Hoping this Kickstarter works!

If you've been following me on Facebook or Twitter, you'll know that I am planning a year-long tour starting in December. I'm giving up my home and getting rid of most of my material possessions to live on the road for a year and tour the U.S. I've been wanting to do this for a while now, but until now, I haven't had the guts. I've put together a Kickstarter campaign to try and raise the funds to buy a travel trailer to live in while I'm on the road. I set the goal at $5,000. I really hope this works! Otherwise, I will be living with my husband and two dogs out of a car for a year. In any case, I think it's worth it.

The last crowdfund that I did was through Indiegogo, because I had problems getting my Amazon business account verified, so Kickstarter wouldn't let me launch. I got it all figured out for this time, though, after 2 hours on the phone being passed around by representatives from Amazon. Turns out that a long time ago, I set up an account with the same email address as my current account, and Amazon got confused. Anyway, the issue has been fixed and I launched the Kickstarter campaign this morning. I'm a little nervous, though, because when I did the Indiegogo fundraiser, I only raised half of the money that I had hoped to. It was a good thing that I used Indiegogo in that case, because it was enough to get my new album, Human Conditions, pressed and packaged. I was hoping to also get my debut album, The Gate, re-mastered and re-pressed, but I did not reach that funding goal. But, I've made more fans since then, and I hope generated more buzz this time. I'm trying out some new tactics this time too. If it works out, I'll definitely share them. My first Kickstarter project was a success, but it was for less than half of the amount of this current one. We shall see!

The first part of the tour is being planned. I'm going to Colorado first, and then making my way out to the West Coast. After that, I'll probably do another southern route, just to keep interest going there. My goal is to tour the entire U.S. this year. I've always wanted to travel, and I really just want to share my music with the world. I think my music is a positive force in this world, and there needs to be more conscious music out there. Michael Franti, Nahko Bear, and that whole crew are really doing an amazing job of spreading messages of unity and peace, and I hope to do the same someday.

Thanks so much to you guys and gals who read my blog! If you'd like to see me keep going, and keep pushing my music out there, please donate what you can. If I can get everyone I know to just donate $5, I'll reach my goal for sure! Please help spread the word! Here's the link to my Kickstarter page: https://www.kickstarter.com/projects/candylee/candy-lees-follow-your-bliss-tour

I posted the Kickstarter video to YouTube, but there's also a link within the video to my Kickstarter page where donations can be made!

Little Gems, Rich Experiences, Amazing People

Little Gems, Rich Experiences, Amazing People. These are some of the cool things about DIY touring. You may think you know what you're in for when you check out a venue's website, but you never really know until you physically arrive. You never know who you're going to meet, what you're going to eat or drink, or what you'll see. You don't know what the sound is going to be like, what the venue owners will be like, how you'll be received by the audience, or if the venue will want you back, or if you'll want to go back.

I just spent the past weekend in Springfield, Mo, where I performed a variety of different places, to a diverse demographic of people. After that weekend, I am now in love with Springfield. Everywhere that I played, the venue owners were very appreciative and accommodating. The people were kind and welcoming. The other musicians that I met along the way were eager to swap contacts, network, and make plans for future possible shows together, or to at least come see each other play.

I spent my first night in Springfield playing at the Millsap Farms Thursday Pizza Night. When I first got there, I knew I was going to like it. I drove down a dirt road, past a greenhouse, and a farm, then a house, and down to a little plot of land surrounded by trees. There were picnic tables set up garnished with real table cloths of varying shapes, colors, and patterns. There were lights strung up above the tables in rows from tree to tree that light up the entire outdoor dining area. Off to the side were wood burning stoves made out of what appeared to be brick and adobe, for the pizzas to be fired in. Curtis Millsap (he and his wife, Sarah own the farm), was manning the ovens with a long handled, wooden pizza peel. In front of them were tables lined up in work stations where the women and girls prepared the assortment of toppings for the different types of pizzas. These weren't just regular pepperoni and cheese pizzas, but pizzas made with homemade dough, homemade red sauce, pesto and ricotta cheese, veggies like cucumber and eggplant straight from the garden.


A long line of pizza-hungry customers lined up at the station as they waited for their pizza to be fired. Everyone sat at the picnic tables, which faced the handcrafted stage, where I was set up. I played to a happy crowd, as people socialized, children played, cats lounged, and dogs sniffed around for unlucky veggies and scraps that had found their way onto the ground. What a rich experience for everyone. I thought that this is what life must have been like before TV and internet. People getting together to make food, listen to music, and spend time with their friends and family. Though the crowd was not fully attentive, it didn't bother me because at that moment, I was there to add to the experience. It wasn't all about me, but I was glad to be a part of it. Sometimes people clapped after songs. There was an attentive group of ladies seated in front with their folding camp chairs, who clapped and enjoyed. There were some people who bought CDs and asked for stickers to hear me again later, and that was more than enough to let me know that people appreciated the presence of my music.

When I was done, I was made me a special gluten free vegan pizza with eggplant, cucumber, fresh tomato and onion. It was so fresh and delicious! Curtis and Sarah gave me advice about other musicians in the area I should befriend and make connections with. I sat by the fire pit for a minute where the kids were telling stories. Then Sarah brought me over to the greenhouse storage, where she invited me to take home a box of fresh produce, such as tomato, peppers, eggplant, squash, grapes, and purple potatoes. What an amazing night!

My second day was spent booking. I went to Mama Jean's natural food store, which was amazing, but their internet was out, so I spent most of my day in the Starbucks sitting area inside Barnes and Noble. I got a text from my sister-in-law, Shawnee, who is the amazing person who hooked me up with two venues to play at. I was scheduled to play at her place of employment, Tea Bar and Bites the next day, but she told me I was welcome to come play that evening also. So, I did.

Tea Bar and Bites is probably the cutest place I've ever been to. There are tea pots and aprons everywhere, the decor is so homey, and the lighting romantic. The architecture reminded me of a labyrinth. The entrance room is tiny, but there are more rooms behind, that branch off into other rooms. I played in the middle room, which was small and could normally only sit about 4 people. No one sat in there while I played, but the people in the other rooms could hear me, and said nice things and left tips. The food was delicious, and so was the tea! The owner is very nice and a big fan of my music. Overall it was a very pleasant experience.

That same night, I played at Lindbergs Bar which is more of the standard music venue, with a stage,
lighting, and a nice sound system. It was a slow night in there. There was a cold snap that weekend, but who knows if people were deterred by the weather or not. I certainly didn't expect to bring too many people out, as I had never played Springfield before. The girl who played before me, Sabrina Deets, was am-a-zing. Her music is much different than mine. She's a rocker. She kind of reminded me of my friend, Tiffany Christopher, in a way. She played some originals, but some good old 90's rock too- stuff I could sing along too. She played electric guitar, and could sing Janice Joplin's Bobby McGee and make it sound good. And I've never seen a girl play Led Zeppelin and freaking rock it! She also played a Jefferson Airplane song that I don't know the name of, but references Alice in Wonderland/Through the Looking Glass. I tried to take good pictures of her, but I'm just now learning how to use my camera. (One of these days I'll take a class, or look up some YouTube videos instead of just fiddling around with it!)

I didn't really want to follow her act, but I did. The small crowd enjoyed it, and the bar owner said I should definitely come back and that Springfield is gonna love me :) I met some other cool people while I was there who were also musicians. They had come for the event just before our performance, where they have a songwriting circle based on a book club. I think it's a monthly event? They read the book, just like a book club would do, and instead of simply having a discussion about it, each musician writes a song about it to perform at the circle. It sounds like a really neat idea and something I hope to attend someday!

The next day was a Saturday. I had 3 gigs scheduled for that day! I woke up early and froze my little but off at the Farmers Market of the Ozarks. My hands were numb and my body was shivering, so I know my performance was not up to par, but the market-goers and vendors were appreciative. They have a cool set up there. I got to plug into the PA which was set up to speakers all around the market. So, even if people weren't directly passing by me, they could still hear my music. On the particular morning I was playing, they were having an iron chef event with the chefs from some of the local restaurants. The tasting table was set up right next to me. Everything smelled so good! I didn't have time to take pictures because I had to break down and drive straight to my next gig, back at Tea Bar and Bites again. The market coordinator made sure to tell me that she and the vendors really enjoyed my performance and definitely want me back!

My performance at Tea Bar and Bites was different this time. I was set up outside in the courtyard and played during lunch. Unfortunately, it was bad timing because the spa right next door had a bunch of massages scheduled, and the clients did not particularly want to hear my music. So, eventually, after turning my PA down a few times, I had to play acoustic. The people on the patio still enjoyed it, and I still got to eat an amazing lunch.

My final performance that day was in Reeds Spring (about an hour away from Springfield) at a new venue called Take 5. The crowd was small, but appreciative. The restaurant owner and staff were very nice and accommodating. The stage was nice, set up with a nice PA, and the room is sound proofed, so everything sounds really clean. I enjoyed performing there, and I hope business continues to pick up and the venue becomes established, because it really is a nice place. It was almost like a listening room, the way it was set up, and with the smaller audience, which was nice for me.

I drove home that night to pick up Brandon so that he could see me play the next morning, and come visit with his sister. We didn't get but 3 hours of sleep that night, so I was exhausted by the time I got to The Aviary to play my last Springfield gig of this trip. My voice was also hoarse from singing so much over the weekend, and from getting less sleep than I should have to give my voice time to recover. But, the show must go on, and it did. The Aviary was super fancy and nice. I didn't make many tips that day, but the owner and staff really appreciated the music. They don't normally have music there, so I think it was a bit of a surprise for the costumers. It was nice to have my husband, sister-in-law, and her two friends there cheering me on. And I got a delicious meal out of it. So, a positive experience all around!

I look forward to going back to Springfield, and look forward to all of the experiences in my other travels to come! I'm excited to meet new people, see new places, and blog about it ;) I hope this encourages DIY musicians to plan out little tours, even though they may not be playing big venues yet. You have to start somewhere, and why not enjoy the journey, and the richness that each new place has to offer?

Rejection and Perseverance

I've come to learn one of the greatest hurdles that people in any kind of creative work situation have to face is rejection. It's something I've come to know well since going into music full-time. I've sent out countless booking inquiry emails that have either never been responded to, or have said that my music isn't suitable for their venue, or that I don't have a big enough draw to play at their venue. One time I got an email with the reply that was just. "NA. Thanks, [booking agent's name]." But I often wonder if the emails that warrant no response  have simply not gone through to the venue, or if they are ignored because I don't fit the bill and the venue doesn't think I deserve a response. I really wish I'd hear back either way, because if I don't hear back, I'll just keep on emailing with follow up emails. 

I've also been rejected in submitting my songs for contests via the internet. I use Reverbnation.com everyday to share my press-kits with venues, and for posting short notifications because its linked with all my social networks and posts to them automatically. Reverbnation often encourages me to submit to "opportunities" online or in my area.  A lot of the "opportunities" are songwriting contests, or radio airplay contests, or submissions to festivals, etc. I would say 99% of the time, I get rejected when submitting my songs to these "opportunities." It makes me wonder if my music is appealing enough to actually make it. I think to myself, "Maybe my style just isn't what they're looking for," or "Maybe I don't have a large enough number of fans on my social networking sites for them to even consider my song." I really don't know.


I recently paid $35 to submit to a house concert festival in Florida that will take place this April. I thought I was a shoe-in. I met all of the requirements, but I just got my rejection email yesterday. Apparently the festival judges weren't looking at "the totality of [my] talent or career." It was more about the quality of the videos I was asked to submit and the connection the hosts could make according to my performance in the videos, so the email said. What they were looking for were videos recored during other house concerts that show audience response. I don't have any of those kind of videos yet, so I guess I shouldn't have submitted at all. I was hoping to get my foot in the door in the house concert scene through the festival. That's always the hardest part about being a musician. It's a catch 22 situation. Venues won't book you until you have a fan base. How are you supposed to get a fan base going if you don't have any venues to play at to acquire fans?

With all of this rejection come the voices in my head telling me, "You're not good enough. Your music isn't appealing to enough people. There are too many other singer/songwriters out there that are better than you." But then I remember that I'm doing music because I love to, and because I have a positive message to spread through my music. And there are people who enjoy my music! I must keep an attitude of perseverance because when all of the other songwriters that face rejection have given up, I'll be the one still going strong. I'll be the last one standing. (Not literally, so to speak, but it's a good visualization for me.) I have to remember that some of the most successful people in the world started from nothing, were rejected time and time again, but kept going because they believed in themselves, and because giving up was not an option.                                                                                                                             


So, now I look forward to rejection, because it means that I'm one step closer to finding my path. I learn and adapt. I find where my music doesn't work and where it does. It's all a learning experience. So, come on rejection! Do your best! I'm going to keep on persevering, find my niche and rise above!

Another Year Older, But Another Year Wiser Too

Wow! What a trip. I got pretty caught up in the whole turning 30 thing for the past few weeks. I started having a bit of an existential crisis. I'm not sure if it's like this for everyone, but for me, the milestone of 30 caused a big journey of introspection. With society telling me that by 30 I'm supposed to have everything figured out, and have a stable source of income, etc., I was feeling a little down on myself. One of the hardest things as a musician, and what I'm told makes or breaks an artist, is the ability to stick with it. I've made the commitment to see this through, but that little voice of self-doubt in my head was more overwhelming than ever. "You're too old to make it as a musician," it said. "You started too late in the game." "You're music just isn't catchy or poppy enough." "You'll never be able to support yourself doing music full time. You're just fooling yourself." Ouch! I am my own worst critic.

However, I've come to realize a few things. Staying positive is the main thing. When that voice tells you that you can't do it, don't ignore it. Accept it and use it to fuel your passion. If you give up, you'll never forgive yourself. I've learned to ask myself what really is important to me. Do I wish to give up my dream to take on a 9-5 job just so that I can be "stable"; so that society accepts me as "successful"? Heck no!

I've never been a materialistic person. In fact, more and more I've come to despise material possessions because to me, it's not an even trade. Work your life away so that you can afford "nice things"? I'd rather cherish that time than be a hoarder. I'd rather use my time to create something positive. The big question I've been asking myself is, "You're 30, what have you got to show for it?" Well, I don't have material possessions to validate my success, but I do have experiences and memories that I wouldn't trade for anything. I've come from being a shy kid who couldn't even get the guts to order food at a restaurant, to now performing, often solo, at least 3 times a week. Personally, I think that's a being accomplishment in itself. And the ability to follow my bliss is priceless.

Now that my birthday has finally come and gone, and my inner struggle has worked itself out, I'm feeling more optimistic than ever! I've had so much support from my family and friends. They all pitched in to get me a battery powered street amp for busking. That really meant a lot to me. And my husband hand made me a cajon (a box drum that you sit on and play). But I think what really put me in high spirits was seeing one of my favorite bands perform. Which after this experience, I've come to believe that I need to go see my favorite bands perform more often. I've been a bit out of touch doing my own thing that I haven't had time to enjoy other people's music.

Seeing The Wood Brothers live last night was amazing. Those guys are no spring chickens. They don't have any sort of gimmicks. They're not super attractive dudes. They just stay true to their music and use their talents well. They write honest songs, and people dig it! There were so many people singing along to their songs last night. It was truly inspiring.

I hope one day to be an inspiration to others also. I know the only way to do that is to press on, learn from my experience and keep a positive attitude, even when that little voice tries to put me down. I've got to remember that age has nothing to do with musical success. It's all about the time you put in, and being true to oneself. Some of my favorite artists have been around for a decade before they "made it." To me, "making it" would be the ability to play at any house concert or venue I desired, and to play at festivals around the U.S. I might be 40 by the time that happens, but it will be another 10 years well spent! Each year, I'm "another year older, but another year wiser too."

Social Net-WORKING

Over the past few weeks I've spent far more time online trying to book shows than I have actually spent playing shows. I'm trying to plan out a tour for October, as well as a tour for November. I've been putting all of my booking methods to work:  contacting venues that I find through local newspapers, urbanspoon.com, and through contacting my friends who have bands that play in the areas that I want to book shows. I also discovered the search tool on the Reverbnation website. I'm able to look up both venues and bands by city. I also broke down and got the entire Indie Venue Bible that includes all regions of the US and Canada. (For those of you who don't know, the Indie Venue Bible is a list of venues for unsigned artists, such as myself, with links to the venue websites).

I had recently thought that I had more luck scouring the internet by myself than relying on the Indie Venue Bible (IVB), but it's actually a really useful tool. When I did my pressing/packaging through Oasis, I was given 1 free region of the IVB, and after a bout of no responses from the venues I had already contacted through my other methods of booking, I decided to give it another shot. It actually is quite useful, as there were venues listed that I wouldn't have found otherwise. And the cool thing about IVB is that each venue is listed with the genres of music that each venue hosts. I went ahead and bought the full bundle, which is around $50. It not only includes the list of venues, but tips for touring and information on music business related topics. It also includes a list of promotional contacts for each city, such as newspapers, radio stations, etc. that will get the word about your upcoming shows. I haven't had time since I downloaded the entire IVB to put it to good use, but I'm about to today. We'll see how well it works!

In addition to all of this, I've also been trying to utilize my "social networks," both on and offline. I've started to post things on my Facebook wall like, "Does anybody know any bands in Nashville I could open for?" or "Does anybody know anybody in Memphis?" I've actually gotten a few gigs by doing this so far! I've also contacted my friends who live in the area I'm trying to go, to see if they know anyone who would host a house show, etc. I've gotten a few, "maybe next time"s on that. 

I would say for about every 20 venues that I contact, I actually get a reply back. Two thirds of those replies either say that they are booked already, no longer have music, or that my music doesn't fit the genre of music they're going for. I probably would be getting a lot more responses, and have had a lot more success in booking had I gotten to it sooner. A lot of venues book 5 to 6 months in advance. So my lesson here is to start early! 

When signing up for the "opportunities" on Reverbnation, such as contests for radio airplay or placement or write-ups in music blogs or magazines, I'm constantly reminded to make my press-kit look professional. A good press-kit should include a good bio, press write-ups, quality recordings, and quality, high-resolution photos. I had most of those things except for the photos, so the other day I had a photo shoot with the amazing Jeremy Scott, and the pictures turned out great! They definitely help to make me look more professional. Hopefully they will help in getting me more gigs. Unfortunately, it's not all about the music. Appearances, and connections seem to have a bigger role in getting gigs than actual talent.

I've also learned that I'm going to have to start from scratch in all of these new cities. I have a good credibility here in Arkansas, but few venues want to book a band that doesn't have a following in the area. What venues are mostly concerned about is the number of bodies you can get in the door. How many people can you get to pay a cover charge? How many people can you get drinking? That's the music business! I guess that's why it's important to try and pair up with local bands so that you can essentially "steal their fans." Always bring a mailing list and have anyone who tells you they enjoyed the music sign up! Then you can email and notify your new fans when you'll be in town again. The hope is that you gradually get those numbers up through touring in the same areas, and eventually build a big enough fan base that venues will book you!

I'm still in the learning process of all of this booking business. We'll see if I can get it in gear! Thanks for joining me as I spill out all of this nonsense. Keeping this blog helps me to make sense of it all ;)

Recording is a Process

I was asked a while ago to do a blog post about my recording process. If you have been keeping up with my blog, you'll know that I do pretty much everything related to my music; booking, promotion, recording, etc., myself. I recorded my last two albums by myself, and mixed them myself too. I did however, get my latest album, "Human Conditions," mastered professionally (wonderful work by Darren Crisp). I highly recommend hiring a professional to master your recording, if you wish to distribute it online or sell hard copies.

In previous years, it was much more difficult for musicians to record themselves, and most people either did a low fi, 8 track type recording, or they went into a professional studio. But with today's programs, such as logic or pro-tools, it's much easier, and much more cost efficient, for musicians to record themselves. I also prefer a sound in between a low-fi and professional sound. Professional recording studios often produce recordings that sound a little too polished for my personal liking. I like a little bit of home-made feel. So, if you're an aspiring recording artist, or you'd just like to experiment and record yourself for fun, here's a little bit of direction on how to get started.

EQUIPMENT:
Here's a list of all the equipment you'll need to record an album, Candy Lee style:

1. A Mac computer- I have an iMac, but I've seen people record using, Mac laptops, such as the Macbook Pro. I've not tried recording on a PC, and don't know anyone else who has, but I'm sure it's possible with the right program.

2. Recording software -(I used Garageband for my first album, and upgraded to Logic for my second).

3. A USB interface- I use a simple M-Audio Fast Track. It has one input for a mic, and one for a guitar. There is also an input for headphones, but I just plugged my headphones directly into my computer.

4. A decent mic- I use an Audio-Technica cardioid capacitor microphone. My model is the AT2035. It's just under $200. You can pay more money for a better mic, but if you don't have a real, sound proof recording studio, it doesn't make sense to.

You'll also need the accessories to go with your mic, to keep it in place, and keep it protected from jostling, etc., during the recording process, such as:
- boom mic stand
- shock mount (Mine came with my microphone. I believe they usually do.)
- mic (or xlr) cable




I also use a pop filter, which protects vocal recordings from harsh "s" or "p" sounds. The pop filter will just mount on to your mic stand, and be placed in between your mouth and the mic.








5. A decent pair of headphones- I have Shure studio headphones that are okay. I'd like to find some that do a better job of isolating sound in and out of the headphones. For recording purposes, close-backed headphones are preferred. These headphones keep the sound from the track you're hearing in your headphones from bleeding through to mic as you're recording. Unfortunately, during mixing and postproduction, it's recommended to use open-backed headphones for a more natural sound.
5. An instrument- which ever yours may be. If it's acoustic, record it via mic. I have an electric/acoustic guitar, meaning that I can plug it in for shows for better sound quality through the PA and more freedom in my range of motion (rather than being stuck right in front of a mic for my guitar amplification). If you have an electric/acoustic guitar, I recommend recording via mic, rather than plugging direct through the built in pickup. The sound is much better and richer. Some people both mic and plug in to record their acoustic/electric guitars. Some people use two microphones to get an even richer sound. There are a bunch of recording techniques out there. The best thing to do is research online, or get some how-to books on home recording, and then experiment with positioning of the mic to your guitar, to see what sounds the best for your particular guitar or instrument, which produces the sound you're looking for, etc.

I did record some electric instruments on both of my albums- bass guitar, and electric guitar. For those, obviously, I plugged them in direct to my audio interface.

PROCESS:
If you go into a studio, or you have an amazing home studio that is sound proofed, with multiple sound proof rooms, you'll have the ability to record live with your band members. If you don't, you will have sound bleed, and won't be able to re-record over, or "punch in," any mess-ups on any particular instrument or vocals. If your band is that practiced, and tight that you can record everything in one take, more power to ya! I recorded so many different musicians on this album that aren't in my band, and a lot of the instrumentation was being written as we recorded. May of the performers were just improving on the album. Plus, I tend to be a perfectionist when it comes to recording my own guitar and vocals and will do multiple takes of each until I get them right, so I prefer to record in layers, which means that I record each instrument separately, one at a time, one instrument per track.

SETTING UP:
My set up is quite simple. It all revolves around access to my computer. I need to be able to play my guitar one second, and click the mouse, or use the keyboard the next. Usually if I'm recording guitar, I keep it in my lap, as I click on the mouse to start or stop the track, etc.

Firstly, though, I plug my interface into the USB, in my Mac. Then I plug my cable into the instrument or mic and into the interface. My mic is phantom powered, so there is a phantom power switch on the interface that needs to be switched on. (Note: if you buy a phantom powered mic, make sure you have an interface that can handle it!)

Don't forget to plug in your headphones, or you will get a terrible feedback from your mic and your computer speakers!

When I record acoustic guitar, I set up the mic so that it is level with the sound hole of the guitar, then I move it over a few inches up the neck of the guitar. Placing the mic directly in front of the sound hole will produce a sound that's way to boomy. Again, experiment with the positioning of the mic to your guitar and see what works best for you.

When I record vocals, I place the mic level with my mouth, I place the pop filter in front of the mic, and I sing into the mic about a hand's distance away (the hand is completely spread out from thumb, to pinky). When you are recording, be sure to watch if any of your vocals or instruments are "peaking out." If the signal is too strong, it causes a distorted sound and sometimes clips the sound. Make sure that your signal is strong but never clipping. There should be a light on your interface that lights up if you are clipping the sound.

I can't really go into all of the details of setting up Logic, as it is pretty complex, and I'm still a beginner at it. Plus, if you have a different program, it wouldn't be of any use to you. The best thing to do if a program is new to you is to look up how-to videos on YouTube. That's how I learned Logic. I think it's a bit more direct, faster, and easier for me as a visual learner, than reading an entire book on Logic. My favorite how-to videos on Logic are from Mitchel Pigsley on YouTube. Sometimes simply Google-ing your question is even more effective. If you have Logic, and have any questions for me, feel free to leave me a comment and I'll do my best to answer.


RECORDING IN LAYERS:

When recording in layers it is best to use a "click track." A click track is basically a metronome that gives little ticks in your headphones to keep you in time. If you plan on punching in, a click track is the best way to go. It makes it easier to repeat sections also (I do this with backing vocals, such as oohs and ahs, so that I don't have to sing them in each new section of the song where I want them to go). If all of your tracks are in time, everything should sync up, if you're punching in over a mess up, or copying and pasting tracks you'd like to repeat.

Once I've got my click track set up, I record what's called a "scratch track." This is basically a rough draft of vocals and guitar (just sang and played in the same track) to begin with, which will latter be scrapped. Guitar and vocals will be recorded better later. On "Human Conditions," I recorded scratch tracks so that the drummer could lay down his beats first.

This is the order in which I record my tracks.

1. scratch track
2. drums
3. bass
4. guitar
5. vocals
6. supplemental instruments

I usually like to get my rhythm section good and tight before I record my guitar. I like to be able to follow drums and bass. (I may even edit a note or two on drums or bass if there is anything that is particularly off). I feel that the music flows better that way, and it's actually easier for me to record. I record my vocals before any other supplemental instruments because in my music, the vocals are the most important. I have many layers of vocals and want to make sure that those vocals are not covered up by other instruments. However, most bands will record vocals last.

***I was lucky in that both the upright bass player and the string player on "Human Conditions" recorded themselves and had their own recording set up. I'm not sure if it would have turned out as good as it did. I do know that the upright bassist had both a mic and a pick up to record. The string player did record in layers, but I think he had a multiple mic situation also.

MIXING:

Mixing is a whole separate beast. It requires a tuned ear and a lot of patience. It's not something I can explain or do a tutorial on. It's all about listening, and learning. I just try to create a sound that allows each instrument to be heard, and turn up the vocals so that they just rest on top of the music, and aren't blaring over the music or lost behind the music.

I also make good use of panning, which is positioning the instruments toward right and left speakers to create a more distinct and full sound. If everything is positioned in the center, it sounds muddy. I normally put drums and bass in center, then pan the guitar and other instruments. I put the main vocals in center and pan the harmonies and backing vocals so they are present but not overbearing. I listen to the recording on multiple sound systems over and over again, until I get the sound that is the best across the systems.

There's also the issue of equalizing (EQ), which takes a lot of patience and fine tuning, but is very important. You want to make sure that each instrument can be heard- the high instruments have enough treble that they stand out, but not so much that the frequency hurst your ears; the bass has enough bass to be heard and rounds out the over all sound of the mix, but doesn't sound boomy. Take the unnecessary frequencies in each instrument out to clean up the sound, such as the treble out of the low instruments like bass and cello, and the bass out of the high instruments, like guitar and mandolin. It also depends on how many instruments are in the mix, as to how you EQ the instruments. It's all about the overall sound, rather than EQing the instruments so that they sound good individually.

A good mix also uses a small amount of compression and reverb.

Again, I recommend watching as many tutorial videos on the subject as possible, especially ones that are specific to the program you'll be using.


EXAMPLE:

Here's an example of a simple recording that I video taped to show how layering works. Thanks for reading my blog, and let me know if you have any questions. I'm not an expert by any means, but I'd like to help you get started if I can!

Quit Your Day Job; What I've Learned So Far

Wow, so that thing I said about doing a blog post every week or so.... yeah. I definitely need to get back on the blogging wagon. I've been really busy, and it's a good thing!

There have been a lot of life changes going on for me. I got married. That's pretty awesome! Our wedding was the best day of my life :) On top of that: I also quit my day job to do music full-time! My husband, Brandon, being the sweet, amazing, supportive man that he is, encouraged me to go for it. I'm so happy to be taking this step. I have always felt a bit self-contradictory working close to a full-time job that's not really in the vein of what I want to do with my life, while singing songs on the weekend that I wrote years ago called, "Follow Your Bliss" and "Sweet Music"; songs that have to do with chasing your dream and doing what you believe in; songs that reject the social ideal of "financial security." Though part of me wants to sell all of my material possessions and live the vagabond life simply touring and gigging, I also realize that the "things" that Brandon and I have worked so hard to afford are useful, such as my music and recording equipment, and Brandon's art supplies. It's also useful to have a place to do my recording, and for Brandon to make his art. It will be difficult at first to get gigs consistently enough to hold up my end, but I believe I can eventually get to a point where it's easy to do what I love and get paid for it. It will happen if I can stay diligent enough!

The main reason I decided to do music full-time is because I've always felt that if one really wants to be successful, he/she must treat it like a full-time job. I'm devoted to spending the time everyday to work on my craft and get my name out there. I now have the time to spend booking. Looking for new venues to play, contacting venues, and networking with other bands takes a lot more time than you would think- hours and hours! I also now have the freedom to book a show any day of the week, and can play last minute show offers, without concern for work schedule conflicts. I'm also able to travel a bit, and I'm starting to expand my "territory," and play in other surrounding areas outside of Fayetteville. I have more time to practice and work on other musical projects that I'm working on for other people/bands. And hopefully, I can designate some time to social networking and blogging ;)

I quit my job about 2 weeks ago and have played quite a few gigs since then. It was like, as soon as I decided to do music full-time, doors started to open for me. I don't know if it's some kind of divine sign that I'm on the right path, or just a product of all of the hard work I've put in, and the fact that I've put the word out that I need more gigs, and have been tenaciously working at booking. Since I quit my day job, I've played in Little Rock, and Conway in Ar. I've also gone up to Joplin, Mo, a few times to play as well. I'm working on a trip up to Springfield for September, as well as a trip to Tulsa and Oklahoma City that same month. As a solo female artist, I don't feel comfortable taking very long trips by myself, so I'm trying to limit them to just a few days in towns where I know people I can stay with.

---------------------------------------------------------------------------------------------------------------What I've Learned So Far:

If you're a musician just starting out, or you're just interested in how one goes about booking shows, here are some things that I have learned about booking: I went and downloaded the "Indie Venue Bible" for my region of the country, as one of the free perks from having my album packaged by CD Baby. Though it's a good starting point, I actually have more luck finding good venues to play at when I'm able to obtain the local weekly newspaper that has a live music calendar for the area where I'm wanting to play. It takes a little bit of sifting through, but if you study it and look at the links of what bands are playing where, you can get a pretty good idea of which venues are compatible to your style of music. As a solo artist, I like to supplement my "shows" with restaurant gigs for money. One thing that has helped me out is going to urbanspoon.com and searching for "live music restaurants" in the area where I want to go. This also takes some time to filter through, as some of the places don't have live music regularly, but just for special events.

It is also a good idea to look for songwriter open mics, or songwriter nights or contests. These tend to only pay if they are a contest and you win, but they are usually on off-nights, like Mondays. They are good opportunity to get your name out there, possibly sell some merch, network with other musicians, and get your foot in the door in a new city. If it is a venue that has larger acts and bigger names on the weekends, it might get your foot in the door to open for them.

Another helpful tip in booking shows is networking. Ask your friends who are in bands with a similar musical style where they like to play when they go out of town. Ask if you can open for them. You might not get paid much or at all at first, but it opens doors for you in new places. And while you're there, have a mailing list and encourage people to sign it, so that the next time you come back to town, you can email them and let them know about your show! I have free stickers that I pass out with my website on them, but having a mailing list is a way to reach out to your new fans, instead of hoping that they will remember to get online, look you up, and reach out to you. (That was a tip given to me by Anna from Handmade Moments, and it made a lot of sense!)

I'm excited to keep learning the tricks of the trade, and share what I've learned with my blog readers! Thanks for reading and joining me on my exciting new journey!

Higher Than a Bird in the Sky

I may not be playing huge festivals or going on long, extravagant tours yet, but sometimes being a musician brings about some pretty cool and unexpected opportunities. Aside from the normal radio and TV interviews, press, and regular gigging, some cool things have happened to me over the past year. The most memorable would be performing at a middle school, and performing at a wedding at a Fly In.

Playing for kids is always cool. They still have that "Sense of Wonder," where they are exploring and experiencing things for the first time. Life is exciting. Everything around them in nature seems to be magical, and music just gets them moving. They are able to dance without inhibition.

The kids I played for at the middle school are in the transitioning period from childhood to adulthood, where they are still excited about things, but are also beginning to develop critical thinking skills. A friend of mine is a middle school teacher, and he has an awesome way of tying things into his teaching curriculum, and making learning fun. He had me come play for his class. I played a few songs for them, one of which was "Wake Up." To me, this is one of my most deep and encoded songs lyrically. He asked them to listen and take down notes as to what they thought the song was about. In my head, I thought that this was a rather big challenge for middle school aged kids. But when it came time for them to read their thoughts, I was blown away! They were so introspective! They hit a lot of the main points of the song right on the head. A lot of times I wonder if people really listen to my lyrics, and if they "get" them. These kids totally did, and it completely made my day. It made me feel like what I'm doing as an artist is meaningful and does have the potential to make a positive change.

The second most memorable experience was far less enlightening, but oh so exciting! I recently played at a Fly In/wedding at Byrd's Adventure Center. The view there is breathtaking. I love the Mulberry. Usually when people ask you to play at weddings, your'e there for background music. You're there to look pretty, and make them look good too. But this was totally different. I entertained a welcoming, down-to-earth gathering of pilots. They listened, danced a bit, and bought CDs. But the best part was, the gyrocopter ride! I didn't know such a thing even existed. It's a small aviation vehicle with a spot for a pilot and a passenger. It resembles a helicopter, but maneuvers a bit differently. It's also open, so you can feel the wind on your skin, look over the side, and spread your arms out like wings, if you wish. When I first saw it in flight from the ground, I was pretty nervous to try it out myself. It went higher than a bird in the sky, and whipped and dipped around. I almost chickened out, but knew I would never forgive myself if I passed up the opportunity. It ended up being one of the most exhilarating sensations, and the view was just amazing. I've always imagined flying over the mountains, and have dreamed about it too. Never did I think my music would open me up to an opportunity like that! It makes me say what I envy people for saying on Facebook: #ilovemyjob

So, if you're a musician, be open to obscure opportunities to perform. You never know what kind of experience you'll end up having, who will be there, or what your performance could mean to someone in the audience. I guess this principle could apply to all facets of life. It stems from that old saying, "Say YES to life."If you do, you might just fly higher than a bird in the sky :P

Sweet Distractions

I wonder if the most "successful" people have any lives at all. How do they have time for everything? I've been feeling particularly distracted from music these past few weeks. I always have an on-going list of to-do's for songs I need to practice, people I need to contact, booking, and organizing and scheduling duties, etc., that seems a mile long. But this past week, I've been pre-occupied with everyday, real world, home life things.

Mr. Buddy and Boris

Brandon and I just rescued a dog from the shelter. His name is Bruno. We were looking for a playmate
for our dog, Boris, as our other dog, Mr. Buddy, is 12 years old, and doesn't do much playing, or much of anything these days. Boris is a sweet dog, but he has a LOT of energy. We were hoping that by getting a dog for him to play with in backyard, he would expend some of that energy and calm down. Our efforts seem to have work so far. Boris is much more calm, when he's not playing with Bruno. He seems really happy and well adjusted. He's learning to walk on the leash better, and has stopped chewing up the couch. Seems like we made the right choice, right? Well... Bruno is a handful in himself. He has MORE energy than Boris, and is pretty much wearing Brandon and me out. He has anxiety issues. He jumped the fence twice. He's terrible on the leash, and he even attacked Mr. Buddy during feeding time. Brandon and I were about to take him back to the shelter, but we made the decision to try and rehabilitate Bruno. We are worried this might be his last shot to find a family patient enough to train him up. So, we've spent some extra time and money extending the fence in the backyard, and we've been watching a slough of YouTube videos, and reading dog training books whenever we get a free minute. I've been trying to teach Bruno to at least make eye contact with me, and to walk on the leash without pulling me along. But all of this is taking sooo much time! I hope I can find the patience.

On top of that, we've been getting ready for the wedding; planning and prepping for a whole host of family members to come and stay in our house. We're very very excited about the wedding, but
planning a wedding is a lot of work!

Bruno, AKA the Spaz!

Today, Brandon and I spent time focused on those two things, but then we took some time for ourselves to cook and share a meal, and get caught up on our favorite TV show, Once Upon a Time. Though I know some people would think that watching a TV show is not a good way to spend time with someone, we enjoy it. We get to cuddle, and chill out. Our dogs chill out too. Everyone in the house is calm. We have fun trying to figure out the plot twists before they happen. We snap our fingers and hoot and holler when a character get's told off, or they get what's coming to them. It was nice to have a little time, even if it wasn't on my to-do list, or scheduled out. Even the dog training, and fence extending was a nice break from all of the things we "should have done" today, Brandon with his art, and me with my music.

What do I feel I should I have done today? Well, I've been planning on making a new YouTube video series called, "Song A Week," wherein I video record live solo performances of original and cover songs. The first song I need to cover is "Into the Mystic," by Van Morison. It was part of a Kickstarter reward package for me to cover and make a video of this song. Though I did make an audio version, I have yet to make a video. Partly because I lost my recording capabilities, and partly because I've been so dang busy. But, now that I have the ability, I need to get to it! It will probably take me a few hours, and it's been hard to get a few consecutive hours free to do that. I also should have done some organizing, and worked on another song I signed up to record on. "Shoulds" get so dang exhausting, though! So, I took a little time for myself. And, though I wanted to keep on relaxing, I finally mustered up the willpower to write another blog post.

It's hard to find balance between home life, work, and musical projects. Personal relationships are important in life, and so is taking time for oneself. Though I enjoy what I do as a musician, it can start to feel like work if I don't take a break. I've been a bit of a workaholic over the past few years, and haven't taken enough time to stop and smell the roses. While my friends were out floating or at a bonfire, I was in my room recording or booking. I need to find the balance between achieving and experiencing. I think overall, I just need to be easier on myself, and not get worked up when I don't accomplish everything right away. If I'm constantly living for some future time when all of my projects are done, how can I enjoy the good things in life that are right in front of me now? If you think about it, all we have is now. There has never been a time when it was not now. The future doesn't exist, except in our imaginations. We make up all of these possible scenarios, and get stressed when we imagine that things won't work out how we plan.

So here's an encouragement for myself and for anyone who reads this blog: make a conscious decision this week to be in the moment. Get your mind to shut up for a second! If you're out somewhere, and someone is playing music, listen. I mean really listen, like you used to in your room when you were a teenager. When the music moved you so much that you closed your eyes, and for a moment, got lost in the undulations of sound. When a loved one gives you a hug, hug them back, FOR REAL. Give them a good squeeze. Think about how much you love them, and appreciate them with your whole being. If you get the chance to be creative, get into it! Enjoy it. Don't think of it as work, but a privilege. If you get the opportunity to go outside, do it. Feel the sun on your skin, smell the air, watch the birds and squirrels in the trees, and realize what a blessing it is to be alive! If life offers you a sweet distraction from monotony, or stressful situations, take it. You'll be so glad you did. Hopefully I can take my own advice!

Don't Steal My Voice!

Well, if you have been following me on Facebook, you'll see that a lot of people have encouraged me to try out for The Voice. I had put it out there that I was contemplating auditioning, because I wanted to know what my friends and fans thought about the notion. I have been encouraged by my family for years to try out for American Idol and The Voice. The Voice seemed like the lesser of the two evils. It seemed like a pretty cool show; like they wanted you to be unique and be yourself, rather than be molded into a powerhouse singing icon like on Idol.

I was considering auditioning for The Voice, not only because my family had been urging me to, but because I LOVE singing. I've worked hard on my singing craft. And usually what people say to me at shows is, "Wow, I love your voice," not "Wow, you're a really great songwriter." Though I love writing songs, and I think those who really listen appreciate my lyrics and song forms, singing was my first love, waaaaay before songwriting. (Well, actually visual arts was, but we can get into that another time.) I used to practice singing Ariel's songs from The Little Mermaid. (I even had a Little Mermaid doll that I carried around with me everywhere, and made a bed for her out of a shoe box.) My mom brought me up on all kinds of musicals, not just the Disney ones. And yes, as an adolescent, I jammed out to Brandy and Christina Aguilera. I've got that soul in my voice because I was a singer first. So, having worked very hard on my craft over the years, it's natural that I wanted to show it off. I can actually do a lot more than I do in my songs, because I never wanted to diva it up in the music I write and take so seriously. I don't normally show off, but The Voice would give me the guilty pleasure of having the chance to.

I was hesitant about auditioning for The Voice because I do take my songwriting seriously. I didn't want my performances on The Voice to overshadow what I love to do: write and sing my original songs. I get peeved when people come up to me at shows and say, "Your voice reminds me of this person. Can you play a song of theirs for me?" Why can't they just enjoy the songs I'm already singing to them? Anyway, I want people to respect me for my songwriting abilities as well as my singing voice. I want to be known as a true artist, whether I'm famous or not. There's also the issue of distraction. I didn't want The Voice to distract me from writing or going on my own tours, etc.

Now that being said, I never wanted to be famous. I don't need to be rich. All I want is to be able to someday support myself by doing music only, and not have a full-time or even a side job. I want to be able to make music and share it with others constantly. I feel like my day job comes in the way of that a lot of times. I'm at work constantly thinking about what my next moves will be when I get home. I'm always thinking about a song I'm writing in my head, wishing I could just pull out my guitar and write. I'm thinking about recording, booking, etc. All the things I wish I had time for, but don't because I'm working. I got all starry eyed and thought The Voice could be my way out, or at least give me some exposure so I could start selling more of my records.

To be honest, even if I were to go on The Voice, I wouldn't want to win, because I wouldn't want for the corporate music business machine to own my soul. I'm NOT a competitive person by nature. (Even when I ran cross-country in high school, I hated the meets. I was mostly there for the camaraderie. Running with my friends in a pack after school was fun for me.) I would mainly have gone on The Voice for fun, to show people what I can do, and for exposure. And to tell all the people who keep telling me to audition that I already did.

After my Facebook post, I got a lot of positive feedback about going on The Voice, and some negative. In the negative responses, the word integrity was used. I get that! I definitely want to keep my integrity as an artist, but don't think I would have necessarily lost it just by participating in a game on TV.

So what was the final decision maker in all of this? I've found out through internet research that the contract they make you sign is not good. I don't want to get into it, but there's some shady stuff that goes within it. You can check it out here, if you're interested: http://www.afterld.com/forum/showthread.php?41165-The-Voice-contestant-contract-terms
It basically entails a 7 year "slave contract." They own you. You can't make anything on the side, or do any tours on the side. They want a piece of everything you do for SEVEN YEARS after you've been a contestant (not even the winner) on The Voice.

So, that's why I will NOT be auditioning. The Voice, will not take what is most precious to me, which is MY voice, and I don't just mean my singing voice, but also my speaking voice and freedom of speech that I exercise through the lyrics in my original songs.

Maybe I'll start having my own Candy Lee version of The Voice, in which I post videos on YouTube of me belting it out... maybe, or maybe not. Stay tuned!

Little Victories

Tonight, I played at Wasabi. I love that place. As far as restaurant gigs go, it's one of the best in town, as far as compensation and accommodations. I always get to eat some bomb-ass sushi afterward. The crowd there, however, usually doesn't pay much attention, as is the case with most restaurant crowds. At least, not when I play solo.

I've got a theory about dinner music, that the more people you have in your band, the more likely you are to attract peoples' attention, and the more likely they are to listen. It may have something to do with more energy in the music with more instruments, or more energy in the stage presence between the players. Either way, it seems that more members = more attention. BUT people aren't really there to see the music at restaurants anyway. Customers are there to eat and socialize. Musicians at restaurant gigs are mostly there to create an ambience, as background music. I always say, "I get paid to be ignored." But I'm not too bothered by it. I get it, though it is nice to have a few audience members pay attention, make eye contact with you every once in a while, and clap a little after a song- until they realize that no one else is clapping. When I first started playing restaurants I was really hurt that no one clapped after my songs. But you get used to it. It's kind of just an added bonus when people do.

At my gig tonight, that was pretty much how it went. There were a few couples who sat next to each other to face me, instead of sitting across from each other. I had a few people clap here and there. While I was on my break, a few staff members told me I sounded great. A few people tipped me a couple bucks, and one person bought a CD. I'm always surprised by who will and won't tip me or buy CDs. A lot of times the people clapping, who you are sure are digging it and must want to buy a CD, just give you a thumbs up on the way out. And then people who don't seem to be paying much attention at all will tip you and buy CDs. One time I was playing at a restaurant and I felt like this family was just talking over me the whole time. They came up to me after my set, told me they love live music, and bought CDs AND t-shirts! You just never know.

I was a bit uncomfortable at this gig. After the sun went down, it was quite chilly. I had to put on both jackets that I had in the car. I don't know if it's because I'm small, or because I'm from Florida, but I start shivering pretty easily. It messed with my singing for sure. And my fingertips were a little numb, so playing the guitar was challenging by the end of it. Not to mention, the music across the street at Jose's is always over powering, and sometimes makes it to where I can't hear myself, especially with the patio customers trying to talk over the Jose's music and me. But I stuck it out! Played until my time was up!

But even with all of the things that go into the awkwardness of restaurant gigging, I still ended up having a pretty awesome night. A gentleman maybe around my age, dressed in a nice shirt and slacks came up to the gate to listen. He clapped after the song I was playing was finished, and stuck around for another. I thought the whole thing was a little strange. I kept peering over my side bangs with my peripheral vision, trying to figure out the situation. He didn't look the part of a music lover (But I guess I'm not really sure I know what I think a music lover looks like. A hippy? That's a really bad stereotype). I thought he might have just been drunk and patronizing me. I looked over after playing the 2nd song he stuck around for, and he was gone... until, he came in through the front door and onto the patio to listen to one more song. When my song was finished, he bought BOTH of my CDs. He said he heard me from the street and had to come over, and that I had a distinct, and pleasant sound. It totally made my night! So much so, that I had to blog about it. One more little victory for Candy Lee!!! It's moments like that which remind me of why I'm doing music. It's not for everyone. It's for those who choose to listen :)

Not Starving...Just Hungry

"Do music because your soul demands it. Keep putting it out there for people to hear... Don't tell the story of being a "starving" artist. Be an artist who is "hungry" to entertain and move people."

This is just one of the encouraging messages I received from friends/fans after they read my last blog post. I completely and wholeheartedly agree with that statement. I will always make music because I love to. I make music because it is in the essence of my being. To quote the great, Van Morrison, "Music is Spiritual. The music business is not." And I think that's what I'm getting at in all of this.

I hope I did not sound too cynical in my last post. I also hope I did not seem like I was fishing for compliments, because that was not my intention. I'm just setting the stage. I want to invite you into my journey through the indie music industry. I want to show what it will take to one day make music for a living, instead of just making it in my free time. It has been, and will continue to be, a lot of falling down and picking myself back up. I may eventually just have to sell all of my possessions and hobo it on tour. Who knows?! One thing for sure is, that I will never stop making music.
...................................................................................................................................................................

Here's a little glimpse into the indie music industry, some of the challenges I will face, and the pros and cons of modern technology in the music industry:

The music industry has changed greatly over the past few years. It's no longer necessary to get a record deal to be able to produce a record. There are so many easily accessible technologies at our finger tips now, if you just put in the time to learn to use them. I taught my self the recording program, Logic, by watching videos on youtube. With this technology, I was able to record nearly everything off my recent album, "Human Conditions," with a simple audio interface with one space for a mic and one space for a quarter inch cable, a decent pair of headphones, and Logic. I can also make my own posters and create my own merchandise designs with photoshop. I can create my own website, and do my own booking online. 

Recording my own vox.

Recording Emily Roland on
back up vox
for the song beautiful day.

Recording the amazing
Michael Adkins on drums.

Recording Drew Packard on bass.

                                               Recording in various places with my meager recording equipment

All of this new, readily accessible technology sounds awesome, right? Well, it has it's pros and cons. I love it because it enables me to produce my own music. It also allows other shining souls, SONGWRITERS, to be able to fully express themselves through music, and have it be heard by others. Though mainstream pop, concerned with sex and money, still exists, there's an underground movement happening; people telling stories, people shedding light, and some people writing lyrics that are just gibberish, but the music still moves people. BUT with all of this going on, there is still that over-saturation in the market that leads us musicians and songwriters to have to try and market ourselves and rise above. Though we are able to produce records, we still have to try and get them distributed and heard. We still have to squeeze our front feet in the door to play shows and go on tour. Venues will only book you if you can draw a crowd, so it's a difficult Catch 22 situation to try and figure out. How do you build up the fan base to draw a crowd if you can't get booked in the first place?

For some bands, it's easy to draw a crowd, because they play fun, upbeat music that people like to dance to (usually while drinking alcohol). But my music is a bit different. While it is upbeat sometimes, it's also delicate and introspective. For me, I'm going to have to try to find, or create, my own niche. And to do this, I'm told, I need to learn how to market myself; something I've never been particularly good at. I've always been a very shy, modest person. I have always tended to look down upon people who are constantly self-promoting, because to me, they come off as conceited. But I am having to change that whole mentality. I'm having to humble myself, and learn from the success of my peers and predecessors. Right now, I am reading "The Indie Band Survival Guide." It's a little outdated, and it was only written 2 years ago. Social networks and technology are constantly evolving, but there are still a lot of good tips in there. We'll see if they work as I try to put them to use!

Don't worry, I'm not going to become an all-business kind of gal. I'm just going to have to find my niche, where my true light can shine through and resonate to people with listening ears. I might have to come up with a gimmick or two, but they'll all support the message of my music, and spring from my truest self. I'm going to have to get creative! And as always, I'll have to be diligent and patient, and be "hungry to entertain and move people."