Do Less, Get More Done: The Ultimate Time Management Tip For Musicians

[Editors Note: This article was written by Chelsea Ira of New Artist Model.]

 

Pretty much every indie musician I’ve talked to has two big problems that really overshadow just about everything else. Number one, there’s just WAY too much to do. These days, you need to essentially set up a business around your music – which is a full-time job in and of itself – AND you need to find time for practicing, playing, writing, rehearsing, recording, and gigging on top of that. It’s a lot to manage.

And the second big problem is that despite putting a lot of time and effort into their career, many musicians STILL feel stagnant – almost like they’re not making any progress.

So today, let’s solve both problems at the same time, so you can start getting more accomplished and start building up some serious momentum. If you want more guidance and time management tips, I have a time management and productivity guide that you can download for free. Click here to get your free copy.

The Problem with Trying to Do Everything

What if I told you that you were wasting a lot of time and effort doing things that may not have as big an effect on the growth of your career as you thought?

Let me explain. The DIY revolution has created this mindset that indie musicians need to do everything and that they need to do it all themselves.

The there are so many musicians out there competing for attention that you feel like we have to be on every single social media platform out there if you even want to be noticed at all.

Not to mention, the diminishing and fragmenting revenue streams. Today, there are more revenue streams out there than ever before. BUT, the small payouts from things like streaming services can make it feel like you need to have your hand in just about every revenue bucket just to make a decent living.

Now here’s the big flaw – if you’re trying to split your limited time between everything, you probably don’t have the time to dedicate to each to do them really well. And as a result, you’re taking a lot of small steps in different directions.

There are only so many hours in the day and time management is about using them wisely – focusing on the essentials, the big movers that will really make a difference in your career.

Let’s take a look at an example.

It’s totally normal to be on Facebook, Twitter, YouTube, Snapchat, Instagram, and Soundcloud to promote your music and connect with your fans. But can you realistically fully understand each platform? Will you know the best ways to engage? The best times to post? All the while pushing out unique content and actively engaging with fans on all platforms? Probably not. All social media platforms require a unique approach if you want to be truly successful.

It’s the same for revenue streams. If you really want to be successful licensing your music, you can’t treat it like a passive income stream. You need to be actively improving your songs, co-writing, networking in the licensing industry, sending personalized emails, and doing research to find the productions your music would fit best.

I hope you’re starting to see just how important focus is. If you try to do everything you just can’t give everything enough attention to make your efforts really successful. In short, you’ll be doing a lot of things half way, never actually putting in enough time to reach your goals.

The Focused Approach

So how do you get passed this perpetual overwhelmed feeling and also start seeing real, meaningful progress in your music career?

It may seem counter intuitive, but the key is to do less – do less but better. If you really want to be successful, it’s not about doing a million different things and hoping it will work out. It’s about knowing where you want to go and taking calculated steps to get there. And saying no to everything else.

Understand Your Goals

So how do you simplify? The first step is to really understand your goals in music. What is the one thing you really want to accomplish with your music? What do you want to spend your days doing?

If you really want to spend most of the year gigging and touring regionally and nationally, why waste your time pursuing sync licenses?

Instead, focus! Make connections in the live industry, develop your setlist, improve the way you set up your merch table, and promote your shows. Maybe you could start doing streamed concerts or house concerts and think up some really cool merch. As you can see, all these tasks really compliment and work with the gigging goal.

As a rule of thumb, every time you’re presented with a new opportunity, ask yourself, “Is this related to my goals in music? Will this help me get closer to my goals?” If the answer is no, it may not be worth your valuable time.

Cut Back

The next thing I’d recommend is doing a time analysis. For the next two or three weeks, write down everything you do each day and how much time you spend on each task. This might seem a little tedious but it can really help you get a bird’s-eye view of just how much time things take.

And finally, it’s time to start cutting things out! What tasks aren’t taking you closer to your goals? What tasks aren’t getting the results you want?

You may find that you’re pouring a ton of time into trying to grow your following on Twitter. And maybe, despite your efforts, Twitter just isn’t catching on for you in terms of engagement compared to your other channels. Maybe you’re just using it because a lot of other musicians do. In this case, it may be best to put Twitter on the back burner and focus on making your other social channels even more awesome. Reallocate your time to a more productive task.

As another example, you might see that posting videos to YouTube doesn’t really align with the goals you set for your career. Despite what you may hear, doing YouTube successfully is a huge undertaking that goes way beyond just posting videos every now and then.

On the flip side, it can be a great career path for musicians who want to release cover videos, music videos, gear reviews, and tour and studio vlogs, and channel monetization and partnerships can become a viable revenue stream if you get enough views and subscribers. YouTube can also tie in well with a Patreon, and many successful YouTube artists have incorporated Patreon into their income strategy to great effect.

 


Time management and staying focused on your goals is going to be an ongoing effort. As your career grows you’ll find you need to reassess how you’re spending your time to make the most of your present opportunities. To help you stay on track, you can also download my free time management guide: The Musician’s Guide to Getting More Done, and revisit it as often as you need to.

If you want more tips, I’d also recommend checking out the book Essentialism.

Why Your Band Doesn’t Need To Move To Brooklyn To Make It Big

[Editors Note: This blog was written by Patrick McGuire. Patrick is a writer, composer, and experienced touring musician based in Philadelphia.]

 

There are countless examples in film, TV and music of young, ambitious people moving to dense urban areas like New York or Hollywood and becoming big pop stars or famous actors. Patti Smith’s incredible story of meeting artist Robert Mapplethorpe and becoming a music icon in 1970’s New York portrayed in her incredible memoir Just Kids features this idea, albeit with more nuance, meaning and creativity than most stories.

If you’re a band stuck somewhere like the midwest, it might seem like moving to a place like Brooklyn, home of seemingly countless amounts of bands who’ve either “made it” or are in the process of “making it,” is the only way to achieve notoriety, but you’re probably wrong.

The Rent

By far, the largest and most obvious challenge of picking up and moving to a place like Brooklyn is the ungodly amount of money you’ll need to generate every month to simply have a place to sleep and store your stuff. Let’s check some numbers. If your band hails from a place like, let’s say Cedar Rapids, Iowa, you’ll pay around $700 a month for a 1-bedroom apartment. Being a serious band in the middle of Iowa has its challenges, but the cost of living is not one of them. For the same apartment in Brooklyn, you’ll be paying about $2,600 a month on average.

In Cedar Rapids, you and your bandmates could all have part time jobs, play music six nights a week and have money to spare for things like putting out albums and touring. Unless you or one of your bandmates has a ton of money, you’ll all need to work long hours at multiple jobs to simply be able to live and breathe in a place like Brooklyn. All that non-music related work doesn’t leave too much time for music. Sure, you can tell everyone on Facebook that you live in Brooklyn, but your band probably won’t have time to do things like write songs and play shows.

The Competition

In music scenes like Brooklyn, Austin and L.A., young bands trying to make a name for themselves are a dime a dozen, even with the insane challenges of being based in a dense urban area. Rather than moving to one of these scenes, your band might be better off putting your energy towards touring as much as possible. The segments of the music industry who might actually have the power to do something meaningful for your band take notice of bands who are consistently on the road perfecting their craft, not bands who move to big cities, burn out and stop playing music.

If you look at your band like a business, what you’re producing is songs, live performances and records. You should make strategic choices as a group that allows you to make music as possible. Maybe your band has outgrown your hometown and needs to do something else to accommodate its growth and ambitions. That’s completely understandable, but putting yourself in an all-or-nothing situation like picking up and moving to a big expensive place is a risky option that has the potential to sink your project.

Staying home and touring more is way less sexy than a dramatic move to Brooklyn, but it’s probably smarter. This way you’ll be able to maintain the momentum and relationships you’ve formed at home while introducing your music to new people across the country. And even if you come from a small city like our example of Cedar Rapids, Iowa, your hometown provides tons of resources and support that you’re always going to need as a band.

Another option is to move to a location based near where you want to be musically active that doesn’t come with a $2,600 monthly price tag for rent. If you love what’s happening in the Brooklyn music scene, maybe moving to a cheaper suburb close by is the better choice. Sure, New Brunswick, New Jersey isn’t as ‘cool’ as Brooklyn, but average rent is about $1k cheaper there and it’s located a quick drive or train ride away. If your band is in it for the long haul, you’ll have to make smart compromises for the sake of your goals.

Decide What “Making It” Means

For some bands, success is purely measured in dollar amounts, play counts and views. For others, the very act of writing music and sharing it with people is more than enough of an incentive to keep going. But no matter what your goals are with music, it’s important to sit down with your bandmates and have a discussion about what it is you’re hoping to get out of making music with each other.

Getting on the same page about your goals might inspire your band to make some drastic changes like quitting your jobs and moving across the country or a boring one like scheduling one more practice every week. But if your goals involve writing tons of music and playing it for fans night after night, picking up and moving to Brooklyn probably isn’t the best way to go about doing it.

How To Book A Gig Yourself…and Be Invited Back

[Editors Note: This blog was written by Rich Nardo. Rich is a freelance writer and editor, and is the Director of Public Relations and Creative at NGAGE.]

No matter what anyone tells you, we have yet to figure out a digital musical experience that can equal the fan connections a band can conjure through their live show. There is something in our DNA that is profoundly impacted by live music. Maybe it’s the shared experience with those in attendance or the nostalgia a concert can create for a certain time in our lives.

Or maybe it’s something more primal; the process of syncing our natural rhythm to live drum and bass as it pulse through our bones. Either way, performing is still undoubtedly the best way to create loyal fans and combat the current “musical-flavor-of-the-week” culture we live in.

Still, developing a live following is no walk in the park. You’re going to need to dedicate hours-upon-hours of time to tightening your set and tirelessly promoting your shows. It’ll get tedious, and success won’t happen overnight, but if you work hard you’ll eventually graduate from dingy bars and VFWs to better rooms. On top of that, I can honestly say nothing can match the indescribable feeling you’ll get from performing in front of a room full of people and, if you’re lucky, the dedicated following you’ll gain from gigging out.

Here are some tips on how to book that first gig, and how to get invited back!

1. Be Professional In Your Pitch

Yes, the promoter knows that you’re self-booking. They still want the comfort of knowing you will take the night seriously. Keep in mind that they’ve probably gotten a few hundred other “booking inquiries” that week. Ask yourself what’s going to make them offer you a slot on one of their nights over those other bands? Some ways to be professional include:

  • A succinct, clear subject line (i.e: Booking Inquiry – The Beatles October Date @ MSG?).
  • Be informative in the body of the email. You should include a description of your music, where you’re from and any performance history. It is also necessary to include a link to where the talent buyer can listen to your music and check out your socials.
  • Don’t have typos!
  • Follow up approximately 3-5 days after reaching out if you don’t hear back. Also don’t hesitate to pick up the phone. Sometimes that’s the best way to cut through the clutter of acts hitting up a promoter.

2. Stay In Touch with The Promoter Ahead Of Your Show

Nothing makes promoters more nervous than booking a band and not hearing from them again until they show up at the venue night of. Give the promoter updates on what you’re doing to get people to come see your band. Also share any promotional assets such as Facebook events or flyers with the promoter as well. This way they can take comfort in the fact you’re promoting and maybe even help get the word out as well.

3. Promote On Socials and Ask Your Friends

Actually promote, don’t just show up! Be active on both yours and the band’s social media accounts. Also don’t discount the value of hanging flyers (particularly in the venue) and calling/texting your friends. Sometimes those IRL invites are more memorable than a Facebook invite.

4. Help Book The Bill

This isn’t as important as a lot of the other points on this list but it’s definitely a plus. Promoters are usually booking a bunch of dates at once. If you can book the rest of the band’s on your bill it takes the work off of the promoter’s plate and gives a better chance of the bill being cohesive.

5. Bring Your A-Game

Put in the work before the show to have a great performance. At the end of the day that’s what’s going to ensure people want to see you again and get your band invited back to play on better bills.

6. Communicate With The Promoter Night Of

Introduce yourself to the promoter when you get there and thank him/her for having you. Thank him/her again at the end of the night and let them know you’ll reach out about subsequent dates.

7. Follow Up After You Performance

Give it a couple of days after the show and then email the promoter. Thank him/her again for having you and then see what upcoming dates he/she has available. If you can get in this routine with a few different promoters, you can put a nice little circuit together for yourself.

8. Don’t Overbook

Space out your dates in any given market! If you play too much in the same area, you’re going to most likely divide your draw. Obviously when you first start playing, do as many low profile gigs as possible to find yourself as a performer, but once you’ve achieved a level of confidence in yourself that you care about draw, try not to play your own market more than once per month.

Promoters will not be happy if they find out you’re playing next door in a week. Neither will your friends and fans be as inclined to come out and support if you’re ALWAYS playing out.


Keep these eight things in mind and you’ll be well on your way to building your live career!

5 Reasons It Pays To Collaborate

[Editors Note: This article was written by Suzanne Paulinksi, an artist consultant with over 10 years in the music industry and owner of The Rock/Star Advocate.]

 

They often say, “Teamwork makes the dream work,” but what does that actually mean? Sure, we all know the benefits of growing our own team to carry out our own vision, but what are the real benefits to working with others who don’t work for us?

In years past, as I tried to get former businesses off the ground, I had been approached many times to collaborate with other business owners. More often than not I said no, afraid someone else would cloud my overall vision or try to usurp whatever I was currently working on and take it for themselves. I also had bad flashbacks of school projects when group work meant me busting my ass and four or five others benefiting off of my all-nighters.

So I pushed ahead on my own.

After two businesses failed to reach their full potential, I realized it was time to get out of my own way and realize the potential of combining forces. It’s one thing to hire internally and have a team help execute your vision – in fact, it’s crucial – but it’s quiet another to work with someone else who is in your same position (the captain of their own ship), but who brings a different perspective or skill set to the table.

Whether you’re a business owner or a songwriter, when it comes to true collaboration, it’s no longer about making your vision work, it’s about doing what works, period.

You don’t have to abandon your vision, but you do have to be open to improving it.

If you can trust that it’s just as important to have people who work with you as it is to have people to work for you then you can profit (in more ways than one) from these five benefits of collaboration:

1. Opens you up to a new or larger fan base: If you’re an artist who is trying to build their fanbase, positioning yourself to be a featured artist on someone else’s track or reaching out to share a stage with an artist who has already established a tour can get you in front of others who may not be familiar with you, but who are already primed to be potential fans of yours. Don’t stay up on other musicians as a way to “keep an eye on the competition,” but stay informed on who’s making moves as a way to keep an eye out for collaboration.

2. Opens you up to more prominent industry attention: Especially if you’re in the songwriting business, collaborating with another writer who already has the ear of industry decision makers can elevate your chances of getting their ear as well. That’s not to say you should only work with people who have reached a certain recognition – working with someone else who is on your same level can be just as beneficial. Not only are two brains almost always better than one, but creating something from two different perspectives can give your project the unique spin needed to make others listen.

3. Gets you a life long partner in this industry who has your back: Creating art is a very vulnerable process. Creating art with someone else can create an almost immediate bond. In an industry that can be very unforgiving, forming a close relationship with someone who can 100% relate to your specific position in the industry can be invaluable as you grow together.

4. Makes you better creatively and professionally: As I said above about not needing to abandon your vision, but being open to improving it, collaboration causes you to reflect on what you bring to the table and push further. A strong collaboration will force you to dig deep and put it all on the table. Much like an accountability buddy when trying to finish a task, when there’s someone to answer to you’ll try harder. On a professional note, knowing how to work with other personalities and talents is never a skill you should let get rusty.

5. Gives you a great story: When you bio is all about you, it becomes a snoozefest. Everyone loves a good love story in the movies, and everyone loves to hear how a song or project came together from a successful collaboration, especially if it’s an unexpected one. It gives you plenty of content to share and drip out as part of your promotional campaign. It makes cross-promotion a no-brainer, once again getting your work in front of a larger audience.

A little bit of skepticism with who you choose to let into your creative world is healthy, but paranoia or being overly controlling has never served anyone in the long run. Remember that in the end, it’s all about presenting your fans with the best version of yourself and sometimes it takes others to bring that out of us.

Here’s to making the dream work!

Tips to Draw the Crowd: How Local Artists Can Beat the Struggle

[Editors Note: This blog was written by Adam Young, CEO and founder of Events Ticket Center.  Adam is passionate about live music and hopes to inspire others to get out, see a show and make new memories.]

 

It’s supposed to be all about the music, right? Well, it turns out building a successful band takes a lot more than a decent melody. You’ve been writing, practicing, networking, booking and selling merchandise, and it’s starting to pay off. You’re building up a fanbase and maybe even getting some good press.

This is the middle of the journey, and it has its own unique challenges. We’ve put together a list of some of the most common (and annoying) problems musicians face, and our advice for how to turn them into opportunities to reach new fans and build a name for yourselves.

Struggle #1: The local music scene seems cliquey.

Depending on the size of your city and your genre, it may feel hard to break into the local musician community. Maybe your band just relocated to a new city and you don’t know where to start. Everyone seems to know everyone already and there’s no room for another name on the bill.

Fortunately, you can take steps to make your band known in the new scene. Look for local hangouts where other musicians congregate and introduce yourself. Spend some time getting to know them—after all, you already have a lot in common, and it’s more than likely that they’ll be willing to help you out. Alternatively, you can also connect with nearby bands through social media, which also helps you find potential new fans.

Don’t forget that most bands have been exactly where you are now, working to make a name for themselves and gain exposure. You’ll have to put in some time, but local musicians (generally) love to help each other out. Go see some shows, hang around afterward and introduce yourself. Let the bassist know you really loved his performance. Even better? Plug other bands during your own shows. They’ll be grateful, and they’ll remember it if they’re looking for someone to share the bill with. Community is the key here.

Also, think bigger than just your city. When you meet bands visiting from out of town, offer to host them. There’s a pretty good chance that they’ll reciprocate, and the next time you’re on the road, you’ll have a free place to stay.

Struggle #2: You’re getting low show attendance.

It’s a huge bummer to play to an empty room, especially if you’ve been steadily drawing crowds and record sales are strong. Low-attendance shows can come out of nowhere and really kill your confidence. Of course, there’s so much to say about how to draw audiences, how to market your music and get the word out about shows. Social media is one huge asset for letting people know about upcoming shows, and with the right strategy, it can help you fill a room on short notice. One tip that might be less obvious: Make sure the venue is the right fit before you commit.

Here’s an example: Maybe the booking person at the biggest, most popular venue around heard you play, and they want to book you last minute for a weeknight show. It’s a huge opportunity, and a much larger venue than anything you’re used to. If it seems too good to be true, it probably is. Your band won’t have the time or resources to draw in a crowd that will fill that venue, and an empty room is not going to get you invited back anytime soon.

Better to fill a small room with fans and energy and gradually build from there. Sometimes the better move is to say thanks and put that contact in your back pocket for when you know you can fill that space.

Struggle #3: People don’t buy records like they used to.

The good news is this is an industry-wide problem, so you’re in good company. The bad news is that there’s no easy answer. Bands make less money from album sales these days, whether it’s digital files or CDs and vinyl. It’s essential to put out new material and have it available for sale, review and airtime. But studio space is expensive, and many bands lose money on records they’ve already poured lots of cash—not to mention hard work—into.

While there’s still a lot of pressure to release solid albums, many bands can’t rely on them to make a living. Your best bet is to diversify. That means any band that wants to be successful needs to:

  • Have hard copies of albums to sell at shows and to distribute to press
  • Sell digital versions and hard copies of albums online
  • Utilize all the popular streaming services out there, like Spotify, Pandora and Bandcamp
  • Promote your music through social media to ensure you reach as wide an audience as possible

Struggle #4: You’re reluctant to accept help.

You may be thinking “I’d have no problem accepting any help that came my way.” And you might be right, but many musicians can get caught up in what they think their musical path should look like. They end up missing opportunities where they could meet new people, promote their music and build their fanbase, all because they thought they’d be able to do it on their own.

I talked with P.T. Banks, a musician from Austin, TX, and he said there’s nothing like your community to help you succeed, if you’re willing to let them.

“I refused some managerial and financial help early on in my career because of pride,” he said. “Working on your craft is the most important thing, but accept help and let people believe in you.”

Maybe that looks like setting up a Kickstarter to get your new album recorded or accepting when friends or family offer to support your music financially. Getting to the next level may be as simple as getting out of your own way.

From the Stage to the Studio: How To Adapt Vocals For Recording

[Editors Note: This blog was written by Sabrina Bucknole. Sabrina has been singing in musical theater for over eight years, and wrote this as a deep dive into how live and theatrical singers can adapt their vocals for the studio and offers five practical tips for singers recording in the studio.]

 

Singers who have a lot of experience performing live can often find difficulty in bringing the same level of performance to the studio. Whether this is because of the space itself, the lack of an audience, the different approaches to singing techniques, or the range of equipment found in the studio, singers must learn to adapt their vocals for the studio if they want to create the “right” sound.

Introducing the Stage to the Studio

There are many elements about the studio that cannot be re-created on stage, but with technology advancing, this gap is closing, especially where vocals are concerned. For instance, loop pedals are becoming increasingly popular in live performances among the likes of famous artists including Ed Sheeran, Radiohead, and Imogen Heap. Loop pedals are used to create layers of sound and add texture to the performance, allowing a solo artist to become anything from a three-person band to an entire choir.

Vocals are recorded similarly to how they are recorded in a studio except they are recorded in the moment during live performance. It could be said that recording vocals in a studio is more intimate and requires more focus due to the enhanced sensitivity of the mics used in these spaces.

Both dynamic and condenser mics usually come with a specially designed acoustic foam windshield which absorbs the soundwaves coming from the voice. Duncan Geddes, MD of Technical Foam Services emphasises the importance of choosing the correct type of foam for the microphone windshield when recording in the studio. He explains that “having the right microphone windshield is essential to ensure an effective barrier against specific background noise while still allowing acoustic transparency. The critical aspect is the consistent pore size and density of the foam, to ensure complete sound transparency”.

To avoid picking up any unwanted sounds including plosives (“b” and “p” sounds created by a short blast of air from the mouth), acoustic windshields can be very effective. These air blasts strike the diaphragm of the mic and create a thump-like sound known as “popping”.

From Broadway to Booth: Vocal Differences

Singing in a recording studio can be daunting, especially for those who are used to singing live in a theatre. This could be because every tiny imperfection of the voice is picked up in the studio, including things that go unnoticed when performing live. Faced with these imperfections, some singers try to smooth out every little bump or crack in the voice in the pursuit of “perfection”.

Others embrace the “flaws” of the voice to create a sound unique to them. For instance, the well-known artist Sia embraces the natural cracks of her voice. This is apparent in most of her songs, especially in the song “Alive” on her 2016 album, This Is Acting. At 4 minutes 10 seconds you can hear her slide up to a higher note. To some, this might sound a little strained, but to others and Sia, this may simply be a natural and welcome part of her sound and performance.

Volume control can also be something to think about when entering the studio from the stage. Theatrical singers are taught to project their voices even in soft, quiet parts so they can still be heard. It could be argued that belting high and powerful notes becomes almost second nature to them, which is why they may find themselves having to reign it in slightly when adapting their voice for the studio.

For instance, according to multiplatinum songwriter and producer Xandy Barry, vocalists need to tone down their performance when recording in a studio. He reveals, “In certain quiet passages [singers] may need to bring it down, because in the studio a whisper can be clearly heard.”

It could also be argued that when performing live, the stage is a space where a certain type of energy is released, something that cannot be re-created in the studio. Playing to a crowd may bring something out of an artist. Some performers feel they can express themselves more on stage compared to in the studio. A live performance is ultimately, a performance after all.

This does not mean that the studio is restricting; instead it could be argued that other techniques are evoked when recording in this space. For instance, some singers display more finesse and subtlety in their work, something that cannot always be re-created on stage.

Five practical tips for singers recording in the studio:

1. Warm up

Studio time can be expensive which is why it’s best to warm up before entering the studio. As well as being prepared vocally, make sure you’re prepared with how you’re going to approach the piece. Some recommend knowing precisely how you’re going to sing every section, but this can come across as being over-rehearsed and may not sound natural. To avoid this, approach the piece differently each time and try experimenting with different sounds, textures, and volumes.

2. Record, record, record

Try and capture everything you can. If you vocalise something you like the sound of, but no one hit “record”, it can be frustrating for you as the singer, trying to re-create that same sound.

3. Keep cool and have fun

If you feel like you’re getting frustrated because a take isn’t going well or you’re not hitting the right notes, or you’re sounding rather flat, take a break. Take some time to clear your head and start afresh, so the next time you hit record, you’ll almost certainly get the results you were after!

4. Be emotional

Conjuring up emotions in the studio can be harder to do than on stage. This can be due to the lack of atmosphere, people, and the confined space. To avoid lyrics coming across bland or meaningless, try to focus on the lyrics themselves and decode them.

To stir the emotions you’re looking for, personalise the material by asking yourself “What is the meaning behind these words?”, “How are these lyrics making me feel?”, and “How can I relate these lyrics to my own life or the life of someone I care about?”. Like an actor and their script, discovering and analysing the intention of the words can have a great effect on the performance.

5. Manage the microphone

Singers with experience behind a mic know how to handle one. Skilled singers know where and how to move their head to create different volumes and sounds. For instance, by moving closer to the mic as they get softer, and further as they get louder they can manipulate the volume of their vocals, reducing the amount of compression required in editing later.

Singing into a mic when recording can be different from singing into a mic on stage. The positioning, mounting, angle of the mic, and distance from the singer, can all effect the captured vocal sound. Live singers usually hold the mic close to their mouth especially for softer parts, but in a studio, the mic is usually more sensitive to sound. This is why it’s best to keep more distance between yourself and the mic, especially for louder sections.