It is easy to mix up the ideas of artistry and absent-mindedness. We think that to be creative means being disorganized, flighty and generally unreliable. "It is the nature of the artist" we tell ourselves as we miss appointments or show up an hour late.
But being organized and setting goals for the future are of the utmost importance if we wish to actually harness our creative powers and put them to work for us. How many creative types do you know who drift with the wind, waiting for opportunities while cursing the obtuseness of a world who doesn't understand them?
These are artists who have failed to claim ownership of their lives and art. If only they were to determine what their art means to them and what it means to be successful, they would be well on the path to a full life as an artist.
What does success mean to you? Do you need to be on an episode of MTV Cribs? Do you need to win a prestigious award like an Oscar or a Grammy? Do you need to make enough from your art to support yourself and your family?
Without goals of our own - benchmarks and directions that we desire for our own progress and self-worth - we are subject to the fickle perceptions of other people. Our own sense of value is then determined by what they think of us.
When we set goals to strive toward we are basically taking ownership of our progress and success. Goals establish the rules by which we then play the game.
29 June 2010
20 April 2010
Transcending Your Medium
Every artist is intimately involved with her medium. An oil painter will create vastly different work than a sculptor or a pianist simply due to the nature of the tools at her disposal. In the most concrete of ways, art is defined, limited and inspired by its tools of communication.
When musicians make recordings, it is easy to get caught up in the wonders of the medium - I can pan this hard left for a cool effect...what if I distort this?...I can layer twenty violins to make a haunting pseudo-orchestra...etc.
This is a classic example of not seeing the forest for the trees. We can get intoxicated by the capabilities of our immediate medium and lose track of the bigger picture. Am I communicating effectively? Is my message clear? And most importantly - is my message worth paying attention to?
Every medium has its own quirks, limitations and opportunities, but it remains only a medium of expression. We must transcend our media by communicating messages that are gripping. When we create a compelling work, the audience sees the work and not the medium.
When musicians make recordings, it is easy to get caught up in the wonders of the medium - I can pan this hard left for a cool effect...what if I distort this?...I can layer twenty violins to make a haunting pseudo-orchestra...etc.
This is a classic example of not seeing the forest for the trees. We can get intoxicated by the capabilities of our immediate medium and lose track of the bigger picture. Am I communicating effectively? Is my message clear? And most importantly - is my message worth paying attention to?
Every medium has its own quirks, limitations and opportunities, but it remains only a medium of expression. We must transcend our media by communicating messages that are gripping. When we create a compelling work, the audience sees the work and not the medium.
14 March 2010
The Idea of Success in Art
Success, as defined by Miriam-Webster, is either 1)a favorable or desired outcome, or 2)the attainment of wealth, favor or eminence. With those in mind, what does it mean to be a "successful" artist?
According to the first definition, we achieve success every time that we reach the desired outcome. Anytime our art does or says what we want it to we are successful. But most would argue that this is success.
Most adhere to the second definition of success - the attainment of wealth, favor or eminence. That we are successful when we are rich or commonly lauded. The strange part is that, artistically speaking, this definition contradicts the first.
As an artist, how often do your goals and the desires of the public coincide? How often is the wealthiest the most talented?
Wealth is basically the ownership of money or things with potential monetary value. And with the ability to pursue these things as their own end (we have people who trade money, who buy and sell money), we have lost a large part of their original purpose and therefore their value.
Wealth is no longer a symbol of being good at anything other than the ability to acquire wealth. So for me, that counts out the "attainment of wealth" as a measure of artistic success.
The ideas of acquiring favor and eminence, especially from the general public, are often contrary to the goals of the artist. Art is often a progressive form of expression that relies on exploring new territory and testing the boundaries of our psyche and culture. Rarely, if ever, does this meet with public understanding and acceptance.
Is "success" possible for an artist? As soon as general understanding is reached, he is most likely on to the next thing, alienating his adoring public. But if success is defined as the achievement of a desired outcome, even unknown and never-to-be-known artists can be successful.
According to the first definition, we achieve success every time that we reach the desired outcome. Anytime our art does or says what we want it to we are successful. But most would argue that this is success.
Most adhere to the second definition of success - the attainment of wealth, favor or eminence. That we are successful when we are rich or commonly lauded. The strange part is that, artistically speaking, this definition contradicts the first.
As an artist, how often do your goals and the desires of the public coincide? How often is the wealthiest the most talented?
Wealth is basically the ownership of money or things with potential monetary value. And with the ability to pursue these things as their own end (we have people who trade money, who buy and sell money), we have lost a large part of their original purpose and therefore their value.
Wealth is no longer a symbol of being good at anything other than the ability to acquire wealth. So for me, that counts out the "attainment of wealth" as a measure of artistic success.
The ideas of acquiring favor and eminence, especially from the general public, are often contrary to the goals of the artist. Art is often a progressive form of expression that relies on exploring new territory and testing the boundaries of our psyche and culture. Rarely, if ever, does this meet with public understanding and acceptance.
Is "success" possible for an artist? As soon as general understanding is reached, he is most likely on to the next thing, alienating his adoring public. But if success is defined as the achievement of a desired outcome, even unknown and never-to-be-known artists can be successful.
26 February 2010
Thoughts Like Schoolchildren
Thoughts and ideas are like schoolchildren.
For several hours a day they need to be regulated, seated in neat rows, organized and called upon to give the answers. They need the structure to develop discipline and patience.
They need recess. To go outside and run around. Free from constraints and rules. They need to yell, fall down, make new friends, climb trees.
And every child needs to rebel; to disobey just for the sake of being independent. It does not mean that they are bad kids, only that they are starting to desire autonomy.
For several hours a day they need to be regulated, seated in neat rows, organized and called upon to give the answers. They need the structure to develop discipline and patience.
They need recess. To go outside and run around. Free from constraints and rules. They need to yell, fall down, make new friends, climb trees.
And every child needs to rebel; to disobey just for the sake of being independent. It does not mean that they are bad kids, only that they are starting to desire autonomy.
12 February 2010
The Importance of Being Organized
More and more it strikes me that organization is a key component to greatness, even in the arts. Perhaps especially in the arts where the majority of practitioners are reclusive, egomaniacal or flighty.
Talent is comparably easy to find. As are willing parties. The tough part is the meticulous organization that is so well thought out that it is transparent. No one should ever feel the stricture of the planning other than the way in which time spent is uncommonly productive and always moving forward.
Often the talent and human assets of a production are left to their own devices, or consulting is done on the spot to decide which direction to take given the circumstances. This is a waste of time and resources.
Organization and planning should be done ahead of time with significant thought given to all potential problems. This will make the best use of everyone's time. There is no better way to keep morale high and loyalty strong.
Talent is comparably easy to find. As are willing parties. The tough part is the meticulous organization that is so well thought out that it is transparent. No one should ever feel the stricture of the planning other than the way in which time spent is uncommonly productive and always moving forward.
Often the talent and human assets of a production are left to their own devices, or consulting is done on the spot to decide which direction to take given the circumstances. This is a waste of time and resources.
Organization and planning should be done ahead of time with significant thought given to all potential problems. This will make the best use of everyone's time. There is no better way to keep morale high and loyalty strong.
10 February 2010
Book Worth Reading - Making Records
Phil Ramone is one of the great record producers of our time. He has made so many that are classics that it is hard to keep count. Billy Joel, Bob Dylan, Ray Charles, Barbara Streisand, Frank Sinatra, Paul Simon... the list goes on and on.
As a recording engineer and producer, Ramone is unparalleled. The clarity and power that he brings to the instruments and voices on his records is enviable. So any nuggets of recording wisdom that he shares are ones that I am more than happy to listen to.
The book occasionally gets bogged down by excessive praise of some of the artists, though I can hardly fault him for that. The value of the book is in his technical and personal reveals throughout the book - how to deal with people and equipment to make great recordings.
He recommends separating microphones by usage. Do not use the kick drum mic on vocals, keep the string mic on the strings. He also mentions one particular time when Bob Dylan purposefully infuriated a session player in order to get an inspired performance.
These little tidbits, along with an occasional glimpse into the artistic process of people like Billy Joel and Paul Simon make the book Making Records worth the time it takes to read, which is not much. It is relatively short and quick, with accessible prose and interesting stories.
As a recording engineer and producer, Ramone is unparalleled. The clarity and power that he brings to the instruments and voices on his records is enviable. So any nuggets of recording wisdom that he shares are ones that I am more than happy to listen to.
The book occasionally gets bogged down by excessive praise of some of the artists, though I can hardly fault him for that. The value of the book is in his technical and personal reveals throughout the book - how to deal with people and equipment to make great recordings.
He recommends separating microphones by usage. Do not use the kick drum mic on vocals, keep the string mic on the strings. He also mentions one particular time when Bob Dylan purposefully infuriated a session player in order to get an inspired performance.
These little tidbits, along with an occasional glimpse into the artistic process of people like Billy Joel and Paul Simon make the book Making Records worth the time it takes to read, which is not much. It is relatively short and quick, with accessible prose and interesting stories.
09 February 2010
The Beauty of Collaboration
There are few things more wonderful than experiencing a final product that is larger than the sum of its parts. Especially if your work is one of the parts.
As good as we may be at what we do, it is almost always beneficial to work alongside others who are great at what they do. Collaborating is how most art becomes transcendent - beyond the capabilities of one person.
The type of collaboration that is most fruitful crosses the expertise line. Make use of those who are good at something different than you. If you sing, find a great piano player. If you sing and play piano, find a great producer or engineer to work the magic on your recordings.
It can be redundant and frustrating to be in cahoots with those who have similar skill sets. It does not take much for creative people to step on each other's toes. So find people with different areas of expertise and do your part of the job exceptionally. With any luck your collaborators will do the same.
As good as we may be at what we do, it is almost always beneficial to work alongside others who are great at what they do. Collaborating is how most art becomes transcendent - beyond the capabilities of one person.
The type of collaboration that is most fruitful crosses the expertise line. Make use of those who are good at something different than you. If you sing, find a great piano player. If you sing and play piano, find a great producer or engineer to work the magic on your recordings.
It can be redundant and frustrating to be in cahoots with those who have similar skill sets. It does not take much for creative people to step on each other's toes. So find people with different areas of expertise and do your part of the job exceptionally. With any luck your collaborators will do the same.
08 February 2010
Master of None
One of the disadvantages of having so much information and diversion readily available on the internet is that people use it. We are a curious species, and it has become so simple to appease ourselves by frenetically searching the internet.
Sometimes this ability is put to great use, quickly locating information and even research to forward an idea or conversation. But often it is used as a distraction and acts to prevent us from building focus or expertise.
Building expert knowledge or skill in an area takes time and focus. Years are dedicated to research, study and practice. As a generation grows who has never known life without YouTube or hand held video games, this focus is dissipating.
Expertise, especially artistically, requires either exceptional focus that usually stems from passion or neurosis. It is no wonder that artists have the stigma of being slightly insane. Most people do not understand the frame of mind and life that it takes to build expertise, much less creativity.
Creativity, whether it be in a musician, a painter or an electrical engineer, requires knowledge and confidence to try what has never been tried before. Who will build that expertise when there is such ready distraction on the world wide web.
Sometimes this ability is put to great use, quickly locating information and even research to forward an idea or conversation. But often it is used as a distraction and acts to prevent us from building focus or expertise.
Building expert knowledge or skill in an area takes time and focus. Years are dedicated to research, study and practice. As a generation grows who has never known life without YouTube or hand held video games, this focus is dissipating.
Expertise, especially artistically, requires either exceptional focus that usually stems from passion or neurosis. It is no wonder that artists have the stigma of being slightly insane. Most people do not understand the frame of mind and life that it takes to build expertise, much less creativity.
Creativity, whether it be in a musician, a painter or an electrical engineer, requires knowledge and confidence to try what has never been tried before. Who will build that expertise when there is such ready distraction on the world wide web.
27 January 2010
Embracing the Shadows
The other day I was looking through a large print book of Vincent Van Gogh and I could not help but notice the way that he used large dollops of paint. His strokes were unadorned and unpolished to the extent that the stroke itself became a character in his paintings. The great blobs of paint often cast shadows and created texture that were visible even in a two dimensional print.
It struck me that music has these shadows, too. Little details of the existence of humanity that can be wiped away if so chosen. Detractors will call them imperfections, proponents will call them personality.
These details range from pitch to rhythm to proximity (like the room or reverb). Much effort has been made to control every one of these aspects to controversial ends.
Pitch and rhythm are as personal as something like tone. Every musician has their own sense of in-tune and swinging. It is a large part of what makes some musicians recognizable so instantly.
I am certainly in favor of embracing the imperfections and personality of musicians and musical situations. The more we alter them with technology to the point of perfection, the more they become like so many Ones and Zeros.
It struck me that music has these shadows, too. Little details of the existence of humanity that can be wiped away if so chosen. Detractors will call them imperfections, proponents will call them personality.
These details range from pitch to rhythm to proximity (like the room or reverb). Much effort has been made to control every one of these aspects to controversial ends.
Pitch and rhythm are as personal as something like tone. Every musician has their own sense of in-tune and swinging. It is a large part of what makes some musicians recognizable so instantly.
I am certainly in favor of embracing the imperfections and personality of musicians and musical situations. The more we alter them with technology to the point of perfection, the more they become like so many Ones and Zeros.
25 January 2010
Turn Down the Volume
Is there a good reason why the volume of music keeps going up? Especially in the dance and rock genres - I can't enter a venue or a club without earplugs and a wince on my face.
Has acoustic music disappeared? Even songwriters with acoustic guitars feel the need to plug their instruments in and turn them up.
I have a hard time hearing the music when it is so loud. Much less enjoying it.
There is so much depth and subtlety in the way an instrument interacts with a room - with the walls and the audience. But I haven't heard an instrument or a voice in years. All I hear is speakers.
Whenever I play, I make a point to keep things at a "listenable" volume. I have had dozens of compliments about how pleasant it is to be at a concert that doesn't make the ears hurt.
Has acoustic music disappeared? Even songwriters with acoustic guitars feel the need to plug their instruments in and turn them up.
I have a hard time hearing the music when it is so loud. Much less enjoying it.
There is so much depth and subtlety in the way an instrument interacts with a room - with the walls and the audience. But I haven't heard an instrument or a voice in years. All I hear is speakers.
Whenever I play, I make a point to keep things at a "listenable" volume. I have had dozens of compliments about how pleasant it is to be at a concert that doesn't make the ears hurt.
14 January 2010
I Need to Play
Though there are many reasons why music rules my life, there is one that rules all the others: There is nothing else I'd rather do. I have to make music. I need to. Every day spent without music is a miserable one.
I don't understand when people say they wish they could be a musician. That they "want" to play.
What is it that is keeping these people back? Honestly, I'd like to know. Is it fear of failure?
I think insecurity is the number one reason why people avoid writing and performing music. But I must add that if they really felt compelled to play, not just complain about it, that they would find a way.
This goes back to my article "You Are What You Do" - there is a big difference between talking about something and doing it. I talk about building things like tables and beds and bookshelves, but I rarely actually build anything.
Perhaps many would-be musicians care enough about music to talk about it and wish about it but not enough to do it.
I don't understand when people say they wish they could be a musician. That they "want" to play.
What is it that is keeping these people back? Honestly, I'd like to know. Is it fear of failure?
I think insecurity is the number one reason why people avoid writing and performing music. But I must add that if they really felt compelled to play, not just complain about it, that they would find a way.
This goes back to my article "You Are What You Do" - there is a big difference between talking about something and doing it. I talk about building things like tables and beds and bookshelves, but I rarely actually build anything.
Perhaps many would-be musicians care enough about music to talk about it and wish about it but not enough to do it.
09 January 2010
I Can't Do What Bores Me
It never fails to amaze me when people say they "lose interest" when they try to practice music. I imagine it to be the same way I feel when I try to focus on accounting or teaching. I can see the value in the process, but I can not get enthusiastic about it.
Perhaps we are inherently designed to excel at specific areas. With some exceptions, we will excel at that which can hold our interest for the longest period of time.
Many people get bored when they have to practice scales on the piano or learn chord progressions. But that stuff fascinates me and feels good and natural. I can do it for hours at a time. So I have gotten good at it.
It is important to embrace what interests you. That is the most natural way to excel.
Perhaps we are inherently designed to excel at specific areas. With some exceptions, we will excel at that which can hold our interest for the longest period of time.
Many people get bored when they have to practice scales on the piano or learn chord progressions. But that stuff fascinates me and feels good and natural. I can do it for hours at a time. So I have gotten good at it.
It is important to embrace what interests you. That is the most natural way to excel.
08 January 2010
Book Worth Reading - Million Dollar Consulting
This is a book that is cover to cover with valuable information. Even if you do not consider yourself a consultant (or a person who wants to make a million dollars), Million Dollar Consulting by Alan Weiss will help you embrace the entrepreneurial spirit.
Weiss covers everything from understanding your own value to diversification to keeping clients coming in the door. He includes a revolutionary (if logical) process for determining prices and a step by step list to building repute and awareness.
I read lots of books, 5-10 per month. Most I skim to catch the consequential parts. This book I kept for two months and read every word. It is packed with wisdom and value about running your own business.
Weiss covers everything from understanding your own value to diversification to keeping clients coming in the door. He includes a revolutionary (if logical) process for determining prices and a step by step list to building repute and awareness.
I read lots of books, 5-10 per month. Most I skim to catch the consequential parts. This book I kept for two months and read every word. It is packed with wisdom and value about running your own business.
07 January 2010
Music: an Art of Motion
Music is an art of motion. Like dance. It is always moving and relies on its motion for expression. You will never hear music that is not moving. It is a temporal art form that uses time and the perception of time.
Arts of motion (music and dance and theatre) are different from stationary art like painting or sculpture. A painting does not move. It is created and then it exists, unmoving.
Arts of motion are inseparable from their performances. A piece of music in indistinguishable from the singer or orchestra who plays it. Each performance and interpretation is unique, even when performing the same piece of music.
To relate this idea of performance to painting - it would be like watching Da Vinci paint the Mona Lisa every night. Or watching different painters paint the Mona Lisa. Every occasion would be different, the beauty in the process and performance as well as the actual painting itself.
Arts of motion (music and dance and theatre) are different from stationary art like painting or sculpture. A painting does not move. It is created and then it exists, unmoving.
Arts of motion are inseparable from their performances. A piece of music in indistinguishable from the singer or orchestra who plays it. Each performance and interpretation is unique, even when performing the same piece of music.
To relate this idea of performance to painting - it would be like watching Da Vinci paint the Mona Lisa every night. Or watching different painters paint the Mona Lisa. Every occasion would be different, the beauty in the process and performance as well as the actual painting itself.
06 January 2010
The Press and the Public
Universal awareness of you and your music does not happen overnight. It takes years of persistence. Even the musicians at the top of the food chain are continuously working to increase their visibility to new audiences.
There are two main groups of awareness that a musician needs to mind: the public and the press.
You will usually need to start with the public, because the press will ignore anything that the public ignores. It is the job of the press to write about items of interest to the public. So start there. Get the public interested.
Once a reasonable amount of the public is interested, you can likely get the attention of some smaller press. They will review your album or your concert. This has the effect of increasing the awareness of more public.
This cycle continues - the public becomes aware, the press becomes interested and notifies more of the public. It continues and grows and knows no end. There is always a new audience to introduce yourself to.
There are two main groups of awareness that a musician needs to mind: the public and the press.
You will usually need to start with the public, because the press will ignore anything that the public ignores. It is the job of the press to write about items of interest to the public. So start there. Get the public interested.
Once a reasonable amount of the public is interested, you can likely get the attention of some smaller press. They will review your album or your concert. This has the effect of increasing the awareness of more public.
This cycle continues - the public becomes aware, the press becomes interested and notifies more of the public. It continues and grows and knows no end. There is always a new audience to introduce yourself to.
05 January 2010
The Conflict of Music and Business
The co-mingling of music (any art really) and business is a strange paradox. Paradox though it may be, it is still a reality. Music has been sold for millennia and will continue to be sold for millennia to come.
Creating music requires a very different mindset from business. Writing something new takes spontaneity, inspiration and awareness.
Business requires extensive planning and foresight. A businessman must be level-headed, logical and reasonable when making decisions. This is quite the opposite of a musician, who relies on moments of clarity and inspiration to create.
Trying to be both a musician and a businessman creates an internal conflict. Part of you wants to be flighty and inspired while another part wants to be cool and considered.
This internal conflict often causes stress. Usually both parts - the musician and the businessman suffer.
Creating music requires a very different mindset from business. Writing something new takes spontaneity, inspiration and awareness.
Business requires extensive planning and foresight. A businessman must be level-headed, logical and reasonable when making decisions. This is quite the opposite of a musician, who relies on moments of clarity and inspiration to create.
Trying to be both a musician and a businessman creates an internal conflict. Part of you wants to be flighty and inspired while another part wants to be cool and considered.
This internal conflict often causes stress. Usually both parts - the musician and the businessman suffer.
04 January 2010
Celebrity Expectations
It is important to know what you want out of your musical career.
Do you want to make a living writing or playing music? Do you want to have t-shirts with your name on them? Do you want to travel around the world playing your own songs? Do you want to be Justin Timberlake famous?
These are all different career goals and they all demand different actions to realize.
I, personally, do not care about fame, so the Justin Timberlake route is out for me. It simplifies my life by reducing publicity, travel and constantly being in the eye of the public. I do not have to worry about my meals or strolls being interrupted by someone recognizing me. Very few have reason to know my face.
If you desire the celebrity, it is important to realize that it is outside of the realm of music. Sure, you can be a celebrity in addition to being a musician, but being a celebrity does not make you a great musician any more than being a great musician makes you a celebrity.
We would all love to have the money and power to do what we want. Celebrity has its perks but comes with a lot of responsibilities that most people overlook. Public awareness and sympathy must be constantly maintained - no small feat.
Be specific about what it would take to make you happy. If you say "playing music for a living," figure out how much you need to earn and where you can earn it. Then go get it done.
Goal setting is very important. Goals are tricky in the entertainment industry because we have been inundated with celebrity images. We think that success=celebrity. But it is not so.
Do you want to make a living writing or playing music? Do you want to have t-shirts with your name on them? Do you want to travel around the world playing your own songs? Do you want to be Justin Timberlake famous?
These are all different career goals and they all demand different actions to realize.
I, personally, do not care about fame, so the Justin Timberlake route is out for me. It simplifies my life by reducing publicity, travel and constantly being in the eye of the public. I do not have to worry about my meals or strolls being interrupted by someone recognizing me. Very few have reason to know my face.
If you desire the celebrity, it is important to realize that it is outside of the realm of music. Sure, you can be a celebrity in addition to being a musician, but being a celebrity does not make you a great musician any more than being a great musician makes you a celebrity.
We would all love to have the money and power to do what we want. Celebrity has its perks but comes with a lot of responsibilities that most people overlook. Public awareness and sympathy must be constantly maintained - no small feat.
Be specific about what it would take to make you happy. If you say "playing music for a living," figure out how much you need to earn and where you can earn it. Then go get it done.
Goal setting is very important. Goals are tricky in the entertainment industry because we have been inundated with celebrity images. We think that success=celebrity. But it is not so.
03 January 2010
You Are What You Do
This is a simple concept that confuses a lot of people.
If you wait tables but dream about being a musician, you are a waiter and not a musician. If you write songs but never perform, you are a writer and not a performer.
I have met many musicians who claim to be performers at heart but never perform.
If you are deluding yourself about who you are or what you do, there are two things you can do to change things.
You can refine your perception of yourself to fit what you do. Come to terms with how you actually spend your time and what it says about you.
Or you can change your actions to fit your perception of yourself. If you consider yourself a musician and a performer, prove it.
Talk is cheap and everyone does it. Like I have written before, actions sing louder than words.
If you wait tables but dream about being a musician, you are a waiter and not a musician. If you write songs but never perform, you are a writer and not a performer.
I have met many musicians who claim to be performers at heart but never perform.
If you are deluding yourself about who you are or what you do, there are two things you can do to change things.
You can refine your perception of yourself to fit what you do. Come to terms with how you actually spend your time and what it says about you.
Or you can change your actions to fit your perception of yourself. If you consider yourself a musician and a performer, prove it.
Talk is cheap and everyone does it. Like I have written before, actions sing louder than words.
02 January 2010
Success is a Matter of Trust
No matter how you define success - lots of people buying your records, getting hired to do the jobs you want to do, or anything really - it is largely dependent on how much people trust you.
The people who buy your records trust that you will deliver a quality product with style and personality. If you disappoint them, they will stop trusting you and will not buy the next one.
The people who hire you to work with them trust that your skills and work ethic will suit the project and benefit the final product. If they do not trust you they will not call you to work with them.
With that in mind, focus on building a reputation for quality and reliability. It will take some time, but it will be worth it. Colleagues and clients will trust you to bring value to their lives and work. You will get hired. They will buy your records.
There is no shortcut. The longer and better you maintain this trust, the more successful you will be.
The people who buy your records trust that you will deliver a quality product with style and personality. If you disappoint them, they will stop trusting you and will not buy the next one.
The people who hire you to work with them trust that your skills and work ethic will suit the project and benefit the final product. If they do not trust you they will not call you to work with them.
With that in mind, focus on building a reputation for quality and reliability. It will take some time, but it will be worth it. Colleagues and clients will trust you to bring value to their lives and work. You will get hired. They will buy your records.
There is no shortcut. The longer and better you maintain this trust, the more successful you will be.
01 January 2010
The "P" Word - Be Decisive
These two words will make your life better regardless of your line of work.
Indecision is the bane of musical creation, both in its composition and record production. Hours and days have been wasted by otherwise talented musicians trying to decide what to do.
"There are a million possibilities." "We could take this in so many directions." It is usually true, but you still have to pick one.
There are no right answers, only the best ones that you are capable to make. So make them. Make the best decision you are capable of in the moment and move forward.
Be decisive. Embrace your ideas and your choices.Do not ask permission and do not ask yourself what someone else would do. Do what you do.
Indecision is the bane of musical creation, both in its composition and record production. Hours and days have been wasted by otherwise talented musicians trying to decide what to do.
"There are a million possibilities." "We could take this in so many directions." It is usually true, but you still have to pick one.
There are no right answers, only the best ones that you are capable to make. So make them. Make the best decision you are capable of in the moment and move forward.
Be decisive. Embrace your ideas and your choices.Do not ask permission and do not ask yourself what someone else would do. Do what you do.
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