in fact the music is the pig-easy bit.

<<<<<<<<<<<Please send me costs itemized in an email from you not your email order page>>>>>>>

Do you ask the drug store to repeat the cost when it is pinned up on the wall? [Grin!]

There are various options which you should look at and choose the best for yourself and Paulina https://secure.mistral.co.uk/makehits/swgappsecure.htm

It also keeps our office costs down so that our prices can be suited to music guys..

Regards 

DEC [Cluskey] 
dec@makehits.co.uk 

 

Do you know someone who would manage and advise Matt?  Question (7) Dear Dec, Please I need your help, I really do! this is about Matt, my son who is on the cruise ships. He is now being approached nearly every contract concerning his wonderful performance. He is being asked who is his manager. A well known director from Britain, I am waiting his name from Matt, told Matt this week that he could see him as the new Bruce Forsythe. I think I should be doing something this end to help my son. Do you know someone who would manage and advise Matt? Looks very much like he is ready to take the next step from the ship. This is a big step and it has to be made in the right way, I have butterflies in my tummy just writing this, so that is a good sign! Hope you and your family are well, I will wait to hear from you after Easter. Kind regards Phyllis Oostermeijer.

  

Phyllis

I can certainly introduce you to excellent management.

However......

And there is always a 'however'.

A cruise ship audience is what we call a 'pie' audience, particularly when the entertainer is the cruise director. That is not damping your spirits, it is telling you what will be said to you by proposed management.

At the moment, there is absolutely nothing to be gained by Matt having a manager. As I always say: "what is there to manage?". A manager cannot wave a magic wand and suddenly get an audition to shoot a guy to stardom...that is a fantasy in the mind of novices...and your son is not a novice, by any means.

Your son would have to prove his worth in a normal stage situation...say a major benefit [charity bash]. Even then, this would be hard to achieve because no one will know who he is, or what he is. He simply would have to prove his talent in all the normal ways. That is the way it works.

I would suggest the best way forward would be for Matt to strive to get land based gigs, so then, those that matter can be invited to see him....and that is 'hard'. But infinitely easier than getting a management company to go on a ship for a cruise?

There is a hidden danger, always in having success in a 'local' situation, and a ship is a 'local' situation. It is the same with artists coming from Ireland [as I did] and South Africa, Australia, New Zealand, Sweden. It is reasonably easy to be a major star in those countries...I know, because I was, at age 17, in Ireland. That is what is called "a big fish in a small sea"....but when you actually get into the 'big sea' i.e. the UK mainstream Show Biz, it is tough! We had to literally swallow our pride, forget about our past success and start all over again in the dumps and dives in England.

Would Matt leave the security and comfort of his present, cosy, well paid environment to do that?

I wonder? I did!

There is a lot to think about. But success is there to be had.

I know a dozen entertainers who practically 'live' on the ships. Every audience tell them the same as Matt has been told. Sadly they have a comfy life, no responsibilities and they never get anywhere. Suddenly they are 55 and worried.


Regards 

DEC [Cluskey] 
dec@makehits.co.uk

   

When you get involved with DEC you get ten months of two knowledge packed books a month, stunning advice, today's methods for writing music, making music and promoting it. 24/7 access to the man himself. And you get a 'LIFETIME' guarantee. If you ever pay DEC for anything, if you are not happy at anytime in your life with the product then return it for a complete, no-quibble, courteous refund! DEC means it! That's not only a guarantee it's a personal promise "There Is No Catch" "There Is No Risk" Become a Member of the 'The Serious Writers Guild' PROGRAM CLICK HERE       FREE INFO PACK? QUICK CREDIT CARD HOTLINE? or just prove we are real? +44 (0)1323.728005 [UK office hours]