Michael Fine, Producer
Awarded Grammy for Classical Producer of the Year, 1992, Michael Fine believes in two essentials: first, that your product must be of the highest possible quality, and second, that first impressions are vital.
“The first five to 15 seconds must catch them. Harried record exec-utives don’t have more time than that to give your CD. The first note of music must be compelling. It’s true. In my professional career, I have walked out after just 15 seconds at a concert. It’s very hard for a person to get over a poor first impression.”
Comparing these important first moments to a poor entrance to a job interview, Michael remarks that you cannot ‘live out’ a bad start on a recording. Your master recording must be first class, as it will serve as your auditioning tool, being heard by some capable and competent people. “Give yourself a fighting shot. I would never want to make a product less than first rate. This is not a place to cut corners— recordings will come back to haunt you.”
His recommendation is to work with the best producer you can afford. So much the better if the producer is already familiar to record company executives: you can benefit from their professional cachet, which will grant your CD merit. Don’t just go for a reassuring producer who makes you feel secure at the expense of the drive for quality. Remember: your producer is not just there to operate the equipment—no matter how difficult it can be, you should make the most of any advice they can offer. That, says Michael, is one reason why you should never record yourself. Opt for professional editing and production—and a pro-fessional viewpoint.
The recording in the bag, you still need to market your CD. For many singers, this is the area that presents the greater number of pitfalls. As Michael says, “It’s not enough to have a gorgeous voice, it is still a sell job.”
Elise Rotchford, Music Librarian
Exposure, exposure, exposure!” That’s the top marketing tip from Elise Rotchford, music librarian for Luciano Pavarotti and the ‘Three Tenors’ concerts. And let’s face it, gaining exposure in the classical music market is something she’s well-positioned to advise on.
First, you need to establish a following at performance level. “Sell your CDs at your concerts. Also, you should have a mailing and emailing list to hand so that everyone who attends can sign up. By doing this, you are developing your following.” She recommends making at least two announcements during your concerts to remind people to sign the list. “You can work it into the act so it comes off witty. If not, assign the person at your CD table to have everyone sign up.”
Visit all your local record stores to interest them in selling your CD. “Some of the CD printing companies have a deal where if you order so many, they will put you in their mailing catalogue. Also, try some of the smaller record labels and see if you can get a distribution deal. If you have sold a certain number of your CDs already, they may be interested in signing you. Know who your audience is and plan your marketing strategy from there.”
Rotchford suggests you might also con-sider a less conventional route to achieving profile. One of her other roles is music director for the online talent search, “Superstar Theater.” “There are talent agencies, but none I have found have classical departments. They are mostly pop,” she says. “Superstar Theater [www.superstartheater. com] is unique in that we feature classical artists. The nature of [it] is intended to discover exceptional talent. It makes for a tremendous opportunity for classical artists to expose their work.
“We are inviting compelling talent from all genres, with artists such as flutist Viviana Guzman, classical guitarist Terrence Farrell, percussionist, Helcio Milito, as well as the next generation of stars such as guitarist Storm Nilson, The Blue Tones, (composer) Nico Georis, and composer/bassist Rebekah Griffin.”
All very well, but doesn’t this just show how considerable the competition is? No problem, says Rotchford, it simply means you need to have something about your offering that catches people’s attention. “Of course, you don’t want to compromise your music in any way. But it is advantageous to come up with some kind of ‘hook’ that will catch your audience’s attention—such as the CD cover design, music on the CD which may be thematic, or lesser known [works] of a popular composer, a particular period, etc. And a website will contribute to your exposure.”
Carla White, Singer
Carla White, a singer living and working in New York City, emphasizes the gains to be made through networking. Attending the concerts of people you know in the same music genre and mixing with their guests is a straightforward way of making initial contacts. “Networking is important. I don’t disappear afterwards. I introduce myself; I meet people face to face.”
And the best publicity for your CD, she says, is the most obvious place of all: your own concert. “Your concert has to inspire people to buy your CD. They have to like it enough that they will actually spend money on it.”
However, she believes that the commercial possibilities of effectively marketing your recording should never obscure your reasons for creating it in the first place. “This is an individual journey. It will challenge you as an artist, but as a person also. You must protect and nurture the desire and love you have for what you do. You must love what you do, because if you don’t, you will not survive. You must have faith in yourself and your talent. You must believe that you have something to offer,” she says.
So, keeping the right perspective and protecting the inner talent is important. When you are able to do that, your focus is right and this enables you to do the work of promoting your recording.
However, some basic tools of the trade will also help you along. A good press kit will create the right impression in the press and broadcasting media: White’s includes an 8×10” headshot, business cards in a prominent place, a biography, reviews and articles. If you do not have any reviews or articles yet, White suggests getting quotes from people in the business who will back your work. So, if someone fairly notable mentions that they enjoyed your concert, ask them for a quote to include in your press kit.
A demo CD is really a ‘must have’. “Nowadays, a cassette would be passé,” she explains. “It is very important that it is professional. Unless you’re extraordinary, you’re competing with people with money and such. It is very competitive.”
She also stresses the value of personal connections when distributing your press kit and demo recordings. In other words: network. It is better to have a connection even if it is “someone who knows someone who knows someone…however long that chain might be. These people are swamped with product. You must stand out from the crowd.”
Yet in the end, it’s your talent that counts. “The first impression is critical. But if the music isn’t worthwhile, it won’t make it. Style over substance doesn’t fly in the music business.”
Paul Austin Kelly,
Composer and Performer
Paul Austin Kelly is a classical artist living in England. Being a highly focused artist, he believes promoting your CD should never detract from the effort you put into performances.
“The best way to promote your recording is the ‘grass roots’ way: live performances. And that is a lot of hard work,” he says.
A classical artist, Kelly uses concert opportunities as just one of a number of ways to promote his product. He is now writing his own music and working on children’s CDs, and is developing alternative ways to market these newer items. He states that while the Internet is worth investigating, it is difficult to make this avenue of marketing seriously viable. You not only have to produce a site capable of drawing thousands of people, but you have to persuade visitors to buy once they are there.
Marilyn Maye, Singer
Singer Marilyn Maye is already on the journey, selling CDs of her work at performances. Even this, she says, demands a high level of organization.
“You can sell a lot of CDs in the lobby after a gig, but you have to be fast. Get several people to help you so that your audience doesn’t have to wait very long. People will be ripe for an impulse purchase of your disc, but they will not stand in a long line. Have several people making the sale at once and you will move more product.”
Patricia Wood
Patricia Wood, a staff accompanist in Pennsylvania, is currently promoting an independent recording by Pedro Ledesma. She is one of a growing number of artists and promoters who believe that the Internet can be an option when trying to market your recording. But rather than set up your own website, she recommends looking at established routes, such as Amazon.com and CDBaby.com
Wherever possible, you should also do radio interviews and give away free samples of your recording. Ask the person receiving the CD to ‘pass it on’ when they stop using it.
Yet the key to effective promotion, she says, is to actually like the product yourself. “It’s like selling anything else—you cannot be half-hearted and bored with it. If you enjoy listening to it, you’ll be able to sell it— whether it’s your [own] CD or a friend’s.”
Wood is testament to this maxim, for she almost sells Ledesma’s recording just by talking about it. As she chats about how lovely the music is and the artist’s impressive background, her enthusiasm ignites an interest in the CD. That, she says, is what you must have: patience, tenacity, and real faith in the product.
CD marketing checklist:
Contract the best producer you can find or afford.
Package it well.
Sell CDs to your existing market—the audience at your concerts.
Network at other concerts.
Develop personal connections where you might need them in the press and media.
Don’t forget asking local record stores to sell your CD.
Use internet opportunities, but don’t expect your website to sell CDs.
And above all: work hard and believe in yourself.
