Should Your Church Choir Make A CD?

In our attempt to help you, you must first realize that many have gone down the same road you are traveling. One of the most difficult things for a good church choir to accept is the fact that the music industry is a business that is not concerned with personalities. Your pastor (or, in the case of a community choir - your spiritual covering/advisors) must have a clear release that you are ready to move forward in this area with their encouragement, support, guidance and blessing. If they don't , don't even think about it. You will be out of order!

Now, with that said, please realize that most major record companies aren't interested in signing a project from any artist that doesn't have certain qualities already resident. There are some variations, but the basic pre-requisites are:

1. A focused ministry. You know your strengths and your weaknesses as a minister. You know to whom and where your message is most palatable. You're not trying to perform everything from rap to reggae, or fromgospel to Comtemporary Christian.

2. Unique and marketable musical talent. You are you! Trying to be someone else or like someone else is futile. The world can only stand one John P. Kee, one Winans group, one BeBe and CeCe, etc.. You've got to be good and special - All by yourself!

3. A stable life characterized by commitment to spiritual values. Are you flighty? Move all the time? Can't hold a job? Can't get along with people? Some people assign these characteristics to being a creative genius - I rather assign these qualities to being 'flaky'. That won't work as an artist. You need to know who you are in God, what your calling is, and be committed to Him first and foremost.

4. An understanding and commitment to make the sacrifices necessary to be a national recording artist. The lifestyle of a national artist is not necessarily one of great glamour! What you see on stage is a small portion of an artist's total life. Long hours are spent in preparation for a few minutes in the spotlight. Numerous rehearsals, musicians that won't act right, concert dates that don't come through, promoters that can't or won't pay, disastrous sound systems - on and on. But even after all of that, you must go on. Realizing that in order to win the reace you've got to continue to run on!

These pre-requisites are essentials. Unless you possess these attributes, you'll more than likely not be able to make it as a recording artist - not for a major company, or for your own church orindividual ministry.

Now that we've established the ground rules, let's move onward. If you're convinced you're artist materal, the next thing to do is to put something on tape. Deciding when, what and how to record is important. It not only represents the caliber of your professionalism, it represents the quality or stage of your development as na artist.

What material will you record? Will you do a studio or a live project? Who will produce the project? Before you make these costly decisions, it's probably a good idea do get a second opinion. Just like majorsurgery, stepping into this arena with major recording artistsshould not be taken lightly. To have a national appeal, your project and your sound needs to be highly developed. Spend a little time,and maybe a few dollars getting someone of national stature to listen to your group. Ask them for their recommendations for improvement. Take advantage of local experts,and be prepared to offer them a stipend for their time as well as provide them with red carpet treatment for their attention to you. If you have any ties with recording comapny personnel, try to arrange tofly them in for a day to ascertain suggestions for your group. Be careful to make it clear that you are not trying to pressure these folks for a deal, just gain valuable insight. Make this clear to them, and especially to your group! Make them feel at home and glad to have come. Send them tickets and complete ininerary in advance, take care of their meals and pay them a stipend cheerfully (enclosed in an envelope), and put a tape of your group in their hand.

Material is critical. If a song doesn't get a listener's attention in the first 60-90 seconds, it probably won't make a good recording. Original material is always a good choice. This is strength that makesyou unique. If you're a good writer, or have personnelin your group who are, use their material! Especially if its good! If you record someone else's song, at least do it as well as they did, and if possible, add some new twist or turn to show your group's signature! It is essential that your group leader have a concept. A concept can be lossely translated as the musical expression of your ministry. The concept needs to be consistent with your philosophy and the style of ministry you want to project. Your material, orchestration and execution must have a 'thread of consistency.' Sometimes this is difficult to achieve, it is, however the most important piece of the puzzle.

Should you record in a studio or live? A studio project will have a cleaner sound than a live project. It is a more controlled environment, however, it is an environment that gives little or no motivation to the performer. You've got to be mentally, spiritually, musically and physically prepared to record in the studio. The tape doesn't forgive mistakes. It picks them all up! Conversely, a live project is best only if you can maximize the quality. With a small budget you can do either effectively. What's essential, is that you have a good producer who has enough expertise with the type of environment and equipment needed with eithersituation work out will musically, and not be financially horrendous.

Right here is a good time to talk about musicians. Musicians are the bed on which vocals rest. If the bed is lumpy or bumpy, everything else will not be comfortable. Got a drummer who con't keep a steady beat? Got a organist who can only play in a 1980's style. It might be advisable to get professional session musicians to lay down a bed of music for your songs. They'll sound better, and you'll be much more pleased with the results. Then, let your musicians learn it this new way. All the while, it's important that everybody be supportive of these efforts. Musicians from cross town can cause confusion, if your "in house" band is not supportive and understanding! Vocalists? Make sure your lead singers are phenomenal, and prepared. Rehearse your choir to a frazzle! Don't take anything for granted - time is money.

Now, who will produce this masterpiece? A project can be made or destroyed inthe studio. A professional producer who knows what he or she is doing is preferential to a lovingwell-meaning friend, choir director, pastor, or church musician. All this assumes that you want the best for your group, and that you are not so overwhelmed by the chance to be in the spotlight, or an opportunity to tell everybody how wonderful you all are!

Again, seek out local pros. There are people with production experience in every town. What you'll want to do when shopping for a producer is get someone who 1) Has already produced a project similar to what you seek as your desired result, 2) Has a good track record - a person who can work efficiently and effectively in the studio (recording and mastering) and with your people. Finally, 3)Will listen and understand what your goals are, and what your budget is!

If you con't find someone locally, search the back of recordings that you know have become favorites nationally. Many professional producers work independently and will accept a medium budgetfor an independent project- especially if you arewell-organized, easy to work with, know what you wantthe outcome to be, and are prepared to pay their fee and work within the schedule agreed upon. The customary arrangement includes a 50% retainer and the rest upon delivery of the master tape. (Make sure you execute a lawyer approved written contract - this is essential!)

How manysongs should you reocrd? If you are making a custom project, you will need to have enough songs to make a complete recording that will be marketable. Most recordings contain a minimum of eight selections, a maximum of fifteen. Fro anew artist who is paying his own way, around nine or ten great songs is probably the best choise. If you are recording a demo, (or demonstraiton project), four songs is plenty. A company A&R (artist and repertoire) executive can get a good idea of your versatility, your quality and your potential in those four songs.

The next step for your custom or demo project is artwork. Take a professional photo of your group. Whoever said "a picture is worth a thousand words" was right on target! An album cover or a publicity phot is importnat to what people perceive about you. It is the first "foot in the door" of your presentation. Does your phot invite peolpe to go further,or stop and come back later (or maybe never)? Three poses is fine - more if the group is small. The more creative, the better. Choose a good photographer. Someone who is a professional and has done this knid of thing before. Do two things first 1) Go to a record store and find some examples of what you like; show these examples to the photographer, and 2) Look at the photographoers'sportfolio. It should exhibit creativity, even if limited experience.

A good bio (biographical sketch) comes next. It should be concise and well-written. It should also be professionally tyeset. Don't forget that appearnance and first impressions are very lasting - especially in this arena.

Your work is almost complete if you're doing a demo. The hard part now, is getting it into the hands (eyes and ears)of the right person at the right company at the right time to hear you, like you and call you - and eventually sigh you! Send them your package (demo, publicity phot, and bio), call htem to follow up - and pray! (But don't pester!)

What about those of you who done a winderful custom project?? Now what? Well, we don't take for granted that you know that CDs are the top sellers in gospel, then cassettes. Albums (vinyl) makenice frisbees - that's about all. Manufacturing plants for CDs andcassetts are not difficult to find. Depending on where you're located and how booked up the plant is; persevere and shop around! Now, here you arewith this wonderful project - all pressed and packaged.

Where will you sell it - and how will you sell it? Without naming names, the distribution system for gospel music is pretty tight, and growing tighter by the year. Unless you're hooked upwith a major company, it's difficult to get national distribution. Your best alternative is probably going to be local gospel outletsand other churches in your denominationalor interdenominational fellowship. When you do concerts,make sure to have atable outside andmake the congregation aware that you have tapes and CDs available. Rent booths at national gospel music events, and make sureyour choir isscheduled to perform. Stay organized. It's best to have peolpe to administrate these tables and booths who are business minded - not necessarily musically inclined.

Keep your prayer life strong and your focus intact. Don't forget that the recording side of your ministry is just that - a sideline. Your ministry is first and foremost to worship and praise God! Let no one and nothing separate you from your love of God offrom walking in your purpose. Write your vision! Even if you're singer or musician and have a plan and timetable for achieving your golas. Don't give up - even if it takes you a little longer. Remeber, in God's time, your promotion will come. Be positive, be productive and be prayerful!