What should be on your musician website

It’s cheap and easy to create a website. Any serious freelance musician (or aspiring musician) should have one.

This should be a website about you, an individual musician. It should be separate from your ensemble’s website or your academic institution’s website. It should exist long-term, and serve as a sort of permanent address for finding you online. If you do most of your online stuff on social media sites or on your organizations’ sites, that’s fine. Your individual website doesn’t have to replace or duplicate any of that. It can simply point people to those resources.

I won’t go into any technical details here, because there is very extensive information available online about the ways to make websites. Suffice it to say that if you have only enough technical skill to send and receive email and post things on Facebook, there are website services simple enough for you to operate. Or if you want to roll up your sleeves and code every line from scratch, you can learn how to do that too.

Here’s what you need, content-wise:

Mandatory items

  • A domain name. Preferably this is something very simple and clear, like your name. Mine is bretpimentel.com. It works well because there aren’t a lot of Bret Pimentels, so web searches for my name usually put my site right at the top of the results.
    • If you have a more common name, you might need to add something meaningful to it. bretpimentelwoodwinds.com might work well, or bretpimentelmusic.com.
    • Pay for a real domain name. It’s not expensive. Something like bretpimentel.freewebsites.com looks unprofessional.
  • At minimum, a simple indication of what it is you do and how to contact you. That’s enough to be your whole website if you like. Here’s an example: “Bret Pimentel is a performer and teacher on the woodwind instruments: flute, oboe, clarinet, bassoon, and saxophone. Reach him at bret@bretpimentel.com.”
  • Some longevity. Go ahead and prepay the domain name and whatever hosting services you need for a good long time, maybe five or ten years, or set it up to renew automatically.

Optional items

  • A more detailed biography.
  • A nice picture of you, especially one that helps reinforce what you do (like one where you’re holding your instrument).
  • Links to your social media profiles, YouTube channel, or other online things you want people to find.
  • Links to the websites of things associated with your career, like your performing ensembles or the institutions where you teach.

Optional items with caveats

Most of these things have to do with updating the content of your site on some kind of regular basis. That’s worth doing if your intention is to bring people back to visit your site again in the future. If you prefer to use your site as just sort of a digital business card, with no updating content, that’s fine too, and is much less effort to maintain.

  • A calendar of your upcoming performances. Only do this if you are thoroughly dedicated to keeping it up to date. An expired calendar makes your website look abandoned.
  • Recordings (audio and/or video) of some of your performances.
    • If you are hoping your website will help you get hired for things, only include recordings that you think appropriately and honestly reflect your current abilities.
    • Only post material you are certain you have the rights to post. For most individual-musician websites, chances are slim that anyone will take legal action against you for posting copyrighted material, but it’s still decent and polite to respect others’ intellectual property. (Acknowledging your non-ownership doesn’t make it okay to post something that isn’t yours. The copyright owner has to specifically give you permission or license the material to you in some way.)
  • A blog and/or some articles or other resources.
    • Again, this should be your own intellectual property or something you have explicit permission to post.
    • If you start a blog, start with a post that is about something, not a post about how you intend to start blogging soon, or asking people for ideas what to blog about. Lots of blogs start that way, with a single post promising big things to come, and then nothing more ever.
    • You don’t have to blog on any particular schedule if you don’t want to, just post when you have something to say.

Don’t include these

  • Lists of who you have played with, unless they are significant and career-defining.
    • As a graduate student I got to play at a university event honoring Dave Brubeck, including playing in an ensemble “with” him. For years my professional biography indicated that I had played with Dave Brubeck, even though after the one gig was over he almost certainly wouldn’t have remembered me, much less considered me some kind of collaborator. Listing him on my website was a pretty transparent inflation of the truth. (If he had hired me to join his quartet and go on the road for a few years, that would definitely be worth mentioning on my site.)
    • There have also been many less-famous names I have performed with, and why list those?
  • Lists of the equipment you use. One possible exception is if you have official endorsement deals that contractually require you to include this information. Otherwise, what is the list for? To prove how much money you have spent? To encourage others to blindly buy the same products as you?
  • “Links” lists, except in the rare case that your curation brings something valuable to the table. Lists of sites that you think are interesting or somehow related to your site are an artifact of earlier days of the web. Now if people want to find sites related to a topic, they just do a web search or follow related entities on social media.
  • Gratuitous photo albums, unless there’s a good reason to post them. Being attractive and/or vain isn’t a good reason, if you are hoping people will focus on what you have to offer musically. And you do need permission from the copyright holder.

A simple website is part of the modern musician’s professional face—you need one the same way you need a phone number, an email address, and black clothes for the gig. You can start for a few dollars and finish in less than an hour, or spend years building it into a powerful communication outlet. Get started today!

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  • Interview: Ryan Lillywhite of Cannonball Musical Instruments

    Ryan Lillywhite of Cannonball Musical Instruments

    I’m pleased to share an interview that I did with Ryan Lillywhite of Cannonball Musical Instruments. Ryan and I played in college jazz band together, and recently reconnected. He is a really creative and fun soloist with an incredible tenor sound, plus a cool guy with a cool job, not to mention a new dad. Read all the way to the bottom to find a video of Ryan and his Cannonball colleagues (all very tasty players) showing off their chops and their horns. Cannonball is a serious contender in today’s saxophone market, doing some very interesting and innovative things, generating some great buzz, and signing big-name endorsing artists left and right. Ryan was kind enough to answer a few questions about what he does at work. [Full disclosure: I recently bought a new Cannonball tenor with Ryan’s expert help, and it is a seriously awesome horn.]

    BP: Tell us a little about yourself.

    RL: I work for Cannonball Musical Instruments. I studied at Brigham Young University where I started in music but ended up graduating with a business degree and a music minor. When I’m not working, I stay busy performing, fixing up old horns, working on my old muscle car, and spending time with my wife and five-month-old daughter.

    Tell us about your performing background.

    I had a blast as lead tenor in Synthesis (BYU’s jazz band); I’ve performed with the Utah Symphony and some smaller local groups, recorded for movies and commercials, and recently performed with the Cannonball Band at the Salt Lake City International Jazz Festival. Most of that was on tenor sax, but I’ve done my share of doubling on flutes and clarinets in pit orchestras. I currently take my jazz quartet around for local weddings and other events, which I’ve been doing for about a decade now and still enjoy. Especially when food is provided.

    What is your job title? What do you do at work?

    It kind of depends on the day … we all wear a lot of hats around here. I play test, inspect, and acoustically customize about half of the saxophones we sell; I’m in charge of the spare parts/repair department; I manage a number of international accounts; I do our social media; I contribute to product and acoustical development and testing; I clean the boys’ bathroom (hey, you asked!); and whatever other projects come up. Things definitely don’t get boring around here.

    How did you get the job?

    Read More “Interview: Ryan Lillywhite of Cannonball Musical Instruments”

  • Calculating gig fees

    It took a while in my freelancing career to get a handle on how to respond when people ask what I charge for my services as a performer.

    I live in a remote, rural area (where my university day job is located) and there isn’t a musicians’ union presence, so I’m on my own in these negotiations. When a gig call comes in, I have to make the decision whether the offered compensation is enough, or be able to name a fair price on the spot. I’ve developed sort of a mental formula for this calculation, which I have converted into an online spreadsheet with sample numbers so you can see my process:

    Gig fee calculator

    If you have a Google account the link should prompt you to create a copy of the spreadsheet that you can play around with. Try changing some of the numbers and see how it works.

    Basically, I’m thinking in terms of:

    • A base rate, which is the minimum I charge for even the smallest gig.
    • Additional fees if I’m expected to double on multiple instruments. (I’ve written previously about my rationale for that.)
    • Additional fees to cover my travel time and expenses.

    This gives me a way to think through what I am charging in a consistent way, and a nice clear breakdown if someone asks why I’m charging what I’m charging, or wants some kind of itemized invoice. If I feel put on the spot, or I just want a little more time to think it through, I have had good success getting the details, then telling the caller I’ll get back to them within a certain time frame. (Maybe five minutes, or an hour, or the next day.)

    Depending on the type of gig, what works for you, and what’s common in your area, you might need to adapt my system to include things like preparation/practice time, bringing and setting up PA or other equipment, downtime between sound check and downbeat, and expenses for things like special wardrobe. And of course you should adjust the base rate and other options to suit your financial needs, your clout in the local gig scene, and what’s common/appropriate in your location.

    You should also think through what to do when the gig offer doesn’t meet your pay requirements. Turning down low-paying gigs contributes to an attitude that musicians should be treated as professionals and compensated fairly. But often weekend warriors or younger musicians trying to break into the local gig scene are willing to be a little more flexible. (The rights and wrongs of that are a larger topic than I will address here. Do what is best for you and your career.)

    Think carefully about what your time and skills are worth, and expect to be paid in a way that is fair to both you and your employers.

  • |

    Frequently-asked questions about woodwind doubling, and their unpopular answers

    Q. Should I be a woodwind doubler?

    A. In most cases, no. If you already feel driven to do it, and have the time and resources to devote to it, then maybe.

    Q. What’s the trick to getting in enough practice time on all these instruments?

    A. Figure out what to de-prioritize in your life to devote more hours to practicing.

    Q. What’s the trick to affording all these instruments?

    A. Figure out what to de-prioritize in your life to devote more money to instrument purchases.

    Q. What instrument/mouthpiece/etc. should I buy?

    A. The one that you have carefully, methodically selected from among dozens or more high-quality specimens, without blindly following internet recommendations.

    Q. What’s a good mouthpiece, instrument, etc. for a doubler?

    A. Only buy things “for doublers” if you want to sound like a doubler. If you want to sound like, say, a good clarinetist, use what good clarinetists use.

    Q. Which instrument should I learn next?

    A. Whichever motivates you enough to devote the necessary time and money.

    Q. Playing one instrument already means it will be easy to learn another, right?

    A. If your goal is to develop only a superficial command of the instrument, then yes. 

    Q. How do I know when I am “good enough” at an instrument to count it as one of my doubles?

    A. You stop getting fired for how you sound.

    Q. How do I get gigs?

    A. Sound great, behave professionally, and be liked by the right people.

  • Responding to free or low-paying gigs

    Here are some sample scripts for phone calls or emails about “gigs” that pay nothing, or not enough. (Some inspiration came from Jessica Hische’s online tool for responding to graphic design inquiries.)

    A friend wants you to provide music for a wedding, party, etc.

    Sounds like a fun event! Thanks for thinking of me. There are a couple of ways we can handle this:

    I can treat you like a regular client, with a real but affordable budget. Usually I charge [$XXX] so I can afford the time and expense of putting together a really great [party band/wind quintet/jazz quartet/etc.]. I charge extra for special song requests so I can work out [sheet music/rehearsal time/etc.]. Let me know and I’ll fill you in on the usual details about how and when to make payment. Since you’re [my bestie/my brother-in-law/etc.] you’ll get my top-of-the-line professional treatment plus [some extra love/a 10% discount].

    Or, if it works better for you, I could just pick out one song I think you will really like, and it will just be me with my [flute/saxophone/etc.]. I can play it to help make a moment that is extra special, and then I can hang out with you and the gang for the rest of the night. You can just [feed me dinner/give me some free tax advice/call it a wedding gift] and we’ll consider it even.

    A non-profit or other good cause wants you to donate musical services for a fundraising event:

    Thanks for reaching out. I really respect your cause and what you are trying to accomplish.

    Since I do this for a living, I’m sure you understand I have to be careful about giving away my time for free. Do you have a budget for the event that is paying for the [food/waitstaff/venue rental/prizes]? If so, maybe we can come up with an affordable option, like [a duo with me and this great cellist I know]. As a policy I really can’t give away my time when other professionals are being compensated. If everyone involved is 100% donating their services, then I can play for free occasionally for the causes that are most important to me personally, [and I would be happy to help for an hour/but I’ve really already done all the charity work that I can afford lately].

    A business or person wants to hire you and can seemingly afford to do so, but has underestimated the cost of your services:

    I appreciate the offer and would be interested in figuring out a way that we can make this happen. At this point it sounds like you are working with more of a [DJ/somebody’s-iPhone-plus-a-Bluetooth-speaker] budget, and if so then I might be able to recommend somebody.

    But if I’m understanding you right, you’re looking for that really classy, upscale touch that live music provides. To give you that kind of service, I have to charge [$XXX] to hire the best people for the band, taking into account it will be an hour’s drive for everybody, plus there’s the time to set up and tear down all our gear. Don’t get me started on the gear—it cost as much as my car! I’m sure you get where I’m coming from.

    Listen, I provide the very best for my clients, like I know you do for yours. My band just played for [the mayor’s/your competitor’s/etc.] holiday party—they like us so much they have us back every year. What do you say to giving us a try?

    Musical skill is a real and valuable thing—don’t be afraid to ask for what you’re worth!

  • |

    University woodwinds job postings, 5/30/08

    Being a doctoral student in multiple woodwinds performance, I like to keep an eye on the job listings for university faculty positions that involve teaching multiple woodwind instruments. There usually aren’t many, at least not many that involve a national search. But two positions were posted to HigherEdJobs.com this morning: Read More “University woodwinds job postings, 5/30/08”

  • |

    Doubling fees under fire in Denver

    oboe and English horn
    Photo, quack.a.duck

    The Colorado Symphony Orchestra, like so many others, is facing a financial crisis that threatens its ability to continue making music. An opinion piece in Sunday’s Denver Post criticizes the Denver Musicians’ Association (AFM Local 20-623) for its unwillingness to budge on certain elements of its agreement with the orchestra.

    The issues here are complex, and I hope that the DMA and the CSO will be able to come to a solution that is fair to all involved and that keeps the music alive. But this point in the authors’ list of complaints caught my eye:

    Musicians performing on more than one instrument receive “doubling pay.”

    I don’t have the full details of the doubling pay currently available to CSO members (though the amount doesn’t appear to be the issue here—it’s the fact that any doubling pay is offered that seems to offend). But a slightly-outdated agreement between the DMA and the Boulder Philharmonic, summarized below, shows a typical doubling pay structure, and it’s a reasonable guess that the CSO’s is identical or very similar:

    • 25% bonus for first double
    • 10% for each additional double
    • B-flat and A clarinets count as one instrument
    • Alto and tenor saxophones count as one instrument
    • Alto and bass clarinets count as one instrument
    • Piccolo, larger flutes, English horn, E-flat clarinet, contrabassoon, soprano saxophone, and saxophones larger than tenor each count as a double, even when used in common combinations (like flute plus piccolo)
    Though I am not currently a union member (due to a dearth of union gigs in my area), I frequently ask for doubling fees when negotiating my pay for gigs. Here’s why doubling fees make sense to me as a woodwind player: Read More “Doubling fees under fire in Denver”

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