This is the third installment in a series of blogs I am writing about the process I follow to produce an artist. I am picking it up from the end of the last blog, so if you missed that one, be sure to read it too.
. This section is all about raising enough money to meet the budget an artist or band will need to create a competitive professional recording project. This part of the process can get a little (or a lot) confusing, so as an ADHD fella, I'll try to stay on track and keep it as simple as possible
I hear many people say they don't want to mess with the major record labels, and I'm telling you flat out, in my professional opinion that is a short-sighted notion. Even if an artist/band signs only one short lived contract with a major label, they will always be able to use that label's name for promotions This will result in boosting an artist’s image so they can make it to the big boy’s arena, and it will help raise live performance fees. I know, because I've experienced it over the last 30 plus years.
We all wish we had the money to fund our productions alone, but that just isn’t realistic (we are musicians, after all.) I will show the artist, step by step how to raise the funds using an Investment party. This method allows close friends and relatives that believe in the artist to contribute to their success, without anyone having to contribute a fortune. In order to keep individual contributions affordable, it is best to gather about 15-20 people. As part of the Investment party, I also explain to the investors the steps where they will get a return on their money, if a deal is made.
I know that there are many artists out there that have a home studio, and many have learned to use it well. But most home studios are modest, and I promise using great studio players (for solo artists,) and a top-notch engineer will be worth the money in gold when seeking a recording contract.
There are a few genres of music that can be created in a home studio with good results, but in my professional opinion, it is still imperative to part that product out into at least 24 or more tracks, and have a real solid engineer and producer mix it and master the final product. On one of my productions, I used Bob Ramsey, who is hands down one of the best programmers anywhere. That project still did not truly come alive until Bob and I parted it out, to Hall of Fame engineer, Gene Eichelberger to mix and master it with me, as producer, in a major studio and mastering lab.
I hope you are enjoying these blogs-would love to hear your feedback.
That's it for this blog. I will pick it up from here next time