vocalist career development program
DESCRIPTION
Vocalist Career Development ProgramTRANSCRIPT
monia publishing
Vocalists Career Development
program
SAMJAM Music Presents
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Chapter 1
Time Management and Goal Setting
Key Ideas in this Toolkit
There was a guy (lets call him Boris) slaving away chopping down some trees. He was
having a real hard time of it, because his axe was really blunt. Another guy came along
(lets call him Baz), and said to Boris ‚that looks like hard work, wouldn’t it be quicker
if you sharpened your axe?‛ Boris replies ‚yes it would, but I don’t have time‛.
This toolkit is all about sharpening YOUR axe<..
Yeah, you need to work hard, but you’ve got to work smart as well!
Overview
Time Management and Goal Setting are very personal things. It is dependent on your
personal circumstances and your personality traits. What works for some people, won’t
work for others. Therefore, take out of this toolkit what is relevant for you and put it
into practise.
Some of it may not be relevant – that’s OK.
Regardless of how you do it, both are crucially important.
Time Management takes time. You need to make time to make time, much like Boris
and his axe.
Your Health There is just no way can you be efficient if you don’t look after your health.
This is in no way a complete guide to the healthy body and mind, simply a few basic
pointers. If you have concerns about your health you should contact a health
professional.
You don’t need to be crazed about it (in fact that is usually worse for you) but you
MUST:
Get enough sleep.
The amount of sleep you need, and the times you sleep, is really individual.
Figure out what works for you, and do it.
Be aware that there will be times you need more sleep and times you will need
less. Go with what your body tells you.
Be aware that your energy levels will vary. Don’t give yourself a hard time if
you’re having a low energy day. However if you go for weeks with low energy,
something is wrong.
Your diet:
Be sensible.
Eat plenty of fresh fruit and veges.
If you enjoy food that supposedly isn’t good for you (takeaways, chocolate etc),
don’t deprive yourself, but keep it moderate.
Eat regularly – don’t starve yourself. You can’t operate if you don’t give your
body food.
If you have difficulties maintaining a healthy diet, seek the help of an expert. A
good naturopath is invaluable or a good dietician.
Drugs and alcohol:
Avoid drugs and the people that do drugs. Neither are good for you.
Avoid drinking alcohol and the people that drink alcohol. Neither are good for
you.
Unless you are prone to addiction, there is nothing wrong with a few drinks,
maximum, once or twice a week.
Avoid doing it at work (ie when you’re at a gig – this is a really bad look).
We are in an industry which tends to have a problem with substance abuse. If
you suspect you, or anyone you know has a problem, seek help.
Be active:
You don’t need to be a fitness freak, but if you are at least moderately active, you will be
a lot more efficient.
Time out:
It’s really important to give yourself time out. This may just be 10 minutes for a coffee
or it may be scheduling yourself a proper holiday.
Have some activities you really enjoy that you find relaxing. It might be hanging out
with friends, playing a sport, or going on a bush walk.
If you don’t know already know how, learn to relax. It may be useful to learn about
meditation or you may find an activity you really enjoy does the trick.
Your physical state of health is also closely linked to your mental state of health. You
can’t have a healthy mind if you don’t have a healthy body and vice versa.
Your State of Mind You simply can’t be efficient, if you don’t have a healthy state of mind.
This is not qualified mental health advice, merely a few personal observations.
If you are concerned about your mental health, you should contact a health
professional.
It is important to realise that creative people are possibly more likely than ‚normal‛
people to suffer mood swings (at best) and mental illness (at worst).
Everyone has good days and bad days. If you’re having a lot of bad days in a row, this
may be a sign that you need some professional help, don’t be afraid to ask for help. It
may also mean you need to make some changes in your life.
Apart from that there are some really simple ways to ensure the good days are the rule
and the bad days are the exception, and to deal with the bad days when you have them.
Surround yourself with positive people that have a ‚can-do‛ attitude. Lose any
losers in your life.
Affirmations
Congratulate yourself when you’ve done a good job
Learn to distinguish between good advice and out criticism. Listen to the former
and don’t even pay attention to the latter.
Recognise all the good things in your life, and your good qualities. You may find
it helpful to write these down or draw pictures.
When you’ve having a bad day:
Assuming the people around you are good for you, tell them how you’re feeling
and ask for support from them.
Don’t give yourself a hard time. This will likely result in a downwards spiral.
Be nice to yourself. Do something you really enjoy.
This is the time you should most avoid drugs and alcohol.
Unless it’s absolutely necessary, try to avoid doing anything and seeing anyone
that will stress you, or that you find difficult.
Don’t listen to the little voices in your head that tell you how useless, bad or
worthless you are. If you suffer from this problem, when you’re feeling good,
prepare a list of all the things you like about yourself and all the wonderful
things you’ve achieved. Pull it out and read it if you’re having a bad day.
Realise and tell yourself you won’t feel like this forever.
Goal Setting You can’t manage your time unless you know what your goals are.
If you’ve never done a goal setting exercise, you may find this process will take some
time and some soul searching.
Have fun with this exercise. Don’t look at it as one of those ‚I really should do this‛
things.
What does your movie look like? What is your ideal life? Think about things like:
What kind of a person do you want to be?
What will your qualities and skills be?
Where will you be living – what do your surroundings look like?
What are the people like who are in your life?
What does your ‚average‛ day entail?
What are the activities you will be doing?
How much money will you be earning? How will you be earning it?
Find a way that suits you, of recording this. It might be writing it down, drawing
pictures, making a movie. Up to you.
Visualise it – how does it everything look and even more importantly feel.
This needs to be the first thing you think about when you wake up and the last thing
you think about before you go to sleep. This will get your subconscious mind working
on it, which is a very powerful thing.
Break it down into smaller goals Again, it’s up to you, as to what suits you best. Some people prefer to start with the
shorter term goals, others prefer longer term. Some goals may take you a while to come
up with. That’s cool, just keep working on it.
Ask yourself. What do I need to do within the next (day (this will become your to do
list), month, 3 months, 6 months, 12 months, 2 years, 3 years, 5 years and 10 years) to
achieve the ‚movie‛.
Again, find a way to record these goals that suits you. Most books on the subject will
say write them down. You may prefer something different, like drawing a picture or a
mindmap.
Not all your goals will be career or business focused. It’s important to have personal
goals as well.
Goal Setting Necessities
Express them in the positive
If writing them down, express them in the positive (eg) today I will spend an hour on
reading a book on marketing, NOT, ‚I will not spend an hour playing playstation‛.
Make them time specific and measurable
(Eg) this week I will add 10 new people to my mailing list NOT I will increase the
number of people on my mailing list
Set deadlines
Give yourself a deadline for each goal. Make it achievable.
Make them small achievable steps
If you have a large goal of (eg) Recording and releasing an album, break it down into
smaller steps (eg) preproduction, researching and finding a studio, researching CD
duplication, getting the artwork done etc
Get a balance between achievable and pushing yourself outside of your comfort zone
Set your sights high, include your dreams, but make goals achievable.
Review your goals
It’s important to make sure you review your goals regularly. Sometimes your
circumstances change, or what is important to you changes. It’s important to recognise
these things and adjust your goals accordingly.
Here’s the most important thing
Stop and congratulate yourself every time you achieve one of
your goals!!
Figure out what works for you. Give yourself a day off, shout yourself a night out, or it
might be tell yourself how fantastic you are.
Be Organized Time management will be a whole heap easier if you’re organized. Organized does not
necessarily mean tidy. So, don’t stress if you’re not naturally tidy. It doesn’t mean
you’re disorganised.
Don’t try to change everything at once. A lot of these things are changing hard and fast
habits, so concentrate on one at a time.
1/ Homes
Everything must have a ‚home‛. (Eg) your clothes may live in your wardrobe.
The advantages of this are:
You will always know where to find things. This can cut down a huge amount of
time and frustration looking for something you need.
You won’t lose things.
It will be easier to be tidy.
When deciding on ‚homes‛, think about:
Is it near where you’ll use it (eg) keep your spare strings in your guitar case
Is it easy to get to (eg) are all the things you will need in the office (paper, pens,
stapler, scissors etc) easily reached without getting out of your chair.
Put like things together (eg) all your things you need for a gig (eg guitar, mic,
leads)
Always put an item back in its home when you’ve finished with it.
Make sure everyone who will use the item knows where its home is.
If you’re not used to ‚homes‛ try using labels until the concept of homes if firmly
embedded in your subconscious.
2/ Diary
Have (one only) diary and use it. It may be an old school diary or a new fangled digital
diary. Figure out what suits you best and carry it with you all the time. It will also
double as a useful notebook.
Write all your appointments in your diary as you make them.
Write relevant details of your appointments such as contact name, address, phone
number etc
3/ Be on time
One of the most important things, if you want people to treat you seriously, is to be on
time.
Allow extra time for things to go wrong.
As soon as you are running behind time, invariably this is when things go wrong.
Particularly if you are rushing.
If the worst happens and you are running late for an appointment, let them know as
soon as you can.
If circumstances outside of your control (eg) severe traffic cause you to be late, you need
to adopt the ‚don’t panic‛ and ‚stay calm‛ mindset. You can’t do anything about it. Just
accept it and enjoy the time you are getting to yourself.
4/ Your memory (vs) writing things down and recording system
Having a good memory sure helps being organized. If you don’t have a good memory,
consider some memory coaching.
HOWEVER
Regardless of how good your memory is, don’t rely on it. Make sure you have a system
for recording everything.
Things to avoid
Avoid writing things on scraps of paper that will get lost and/or will take a heap
of sorting through to find the right piece of paper.
Avoid having records spread out in several different places.
The following items in your recording system are recommended
A diary for appointments
A to do list
A database for contacts
Your goals
A notebook and/or a file on your computer for inspiration and ideas.
This may include future additions to your goals, lyrics, promotional ideas, or just
random thoughts.
Mobile record system
If your system is not portable, make sure you have a method of recording ideas,
contacts, things to do etc while you are out ((eg) a notebook and pen or Dictaphone).
Then, incorporate them into your system when you return to your office.
6/ Get a good filing system
Make sure you always know where to find that quote you got for recording 2 years ago
and those equipment warranties and those paid accounts.
7/ Have a clear, logical file structure on your computer
Make sure it makes complete sense to you so you always know where to find your files
again.
If you don’t know how to do this, invest in some education on the topic.
Give files meaningful names (ie) don’t called them letter 1. Call them either the topic of
the letter and the date, or the recipient of the letter and the date.
8/ Have a bought forward / follow up system
Diary things that need to be done at a later date.
Diary when you need to follow something or someone up. Don’t just cross them off
your list and never think about it again.
9/ Leaving voicemail messages
Leaving good voicemail messages will save you time; you’ll get more calls returned and
increase your credibility.
Speak slowly and enunciate clearly
If you aren’t sure what you’re going to say, script it first.
Begin AND end the message with your name AND phone number AND email.
o NEVER assume they have your number. Even if they do, it will save their
time looking it up.
o Leave a landline and a mobile if possible. It may often be bad form,
expecting someone to carry the cost of a mobile call.
Spell your name if dealing with someone for the first time
Don’t just leave your name and number—leave a message.
Let them know the nature of the call
Let them know a good time to reach you.
Make it quick, less than 60 seconds.
Avoid (if possible) leaving messages from your mobile.
Time Management
Overview
Have some fun with your time management and planning. Don’t stress too hard about
it and you’ll find it will get easier as you go along and teach yourself new habits.
Once you’ve done the goal setting exercise you’ll find time management a whole heap
easier. Before doing anything, ask yourself, ‚does this help me achieve my goals?‛ If the
answer is no, then don’t do it.
Will I ever get everything done?
If you have a business which is developing and has the potential to develop further,
you will never have everything done.
The day everything is done and up to date, is the day your business (in this case as a
musician), has no potential to grow any further.
Therefore you will often feel like there just isn’t enough hours in the day to get
everything done. Provided you are moving towards your goals, this is a good thing.
Don’t allow yourself to feel guilty or overwhelmed by it.
Where does that time go? - Time Journal
Before you embark upon a time management exercise you may find it useful to keep a
time journal for a period of time (perhaps a week). Write down what you do every day
in 30 minute intervals (see table on next page – you may need to change the times for
your day).
Then analyse your journal. See instructions following the sample journal.
Day Time Activity Comments (eg) hungry, tired, happy,
grumpy
8am
8.30am
9am
9.30am
10am
10.30am
11am
11.30am
Midday
12.30pm
1pm
1.30pm
2pm
2.30pm
3pm
3.30pm
4pm
4.30pm
5pm
5.30pm
6pm
6.30pm
7pm
7.30pm
8pm
8.30pm
9pm
9.30pm
10pm
10.30pm
11pm
11.30pm
Midnight
12.30am
1am
1.30am
2am
2.30am
3am
3.30am
4am
4.30am
5am
5.30am
6am
6.30am
7am
7.30am
Totals
I spent my day doing (for (eg))
Personal
Sleeping
Eating, showering, basic type living stuff
R & R
Phone calls
Work
Phone calls
Emails
Gigging
Songwriting
Traveling
Research (reading etc)
Time wasted
What things do I waste my time on?
Who causes me to waste time?
Analyse the Journal
Total what you spent your time on each day.
How much wasted time was there? (Not to be confused with timeout which is really
important).
What did you waste your time on?
What caused you to waste time?
Who caused you to waste time?
What are you doing that doesn't really need to be done?
What are you doing that could be done by someone else?
What are you doing that could be done more efficiently?
Do you need to upskill? On what? (Add this to your goals).
Do you need to upgrade equipment or technology? (Add this to your goals).
You should see some patterns emerging.
When are your productive times of the day?
When are your non-productive times of the day?
What things affect your productivity positively? (This may give you some things to
add to your goals).
What things affect your productivity negatively? (This may give you some things to
add to your goals).
Time Wasting Habits
Doing the time journal will also make you aware of your time wasting habits. Here’s
how to deal to them.
1. Be really honest with yourself, what do you do that could be done more efficiently.
You may like to ask people around you what they think you do which is a bad time
wasting habit.
2. Write down them down
3. Rank them in order of what wastes the most time.
4. Concentrate on improving one thing at a time. When you’ve mastered that and
created a new habit, move on to the next one.
Some common time wasting habits:
Procrastination. This is a biggie. Virtually everyone suffers from it. There is a whole big
section on it, to help you deal with it.
Not being organized. See ‚Be Organized‛
Not prioritising. See ‚Prioritising‛.
Not doing everything in one hit.
Every time you are off to get something or drop something off, spend a few
seconds or minutes checking to see what else can be done during that trip.
Being easily distracted. Does noise or people talking distract you? Do you want to
contribute to their conversation? You may need to change your surroundings / living
circumstances to give yourself a work area which doesn’t have distractions. You also
need to be aware of it and spend some effort to not be distracted by things and focus on
what you’re doing.
Only handle pieces of paper AND emails once. Deal with paper as soon as you get it.
Don’t pick it up 10 times before you deal with it. Generally paper can be dealt with one
of the following ways:
Bin it
File it
Prioritise it and put it on your to-do list
Put it in your bought forward system
Same with emails. Empty your inbox everyday. Here’s how to deal with them.
Download them
Delete any spam
Open and deal with any urgent emails
o Once they are dealt with, IMMEDIATELY put them in a folder, so you
can access them at a later date if you need to.
Put the remaining emails on your to-do list in priority order.
When you get to your emails on your to-do list:
o Deal with as many as you can there and then
o If you have emails that are reading / research, put them in a folder
together and allocate some of your reading time to going through them
o Put any that can’t be dealt with there and then in your brought forward
system. The easiest way of doing that if you are using outlook, is drag
them into your tasks and set a reminder for some time in the future, when
you can deal with them. Then file the email away in a folder.
Jumping between tasks. Once you’ve started a task, finish it before you move on to the
next task. If you think of something else you need to do, write it down on your ‚to-do
list‛
Watching things happen. How many times have you sat there and waited while your
emails downloaded, or maybe watch the kettle boil. Always have other things you can
move on to while these things are happening. It may only be a couple of minutes, but if
you save 2 minutes, 10 times a day, that’s a massive 122 HOURS of time you save a
year, that’s 3 working weeks!!
Visitors and phone calls. When you work from home, phone calls and visitors can pose
a major problem. If friends phone or visit you while you’re working, don’t get into a
conversation with them, be firm, and tell them you will call back at a later time.
You may choose to have certain times of the day, when you take your phone off the
hook and let your voicemail answer it.
Television, computer games, playstation etc. If you can’t stop using these things,
consider selling them or having them some place which is well away from your
workspace. Preferably in another building.
Not being able to say no to people. Are you one of these people who is constantly over
committing yourself because you can’t say no to people? If so, you need to learn.
Prioritising
This is probably THE most important skill to learn in time management.
Urgent vs Important
You need to be able to identify the difference between something which is urgent and
something which is important.
Some things which seem urgent may not be important at all. (Eg) someone who
‚urgently‛ wants you to phone them.
Many things which are important do not seem urgent, so they never get done without
proper planning (eg) developing your website
So
Something is important if it moves you towards your goals.
If something seems urgent, before you do it, ask yourself if it is important
Maintenance vs Progress
In order to make the most of your time, you will need to be able to get the balance right
between maintenance tasks and progress tasks.
Maintenance tasks are important things like collecting your emails and updating your
website and must be done (these are often daily or weekly tasks), and although they
may be moving you towards your goals, may not be progressing your career.
Progress tasks are important things like writing new material, up skilling, research and
recording which progress your career. These are often the things which don’t get done,
or get low priority. It is important to prioritise these and to always be working on at
least one progress task.
Your progress tasks will be a plan of how you will achieve your longer term goals. (Eg)
If you have a large goal of recording and releasing an album, break it down into smaller
steps with timeframes (eg) preproduction, researching and finding a studio, researching
CD duplication, getting the artwork done etc.
Add at least one thing you can do towards this progress task to your to-do list
everyday.
Your To Do List (Your Daily Goals)
This is your most important tool in time management.
It is what you will be doing today that will mean you can achieve your ‚movie‛.
It should be the first thing you do when you start work every day.
It will include:
‚Your maintenance tasks‛
‚Your progress tasks‛
Your maintenance tasks usually work in daily, weekly and monthly patterns.
To save time on compiling your To-Do lists, spend some time:
Compiling a daily tasksheet.
This may include things like: collect emails, practise etc
Compiling tasksheets for each day of the week.
For example, you may update your website every Monday and advise gig
guides of your upcoming gigs on a Friday.
Diary monthly tasks. If you use outlook, you can use the recurring function on
the calendar to do this automatically for you.
Compiling Your To-Do List
1. Add your daily tasks
2. Add the weekly tasks for that day of the week
3. Add the monthly tasks from your diary
4. Add any tasks from your brought forward system
5. Add your progress tasks for that day
NOW
6. CHECK there aren’t any tasks which aren’t important (ie are not moving you towards
your goals). If there are any, CROSS THEM OFF!
7. Put them in the order that you will do them. Bear in mind:
From your time journal, you should be aware when your productive times
are. Schedule your ‚hard‛ tasks, during those times
Schedule the things you find easier, during your less productive times
and/or schedule your R&R during those times.
Group ‚like‛ things together (eg) if you’ve got a number of phone calls to
make, put them together on your to-do list.
8. Make sure your to-do list is the right size. If it’s too big, reprioritise. If it’s too small,
add some more progress tasks.
NOW
9. Do it
10. Make sure you do it in order and don’t go off on a tangent or get distracted with
those seemingly urgent matters.
11. Don’t keep working if you need a break, or need to eat. You won’t be efficient and
you are more likely to make mistakes. Take a break and come back to work refreshed.
Keep a list of smaller activities…
You can use these to fill any gaps in your time (eg) if you are waiting on the phone
Keep a list of tasks you can do whilst kept waiting etc
Ever been kept waiting for an appointment. Or just ended up with some time on your
hands between say appointments. Always have something you can work on during
these times so it’s not wasted time.
Blasting Procrastination into Oblivion
‚Why do today, what can be put off until tomorrow<<.‛
WRONG!!
Most people suffer from it, so don’t give yourself a hard time, this will only make you
procrastinate more. Accept that you have possibly wasted a lot of time in the past and
move on.
Before labelling yourself as procrastinating about a task, is the task really necessary?
Maybe you’re ‚procrastinating‛ because it doesn’t actually need to be done. Maybe you
genuinely don’t have the time. If this is the case you need to restructure your workload.
Things already covered in this toolkit which will assist you in the problem of
procrastination:
Addressing any health and mental health issues
Realising you will have the occasional bad day. Don’t worry if you procrastinate
on these days (provided they are only occasional).
Having your subconscious constantly working on achieving your ‚movie‛.
Things that once seemed insurmountable will now seem like fun!
Having goals with deadlines
Being organized
Being aware of your productive and non-productive times of the day. Schedule
the tasks you find hardest, when you are at your best.
Realising what makes you unproductive (eg) being hungry or tired
Having a plan for each day (your to-do list).
Here’s what to do if you’re procrastinating about something
1. Spend a few moments imagining you’ve finished the job. Isn’t it a good feeling?
2. Decide upon a reward you will give yourself when you’ve done the job. Make it
worth your while.
3. Be aware, the worst thing of a job you are procrastinating about, is making yourself
start it. Once its started, 999 times out of 1000, it’s not nearly as bad as you thought it
would be.
4. What can you do to make the task more pleasant?
Maybe put your favourite music on (not if it will distract you). Have some of your
favourite food nearby (eg) a bowl of chips or M&Ms
5. Figure out why you are procrastinating. Once you know why you are avoiding
something, it is usually much easier to address. Here are some common reasons and
some ways around it.
The job seems too big.
The old saying ‚A journey of a 1000 miles starts with a single step‛ is really the
best advice here.
Break it into smaller steps.
Make the first step the smallest
(eg) You are procrastinating about promoting a gig. You might break it
down with the first step being compose an email to go to your mailing list
(this will probably only take a few minutes).
You don’t know where to start.
Somewhere is always better than nowhere. Even if it’s not the best place to start,
figure out something you can do easily NOW and you will probably find it easier
from there.
Ask a clear thinking friend to help brainstorm and put together a plan of attack.
Sometimes you may need to get expert advice (eg) for a recording project you
might like to speak to the engineer of a studio you are thinking of using, to help
you decide how to approach the project.
You are scared of what you’ll find.
(Eg) you have been procrastinating about sorting out your bills.
Yip, what you’ll find will probably be scary BUT not nearly as scary as what will
happen to you if you ignore it.
Enlist the help of a friend who is good at dealing with such things. If you don’t
have any friends who are, again you may need to seek expert advice. There are a
number of agencies that can assist in these areas. Citizen’s Advice Bureau is a
good place to start.
You’re scared of what people might think of you.
(Eg) you have some phone calls to make to people who make you nervous.
Figure out what you want to achieve from the phone call
Visualise what it’s like when you’ve achieved what you want to achieve
For phone calls, it is often a good idea to script your call.
Also figure out what is the worst thing that can happen (eg) they’ll say no. Is it
really THAT bad? Don’t focus on it, but if you know the worst thing that could
happen is not death by slow and painful means, it does make it easier.
You have had a bad experience before.
Figure out why the experience was bad the last time
What can you do better this time to minimise the risk of the same thing
happening?
If it is something that has affecting you really badly, think about getting
professional help to address the issues
Wanting it to be perfect.
Perhaps you haven’t started on a task, because you want the outcome to be
perfect (eg) a poster.
Yip, your first poster design, will not be your best BUT it is still better than NO
poster.
It’s important to realise you won’t get to the perfect poster, unless you start with
the earlier less perfect models.
You don’t have the skills.
It’s really important to recognise if you genuinely don’t have the skills to do a
particular task.
If its important that you get those skills, then learn them (courses, reading etc)
If its not important that you get those skills, then pay someone to do it for you
Summary Address any health and mental health issues that may be affecting your life. Develop
your ‚movie‛ – your ideal life
Set your goals to achieve the “movie” for the next:
Month
3 months
6 months
12 months
2 years
3 years
5 years
10 years
Learn to be organized – address one thing at a time
Find out how you spend your time – do the ‚Time Journal‛
Analyse the Time Journal
Identify and correct your time wasters - address one thing at a time
Learn to prioritise – only do things that move you towards your goals
Do a daily to-do list
Ban real procrastination; relabel what you might think is procrastination to what it
actually is (eg I’m not doing it because it’s a waste of time).
Chapter 2
Resource and Skills Inventory
Key Ideas in this Toolkit
Identifying the skills and resources that you have
Identifying where those skills and resources need improvement
Identifying which skills and resources you need to acquire
Part A: RESOURCES
1/ People
List the people who assist you in your career as a (singer) musician or manager
Role Person/s Their skills
Personal / moral support
Business mentor
Musical mentor
Manager
Sound engineer
Role Person/s Their skills
Others
Who would you like to get on board to help you?
Role/s Person Skills you require them to have
Role/s Person Skills you require them to have
2/ Equipment
Musical Upgrade / to get Timeframe
Guitar/s
Other instruments
Associated equipment e.g.
pedals, effects etc
Mic
PA
Recording equipment
Upgrade / to get Timeframe
Other musical equipment
Other Upgrade / to get Timeframe
Vehicle
Computer and associated
equipment
3/ Current contacts Contacts to develop
Press
Radio
Venues
Musicians
Technical Advice
Recording
3/ Current contacts (cont) Contacts to develop (cont)
Sound
Equipment
Promotion
Industry
Design
Printing
3/ Current contacts (cont.) Contacts to develop (cont)
Other
3/ Current contacts (cont.) Contacts to develop (cont)
4/ Networks
What groups of people do you have access to who may assist you in your career.
What groups of people would you like to develop a relationship with may assist you in
your career
5/ Other resources you have
6/ Other resources you need
Part B: SKILLS
Motivation and Goal Setting: Strong points
Motivation and Goal Setting: Areas for improvement
Songwriting: Strong points
Songwriting: Areas for improvement
Musicianship: Strong points
Musicianship: Areas for improvement
Vocal skill: Strong points
Vocal skill: Areas for improvement
Performance skill: Strong points
Performance skill: Areas for improvement
Recording and production skill: Strong points
Recording and production skill: Areas for improvement
Experience: Strong points
Experience: Areas for improvement
Marketing skill: Strong points
Marketing skill: Areas for improvement
Business skill: Strong points
Business skill: Areas for improvement
Communication - Verbal: Strong points
Communication - Verbal: Areas for improvement
Communication - Leadership: Strong points
Communication - Leadership: Areas for improvement
Communication - Literacy and numeracy: Strong points
Communication - Literacy and numeracy: Areas for improvement
Communication - Business Writing: Strong points
Communication - Business Writing: Areas for improvement
Communication - Promotional Writing: Strong points
Communication - Promotional Writing: Areas for improvement
Design: Strong points
Design: Areas for improvement
Industry Knowledge: Strong points
Industry Knowledge: Areas for improvement
Computer Literacy: Strong points
Computer Literacy: Areas for improvement
Other skills you have
Other skills you need
Part C: SUMMARY
Particularly strong points
Areas for immediate attention
Areas for future attention
Chapter 3
Dealing with Venues
Key Ideas in this Toolkit
Treating your relationships with venues as a partnership, to make both businesses
successful.
How to find and approach a venue for your gig.
Specific points to address when booking and performing live gigs.
Although some things will be the same for covers gigs, this toolkit specifically
addresses originals gigs.
Overview It is really important for both venues and musicians to understand the constraints and
challenges of the other.
Because every situation is unique, communication is the key to achieving this.
Venues need to be aware that running a business as a musician is a difficult road to hoe
and at times it seems an impossible task. How can you make a living as a musician with
seemingly so many obstacles to overcome?
Venues are not (or at least should not be) one of these obstacles and should be looked at
as your allies.
The Venue’s Point of View
It is important for musicians to realise even venues are in the business of selling drinks
and/or food and coffee.
This is how venues pay expenses and venue owners and managers earn a living. Even
though all these venue owners and managers are passionate about Canada music, it is
important for musicians to understand venues must turnover considerable amounts of
money just to keep the venue operating.
This also means that venues’ main focus is on the operation of the bar / restaurant / café,
not unfortunately, you. Bear this in mind when communicating with venues:
avoid peak times
realise venues who focus on original music may have up to 60 performers each
week, this means you should take the responsibility of communicating with the
venue, and not rely on them to contact you
Contrary to (some) popular opinion venue owners do not make bucket loads of money
at the expense of musicians. In fact most venue owners, do not earn what would even
approach minimum wage, and generally work at least 60 hours per week, if not, more
like 100. If you cancel a gig at late notice, or do not promote a gig sufficiently, it doesn’t
mean the venue hasn’t made any money, it means the venue has lost hundreds, or
possibly thousands of dollars.
All the costs of running a venue need to be paid before such times as the venue owner
can get paid.
This includes:
Wages
Rent
Electricity
Telephone
Advertising
Licenses
ACC levy
Repairs & maintenance
Rates
Water rates Legal fee Accountants’ fees
Cleaning materials
Equipment hire
Glassware & crockery
Body corporate
GST
Tax
These expenses will run into thousands of dollars each week.
These expenses remain much the same regardless of whether $10 is taken over the bar
or $10,000. If these expenses are not covered from bar takings the venue owner needs to
find the money from somewhere else to make up any shortfall, this can be extremely
difficult and stressful. Not to mention, venue owners have, in most cases, well into a 6
digit figure invested into their businesses.
You may be surprised to know that what venues pay for their stock (generally food and
alcohol) is only marginally (maybe 5%) less than what you would pay when you go to
the bottle store or the supermarket. Venues supporting original live music are working
in a particularly difficult market (although fortunately an expanding market) with
limited (if any) industry support and a public which is often not interested in and/or
doesn’t know about unknown acts. Both venues and musicians have huge constraints to
work within so it is essential for both to understand you are all on the same side and
should be working in partnership towards making all of these businesses as successful
as possible.
What Should You Expect From The Venue In This Partnership? Professional attitude and conduct
Communication before, during and after your gig
Staff and management who are supportive of your music
For the venue to adhere to the conditions of the negotiated contract
A ‚safe‛ environment (eg how does the venue deal with drunks, hecklers etc)
Depending on the venue, a certain amount of promotion of your gig
Equipment provided by the venue to be in good working order
Good level of customer service. How the customers are treated by the venue will
reflect on you as a band, and people won’t enjoy their experience if the customer
service is poor.
Promotion That Would Generally Be Done By the Venue Promotion done by the venue reaches the ears of the general public only. Venues can
not specifically target your fans (unless you are famous), it’s impossible.
Gig guides
Display of your gig posters and flyers at the venue
Any mailing lists the venue has (although be sure to provide the venue with a
well written press release and interesting photo that will enthuse audiences to
come along)
Any website the venue has
Fielding telephone and email enquiries that come direct to the venue – again you
need to provide them with information so the venue can get enthusiastic about
getting people along to see you
If you have industry or important people you want to invite, ask the venue if
they could provide some free drinks. It is generally advantageous for the venue
to have these people there as well
What Should The Venue Expect Of You - The Performer?
Communication
Depending on how far out the gig has been booked, phone or email one month
out and one week out to confirm your gig and any gig details (see booking form)
If the venue is supplying the doorperson, advise them of any people on your
guest list
Be easy to communicate with during the gig period (soundcheck to load out).
Bear in mind, the operation of the venue will be the main focus of the venue staff
during this period
Have one point of contact for the band ensure all band members have been
communicated with by that contact person
Refer to ‚Getting the Basics Together ‚Toolkit
Always announce your last song so bar person / tech can cue house music
(ideally provide bar person and door person with a set list)
It’s a good idea, but is rarely ever done, to phone, email or send a card, to thank
the venue for the gig
This is also an ideal time to ask for feedback on your gig. What was particularly
good?
What can you improve?
Some venues will welcome feedback as well. What was particularly good? What
can be improved?
Professional Attitude and Conduct On and Off Stage
Be on time! Allow extra time for travelling, finding parking and for things to go
wrong
No consumption of drugs and at most moderate consumption of alcohol before
or during the gig
For all band members to adhere to the conditions of the negotiated contract
Don’t go into staff only areas without permission particularly behind the bar
At the very least, be polite to the customers. Refer to the Promoting Live Gigs
Toolkit for how you should really treat the customers. These people are your
road to success.
It’s a venue, nor a practise room. Soundcheck before the venue is open / or check
when is the appropriate time to soundcheck. Don’t ‚practise‛ or allow anyone to
‚jam‛. This is a gig!
Equipment
Ensure all of your equipment works properly and you have things like spare
strings and batteries
Treat any equipment owned by the venue carefully and make sure it is returned
and in good order
Your Show
You are there to entertain the audience, you need to put all your performance
skills into use to create a show that will make audience members want to come
back to the venue again as well as come back to see you play again
Promotion of Your Gig
Do you want to be a successful professional musician or do you just want to play music
for the pleasure it gives you?
Anyone who runs a successful business needs to market their products and services
effectively. So, if you do want to be a professional musician, you need to treat all of
your gigs as your product and promote each and every gig extensively.
Refer to the Promoting Live Gigs Toolkit for what you must do, to promote your gig.
Supply a press kit to the venue.
Check with the venue, what details they would like on your posters and flyers.
If you just want to play music for the pleasure it gives you, that’s perfectly valid, but
don’t expect to gig at a venue; stick to playing for your friends, at home, at parties and
maybe open mic nights. It is hard to promote yourself with any gusto and enthusiasm if
you are not particularly concerned with the outcome. Venues should not have to finance
your hobby.
People do not come to a gig that hasn’t been promoted.
You may be happy to play to a small audience, but the venue stands to lose hundreds or
even thousands of dollars if you don’t do your job properly, and promote your gig.
How Do You Go About Finding a Venue for Your Gig or Tour? The Internet
Other Canada music websites (most have links from the Temple website)
Search engines
Email discussion groups
Gig Guides
Music Directories (Canada Music Services Directory / The Index)
Word of Mouth (Networking is of all importance in this industry)
Look at other musicians’ tour schedules
Visitors Centres
Radio stations that are ‚hooked into‛ Canada music and their community
How to Approach a Venue for a Gig
Identify the venues you would like to perform at.
Think about:
Is your style of music suitable for the venue?
What do you have to offer them?
What can they offer you?
If possible, visit the venue before approaching them for a gig, so you can get a ‚feel‛ for
how they operate. This is a key part of building a relationship with the venue.
Think well ahead, many venues book at least 3 months out, so book your gigs well in
advance. This will show your professionalism.
Avoid, at all costs, approaching them during peak times and other times of pressure eg
just before opening.
This is dependent on the venue, but generally avoids walking in and asking for a gig.
If phoning, the conversation should start something along the lines of:
‚Hi, this is Joe Bloggs from such and such band. Could you please tell me who
handles your live music bookings?‛ Then ask if you could speak to that person.
If they’re not there, then find out the best time and method of communication.
When you do get to talk to them, ask, ‚Is this a convenient time for you?‛ If not,
ask when is. Make sure you get back to them when you said you would.
Then be prepared to answer the following questions:
What is your music like? You MUST be able to give a clear, concise description of
your music. Make it sound interesting.
What other gigs have you done?
How will you promote the gig and how many people will come to see you play?
If requested be prepared to provide them with a press kit (see Getting the Basics
Together Toolkit).
Building a Relationship with the Venue This is an important part of getting live gigs, although often forgotten.
You should be at minimum, doing the following:
Be in (reasonably) regular contact with them. Don’t book the gig 3 months out
and then turn up on the night.
o If the gig was booked a number of months out you should be in contact
with them on a monthly basis, providing them with the required
promotional material eg press kits, posters etc at the appropriate time.
o Always contact the venue a week before the gig to confirm all the details.
Promote hard and do a great gig!
Be professional.
Phone, email, or send a card to thank them after the gig and ask for feedback.
If you live in the city where the venue is, go there as a punter. Take your friends.
Recommend the venue to other people, both as audience members and bands.
Include the venue (check with them first) on your Industry Mailing List (see
Promoting Live Gigs Toolkit).
Go to any open mic nights the venue might have, preferably on a regular basis.
Cancellations
Never take cancelling a gig lightly. It should only be done in very severe circumstances.
This is because:
You will lose your credibility
The venue will lose credibility, if its been advertising a gig that doesn’t happen
The venue could suffer a huge financial loss.
To avoid cancelling gigs:
Before booking the gig:
o If you are serious about your career as a musician, your gig should take
priority over everything else in your life eg family problems, work
problems, relationship problems, social engagements etc. If you’re not
prepared to be this committed to what you do, don’t book gigs at venues
o Make sure you are available and nothing is likely to ‚come up‛
o Make sure all your band members are available and know how important
the gig is
Avoid dangerous sports
Look after your health
Be properly prepared for the gig and do your planning properly.
If you do need to cancel a gig:
Let the venue know as soon as you do. Don’t leave it an hour, a day, or certainly
a week
Apologise profusely and tell them why you must cancel
Offer to arrange a replacement act (if you’ve been doing your networking this
should be easy)
Things That You Should Negotiate/Communicate With the Venue When
You Book the Gig It is recommended that you use a booking form / contract when dealing with venues:
Particularly a venue you haven’t dealt with before
When you are touring you have a record of all relevant details for every gig
Included in these notes is a sample booking form that you can adjust for your own
requirements. This covers all aspects of your gig that should be negotiated well ahead
of time with the venue.
e Vocalist Magazine
BEYONCEOCTOBER - NOVEMBER - DECEMBER 2012
Corneille
Jennifer Meade
Barbara Hendricks
Sachika Twins
Dawn Tyler
TVM
Sample Booking Form
Booking Form for [insert your band name and logo here]
Band (or performer) details: Performance Name:
Musical Description: Interesting, succinct 3-5 word description of your music here
Contact Person: ONE contact person only
Postal address:
Day telephone:
Night telephone:
Mobile:
Fax: If applicable
Email:
URL:
Venue Details: Contact Person:
Address (postal):
Address (physical):
Day telephone:
Night telephone:
Mobile:
Fax:
Email:
Best method and time for communications:
URL:
Venue capacity and layout:
Liquor licensing requirements
Gig Details Day and date of gig:
Start time of performance:
Finish Time of performance:
Breaks:
Other performances on the same day/night:
Sound check / load in time:
Money and Rider Details Fee:
Venue Hire:
Door Deal:
Door charge amount:
% split
Who provides doorperson?
Who pays doorperson?
Who provides float:
Policy on people who are already in the bar and/or regulars:
Guest list:
Door requirements: eg Liquor license restrictions, dress code, CD sales, mailing
list, etc
Presales:
Will there be presales? Where from (venue / ticketing agent / the band)? How do
customers buy presold tickets?
Meals:
Drinks:
Accommodation:
Parking:
Equipment and Personnel PA, equipment, lighting, stage details:
Sound engineer:
Backstage, security, equipment storage:
Promotion Venue’s promotion:
Band promotion:
No of posters required:
Venue requirements for posters eg logo, address, website etc
Date required by:
Press / media contacts:
Cancellation procedure
Other Smoking policy:
Dress code:
Noise restrictions:
Requirements as to music to play before, during, and after the gig:
Other comments:
Eg if it is a café, what time are meal times etc
Signed for venue: Signed for band:
Date Date
“Metro Debut”Featuring ReporterMalik Shaheed
WATCH SEGMENTS ON fitness, health, music, fashion, art, business... between 07:00 am and 10:00 am
From Monday To FridayOn the following cable and satellite providers:
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Analog Channel 62 or when analog signal is down Digital Channel position 49
Chapter 4
Promoting Live Gigs
Key Ideas in this Toolkit
Promoting live gigs
Building up a live following
Taking advantage of all live gigs
Exercise:
Keep a note of every person who you speak to one day. How many were there?
Every single one of these people is a potential new fan!
Overview Your return on investment into promoting your gigs will be:
More money from door sales, CD sales and merchandise sales
Future gigs at that venue
Other venues inviting you to play as opposed to you having to sell yourself to
them
More fans
More personal and professionalism satisfaction
Likelihood of media coverage
More likelihood of being picked up by a record company, if that’s one of your
goals
Higher profile performances
It doesn’t matter how good you are, or how much of gig you just did – if no-one is there
to see you it
hasn’t done you any good (except for the experience gained)
hasn’t done the venue any good. It is an unfortunate fact that unless the venue
turns over money, they cannot survive – in words of one syllable, you will not
have a stage to play on!!!!!
If you can get a good base of people at a gig, it will draw people in off the street. Once
they can see its ‚happening‛ they just rock ‘n roll in off the street. Very few people will
come into an empty bar.
There are some very simple and cost effective ways of promoting your gigs:
Never half pie promotes a gig. Always include all the tools in this kit.
Getting Yourself in the Right Headspace If you have any ‚head‛ issues about self promotion, you will need to address them. Try:
Affirmations
Talking to other musicians who seem to have accomplished the self-promotion
Head-space.
Focussing on your long term vision (see Goal Setting and Time Management
Toolkit)
Don’t give yourself a hard time
Ask for support from family and friends
Surround yourself with positive people that have a ‚can-do‛ attitude. Lose any
losers in your life.
Give yourself rewards when you do something difficult
Do something EVERY day that will build up your live following.
Figure out how to describe your music. Use interesting words. Keep it brief.
EVERY person is important. Treat people as such (except the weirdoes). Adding one
person to your list of contacts is a huge achievement and recognises it as such.
Realise that there will probably be the occasional gig that you do, that despite doing
everything right, that has a poor turnout. This is the nature of the beast, DON’T
convince yourself that promo is not worthwhile, congratulate yourself for doing a good
job on promo, figure out what you could have done better and move on.
Make Every Show “Worth” Going To See. All the promotion in the world WILL NOT work unless your ‚product‛ is worthwhile.
It doesn’t matter if you are playing to one fan or a stadium; make your show a must-see.
Have a mull on this. What makes an audience member come back? There isn’t one
simple answer to this. But there are tons of ways to ensure people will want to see you
play again and again.
Keeping people coming back again and again is not just about the music. It’s about
creating an experience for them, that they want to repeat.
Start by thinking about what makes YOU want to go and see a live show.
The Basics Make sure you are well practised and all your equipment sounds good
Have spare strings, batteries etc
Have a ‚plan‛ of how to deal with a broken string, technical difficulties etc eg
ask the venue to put the house music on, have a song the band can play without
the guitarist etc
Soundcheck. Play at an appropriate volume
Start on time
Turn up and stay, sober and straight
Thank people
Never apologise
Make the transition between songs smooth
Ask the venue if you can provide your own pre-show, break and after-show
music. Think about what music will create the right vibe
Audience Communication on Stage
Work on your intros and outros
Think of ways to involve your audience
Always make sure everyone in the audience knows who you are. This can be
achieved by:
o Having a backdrop
o Saying who you are several times during your performance. At minimum
introduce yourself near the beginning of your set and at the end of your
set
o Having a support person hand out flyers for your next gig/s while you are
playing
o Asking the venue if you can put flyers on the tables. You may like to
invest in some stands that you can put your flyers in
o What else?
Let your audience know when and where you are playing next
Invite the audience several times to join your mailing list
Let the audience know several times if you have CDs and other merchandise
available
Keep It New And Exciting.
Include new songs
Think carefully about your set structure. For most people, write a set list
You may need to be flexible on your set list though. Learn to read your audience
and play what is going to work
Give away free stickers, pencils, tapes, buttons, and compliments
Have an onstage competition to win a CD (or tee-shirt etc)
You are there to entertain; this will happen naturally if you are having fun!!
What else?
Audience Communication off Stage
Building up a live following is all about building relationships with your fans and
potential fans.
You’ve just played your first ever gig, you had a blast and you feel great. A complete
stranger comes up to you at the bar and congratulates you on your performance. What
do you do?
Communicate!
Thank them right back. They came to watch you, they stayed for the duration,
and they had the courage to step out of their world into yours and put
themselves out on a limb.
Find out their name and invite them to your next gig
Ask them about themselves. At the very least this will make them feel important,
and they will want to come and see you again and tell their friends. At best, they
might be a want to sign you to a multi-million dollar deal
Introduce them to any other fans who are around – that will give them another
reason to turn up to your next show
Add them to your mailing list
This is a really important part of building a live following. No band starts out with
100,000 fans unless they have a 12 part television series behind them.
Make part of your live ritual a ‘meet and greet’ session at the end of every show
o INVITE people to stay around after your gig
o If you find this hard – set yourself little goals. Eg at the end of this gig I
will introduce myself to 2 people. Step it up each time
Remember people’s names. If you are bad with names, invest in some memory
training
When people turn up who have been to gigs before, or that you have invited,
acknowledge them and if possible have a chat. People like to go places where
they know other people; they will feel important, because they know YOU. You
are the star of the evening, because you are the performer.
Live Performance Is Visual As Well As Aural
How can you make your live show more exciting to watch?
Develop a stage persona. Keep it consistent with your style of music. Think
about:
o Stagewear, hair, makeup
o Your manner
o Your actions
o What you say
o How is your energy / stage presence?
Consider gimmicks
Lighting
Stage ‚dressing‛
Even consider decorating the venue.
What else?
Phone Around: The phone is the most simple and cheap way of advertising your gigs. If you aren’t
already using it you should know that many of your friends and acquaintances are
missing out on seeing you play live.
An absolutely crucial part of your live gig promotion strategy:
Phone the people on your phone list EVERY time you have a gig. If they say no once, it
doesn’t mean they hate you, or don’t like your music.
Encourage them to bring their friends along – make a night of it!!!
Remember to thank them when they turn up to your gig.
Who Should Be On Your Phone List?
Make a list of everyone you know that you can think of:
Now add:
Family
Friends of your family
Friends you haven’t seen for a while
Friends of friends
Workmates
Old workmates
Adding To Your Phone List
Carry your phone list with you AT ALL TIMES.
Make a point of adding to this list everyday.
ASK people you meet, if they would like you to add them to your list of people to keep
updated about gigs.
Don’t shy away from asking those who you think aren’t interested.
Every time you do it you will get better at it, and it will become easier
Expect that they will say ‚Yes!‛, but don’t be disappointed or take it personally if
they say no. Strange though it may seem, not everyone in the world is into live
music.
Email Lists Do you have an emailing list? If you don’t you should start one now. Email is an easy,
effective and cheap way of communicating with a lot of people.
A crucial part of your live promotion strategy.
Email lists also come in very useful for when you have a new CD or any other
merchandise to sell.
If you don’t own a computer don’t worry. You can still set up an email address through
Hotmail or Yahoo, and it’s free. Just pay a visit to one of the many internet cafes and set
yourself up.
If you don’t feel confident on computers you can get one of their staff to help you.
Before you know it you’ll be an expert because it’s easy!!
On the end of this toolkit you’ll find a simple emailing list form. Start filling it up!
When Emailing About An Upcoming Gig, Include:
A personal invite
Some hype about the gig
A description of your music
A strong call to action
A request for them to forward it on to anyone else who may be interested
Day, date and time of the gig
Venue name and details:
o Address (and instructions of how to get there if its hard to find)
o Phone number
o Website
o Email
o Where people can find parking
o A sentence or 2 about what the venue is like. Many people don’t like
going to new places because they don’t know what to expect
Ticket details: where/how to get tickets and the cost
Any other gig details eg who else is playing, style of music
Your details
o Performance name
o Phone numbers
o Website
o Postal address
o Email
Some do’s And Don’t For Email Lists:
DO ask people if they want to be on there before you automatically subscribe
them OR send them an introductory email saying you have included them
asking them to reply if they don’t want to be on your list
DO have an unsubscribe option at the end of every email
DO have a subscribe option, so anyone that gets a mailer (eg if its forwarded by
someone else) knows how to subscribe
DO use the BCC box so everyone on your mailing list CAN'T see everyone else's
email addresses
DO ask people to forward it on to friends
DO (if your technology allows), personalize emails going out. A simple way to
do this is a mail merge using word
DO keep your list up to date. If people ask to be removed, remove them
IMMEDIATELY
DON'T send attachments - always just text only
DO include all your contact details, name, email, website, phone numbers and
postal address on all your emails
Add To Your Email List At Every Opportunity:
Invite people at every gig to join your email list. Do this several times
Talk to your audience members in the breaks and after the gig
Even bolder would be to get people to give you the email in the middle of the
gig. You might make up an "Email Song" and add a traditional tune to the lyrics
and then have someone pass around a guest book where everyone leaves their
email address
Invite people to join your mailing list from EVERY PAGE of your website
Have it on you all the time. If you are looking for opportunities to add people to
your mailing list they will happen every day
Join email discussion groups. You can post your gigs and news on these
Make sure everyone you know is on your mailing list (use the prompter list
above in the ‚Phone Around‛ section)
Texting Get people’s mobiles and text them.
Industry Mailing Lists Keep industry people / media up to date with what you’re up to. Send monthly or bi-
monthly newsletters.
Don’t go in with all guns blazing and demand things from them! Remember these are
busy people who are worthy of your respect.
So approach these people politely, introduce yourself, tell them who you are. Ask them
if they’d be willing to receive a monthly email about what’s going on in your world.
Nine times out of ten they will say yes. You can now send out an industry newsletter
once a month. Don’t make it any more than that. The idea is to make these people aware
of your existence, not inundate them with weekly gig guides and anecdotes. And don’t
forward blonde jokes to them!!!
Also have a good think about why you are approaching these people. Don’t try and
contact every radio station in the city. What kind of music do you play?
Do some research and make the best use of your time by contacting the people who can
actually help you build your career.
Keep this separate to your fan database
Keep to one A4 sheet – preferably in colour
You will have more success using snail mail and hard copy instead of emails
Make it interesting and newsworthy
Bear in mind everyone in the industry is extremely busy - keep in touch, but also
be (reasonably) unobtrusive
Send them free tickets to every show that is worthwhile them seeing. Ask the
venue is you can send a bar tab/free drinks tickets. It is generally advantageous
for the venue to have industry people there too.
Posters and Flyers Do posters and flyers for every gig
A3/A2 glossies are great if you can afford them, if not, photocopies are a good
alternative.
Try coloured paper to help them stand out
Try a slightly different angle on the poster/flyer thing eg postcards, laminated
cards etc
Posters can be pasted along the street, put into cafés and bars, music shops etc
Posters and flyers not only promote a particular gig, but also give you valuable
exposure and branding
Make flyers that people can pick up & take away as well
o Carry them on you AT ALL TIMES to give to ANYONE you talk to
o Enlist the help of your friends and family – get them to carry some with
them as well
o Find out where there will be large gatherings of people interested in music
and entertainment eg music in parks, concerts, movies. Hand out flyers
Now take it one step further and get flyers made up for the next 2 or 3 gigs on
your calendar. You can give these out to the people who come to your show, and
ask them to take a few extra for their friends who couldn’t make it
Include all your contact details and website on this flyer. They may want to book
you for their next corporate function!
Don’t forget your mailing list! Post those flyers off to the people on it, put a note
in with it if you want telling them how much you’d love to see them there
Artwork
KISS (Keep It Simple Stupid)
o It is a marketing tool – not fine art!!
o Keep it as uncluttered as possible
o 2 fonts maximum
o Chose fonts that are readable
Make sure it has all the info:
o Acts performing
o Act logos
o Where
Get the venue’s name right!
Use their logo if possible
Include the address
If room include venue phone number and URL
o When
o Time
o Day of week eg Friday
o Date and month eg 3 October
o Your URL
o Price?
o Have a strong call to action
Keep your branding consistent – people will start to recognise it
For printed posters try one colour (heaps cheaper) – but don’t pick black as your
one colour.
Perform at Open Mic nights Search them out and utilise them to your fullest advantage
They give you valuable performing experience
Many people only go to see acts they have seen before and liked
A lot of audience members like going to open mic nights because of the diversity
of talent and seeing a number of people perform. Use this to your advantage
Use it as an opportunity to add people to your mailing list
Use it as an opportunity to build up relationships with venues
Use it as an opportunity to build relationships with other performers
You can still earn money from them by selling CDs and merchandise
Refer to the ‚Make Every Show Worth Going to See‛ section of this toolkit
Gig Guides Keep a database of gig guides and deadlines
People can only come to see you if they know you’re playing!
Most gig guides are free
Even if the venue does these – it's always a good idea for you to do your own
This also gives you an opportunity to build up relationships with the media
Live To Airs / Radio Interviews Many radio stations (if you’re touring) will do live to airs and interviews, particularly if
you’re promoting something special eg album release, fundraising gig.
Magazine / Newspaper Articles Lifestyle magazines and ‘market segment’ publications and local newspapers and music
magazines are all good places to get some exposure.
You will need some press ‚friendly‛ photographs, this is how the press get and keep
people reading their publication:
Make sure they are good quality
Make them interesting!
Action shots are great
If not using an action shot – make sure you use props – ideally your instruments
that way the picture will immediately indicate what the story is about
Support Gigs for Better Known Bands Go to gigs, see which bands are suitable for your style of music. Be bold –
approach them
Read the music press; see which well known acts are going to be playing on your
area. Approach the band (if you can get in contact with them) or the promoter
Get a Web Presence
Music Directories
Get a listing in the 2 main music directories. Send in photos as they always publish
photos in the directories.
Utilise Your Doorperson
Get a stamp with band logo and URL on it for doorperson at gigs
Get your doorperson to sign people up to your mailing list
Answerphone Message and Signature Files
ALWAYS advertise upcoming gigs on your answerphone and your signature file on
outgoing emails.
Quickfire Promotional Show
Find a location near where you’ll be performing, like a cafe or a park, where there will
be a lot of people. Perform a couple of songs—just long enough to grab people’s
attention, hand out flyers, stickers etc.
Look after Your Fans and Look for Ways to Involve Them
Make them feel important
o Remember their names
o Say hi and have a chat
o Offer to autograph CDs
Reward your best fans
o Have a loyalty programme
o Give them discounts
o Develop a ‚Bring A Friend Strategy‛
o Offer them ‚Special Release‛ deals
o Have freebies you can give away
Run competitions
Invite their feedback
Invite their ideas. Publicly acknowledge them if you use an idea of theirs
Make it easy for your fans to do business with you
Give them a money back guarantee
Be easy to contact
Make it easy for people to order CDs and merchandise
Consider becoming a credit card merchant so you can take credit cards for CD
and ticket sales. Talk to your bank about this
Benefit Concerts
There are always benefit concerts happening, or why not create your own? Not only
does this give you a chance to support a worthy cause, it’s also a chance to build up
your following, and it gives you a media angle.
Be Creative
You are a creative person!! Think of exciting ways to promote yourself and your gigs:
Stunts (safety first)
Sidewalk signs (watch any legalities)
Interesting takes on flyers and posters
Develop a ‚Bring a Friend‛ strategy
Sample Email List Insert your performance name and logo at the top
Name Email Address
Chapter 5
Getting the Basics Together
Key Ideas in this Toolkit
Putting on your ‚business head‛
Developing a base of professionalism
Being readily contactable
Developing a base to work from to put together your marketing plan
Y/N If no then date
to be achieved
by
Date
Achieved
Telephone:
Get voice mail
Check every few hours at least
Voice mail message
Script a message that lets people know what
you do and all your other contact details and
website
If you share a voice mail, either get everyone
else's permission to use the voicemail for your
professional
Purposes or get separate mailboxes
Use your voicemail message to advertise
upcoming gig/s and any merchandise you
have for sale
If you change telephone numbers, get Telecom
to forward your phone calls PLUS let
everyone you know what your new contact
details are.
It is preferable to have a mobile, if finances
allow. DON'T constantly change your mobile
number
Script a message that lets people know what
you do and all your other contact details and
website
Use your voicemail message to advertise
upcoming gig/s and any merchandise you
have for sale
Computer:
You will need your own computer or easy daily
access to someone else's
Y/N If no then
date to be
achieved
by
Date
Achieved
Email:
Only have ONE email address. Avoid it being
a work email which will change if you change
jobs, or an email assigned to a particular ISP.
It is preferably to have your own domain
Collect and reply at least daily
Check your name that appears on your emails
is your performance name
Have a signature file. Include:
Performance Name
Contact telephone numbers (include area code
and international dialing code)
Postal address (include country)
Email address
Website / MP3s
Upcoming gigs
Merchandise for sale
Business Cards:
You MUST carry them on you at all times
Make sure they are professional
Keep your branding consistent: if you have a
logo uses it. If you don't have one, until you
get one, pick an easily readable font you like
and stick with it
Include: Performance name, contact phone
numbers, email, website, perhaps a 2-4 word
description of what you do
Letterhead
Make up a letterhead and use it for all your
business communications (including invoices)
Include all the information that is on your
business card
SOCAN/SODRAC:
Register with SOCAN
Keep a record of all your live performances
(remember to include open mics and suchlike)
Diary 30 June to start on your live
performance return
Diary 20 July to send it by
Y/N If no then
date to be
achieved
by
Date
Achieved
Contacts:
NEVER underestimate the value of contacts.
In this industry your most valuable tool is
networking and word of mouth. Treat
everyone with respect - you never know who
they might be!
Devise a system for recording all your
contacts
Carry something with you at all times to
record contacts
Have a system for keeping in contact with
these people, and recording the contact that
you have with them, without hassling them
Press Kit:
In digital format (pics 300dpi)
In hard copy
Preferable downloadable from a website
Make sure everyone who needs to has a copy,
your manager, the press
Include:
A well written, up to date, attractive bio
Name and contact details on ALL components
of your press kit
Think about creative ideas for presentation
Good quality, interesting press photos
CD
Keep a file of press clippings, reviews and
quotes
Get people to review you
Video
Equipment:
Is your guitar and associated equipment up to
scratch?
Do you carry spare strings?
Do you carry a spare battery?
Do you have your own leads?
Consider getting your own mic which is good
quality and suits your voice
Y/N If no then
date to be
achieved
by
Date
Achieved
Sound: (more about this in a later tool kit)
Learn how to set a good sound for yourself
Practice as much as possible with a PA and
mic
Develop your ear for sound
Learn to do sound for other musicians
Performance Name:
Decide carefully on your performance name
and stick to it. ONLY change your
performance name for a very good
reason e.g. changing your direction/genre
Research:
Reading: (at minimum)
Canada Musician
Hour
Toronto Star
Mirror
Globe & Mail
Spend at least an hour a week reading a
business book.
Internet - Spend at least an hour a week doing
internet research.
Radio - Spend at least an hour a week
listening to different radio stations and shows
Television – Watch at least one programme a
week about music or the arts
Live Gigs – Go to at least one live gig a week
(that you’re not performing at)
Copyright
Copyright all your songs
Record them in material form (a tape deck is
sufficient). I would recommend writing down
your lyrics as well
Write the composer/s names on it
Write the year it was written
Write the copyright symbol ©
For additional protection (so you can prove
the date). Mail it to yourself and leave it
sealed (write the name/s of the song/s on the
outside of the envelope though!)
Y/N If no then
date to be
achieved
by
Date
Achieved
Get a diary and use it
Diary everything that you need to remember
Carry it with you at all times
Develop your networking skills
Make a point of remembering people’s names
and something about them – if you can’t
remember, consider some memory training
and/or write it down.
Always make a point of thanking people
when they do something for you e.g.
interviews, articles etc. An email or phone call
will suffice, but there is nothing like a
handwritten card.
Phone an industry person at least once a week
that you haven’t spoken to before, just to
make contact. Make sure you have something
to talk about though and be aware that they
are probably very busy and check they have
time first.
Offer to help people out with no expectation
of anything in return (within reason)
Learn the nuances of body language / tone of
voice etc. Make sure you are always sensitive
to other people and make sure you are always
putting out the right signals when you are
talking to other people.
Go to industry functions and gigs
MUSIC REVIEW
EVALUATED BY:
DATE:
ARTIST/COMPOSER’S NAME:
CD TITLE:
MUSIC GENRE:
SONGS REVIEWED:
MUSIC MP3/CD
Professional Excellent Above
Average
Average Fair Poor
Song Structure
Music
Composition
Lyrics
Message of Lyrics
Strength in
Market
Appeal
Hooks, Chorus
Instrumentals
Arrangement &
Production
Commercial
Appeal
Creativity
RECORDING QUALITY
Professional Excellent Above
Average
Average Fair Poor
Vocals
Vocal Tuning
Instrumentals
Audio Quality
Mix Quality
Mastering
PACKAGING & DESIGN
Professional Excellent Above
Average
Average Fair Poor
Graphic Design
Front of CD
Back of CD
Layout of Words
CD Insert Panels
Legal Checklist
PRESS KIT
Professional Excellent Above
Average
Average Fair Poor
Biography
Photography
Marketing
Materials
Folio
Brochures
Press Materials,
Media
Coverage
Website
CURRENT ACHIEVEMENTS
Professional Excellent Above
Average
Average Fair Poor
Fan Base
Radio Airplay,
Charts
CD Sales
Internet Sales
Nielsen Soundscan
Performance
Tour
Awards/Scholarship
Grant
Song Competitions
Distribution
MARKET POTENTIAL
Professional Excellent Above
Average
Average Fair Poor
Radio
Airplay:
Chances
for Airplay
Distribution,
Store
Placement
TV/Film
Placement
Length of
Songs
Commercial
Appeal
Artist Image
Attitude
Performance
Ability
Talent
Artist Interview Form
The following questions are useful for you as artist if you are serious about conducting your
music careers as a business. Thoughtful, honest, and detailed answers to these questions will
help prepare you in writing bios, fact sheets, and any press releases that are necessary for
marketing and promoting your music, and will assist you in evaluating you current career status.
Answering these questions NOW will prepare you for the questions when they come up in
interview situations LATER.
Name of Artist?
What is your background? (Who are you? Tell your story.)
Why do you want to record and release your own music? (Be very honest.)
Who is your fan/customer? (Analyze this question thoroughly.)
What are your songs about? (What specific themes do they cover?)
Do you write your own songs?
Who are your musical influences? (Site specific examples.)
How do you describe your music to people? (This is not a short answer. Discuss it.)
What image do you think your music conveys? (Do not avoid the image issue!)
What are your immediate music career goals? (Next 1 to 3 years.)
What are your long-term career goals?
How would you define the word “success”? (This is not a short answer. Discuss it.)
Do you have any personal contacts in the music business?
Are you looking for an independent label deal or a major label deal? (Why?)
Do you have a demo or press kit, or any promotional materials?
What live performance experience have you had? (Any showcases?)
How do you rate your live performance ability? ( Be very critical. No clichés,)
Have you recorded any previous CDs/Tapes? (Which studios? Who produced it?)
How did you sell your CD’s/Tapes? (Consignment? Live sales? Distributor?)
Have you had any previous print or broadcast media exposure or reviews?
Are you financially able to fund the costs of establishing your career? (In debt?)
Who handles your daily business activities? (Bookings, promotions etc.)
Have you created an actual career, marketing, or business plan? (Is it in writing?)
ANNEXE
Clubs and Other Venues / Salle
de spectacles BOUDOIR LOUNGE 441, rue du Parvis Québec (Québec) G1K 9L6 Téléphone : (418) 524-2777 Télécopieur : (418) 524-9333 Courriel : [email protected] Site Internet : www.boudoirlounge.com CABARET MUSIC HALL 100, rue Sherbrooke Est - bureau 3400 Montréal (Québec) H2X 1C3 Téléphone : (514) 845-0149 Télécopieur : (514) 845-2532 Courriel : [email protected] Site Internet : www.lecabaret.ca CAPITOLE DE QUÉBEC 972, rue St-Jean Québec (Québec) G1R 1R5 Téléphone : (418) 694-9930 Télécopieur : (418) 694-9924 Courriel : [email protected] Site Internet : www.lecapitole.com CENTRE CULTUREL DE JOLIETTE 20, rue Saint-Charles-Borromée Sud Joliette (Québec) J6E 4T1 Téléphone : (450) 759-6202 Télécopieur : (450) 759-2619 Courriel : [email protected] Site Internet : www.ccultjoliette.qc.ca
CENTRE CULTUREL DE L'UNIVERSITÉ DE SHERBROOKE 2500, boul. de l'Université Sherbrooke (Québec) J1K 2R1 Téléphone : (819) 821-7742 Télécopieur : (819) 820-1361 Site Internet : www.centrecultureludes.ca/ GRAND THÉÂTRE DE QUÉBEC 269, boul. René-Lévesque Est Québec (Québec) G1R 2B3 Téléphone : (418) 644-8921 Télécopieur : (418) 646-7670 Site Internet : www.grandtheatre.qc.ca LE NOUVEAU CLUB SODA 1225, boul. Saint-Laurent Montréal (Québec) H2X 2S6 Téléphone : (514) 286-1010 Télécopieur : (514) 844-2571 Courriel : [email protected] Site Internet : www.clubsoda.ca LE PETIT MEDLEY 6206, rue Saint-Hubert Montréal (Québec) H2S 2M2 Téléphone : (514) 271-7887 Télécopieur : (514) 729-5670 Courriel : [email protected] L'INSTITUT CANADIEN DE QUÉBEC 350, rue St-Joseph Est Québec (Québec) G1K 3B2 Téléphone : (418) 641-6789 Télécopieur : (418) 641-6787 Courriel : [email protected] Site Internet : www.bibliothequesdequebec.qc.ca
MAISON DE LA CULTURE DE GATINEAU 855, boul. de la Gappe Gatineau (Québec) J8T 8H9 Téléphone : (819) 243-2305 Télécopieur : (819) 243-2527 Courriel : [email protected] Site Internet : www.ville.gatineau.qc.ca/mcg MUSÉE JUSTE POUR RIRE 2111, boul. St-Laurent Montréal (Québec) H2X 2T5 Téléphone : (514) 845-3155 Télécopieur : (514) 849-5462 Courriel : [email protected] Site Internet : www.hahaha.com OVASCÈNE 919 Route St-Martin Sainte-Marie (Québec) G6E 1E6 Téléphone : (418) 387-2200 Télécopieur : (418) 387-6532 Courriel : [email protected] Site Internet : www.ovascene.com RÉCRÉATHÈQUE 900, boul. Curé-Labelle Laval (Québec) H7V 2V5 Téléphone : (450) 688-8880 Télécopieur : (450) 688-6315 Courriel : [email protected] Site Internet : www.recreatheque.com SALLE ANDRÉ-MATHIEU 475, boul. de l'Avenir Laval (Québec) H7N 5H9 Téléphone : (450) 667-2327 Télécopieur : (450) 667-4921 Courriel : [email protected] Site Internet : www.salleandremathieu.com
SOCIÉTÉ DE LA PLACE DES ARTS 260 de Maisonneuve Ouest - 3e étage Montréal (Québec) H2X 1Y9 Téléphone : (514) 285-4200 Télécopieur : (514) 285-4252 Courriel : [email protected] Site Internet : www.pda.qc.ca THÉÂTRE DU CUIVRE 145, rue Taschereau Ouest Rouyn-Noranda (Québec) J9X 2V5 Téléphone : (819) 797-7133 Télécopieur : (819) 797-7137 Courriel : [email protected] Site Internet : www.ville.rouyn-noranda.qc.ca THÉÂTRE HECTOR-CHARLAND 225, boul. L'Ange-Gardien L'Assomption (Québec) J5W 4M6 Téléphone : (450) 589-5583 Télécopieur : (450) 589-5396 Courriel : [email protected] Site Internet : www.hector-charland.com THÉÂTRE LIONEL-GROULX 100, rue Duquet Sainte-Thérèse (Québec) J7E 3G6 Téléphone : (450) 434-5174 Télécopieur : (450) 434-4759 Courriel : [email protected] Site Internet : www.theatrelg.com CAFÉ CAMPUS 57, rue Prince-Arthur Est Montréal (Québec) H2X 1B4 Téléphone : (514) 844-1019 Télécopieur : (514) 844-4770 Courriel : [email protected] Site Internet : www.cafecampus.com
L'Olympia Site web: www.theatreolympia.ca Addresse : 1004 Ste-Catherine est, au coin de Amherst Métro : Berri-UQAM Tél. : (514) 286-7884 Metropolis Addresse : 59 Ste-Catherine est Métro : St-Laurent puis marchez vers le sud jusqu'à Ste-Catherine Tél. : (514) 288-2020 Site web: www.metropolismontreal.ca/metropolis/index.htm Spectrum Addresse : 318 Ste-Catherine ouest coin Bleury Métro : Place des Arts, puis marchez vers le sud jusqu'à Ste-Catherine Tél. : (514) 861-5851 Site web: http://www.spectrumdemontreal.ca/spectrum/index.htm Theatre Outremont Addresse : 1248 rue Bernard ouest Métro : Outremont, puis prenez la 161 est Tél. : (514) 495-9944 Site web: www.theatreoutremont.ca Bar St-Laurent 2 Addresse : 5550 St-Laurent, coin de St-Viateur Métro : St-Laurent puis prenez la 55 nord Tél. : (514)273-2359 Biddle's Addresse : 2060 Aylmer entre President-Kennedy et Sherbrooke Métro : McGill Tél. : (514) 842-8656 Bifteck St-Laurent Addresse : 3702 boul. St-Laurent Métro : St-Laurent puis prenez la 55 nord Tél. : (514) 844-6211
Bistro à Jojo Addresse : 1627 St-Denis, juste au nord de Maisonneuve Métro : Berri-UQAM Tél. : (514) 843-5015 Cafe Grande-Gueule Addresse : 5615 Cotes-des-Neiges, près de Côte-Ste-Catherine Métro : Côte-des-Neiges Tél. : (514) 733-3512 Cleopatra Addresse : 1230 St-Laurent coin Ste-Catherine Métro : St-Laurent Tél. : 514-871-8065 Diable vert Addresse : 4557 St-Denis, juste au nord de l'ave. Mont-Royal Métro : Mont-Royal Tél. : 514-849-5888 Foufounes Électriques Site web: www.foufounes.qc.ca Addresse : 87 Ste-Catherine est, coin boul. St-Laurent. C'est facile à trouver... Métro : St-Laurent Tél. : (514) 844-5539 Hard Rock Café Addresse : 1458 Crescent juste au nord de Ste-Catherine Métro : Guy-Concordia or Peel Tél. : (514) 987-1420 Keg Addresse : 25 St-Paul est Métro : Champs-de-Mars Tél. : 514-871-9093 L'Barouf Addresse : 4171 St-Denis Métro : Mont-Royal Tél. : (514) 844-0119
L'Escogriffe Addresse : 4467A, Saint-Denis (près de Mont-Royal) Métro : Mont-Royal Tél. : (514) 842-7244 Le Belmont Site web: www.lebelmont.com Addresse : 4483 St-Laurent coin de Mont-Royal Métro : St-Laurent puis prenez la 55 nord ou station Mont-Royal puis prenez la 11 ou 97 vers l'ouest Tél. : (514) 845-8443 Le Dogue Addresse : 4177 St-Denis coin Rachel (deuxième étage) Métro : Mont-Royal Tél. : (514) 845-8717 Le Pierrot Addresse : 104 St-Paul est (à l'ouest de la Place Jacques-Cartier) Métro : Champs-de-Mars Tél. : (514) 861-1270 Shed Cafe Addresse : 3515 boul. St-Laurent just au nord de Sherbrooke Métro : Sherbrooke Sir Winston Churchill Pub Addresse : 1459 Crescent juste au nord de Ste-Catherine Métro : Peel or Guy-Concordia Tél. : (514) 288-0816 Thursdays Addresse : 1430 de la Montagne Métro : Peel or Guy-Concordia Tél. : (514) 288-5656 Vol de Nuit Addresse : 14 Prince-Arthur est Métro : Sherbrooke puis marchez vers l'ouest à travers le Carré St-Louis Tél. : (514) 845-6243
Whisky Café Site web: www.whiskycafe.ca Addresse : 5800 boul. St-Laurent coin Bernard Métro : St-Laurent puis prenez la 55 nord Tél. : (514) 278-2646 Winnie's Addresse : 1459 Crescent Métro : Guy-Concordia or Peel Tél. : (514) 288-0616 Zinc Café Bar Addresse : 1148, av. du Mont-Royal Est Métro : Mont-Royal Tél. : (514) 523-5432
Distributeur de disques DEP DISTRIBUTION EXCLUSIVE 6255, rue Hutchison - bureau 103 Montréal (Québec) H2V 4C7 Téléphone : (514) 274-2040 Télécopieur : (514) 274-2045 Courriel : [email protected] Site Internet : www.dep.ca DISTRIBUTION FUSION III 5485 Chemin Cote-de-Liesse Montréal (Québec) H4P 1A4 Téléphone : (514) 738-4600 Télécopieur : (514) 737-9780 Courriel : [email protected] Site Internet : www.fusion3.com DISTRIBUTION SELECT 500, rue Sainte-Catherine Est Montréal (Québec) H2L 2C6 Téléphone : (514) 849-6206 Télécopieur : (514) 849-0764 Courriel : [email protected] Site Internet : www.distributionselect.ca MADACY ENTERTAINMENT GROUP 3333, boul. Graham - bur. 102 Montréal (Québec) H3R 3L5 Téléphone : (514) 341-5600 Télécopieur : (514) 341-1821 Courriel : [email protected] Site Internet : www.madacy.com SOPREF - LOCAL DISTRIBUTION 2003, rue St-Hubert - bureau 3 Montréal (Québec) H2L 3Z6 Téléphone : (514) 845-9994 Télécopieur : (514) 845-9924 Site Internet : www.sopref.org
UNIDISC MUSIC 57-B, boul. Hymus Pointe-Claire (Québec) H9R 4T2 Téléphone : (514) 697-6000 Télécopieur : (514) 697-6864 Courriel : [email protected] Site Internet : www.unidisc.com
MUSIC FESTIVALS
JANVIER
Toronto Blues Society (TBS) Blues Summit Mini-spectacles www.torontobluessociety.com (416) 538-3885
https://www.socan.ca/jsp/fr/news_events/ne
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FÉVRIER
Conférence et Prix de l’Association de Musique de la Côte Est (l’AMCE) Mini-spectacles www.ecma.ca (902) 892-9040
https://www.socan.ca/jsp/fr/news_events/ne
ws/ - topMARS
Semaine de la musique canadienne Mini-spectacles www.cmw.net (416) 320-0385 Conference et Festival South by Southwest (SXSW) (Austin, Texas, USA) Mini-spectacles www.sxsw.com (512) 467-7979
https://www.socan.ca/jsp/fr/news_events/ne
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AVRIL
Contact Pacifique http://www.bctouring.org/pacific-contact/ (250) 352-0021 Vue sur la Relève Festival centré sur les artistes de la relève des arts pluridisciplinaire de la scène www.creations-etc.org/ (514) 278-
3941https://www.socan.ca/jsp/fr/news_event
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MAI
Festival International de Musique Actuelle de Victoriaville Festival de musique d’avant-garde (jazz, rock, actuelle, contemporain, électroacoustique) www.fimav.qc.ca/ (819) 752-7912
https://www.socan.ca/jsp/fr/news_events/ne
ws/ - topJUIN
Conférence et Festival North By Northeast (NXNE) (Toronto) Mini-spectacles www.nxne.com (416) 863-6963 COCA (Canadian Organization of Campus Activities) Conférence Nationale www.coca.org (519) 690-0207 Festival Franco-Ontarien Spectacles de chanson franco-ontarienne (Ottawa) www.ffo.ca/ (613) 741-1225 Musiqu’en Nous (St-André-Avellin, Qué.) www.musiquenous.com (819) 983-3273 Festival International de Jazz de Montréal www.montrealjazzfest.com (514) 288-1040
https://www.socan.ca/jsp/fr/news_events/ne
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JUILLET
Festival du folk de Winnipeg www.winnipegfolkfestival.ca (204) 231-0096 Festival d’été de Québec (Québec) www.infofestival.com (418) 523-4540 Festival International Nuits d’Afrique (Montréal) Festival de musique Africain/world-beat www.festivalnuitsdafrique.com 514-499-9239 Festival International de Jazz de Toronto Beaches www.beachesjazz.com (416) 698-2152 Festival Hillside (Guelph, Ont.) www.hillside.on.ca (519) 763-6396 Big Valley Jamboree (Canmore, Alb.) www.bigvalleyjamboree.com 1-888-404-1234 Francofolies de Montréal Festival consacré à la musique d’expression francophone www.francofolies.com (514) 288-1040 Festival folk en memoriam Stan Rogers (Canso, N.-É.) www.stanfest.com 1-888-554-7826 juillet–août 2005 Festivals d’été de Harbourfront www.harbourfrontcentre.com (416) 973-4600
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SEPTEMBRE
Célébration de la chanson « roots de la ville » de Toronto www.torontocityroots.com (416) 929-9079 Festival de musique émergente en Abitibi-Témiscamingue (Rouyn-Noranda) Festival de musique de la relève www.fmeat.org 819-797-0888 ou 1-877-797-0889 Semaine et prix de la musique country canadienne (CCMW et CCMAs) (Calgary, Alta.) www.ccma.org/ccmatoday/cmw/index.htm (905) 850-1144 Pop Montréal Festival de musique variée, autant francophone qu’anglophone www.popmontreal.com (514) 842-1919
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OCTOBRE
Prix, conférence et festival de la musique canadienne de l’Ouest (WCMA) www.westerncanadianmusicawards.ca (204) 943-8485 Contact Ontario (Kingston, Ont.) Mini-spectacles www.ccio.on.ca/contact/about.htm (905) 817-0022
Saskatchewan Showcase for the Arts Mini-spectacles pluridisciplinaires http://www.osac.sk.ca/conference.asp (306) 586-1250
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NOVEMBRE
Conférence de l’Association canadienne des organismes artistiques (CAPACOA) Mini-spectacles www.capacoa.ca/conference/index.html (613) 562-3515 (Montréal, Québec, Vancouver, Moncton et 13 autres villes canadiennes) Coup de cœur francophone Festival de chanson francophone sous toutes ses formes www.coupdecoeur.qc.ca (514) 253-3024 Conférence et prix de l’association de la musique de Terre-Neuve et Labrador Mini-spectacles www.mia.nf.ca (709) 754-2574 Semaine et prix de la musique de Nouvelle-Écosse Mini-spectacles www.mians.ca (902) 423-6271
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Radios Régulières et commerciales
BANDE À PART (Montréal) Téléphone : (514) 597-7690 (Catherine Pogonat) CBF-FM/ Première chaîne 95,1 (Montréal) Téléphone : (514) 597-6000 (Valérie Letarte (Chroniqueuse culturelle)) Site Internet : http://www.radio-canada.ca CBFX-FM/ Chaîne culturelle (Montréal) Téléphone : (514) 597-6000 (()) Site Internet : http://www.radio-canada.ca CBGA-AM/ Première chaîne (Bas-Saint-Laurent) Téléphone : (418) 562-0290 (Louis Pelletier (Directeur des nouvelles)) Courriel : [email protected] CBJ-FM/ Première chaîne 93,7 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 696-6666 (Armand Dubois (Directeur)) Courriel : [email protected] Site Internet : http://www.radio-
canada.ca/saguenay-lac/ CBME-FM 88,5 (Montréal) Téléphone : (514) 597-6300 (Sally Caudwell (Directrice des nouvelles)) Courriel : [email protected] Site Internet : http://www.montreal.cbc.ca CBM-FM/ Radio Two (Montréal) Téléphone : (514) 597-6000 (Kelly Rice (Directeur de la programmation)) Site Internet : http://www.montreal.cbc.ca CBRX-FM/Chaîne culturelle 101,5 (Bas-Saint-Laurent) Téléphone : (418) 723-2217 Site Internet : http://www.radio-canada.ca CBSI-FM/ Première chaîne (Côte-Nord) Téléphone : (418) 968-0720 (Anne-Marie Boucher (Arts)) Courriel : [email protected] Site Internet : Visiter le site Internet CBVE-FM/ Radio One 104,7 (Capitale-Nationale) Téléphone : (418) 691-3620 (Claude Saindon (Directeur de programmation)) Courriel : [email protected] Site Internet : http://www.cbc.ca CBV-FM/ Radio-Canada 106,3 (Capitale-Nationale) Téléphone : (418) 654-1341 (Marleine Simard/ Marie-Hélène Tremblay (Directeur de programmation)) Courriel : [email protected] CBVX/ Première chaîne 95,3 (Capitale-Nationale) Téléphone : (418) 656-8809 (Marleine Simard (Directrice)) Courriel : [email protected] Site Internet : http://www.radio-canada.ca
CFDA-FM 101,9 (Centre-du-Québec) Téléphone : (819) 752-5545 (Patrice Croteau (Directeur de la programmation)) CFEI-FM 106,5 (Montérégie) Téléphone : (450) 774-6486 (Annick Bousquet (Directrice des nouvelles)) Courriel : [email protected] CFEL-FM 102,1 (Chaudière-Appalaches) Téléphone : (418) 248-1122 (Marie-Noëlle Gagnon (Journaliste)) Courriel : [email protected] CFGL-FM/ 105,7 Rythme Fm (Laval) Téléphone : (450) 664-1500 (Sylvie Lauzon (Journaliste)) Courriel : [email protected] Site Internet : http://www.rythmefm.com CFGT-AM (Saguenay-Lac-Saint-Jean) Téléphone : (418) 662-6888 (André Tremblay (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.kykfm.com CFIM-FM 92,7 (Gaspésie - Les Îles) Téléphone : (418) 986-5233 (Marie-Eve Dumas (Journaliste)) Courriel : [email protected] CFIX-FM/ Rock Détente 96,9 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 543-9797 (Sandra Rossignol (Directrice des nouvelles)) Courriel : [email protected] Site Internet : http://www.rockdetente.com CFJO-FM (Centre-du-Québec) Téléphone : (819) 752-2785 Courriel : [email protected] Site Internet : http://www.cfjo.com CFLM-AM (Mauricie) Téléphone : (819) 523-4575 (André Mercier (Directeur des nouvelles)) Courriel : [email protected]
CFLO-FM/ La Radio des Hautes-Laurentides 104,7 (Laurentides) Téléphone : (819) 623-5610 Courriel : [email protected] CFLX-FM (Estrie) Téléphone : (819) 566-2787 Courriel : [email protected] Site Internet : http://www.cflx.qc.ca CFMB-AM (Montréal) Téléphone : (514) 483-2362 (Teddy Colantonio (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.cfmb.ca CFMF-FM 103,1 (Côte-Nord) Téléphone : (418) 287-5147 (Cassiopée Dubois (Journaliste)) Courriel : [email protected] CFNJ-FM 99,1 (Lanaudière) Téléphone : (450) 835-3437 CFOM-FM 102,9 (Capitale-Nationale) Téléphone : (418) 694-1029 (Josée Guimond (Directrice de l'information)) Courriel : [email protected] Site Internet : http://www.cfom1029.com CFOR-FM 99,3 (Outaouais) Téléphone : (819) 441-0993 Courriel : [email protected] CFQR-FM/ Q92 (Montréal) Téléphone : (514) 767-9250 (Ted Silver (Directeur de la programmation)) Site Internet : http://www.q92fm.com CFVD-FM 95,5 (Bas-Saint-Laurent) Téléphone : (418) 853-3370 (Guyslain Jean (Journaliste)) Courriel : [email protected] CFVM-AM (Bas-Saint-Laurent) Téléphone : (418) 629-2025
(Véronique Thibault (Journaliste)) Courriel : [email protected] CFXM FM/ M 105 104,9 (Montérégie) Téléphone : (450) 372-5105 (Dominique Dion (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.m105.ca CFZZ-FM 104,1 (Montérégie) Téléphone : (450) 346-0104 (Ghislain Plourde (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.z104.fm CHAA-FM 103,3 (Montérégie) Téléphone : (450) 646-6800 (Maurice Giroux (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.chaafm.qc.ca CHAI-FM 101,9 (Montérégie) Téléphone : (418) 698-3131 (Virginie Gilbault (Journaliste)) Courriel : [email protected] CHCR-FM 89,9 (Montréal) Téléphone : (514) 273-2481 (Tony Choundala (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.chcr.ca CHEQ-FM 101,3 (Chaudière-Appalaches) Téléphone : (418) 387-1013 (Patrice Moore (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.cheqfm.qc.ca CHEY-FM/ Rock Détente 94,7 (Mauricie) Téléphone : (819) 376-0947 (Claude Bolduc (Chroniqueur culturel)) Courriel : [email protected] Site Internet : http://www.rockdetente.com CHGA-FM 97,3 (Outaouais) Téléphone : (819) 449-3959 (Michel Riel (Directeur de l'information)) Courriel : [email protected]
Site Internet : http://www.chga.qc.ca CHGO-FM/ Go FM 95,7 (Abitibi-Témiscamingue) Téléphone : (819) 762-0741 (Daniel Pronce (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.gofm.net CHIK-FM/ Énergie 98,9 (Capitale-Nationale) Téléphone : (418) 687-9900 (Réjean Bergeron (Directeur des nouvelles)) Site Internet : http://www.radioenergie.com CHIP-FM 101,7 (Outaouais) Téléphone : (819) 683-3156 (Gilles Gervais (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.chipfm.com CHJM-FM 99,7 (Chaudière-Appalaches) Téléphone : (418) 227-0997 (Suzanne Bougie (Journaliste)) Courriel : [email protected] CHJX-FM/ Chaine culturelle 100,9 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 696-6625 (Armand Dubois (Directeur)) Site Internet : http://www.radio-canada.ca/saguenay-lac/ CHLC-FM 97,1 (Côte-Nord) Téléphone : (418) 589-8244 (Marc-André Hallé (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.chlc.com CHLM-FM/ Première chaîne 90,7 (Abitibi-Témiscamingue) Téléphone : (819) 762-8155 (Françis Beauvais/ Marc Simard (Journalistes)) Courriel : [email protected]
CHLN-AM (Mauricie) Téléphone : (819) 374-3556 (Claude Bolduc (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.chln550.com CHLT-AM 63,0 (Estrie) Téléphone : (819) 563-6363 (Jocelyn Prouxl (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.chlt630.com CHNC-AM (Gaspésie - Les Îles) Téléphone : (418) 752-2215 (Linda Gagnon (Chroniqueuse culturelle)) Courriel : [email protected] CHOA-FM/ Rock Détente (Abitibi-Témiscamingue) Téléphone : (819) 762-0741 (Jean Gagnon (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.rock-detente.com CHOC-FM 104,9 (Montérégie) Téléphone : (450) 454-5500 (Garry Daigneault (Directeur de la programmation)) Courriel : [email protected] CHOE-FM 95,3 (Bas-Saint-Laurent) Téléphone : (418) 562-8181 (Carol St-Pierre (Directeur des nouvelles)) Courriel : [email protected] CHOI-FM/ Radio X 98,1 (Capitale-Nationale) Téléphone : (418) 687-9810 (Denis Gravel (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.choiradiox.com CHOM-FM 97,7 (Montréal) Téléphone : (514) 931-2466 (Edna Anderson) Site Internet : http://www.chom.com CHOX-FM (Bas-Saint-Laurent) Téléphone : (418) 856-1310
(Gilles Gosselin (Chef de pupitre)) Courriel : [email protected] Site Internet : http://www.chox97.com
CHRC-AM 800 (Capitale-Nationale) Téléphone : (418) 688-8080 (Jacques Tétrault (Chroniqueur, Arts et spectacles)) Site Internet : http://www.chrc.com
CHRD-FM/ Énergie 105,3 (Centre-du-Québec) Téléphone : (819) 475-1480 (Hugo Langlois (Journaliste)) Courriel : [email protected] Site Internet : http://www.radioenergie.com CHRL-FM 99,5 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 275-1831 (Josée Poitras (Journaliste)) Courriel : [email protected] CHRM-FM 105,3 (Bas-Saint-Laurent) Téléphone : (418) 562-4141 (Carol St-Pierre (Directeur des nouvelles)) Courriel : [email protected] CHVD-FM/ Émotion Rock 100,3 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 276-3333 (Louis Darackian (Directeur des nouvelles)) Courriel : [email protected] CIBL-FM 101,5 (Montréal) Téléphone : (514) 526-2581 (Eric Provencher (Coordonnateur de l'information)) Courriel : [email protected] Site Internet : http://www.cibl.cam.org CIBM-FM/ FM 107 107,1 (Bas-Saint-Laurent) Téléphone : (418) 867-1071 (Daniel St-Pierre (Directeur de l'information)) Courriel : [email protected]
Site Internet : http://www.cibm107.com CIBO-FM (Abitibi-Témiscamingue) Téléphone : (819) 737-2222 Courriel : [email protected]
CIEL-FM 103,7 (Bas-Saint-Laurent) Téléphone : (418) 862-8241 (Daniel St-Pierre (Directeur de l'information)) Courriel : [email protected] CIEU-FM/ La Radio 94,9 (Gaspésie - Les Îles) Téléphone : (418) 364-3454 (Claude Roy (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.cieufm.com CIGB-FM/ Énergie 102,3 (Mauricie) Téléphone : (819) 378-1023 (Sylvie Roberge (Directrice du produit)) Site Internet : http://www.radioenergie.com
CIHO-FM 96,3 (Capitale-Nationale) Téléphone : (418) 457-3333 (France Bélanger/ Dave Kidd (Journalistes)) Courriel : [email protected] Site Internet : http://www.charlevoix.net/ciho
CIHW-FM 100,3 (Capitale-Nationale) Téléphone : (418) 843-3937 (Jonathan Gros-Louis (Directeur de l'information)) CIKI-FM 98,7 (Bas-Saint-Laurent) Téléphone : (418) 723-2323 (Martin Brassard (Directeur des nouvelles)) Site Internet : http://http;//www.ciki.fm CIME-FM 103,9 (Laurentides) Téléphone : (450) 431-2463 (Pierre Labonté (Directeur de nouvelles)) Courriel : [email protected]
CIMF-FM/ Rock Détente 92,9 (Outaouais) Téléphone : (819) 770-2463 (Mario Aubé (Coordonnateur de l'information)) Courriel : [email protected] Site Internet : http://www.rockdetente.com
CIMI-FM 103,7 (Capitale-Nationale) Téléphone : (418) 841-4445 (Annie Bouchard/ Dominic Tessier (Directeur de l'information))
CIMO-FM/ Énergie 106,1 (Estrie) Téléphone : (819) 347-1414 (Fanny Poisson (Journaliste)) Site Internet : http://www.radioenergie.com CINF-AM/ Info 690 (Montréal) Téléphone : (514) 849-1690 (Robert-Charles Longpré (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.info690.com
CINQ-FM/ Radio centre-ville (Montréal) Téléphone : (514) 495-2597 (Sophie Rouleau (Responsable francophone)) Courriel : [email protected] Site Internet : http://www.radiocentreville.com CINW-AM/ 940 News (Montréal) Téléphone : (514) 849-0940 (Yvon Vadnais (Directeur de la programmation)) Courriel : [email protected] Site Internet : http://www.940news.com CION-FM 90,9 (Capitale-Nationale) Téléphone : (418) 659-9090 (Denis Veilleux (Directeur Général)) CIPC-FM 99,1 (Côte-Nord) Téléphone : (418) 766-6868 (André Normandeau
(Directeur des nouvelles)) Courriel : [email protected] CIRA-FM/ Radio Ville-Marie 91,3 (Montréal) Téléphone : (514) 382-3913 (Thérèse Miron (Directrice des nouvelles)) Courriel : [email protected] Site Internet : http://www.radiovm.com CITE-FM/ CITÉ Rock Détente 102,7 (Estrie) Téléphone : (819) 566-6655 (Jocelyn Prouxl (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.rockdetente.com CITE-FM/ CITÉ Rock Détente 107,3 (Montréal) Téléphone : (514) 845-2483 (Marie-Josée Tardif (Journaliste)) Courriel : [email protected] Site Internet : http://www.rock-detente.com
CITF-FM/ Rock Détente 107,5 (Capitale-Nationale) Téléphone : (418) 527-3232 (Marc Tanguay (Directeur de programmation)) CJAB-FM/ Énergie 94,5 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 545-9540 (Jean-François Côté (Coordonnateur de l'information)) Courriel : [email protected] Site Internet : http://www.radioenergie.com CJAD-AM/ Montreal's News Talk Leader (Montréal) Téléphone : (514) 989-2523 (Derek Conlon (Directeur des nouvelles)) Site Internet : http://www.cjad.com CJAN-FM 99,3 (Estrie) Téléphone : (819) 879-5439
(Joël Côté (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.fm993.ca CJDM-FM 92,1 (Centre-du-Québec) Téléphone : (819) 474-1892 (Claude Boucher (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.cjdm.fm CJBR-FM/ Première chaîne 89,1 (Bas-Saint-Laurent) Téléphone : (418) 723-1600 (Claude Ross/ Jean-François Roy/ Claude Morin (Journalistes)) Courriel : [email protected] Site Internet : http://www.radio-canada.ca/rimouski ÀCJFM-FM/ Mix 96 95,9 (Montréal) Téléphone : (514) 989-2536 (John Moore (Entertainment)) Site Internet : http://www.themix.com
CJGO-FM/ Radio Fusion 104,9 (Laurentides) Téléphone : (450) 562-8862 (Michel Laprise (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.radionord.com CJIT-FM 106,7 (Estrie) Téléphone : (819) 583-0663 (Mathieu Beaumont (Directeur des nouvelles)) Courriel : [email protected] CJLM-FM/ M103,5 (Lanaudière) Téléphone : (450) 756-1035 (Jacques Plante (Coordonnateur des nouvelles)) Courriel : [email protected] Site Internet : http://www.m1035fm.com CJMC-FM 100,3 (Gaspésie - Les Îles) Téléphone : (418) 763-5522
(Stéphane Cyr (Directeur de l'information)) Courriel : [email protected] CJMD-AM (Nord-du-Québec) Téléphone : (418) 275-1831 (Josée Poitras (Directrice des nouvelles)) Courriel : [email protected] CJMF-FM 93,3 (Capitale-Nationale) Téléphone : (418) 687-9330 (Louis Lacroix (Chef de Pupitre)) Courriel : [email protected] Site Internet : http://www.cjmf.com CJMM-FM/ Énergie 99,1 (Abitibi-Témiscamingue) Téléphone : (819) 797-2566 (Liz Ferland (Chroniqueuse Arts et spectacles)) Site Internet : http://www.radioenergie.com CJMS-AM (Montérégie) Téléphone : (514) 990-2567 Courriel : [email protected] Site Internet : http://www.cjms.ca
CJMV-FM/ Énergie 102,7 (Abitibi-Témiscamingue) Téléphone : (819) 825-2568 (Félix Séguin (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://radioenergie.com CJOI-FM 102,9 (Bas-Saint-Laurent) Téléphone : (418) 723-2323 (Isabelle Lévesque (Journaliste)) CJPX-FM/ Radio classique (Montréal) Téléphone : (514) 871-0995 CJRC-AM (Outaouais) Téléphone : (819) 561-8801 (Louis-Philippe Brûlé (Coordonnateur de l'information)) Courriel : [email protected] Site Internet : http://www.cjrc1150.com
CJRG-FM/ Radio Gaspésie 94,5 (Gaspésie - Les Îles) Téléphone : (418) 368-3511 (Geneviève Gélinas (Journaliste)) Courriel : [email protected] CJSO-FM 101,7 (Montérégie) Téléphone : (450) 743-2772 (Marie-Lyne Cournoyer (Journaliste)) Courriel : [email protected] Site Internet : http://www.cjso.qc.ca CKAC-AM/ CKAC 730 (Montréal) Téléphone : (514) 845-5151 (Jules Bordeleau (Chef de pupitre)) Courriel : [email protected] Site Internet : http://www.ckac.com CKAJ-FM 92,5 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 546-2525 (André Deschesnes (Directeur de production)) Courriel : [email protected] Site Internet : http://www.ckaj.org CKCN-FM 94,1 (Côte-Nord) Téléphone : (418) 962-3838 (Kathleen Brière (Journaliste)) Courriel : [email protected] CKGM-AM/ The Team 990 (Montréal) Téléphone : (514) 931-4487 (Ron Francis (Directeur des nouvelles)) Courriel : [email protected] Site Internet : http://www.team990.com CKIA-FM 88,3 (Capitale-Nationale) Téléphone : (418) 529-9026 (Francine Doucet (Directeur de programmation)) Courriel : [email protected] Site Internet : http://www.meduse.org/ckiafm CKLD-FM 105,5 (Chaudière-Appalaches) Téléphone : (418) 335-7533 (Patrice Croteau (Directeur de la programmation)) CKMF-FM/ ÉNERGIE 94,3 (Montréal) Téléphone : (514) 529-3229 (Pierre Lebeuf
(Journaliste)) Site Internet : http://www.radioenergie.com CKMN-FM/ La Radio Rétro 96,5 (Bas-Saint-Laurent) Téléphone : (418) 722-2566 Courriel : [email protected] CKNU-FM/ Cool 100,9 (Capitale-Nationale) Téléphone : (418) 285-5554 (Marie-Claude Bourque (Journaliste)) Courriel : [email protected] Site Internet : http://www.cool100-9.com CKOD-FM 103,1 (Montérégie) Téléphone : (450) 373-0130 (Isabelle Lévesque (Journaliste)) Courriel : [email protected] Site Internet : http://www.ckod.qc.ca CKOI 96,9 FM (Montréal) Téléphone : (514) 766-2311 (Nathalie Richard) Site Internet : http://www.ckoi.com CKOO-FM/ Cool 98,5 (Montréal) Téléphone : (514) 767-2435 (Jean-Philippe Tremblay (Directeur de la programmation)) Site Internet : http://www.coolfm.ca CKRB-FM 103,3 (Chaudière-Appalaches) Téléphone : (418) 228-1460 (Suzanne Bougie (Journaliste)) Courriel : [email protected] CKRK-FM 103,7 (Montérégie) Téléphone : (450) 638-1313 (David Lahache (Newscaster)) Courriel : [email protected] Site Internet : http://www.k0103.com CKRL-FM/ La Radio des découvertes 89,1 (Capitale-Nationale) Téléphone : (418) 640-2575 (Bastien Gagnon-Lafrance
(Directeur de programmation)) Courriel : [email protected] Site Internet : http://www.ckrl.qc.ca CKRS-AM (Saguenay-Lac-Saint-Jean) Téléphone : (418) 545-2577 (Jean-François Côté (Coordonnateur de l'information)) Courriel : [email protected] Site Internet : http://www.ckrs.ca CKSM-AM (Mauricie) Téléphone : (819) 539-4899 (Francis Dubé (animateur)) Courriel : [email protected] Site Internet : http://www.chln500.com CKTF-FM/ Énergie 104,1 (Outaouais) Téléphone : (819) 243-5555 (Louis-Philippe Brûlé (Coordonnateur de l'information)) Site Internet : http://www.radioenergie.com CKVM-AM (Abitibi-Témiscamingue) Téléphone : (819) 629-2710 (Jean-Marc Houle (Journaliste)) Courriel : [email protected]
CKYK-FM 95,7 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 662-6888 (André Tremblay (Directeur de l'information)) Courriel : [email protected] Site Internet : http://www.kykfm.com CKYQ-FM 95,7 (Centre-du-Québec) Téléphone : (819) 362-3737 (Hugues Laroche (Jounaliste)) Courriel : [email protected] Site Internet : http://www.ckyqfm.com RADIO-CANADA 96,5 (Mauricie) Téléphone : (819) 380-0023 (Claude Bernatchez (Animateur Journaliste)) RADIO-CANADA ESTRIE 101,1 (Estrie) Téléphone : (819) 620-0000
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