Don’t work for exposure for brands, either

money pink coins pig

It’s a common rallying cry among freelance musicians that you shouldn’t play gigs that pay in “exposure.” Exposure doesn’t pay the bills, and playing for free devalues your skills and others’.

But there are more ways that musicians become convinced to work for someone else’s bottom line and get nothing back but maybe a little “exposure.”

Unsolicited product endorsements are a common one. An endorsement deal with a company should involve some kind of tangible benefit to the musician: money, free or significantly discounted products, or maybe something like funding to support travel or musical projects. If you’re hashtagging your favorite brands in every social media post, and the companies aren’t supporting you back in a meaningful way, you’re working in their advertising department for free.

Creating online content for companies is also often the same as working for exposure. If a business wants you to provide them with articles, educational materials, videos, photos, artwork, etc. for their social media posts or company blog, they are asking you to do creative work without compensation. (Sometimes these efforts are creatively described as “contests.”)

I’ve gotten many “offers” to have my blog posts “reblogged” (copied) onto corporate websites, with a vague promise that this will generate “traffic” to my site. I fell for it a few times in past years, and it always resulted in a small handful of clicks that dried up after a day or two, and then my content lived on for free on someone else’s site. Now my content all stays here, where these days I get more traffic than the corporations offering me “opportunities” to hand over my work.

Whether it’s gig work, writing web content, or attaching your good name to a product, value yourself enough to ask for what you’re worth.

Transcription: Stan Getz, tenor saxophone on Huey Lewis and the News “Small World (Part Two)”

Get the transcription (PDF) Huey Lewis tells the story in Kansas City Magazine (strong language edited): Well, my dad was a jazzer and Zoot Sims died. And when Zoot Sims died, they had a benefit in San Francisco at Kimball’s or somewhere. … So I take him and sit down … and then I get … Read more

Should I buy something new?

shopping business money pay

Changing your instrument, mouthpiece, headjoint, reeds, etc. on a frequent basis isn’t productive, but sticking with the same equipment forever isn’t a virtue either. Here are some questions to ask yourself (or a trusted teacher or colleague) when you start feeling the itch to spend money on shiny new things: Does this new equipment make … Read more

Fingering Diagram Builder, version 0.83

Here’s a new minor release of the Fingering Diagram Builder with a few small improvements: Bug fixes, administrative improvements, and other minor tweaks. The Kingma flute diagram now has an option for a left-hand C-sharp-up key (thanks to Carla Rees). Dig around in the Keywork details menu to find it. The Akai EWI diagram now has an … Read more

Favorite blog posts, December 2020

Hand-picked high-quality woodwind-related blog posts from around the web, December 2020 edition.zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

Factors in woodwind instrument response

person holding brown glass bottle

Response is how readily the equipment/player combination produces sound. “Good” response generally means that the player-plus-instrument are able to produce a sound that starts precisely when intended, with clarity and with no unwanted additional noise. Many factors affect the quality and reliability of the response: Instrument condition. An instrument with leaks, cracks, problematic dents, etc. … Read more

Using “borrowed” fingerings in EWI mode

The Akai EWI series’ “EWI” fingering mode is powerful and flexible. It bears a resemblance to basic saxophone fingerings (while wisely eschewing saxophoney compromises like rollers and palm keys). But with a little imagination EWI players can “borrow” a number of useful fingerings from other woodwinds, too.

Do woodwind instruments have similar fingerings?

I get lots of emails and search traffic from people trying to find the answer to questions about woodwinds and “similar” fingerings: Do they use the same or similar fingerings? Which instruments are the most similar? Can I use fingerings from _____ instrument on _____ instrument? I’ve addressed before why these questions might be coming … Read more