The 30-30 career: making 30 grand in 30 seconds! 4 Singing on major TV comemercials
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Bloomington, Ind.
AuthorHouse
2010
|
| Ausgabe: | 1. publ. |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | 258 S. Ill. |
| ISBN: | 9781452050997 |
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| adam_text | THE
30-30
TABLE OF CONTENTS:
Don t waste another moment wondering what if...
Make your
30-30
SINGING CAREER happen
now! This is the ultimate guide!
FOREWORD I
INTRODUCTION
3
1)
MY VOICE, MY TIME
_________________________________________
1Д
2)
WHAT IS A JINGLE? Forget looking this word up in the dictionary. Its
connotations in the last two decades have smeared its definition. But your
voice can continue to redefine it.
19
3)
FIVE CHARACTERISTICS OF A SUCCESSFUL COMMERCIAL
SINGER Determination, discipline, creativity, passion, and flexibility are five
attributes that must be part of any talented composer s arsenal. Here s why.
23
4)
VOICE, VIBE AND THE ONE-STOP SHOP VOCALIST Can you
sing? Do you have a voice or a vibe? The answer can be the difference between
winning one commercial or twenty-one commercials.
29
5)
TINGLE FALLACIES AND REALITIES Let
s
break down a number of
fallacies about the jingle business and deliver a dose of reality.
35
6)
MAKING A REAL CAREER AS A COMMERCIAL SINGER Initially,
you may underestimate the commitment and sacrifice it takes to succeed in
the commercial business as a singer. This chapter will open your eyes to the
amount of time and dedication required for success. The answer here may
surprise you. There are many reasons why singers either succeed or fail in the
advertising business.
39
7
7)
GETTING STARTED ON WINNING YOUR FIRST FINAL Winning
a final means that your voice will be on a television or radio commercial and
marks the financial beginning of your
30-30
career. Knowing how and where
to start building your
30-30
CAREER is very important.
49
8)
NETWORKING OR NOT WORKING Having great composer relation¬
ships is key. Here are some tips to building and maintaining relationships.
57
9)
SINGER GREGORY CLARK: THE DO S AND DONT S OF A SUC¬
CESSFUL SESSION SINGER Gregory Clark shares his two cents with a list
of
Dos
and Don ts that can make and break your
30-30
career.
65
10)
WHAT WORKING COMPOSERS LIKE AND DISLIKE ABOUT
SINGERS This chapter is full of anonymous quotes from working successful
commercial composers about the things they like and dislike about the singers
they work with. The insight will give you an advantage when you walk in your
next session.
73
11)
SINGLES! VS. JINGLES! The hiring psychology of singing on ads! How
do you get the call back, plus the difference in singing on a record vs. a jingle.
81
12)
COMPOSERS DESCRIBE THE SINGERS THEY USE AND DON T
USE LEO SIDRAN, CHUCK LOVEJOY, WENDELL
HANES, TIM
KVASNOSKY, GREGG FINE
91
13)
WHAT CAN I EXPECT IN A SINGING SESSION? The best results
always come from being prepared for opportunity. Knowing what to expect
can be very helpful.
97
14)
YOU WON YOUR FIRST (TINGLE)! HOW DO YOU GET PAID AS
A SINGER? I thought I told you that we won t stop. Ten years from now
YOU want to still be on top, so don t let the success make you lazy. You may
make
$30,000
from your first commercial. But that is just the beginning.
Here s how you get paid.
105
15)
WHY SHOULD I PAY MONEY TO TOIN SAG and AFTRA
UNIONS? Unions are very beneficial to singers. They look out for your
CONTRACT rights and can provide you with health care and pension. They
8
address your concerns and provide you wirii all the answers. The only ques¬
tion is, When should you join? Ill
16)
CONTACT THESE MUSIC HOUSES TO GET MORE WORK AS
A SINGER This chapter profiles just some of the top music houses in the
US and overseas, AMBER MUSIC,
ASCHE
AND SPENCER, CRUSH¬
ING MUSIC, DUOTONE AUDIO GROUP,
ELIAS
ARTS, EXPANSION
TEAM, FACE THE MUSIC, JSM MUSIC, MACHINE HEAD, THREE
TREE PRODUCTIONS, WOJAHN BROS, VOLITION SOUND
BRANDING, YESSIAN MUSIC
117
17)
EMBRACE AND AVOID YOUR SINGING STEREOTYPE Promot-
ing your strengths while broadening your opportunities is a must. The Power
of Yes I Can Do That will get you further than you think in this business.
Your vocal reel can determine what type of commercial you are asked to sing.
Be prepared to sing styles that are not showcased on your reel.
135
18)
PROTECT YOUR VOICE Your voice is your instrument. You must do
everything to protect it and keep it in good shape. Here are some pointers.
143
19)
ADVICE FOR COMPOSERS WORKING WITH SINGERS Relation-
ships are everything in this business. When you are under a time crunch and
you need a singer to come over in the middle of the night, a singer that you
are friends with is more than likely to arrive at your doorstep. You need people
you can count on because this is your support team.
147
20)
COMPOSERS: DON T CALL TYRONE-CALL KAREN
BERNOD^Karen Bernod
has a great voice. What s the secret to staying busy
for her? Balancing her jingle career with her solo career and background sing¬
ing.
151
21)
ACQUIRE A VOCAL COACH IF NECESSARY Vocal coaches can be
very helpful. Let s discuss why and who needs them.
155
22)
OWNING THE RIGHT EQUIPMENT CAN CREATE OPPOR¬
TUNITIES With technology expanding and timeliness becoming more and
more of a factor, you may find yourself recording your own vocals and send¬
ing them to composers in different cities, states and countries. Composers will
be attracted to you because you will be able to make their life easier.
161
23)
YOUR COMPETITION! Here is a list of solo singers in the commercial
industry that have had prolific success.
167
24)
MEET THREE
JINGLE
SUPERSTARS! Take a deeper look at the
backgrounds and resumes of some of the industries top advertising singers.
169
25)
HI HATERS! BYE HATERS! A WORD FROM THE NEGATIVE
PEOPLE There are always negative people (haters) trying to tell you what
you can and cannot do in Hfe. Here s the voice of the hater. Be ready to avoid
his or her influence at all costs.
187
26)
WORK IS SLOW! SHOULD ITOIN A VOCAL MANAGEMENT
COMPANY? Management companies can be very instrumental in getting
you work. Joining them is a big decision.
193
27)
THE ART OF THE OFF SEASON: CREATE YOUR OWN TINGLE
THAT SOUNDS LIKE A SINGLE! Why wait for a phone call? If you cre~
ate your own well-produced jingle, you may be able to contact an agency or
corporation and sell it.
203
28)
IF YOU CAN MAKE IT IN MUSICAL THEATRE, YOU CAN
MAKE IT IN COMMERCIALS...MAYBE! Andre
Danek
-
musical director
talks about his experiences and observations of working with singers in musi¬
cal theater.
211
29)
CREATE YOUR VOCAL SAMPLE CD AT THE3O3OCAREER.COM
The3030career.com is a site where singers and producers connect. If you are
looking for a singer or a producer, here s one place on the web where you can
make strong connections. Create a sample CD that can be sold to producers
and composers around the world help you get on vocal contracts.
219
30)
PONT WASTE YOUR TIME! Eight Simple Reasons why not to get
into the Commercial Singing business. I put this chapter at the end of the
book as a mental challenge for you. Are you ready for your
30-30
Career as a
singer on commercials? I think you are!
223
10
31)
BUILD YOUR TEAM! BUILD YOUR BRAND! BUY YOUR HOUSE!
Get your business acumen together. You need a team to succeed. Find out
who your team includes.
229
32)
REGISTER FOR THE WEBSITE: THE3030CAREER.COM If you re
serious about getting started in this business, register for this website.
237
33)
VOLUME I, II, III, IV V, VI, and
VII
OF THE
30-30
CAREER There
are five volumes and counting in the
30-30
career book series. Each can take
your career to new heights. Multiply your revenue streams with all the price¬
less information included in each.
241
34)
IMPORTANT WEBSITES TO VISIT These are great websites to visit
to keep your career on the rise.
249
35)
GLOSSARY These are definitions you must know in order to speak the
language of the advertising business.
251
11
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