Make It in The Music Industry

I N T H E M U S I C I N D U S T RY
So you want a career in the music industry?
Well, then you are about to embark on one of the toughest journeys of your life,
but also one of the most fulfilling and satisfying careers in existence. Don’t let
others hold you back - but more importantly, don’t let you hold yourself back.
You are the key to unlocking success and unless you have drive, determination,
a bounce-back attitude and an ability to keep going when all you seem to
hear is ‘no’ or even nothing at all then stop reading now.
If you really want this, then I want to show you how you can get there. After all,
I’ve been helping artists just like you to get to a $1m record deal, top 5 single,
music award invitations, celebrity endorsement and more for the past 10 years
and we are the Best Aritst Development Specialists in the UK and provide the Most
Outstanding Vocal and Performance Coaching in the UK – as awarded in the
Vinyl and Record Awards. So we know the score and I’d like to share it with you.
Welcome and I hope that this guide can help you make something of yourself.
Matthew Humphrys
Director of Development and Award-Winning Vocal Coach
Copyright © 2019 360 Artist Development Ltd | MAKE IT IN THE MUSIC INDUSTRY 2
S I N G A L L D AY , P A R T Y A L L N I G H T 7
IT’S A BUSINESS 11
T H E K E Y P L AY E R S 13
DID YOU NOT GET MY TEXT? 17
M I R R O R , M I R R O R O N T H E WA L L 20
I DON’T LIKE YOU ANYMORE 23
BUT SHE’S MY FRIEND 27
I CAN DO IT BETTER 30
WHY SHOULD YOU GET 25%? 33
W H AT ’ S A L L T H I S R OYA LT Y S T U F F ? 35
GREAT WITH NO TRAINING 37
41
JUST GOING TO GO ON TV
I’LL SEE YOU IN COURT 47
W H Y H AV E N ’ T T H E Y S I G N E D M E Y E T ?4 9
HOME STUDIOS AREN’T AS GOOD 52
HE HASN’T PRODUCED
54
ANYONE I KNOW
THAT’S £2000 PLEASE 57
COULD YOU DO THAT FOR FREE? 60
N O B O DY C A N T O U C H M Y M U S I C ! 63
65
L I K E M Y T O P ? I S T O L E I T L A S T S A T U R D AY !
74
B U T I ’ V E S E N T 1 5 E M A I L S A L R E A DY
I’M GREAT IN THE BEDROOM 77
M Y M U M R E A L LY L I K E S T H I S S O N G 79
I SAID EXTRA LARGE FRIES! 81
HI, IT’S ME AGAIN 83
W A S T H A T T O D AY ? ! 85
B U T I O N LY W A N T T O D O F E S T I VA L S L O T S 87
90
K N O W W H A T Y O U ’ R E PAY I N G F O R
I W R O T E T H E M E L O D Y, I T ’ S M Y S O N G 92
PLUMBER, PLEASE FIX MY LIGHT BULB 94
CONCLUSION
3 6 0 A R T I S T D E V E L O P M E N T . C O M
S I N G A L L D AY , P A R T Y A L L N I G H T
SING ALL DAY, PARTY ALL NIGHT
THIS CHAPTER COMES FIRST…
Why? If however you thrive on the challenge and are

Well because it’s the first thing that you’ll actually the world’s gift to music then you will have
look at when you choose to browse the book one hell of a ride.
online or purchase it in store. This is the So what will you be doing on a day to day basis?
chapter that explains the job description of This will vary depending what stage you’re at but
being a recording artist, which is sometimes will usually cycle in an approximate order of:
mistaken for being a life of glamour, riches 1. Meetings with different people including
and, well not really work. It’s written pointing stylists, A&R personnel, producers, songwriters etc.
out the negatives so that if by the time you’ve This is very exciting because you start to see your
read this part you think the job’s not for you, career plan coming together (or continuing in new
then hey we’ve saved you money and wish directions). However, though you may think you have
you all the best with your real career. If the best ideas about your
however you think this is for you, then great! style/performance/whatever, you must learn to be
Read on to find out all about the business of receptive and in many cases simply obey what
music….. others tell you to do/wear/behave like etc. In public
you can be a diva if that’s your stage (or real)
As a recording artist you are the front personality but behind the scenes in business,
man/woman/boy/girl/group in a large generally the only ones who succeed long term are
business organisation. The sales person if you those who have good long term vision and can get
like. If the public likes your voice, personality on with those around them. See the chapter “Mirror,
and looks then providing all the other aspects Mirror” for further reflection on this subject area.
(that we will come onto) fit into place, you will
be out there ‘selling’ yourself all the time.
However, just as it can take years to finally
get that break, you can be dropped in an
instant if for whatever reason the public
decide that they no longer like you. It’s that
brutal. So, just like investing in stocks and
shares; if you can’t take the uncertainty and
stress that this job will no doubt bring or cope
emotionally with the highs and lows – this job
is not for you
Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 8

2. Rehearsals. How’s your memory? Close your eyes So you will be travelling (a LOT), coping
and try to read the first sentence of this chapter out loud, with jet lag, lack of sleep, interviews
then take a look at it and see how close you were. where you must always look your best
and be on your best behaviour; photo
Ok, it’s not quite the same thing but most people will have shoots, TV appearances – you name it!
got the gist. As a recording artist, you must learn so many Please don’t underestimate how draining
lyrics that your head will ache and you must cope with the this promotional work is. It can be very
enormity of being able to perform full sets of songs that exciting but you must look after yourself
you may not have written yourself for years to come, well. (For further information on this,
without any notes to read from! On top of that, you may read the chapter “I said extra-large
have to learn choreographed routines (and no I’m not just fries!”) Also, don’t forget that you could
talking to the teeny boppers out there – even big grown be away from your family for very long
up bands have choreography of a show in some form or periods of time (unless you are a minor in
another) and you must remember all of the principles of which case you’ll have to be
singing too (which you can read more about in the chapter accompanied).
“Great with no training”)
5. Live shows. World tours!
3. Recording in the studio. What could be more fun Amazing, amazing feeling being on
or important than actually recording the music?! Well stage with thousands of people going
actually this is probably a) the most important part of crazy over the fact that you are there
being a recording artist because without a recording you singing! But again, this takes some
are merely….well an artist and b) it’s the activity which serious rehearsal and preparation time
probably takes the least amount of time when you and some serious stamina. Imagine being
compare the workload of an album in complete as energetic on night 10 at the o2 arena
consideration. Recording is immensely fun. It’s where you as you were on the first, only to then fly
get to hear everything come together. Your hit records on to L.A for another 10 nights before
coming to life! But it’s also really hard work. It’s long then……… You get the idea and as I
hours, it’s tiring. It’s stressful when it doesn’t go well. You’ll said before – only you can do this work.
want to re-record your performance over and over (even Get a sore throat from being run down
though all the other musicians think it’s fine and none of and cancel the concert and you will
theirs needed re-doing) and you’ll suffer sore throats and affect thousands of fans who have paid
colds and setbacks; oh and did I mention that you’ll out to come and see you and potentially
probably record twice the number of songs than will adversely affect your own future career
actually go onto the album? That’s right. Your 12 song and record sales. Also, as you’ll learn in
album will probably come from about 20 songs recorded the “It’s a business” chapter – this aspect
and whittled down. of your career is fast becoming one of
4. Relentless promotion everywhere, all the time. This is the main income streams for music. Live
one of the hardest aspects of being a recording artist. music cannot be stolen!
Because it’s all about you, nobody else can do this 6. Back to number 1…
promotion. It just wouldn’t be as sexy to hear the head of
A&R for ‘timeless records’ talking about how great x’s new
album is would it?
Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 9

Phew! So that’s a basic overview of your life as a recording artist. I sincerely hope that you are going
to turn the page now to chapter 2 and set on the journey of becoming the next big thing, but one final
word of warning before you do. How will you cope with the restrictions on your life being a known
recognisable star? Not being able to go shopping? Never being able to just ‘go on holiday’ to your
usual haunts? Having photographs taken of you on the beach when you really don’t look your best,
then plastered all over the internet and commented upon by tabloid journalists? Seeing your
brother/sister/best mate able to just do and go where they want, when they want but you can’t follow
without being mobbed or chased by paparazzi?
Let’s face it, this kind of attention is really cool and most artists will love the adoration that comes with
the job! But it may not be as cool if your career lasts a long time and you can never go back. Talk it
over with your family and friends. You’ll need their moral and emotional support no matter how
flamboyant and strong you are.

IT’S A BUSINESS
IT’S A BUSINESS
The most important thing to remember about the music industry is that
IT IS A BUSINESS
If a record label, publishers, manager, agent or whoever doesn’t think you’ll make them
money- and lots of it- they will not invest in you. This is perhaps the most important
aspect to remember when starting out in the industry.
Here I will outline two basic concepts of the business.

1) Getting paid:
-Writers and rights holders are paid quarterly by royalty collection agencies, such as the
PRS (Performing Right Society). They collect the royalties for you from usage of the
works, like radio play, record sales, YouTube hits and TV syncs- and everything else. The
PRS is now joined with the MCPS so they pay the mechanical royalties too.
-The PPL pay the performers on the records for usage as above. This includes the
musicians and (perhaps more importantly for you reading this) the singer. If you write or
co-write the song you will get paid by both.
2) If people think that you can make them money, they may make an initial investment in
you, but it is highly unlikely they will, unless you have already invested in yourself by
making records, videos and top promotional material.
Ask yourself this: if someone came to you; would you invest in them if they’d been
unwilling to invest in themselves? The answer has to be ‘NO’! Perhaps you would think that
they themselves do not think they are worth investing in?

T H E K E Y P L AY E R S
THE KEY PLAYERS
“YOU ARE NOT A ONE-
PERSON ISLAND. YOU
BECOME PART OF A BIG
TEAM IN THE MUSIC
INDUSTRY”.
The top of your game and that you have

product ready, making it very different to
asking them to start from scratch. Don’t
think of artist development as just being
If you are going to enter this business it’s training for beginners. Although it can take
important to know a bit about the key someone from nothing, it is far from it. The
players involved and how they can help Record Companies used to put their artists
you to succeed. You are not a one-person through artist development once they got
island, you become part of a big team in signed – it’s the same process going on at
the music industry. light speed on the singing television
programs week by week; only now you’re
Artist Development Professionals like expected to put yourself through a course
360 are there to ensure that you have the before you get signed – as there’s no
best negotiating power when it comes to longer the budgets to do this at labels.
signing a deal. They will have trained you
in singing, performance, songwriting, Managers are an important step IF YOU
microphone techniques, the business, social NEED MANAGING! I think a common myth
media fan management and more; in is that to get famous you just need to get a
addition to getting original songs set up manager, who will pick up the phone and
ready to go at a broadcast quality voila! You’ll be signed. But this is not the
standard. This means when negotiating a case. Managers manage careers. They
deal, that you can prove that you are at deal with your daily business, accounts,
schedule etc. Managers will take a

THE KEY PLAYERS
T H E K E Y P L AY E R S
commission on your earnings and so, SONGWRITERS will make or break your career.
if you aren’t earning anything, they Without GREAT songs, you will never be a great
will not likely be interested in artist. You need to have a serious sit down and
working for free to make you consider if you are good enough in this area to not
famous unless you have a huge bring in other writers before you set out recording
proven fanbase. Leave management your own songs. Yes, you would get satisfaction and
until you actually need it. To think emotional connection doing your own and yes, you
that a manager is the step to fame is would earn more money overall but ONLY if they
an outdated concept. are good enough! Wouldn’t you rather be number 1
in the charts earning 30% of that than 100% of your
PRODUCERS are likely to be high song that was purchased by your 15 family
up on your list of people to meet members?
because they are going to shape
you sonically as an artist. Choose BOOKING AGENTS are there to book gigs. They
the wrong producer and you will not take a commission for this but they can be very
only leave the studio with a record useful for the early stages of getting known. Unlike
that isn’t really ‘you’ but you might a manager, a booking agent would much more likely
find a clash of personalities makes it consider taking you on if you have great music and a
difficult to get the best from your reasonable following and if you can harness the
own performance, even if the record power of social media, you can use these gigs to
itself is fantastic sounding. There are skyrocket your following.
many great producers out there and
you should meet some and see who
understands you as an artist and
specialises in the type of music you
work in. Some producers are also
engineers and this can be useful as it
will lower your costs. Producers are
paid in a number of ways – usually
either outright, payment and
producer points on a record, or just
points on a record.

THE KEY PLAYERS
RECORD COMPANIES/ LABELS
Oh holy grail that we all doth seek….Major Labels have

marketing power that can skyrocket success. They have
relationships with everyone in the business, including
(importantly) radio stations, which will not play your indie
release no matter how good it is, sorry! So although you can
release solo, there is still a very big place for record companies.
PUBLISHERS
While record companies own and control the master rights of

recordings (the actual sound recording), publishers own and
control the publishing side (songwriting/lyrics) and can issue
licenses for people wanting to cover songs etc.
LAWYERS
Boo! Nobody wants to have to consult a lawyer, but you will if

you are to have a career in the music industry. There are
certain organisations that can help with legal advice such as the
Musicians’ Union, but if you do hire someone – make sure they
specialise in the music industry as it is quite a unique area and
they need to understand it in order to advise you best.

DID YOU NOT GET MY TEXT?!

(C OMMUNIC ATI ON D Os AND D ON’Ts)
This chapter is mainly aimed at Artist/Manager or Artist/Producer type relationships.

Oh how things can go terribly wrong with the written word…..Now we have ticks and marks to
show when we’ve read a message and I’m sure we’ve all been in that position where it says
quite clearly that they have read your message and they haven’t replied….
Do you:
1. Consider that they must be busy and leave it until they are ready?
2. Become worried that what you said caused offence and you need to send another
message immediately to ensure that they are ok and didn’t misunderstand you?
3. Send a question mark? Because punctuation is so in these days..
4. Send an email as well to make sure your message gets through from all angles?
5. Pick up the phone and dial?
6. All of the above?
The problem with texting and email to a certain extent, is that you cannot gauge the tone of
voice it’s been written in. Equally we tend to speak in text language, use emojis which mean
different things the world over; and can come across as quite blunt. You can easily fall out
with people over text, whereas on a phone call or in person, the same conversation could have
a completely different end – because human communication is visual as well as with language
and tone of voice.
I know that we cannot escape the world of messaging, but please do be considerate in what
you write and how often you write and what time it is when you are writing (just because
you’re up at 3am writing a song, your manager might have an early start!)
When you communicate with anyone, it is a good idea to consider the other person’s viewpoint
Let’s look at some points that you might consider for an Artist/Manager relationship:

• DON’T Harass your manager. But also don’t be a stranger. Out of sight can
sometimes mean out of mind, but the opposite can also be true in that if you’re in their face,
they will resent you and you will not get their best attention.
• Are they managing other artists? If yes, they are busy. If not and you’re not a
superstar, they are likely to have another job and would therefore also be busy.
• Give time for replies. It’s a good idea to leave it a good 8 -10 hours before
following up on a message to remain polite.
Use phrases such as:

“just wanted to check in and ask if…..”
“Sorry to disturb, I know how busy you are but I’d appreciate it if you could…”
Rather than:
“Did you see my message?”
And
“firstname?”
Oh yes, we’ve seen that before! It sparks instant disapproval and shows you to be
disrespectful. Sometimes people are so busy that you will have to remind them multiple times
to do something for you. Just keep your reminders polite and have
• Patience! Number one skill. I know you want your career to be in the fast lane and
nobody is more important to you than you yourself but the same goes for whoever you are
contacting. When you totally get this concept, you can keep calm and not get het up when
things aren’t going the way you want them to.
• Things take time, understand that your manager won’t get replies immediately himself
and will be following things up just like you are.
• Your manager won’t necessarily tell you everything he is doing! This is a biggie
because I’ve seen relationships come crashing down with artists ripping up contracts thinking
nothing was being done only to find that masses of great opportunities were in the pipeline –
but managers hadn’t passed them all on because often things don’t come to fruition, so a lot of
work is never realised and managers don’t want to get your hopes up all the time for endless
disappointment.
• Keep them updated on your availability. This will help a lot and save a lot of
communication time and faux pas if a meeting is booked when you’re off on holiday….

M I R R O R , M I R R O R O N T H E WA L L
MIRROR, MIRROR ON
“WE ALL HAVE THINGS THAT
MAKE US UNIQUE AND
SPECIAL”.
THE WALL
How do you feel? If you’ve done the
exercise correctly, you will probably feel
like a human being again. Some of you
may have found it difficult to look yourself
Here’s an exercise for you and I want you to put the book
in the eye when talking.
down when I tell you to and actually go and do it, ok?
We aren’t here to talk psychology with

I want you to stand in front of a mirror, look yourself in the
you, but if you did find it difficult you may
eyes the whole time and spend five minutes telling your
have some issues with accepting yourself
reflection all about yourself. I want you to be completely
that you should work through before
honest with your own reflection about who you are, what
throwing yourself to the wolves of the
your good points and your bad points are. What you’d
music industry and the general public. We
change about yourself and what you’re proud of about
spend our lives putting on a persona that
yourself.
other people see, never more so than as a
recording artist and that is probably the
Ok, go and do it…..
last time you’ll speak so honestly about
yourself in your whole career. You
wouldn’t tell an A&R guy everything that
you just told yourself would you?
Everyone has faults, nobody is perfect.
We all have secrets and we all have
things that make us unique and special.

Because you personally are the business end of a money making machine you must ask yourself:
• Would you invest money in you? I mean really? What makes you better than Bob or Christine?
Know the answer to this because a lot of people will be investing a lot of money in you. It’s not just
about your voice here.
• Do you look good? Image is important. You don’t have to be a super hunk or long legs Lisa to
succeed in the business, but your image must match your genre. Do some research and see if you match.
You could be all avant guarde and do something new, but that’s likely not to impress A&R people in the
early stages, as they are often looking for mass market appeal.
• Do you sing well? Read the chapter “Great With No Training!” Master your instrument.
• Are you ready? If you read the first chapter I would presume that you are, but just checking!
• Are your songs really as good as those on the radio? Industry executives often hear demos
that singers think are something else but often aren’t. You might get more money being a
singer/songwriter, but your writing skill has to be as good if not better than your vocal skill to succeed
this way. Read the chapter “Plumber, please fix my lightbulb” for more insight into this particular
conundrum!
• Do you have money to invest in yourself? In the early stages of your career you will need to
invest in yourself. Recording, hiring professionals, promoting, photoshoots all cost money. We will cover
a lot about getting the most out of your money, where to find funds and what to spend your cash on in
this book, but don’t expect a free lunch. Even when you are signed and famous YOU will be paying for
a vast amount of things that the record company will front and you will pay back before you earn a
penny.
So, you’ve looked at yourself, brushed yourself down and feel confident about going ahead. You know
who you are. But who are you on stage? Do you change when you go out there or are you just the
same? Are you suddenly more confident/sexy/arrogant/illusive/interesting when in public than when in
private?
There’s nothing wrong with that – many artists find that this happens. You just need to decide how you
are going to act and keep it consistent. Some people even choose to change their name for stage (you
can see a comprehensive list of stars that changed their names by searching online for stage names).
It’s important that if you are in effect going to be ‘someone else’ for your public facing career that you
show this personality in your initial meetings with record company executives so that they know
who/what they are signing!

I DON’T LIKE YOU ANYMORE –

WHEN RELATIONSHIPS BREAK DOWN
I DON’T LIKE YOU ANYMORE
When relationships break down it’s hard. You don’t go into So many great young artists with
something wanting it to end badly and that’s often why immense talent that we’ve come across
mistakes are made at the outset in conflicting friendship have got scared on being offered a
with business, rather than conjoining friendship with management deal and backed out.
business. Read on, I’ll explain more! We’ve never heard of any of them in the
charts. Sometimes you need to take a
To succeed in the music industry you cannot go it alone. leap of faith and realise that you need
To succeed in the music industry you cannot go it alone. that extra help on your side. More about
managers in a future chapter.
That’s not a typo. I said it twice. You need people to be on
your team, so take note of the advice below and you On a more day-to-day way of thinking
should have a smooth(er) ride. You will more than likely about agreements; If you’re in a band it
get burned by someone at some point in your career. Been can set out what each member will
there, done that. Just think of all the things people you make, what percentage royalty splits are
meet don’t tell you as discussed in the chapter ‘Mirror, agreed upon, what percentage your
Mirror’! manager will get, what happens if the
record company just wants the singer,
How to avoid a breakdown in the first place how you can terminate an agreement,
releasing session musicians from any
As a recording artist you are going to have to TRUST
further payment if tracks go platinum
SOMEONE at some point in your career and sign a etc. You don’t need to pay a lawyer to
contract with them. Ok you could get burned and we will do this for you. Joining the Musician’s
go through that later in this chapter but if I could offer you Union will provide you with a wealth of
one piece of advice over anything else in this whole different agreements that you can
process of becoming a recording artist, it would be make
download for free and you can even
sure you always have a written contract or signed
make your own as long as it clearly sets
agreement. This piece of paper can save so much out what you all agree upon.
heartache and stress later. That’s why you will be offered
contracts to sign yourself, because everyone is trying to
protect their own interests – it’s just too dangerous to work
without an official agreement in place, so don’t be put off
or scared if you are offered a 5 page contract from a
manager. It’s normal!

I
DON’T LIKE YOU ANYMORE
DON’T be a stroppy Diva and refuse to
f course, when signing any
communicate with the person, even if they
contracts handed to you, are in the wrong.
you should always seek DON’T allow yourself to become so
legal advice. Don’t be a overwhelmed with disdain for the other
cheap skate person that by the time you’ve spoken to
them about what it is that’s upsetting you,
. the only option is to part ways.
- THE DOCUMENT MAY EFFECT YOUR DON’T have text wars. Put the phone
CAREER ON A LONG TERM BASIS!!!! down. Now!
…….Have I lost you yet? Are you skim DON’T plaster slander all over the internet
reading this? Ok, I know law is boring so once a relationship has broken down. Be
let’s put it this way - would you rather the better man/woman.
(while you are friends) draw up an How to handle break ups and money
agreement and discuss this before the problems and rights
money starts coming in, or after? Money
destroys relationships and makes people If you have followed the advice above
go all kinds of crazy when a simple and are still breaking up, then try and
agreement while things are going well make it as quick and amenable as
saves all that stress later on and can save possible. Rights and percentage splits
careers.
should already have been agreed upon. If
What to do if you are in a contract with you’re in a record deal, your contract will
someone who you have lost confidence in cover band split up clauses so no need to
This is a sad reality of the music industry. cover that here. It may be that you have
It may be that you no longer feel to buy out a member for their share of
confident in your manager, or the studio equipment or spending they have made.
you are working with just isn’t delivering It may be that you have to pay damages
the goods you want. Well, no contract is
to split up with a manager out of Court.
completely watertight, but here’s a do and
don’t list that you should follow: That can be hard, but better than ending
DO attempt to rectify any problems at the up in Court, because you could lose big
earliest opportunity. time.
DO write an early letter or email to the
person concerned outlining your Avoid the hassle and uncertainty by
complaint/concerns and then be prepared drawing up an agreement stating that
to have a face to face conversation about ‘this is full and final payment for…’ (see
how to remedy these issues. the chapter ‘I’ll see you in Court’ for more
DO discuss amending terms on the contract
information on legal issues) and you’ll
if this is an issue for you .
DO discuss things face to face. It makes a know that you are less likely to be sued
massive difference to the outcome of when you go on to make your millions.
disputes.

I
DON’T LIKE YOU ANYMORE
Best Advice
The best piece of advice we could give you here is that the
music industry is a small place. Everyone knows (of) everyone
else and so the person you are breaking up with is just as
unlikely to want to create a stink about things as you are in
order to protect their future working relationships. This works to
everyone’s advantage because it usually allows an easier
separation than in some industries.
Keep Calm
You may be legally obliged to remain conjoined to your

nemesis. Not a great place to be. In this instance you really
need to work out a way in which you can get on with each other
professionally and always get the advice of a good lawyer who
specialises in the music industry.
Carry On
If in doubt consult a solicitor but before you do, take a step

back and try and see things from the other person’s point of
view and put yourself in their shoes to think about how they
would feel about you and what moves you would make in their
position. It’ll help you formulate the right responses.

BUT SHE’S MY FRIEND!

( W H E N F R I E N D S H I P S C O M E I N T H E W AY O F S U C C E S S )
BUT SHE’S MY FRIEND!
Friendships are separate to business. It’s really important to realise that you do not
owe your friends a career on the back of your own.
You don’t have any obligation to involve them in your musical success financially. If they
became the CEO of a large banking organisation, earning £100,000 a year or more, would
you expect a leading role in their adverts or a PA job because you’re their friend?
It’s like winning the lottery. People expect you to share and when it comes to music it still isn’t
seen the same way as a ‘normal’ job. There’s a fine line to balance though, because your
friends will be there to support you and potentially help you get to where you want to be with
promoting you, spreading the word and supporting your mental health if you end up becoming
famous.
There are a number of cases in point you can read up about – MC Hammer thought
everything was going great and spent millions on things which included a 90 person entourage
– he went bankrupt.
50 Cent supported all number of friends and family members financially but again became
bankrupt.
I’m not saying that they were the sole causes of bankruptcy but once you start involving your
friends it’s very difficult to turn off that tap. Will they be supporting you back when your
career is over and you declare bankruptcy?
If you have friends that can genuinely add value to your business then that’s different but plan
for the time when you will start being asked favours and know how you are going to respond.

If you want to learn how to become voice confident, you can now learn
ONLINE with our exclusive Fast-Track Singing Course
CLICK HERE to learn more

I CAN DO IT BETTER – GOING IT ALONE

I CAN DO IT BETTER
Self releasing is becoming the norm these days. Maybe because it’s so hard to get
signed by a major label, but mostly because it’s so easy to do.
You can record at home and upload your song to be mastered online and then release it
for free on some platforms and within weeks your music is available to stream and
purchase on every music site going.
So is it a good idea to self release? I would say it depends what your goal is. If it
makes you feel good to have music out there, then go ahead! There’s a place for your
music and there may be a fanbase for it. If your goal is to build a career from it then
you need to have a plan in place before you release any music.
Just like the first paragraph says, ANYONE can release music. There is no quality
control. When it comes to streaming platforms there’s nobody listening and saying “yes,
this can be released. No, are you out of your mind this is not getting released!”.
Therefore, the platforms are saturated with music and the chances of anyone finding your
songs randomly is slim to no-chance. This creates a problem for you as an artist because
if you do then try and impress a record company, they will see that you have very few
streams/sales and won’t be impressed because they won’t see the market in your music
It takes money and effort to truly self release. It takes promotion and it takes support
from other people/organisations. If you got big on BBC Introducing and then got onto
one of their stages and then self-released you could be onto a winner.
If you get local support through press then I have seen this lead to success but only where
there is a story other than “We are releasing our first single!”

GOING IT ALONE
CASE STUDIES
We had an artist who we

wrote country music for. He
was a chip shop owner with a
great voice. We ended up
going to Nashville with him
and met some really great
people but this wasn’t enough
to get him recognition; so we
created a press release for
local press along the lines of
“from chip shop to country
star”, released a single and
sent the press release out,
locally.
This was picked up by local We also had a female rap artist who in the past had suffered from
press and printed. His single Bulimia and Anorexia. We created a song called “overcome” and
ended up outselling Taylor then made a press release locally about overcoming these disorders
Swift in the Amazon Country to empower others (having released the single first).
Charts and he got masses of This story was picked up locally but then seen by a national press
support from that and the association and the artist ended up on national prime time news
subsequent word of mouth . speaking about her experiences, her as an artist and having her
single played!
So think outside the box and have a plan if you are going to release
your music on your own and you could well have success.

WHY SHOULD YOU GET 25% OF MY MONEY?

SPLITTING HEADACHE
It’s hard isn’t it. The thought of giving up

25% of your money….do you keep 100%
or do you give some of it away and what
do you get back for that?
Many artists suffer with the thought of

giving up part of their earnings to
somebody else and it makes them resentful
and can sour relationships and even their
own careers. Let me be clear – you will
NEVER earn 100% of the money pot if
you are having a successful music career.
So just like we all expect to pay taxes,
expect to be splitting your money with
different people.
There are too many examples of contracts BUT would you have got that placement
to give in this chapter but the main ones without them? Think about it that way –
you might come across early on in your “you will never have 100%”, then you
career would that that of artist/songwriter mentally condition yourself to accept this
or joint songwriting agreements. My and you will be happier in yourself for it.
advice here would be to split equally – it
keep things working well between you and Managers will also take a percentage of
everybody will feel equal and equally your earnings, so be sure you want/need
inclined to promote the works afterwards. one because in that example you have
30% taken off by licensing agent, 50% of
Another common one is sync music (for TV). what remains taken on songwriting split
The licensing agent might take 30-40% of and then another 20% taken by your
your earnings and if you have a manager. Leaving you with £28 in every
songwriting split, you might earn less than £100 the music brings in.
them overall

W H AT ’ S A L L T H I S R OYA LT Y S T U F F ?
WHAT ARE THEY WHO GETS THEM HOW CAN YOU GET SOME
Royalties are a way that rights Performers, Songwriters, Master If you own the recording, you
holders get paid on a record. Rights holders, Producers…there will get mechanical royalties for
Every time a song is used or are many different roles that can every sale/stream. If you are
played – whether that be on TV, receive royalties for having signed, your record company
Radio, in a shop, streamed or been involved in a record. may pay you a percentage of
purchased there are royalties to these royalties. This is a bit like
pay. That’s because it’s not a the ‘sale price’ or streaming
physical product but yet the Producers may be paid an royalty rate paid.
product has been ‘used’ and upfront fee (no royalties) or they
If you wrote the song, or part of
therefore needs to be paid for. may receive points on a record
it you will receive songwriter
(royalty percentage). After all,
royalties and if you own the
without them your record would
publishing you will receive
not be as good as it is!
publishing royalties.
To actually get these royalties
you need to be signed up to a
performing rights society who
can collect your royalties
automatically for you. The PRS,
BMI and others are popular
choices.
Don’t forget that if you perform
your songs live you can get paid
for it through royalties too! Just
register your live performances
with your royalty collection
agency!

GREAT WITH NO TRAINING!

GREAT WITH NO TRAINING
you to choose the right teacher for you, so
reathe in and SING!
that you can develop your skill in the right
There you go, what a
way.
fantastic voice you have.
Definitely ready for the
Choosing the right teacher
Worldwide stage that..
Unlike playing an instrument, singing is a
Your tuning is perfect, you know the lyrics
very personal thing and in order to get the
and that top A you can reach would
most out of your lessons, you will want to
shatter glass.
find someone who you feel comfortable
Ok, now why not add an instrument to that
singing in front of. It can be a strange
amazing skill of yours? Go and sit at a
experience to start with when it’s you and
Piano, or wait – pick up a guitar and now
another person in the room and you are
play along to your favourite song! No
the one singing! But thanks to the internet,
wait, hold on it’s an instrument. How are
it’s possible to find all manner of teachers
you supposed to know how to play that?
– young/old, male/female, specialist
genre teachers, those who prepare their
The voice is an instrument. Granted we
pupils for exams and those that don’t (this
spend our entire lives learning how to use
is not a bad thing, it depends what you
it for speech and singing, shouting and
want to achieve and if you are going for
humming and everything in between, but it
exams, you will have to sing in genres that
always defies belief the amount of singers
you might not want to learn).
who have never had a singing lesson in
their lives. Why do singing teachers even
Take a look at websites such as
exist if singing lessons are not important?
www.musicteachers.co.uk and see if you
Getting to a professional standard on a
can find a teacher that you think would be
musical instrument takes years and with the
right for you, then call them up and talk to
right coaching you can learn how to use
them on the phone about what you want to
your voice to its best effect. Every star
achieve.
has a vocal coach and it is important for

You can get a good idea if they will be right for you by this conversation. Don’t judge
people by how many exams they have passed. Sometimes the best vocal coaches are
people with the most experience at singing and not simply those with the highest degree
grades.
Once you start learning how to sing properly it will blow your mind. Things you never
thought of before in relation to breathing, vowel shapes, emotion, projection, vibrato,
falsetto/head voice, pitch…..you can soon find yourself wondering if you ever will
actually make it as a singer. But fret not! It just takes practise and soon you will find that
you are able to rock those gigs with a whole new attitude and confidence.
IT MAKES BUSINESS SENSE
Let’s just remind ourselves about the business of music for a second. You want to do this
as your career. You may also want a major label or similar to invest a lot of their time
and money in you so that you can be famous and both of you can be rich, right?
Well ask yourself this:
“What company would want to invest in somebody who is not willing to invest in
themselves?”
Consider this question as a common theme, from whether you pay out to do proper vocal
demos, take singing lessons, get the right clothes for your image or any other aspect of
presenting and preparing yourself for your career. At 360 Artist Development, we often
hear from people who are not ready, who don’t want to spend a penny on themselves
but want us to invest in them and make them famous. The answer, I am sorry to say is “no
thank you” and this will be the reply you will get from any company you approach if you
do not prepare yourself well.

If you want to learn how to become voice confident, you can now learn
ONLINE with our exclusive Fast-Track Singing Course

JUST GOING TO GO ON TV
PROS AND CONS
X-Factor, Britain’s Got Talent, American Idol, The

Voice…so many instant fame programs to choose from.
Just think, you could be as rich as One Direction or JLS;
or you could be as forgotten about as….who was that
person who won the second show again?
Why TV programs are there
The music industry is changing. The way people

consume music is changing. In the past, record
companies used to invest a lot of time and money in
artists and bands and developed them into superstars
with 30 year careers. But they could afford to do that,
because the record buying public was actually buying
records. Vinyl records. Then CDs came out and
everyone bought their back catalogues on CD and
continued to buy chart singles on CD, albums on
CD…the internet wasn’t around and when it was it was
dial up so music piracy was unheard of. Record
If you download music without paying for it, then
companies and artists flourished and the music industry
shame on you because you are contributing to your
was in a good place.
own downfall. You are picking up that gun and
actually shooting yourself in the foot. Music does
Then came broadband and piracy and without going
not get made for free. I liken it to this:
into a history lesson, the record companies weren’t quick
“A sculpture man sits at his workbench. He’s
enough to react to the new ways in which people
trained all his life to make sculptures and he enjoys
wanted to consume music and this cost them and their
nothing more than to see his creations come to life
artist’s dearly as p2p networks began to distribute
and to see the joy they bring to others. He has a
music almost without end. According to data collected
family to support and he knows that although he’s
and posted on a blog at Go-Gulf.com; 95% of music
paid for the materials and tools to make them, if
downloaded is pirated. Piracy costs over 71,000 jobs
he sells these sculptures regularly, he will be able
a year and the economic pain of piracy is over $12.5
to bring in a good income from them.
billion.

So he places twenty sculptures on his front lawn with a sign that says “for sale”. Over the next few
days he sits on his porch and waits for customers to come. One by one people come to his garden and
pick up a sculpture. They love them, he can see from their faces. But these people simply pick up the
sculptures and walk away with them. They don’t pay for them, but they put them in their cars and drive
off. This happens until there is only one sculpture left. An old lady comes up to the sculpture man and
pays him for the last one and then leaves. That is the effect of watching 95% of your income being
stolen from you.”
What does this have to do with television shows? Well, the music industry can no longer afford to take
so many risks. They are making their money now through advertising on YouTube, live shows and such
like; which means that you are going to have to be better than ever to get signed without a TV show.
These shows for the music industry are a fast buck. They want to be able to get as much money out of
the winners, as fast as possible before they become (in most cases) obsolete and there is another winner
taking their place. With the shows, there is a readymade fan base of millions. But because of that, the
contract you would be obliged to sign on winning such a show is not going to be written in your favour.
Absolutely not. Why would they want to make it good for you? And what of those people who don’t
make it past the top 6? Is that the end of your career?
When it’s right (or wrong) for you

TV shows could be right for you. There are many reasons why these shows are good for singers. Here
are some examples:
1. The over 25’s category. MUCH harder to get signed unless you are found in a show, so it’s
probably worth the risk if you haven’t made it up to then in your life.
2. You can’t be bothered to take lessons and develop yourself properly, so you want a quick shot
to see if you’re good enough. Hey, you might get lucky.
3. You are an amazingly talented singer who has done everything this book recommends but still
haven’t managed to get that break. TV could shoot you to stardom and make you wonder why when
you sent your demo to Mr X he never replied, but when you’re stood in front of him, he says you’re the
best thing since sliced bread….!
And now some examples of when it could be wrong for you. See the other chapter sub headings below
for why these could be the case:
1. You are an amazingly talented singer who has NOT done everything this book recommends
and therefore haven’t managed to get that break.
2. You are a mediocre or ‘good’ singer who could do with some more development but you could
probably wow a crowd and get through auditions.

What could happen (losing/winning)
We all know what could happen if you won a show like the ones above. Fame, fortune, world travel,
hell they might even open up a shop with your band name on it (!) but what happened to those people
who didn’t win? This is the biggest problem with the TV show culture. Think about it from a record
companies’ perspective. If you were approached by contestant A, who had been on one of the shows
and got voted off as number 10 or number 9; even number 5 or 6, would you sign them? Never mind
the fact that they beat off tens of thousands of contestants to get to that stage. You rarely hear from
them again in the public eye. You could become damaged goods. This is a total career killer and this is
why you really need to weigh up the pros and cons before committing because you are playing a
competition with your life and career. If you win – you win big. If you lose, you could lose everything.
The sad thing is that a lot of the people who got to places 10-5 could have been signed had they just
continued in their development and personal promotion to record companies and then there wouldn’t be
the taboo that came with them preventing a boardroom from choosing to sign them.
Better or worse contracts

Win one of these shows and you will sign the contract they give you.
If you are the next Michael Jackson and you have two or three major labels fighting over you, your
contract would look very different….and so would your bank balance for the next 10 years.
How to get on them

So, we have warned you of the dangers but you still want to go on the show. That’s ok. We aren’t
against them, just want you to know what you’re getting into! So how do you get onto the show and
what should you expect?
Well, the hardest stage is the first one. You will have to audition either online with a video or in person.
If a talent scout has found you, you might get a scouted audition which is no guarantee of getting
through, but you won’t have to wait with the crowds and you will have a heightened status in the eyes
of those who are judging. You can get a scouted audition by contacting record companies who are
involved in the competition or by being found at gigs/online. This preliminary audition will be judged
by a producer and sometimes a vocal coach as well to see if you are good enough to progress to the
next round. This is where most people fail. You must be prepared. You must dress right, act right,
answer questions right, sing well, choose the right song and have some kind of star factor when you go
there (or be a complete lunatic and get put through as an entertainment factor). So let’s discuss each
point in turn.

JUST GOING ON
DRESS RIGHT
1. Think about the genre you 3. Answer questions right. Think about what
are singing in. Look at the stars in you’re going to say to them about yourself. The
TV
that genre and see what they are subject of yourself is the one you should know the
wearing. Dress the same as their most about but it is also the one that a lot of singers
current looks. Sure, you want to be tend to mess up on when put on the spot. Do they
individual but wait until you’ve got want to hear about your pet gerbil? No. Do they
on the damn show before you want to hear that you’re coming here because you’ve
become Mr or Miss fashion designer. always fancied the middle judge? Probably not.
The producers are there simply to Get your friends and family to test you on questions
judge if you will look good on TV. If as to why you chose the song you’re singing, what
you don’t match their perceptions you hope to get out of the competition etc. Keep
and expectations of your genre, you your answers short, but intelligent and with point 2 in
will subconsciously put them off and mind you should come across very well.
it will be a no! AND YOU NEED 4. Sing well. Get singing lessons, please!
TWO “YES” RESPONSES TO GET Work on your song over and over until it’s perfect
THROUGH! before you go to the audition. Warm up your voice
2. Act right. Don’t be an properly on the day and breathe properly before
actor/actress when you go there. Be you start. You will be nervous so take a few seconds
yourself. Act like yourself. Someone to clear your mind before you start singing. Then
trying to be someone else will again perform it to them. Remember that the vocal coach
make the producers nervous because is listening just to your voice but the producer
they will wonder if you are going to (equally important) is watching and thinking “is this
be some freak who is going to ruin person going to be good on TV?” Always have a
their show by erratic behaviour and backup song in case they ask for it. There’s nothing
they know that audiences do not worse than being asked and not having one.
take to people they don’t find
genuine. They aren’t looking for Mr
or Mrs perfect here, it’s about
finding someone ‘likeable’.

JUST GOING ON
CHOOSE THE RIGHT SONG
5. SINGER: “Hi I’m Abie and I’m 7. Have star quality. It cannot be taught but some
going to sing Adele’s someone like people just have it. There is an air about them,
TV
you”. PRODUCER: “Hi Abie, that’s something that makes people look and think
great! Take it away” (really thinking ‘wow, they just look like a star’. It’s a little bit of
“great, the 600th time I’ve heard this confidence, mixed in with a great personality,
bloody song today. Switch off. good looks, well dressed and someone who
Boring”). knows that they are good but isn’t arrogant
about it. If you don’t think this is you, you can
6. Make sure that you pick improve your star quality by looking in the
something that suits your voice, is mirror and telling yourself how good you are,
in the right key for your voice and look people in the eye when you meet, keep
that isn’t the most popular song out good posture and smile. Dress well and keep
there right now because you want away from nervous movements like nail biting or
them to be 100% switched on in grinding your teeth.
your audition and although they will
give you the professional courtesy of Once you get through the first stage, you will likely
listening properly, they won’t enjoy appear at another group audition with no audience
your audition as much as if you sang present before then going on to the live stage and
something different to the rest of the we all know what happens from there. So have
crowd. Don’t forget to make it your plenty of different songs ready. Know your stuff
own and don’t try to imitate the and good luck!
actual singer of it. You might want
to consider getting a custom backing
track made for you from a company
such as 360 Artist Development, so
that when you sing the song, nobody
else will sound exactly like you!

I’LL SEE YOU IN COURT

I’LL SEE YOU IN
he words you never want to
hear or have to say but
which one day might be
necessary.
COURT
Sometimes the only way to resolve a to court. You may need to be flexible in this regard to
dispute is threatening court action or get a solution that suits everyone.
actually going to Court. It doesn’t cost a
lot to set up a court hearing – Nowadays people are suing others for everything – song
moneyclaimonline is the UK version of copyright is one area that particularly upsets us at 360.
where you go to apply for a hearing and No song is 100% original and it is impossible to know
you pay a small fee that changes every song on the planet. There is no way of checking
depending on the amount you are suing whether something you are writing has been written
for. However when it comes to the Music before.
Industry, this is a specialist area and the
courts will not be used to dealing with it, so It is much more likely you will go to court for contractual
make sure you have easy to understand disputes though. So KNOW YOUR CONTRACTS and
details of your case/defence so that your your obligations under them!
side can be properly assessed.
Don’t expect a small claims court to spend Make sure that you abide by what you must abide by
ages untangling a 100 page contract full and treat people fairly and justly and you will be very
of music industry specific clauses. That’s unlucky to find yourself in a position of being sued.
where you might get into big numbers and
hiring barristers. If you need to sue, be aware that even if you win, you
still might not see any money – if the defendant doesn’t
If you do get to this stage, the first step is have assets to take, are a vulnerable adult or carer, or
to send a “letter before action” to the other such considerations, you cannot even get your
other party, setting out the fact that you money through bailiffs.
intend on taking court action and the
reasons why. Give them a specified
number of days to respond to you before
submitting any claims.
It is usually always best to come to a

settlement out of court than it is to go

W H Y H AV E N ’ T T H E Y S I G N E D M E Y E T ? !
WHY HAVEN’T THEY SIGNED ME YET?!
You’re the best, but..
A&R gets THOUSANDS of emails! It is physically impossible to

read them all, so you are going to have to think up a strategy to
get noticed. If you are going the email route, then you’ll need
to think of REALLY CLEVER subject lines that grab attention!
Then you will need to make sure the first few sentences inside
the email keep their attention, maybe with humour, maybe with
a striking testimonial or fact about something you’ve achieved.
You’ve done so much, but…
You might not be ready in their eyes. A&R people won’t keep
their jobs if they don’t keep a steady stream of money-making
artists coming in to their record companies. They need security
in numbers – numbers of fans on social media, attending gigs,
email list subscribers, visitors to websites, streams,
downloads…SHOW THEM THE NUMBERS! This is a business
and unfortunately talent alone is not always enough to get a
deal.
Your numbers are great, but…
You need to make it easy for A&R to review you. If you sent
them a 50gb download link to your album, it isn’t getting
downloaded! If you sent them a 10mb MP3 – their email host
may have blocked it and they won’t even have seen it! Send
links, not files and keep things brief and to the point. Respect
their time.

HOME STUDIOS AREN’T AS GOOD

HOME STUDIOS AREN’T AS
RECORD RIGHT
So you want to record? You clearly have a • Big studios will have multiple microphones to
budget in mind… It’ll need to be big because choose from. This will allow a better match to your
you’ve spoken to all the local studios you’ve found vocals, however in reality many engineers just reach
online and they are quite expensive, except that for the most famous Neumann U87 or similar and in
guy with a home studio. But you don’t want to go my experience it’s rare that an engineer will test lots
GOOD
to him because it’ll be a substandard product for of microphones on you as an unsigned artist as most
your super release, surely? So clearly it’s the big clients will think on the clock and won’t want their
studio you need to go to record right? time spent doing this. If you are at a big studio, ASK
to try different microphones because you may find
Well let’s break this down because there are pros that some sound better on you than others.
and cons of going to a big studio and being able • Big studios can record the entire band at the
to weigh up your options properly may save you same time because there’s loads of space. They can
hundreds of pounds which could be used on also set up multiple headphone mixes for everyone
something else, like touring, or coffee! and have the vocalist in a separate booth, so that
the band noise doesn’t spill into the vocal recording.
Let’s start with the pros of big studios. If you don’t • Big studios have a ‘wow’ factor that can
know your music equipment from your quantum make some artists perform better due to the
physics, then let me pass out a few brand names to psychological impact of being there and
look out for when researching a big studio: experiencing it.
Neumann, Neve, SSL, Universal Audio, Manny,
API..these are just a few of the greats and this Ok, sounds attractive! Let’s now look at the cons of
brings me to the list of some of the ‘pros’ of hiring hiring a big studio:
a big studio: • Big studios are expensive. You often have
• Big studios usually have expensive to hire the studio and then pay extra for the
outboard equipment. Outboard equipment means engineer.
hardware; physical units that aren’t inside a • They usually don’t have much flexibility.
computer. Some of these may cost thousands of You book your time slots (half/full day) and that’s it.
pounds for one unit. Equally there will be a mixing • Some large studios are just that; large.
desk, which if made by the likes of Neve, SSL or They don’t have expensive outboard equipment and
such will sound absolutely amazing. These can cost may employ the use of makes such as Behringer and
tens of thousands of pounds. Tascam; which overall don’t stand up to Neve and
SSL.

• You may have a great studio with a junior • If they have the right products in the studio, you can
HOME STUDIOS AREN’T AS

engineer. This engineer may not be very have the same broadcast quality music as if you’d gone to a
experienced on the equipment, or just generally. big studio
This can degrade the experience, increase the time • Software now emulates almost perfectly the
you are there and in worst case scenarios produce expensive hardware of big studios, so you get the same
an unsatisfactory final product. sound, but it comes from within the computer!
• If you are just a vocalist, why do you need
all that space??! To judge whether a home studio recording is going to be
good, ask the engineer for a list of equipment – look out for
GOOD
Now let’s have a look at home studios. Why are names like waves, UAD plugins by Universal Audio,
there so many home studios, should you use them SoundToys, Izotope, RME, Apogee etc. SE Electronics’
and how can you tell if they are any good? products are often found in home studios too and they are
Home studios are now becoming a massive part of high quality; even Rupert Neve himself put his name to some
chart music making. Real professionals working of the microphones produced by them! You also need to
with real chart artists really do work from home!!! know how experienced the engineer is. Ask them about their
Audio equipment has come down in price massively qualifications. A highly qualified engineer, working in a
and with the advent of university courses to teach well-equipped home studio will produce totally professional
prospective engineers, there are a lot of results at a fraction of the cost of going to a big studio.
professional people working from home; simply What are the cons of going to a home studio then?
because it costs them less to run this than paying • If you’re a band you may have to record everything
for a big studio but that is GOOD for you, separately. Many engineers prefer this approach anyway
because of the following reasons: because it makes the recording cleaner, but some bands
prefer to play all together
• Home studio owners can charge you less • You may not feel the same buzz as you get in a big
for oftentimes the same quality product, because studio
their overheads are less • They won’t have as much equipment as a large
• Home studios are more flexible if you studio
need to just pop back for an hour to tidy things up,
or run over One final point I would like to mention is; if you are going to
• Artists may feel more comfortable pay a home studio engineer for recording with them – ask if
recording in a more intimate environment their software and plugins are all legally purchased and
authorised. There is a massive black market of pirated
software out there. If an engineer is willing to steal software
that often costs thousands, only to charge you money to have
them used on your recordings; what other corners are they
willing to cut? How safe is your music with them? Legitimate
business owners pay for the software they use. Full stop.

HE HASN’T PRODUCED ANYONE I KNOW

HE HASN’T PRODUCED ANYONE I
hoosing the right producer Well, that’s fair enough. Most artists know what they
for you can have a massive want generally but having an external expert realise
impact on the quality of your vision into a record is a real skill, which is why there
your record, so it is really are producers on almost all albums you will come across.
important that you choose Don’t you think Maroon 5 had an idea what they wanted
to sound like for their album “Hands All Over” even
carefully, do your research and don’t be
though they were produced by Robert Lange? Or the
blinded by famous name clients in your
world famous collaboration between Michael Jackson
decision making. A long time ago we
and producer Quincy Jones, who is absolutely praised
hired a mixing engineer online who had
and many would say equally credited for the success of
KNOW
worked with some really famous bands
the album “Thriller”?
and musicians but the quality of what
came out on our record made us question
You need someone who believes not only in your style of
whether it was really that mixing engineer
music but in you. So my first suggestion would be that
that was doing the work – turned out that
when you find a producer you think you want to work
it was, but whether it was because he was
with, meet them! It’s no good just hiring a studio and
too busy to put the proper effort in or if it
accepting that the engineer there will produce the record
just wasn’t their style of music meant that
for you. What happens if you turn up and the engineer is
we did not end up with the mix we had
an ass and/or your personalities clash? This kind of clash
envisaged and so the same principle
is human nature and if it happens to you when you’re
applies in the search for a producer.
paying the day rate of a studio there is nothing you can
do and you will not get the best out of your recording, as
So what does a producer do exactly? A
a producer should be able to put everyone at ease and
producer is the visionary who knows what
direct everyone to get the best performances/work out
he or she wants the record to sound like
of them.
and directs the musicians and engineer in a
way that gets the best out of them, so that
As in the scenario above, often the producer will also be
the record is produced to their standards
the engineer in a session. This is particularly true for
and vision. This is why you wouldn’t
unsigned bands/acts. I don’t think I’ve ever seen an
normally want to hire a producer that only
unsigned artist hire in a producer in addition to an
loves dub step music to produce your rock
engineer, so you need to ensure that the person doing
band. I know what you might be thinking
this for you is skilled in both engineering and production.
right now, “I know what I want my record
to sound like so I don’t need a producer”.

HE HASN’T PRODUCED ANYONE I
CHOOSING THE RIGHT PRODUCER
We have producer/engineers who are skilled and qualified in both (qualified for engineering
usually means academically but production skills are usually honed in real world experience), but
some engineers may not be good producers and vice-versa, so you need to do your research
before you decide that hiring a producer is not worth it just to save that extra bit of money on your
recording session.
So how do you do that?
KNOW
• Ask to see their qualifications
• Ask to listen to records they have engineered and/or produced in your genre
• Meet them and see if you get on with each other – it will make a massive difference to
your record
• Read any testimonials they may have available
• Use your instincts!
So here is a question to all of you who have in the past actually hired a studio to record in. How
many of the above did you do beforehand?......Exactly!
Getting on to the part about judging people by known clients. If you are an unsigned artist then
the chances are you will be working with an unsigned producer, or one who works with unsigned
artists.
Do you consider yourself an ‘unworthy of a record deal’ singer?
Do you think that you’re wasting your money recording your voice because it is so rubbish?
Or do you think that you are recording because you are at a level where you want to get your
songs out there and then get signed?
So consider the same for the producer! There are many producers out there who should be signed
and working with famous artists, but are in the same position that you are! It doesn’t mean that
hiring someone who hasn’t worked with Madonna is going to mean your record is any less good (if
you do your research properly), it just means that you’ll get a bargain.

(HOW NOT TO GET RIPPED OFF)

THAT’S £2000 PLEASE
This is an important chapter because not a lot in life
comes for free and therefore you will be expected to
pay for goods and services throughout your career, in
addition to giving away percentages of what you earn
and of course knowing what you should be charging
for your own services. The purpose of this chapter is
not to tell you how much to pay for things, but to be
aware of what is and isn’t good value and to teach you
ways of getting a better deal.
The first point to make is that anyone will take your

money. If you want a recording doing, there are a
myriad of recording studios that will charge many
different prices for a recording. Usually the rates are
set based on the equipment cost, size of venue and
experience of engineer etc. You can do your own
research into their equipment and its cost by looking at
an equipment list on their website and then typing it
into google. (even if you don’t understand a thing
about what it is you are looking up!) That said, there
are ways of getting a better deal from a studio.
What about buying equipment? Most vocalists will want
1. Book in bulk – more hours booked should to buy a microphone, maybe a PA system so how can you
equal a bigger discount get the best deal. Well firstly you should read up
2. Book in their quiet periods. Studios will want reviews on the items you are thinking of buying and
to be busy all the time, so if you are able to book in spend some time deciding your shortlist. There are
when it isn’t at all busy you should be able to get a magazines like Sound on Sound that can help with this.
better rate Then you need to look online for the best prices, but don’t
3. Negotiate! Even £5 off an hour is money in be shy about going into real stores and asking to try the
your pocket and studios will know that there are plenty equipment out. Especially with microphones and speakers
of other places you could go with your money because what looks like the best, might not actually sound
4. Decide on the size of studio you actually need. the best to you.
If you’re a vocalist singing to backing tracks, hire a
well-equipped home studio instead and you will save a When you are ready to buy NEGOTIATE!!
fortune.

Unlike in a shop where you wouldn’t dream of asking You need to PRICE up your goods:
for a discount on a hairspray, music retailers can and
will offer to beat/match prices or even offer discounts
when asked. This is especially true when you become a
regular customer. I like the discounts that the web can P rioritise – decide what you need the most, what you can
offer, but I also like supporting my local music shops do without and what proportion of money should be spent
because if they were to close I would have nowhere to on each area.
try equipment out or go in if things go wrong and R esearch – look online, in magazines, on forums and
therefore I am prepared to pay somewhere between YouTube and decide if the vendor/service
the cheapest web price and the shop price because of provider/product is right for you and what you should be
that, but don’t think that I don’t drive a hard bargain paying for it.
because I do. I often play companies against each I nvestigate – go into a studio before booking, test a
other in quotes before actually buying. Please do also product out in a shop.
need to bear in mind UK warranties when looking C hallenge – negotiate your prices based on your earlier
where to purchase. research and get the deal you want!
E valuate – once you have a deal that you are happy
Moving on to general value for money. With a little with, don’t rush in – evaluate if it is right for you,
research it is easy to see what products and services affordable for you and then go ahead or pull away
should cost. If you are unsure about a service or how depending on your evaluation. If it is wrong, then start
much you should charge for something then join and call the process again.
an organisation like the Musician’s Union who will be
able to guide you. It is important that you always have
a budget in mind. Whether you are stonking rich or
downright poor you will need some kind of budget and Good luck with the spending!
maximising it will be your task for whatever
purchase/project you are doing.

COULD YOU DO THAT FOR FREE?

?
COULD YOU DO THAT FOR FREE?
DON’T ASK THAT QUESTION!!!!!
Musicians being asked to do things for free ruins The point of this chapter is to highlight that this
the business of music. kind of behaviour does exist and still goes on
today.
It has long since been a misconception that it’s ok
to ask musicians to play for free at places because Don’t approach your business expecting things for
it’s ‘good publicity’ and even the London Olympics free and don’t allow yourself to do things for free
didn’t offer to pay musicians because of the ‘great unless it’s really necessary to.
exposure’ they would receive! How about
plumbers and electricians? Would they do it all for Even asking for expenses to get to a pub/club is still
free because of great exposure? better than just accepting free work because it’s very
hard to go from free to paid but much easier to go
NO! But the problem lies on both sides, because from paid to paid more.
there are always people who WILL do work for
free and this is hitting professionals hard. If you do want to take a service or buy a product
then why not instead ask for a discount or if there
We at 360 often get emails from people asking are any offers on at the moment? If you are polite
us to do work for free, or for ‘future royalties’. about it you may find that “don’t ask, don’t get” is a
phrase that pays!
Think before you send emails like this to anyone,
because are you actually asking someone to work
for a full year for you, for free?
We know that not everyone can afford to join our

award winning development programmes, but
there are other ways you can go about getting
funding to help your career along – crowdfunding
is a great platform to get support. The Musician’s
Union may have funds and the Arts Council (in
England) sometimes gives bursaries.
Search online for musicians scholarships or

bursaries and you will find different schemes you
can apply for.
Speaking of DISCOUNTS! As you have been reading this far into the book
we would love to offer you a discount on Fast-Track Singing!
Using code
INDUSTRYBOOK
you can get 30% OFF the course!

N O B O DY C A N T O U C H M Y M U S I C !
NOBODY CAN TOUCH MY MUSIC!
o word of a lie, we once These little touches can really transform the response you
received an email with an get, even if you haven’t sent something that they are
mp3 attachment and the interested in at the time. You’ve started a conversation,
text “NOONE CAN TOUCH like a human being to a human being and this keeps the
THIS S^&^” door open to future contact.
I still remember it to this day because

It’s also very tempting to think that you need to
instead of hitting the delete key as I
overstate everything about you
wanted to, I decided to listen to the song
and then to reply to the sender explaining
I’ve had a top 40 single (in the ‘nobody has heard of this
that sending messages like that would not
genre’ chart for my local school)
get them anywhere and trying to
I’ve worked with Michael Jackson (as a ticket promoter,
understand why they had done that.
never met him for real)
This resulted in the person writing back

It’s just not necessary to overstate achievements. Be real
and apologising and explaining that they
with who you are and where you’re at and honesty will
were just so frustrated at sending endless
pay off.
emails to people, only to be ignored
completely or being told “no” too many
As a follow up on that point, don’t point out your
times, so they had got frustrated and were
flaws! Don’t say:
lashing out against the music industry.
I don’t really have many fans on social media at the

It is very important to be humble, polite
moment because…
and confident all in one when reaching out
This is just a demo recording because I had a sore throat..
to new people. The very best way to do
this is to find out something about THEM
Because you will make the contact sound negative, when
that you like, so that you can comment on
you want a positive first impression!
it in your opening. It will make it seem
very personal then – rather than “hi” or
Be yourself, plan your approaches, remember everyone
“Dear Sir” or no start at all to the email!
is just a person so if you are kind, respectful and honest
you will eventually start seeing more replies to your
Take time as well to find out the name of
contact.
the person you need to contact in a
company.

L I K E M Y T O P ? I S T O L E I T L A S T S A T U R D AY !
LIKE MY TOP? I
“IF YOU ARE DOWNLOADING
MUSIC ILLEGALLY, YOU ARE
STOLE IT LAST SATURDAY!

PUTTING A NAIL INTO YOUR
OWN CAREER DEVELOPMENT”.
Hands up who’s ever downloaded a song without paying for into behaving in a dishonest manner. It’s amazing how
it? many of us if asked if we had ever stolen something
The music industry has seen a steady increase in theft that is from a shop would say no, but out of those same
destroying earnings for artists (especially artists who aren’t people would say yes to having downloaded digital
superstars) and in many ways it is the industry’s slowness to content without paying.
change that brought this on.
This has meant that live music now earns an artist the
People used to have to buy CDs from shops like HMV (by the most money because streaming platforms do not pay
way CDs are still the best quality out there other than FLAC well. But even that is being hijacked by ticket resellers
files, but that’s another topic). This meant that theft was and their profits never go to the artists.
limited to shoplifters and sales meant that artists could get a
decent return on each CD sale. All this means that there is less investment from record
companies because there is less money to invest. They
When music became digital, Napster existed and allowed need more ‘sure fire’ solutions to earning and are much
p2p downloads of music to an extent never before seen. more risk averse now for new, unsigned artists.
Music piracy was rife and people started thinking that it was
ok to download music for free. If you are downloading music illegally, you are putting
a nail into your own career development and future
The industry instead of creating their own livelihood.
download/streaming platforms just complained, sued,
threatened and wallowed in pity allowing this to get
completely out of control and allowing society to be
conditioned
Do you want to get broadcast quality original songs?
Want to learn skills to become a professional singer and songwriter?
Dream of performing live to a huge fanbase?
So... why hasn't it happened for you yet? Come on... admit it.
This isn't the first time you've tried to find solutions for how to break
through.
When you read this article to the end you're going to discover exactly
how to make it in the Music Industry.
Hey my name is Matthew Humphrys, and not too long ago I was just like
you...
Let me tell you a quick story about how I nearly got signed by Sony whilst
in a boyband.
I was struggling with keeping the band together and focused due to
personality issues and I was getting more and more frustrated at how hard
it was to get the attention of the music industry.
You see, at the time I was trying to impress a manager from Germany.
Then the bottom fell out from under me when Sony were set to sign us,
the manager called to say their lawyers were working overnight but it all
fell apart at the last minute.
Which meant I couldn't get that record deal.
As you can imagine, I was in a bad shape and desperate, but I wasn't ready
to give up on my dream
D I D of
YObeing
U NO able
T Gto
E T sign
M Y aThuge
E X T ? record
! deal.
The problem I had was I didn't know how to make it and I couldn't get
signed!
And that's when I knew I HAD to make a change...
So, first I tried writing to all the record companies. That didn't work at all.
I even tried going to London, but that was a total waste of time.
Then I tried recording our work and sending it to professionals, and it
worked a little better.
I gave up on it eventually but it always stayed with me, that need - to know
how to break into the industry. And that's when I finally set up 360 Artist
Development and quickly started getting respect and recognition. And
guess what? This time it worked!
And that's when I realised it wasn't my fault! I was failing because of the
way in which the music industry keeps everything so secret it's impossible
to know how to break through into it. No wonder I was struggling.
Once I realised I wasn't alone in my search for understanding this business,

that's when I set up this company and started to create opportunities for
my artists to make it really FAST!
I used what I discovered to be able to:

- Reach those A&R people
- Build a huge fanbase for artists
- Get my artists into A&R meetings and into Industry Showcases
- Sign a $1m record deal and much more!
Not only do the development programmes simplify the process for getting
recognition, but theyDalso
I D Yhelp
OU N you
O T get
G Ebroadcast
T M Y T E Xquality
T?! original songs,
learn skills to become a professional singer and songwriter, perform live
and build a fanbase!
And that's why I created "The Artist Development Programme".
This took a lot of trial and error to get the right balance to suit everyone’s
time, budget and general needs and cost me every spare penny I had for
many years to build up. But it was totally worth it!
It makes the process of breaking through as an artist so much simpler!
What took me years in that boyband, I can now start getting done as soon
an artist is ready.
In fact, on joining a development programme, you’ll..

* Become ready for the music industry with songs, videos, training and
direction so you can succeed.
* Go out there with your own music to begin making a success of your
career as a recording artist.
* Know how to keep your fanbase interested and growing as you grow
with them, so you can excel and get the attention of the music industry -
without having to knock on doors.
* Be one step closer to go from being the warm up act, to the main act
* Get advanced vocal training from an award winning vocal coach, so you
can be confident that your records will sell.
But don't just take my word for it. Take a look at this:
We have won the award for being the Best Artist Development Specialists
in the UK and The Most Outstanding Vocal and Performance Coaches in
the UK in the Vinyl and
D I DRecord
YOU N Awards
O T G E2019!
T MY TEXT?!
Let me ask you a question...
Would you like to get access to "The Artist Development Programme"?
For less than a third of the cost of university study you can get access to
everything inside of The Artist Development Programme.
Now, while it would be impossible to show you ALL of the benefits of The
Artist Development Programme, I want to show you some of the things
that you'll experience as soon as you're on the inside.
A full year (or 18 months) of development

Training in Vocals, Songwriting, Performance, Music Business, Interview
Techniques and more
Original songs written for or with you - and recorded to broadcast quality!
YouTube cover videos to build your fanbase
Fanbase building - and training in how to do this
Options for Photoshoots, Music Videos, Performing and more
A featured page on our site to be found by the Music Industry
(this could cost you well over £30,000 if you hired all the professionals
you’d need separately!)
If you join up mentioning this e-book, you’ll also get:

BONUS #1
* A voucher code to take our Fast-Track Singing Course to catapult your
singing to new levels ultra fast, for less than a quarter of the price! (a £298
Value)
BONUS #2 DID YOU NOT GET MY TEXT?!
* A FREE consultation on your music and direction to plan out how to get
you from where you are, to where you want to be (a £150 Value)
BONUS #3
* Access to PRIORITY BOOKING for anyone joining the Elite Programme (a
£240 Value)
The total value of all this is £30,688!
If all this did was show you how to sign a £1m record deal, would it be
worth it?
If all this did was help you hear thousands of fans screaming for you at
your gig year after year, would it be worth it?
Of course it would!
Want some even better news?

I'm not going to charge you £30,688.
I'm only going to charge you
£247/MONTH (12 MONTHS) FOR THE STANDARD PROGRAMME

£359/MONTH (12 MONTHS) FOR THE PREMIUM PROGRAMME
£424/MONTH (18 MONTHS) FOR THE ELITE PROGRAMME
I’m also going give you my personal guarantee that if your application is
accepted, I will work with you to make sure your development programme
takes you by the hand, step-by-step to learn skills to become a
professional singer and (if desired) songwriter…I will help you learn how to
build a fanbase and deal with the media and you will see why artists come
from all over the country and from abroad to develop with 360.
But you must act now because...

You need to be at the top of your game to succeed – this takes time and
here you can be the best and have the backing of the best artist
development specialist,
D I D putting
Y O U N you
OT Gforward
E T M Y to
T Ethe
X T ?industry
!
Record companies used to pay for Artist Development on signing a new

act, NOT ANY MORE! YOU are expected to be at the right level to get
signed
You don't need to think about hiring studios, songwriters, producers,
engineers, musicians, trainers, coaches, photographers and more....it's ALL
HERE in your programme!
Just imagine what life will be like when you know how to make it!
So send me a photograph, an audio clip link or video link of you singing
and a short email about why you think you are right for the development
programmes right now, on my direct email –
matthew@360artistdevelopment.com
For those who sign up, this is what's going to happen next:
- We are going to review your application
- We are going to get back to you with our decision
- If you are successful we will send you the contract for you to sign
- Once that is complete you will be on a video call to us for your FREE
consultation bonus!
- Your year (or 18 months) begins!
WARNING:
Let's be blunt: If you pass on this offer, will you succeed with artist
development? Probably not.
You'll just keep struggling and never figure out how to make it!
Most of what you need is instruction and encouragement from someone
who has successfully "been there and done that" having got artists to a
$1m record deal, winning industry showcases and so much more.
Apply for this development
D I D Y Oprogramme
U N O T G E TNOW
M Y Tand
E X Tstart
? ! on the road to
success that you want!
So as a reminder, you're going to get with "The Artist Development
Programme":
- A full year (or 18 months) of development
- Training in Vocals, Songwriting, Performance, Music Business, Interview
Techniques and more
- Original songs written for or with you and recorded to broadcast quality!
- YouTube cover videos to build your fanbase
- Fanbase building and training in how to do this
- Options for Photoshoots, Music Videos, Performing and more
- A featured page on our site to be found by the Music Industry
BONUS #1: A voucher to take our Fast-Track Singing Course to catapult

your singing to new levels ultra fast, for less than a quarter of the price! (a
£298 Value)
BONUS #2: A FREE consultation on your music and direction to plan out
how to get you from where you are, to where you want to be (a £150
Value)
BONUS #3: Access to PRIORITY BOOKING for anyone joining the Elite
Programme (a £240 Value)
Never before have you had such a unique opportunity to have experts take
you by the hand and help you with how to make it!
Act now. It all starts with your application email to
matthew@360artistdevelopment.com
We do not distinguish between which programme you want to join on
assessing your application. If you are successful, you can choose any
programme.
Yours
Matthew Humphrys
B U T I ’ V E S E N T 1 5 E M A I L S A L R E A DY
H O W T H E I N D U S T RY W O R K S
Frustrated that you are sending out loads of emails and getting nothing back?
Wish that you knew why your emails weren’t being responded to?
Well, we have all been in this position! But let’s just turn things around and instead of
you being the artist sending the email, imagine you are the music industry executive
receiving the email.
You have 1001 things to do, you have deadlines, you have your boss on your back and
priorities are changing all the time. You open your inbox and there are 200 new
messages. You have to prioritise, so you choose the emails that come from your known
contacts first because they could be important. Then you might start looking at some of
the new ones but it’s full of sub-standard music (now that anyone can make a song) and
so why are you going to go through all the others wasting hours of your day? Oh wait,
there’s an email that has an interesting subject line – that one catches your attention and
you read that one, maybe reply. Hit delete on the others because tomorrow you’ll have
another 200 new emails…..
It’s as simple as that and so what can you do about it?
Well, one tip would be that you could create a CANARY TOKEN (search online for how
to do this). It is a tiny image that can’t be seen in an email you send, but when the
recipient opens your email, it sends you an alert that your canary token has been
triggered! Then you’ll know that they have read your email. This will then give you more
of an idea of whether your email wasn’t seen at all, or whether it was read but not
acted on. Both of these scenarios call for completely different solutions as you might
imagine.

BUT I’VE SENT 15
In the case of your email not being opened
EMAILS ALREADY!
at all, it would warrant you sending it again
in around 10 days time with a different
subject line so that you can try and catch
their attention better. You can then make
note of which subject lines work and which
don’t!
If your email is opened and not acted on,

THEY DON’T LIKE WHAT YOU’VE SENT! It
is advisable not to follow up for a while
and to make sure you learn from this,
particularly if nobody is replying when
opening your mail. Either your wording or
your music isn’t right.
You could get yourself a subscription to

disco.ac whereby you could monitor who has
listened to your music – a different link to
each person would mean that you would
know who was listening – and therefore
you’ll know whether it was something you
said, or that your music just wasn’t good
enough!

I’M GREAT IN THE BEDROOM

SOCIAL MEDIA AND ONLINE PRESENCE
What have you done to promote yourself online?

How many followers do you have on social media?
These are important questions and many a time, artists spend 80% of their time on the Music, 5% of the
time sending emails, 5% of the time on social media and 10% of their time wondering why they haven’t
got a following to listen to their music, making you great in the bedroom studio and nowhere else!
Ok, so that may be slightly unfair because there are a lot of artists who put masses of work into this
area, but it all takes time that we as musicians don’t have and you cannot be an expert and music,
design, marketing, copy writing, admin and finance all in one!
Building an online following is very important for success. People need to know about you to like and
buy your music, come to your gigs and help you have a career. Record companies need to know you
have a following so that they can be confident that taking you on will be a sound financial investment.
Spend time in this area and you will reap the rewards later. Keep your followers interested and
interacting with you. Offer them exclusives and nurture a relationship. If you go for studio sessions,
bring changes of clothes, make loads of selfies and plan to release the images over time. Be consistent
in when you release images and videos and text.
There are online services you can use to schedule social media posts months in advance. Why not spend
a longer time to start with setting that all up and then allow it to trigger automatically while you
concentrate on other things, instead of it always being on your mind?
Learn to like different platforms because just like you don’t use all social media platforms and have
your favourite, so do your fans and they might not be on your favourite one – which you will only get to
find out by experimenting with different apps and platforms and seeing how the interaction grows.
We train social media at 360 in great detail including understanding the psychology of it and using
that to your advantage as an artist. If you would like to know more about growing a fanbase, please
contact us matthew@360artistdevelopment.com

M Y M U M R E A L LY L I K E S T H I S S O N G
MY MUM REALLY LIKES THIS SONG
hen to put your songs out Secondly, that you are actually able and
there is a personal decision willing to make the amendments that might
but there are a couple of be necessary to your music to make it
trains of thought when it better, before release. It’s best to send it
comes to deciding if your music is ready of before you’ve had the whole thing mixed
not. and mastered so that the songwriting part
can be amended if it needs it.
1. Create your music and put it out if
YOU like it. 3. Create your music and get your
This is usually what happens with indie fanbase to give you feedback.
artists. You are a creative, you create Wait, what? Ask people who I want to be
music and when it’s to your liking you put it my fanbase to give me feedback? Are
out there so others can like it too. you crazy?
To a certain extent this can still yield Absolutely!!! You’d be amazed at what
success. There is music for everyone and your fanbase can tell you that will make
as everyone has a different taste, there you an incredible artist able to create
will be people out there who like your music that your fanbase crave and
music and become your fanbase. everyone likes to give their opinion so
you’ll be involving you fans in the music
2. Create your music and share it with making them even more loyal to you!
trusted sources for feedback before
release. Let’s think outside of music. You’re an
This can yield great results if two inventor. You invent something you think
conditions are met. One, you have sources will be incredible. Do you just spend loads
who can give you HONEST feedback that of money bringing it to fruition in the hope
you TRUST and they know what they are that you’re right; or do you hold focus
talking about. groups, hire beta testers and change the
formula until your product fits perfectly?
Exactly.

I SAID EXTRA LARGE FRIES!

I
SAID EXTRA LARGE FRIES!
LOOK AFTER YOURSELF
This is not written to be controversial, looking after your health as a singer is absolutely vital if you
are to survive the career you are choosing.
Are you saying I have to be slim to be successful?

Not at all, there are many examples of mega famous, incredibly rich artists who are not slim!!!
This is all about looking after your health, both physical and mental in order that you can survive
this demanding industry.
Physical
As a famous artist you will have to cope with jet lag, long days, people snapping photos of you all
day long whether you look your best or not, performing night after night and coping with a super
tiring schedule that would have even the fittest of the fit feeling like they want to have a month off!
You are but one person and unfortunately that means that nobody can take your place when it
comes to all of these engagements. Therefore you should start regular exercise, aerobic being most
important (it will also help with your singing/breathing). You should think about what you eat and
when you eat to cope with your demanding days and ensure you have enough energy not to need
to snack on high sugar foods during the day.
Mental
Rejection, haters, being dropped by labels, having your past dragged up, friendship jealousy, rival
competition, feelings of inadequacy, reading bad things about you that aren’t true, rejection, being
too famous to have privacy, oh and rejection again.
These are all things that famous artists have gone through and sadly it’s not reserved just for
famous artists. You need to ensure that you love yourself enough to have resilience and drive to
succeed. Get yourself in a good place mentally before you put yourself out there to be judged.
Look after yourself inside and out and you will be in the best place to succeed in the Music Industry.

HI, IT’S ME AGAIN

A fine line between chasing up and harassment
Oh haven’t we all made a bad impression once in our lives! That put your foot in your mouth phone call that
you want to forget forever. A long time ago when ringing around A&R people that rarely wanted to speak to an
unknown person as I was then, I had a list of names/companies and email addresses in front of me on a piece of
paper. I finally got through to a really nice guy at a major label who said that I COULD send him my demo! So I said
“can I confirm your email address please?” and in my nervous state looked at the wrong email address AND read it
out to him! NOOOO! Mortified, I had to hang up and never got back to him again because I didn’t want him to
remember me.
Of course the opposite is what you really want – you want them to not only remember you, but be in their minds
during the day so that they can follow you online, see what you’re up to and hopefully sign you one day. But there is
a fine line between keeping in their minds and outright harassment and knowing where the line is will keep your music
career and your reputation intact.
The music industry in the UK is very small. Everyone knows (of) everyone else and so if you make a good impression,
you will be commented on. If you are rude to someone, everyone will know about it. You won’t like everyone you
come across in the music industry but you’d be well advised to keep your opinions to yourself in order to forward your
career past the front door of the record company!
A&R guys and girls have a lot on. They need to find talent – that’s their job, so they won’t be annoyed at you
contacting them to introduce yourself. However, they will be annoyed if you don’t go away when they don’t want
you. So here’s a few tips to get the best out of your relationship with them:
• Do research and find out who you want to send your demo to
• Call them and ask if you can send them an email to them with your demo. This will mean that they are
looking out for your email, rather than it appearing like junk mail
• Send your demo to them. Ideally with a SoundCloud link, so that they don’t have to download anything and
so that your attachment doesn’t make their system think it’s spam
• In your email, be polite. Be to the point. SPELL CORRECTLY and don’t go overboard on your life story. They
will mostly be interested in clicking the music link and would read if they like what they hear
• A few days later, call them and ask if they have listened to the demo. Take their feedback gracefully. Do
not argue with them if they don’t like it. If they won’t take your call, it’s a good sign that they don’t want to talk to
you and maybe don’t like it, so move on
• If they haven’t listened yet, send them an email a few days later asking for feedback. Don’t follow up again
after this because you will start to become annoying
• If they invite you to a meeting, don’t get too excited. This is highly unlikely to be a signing interview. More
likely they will want to meet you in person and chat about your music, what you’ve done, the fanbase you’ve built up
etc. Be prepared for all questions and never lie
• Remember that not everyone will share the same enthusiasm with your music than you will. That’s life. DON’T
react negatively to negative feedback.

TODAY?
THAT
WAS
WAS
There are very few things that are more
THAT TODAY?
damaging to your career as regularly failing to
meet appointments or cancelling with little notice.
Many producers/studio owners/vocal coaches are
self-employed and cancellations are not only an
annoyance, but an affront to their income and can
soon lead to relationships breaking down very
quickly.
You need these people probably more than they Numer of Number of
Great Major
need you and you cannot afford to be
Singers Labels
disorganised or plain rude in how you respect
other people’s time. You may have to pay
cancellation fees for appointments you do not You come into column one. You are also clever
meet, (which would be better spent furthering your enough to have bought this book to prepare
career) but even that does not make everything yourself for making it through the doors of column
better. An unreliable musician is an un-signable two. Please take note of this chapter above all
musician. else because the music industry is very small. It is a
AN UNRELIABLE MUSICIAN IS AN UN-SIGNABLE place where everyone influential knows everyone
MUSICIAN. Are you reading this? I implore you else and once you get a bad reputation, it can be
to read it again because no matter how many almost impossible to make it better. We once
lovely people we have met in our time working in made friends with someone in the A&R department
the music industry, it never ceases to amaze us how of a major label. We thought it was great having
many people fail to keep appointments. It has led that personal connection until one day we were
to us refusing to sign people with real potential. It speaking to a manager of a producer we were
has led to major labels doing the same. Let’s look working with who informed us that there had been
at a visual example: a clear out that week and our contact was no
longer employed there. Clearly bad for us but
very bad for them; because news travels like
wildfire and we aren’t even based inside London!
On the upside of this gossip network, if you are
really good you will get the attention of everyone
you dreamed of working with.
So, how can you make sure that your new hectic
life as an upcoming star is a relatively painless
one?

WAS
You come into column one. You are also clever enough to have bought this book to prepare yourself
THAT TODAY?
for making it through the doors of column two. Please take note of this chapter above all else
because the music industry is very small. It is a place where everyone influential knows everyone else
and once you get a bad reputation, it can be almost impossible to make it better. We once made
friends with someone in the A&R department of a major label. We thought it was great having that
personal connection until one day we were speaking to a manager of a producer we were working
with who informed us that there had been a clear out that week and our contact was no longer
employed there. Clearly bad for us but very bad for them; because news travels like wildfire and
we aren’t even based inside London! On the upside of this gossip network, if you are really good you
will get the attention of everyone you dreamed of working with.
So, how can you make sure that your new hectic life as an upcoming star is a relatively painless one?
Here are 10 tips:

1. In the early stages with no manager, you will need to organise your appointments. Buy a diary
AND put all appointments in your telephone with reminders set.
2. Manage your time well. If you know you are going to be somewhere, try to organise another
meeting that day to maximise outcomes. But don’t book more than one morning and one afternoon
appointment in a day, just in case!
3. Don’t hassle people for meetings. You can politely follow up if you haven’t received a reply
but if that still fails to get a response, accept it and move on.
4. Confirm all appointments the day before. It’s polite and it saves your time if something
important has come up for them.
5. Arrive at your appointment early, but do not call for the person you are meeting until it is
almost exactly the right time, because they might not appreciate being pressured out of a meeting.
6. If you are meeting someone and are expected to pay, make sure you arrive with sufficient
funds to pay the fee. Don’t presume that they accept cards.
7. Nobody accepts cheques. Don’t even think about it!
8. Follow up every meeting with a new contact with a polite email
9. If things don’t go so well, do not bad-mouth the person. Karma has a funny way of finding its
way back to you…
10. If you really have to cancel, remember the 24 hour rule (48 to be polite!)

B U T I O N LY W A N T T O D O F E S T I VA L S L O T S
BUT I
got the $1m record deal.
So how do you start with live music?
ONLY WANT TO DO FESTICAL SLOTS

Go to gigs, speak to the bands, make
friends.
Network at music industry events. Join

forums for live music and social media
groups where people might need last
know because we feel it minute bands/artists and put yourself
forward.
too. You are ready. You
are going to be HUGE, Build a reputation for being reliable and
your music is incredible and excellent. Get onto BBC introducing and
you deserve to be work your fanbase and the local press.
headlining
But unfortunately you can’t seem to even Volunteer to perform at charity events,
get support act slots. pride festivals and other events where you
can get known.
And you’re only getting pub gigs when
you want to be performing at stadiums If you can find out who the tour managers
and festivals…. of your favourite acts are, see if you can
contact them on LinkedIn and build a
Interestingly in August 2019 Ed Sheeran relationship – pick their brains as to how to
performed at Leeds and the support act get onto tours.
was Lewis Capaldi who in himself is a
rising star and should be headlining! Get a job in show security, guitar support
or similar and get in with the actual bands
You are not alone in your frustration and it so that you can again – build relationships.
is because of the way that live music is
now the main earner for musicians that This world is all about who you know
there are actually LESS opportunities to whether that’s fair or not and it works both
get yourself on the set list. Another ways – if you know someone, you can ask
casualty of the music theft war (see earlier the question and if they know of you
chapter 19) is that slots on tours and major because you’ve built a reputation or a
events are now worth a lot of money. fanbase, they can approach you!
Record companies are buying support act

slots or inserting their own less-famous
artists into the line-up of their more
successful acts and all this means less
opportunity for you.
It now links back to the IMPORTANCE of

getting your fanbase up! We cannot
understate how important this is.
We train this to all our artists on the Artist

Development Programmes we run and the
artist who got their fanbase up to
astronomical numbers and consistently held
audiences all over the country on self tours

K N O W W H A T Y O U ’ R E PAY I N G F O R
KNOW WHAT YOU’RE PAYING FOR
Don’t be afraid to ask questions if you don’t understand your “THERE’S NO RIGHT OR WRONG
rights in a contract.
There are so many different arrangements that can be made ANSWER HERE, JUST THINGS TO
when you enter into agreements with professionals in the THINK ABOUT AND DECIDE
music industry that no two contracts are alike.
WHAT YOU’RE COMFORTABLE
But, when it comes to doing business you shouldn’t do anything
WITH”
unless it is in writing – emails count in this regard but better
It’s irrelevant if you’ve paid money towards the
still in an actual contract. It’s all very well when everyone is
recordings or not, you need to read the agreement
friendly with each other, but when songs get to number 1 all
that’s set out. It could be that they are discounting
of a sudden you might wish you had had an agreement in
their production work in exchange for master rights.
writing.
Another common consideration is when paying for song

Some common considerations to understand. Who owns the
production. The people who do the music to your song
Master Rights. These are the rights to the recording itself.
become songwriters in your song because they wrote
The person who owns these rights is the only person who may
the music. Again it doesn’t matter if you are paying –
release the music, allow it to be synced (put on tv etc.) or
there has to be a specific buy out clause for it to
deal with issues around the recording itself. It will also be the
belong to you – and expect to pay a lot more for a
master rights holder who gets the money from the physical
buy out that for a payment and split basis. There’s no
sale of the record.
right or wrong answer here, just things to think about
Sometimes master rights are split but one party owns and
and decide what you’re comfortable with.
controls the masters. That way the party that doesn’t own
them cannot release them on their own but they would
Session musicians are another common consideration.
receive their split of the sale price.
Some will want a split of performer royalties. Most
sign a contract that what you pay them is that and
they earn nothing else.
Finally, syncing music for TV you might have an

agreement where it’s a straight fee for using the music
OR you get royalties per play. This is a very difficult
decision to make because you don’t know how
successful the program may end up being!
So be aware of what you’re signing for and what that

entitles you to and that way everyone will remain
happy well into the future.

I W R O T E T H E M E L O D Y, I T ’ S M Y S O N G
CO-WRITING
The importance of having an agreement in place when it comes to songwriting
Take a look online at lyrics for your favourite songs and you will see that there are
multiple songwriters listed at the bottom of each one! Sometimes up-to 6 different
writers. It’s common and good practice to write with others, it makes the music more
diverse and you can use the best of people’s skills – whether that be the topline (vocal
melody), lyrics, music, beat etc..
Each person is entitled to a split of the song. This can be split equally, or it can be split
as you decide between yourselves. You can choose to split the music and lyrics
separately but lyricists think about this – how often is a song’s backing track used on TV
compared to lyrics printed somewhere? Therefore, you are likely to miss out and I would
suggest that splitting the whole thing can be better for everyone involved, though I am
not providing legal advice in this book.
It can also be a good idea in a song split sheet to agree to it being ONE STOP for sync
licensing. That means that anyone on the split sheet can sign the song to a licensing
agent without the permission of the others in NON exclusive agreements, so that the song
can be used on TV for the benefit of all and no rights are taken from anyone because it’s
non-exclusive.
Licensing agents like this because they can use the song quickly if a music supervisor
needs it last minute and keeps admin to a minimum.
Despite what people think, you don’t need a lawyer to write out agreements each time.
As long as your agreement is clear and signed by all parties then what is written inside it
becomes legally binding. The main downside to not hiring a legal expert is whether your
contract is comprehensive and thinks of all angles, so this is of course for you to decide.

PLUMBER, PLEASE FIX MY LIGHTBULB

The right person for the right job
How it makes us smile when we hear phrases like “my friend will mix my album for free”.
Unless your friend is a qualified, experienced mixing engineer and has the software and hardware to make your
track broadcast quality then you need to go back to the chapter about friendships.
Instead of searching every corner to save money, why not instead come up with a budget and spend wisely within that
budget. It may mean you can do less songs perhaps, but are 3 songs done to a chart-ready standard better than 9
songs done to a demo standard? Of course they are, because we no longer live in the 60s where record companies
were used to hearing appalling demo cassette tapes and having to hear the great songs in the recordings. Now they
hear ultra high quality, ready material that they could immediately put on the radio if they signed it – and if your
songs don’t match up to that standard IT INSTANTLY STANDS OUT and you will be binned – even if your song is the
best of the bunch!
You want your career to be successful, that’s why you’ve read all the way up to this point in the book. Therefore
please, please ensure you hire the right person for the right task.
I will give you an example. I am a recording engineer and a mixing engineer. I know how to master but I don’t do it
unless people insist. I would rather send it to a mastering engineer, because they are the best at that task. If people
want a pedal steel guitar like in country music, I have a program that can imitate that really well, but if the artist has
the budget, I’d rather hire a pedal steel player because it’s authentic and sounds so much better!
When people join development programmes we ask if they have an ‘extras budget’ for this exact reason. We can
then work out how we can make the most of the available funds to get the best possible product. No two artists are
the same budget wise and therefore the solutions are always different. We wouldn’t suggest a full on music video if it
would blow the entire budget, because it would be better off spent doing some photographs, hiring musicians etc.
You can use this same logic in your own planning. Work out your budget that you are willing to spend and then find
the best value for it using the best possible resources. I can’t say enough how it’d be better to DO LESS to a higher
standard than to do more to a lesser standard.
Artists on our development programmes get access to special pricing with our suppliers who we have been using for
around 10 years now. It really does enter you into a world that becomes affordable and takes off all the stress of
not knowing where to turn because everything is there planned out and organised for you.

C O N C L U S I O N
The music industry can be tough. It’s certainly nothing like
applying for a ‘normal job’ where there’s an application form, a
CV, references and a salary!
However, nothing is quite like it when you get to immerse

yourself day after day in creativity. It gives you life and an
avenue to express yourself like never before.
Hopefully you have found some inspiration in this e-book to

make a start and focus your mind on what you need to do to
succeed.
Whether you choose to go it alone, want to improve your vocal

skills online with our Fast-Track Singing Course, or want to join
us on a development programme; we wish you the best of luck
in your career and if we have helped you in any way, please
write to us and tell us. We’d love to hear from you.
Yours Musically,
Matthew Humphrys
Director of Development 360 Artist Development

Make It in The Music Industry

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I N T H E M U S I C I N D U S T RY

So you want a career in the music industry?

hear is ‘no’ or even nothing at all then stop reading now.

Outstanding Vocal and Performance Coaching in the UK – as awarded in the

DID YOU NOT GET MY TEXT? 17

I DON’T LIKE YOU ANYMORE 23

BUT SHE’S MY FRIEND 27

GREAT WITH NO TRAINING 37

I’LL SEE YOU IN COURT 47

HOME STUDIOS AREN’T AS GOOD 52

COULD YOU DO THAT FOR FREE? 60

I’M GREAT IN THE BEDROOM 77

I SAID EXTRA LARGE FRIES! 81

PLUMBER, PLEASE FIX MY LIGHT BULB 94

Why? If however you thrive on the challenge and are

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 8

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 9

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 10

Here I will outline two basic concepts of the business.

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 12

The top of your game and that you have

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 14

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 15

Oh holy grail that we all doth seek….Major Labels have

While record companies own and control the master rights of

Boo! Nobody wants to have to consult a lawyer, but you will if

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 16

DID YOU NOT GET MY TEXT?!

This chapter is mainly aimed at Artist/Manager or Artist/Producer type relationships.

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 18

Use phrases such as:

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 19

We aren’t here to talk psychology with

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 21

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 22

I DON’T LIKE YOU ANYMORE –

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 24

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 25

You may be legally obliged to remain conjoined to your

If in doubt consult a solicitor but before you do, take a step

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 26

BUT SHE’S MY FRIEND!

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 28

CLICK HERE to learn more

I CAN DO IT BETTER – GOING IT ALONE

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 31

We had an artist who we

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 32

WHY SHOULD YOU GET 25% OF MY MONEY?

It’s hard isn’t it. The thought of giving up

Many artists suffer with the thought of

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 34

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 36

GREAT WITH NO TRAINING!

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 38

IT MAKES BUSINESS SENSE

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKE IT IN THE MUSIC INDUSTRY 39

CLICK HERE to learn more

X-Factor, Britain’s Got Talent, American Idol, The

Why TV programs are there

The music industry is changing. The way people

Copyright © 2019 360 ARTIST DEVELOPMENT | MAKING IT IN THE MUSIC INDUSTRY 42

When it’s right (or wrong) for you