Singers sometimes need more freedom on stage.

It could be for a variety of reasons, whether it’s because they’re playing an instrument, dancing, running out into the crowd or otherwise.

Headset microphones can give you more mobility during your performance.

This allows you to develop a more robust stage presence, which can help you create a stronger connection with your audience.

In this guide, we will be looking at the best headset microphones for singing onstage.

Countryman E60W5T2SL Springy E6 Omnidirectional Earset

The Countryman E6 is a go-to for professional speakers, presenters, musicians and more.

This is an unobtrusive (nearly invisible) mic offering high-quality voice pickup while eliminating surrounding noise and feedback.

It works with Shure, Carvin, JTS, Trantec transmitter models with TA4F.

The earset includes a 2mm Duramax aramid-reinforced cable and standard gain sensitivity.

The thin boom keeps the mic close to your mouth (offering excellent isolation) and the omnidirectional element is mostly immune to wind and breath pops.

The Countryman is also comfortable while being sweat and water resistant.

Highlights: Great sound quality, comfortable, lightweight and surprisingly durable.

Negatives: You must pay for quality, and for such an innocuous looking and small piece of kit, it sure does cost a lot.

Some customers have had issues with durability as well.

We suggest handling all your gear with care so as to avoid unwanted damage.

Shure PGA31 Performance Headset Condenser Microphone

Shure is an iconic brand in the music industry, especially in the microphone space.

The legendary SM57 is often used to mic up snares and guitar amps, while the SM58 is the go-to for the live performance.

And, in terms of price range, these are just entry-level microphones.

The Shure PGA31 offers the same attention to detail that Shure is known for.

This wireframe headset fits securely on your head while you’re busy dancing or moving across the stage.

The permanently charged electret condenser cartridge offers detailed, crisp tones and the unidirectional cardioid polar pattern rejects unwanted noise.

Featuring a higher gain-before-feedback design, this headset also comes with a flexible gooseneck for added positioning and isolation functionality and TA4F (TQG) connector for integration with Shure wireless body packs.

Highlights: Designed for comfort, durability and clear sound – all at an incredibly low price point.

Negatives: If you subject it to heavy use, it may break.

Some people didn’t find it entirely comfortable.

Shure SM35-TQG Wireless Performance Headset Condenser Microphone With Snap-Fit Windscreen And TA4F (TQG) Connector

The Shure SM35-TQG wireframe headset offers a secure and comfortable fit for active performers thanks to its lightweight and low-profile design.

The tight, unidirectional cardioid polar pattern reduces signal bleed and feedback so it can be used behind floor monitors and even on loud stages.

The flexible gooseneck design allows you to position the mic for source isolation.

Use with a Shure wireless body pack system or RPM626 in-line amplified as this model is only compatible with Shure body packs with a TA4F connector.

Highlights: Solid construction and good sound quality.

Noise reduction is also on point.

Negatives: Did not fit right for some wearers.

Shure WH20XLR Dynamic Headset Microphone (Wired)

Here’s yet another Shure option for those who might be looking for something slightly different than the models we’ve already looked at.

The Shure WH20XLR dynamic headset microphone includes a three-pin male XLR connector with detachable belt clip, lightweight wireframe and elastic headband, extra-strong small diameter microphone cable, collapsible microphone boom and a natural frequency response on par with handheld vocal mics.

The unidirectional cardioid pickup pattern offers more gain-before-feedback and isolation from ambient noise and bleed.

The frequency response includes a voice-frequency presence peak and low-frequency roll-off.

Highlights: Anti-feedback works like magic.

Durable, affordable and good sound.

Negatives: Some users didn’t like the tone (and suggested playing with the EQ to achieve the desired sound) and others found it somewhat awkward and uncomfortable to wear.

The wired design could also be a turn off for some.

Shure BLX14/SM31 Headworn Wireless System

The all-in-one Shure BLX14/SM31 wireless system comes with a BLX4 wireless receiver, BLX1 body pack transmitter, SM31 headset microphone, power supply, clothing clip and windscreen.

It also features adjustable gain control, easy frequency matching, 300 feet operation range, 24 MHz tuning bandwidth and up to 12 compatible systems per frequency band (region dependent).

Ideal for small venues, this mic will give you up to 14 hours of continuous use from two AA batteries.

Though advertised as a fitness microphone, this unit works for teachers, dancers, street performers and singers alike.

Highlights: Good sound quality and range.

Comfortable.

Negatives: Apparently not fully water resistant.

Sennheiser EW D1-ME3 Headworn Wireless Microphone

Sennheiser is another microphone brand with a strong reputation.

Their E835 handheld vocal mic is their answer to the Shure SM58 and is quite possibly one of their most known mics.

The Sennheiser EW D1-ME3 headworn wireless mic automatically configures itself for great sound.

It scans and selects the best frequency for operation, and if it detects interference, it will move to a new channel.

The “Wireless Link Protection” eliminates signal dropouts while delivering a clear digital sound with a wide frequency response and great dynamics.

The rugged all-metal construction makes the Sennheiser durable and it’s also backed by a comprehensive two-year warranty.

Highlights: Nice sound quality, clarity and volume.

Easy to set up.

Negatives: Apparently it eats through batteries.

Some users have had issues with the signal dropping as well.

AKG C520 Professional Head-Worn Condenser Microphone With Standard XLR Connector

AKG makes an array of great mics.

One of the best known is likely the AKG C414 condenser mic, which is considered one of the best in its category.

The AKG C520 head-worn condenser mic is lightweight.

It comes with an adjustable headband, left and right flexible boom mounting, condenser capsule or flexible shock mount for rejection of unwanted noise and moisture shield.

The AKG works great for lead and backing vocals.

Highlights: Good sound quality and apparently comfortable.

Negatives: Some buyers did not like the uncomfortable headset design.

Audio-Technica PRO 8HEx Hypercardioid Dynamic Headworn Microphone, XLR Connector

Yet another popular microphone brand, Audio-Technica might be best known for their budget large diaphragm condenser, AT2020, which is a steal of a deal.

The Audio-Technica PRO 8Hex headworn mic offers highly intelligible individual voice reproduction.

The mic woks great for guitarists, keyboard players, drummers and of course, singers.

The low-visibility headband and cushioned support pads offer comfort and the Hi-ENERGY neodymium element offers articulate vocal reproduction.

The pivot-mounted flexible mic boom descends from left or right and the hypercardioid polar pattern improves isolation.

There is a 7.2’ cable attached between the microphone and XLRM-type connector on the Audio-Technica.

Highlights: A great deal for a great mic.

Sound quality, noise-cancelling features and comfort are legit.

Negatives: Some users weren’t crazy about the sound quality compared to other similar mics.

JK MIC-J 071S Professional Headset/Headworn Microphone

It’s time to explore some of the more affordable options on the market.

The JK MIC-J 071S is an omnidirectional mic compatible with Sennheiser wireless systems.

It also features a lightweight, sweat and dust-proof design, professional vocal pickup with pristine audio quality and a 1/8-inch locking screw plug compatible with Sennheiser Evolution Series.

The multipurpose JK mic is designed for use with broadcasters, TV presenters, actors, lecturers, performers, musicians and of course singers.

Highlights: Affordable, comfortable and good sound quality.

Negatives: Questionable quality control.

Bietrun UHF Wireless Headset Mic System

The Bietrun UHF wireless headset mic system offers a transmission range of up to 160 ft.

It comes with a high-sensitivity condenser microphone with anti-howling and anti-interference technology to reduce unwanted noise.

It also features a transmitter and receiver, and up to six hours working time.

Highlights: Affordable, good range, comfortable and clear sound.

Negatives: Questionable construction and apparently does not stay in place when subjected to heavy movement.

Pyle-Pro Double Over Ear Professional Hands Free Omnidirectional Wired Audio Boom Condenser Microphone Headset

The Pyle double over ear condenser microphone headset offers crisp and clear vocals, 3.5mm connector and 1/4” adapter, flexible design and minimal visibility.

The Pyle mic is an electret condenser requiring phantom power.

Highlights: Incredibly low priced and nice sounding.

Negatives: Phantom power is required for use, which some might consider a downside.

Not comfortable for every wearer.

So, What Exactly Do I Need To Pay Attention To When Buying A Headset Microphone For Singing Onstage?

We know you have a lot of questions and we’ve been keeping track.

So, you should see your question answered in the sections that follow.

We know that buying a headset microphone isn’t the most complicated purchase you’ll ever make, but also not the simplest.

So, we’ve broken everything down into a few key factors you should evaluate when shopping for your ideal mic.

Here’s what to examine when buying a headset microphone for singing onstage:

Sound Quality

It gets somewhat technical, but sound quality is going to be determined by several factors, including but not limited to:

• Frequency response. A flat response is usually undesirable for vocal mics, which is why professional level headset mics have a specific frequency response. Paying attention to which frequencies are emphasized and which are rolled off can give you a better understanding of how the mic works and ultimately sounds. It can offer some clues as to how to EQ it too.
• Dynamic range. Does the mic pick up quieter sounds/whispers as well as louder sounds/belting? Can it handle a wide dynamic range? Do you need a wider or tighter range?
• Design – dynamic or condenser. Dynamic and condenser mics represent most mics out there, where dynamics are usually more directional and reduce noise while condensers offer a more detailed sound while picking up extraneous noise.
• Clarity. How clear is the sound, overall? This is determined by some of the factors already mentioned.
• Tone. When people talk about “tone”, they are usually referring to how a mic sounds overall and the factors already mentioned all play a part.
• And so on. How a mic sounds can also be affected by speakers, EQ, compression and other outboard effects as well as the person using the mic.

Sound quality is generally the most important factor for singers when buying a mic, though it all depends on how you intend to use it and what you’re looking for.

In many regards, it’s subjective and what sounds great to one person doesn’t always sound good to another.

Check out online demos and reviews to get a sense of what you like and don’t like.

Anti-Feedback

Feedback can be an issue with different sound system configurations and venues.

If you know how to deal with this, or if you’re working with a professional sound engineer, you should encounter fewer problems, or at least be able to eliminate feedback.

Some mics, however, don’t offer enough noise reduction and can be somewhat problematic.

Check the reviews to see if you can find any issues with the mic(s) you’re thinking about buying.

Comfort

Comfort is highly individual and there’s only so much we can do to point you in the right direction in this regard.

First, we always recommend checking the manufacturer manual or instructions.

With some mics, it may look as though there is no way to adjust it, but the manual may include tips.

Second, it’s important to be mindful of your head size, whether you’ll be wearing a hat or glasses while performing, and so on.

These are all factors that can affect comfort level.

Finally, if possible, go down to a music store to test out a few headsets to see which feel most comfortable to you.

Wired Or Wireless

As you’ve already seen, most headset mics are wireless while some are wired.

This is not a good or bad situation.

Sometimes wired can offer the sound quality you need.

Sometimes wireless can give you more freedom to move around.

If you’re working with a professional sound tech, you shouldn’t even notice much of a difference while performing onstage.

But in case you were wondering, we thought it was worth explaining.

Range

Headset mics all have a limited range.

Some are great for bigger venues.

Some are only suited for smaller venues.

Keep in mind where you’ll be performing and how much you’ll be moving around.

Compatibility

Does the headset mic work with the rest of your gear (i.e. receiver/transmitter)?

This is always important to check if you’re planning to use your mic with gear you already have.

Life

If the unit runs on batteries, how long will it last?

We find that most mics last long enough for the average performance.

And, if you’re working with professional sound engineers or techs, they should be trained in the handling of wireless mics and replace the batteries frequently.

Still, if you’re worried about your mic lasting long enough for you to finish your performance, this is a factor worth considering.

Price Point

Some units cost more than others.

Headset mics aren’t that expensive overall but there is a bit of a spread in price range.

If money isn’t an object, then you’re free to use whatever you please.

Otherwise we advise not spending more than your budget can handle right now.

Either save up for a better mic or buy one that won’t break the bank.

Final Thoughts On Buying Headset Microphones For Singing Onstage

You should now be equipped with everything you need to know to buy a headset mic.

Although choosing the right one isn’t always easy, it shouldn’t be a costly transaction overall.

Have fun with your newfound freedom onstage.

If you’re going to start your kid off on the drums, you might as well start them off young.

Learning to play an instrument takes time, and because kids have so much time and energy to dedicate to the craft, they can improve rapidly – especially if they enjoy playing music.

But part of empowering your child is setting them up for success.

How do you do that?

By buying them an instrument that makes it easy and fun for them to play.

So, let’s look at the best junior drum kits for kids.

Mendini By Cecilio MJDS-1-BR 13 Inch 3-Piece Kids/Junior Drum Set

The Mendini by Cecilio three-piece kit comes with a 8” x 13” bass drum with four lugs and a bass drum pedal, 6” x 8” mounted tom with four lugs, 4” x 10” mounted snare with four lugs and an 8” cymbal with cymbal arm.

This kit is available in Metallic Red, Metallic Blue, Metallic Green, Black Metallic and Metallic Purple, giving you the opportunity to buy a kit that’s decked out in your child’s favorite color.

The bundle also comes with a pair of wood drumsticks, padded drum throne and easy to read setup instructions.

Assembly for the Cecilio drumkit is required.

Recommended ages: 3 to 6 years old.

Highlights: Nice-looking, affordable bundle deal with all the essentials.

It’s also easy to assemble.

Negatives: It’s not the best sounding drumkit, nor is it the sturdiest.

It doesn’t come with a hi-hat either.

You can’t win them all, especially at this price range.

Mendini By Cecilio MJDS-5-SR 16 Inch 5-Piece Complete Kids/Junior Drum Set

The five-piece Mendini kit comes with a 16” x 11” bass drum, 10” x 5” and 8” x 6” tom toms, 12” x 10” floor tom, 10” x 6” matching snare drum, 8” hi-hat with stand and a 10” crash cymbal with bass drum mounted stand.

This kit also comes with a round, padded height adjustable drum throne, bass drum pedal, a pair of wooden drumsticks and easy to read setup instructions – assembly required.

You can find this kit in Black, Blue, Green, Silver, Wine Red and Bright Red, so there are plenty of colors to choose from.

Recommended ages: Cecilio has not posted recommended ages and instead suggests this kit is ideal for kids measuring 2’ 5” to 5’ tall.

Highlights: Relatively affordable five-piece bundle with a great sound, at least as far as kid’s drum sets are concerned.

Negatives: Not the most durable kit.

Doesn’t come with a ride cymbal either, though not many junior kits do.

Ludwig LC178X025 Questlove Pocket Kit 4-Piece Drum Set

Developed with beginners in mind, the Ludwig LC178X025 Questlove Pocket Kit comes with a 16” bass drum, 10” tom, 13” floor tom, 12” snare drum, foot pedal, throne and an exclusive easy to follow six-part online lesson plan with Questlove himself.

The Ludwig kit is available in Black, Red Wine and White Sparkle.

Recommended ages: 4 to 10 years old.

Highlights: Can be used by both kids and adults.

It also has great sound quality.

Negatives: While affordable, this kit still costs more than many junior drum sets.

Allegedly, setup instructions are not included either.

Ludwig Junior 5 Piece Drum Set With Cymbals

The Ludwig five-piece drum set comes with everything pictured.

The drums are tunable, which can be a major factor when it comes to how the drums sound.

This kit is available in Black, Blue and Wine.

Ludwig claims this isn’t a toy – it’s just a smaller version of a full-sized, quality kit.

Recommended ages: The manufacturer has not posted a suggested age range for this kit.

Highlights: Looks good, sounds good and it’s great for what it is.

Don’t expect a professional quality drum kit at this price point (ever), but it’s a good starter set.

Negatives: Not durable and assembly instructions are not included.

It also costs more than the Questlove kit.

RockJam RJ103-BK 3-Piece Junior Drum Set

Also available as a five-piece kit, the simple RockJam RJ10-BK three-piece junior drum set with a 16” x 12” bass drum, chain drive foot pedal and four lugs, standalone 10” x 5” snare drum with stand, hanging 10” x 7” tom tom and hanging 10″ crash cymbal.

The convenient bundle arrives with a lightweight pair of drumsticks and an adjustable drum throne.

The RockJam kit is available in Black and Metallic Red.

Recommended ages: 3 to 7.

Highlights: The kit comes nicely packaged in the mail and is a lot of fun for kids to play.

Negatives: Apparently sound quality leaves something to be desired and the kick pedal isn’t as durable as it could be.

Union DBJ5052(DB) 5-Piece Junior Drum Set

The Union DBJ5052(DB) five-piece drum set comes with a 10” x 16” bass drum, 5” x 8” and 6” x 10” rack toms, 11” x 13” floor tom and a 5” x 12” wood snare drum.

It also comes with a hi-hat, crash cymbal and hardware, including snare stand, hi-hat stand, straight cymbal stand, chain drive bass drum pedal and drum throne.

Union has thrown in a couple of accessories as well, in the form of drumsticks and a drum tuning key.

The Union kit is available in Black, Metallic Blue, Wine Red and Dark Blue.

Recommended ages: 3 to 8 years old.

Highlights: Affordable, durable and easy to assemble.

Negatives: Not a professional grade drum kit (never mistake a junior kit for one) and apparently the heads it comes with aren’t anything special.

Heads are replaceable, by the way.

LAGRIMA 16 Inch 5-Piece Complete Kids/Junior Drum Set

The LAGRIMA five-piece set comes with genuine poplar hardwood shells, double layer oil skins and stainless-steel cymbals holder.

Included in this kit is a 16 x 11 bass drum, 10 x 6 tom, 8 x 6 tom, 13 x 11 floor tom, 12 x 5 snare drum, 10” brass crash-ride and 8” hybrid hi-hats.

It also comes with a few hardware pieces – cymbal stand, hi-hat stand, snare stand, bass drum pedal, throne and two tom holders.

The LAGRIMA kit is available in Sparkling Bright Blue and Sparkling Bright Red.

Recommended ages: The manufacturer makes no claims beyond being perfect for the “young drummer.”

Highlights: Attractive kit with everything you need to get started.

Good tone, too.

Negatives: None specifically, but we’re always open to hearing what you have to say.

Spectrum AIL 620B 3-Piece Junior Drum Set

The Spectrum AIL 620B three-piece junior drum set is available in Electric Blue and Rockstar Red.

The kit comes with a bass drum, tom tom and snare, as well as an 8” crash cymbal with stand, adjustable drum throne, drumsticks and bass drum pedal.

The stands and throne come with non-skid rubber feet.

Some assembly is required for the Spectrum kit.

Recommended ages: Manufacturer makes no claims, but they do note it’s a choking hazard and is not be utilized by children under 3.

Highlights: Reasonable cost, durable and fun to play.

Negatives: Customers have noted some issues with size.

This kit may not be ideal for children over 7 or 8.

Eastar EDS-280Bu 16 Inch 3 Piece Kids Junior Drum Set

The Eastar EDS-280Bu three-piece kit comes with a 16 x 10 bass drum, 10 x 5 snare drum and 8 x 6 tom.

Made of poplar wood, the kit comes with high-quality drum skins, kid’s drumsticks, 7A wooden drumsticks, adjustable snare drum belt, setup instructions and a 12-month warranty.

Additionally, the bass drum features a six-drum-lug structure.

You can get the Eastar kit in Metallic Blue, Metallic Green and Mirror Black.

Recommended ages: 3 to 8.

Highlights: Reasonable price for just the basics and it sounds decent too.

Negatives: None specifically, but we’d love to hear your thoughts.

De Rosa DRM316-MPK Junior 3-Piece 16-Inch Drum Set

Also available in a smaller 12-inch configuration, the De Rosa DRM316-MPK junior kit comes in Black, Blue, Green, Pink, Red and Silver.

Manufacturer claims this is a real drumkit scaled down to child size and is made with birch wood and authentic metal hardware.

This package includes a 16” bass drum, 10” tom tom, 10” snare and 8” cymbal.

Some assembly is required.

You also get drumsticks, bass drum pedal and a junior drum throne with the De Rosa bundle.

Recommended ages: 8 and up.

Highlights: Available in a variety of colors, made with birch wood.

Negatives: A little pricy for a kit in this range.

CB SKY 13 Inch 5-Piece Kids/Junior Drum Set/Beginner

The CB SKY 13-inch five-piece drum set comes with a bass drum, tom drum, snare drum, height adjustable stool and cymbal.

The seat is retardant sponge and the cymbal and drum shells feature lead free stainless steel.

The CB SKY drums come with durable PET drumheads.

Recommended ages: 3 to 8.

Highlights: Good price, easy to assemble and sturdy.

Negatives: Not recommended for children over 8.

Not a five-piece kit as advertised (this is actually a three-piece kit).

GP Percussion GP55WR 5-Piece Junior Drum Set

The GP Percussion GP55WR five-piece junior drum set comes with clear GP logo drumheads, GP logo cymbals, bass drum pedal, drumsticks and drum key.

Everything you see is included with the Granite Percussion kit.

Recommended ages: Manufacturer does not offer guidance, but it’s not for kids under 3.

Highlights: Good price for what you get.

Negatives: Assembly is apparently a bit of a challenge as the kit does not come with the right setup instructions.

Union UJ3 3-Piece Junior Drum Set

The Union UJ3 comes with a 10 x 16 bass drum, 6 x 10 tom, 5 x 10 snare, snare stand, hi-hat stand, chain drive bass drum pedal, drum throne, hi-hats, crash and tuning key.

This kit is available in Metallic Red, Black, Pink and Dark Blue.

Recommended ages: 3 to 8.

Highlights: Good price, good sound, stylish and fun to play.

Negatives: Some customers have had issues with the included throne, citing stability issues.

Pacific Drums PDJR18KTCB PDP Junior 5-Piece Drum Set

The Pacific Drums PDJR18KTCB PDP junior set features a kick drum, two rack toms, a floor tom, snare, crash cymbal and hi-hats.

All hardware, including the junior throne are included in the Pacific Drums and Percussion kit.

Recommended ages: 3 to 7 years old.

Highlights: Solid sound.

Negatives: Kind of pricy and apparently the packaging kind of sucks (if that matters to you).

First Act Discovery FAD0140

The First Act Discovery FAD0140 drums come with bass drum and foot pedal, snare drum, tom drum, drum key, drumsticks, drum seat as well as a Color & Shape Learning Guide for visual learning.

While this does appear to be a toy kit, the drums are tunable and it comes with patented push mounts, which makes it easy to assemble.

The First Act kit is available in Pink Sparkles and Blue Stars.

Recommended ages: 6 and up.

Highlights: Attractive design and price point.

Relatively easy to assemble.

Negatives: Questionable durability.

GP Percussion GP50SV Complete Junior Drum Set

The GP Percussion GP50SV kit comes with bass drum, tom-tom with holder, snare with stand, 10” cymbal with holder, junior hi-hat cymbal with stand, bass drum pedal, junior drummer’s throne, drum key and drumsticks.

Recommended ages: Manufacturer does not offer any suggestions.

Highlights: Relatively easy to assemble, good sound quality and kids love it.

Negatives: Apparently the snare assembly is a little unusual.

Price is slightly on the higher side for a junior kit.

Other than that, this appears to be a solid choice.

Music Alley DBJK02-MR Kids 3-Piece Beginners Drum Kit

You can get the Music Alley DBJK02-MR three-piece beginner kit in Black, Blue and Metallic Red.

The Music Alley kit comes with two hanging tom-toms, cymbal, bass drum with lugs, bass pedal as well as drumsticks and a stool.

Recommended ages: 4 to 7.

Highlights: Affordably priced, good sound and decent quality.

Negatives: No snare, which is a tad unusual (you could always use one of the toms as a snare instead).

Decent quality but not necessarily the best.

ddrum D1 Junior Complete Drum Set

The ddrum D1 junior kit comes in Police Blue, Midnight Black and Candy Red.

This ddrum kit comes with 5 x 8 and 5 x 10 rack toms, 10 x 13 floor tom, 4 x 12 snare drum, 10 x 16 bass drum, 12 inch crash cymbal, 10 inch hi-hats, a pair of sticks, throne, hi hat stand, snare stand, bass drum pedal, straight cymbal stand and two tom holders.

Recommended ages: No manufacturer recommendations.

Highlights: A solid drum kit.

Negatives: Somewhat costly and cymbals certainly leave something to be desired when matched with the rest of the kit.

Is There Something Specific I Should Be Paying Attention To When Buying A Junior Drum Set?

You asked – we listened.

If you haven’t figured out which drum kit to buy yet, you should see your question answered in the sections that follow.

And, of course, if you don’t see your question answered here, be sure to let us know, so we can get to it in the future.

So, is there something specific you should be looking at while shopping for a kit?

As the buyer you are the most qualified person to make that decision, but we always like to offer a few constructive tips.

Here are the core elements we like to consider when buying a junior drum set:

Sound Quality/Loudness

Sound quality and loudness is probably not the foremost factor when we’re talking about starter kits, but it stands as a minor consideration.

Don’t let your expectations get out of control in terms of sound quality, because you’re not going to get an amazing sounding drum kit at this level, no matter how hard you try.

Some do sound better than others, and to that extent, we’d suggest watching demos or reviews on YouTube, if you can find them, to get a sense of how they sound.

In terms of loudness, be prepared for it.

Most drums kits are loud and that’s normal.

Parents usually find it’s a good thing, because they know when their kids are playing.

But if you’re worried about this, then soundproofing a room is not a bad idea.

Otherwise, ear plugs can certainly come in handy.

Durability/Sturdiness

All things being equal, it’s nice to have a kit that’s relatively sturdy and robust.

You can only expect so much at this price range, but again, certain kits are better than others.

Generally, I would discourage you from constantly moving the kit to different locations in the house, because that could result in unwanted wear and tear over time.

Keep the kit in its designated spot.

Beyond that, it’s always nice to be working with sturdy gear when it comes to kids.

They don’t necessarily understand or know the proper handling of instruments and may do unusual things with the gear, which can sometimes result in damage.

We find most kits on the list are good enough, but if you’re in any doubt, do your research.

Also know that it’s not unusual for cheap cymbals to break easily.

Safety

Obviously, it’s nice to know that your child will not be in harm’s way while banging away on their kit.

There are some basic risks you can’t always prevent – hitting oneself with a stick, a stand falling over, accidentally bumping into the drum set and so on.

What you can do is ensure the kit is made of safe materials and that there are no choking hazards (and, if there are, ensure that the drum kit is out of reach when you’re not monitoring your child).

Drum kits are generally safe and most manufacturers have taken the time and care necessary to ensure nothing unusual happens but it’s always best to be careful.

Budget

The price range for beginner kits is predictable.

With that in mind, you may not have a lot to spend on a kit for your child.

Spend responsibly and don’t go over budget unnecessarily.

And, if you don’t have the money right now, take your time and save up.

Features/Accessories

Ensure you’re getting everything you need with the drum kit.

You can always purchase additional accessories if necessary, but if you’re expecting the kit you purchase to have everything you need, double check the product description before purchase.

Most kits include hardware (stands, pedals, etc.), drumsticks and a throne, which is the bare minimum.

Depending on your needs, you might want additional accessories like a drum key.

You know what you need best, so purchase based on your requirements.

Also, you don’t necessarily need to buy based on the bundle offered.

You can always buy a kit that appeals to you most and then purchase any other components you need later.

Age Appropriate

This can be a tougher area to navigate but in general we suggest buying a kit that’s age appropriate.

Smaller kits are generally fine for kids aged three to seven.

Kids can grow rather rapidly between the ages of eight to 10, and it’s best to buy a bigger kit for kids at this age.

There aren’t any one size fits all solutions here, so choose based on your child and their growth.

3-Piece Kit? 5-Piece Kit? Other? What’s The Difference & Which One Should I Buy?

So, there are some basic differences between a three-piece and five-piece kit.

One, the number of drums included.

A three-piece kit will often come with a bass drum, tom and snare (though different configurations are available).

A five-piece kit usually includes a bass drum, floor tom, two rack toms and a snare (again, different setups are available).

Two, the price.

There can certainly be a price difference between the two setups and that shouldn’t come as a surprise.

Three, ease of use.

Three-piece kits can be a little easier to wrap your head around.

With drums, each piece plays a different role, whether a tom or a cymbal.

This doesn’t make much of a difference if you’re just looking to let your child have some fun on their instrument.

But if you want them to take the craft seriously or put them into lessons later, this can be somewhat of an important factor.

Five pieces is obviously more to think about.

This is not good or bad – just something to be mindful of as you’re deciding what kit to buy.

With these three points established, it’s still up to you.

There isn’t a right and wrong answer here, and it depends on what you see working best for your child.

If My Child Is Getting Into Lessons, Should They Have Their Own Drum Kit?

It’s generally a good idea.

Lessons usually last for 30 minutes to 60 minutes once per week – even less if you choose to have lessons biweekly or monthly.

That means your child only gets to spend so much time with a drum kit, whether it’s at the teacher’s home, lesson studio, church, school or otherwise.

By the time that amount of time has passed, your child has already forgotten what they learned, and they’re basically back at square one for next lesson.

If you wanted to learn Spanish, you wouldn’t just go in for a few lessons here and there.

The lessons cost money and that would make you take the process more seriously.

You would do your homework.

And, if you were serious about learning fast, you might even watch Spanish TV, practice speaking Spanish with a friend who’s fluent, put some money into Spanish literature, and so on.

It works much the same way with an instrument.

If you own it, you can practice whenever you want and retain what you learned in class.

You take it more seriously, too.

If you want your child to get good at the drums, it would be wise to purchase a kit.

Any Alternatives Worth Considering? A Full-Size/Standard Size Kit Perhaps?

In addition to junior kits, beginner friendly electronic kits can also be a good option.

Full-size kits are a good idea if your child is excited about the drums and they’re playing a lot.

You might end up putting them into lessons, or they might even begin playing in a school band, in which case they are going to need a kit of their own – preferably a full-size kit.

Full-size kits can also be great for jamming in general and if your child ends up getting together with friends to jam, they’ll appreciate having a drum set that sounds good.

Just make sure the kit isn’t too big for your child.

Full-size kits are certainly bigger than junior size kits.

Also note that standard entry level kits can cost more than junior drum sets.

If your child is especially young and they aren’t ready for a junior kit yet, you might look at the various toy drum sets that are available.

Brands like VTech, IQ Toys, Dimple and many others all provide fun and colorful toys that can be great for younger children.

Although most of these toys aren’t much like junior drum kits or for that matter full-size kits, they can teach your child the basics of percussion and rhythm, which can be a good stepping-stone onto the drums.

So, if junior kits just aren’t right for you or aren’t what you’re looking for, there are a few other options you can research.

Your budget and requirements are two important factors to keep in mind while searching for the right solution.

Go And Find Your Perfect Junior Drum Kit Now

Having done your research, there is truly only one thing left to do – buy a drum kit for your child.

There are many options to choose from, though ultimately, many of them are within the same price range with the same features and about the same level of quality.

If you’re looking for a high-quality kit, then make sure to buy a proper beginner level kit instead of a junior kit.

It will cost more, but in the end both you and your youngster will be happier for it.

If you just want to give things a try and your child loves playing the drums, then buy a kit on this list.

Think about it. The average lesson time is 30 minutes per week, which means that you have 167 and a half hours until you see your teacher again. A good student knows that what they do with that time can make a tremendous difference to their progress as a player.

A teacher might have a good reason for not showing you a technique in beginner lessons; usually because they’ve determined you just aren’t ready for it yet. They may be right, but that doesn’t mean you can’t try!

Here are seven guitar playing techniques they won’t teach you in beginner lessons.

1. Hammer-Ons

This is a technique where you either pick an open or fretted note, and quickly “hammer down” another finger to sound a higher note without picking a second time.

It isn’t necessarily an advanced technique, but it usually requires a little bit of finger strength and dexterity to pull it off, which is why you won’t usually find it in beginner lessons. Hammer-ons can be a lot of fun, because it’s relatively easy to make a series of hammer-ons sound fast, and most beginners like to get to the point where they can sound fast as soon as possible.

2. Pull-Offs

Pull-offs are more or less the opposite of hammer-ons, where you pick a fretted note, and quickly “pull off” to another fretted note or an open note without picking a second time.

Much like with hammer-ons, you’ll need to have developed some strength in your fingers in order to be able to perform a pull-off. What makes it a little tricky is that you can’t just remove your finger. You have to pull down (or up) and off without bending the string. It’s a great lead guitar technique, and combined with hammer-ons, it can sound pretty cool.

3. Trills

On a guitar, a trill is where you rapidly alternate between hammer-ons and pull-offs. This is trickier than both techniques combined, because you need to sustain the sound of the notes with the strength of your fingers alone. The idea is to pick once and then let your fretting hand do all the work.

Guitarists like Jimi Hendrix and Eddie Van Halen both have wicked trills, so it’s worth watching their playing to figure out how to play an effective trill.

4. Tapping

In some circles, this technique goes by other names like “double fretting”, but the basic idea is similar to hammer-ons and pull-offs, except that, in addition to your fretting hand, you also use a finger (sometimes multiple fingers) from your picking hand.

There are a number of different ways of performing this technique, but typically, you would fret two different notes with your fretting hand. Then, you would hammer down and quickly pull off of a higher note with the index or middle finger of your picking hand, and as the lower note sounds, you would pull off to the other note you’re fretting, and then hammer-on the finger you just pulled off again. Repeat this sequence for best effect.

Tapping sounds very impressive, but it’s not that hard to do. What was once a “mind-boggling secret” is now a standard rock guitar technique.

5. Slides

Generally, a guitar instructor has no reason to show you what a slide is or how it works until you’re playing a riff or a solo that necessitates it.

A slide can take many different forms, but the essence of it is this. First, you would pick a fretted note. Then, you would move your finger either up or down the fretboard without releasing the tension on it. If you do it correctly, the string you originally picked should still be ringing out.

In combination with other techniques – including those already mentioned here – your lead guitar playing will begin to sound a lot fancier when you master the slide.

6. Harmonics

At various points (or frets) on your guitar, you can find what are called harmonics. Without getting into the exact specifics of how this works – because it is kind of technical – if you pick a note with a finger lightly touching (but not fretting) a string directly above a fret, you’ll hear a high, chime-like tone. This is a harmonic.

For beginners, the fifth fret, seventh fret, an 12th fret are the easiest positions to produce a harmonic. Again, you have to make sure your finger is lightly touching directly above the fret, and after you pick the note, try to move your fretting finger out of the way to let the note ring out.

If you’re wondering what a harmonic sounds like, listen to the guitar in the verse sections of Linkin Park’s “In The End”.

7. String Bending

This is pretty much exactly like it sounds. The idea is to pick a note and then bend up (or down) on the string, thereby raising the pitch of the note. This can be a little tough to do with any one finger. If you want to cheat a little, try supporting your ring finger with your index and middle fingers, using the combined strength of your fingers (without forgetting which note you’re bending; the one your ring finger is fretting).

Although some string bending does exist with rhythm guitar, most of the time it is used in combination with other lead guitar techniques. Guitarists like Jimmy Page and David Gilmour are famous for their big and tasteful bends, and are worth observing to see what good string bending looks (and sounds) like.

Final Thoughts

If you find yourself frustrated with any of these techniques; don’t worry. As mentioned, you won’t learn these in beginner guitar lessons.

You may need to spend a little more time building finger strength and practicing the basics before you can move on, but rest assured, if you keep practicing, you will eventually be able to perform all of these techniques fluidly. And from there, you’ll be able to move on to marketing your guitar playing and getting known.

A good guitar teacher probably won’t mind helping you out with new techniques if and when they see that you’ve been practicing on your own. A teacher loves it when they see that a student is taking a proactive approach to their practice routine.

If you’re a guitarist who’s part of a band or group, you can compose, record, mix, and master an entire album up to professional standards from the comfort of your very home! And you can do it on a pretty affordable budget as well.

You can make your own album covers with digital art, make music videos, and even manage a global record label right from your home office.

But these luxuries are afforded to every upstart guitarist pursuing a career as a musician. There’s countless guitarists flaunting their shred skills all over the internet, so how do you compete with them? How can you attain a bit of internet fame, and attain a bit of the recognition your talent rightfully deserves?

Well first of all you need to be really good at playing guitar. If you need practice, maybe get guitar lessons before you start marketing your music.

Now if you’ve already taken guitar lessons and are a top player, read on for some marketing tips for guitarists!

1. Show Off Your Guitar Playing Skills On Youtube

Youtube is simply a monolith. Many musicians grew to fame and notoriety through the service. The much maligned Justin Beiber was discovered on Youtube. Love him or hate him, the dude is a millionaire, and he got his start right on Youtube. Crazy, right?

You can upload a video of an original composition, a video giving other guitarists insight and tech advice, or you could be showcasing a cover of a song. Much like this infamous cover of Canon Rock:

You can get good exposure on Youtube if you’re good enough. The best part is, if you manage to make a viral smash hit with original material, you can cash in on the Adsense.

Youtube moguls like PewDewPie make millions on their channels. Wouldn’t it be nice to get some internet cash flowing to fund the recording of you album? But for your Youtube video to be a success, you need to advertise on other platforms, get the buzz and hype building. This leads us to…

2. Use Facebook To Promote Your Songs

Yes, Facebook, the infamous social network that murdered Myspace. Love it or hate it, Facebook is quite a great means to promote your craft and network with like minded musicians and guitarists.

Artist pages can connect you directly with fans in a much more personal way, letting you interact with inquiries from all around the world in real-time. This sort of personality you attribute to your brand will make you far more endearing for potential listeners.

Unfortunately the Facebook algorithm changes quite often, and in recent years the promotional power of Facebook has been skewered, likely in hopes that more musicians, artists, and brands will pay Facebook for their posts to reach more people. I wouldn’t advise this, though.

3. Market Your Guitar instrumentals On Soundcloud

Soundcloud is an amazing, free platform available for guitarists and other musicians to share their music with the world! There are paid options if you wish to upload unlimited sounds, otherwise there are time constraints.

Soundcloud is essentially a social network to share your sounds and check out the songs from other producers from across the globe. Guitarists on Soundcloud can build a fan base on this platform and have hundreds of people listening to their music daily!

Soundcloud is simply one of the best places to post your music and market your music. Embedding the player into other social media networks like Facebook and Twitter is seamless and easy, and you can keep an eye on status, refine your marketing strategy, and learn what works and what doesn’t. I definitely advise you to at least check out a free account, it’s totally worth it.

4. You As A Guitarist Should Be On Bandcamp

Bandcamp puts all the power of album releases in the hands of the music makers. While there are many labels on Bandcamp, you’ll notice most artists like to release their albums through the platform independently.

Gone are the days of seeking out a record contract – you can now release your music digitally, share it with the world and even put a price on it. This could be your guitar instrumentals, or songs your band makes with your guitar playing in it.

With the right marketing techniques implemented, you can have your Soundcloud account link back to bandcamp with a buy link, and you can share your Bandcamp releases on all your social media networks with an embedded music player. I think it is very important for guitarists who are looking to promote their craft, to have original material to promote. Most guitarists can grab their axe and learn another bands songs, another musicians solos – it takes much more ingenuity and skill to compose songs from scratch, produce them yourself and release a audibly pleasing result of original compositions online.

Bandcamp, as far as I can tell, is the best option for guitarists weary of releasing their music on Itunes. I’d say bandcamp is even better than Itunes, with the option of naming your own price, allowing customers to pay more if they like, or even releasing the album for free. There are a lot of cool features with Bandcamp, and I highly recommend it for those looking for a great platform to release their albums and EP’s on.

5. Take Advantage Of Guitar Blogs / Music E-zines

At the end of the day, the best promotion for musicians is generally word-of-mouth. If you’re promoting yourself ceaselessly on your social media, it’s likely your friends, family, and fan base may get burnt out. Reaching out to blogs and online music publications is a great way to get some advertisement and marketing done for you by others. It’s mutually beneficial – music bloggers scour the internet for the next big thing to review on their websites. Cut out the work for them, and send them a link to your best material! Make up an Electronic Press Kit (EPK) and send it along. Offer them a free download to your album – they might just review it and send dozens of potential fans your way!

Bonus Guitar Marketing Tip

If you want to really make sure you get yourself out there, you need to learn more advanced guitar playing skills. The ones the don’t teach you in beginner guitar lessons.

This is because there are a lot of guitarists out there. So even if you get yourself in front of people, if you’re only making basic music and don’t stand out, they still won’t pay you any attention.

The marketing possibilities with just a computer and an internet connection are endless today. If you’re looking to make a name for yourself, follow some of these basic marketing tips for guitarists and see your popularity start to swell!

A short while ago, Youtube implemented a new design called ‘One Channel’. You can see an example of this design in action on Yasmine’s Youtube page.

The ideas behind this is a much simpler channel design that also works well across many different devices. As more people get tablets and smart phones, it has become increasingly important to be able to effectively display your content to as many of these devices as possible. This new channel allows this.

Although this is very cool, it isn’t the only cool new feature. For example, One Channel now allows you to present one set of videos to your subscribers, and another set to people who haven’t yet subscribed. As I’m sure you can imagine, this gives a lot of exciting possibilities (I.e. Subscriber only videos etc).

So, here’s how to set up your new One Channel design on Youtube. Give it a go, it’s really easy to do!

Getting A Picture For Your Youtube Music Channel

Au revoir (‘Goodbye’ for those non French speakers :)) elaborate graphics, all you will need is a photo of 2560px by 1440 px.

On most screens, only a small area of this photo (Usually 1546px by 423px at the center of the photo) will be shown. So if you add text, all of it needs to fit in there. I wouldn’t suggest you put too much text in though.

On a TV, the whole photo will be used. On desktops, tablets and smart phones, only part of the photo will be used. This will make it look like a banner (Its length will depend on your screen).

If you want to get all the visual information and sizes, click here (You can also download the template from this page).

Once you’re ready to add your image, click on the ‘add an illustration for your channel’ message on the banner. From here you can drag and drop your photo.

Adding Links To Your Other Websites And Social Profiles

Once your image is up, you will probably want to add some links to your other music based pages. To do this, go to the top right corner of your banner and click on ‘edit the links’.

Here you can add several links :

The first one is the link to your official site (Which, by the way, you should have. If you haven’t yet got one, learn how to quickly and easily set one up here).

After that, you can add links to any social networks you may have. For example, Facebook, Twitter, Google +, Soundcloud, Tumblr, Instagram etc to name only a few.

Adding A Teaser To Your Channel

Right below your new illustration, and to the left, will be the teaser content for your channel. You can make this different content for subscribers and non subscribers.

By hovering the little arrow on top of this spot, you will call up the editing tool.

You can now add a video for people who haven’t subscribed to your channel yet.

You can either film a short video explaining what your channel is about (Keep it short and simple, and make sure you include a call to action) or simply choose your best music video or footage.

People who are already subscribed to you will see a video from your channel in this spot.

Describe Your Channel To Potential Fans

Next, go to the ‘about’ section (To the right of the home icon), click on the editing pen, and describe your channel.

This description doesn’t need to be very long, but it needs to be relevant to the actual content of your channel.

It will appear by default on all the descriptions of your new videos and on other places on Youtube, so be sure to change this as and when is needed.

Creating Sections And Playing With Playlists

Playlists are very important in the One Channel design. Youtube now allows you to add playlists of both your own videos and other people’s. So if you and another musician are supporting each other, you can add their videos to your channel, and they can do the same with your vids.

Again, when you hover on a section, you are calling the editing tool. You can choose to add one or several playlists to the section, and present it horizontal format (line) or vertical format (list).

You can add as many sections as you like by clicking on ‘adding a section’ (Below the last section).

And you’re not limited to videos from yours or your friend’s channel. You can also add a sections with videos you like, music artists that have inspired you, people you’re working with, etc. The choice is yours.

Conclusion

And voilà ! You’re all set

Changes to platforms you’re used to can be confusing at first, but hopefully this guide has showed the new Youtube design isn’t that difficult to understand, and using the above step by step instructions you can get yours set up exactly how you want it.

So, what’s your view on this new Youtube design? I’d love to hear your thoughts in the comments below.

“There’s so much knowledge out there, I don’t disagree with you, but it’s scattered all around the web. Impossible to find the really credible resources!”

And then it hit me:

“Why don’t we stop whining and do something creative instead?”

Our First London Music Conference With Andrew Dubber

A week after, the first conversation with a famous music expert was a reality.

Darker Music Talks took place in London on a rainy Monday of January, with around 20 UK musicians asking questions to Andrew Dubber for about an hour.

The first bridge between serious knowledge keepers and passionate independent musicians revealed something promising: musicians can be really conversational about their music career when the chance is provided.

Especially when this person has tons of actionable knowledge they could benefit from, or advocates a refreshing, modern mindset.

For those who are not familiar with Andrew Dubber:

He is Reader in Music Industries Innovation at Birmingham City University, a public speaker, the founder of New Music Strategies and an adviser to Bandcamp and Planzai. He’s also the author of 20 Things You Need To Know About Music Online and Music In The Digital Age.

I’d describe him as a legend in the independent music scene and a charismatic speaker. That’s why I could see a lot of happy faces at the end of the event.

What Lessons Can Andrew Dubber Teach Us?

There is a strong tendency nowadays, and it has a lot to do with the way people consume information. We prefer distilled knowledge instead of long essays with too much in depth information.

I tend to prefer the second one by the way, because it alters your understanding of already existing stereotypes.

This conversation with Andrew contained valuable nuggets of wisdom that could sum up the proper mindset of a musician in the digital age.

Let’s go.

1. Being Social As A Musician

“There is just one thing you need to understand about music online: ‘This is a conversation’. And it seems like a really oversimplified way of looking at the Internet, but it just human beings talking to each other.”

Key Words: Be human.

In 1999, C. Locke, D. Searls, D. Weinberger and R. Levine published the Cluetrain Manifesto, which contained 95 theses about online conversation. They were difficult to digest at that time, but now things are obvious.

Thesis no. 3: “Conversations among human beings sound human. They are conducted in a human voice.”

Today, we see how these simplistic words have conquered the online word. This is what you should deeply understand, whether you’re a marketer of a coffee brand or a musician.

Be human.

Talk like you would talk in the physical world. Understand that you’re not talking to profiles or bots. There’s an alive human being behind each conversation.

Announcements and ‘screaming’ via press releases and ads is dead. Brand humanization is not merely a trend, it’s the consequent result of understanding how the Internet works.

2. Make Yourself Interesting

“In an online space there is the conversation and there is the things about which the conversation is taking place. You can either be talking to people, or you can be the thing about which they talk. But the easiest thing to do is make things people have conversations about. They’re called ‘social objects’. “

Key Words: Social objects.

This is the fancy way to say ‘be interesting’.

Jyri Engestrom has coined the term, and it has to do with the fundamental understanding that people talk every day about stuff, but they only pick stuff that make them sound interesting individuals.

Talking about the weather is not a topic that enhances your image, but some novelty that you recently discovered is worth talking about.

In general, this is the mindset behind virality. Think in reverse and spot something that people will be interested in talking about or some trend that the masses have not had enough of yet and you could ride while they’re hot.

Then make it real and give to people the chance to ‘discover’ it.

There’s a catch though. The aforementioned are seasonal tricks.

Most importantly, be originally interesting and show your real self. People cannot be fooled by imitators. Building an interesting character heavily depending on others’ creations will not take you a long way.

Being the social object because you’re an innovator is the path to fame after death.

3. Keep Your Fans Engaged And Interested

“Give them a reason to come back. Give them something that will encourage their engagement and will make them want to stay on the mailing list.”

Key Words: Keep them in the loop.

I figured it out with my own band, after being inactive for many months on social media: if you disappear from the public eye for a long time, don’t expect to be remembered.

It’s simple. Life goes faster, so does information consumption. The human brain cannot keep up with everything we encounter in our daily lives. We only remember information that is either on top of mind or integral part of our habitual living.

Short attention spans are satisfied with short and sweet posts that contain strong visual elements and bits of information without the fluff.

On the other hand, our favorite bands don’t have to be on top of mind, because they achieved something stronger: they’re a habit of our lives because we chose to.

The latter is the ultimate goal, longevity in other words. It cannot be achieved, though, without mastering the first step, which is to keep people in the loop and engage with them in a meaningful way. Once you break this barrier of disbelief against you, you can say you got yourself a real fan, not just ephemeral audience.

4. You Can’t Stop Music Piracy, So Don’t Sweat It

“In independent music, your problem is not piracy. Your problem is obscurity. You want people to have conversations about you. You want people to have things of yours they can share.”

Key Words: Don’t restrict.

Lots of debate against piracy, whether it’s wrong or right to copy and spread other people’s art on digital media, whether copyrights are helping or restricting etc.

There’s not much debate to be done on this topic, I reckon.

Andrew put it in a brilliant way; you should not care about piracy when you haven’t built awareness. Restricting the audience from sharing your work is plain nonsense for the digital age.

Personally, I see it as a blessing. Having fans to evangelize your work and spread it around the world is something everyone would wish for, and this should be the goal in the first place.

How can you make money if you don’t sell your music and let others pirate it?

Read further…

5. Give Your Fans A Real Reason To Buy Your Music

“There is nothing you can do to stop somebody having what you make for nothing. That’s not the problem you wanna solve. What you wanna solve is ‘How can I be that meaningful that they want to give me money for something they already own?’ “

Key Words: Meaningful incentives.

This was a question asked when the session started: “How do you make people pay for your music?”

Andrew’s answer was disarming: “You can’t force them to.”

As Mike Masnick highlighter in his keynote talk about Trent Reznor’s model, it’s all about CwF + RtB (Connect with Fans + Reason to Buy).

The latter is the incentive you provide to the audience to pay for what you do, and I don’t strictly mean your recorded music. In fact, recorded music will not be a great revenue stream in the future. We already see happening, and it’s not pure randomness.

The future audience, the ‘digital natives’, will either pay for digital goods because either they have a connection with the brand, in other words because they volunteer to pay (this is what’s happening with Kickstarter) or because it’s a service that saves them time, organizes their lives and/or gives them something first.

I don’t see recorded music anywhere near this mindset. Stop forcing people to pay for your songs, let them spread them and give them incentives to pay if they want.

6. Let Your Fans Help Mould Your Music Career

“I want my face to appear to the page of the band that I like. It’s like I’m actually involved in this process with this person that is making this music that I love. That’s a completely different dynamic and a much more personal and gratifying connection.”

Key Word: Personalization.

Personalization is going big and is here to stay. Recently Bandcamp launched the ‘Fan pages’, where you can make your own profile and concentrate the favorite music you’ve found around the platform, connect with other individuals and share your tastes with the world. They infused the ‘social’ element.

Not random either. We are in the ‘We’ era, as described in the book “Pendulum” by M. Drew and R. Williams. There is a need to say out loud what we stand for and what groups of people we belong to.

Having our face in the music page of our favorite band, showing that we participated in the Y cause and making public that we supported the Z crowdfunded campaign is a characteristic of our nature that will exaggerate in the next years.

Don’t forget that: in an era where big numbers are considered to be a success and reaching new people with the click of a button is costless, being a human and talking face to face with people enjoys a new, unique meaning.

We have the need to feel like humans again and know that others feel likewise as well.

7. Own Your Own Data

“Anything you put up on Facebook is not your thing, it’s Facebook’s thing, they own it. Personally, I would use Facebook to direct people away from Facebook.”

Key Words: Own your data.

No, it’s not wise. It’s common sense.

You cannot really build something and surrender it to a third-party to build their own business. Well, you can, it might bring some interesting results and boost your audience.

But maintaining this mindset will never help you build a real following and business for yourself. You need to own the data you create and collect.

Facebook shuts down tomorrow, what will you do? Right, all the data (which you don’t own anyways) will vanish.

This is the juice of Andrew’s point: Facebook is merely a communication tool and a service to drive more audience to your own website. It’s not a replacement.

Email is an evergreen means of communication. Yeah, lots of ups and downs in the meaning it has for people, but it is an integral part of our lives and will never fade away.

It’s simple. Start building your mailing list today and own your data (Shaun Letang: You can see our guide about building a mailing list here. I also suggest you build your own music website rather then relying fully on social media platforms. Social platforms should be used to drive traffic to your website, and should themselves be diversified).

Bonus 8^th Tip For Music Industry Success

“There is actually a formula for music business success on the Internet. Step one is: Be F**king Amazing.”

This is the cornerstone of success. No matter big marketing budget you have or interesting discussions you start, simply put, the essence is one: your art needs to be amazing.

Cliche, for sure.

I know you’ll counter-argue that art is something subjective and there are always fans for any kind of music. And that’s absolutely true, this is the magic of artistic creations.

Do you want to know the difference between making art and making a career in art? In order to make a sustainable career in music, you first need to be able to reach a respective volume of audience. This happens by offering music that is already accepted by the broader audience, or by teaching the audience how to love your eccentric and unique kind of music.

The second one is more difficult. Both tasks entail a mutual element: Be amazing.

I hope you enjoyed some of what Andrew had to say about music in the digital age. You can read up a lot more about him on his official website.

About Tommy Daker, The Author

I’m Tommy Darker, the writing alter ego of an imaginative independent musician. I started ‘Think Beyond The Band’ because I feel proud of what I’ve accomplished so far and I like helping other fellow musicians that struggle with the same problems.

I love starting conversations, join me in The Darker Side to talk about the music business. If you share the same mindset, find me on Facebook and Twitter and let’s talk!

Photo Credit: Andreas.

On our sister site (Music Industry How To), we now also offer a step by step study course for musicians wanting to make more money and gain more fans from their music career.

We’ve got a lot of useful information coming for you over the next few months, so sign up to the mailing list so you don’t miss a thing! You’ll also get a free ebook, & exclusive weekly guides & tips. Enjoy

Shaun Letang,
Independent Music Advice

I grew up heavily involved in my local music scene: I knew the bands, and the promoters well enough that I called them my friends. As soon as I was old enough I started organizing shows so my favorite local bands could be heard and seen more. I had a fair crack at it, but as the years went on other things took over, and I moved into other realms. I remember that time fondly, especially because I helped many bands get going, both fan base wise, as well as financially. Now, for many reasons I’m being drawn back into the world of promotion, and I’m noticing quite a few differences in the way the local promoters now operate: they don’t pay the bands.

This isn’t everyone, I just want to make that clear, but it is a lot. Saying that, I really don’t understand why this would be the case: social websites such as Twitter, Tumblr, and Facebook suggest that music is more alive than ever, so why is this the case?

I met rock band Pianos Become The Teeth after a show once, and they told me how they still have full time table waiting jobs back home to make a living. Okay, they’re not exactly a household name, but they are a hugely respected band who tour globally, and their media exposure, as well as the way people talk about them online would suggest they’ve somewhat “made it”. If they can’t make being in a band financially viable, how can local bands?

Well, I feel this is not just the band’s responsibility but largely the responsibility of the promoters that hire the bands to play as well.

There a whole range of cost involved in organizing a show, and right now some promoters see covering the cost of flyer printing more important than paying the bands. This shouldn’t be the case. Promotion is very important yes, but never ever as important as paying the band, or as I like to think of them as: the reason people are at your show.

I understand that ticket prices need to be kept as low as possible, but if cuts need to be made, this should always come from what the promoter pockets, and not the bands’. The bands involved are the artistic commodity: they are the things you are trying to sell, and they should be justly rewarded. You shouldn’t ask a band to play for “stage time”. A band asks for stage time, a promoter never offers it as payment. The completion of a job is always paid for in money, nothing else.

Some times a promoter does pay, but they don’t pay enough. From my experience this comes as a result of there always being someone who will work for less. As a way to save costs, some promoters will choose the act that wants less money. Over time this has forced bands to accept less and less to remain competitive. This has seriously devalued the Art form. It seems expected now that many bands should just play for free. This isn’t how a promoter should choose their acts: they should choose them on who is best, and then pay them a fee that reflects how much they trust them in doing a job…

A good friend of mine is a band with four other people. The last time they played they were given £50 (That’s about $75) to open a show. That works out at £10 per person. To play the gig they had to make a 200 mile round trip in a van, and be there for 7.30pm. This meant that they had to take the afternoon off work, losing out on any pay from that. On top of that, the promoter wouldn’t pay them until the end of the night, so they had to stick around until 11.30pm. This meant they couldn’t double up or anything, to try and make a little money at another venue across town.

Apart from the travel I would say they technically did 4 hours of work by being at the show, for £10 each! They were supporting a globally touring band (I won’t say who) and the whole thing was supposed to be a big deal.

If you were to work for 4 hours in the UK, you would make a minimum of £25 (about $38) because of minimum wage. For the five of them to make minimum wage, they would need to be paid £125 ($187.50). They didn’t receive half of that. If they had asked for that much, the “opportunity” would have been given to somebody else.

Due to the financial toll taken by being in a band, and trying to take as many “opportunities” as possible, they ended up calling it a day. They could have been the next big thing, but now we’ll never know.

Things could have been different if promoters had valued them more, and I imagine the same could be said for many bands the world over.

How Much Should Musicians Get Paid For Gigs?

It’s really not that difficult to pay your bands properly. When I would organize shows this is how my payments would break down:

• Venue: 200
• Bands: 800 (200 x 4)
• Promotion: 100
• Total: 1100

You would need 100 People to pay 11 each to break even. Any money I made would be the extra. If you don’t think people will pay that sort of money for your show, you need better bands, not cheaper ones.

Your band’s presence and exposure on Facebook has just became all the more vital. Facebook Graph Search is on its way, and could possibly change the way potential fans hear and find your music.

There are many ways to market your band with little or no budget, and social media is an excellent place to start your online marketing strategy.

So far potential fans have been able to find your page by studying their friend’s list of recommended pages, or when enough of their friends comment on your bands posts. Facebook Graph Search however will be able to expose your band’s page to new fans in a way that Google search results have never been able to.

Read on, as we talk more about this new Facebook feature below.

How Does Facebook Graph Search Work?

Mark Zuckerberg describes its use: “Graph Search is designed to take a precise query and return to you the answer”, he said, “not links to other places that might take you to the answer”.

‘The Zucker’ in person at the Facebook Graph Search Press conference.

The new search function can understand a mixture of phrases. In the case of your band, a search for ‘Friends in Australia who like electro-funk’ core and going to gigs’ will show you exactly who this criteria matches. If your band’s page lists you as ‘electro-funkcore’, and their friends in Australia have interacted with your page, you may have just found yourself a new fan.

The varied use of this service, rather than searching essentially for music has other possibilities for your band page.

Online Dating– Yes. Yours could be the music of love. Who doesn’t appreciate a partner who you can share your incredible music taste with?

Searching for ‘guys in Manchester who like country music and eating out’. What are the chances of someone spotting they like your band, giving you a ‘Like’ for their own profile in order to feign interest and secure a hot date with them? Stranger things have happened.

How To Tune Up Your Band Page For Facebook Graph Search

Have your band page appear in as many search results as possible by completing these instructions. You will also be left with an informative and interesting page for your visitors.

1. Your band profile: place your band name, genre, and location in the main headings. This includes your URL and the ‘About’ section. Also include any other key words that you think people would search for in relation to your band. Fill in as many sections as possible so that every potential search category is complete.

2. Photos: Facebook shares your visual content a lot wider in your news feed than it does a long written post. Tag everyone present, including a tag for your band page. Title each one with its location and something that will stimulate discussion around them.

3. Privacy settings: the best settings are no settings. Remove any age limits and country restrictions on all of your band’s content. This makes them as widely available as possible for search results.

Here is Facebook’s guide on managing your page

What Matters Most For My Band Or Rap Page To Appear In A Facebook Graph Search?

• Engagement: creating conversations around your band has the ability to increase your visibility in someone’s news feed.

People are naturally curious about something already gaining plenty of attention.

The number of conversations around your band and positive mentions will become more important as Facebook Graph Search becomes more intuitive. Engagement is the first step to encouraging ‘Likes’…

• ‘Likes’: these are the most important way to ensuring your visibility in search results. ‘Likes’ are the confirmed stamp of authority that your band is worth someone’s while. The posts that you create must be written and designed to ensure they receive the most likes.

How Can I Turn Engagement Into Likes?

Facebook lets you become more than just a band. You have the potential to create a whole community centered on your music and your combined personalities.

Give them unique reasons to ‘Like’ your band. They want to feel part of something exclusive. They want get closer to the people who create the things they enjoy. This is how.

Organize competitions and offer exclusive giveaways such as tickets and downloads; be as creative as you like with what you offer. Place a condition on each entrance that they must ‘Like’ your page. Here are a few ideas.

1. Caption competitions: the best photo comment wins. This also encourages ‘engagement’.
2. Album artwork contest: announce a new song; the best artwork is chosen for the song/album.
3. Simply ‘Like’ or share our band page and receive a free download.
4. Post a favorite lyric on your band page.

You can get more Facebook marketing tips for musicians here.

The below handy info-graphic shows you how to write those amazing posts that will result in fans sharing them far and wide.

Source: blogs.salesforce.com via Vesa on Pinterest

Go forth and spread the word of your musical genius. Facebook Graph Search is coming; your band page will be ready.

About The Author:

Tom Siddle is a musician and experienced music industry writer who works on behalf of BIMM: Brighton Institute of Modern Music.’

Some guides on writing songs are overly complex, and often overload you with information you don’t really need to know. I’ve tried to avoid that in this guide, giving you just the steps you need to get started on writing your song within the next 20 minutes or so.

But anyway, I don’t want to waste time with intros. Let’s get right into this so you can move on to writing your first song.

P.S. This guide refers to writing lyrics, not writing music. If you find this guide useful, please share it using the social links at the top of this post. Thank you.

How To Write A Song – Picking Your Subject

Without doubt, one of the most important parts of writing a good song is getting down the right subject matter. While the backing track, the flow of your lyrics and more are all important, if you really want your fans to connect with your music, you have to sing or rap about the right things. Depending on your genre of music and how you want people to relate to you, the ‘right thing’ will vary for each individual musician.

So if you’re new to writing lyrics, how will you know which subjects you should be talking about in your songs? Well, there are two ways you can figure this out:

1. Write About Whatever Is On Your Mind.
   When you’re writing, you want to get a real part of you into your songs. This means you will often have to take what you’re feeling, and display it on a track for all to hear.
   Writing about your personal experiences, good and bad, will really allow the listeners to relate to you. If they can relate and see some of themselves inside you, it’ll make it that much easier to convert these people into long-term fans.
   While you don’t always have to write about total truths or do songs that are talking about you personally, this is a good way to get started and practice lyric creation. It’ll mean there’s no thinking about ‘what to write about next’; you already have the full story in your head so just let it flow out.
2. Listen To Similar Song Writers And Get Ideas.
   If you’re stuck for inspiration, hit up a TV channel or website that plays your genre of music. Have a look at the other acts on these channels, and see what the themes for their lyrics are. Is there a common theme that continues to come up song after song? If so, there’s a good chance it’s a proven song subject that is currently working at the moment.
   My advice is to write a song with this subject, but try and do it differently from the others. As you become a better song writer you will want to come up with unique ideas of your own, but while you’re still in practicing mode, it may be best to learn the methods that are currently working.

In addition to those two ideas, it’s never a bad idea to brainstorm a few subject as well. So once you’ve practiced writing to the above formed subjects, get as many weird and wonderful song ideas down on paper as you can.

Ask yourself if you’d want to hear a song about each of these subjects, and write to the ones you genuinely would. The ones that make people think, relate to you, laugh or dance are often the best subject ideas to go with.

Writing Your First Song – The Structure

Once you have your subject, the next stage is to write the song.

As I mentioned in my last guide, this can either be done to a backing track, or written without and placed on a backing track at a later date. Either option works fine, but if you’re a beginner songwriter, you may want to start out writing to a backing track. This will allow you to structure your lyrics in a way that fits an instrumental, as without this structure it’ll be hard to match your lyrics to a beat later on.

While the structure of a song can vary, it often looks something like this:

• Introduction.
  This is optional as you can always leave the instrumental to play as the intro, then go straight into verse one. If you decide to do an introduction, you can either have you talking in it, or singing / adilibing random “ooo” and “yer”s.
• Verse One.
  The beginning of your song. Here you should introduce people to the song’s subject, and talk about it in as much detail as you require.
• Chorus One.
  The chorus will hold the main part of your song, and sum up the subject matter in full. To make your song really stay in people’s mind, you may want to make the chorus catchy.
• Verse Two.
  Here you should continue to build on the song’s subject matter and go into more detail about it.
• Chorus Two.
  Your first chorus done again.
• Breakdown.
  Once again this is optional, and can instead be replaced with a third verse if you prefer. A breakdown though is where you change up the style of the song, and build it up so the next chorus sounds explosive when it comes in. You could make it so your lyrics here are slower, quieter, or just change up the way they’re delivered. Making your backing track match this change will also add to the effect.
• Chorus Three And Four.
  Finish your song with your chorus twice in a row. This firmly backs up the point of your song, and will be something for your listeners to sing along to.

This is a tried and tested song structure, but feel free to change it up as you see fit. There is no set right or wrong way to write a song, so you may want to jiggle things up a bit once you’ve got used to the basic layout.

How To Write A Song For Beginners Conclusion

So there you have it, two more tips on how to write a song. As you may know though, song writing is a very big subject. My guess is that while I’ve now written a few thousand words on how to write a song, you still have some unanswered questions, and want some extra guidance in this process. If this is the case, your best best is to check the following resource on how to write a song for beginners.

It goes into much more details then I possibly could in such a short space of time. So if you’re serious about writing your first song, I suggest you check it out.