Top 6 Micro Job Sites – For Musicians

16-Jan-2018 By Robert Loustaunau

Choosing the Right Micro Job Site

Being an independent artist can be tricky. When the gigs aren’t exactly flowing, one way artists can convert their skills to profit are through micro job sites. While platforms like Fiverr have become a popular hub for freelancers to offer up their skills to patrons, many competing micro job sites are offering unique perks to accrue their own network of buyers and sellers. Here we’ll disentangle the pros and cons of these platforms so you can find the one that’ll suit your needs.

Fiverr

Fiverr being the most well know micro job site platform, it has set the bar for this global marketplace. As its name suggests, a musician can offer up their services for as little as 5 bucks. Fiverr’s platform is clean and user friendly and seems to cater to musicians more with services being broken into categories like: Voice Over, Mixing & Mastering, Singer-Songwriters, Jingles & Drops, and Sound Effects as well as others. The commission Fiverr receives per gig is 20%, meaning they’ll get a dollar of that $5 jingle you wrote. While this rate is somewhat steady among job sites, minimum service rates can vary as well.

Fourer

The next logical step if Fiverr is not for you is Fourer. With no lack in discretion, this site is a spin-off from Fiverr and the minimum rate is $4. Like Fiverr, Fourer nabs 20% of each transaction. The catch with this site is that you can only receive your payout through Paypal. Many similar job sites function this way so consider your relationship with Paypal before signing up. Fourerr also provides users the ability to “level up” where points can be gained by selling services. These points can then be exchanged for purchasing credit on the platform.

FiverUp

Don’t let its name fool you. FiverUp offers minimum rates of $4 and takes a 20% commission. You can manage your funds through Paypal or your credit card. In an attempt to differentiate itself from its competitors this micro job site offers a flurry of extra features. For example, FiverUp offers a “bump” function which allows users to pin their service to the site’s front page everyday. Their is also the possibility that if the company finds your service to be unique or especially useful, they will feature it in their blog, maximizing your exposure.

SEOClerks

Diverting from the common pun, SEOClerks has carved out its own niche of buyers and sellers priding itself/advertising itself on services as low as $1 and being especially useful to SEO and web development services. If you are an artist looking to beautify your website or expand your brand coverage, purchasing services here may be your best bet, but SEOCLerks allows you to sell the same range of services as the other sites, leaving a category of Music and Audio for musicians to sell their craft as well. They have different user levels which dictate the range of cost you can demand for your services where you may start offering gigs from $5-$125 and at later levels there is no maximum on the price. They also have a “want to buy” and “want to trade” section, where you can ask to have specific gigs done.

Gigbucks

While not wholly unique in its design, the platform has garnered good reviews from it users and a reliable following. Like the others, Gigbucks pays out through Paypal or Alertpay/Payza, and also offers credit to one’s Gigbucks account balance. The rate one can charge is $5 – 50 and Gigbucks takes a set 20% cut.

Amazon Mechanical Turk (MTurk)

Finally, there is MTurk. This Amazon-affiliated crowdsourcing website is based in India and has accumulated a wide girth of customers over the years and is known to be a sturdy forefather of the micro job site platform. Any number of Human Intelligence Tasks (HITs) can be requested and those who complete them, Turkers, are paid in Amazon credit. One can also pay the Turker through debit/credit or PayPal. Workers based in India have an added perk of being able to receive payment as a direct deposit in the form of Rupees. The commission rate for MTurk is where things become more complicated with a 20% – 40% fee per HIT depending on a workers number of tasks at had. A worker can be paid as low as $0.01 for a task but usually jobs pay as low as $1.20.

Still not sure where to post your services? Take a look at our comparison chart of what each platform has to offer. Hopefully this will clear things up so you can begin posting and get paid!

Robert Loustaunau is a content writer for youbloom and is a member of the social media team there. He is an avid music maker and listener. He enjoys the simple things in life: coffee, a good book, and quality time with his lovely girlfriend.

Interview w/ HMMA winners, Flight of Fire

07-Jan-2018 By Robert Loustaunau

My Last Gamble – Winning track at Hollywood Music in Media Awards for Americana/Folk/Acoustic

Interview with Flight of Fire

“We all strongly believe that the transfer of energy between audience and musicians is an intensely powerful thing.” – Flight of Fire

Earlier this month, youbloom was lucky enough to get some precious air-time with the Hard-Rock maelstrom of female fury, Flight of Fire. Known for their fantastical live shows and superb rock compositions, this Boston-based band has been selling out shows and racking up awards for several years now. In this interview the ladies divulge their creative process, dole out advice for the unsigned artists out there, and share what’s on the band’s horizon.

What were a couple runner-up names for the band before you settled on Flight of Fire?

What a cool question! We came up with our band name in a very geeky way, so we actually did have two clear runner-ups. The first was Drop of Flame and the second was Force of Flame. Personally, I think we made the right choice!

What is your creative process when writing?

We usually write songs individually. When they are mostly finished, we bring them to the band and everyone adds their own flare. Maverick will get picky about lyrics and improve melodies and Tanya will add solos. The twins write riffs together, and Tia and Maddie solidify the groove.

How has the LA music scene been different from the Boston music scene?

We haven’t spent enough time in the LA scene just yet to really be able to compare it to Boston, though in the few times we have come out, we have absolutely loved our experiences. One of the things we did notice is that there seems to be a lot more competition in LA as so many talented people flock to the city, however, there is also a plethora of experienced industry professionals providing an endless source of networking opportunities as well as offering more chances for encountering career-growing experiences. So it all seems to balance out.

“We don’t like our performances to be contrived at all, and we love to ride the waves when unexpected things happen!”

Youbloom, for example, has been so welcoming and supportive of us – we had such a great experience at the conference and met so many incredible people in the industry! It’s definitely very different, and each scene offers different things to artists and bands. We can’t wait to explore more about what it’s like to be a band in LA.

Flight of Fire is known for its high energy performances. What do you think it is that gives a band its charisma?

22814125_1730948283642382_6614974178572752102_n — Photo by Trixie’s Tripod of Boston Rock Radio!

To us, it’s all about the live shows. We all strongly believe that the transfer of energy between audience and musicians is an intensely powerful thing. Live shows are our opportunity to show our fans how much we appreciate them, and it’s their opportunity to enjoy us in our element! It’s truly magical.

Would you say you have live shows down to a science, or is each one its own mystery going in?

We like to keep as much of our performances as spontaneous as possible driven by pure in-the-moment inspiration. We do plan our setlists, but we like to take the energy of the crowd into account and play off the emotions of the people watching us. Sometimes you have to diverge from the set list when the audience’s energy is calling for something specific.

We also like to include some memorable stage antics, like when we switch instruments and pull off wild stunts. But our philosophy is that what we do on stage should reflect how we are really feeling at the time. We don’t like our performances to be contrived at all. We love to ride the waves when unexpected things happen!

What’s the most memorable show you’ve ever played? Why?

Some of the most memorable shows we’ve played have been when we opened for big acts. When we opened for Bon Jovi at Ford Field, and that is an experience we will never forget. We also opened for Lita Ford at a smaller venue. It was a sold out show and her fans were so incredibly supportive of us making us feel like true rock stars that night. At those kind of shows, you hope that you’re seeing a glimpse of your future. Those are the moments that stick in our minds and inspire us to keep pushing on through any of the difficulties we might face.

21994099_1691014080969136_5938177342829633566_o — Flight of Fire performing at youbloomLA Music Festival & Summit 2017

What good memory or experience did you have at the youbloom 2017 music festival?

So much of it was amazing! We are still so grateful that we got to come out and be a part of youbloom. We met so many incredible people. All the panelists we got to talk to were so encouraging, and the discussions really helped us solidify some of our strategies for the upcoming year.

“My Last Gamble won, and we never would have had that opportunity if it hadn’t been for youbloom and Shele Sondheim!”

Can you describe the events at the youbloom festival that led you to getting a Hollywood Music in Media nomination?

Shele Sondheim was one of the acclaimed panelists that we met at the festival. Shele was so kind and supportive to us and he connected us with Brent Harvey, the producer of the HMMAs. The two of them encouraged us to submit our song. Apparently it was a fantastic idea considering we actually took home a trophy that night. My Last Gamble won, and we never would’ve had that opportunity if it hadn’t been for YouBloom and Shele Sondheim!

What project do you currently have in the works?

We just finished recording a new single in the studio that features Cherie Currie from the Runaways. Cherie and Maverick share lead vocals on our song, She’s a Badass. It’s a testament to all of the female rockers who came before us and paved the way for musicians like us. The song will be released in early 2018.

What is the band’s vision going forward?

We have so much that we want to accomplish. Our most recent album, Path of the Phoenix, was released a year ago, and we already have so much new material for the next album we are hoping to record by the end of the summer, if possible. We are also looking at a tour in Europe and new music videos. Our biggest goal right now is to get a supporting slot on a tour with a band like Halestorm. That would be a dream come true.

“One of the most important things we’ve learned is that when you have somebody who believes in you, never take that for granted.”

What are your biggest challenges in reaching your vision?

As always, the biggest challenge is financial! It’s very difficult to make money with what we do. We are always doing our best to be savvy and find ways to make it happen! We will be launching a Patreon in January. That will give our fans the opportunity for a more intimate relationship with the band where they can directly support the music they love. We’re very excited about cultivating it, and that kind of support will make everything we are trying to do that much more possible!

What’s the best way fans-to-be can gain access to your music?

Our official website is the best way to get access to our music, videos and updates! From flightoffire.com, you can link to all of our social media as well, so whatever platform you prefer for following bands, you can find us there.

What advice would you have for upcoming bands/artists that are trying to get noticed?

24852123_1785544431516100_5331657771273682913_n — FoF at the Hollywood Music in Media Awards Night 2017

One of the most important things we’ve learned is that when you have somebody who believes in you, never take that for granted. When you have a DJ play your music, an aspiring journalist who writes a review for you, a booker who hears you at a show and loves you, or any fan that tells you that your music has moved them or buys your merch, your job is to respond to them. Express your gratitude, let them know how much it means to you that they believe in what you are doing. If someone is going out of their way for you, make sure you go out of your way for them just as much. Especially in this ever-changing industry, we all have to stick together and support each other. It’s all about relationships – make sure you always pay it forward.

To stay up to date on what Flight of Fire is up to, you can check out their website, flightoffire.com and follow them on Twitter and Facebook. Their newest album, Path of the Phoenix, can be purchased on Bandcamp.

Interview with Osairis Front-Man, Aundra Island

19-Dec-2017 By Robert Loustaunau

“I didn’t know at the time that you could be of a darker shade and have dreadlocks and play speed metal.”

Recently, youbloom was fortunate enough to nab a little airtime with the Progressive-Rap, Rock-Fusion trio Osairis. An eclectic description indeed but one that’s only fitting for a band who’s sound has been likened to that of Cream and Hendrix as well as Rage Against the Machine and Living Colour. Osairis’ drummer and front-runner, Aundra Island works in tandem with guitarist, Casey Loudon and Berklee Bassist Gaku Murata to commandeer the stage with punchy, political verses book-ended by sweeping, Hendrix-esque guitar solos. Today, I picked the brain of the man behind the beats, Aundra Island.

Robert: Osairis is a collaborative group right? You’ve had different members in and out throughout the years? When and How did Osairis in it’s current form come together?

Aundra: Well, how we got together was we had an offer to open up for Angela Moore from Fishbone. And the name of Angelo Moore’s (Lead singer of Fishbone) side-band is Dr. Madd Vibe so he said he’d make an offer where if I could get a band together I’d be able to open up for them. For years I had been associated with the Black Rock Coalition but it had been through the West Coast Division I knew Angle Moore and it was actually his hairstylist who put me in contact with him.

Robert: So Casey, Gaku, and yourself play this gig for Dr. Madd Vibes. At what point did it click for you guys and you realized that you could work together as a group for more than just this one gig?

Aundra: You know there were other guys that kept playing with the group too but as far as the 3 of us clicking, it just took 2 -3 gigs for us to mesh. It’s funny because we all come from a similar background. Gaku graduated from Berklee and Casey graduated from Musicians Institute and I had attended Cal Arts. I got to a point where I had played jazz all my life and I wanted to move away from that. Being in a rock ‘n’ roll context with jazz chops that’s pretty much what I wanted to do and we all came from that similar background.

Robert: What artists have influenced Osairis’ sound?

Aundra: Ultimately Hendrix was my inspiration. I looked to Hendrix as a demi-god. But we also had bands like Rage Against the Machine, Sound Barrier, 24-7 Spyz, Urban Dance Squad, Faith No More, and Van Halen. But ultimately Hendrix and Living Colour.

Robert: Did Living Colour help bridge that gap between Jazz and Rock for you?

Aundra: My first Rock ‘n’ Roll concert was Living Colour and ever since than I was pretty fascinated with Living Colour because I come from a jazz background and within my jazz background I studied Dave Brubeck, Ornette Coleman, and Count Basie. So I saw Living Colour at the Key club in LA and I was probably only 14 at the time. I didn’t know at the time that you could be of a darker shade and have dreadlocks and play speed metal.

Robert: Yeah, that’s definitely a niche-market huh?

Aundra: Yes. Very

Robert: I noticed with your live performances it stays with the rock vibe but then you guys have these improvised solos for 16 bars and I think that’s where I heard the jazz influence come through.

Aundra: Yes because we like to utilize being a power trio. You know a lot of guys now a days use that term but when I think of actual power trios – Rush, Cream, Primus – We’re like them, we’re gonna make sure all of our chops come out and make sure we can bounce off each other with ideas whether it’s in the studio or live.

Robert : Osairis’ sound has been labeled as Progressive Rap before. How would you define Osairis’ sound?

Aundra: You know it’s funny, The guitar player, Casey Loudon, his dad came to one of our concerts one time, it was at this festival called Punk Black out of Atlanta, they do kinda this black rock thing. It’s funny cause he said we sounded like progressive rap and I don’t really look at us as that. I look at us as more fusion; a mix of Jazz, rock, and hip-hop.

Robert: Do you write all the lyrics for Osairis’ original tracks?

Aundra: Yes and lot of people will actually confuse our originals with covers because I always try to make sure that when we write original material it doesn’t just appeal to us in the band, it appeals to everybody.

Robert: And what could you tell us about your album, Electric Purgatory?

Aundra: It’s funny because some people have said I’ve gotten the idea from the Black Rock Coalition’s film but it was actually based off of a nightmare I had of being in the music business for a while. I saw all these angels and it wasn’t like an acid trip but that’s where the title came from. So the album is pretty much a few originals and covers. I call Electric Purgatory my Chinese Democracy because I just stayed in the studio and kept recording, recording, recording and I knew at some point I was just gonna have to finish it. That album probably took me about 3 years to make.

Robert: Wow! That’s a long time for one album!

Aundra: See it’s funny how nowadays you can make an album in 15 minutes but you see for me it’s all about making the album of quality.

Robert: And what about your other albums?

Aundra: The second album, Road Warrior, is all originals except for one but we do sample from bands like the Who and Jay Z. The Third album is a live recording of the night we opened for Angelo Moore of Fishbone.

Robert: What’s the best show you’ve ever played? Why?

Aundra: We opened up for Winger at the Whiskey-a-Go-Go. That place is like our second home. Not only are those guys solid but they believe in independent artists. Chain reaction too, back when we were just starting up we contacted them and they were kind enough to get us going.

Robert: And what is it do you believe that these types of venues do to help independent artists?

Aundra: Well you both get to piggy back off of each other. The venue let’s you come in and play and you’re able to promote yourself at the venue you’re playing. We’ve also had a lot of help from other bands like Awukii, they’re kinda like the Bad Brains out here. We’ve had help from this band out of Atlanta called the Tulips with this guitar player named Gabby Logan. The Howling Stars out of Atlanta and from Sound Barrier who we opened up for. We’re all able to bounce off of each other.

Robert: It’s good to just to be able to have that network to rely on.

Aundra: Yes.

It’s kind of like if Hendrix played rap metal…

Robert: Has Osairis been on tour before?

Aundra: We stay in LA for the most part. The hard part is seeing if you can find a huge profit on that. We wanted to play in Ireland with youbloom and then they asked us to play LA instead but that would have been fun.

Robert: Hey we’re gearing up for the youbloomDublin festival in May again and we’re wanting to get more of our LA sound over their this year. Youbloom is trying to do just what you were talking about where we connect bands and strengthen that network. For bands coming to a new city it can make a world of difference just knowing some of the local talent, and not feeling like complete strangers when coming into the city.

Aundra: Hey we’d love to be able to fly over their and play in Dublin.

Robert: Does Osairis currently have something in the works? A new album or some sort of project?

Aundra: Yes, We’re in the phase of producing the album MEDIA: Multi-Ethnic Destruction In America. This album is going to be dark and heavy. It’s going to be a combination of commercial, political, and lyrical content. Like the first 2 albums combined but it’s gonna have a really cool and interesting appeal to it.

Robert: And what inspired this album for you?

Aundra: To be honest there’s not enough content out. It seems like every time I listen to the radio these days, everything on there is just bubble-gum and it’s like there’s a real world out there. You know, don’t just force feed the audience what you want them to hear. Sometimes there isn’t any light at the end of the tunnel and you just have to deal with it, not everything is just peachy keen.

What MEDIA was inspired by was Public Enemy. I didn’t want to go the route I had gone with the other two albums. The other stuff is rock but this is a more heavy rock. It’s kind of like if Hendrix played rap metal but it’s not gonna be so experimental, a lot more straight and in your face.

Robert: Can we expect a little bit more collaboration on this album?

Aundra: Ya we’re having different artists come in. From Sound Barrier we’ve got Spacey T, Ronny Drayton from 24-7 Spyz, Robert Brown of White Chapel, and Daniel Lape as one of our guitarists. Just playing around with it. I’m trying to see what the heaviest sound is I can run with and blue print it.

Robert: And what’s that process look like as you bring different musicians in to the studio?

Aundra: They’ll just come in and I’ll show them this idea I have or show them what I want or what I’ve already recorded. I always say this band is kind of like Deep Purple where we’ve had just about everyone in this band.

This is why I want MEDIA to be perfect from start to finish but I’ve only been working on it for a minute. Each album that I do I try to treat it like it’s my first album. Then I make sure that there is always gonna be some sort of change. One thing I’ve learned from Miles Davis is that you can keep the same style as long as you adapt to whats going on around you. That and keep a brighter way of thinking and you’ll be okay. If you listen to Davis from 1955 – 69, from Kind of Blue to Witches Brew, it’s all the same thing, he just stretched out the arrangements but he always stuck to the same style, the same thing.

Robert: So MEDIA is in the works and it sounds like it’s coming along nicely. Don’t let the rest of us rush you along, it sounds like a really cool work in progress. I know the fans and I will be excited and waiting for that release date.

What advice would you have for other independent artists who are trying to make it in the industry?

You can keep the same style as long as you adapt to whats going on around you.

Aundra: My obvious advice would be learn various styles of music. Study the greats who have come before you and after you. Learn to read charts. Have a good attitude but also be able to stand your ground because things aren’t always gonna be smooth as butter. Don’t let anyone doubt you because some people have doubted me but it’s those challenges that have made me who I am today.

To hear more from Aundra and Osairis check them out on SoundCloud or Youtube. Friend them on Facebook or follow them on Twitter to stay up to date on that album release: MEDIA. The band plays in Los Angeles regularly so when you’re in town be sure to check them out!

11 Things You (Probably) Aren’t Doing That’ll Improve Your Band’s Rehearsal

12-Dec-2017 By Robert Loustaunau

So you’ve got a band. You’ve got a following. Heck, you’ve even got goals! But recently, you’ve hit a plateau…your shows are just okay. Maybe you need better sleep, or better equipment, or maybe you just need to get…better.

It’s time to unite this raw artistic fervor into a little something called rehearsal.

Conducting an efficient rehearsal is paramount in improving your band’s sound. To help with this, we’ve outlined a few methods to make your sessions run like butter.

1. Scheduling

Step 1: Make a rehearsal schedule.
Step 2: (And this is the hard part) Stick to it.

Going into a rehearsal with a plan is often the difference between rich, productive studio time and a jam session with the crew.

2. Build a List of the Songs You Want to Work

The more familiar your band is with the material to be rehearsed, the more songs you can expect to get through. Allot a certain amount of time you plan to spend on each track and stay true to it. Ask yourself: is this session about creating new music, work-shopping what’s already been written, or polishing off the finished stuff?

3. Document Any Issues for Next Rehearsal

Apps like SetBoss and Musician’s Diary make this easy by providing shareable templates and spreadsheets where you can record tracks directly, arrange them into set lists, log time spent rehearsing each track, and jot down notes as you go. Even a simple to-do list app like Things can streamline the rehearsal by getting the band on the same page through shareable schedules and to-dos.

4. Be mindful of others’ time and chops

Having a scheduled break time somewhere in the middle of the session can prevent burn-out and improve overall focus. Also, be courteous to your band mates when scheduling your rehearsal set list. If your quasi-ska band only requires the horn players in 3 tracks, then put those tracks back-to-back at the beginning so your brass can leave as soon as they’re done, they’ll thank you for it.

5. Warming up

Coming into a rehearsal “cold” can lead to wasted
time and possible injury. Warming up effectively
sets the tone for the rehearsal and should be used as a period to not only get the blood flowing
through the relevant extremities, but as a chance
for the group to settle in and begin listening to one another. Instead of making it a private and rushed affair, factor the warm up into the rehearsal schedule.

Effective warm ups:
~ Charts or covers familiar to the group
~ 12 bar blues & improvising
~If all else fails, Apps like Scales and Modes or FretBoard provide written and tabulated scales to play through as a group.

6. To Metronome or Not to Metronome?

When to use one: Always.

When not to use one: Don’t even think about it.

Tempo inconsistency is the cause for countless musical hiccups and is the ultimate killer of groove.

Practice. With. A. Metronome. And, while you might think all metronomes are created equal, there has been an epidemic of stilted, inconsistent metronome apps that have developed along the smartphone in recent years. We’ve dug through the bad and the laggy to present you some reliable metronomes.

Web: Metronomeonline.com promises a reliable tempo for free and is useful if you have a laptop handy.

Free Apps: Metronome Plus (iOS), Mobile Metronome (Android)

Paid Apps: Drum Beats (iOS and Android) it’s $3.99 but includes hundreds of optional drum tracks to replace the standard metronome beat.

Physical Metronome: Korg Metronome. This is pretty much the standard for portable metronomes and is a worthy trade-off for the unrelenting accuracy it promises its users. You can find these little guys at any music shop and you should only ever need one.

Digital Audio Workstations: Cubase or Logic include metronomes with the most consistent tempos.

7. Pick a Leader

Coming to a consensus on who’s running this thing can prevent an Oasis-style meltdown between band members. Many bands have an unspoken understanding on who is calling the shots but for those who don’t, decide who is going to keep the ball rolling through the rehearsal. You can have one member who always takes on this role or try switching it up from one practice to another.

8. Record Rehearsals

Like hearing your own voice played back to you, hearing your own music sounding back can be grating at times. Nevertheless, playback is necessary to suss out the problem spots in your sound and be an effective critic of your music. The recording process need not be high-fidelity. This is recording for practical purposes, it’s not going to be your next EP (until it is, of course).

The mic on most phones or laptops: adequate.

Free recording apps: There is Rev (iOS and Android) or Voice Recorder Pro 7 (iOS).
Both apps allow you to transcribe the audio to various formats and export files to Google Drive, Dropbox, and Voice Recorder Pro 7 also exports to Microsoft OneDrive, Box Cloud, iCloud Drive, and SoundCloud.

Handheld Recorders: Zoom makes handy little recorders in different sizes and price and while they cost a bit more than a recording app, on the whole their usability is more far-reaching in that they offer multiple recording channels, easy transfer and saving of files via memory chip, and a bevy of other features for you to peruse.

9. Remote rehearsals

When the rehearsal time is right but location is not we must turn to remote rehearsing.

Websites like jamkazam offer a platform for musicians to rehearse, record, and join open jam sessions with other musicians from the comfort of their home wifi connection and there is even an app version that promises low-latency.

Another route you could go is investing in some hardware like Jamulus or Jam Link which make remote rehearsal work by providing low-latency network audio interface that is able to import and export uncompressed audio up to 500 miles at it’s highest quality. Think of this as Skype for your band, but with much less lag! Having said that, technology like the Jam Link and Jamulus is not impervious to a poor internet connection. They do require parties at both locations to purchase the necessary hardware so take these things into consideration as you decide on whether remote rehearsals are a must for your band. For more information on the topic you can hop over to this How-To guide on eJamming.

10. Run the Whole Show

This is an important step that often goes overlooked.

We spend so much time rehearsing the music that we assume the rest will just fall in place when we’re up on stage. In a final rehearsal, run through the set a couple times. This allows you to work out any kinks in the transitions between tracks. Switching instruments, adjusting balance, and yes, even the banter between you and the keyboardist could really benefit from a practice run.

11. Make time to Jam

Hey, you got everyone using the google calendar to find available practice time, you’ve “woodshedded” those runs before showing up, you kept the rehearsal on the rails; I thought this was supposed to be fun!

It is! So spend some time at the end of every rehearsal playing what you want. Whether this is a cover of the newest Yeezy or some Cream, another lap through the 12-bar blues or something all you own, make time to unwind as a group. Often, it’s here that we stumble upon our next musical invention.

Now go forth and practice wisely!