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Just as every production needs a title; every character needs a name. Glengo started simply as a nickname between friends, but now to me it has become the persona I use when thinking of myself as a performer.

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Dun Eideann (dunedin) are a Rock n' Roll band started in 2023 by myself and two other Edinburgh College students. The band hope to earn their place within the UK music industry with their unique sound, memorable lyrics, and catchy guitar hooks that are sure to get any crowd bouncing. Taking inspiration from their experiences as youths and forging their memories into songs with heavy guitar riffs and choruses, they strive to create a new indie/rock sound influenced by bands such as Arctic Monkeys, Oasis, and The Clash.

This has been my main original musical project for the past year, where I contribute to the songwriting, play the bass, and perform as the front person & lead singer, alongside Ross Andrews on the guitar and Oscar Fisher on the drums.

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The Rainflowers are a 5 piece function band that play 70s style pop rock cover material the likes of ABBA, Elton John, Queen, and David Bowie. The band have recently signed with Coast Entertainment in the hopes of receiving their support in becoming a successful wedding and function band in the near future.

In the band I play the keyboard and sing primarily harmonies and backing vocals, although there are a few songs I sing lead vocals on. After some setbacks with the departure of the previous bassist, we have recently found a new member and are working to increase the number of songs in our repertoire.

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This padlet is a platform to compile many of my projects, in the hope of displaying my abilities as a performer. Artefacts are as follows:

Biography

Role of a Performer

Vocal experience

Instrumental experience

Relevant skills

Marketing

Mixed Tracks

Editorials

Q&A

Research

References

The End

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Born and raised in the city of Edinburgh, I have had the privilege of living in one of the most culturally diverse and vibrant cities, one where the creative arts thrive in the world renowned Fringe festival. Growing up I was fascinated by how things worked which, upon graduating from high school, led me down a path in which I attained a Masters Degree in Chemistry from the University of Edinburgh. However, once I got my first job in the industry I lost the initial curiosity I felt whilst studying, and becoming more specified only led me to feel I was "learning more about less". In order to broaden my horizons, I quit my job and went solo travelling and upon my return delved into the retail and hospitality sectors with a number of jobs, in which I enjoyed the spontaneity of working with people. During COVID I took a job as a carer for the elderly in a residential care setting which greatly broadened my outlook on life and made me value the importance of finding your "calling". In the hope of finding this and recapturing the passion I felt for learning as an undergraduate student, I decided to follow my desire to be a performer and musician by returning to study at the age of 25. This is where the tale truly begins.

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The Oxford dictionary describes a performer as "A person who plays music, sings, dances or practices any other performance art in front of an audience" (1). While the performance medium may differ, the primary role of a performer is to entertain, engage, and often educate their audience through the use of their skills. A successful performer is one who can use their stage presence and skill to fully embody a character or persona to evoke certain emotions within the audience, be it through singing, dancing or acting.

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As a performer it is important for in individual to hone their craft and develop the skill set needed to succeed in the industry:

1. Talent - As a singer or player one must practice regularly and consistently to develop their technical skills, be it singing or proficiency on their instrument.

2. Presence - The effectiveness of a performer lies in their ability to capture and hold an audiences attention through emotional engagement.

3. Confidence - A performer must be able to convince their audience of the character or role they are embodying, building a rapport with the audience.

4. Adaptability - A performer must be able to adapt to situations that arise on the spot whether it be feedback from the audience or some unexpected development.

5. Creative Expression - Each performance must bring some unique interpretation through the use of an individual's creativity. If the performance is not delivered with authenticity then the audience will find it hard to engage and sympathise with the performer.

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While the skills required for a performer are similar to the responsibilities there are some differences:

1. Practice - The following quote from Jascha Heifetz sums this up perfectly: "If I don't practice one day, I know it; two days, the critics know it; three days, the public knows it." (2).

2. Execution - Since the production or show must deliver on it's promise to be engaging and enjoyable, it is then up to the performer to evaluate the effectiveness of their show and alter their approach if need be.

3. Care - Ensuring the proper care of the vocal folds through good health and correct vocal care is very important for a singer. The same goes for the care and maintenance of an instrument.

4. Professionalism - In order to relay confidence in people a performer must be timely, dependable, and collaborate well with others. Also due to the potential reach and influence of their message a performer must take responsibility for their actions if they want to be taken seriously.

5. Promotion - A performer must put their material out there and build professional relationships to help foster new opportunities within the industry.

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This video showcases my abilities as a vocalist performing three Grade 8 or above vocal pieces for my First Study Vocal Exam. It is the best example anywhere in the portfolio of my abilities as a performer.

1. Easy On Me - Adele

This song is a very emotional piece in which Adele conveys her regrets and vulnerabilities regarding a past relationship. While the original is in the key of F, I changed this to C major to better suit my tessitura. The first step was proper breath control and finding out when best to take a breath between phrases. This is important as it dictates how much air you can push, so I watched many live performances of the song. The first verse and chorus were delivered softly with some parts being quiet, almost whispered, with a high larynx. From the second verse I intentionally added more body to my voice with a lower larynx and greater embouchure of the mouth to give a richer sound.

2. Maybe - Janis Joplin

This song is much more driving than the first where I try to replicate Joplin's gritty soulful vocals. It was released in 1969 at the height of the hippie movement and the song expresses the longing and regrets surrounding a previous relationship or long-lost love. It contains many blue notes and runs, with one in the third verse containing 21 notes in quick succession. It also contains many sections where she employs belting, vibrato, as well as being ahead or behind the beat at times. In the middle 8 the last words “to me” were done in full-voice and are the highest notes of the song, and the highest that I can regularly do in full voice (C5).

3. Somebody to Love - Queen

Although this was the first piece I picked, I found it to be the most challenging. It is another song about longing and love, albeit this one is about loneliness and is more hopeful as it explores the human desire to feel loved and the pain of loneliness. It is undoubtably one of Freddie Mercury's most powerful and inspiring vocal performances and the melody of the song encompasses almost three octaves. While the timbre remains smooth for most of the song, there are specific parts like the long “somebody to love” which goes to the Middle 8 section where the note involves a slide up and some distortion added at the end of the phrase. Many of the phrases include vibrato which comes in halfway through the phrase. After the first Ad-lib outro part is the iconic “somebody to… love” which has the 12-note descending run of the pentatonic scale. I also had fun practicing the Ad-libs at the end, being able to "feel" what the song needed by diverging from Freddie's performance on the track.

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This was one of the first songs I learnt at college and it was a pleasure to be able to record it in the studio as part of the Music Box Sessions. It showcases my lead vocals in the verses and the 3 part harmonies in the chorus that make the Rainflowers so much fun to be a part of. The Music Box Sessions are run by Scott Hannah (Video Credit) and Sarah May (Audio/ Mixing Credit) from Acquired Taste Productions https://www.instagram.com/acquiredtasteproductions/

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The Rainflowers - Go Your Own Way  (Fleetwood Mac cover)

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As part of our live performance class in HND1, I participated in a band where went down a Hip/Hop, Rap, RnB route in which I had the opportunity to rap It Was A Good Day - Ice Cube, & What's The Use - Mac Miller. This was probably the most fun I have ever had on stage as I was comfortable and the band had it so locked in. As this was different to the usual music I listen to, it presented me a serious challenge by employing new vocal qualities. The video should start during the song with the song Juicy - Notorious BIG, where I do the verses and Tasha does the Choruses. I found this to be particularly challenging as there were a lot of lyrics to learn, but it helped me greatly in terms of flow when it comes to melodies and vocal lines. This is evident in the audience interaction between songs, another key component of any performance.

1. Lets Get It Started - Black Eyed Peas

2. It Was a Good Day / Footsteps - Mashup

3. Whats The Use - Mac Miller

4. Feel Good Inc - Gorrillaz

5. San Andreas Theme

6. Juicy - Notorious B.I.G.

7. Circles - Post Malone

8. Redbone - Childish Gambino

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The song is one of my original pieces that we recorded as a live take in the studio for the Music Box sessions. The description is as follows: “Colour Tree attempts to convey the untapped creative potential within all of us using the metaphor of a tree, which despite starting off small, grows steadily over time in a similar way to our ideas when given the correct attention and support.” It showcases my abilities as a songwriter, performer, bass player and vocalist, all of which are important to the role of a performer as a whole.

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This is a live take of the song Miss You originally by The Rolling Stones where I am playing the keys and singing on lead vocals. The song requires a range of vocal qualities and at times allows a laid back or conversational delivery. Mick Jagger is known for his highly expressive tone which is soulful yet at times gritty, qualities which I have tried to incorporate into the performance. I had some fun with the phrasing at certain parts of the song, being slightly ahead or behind the beat which adds to the sense of urgency or laid back feel. The clip is a great example of my personality coming through the music and complementing the performance.

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The Rainflowers - Miss You  (The Rolling Stones cover)

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The Jaggy Midtones were our HND1 live performance band and was very important in my musical development as it was the first time I sang lead vocals and worked on harmonies. The video should start with the song I'm Still Standing which was another great song to perform. This being one of my first performances, it was great in building my confidence and stage presence within a band setting and on stage.

1. Layla - Eric Clapton

2. Go Your Own Way - Fleetwood Mac

3. Modern Love - David Bowie

4. Livin' Thing - ELO

5. Miss You - The Rolling Stones

6. I'm Still Standing - Elton John

7. Stayin' Alive - Bee Gees

8. Gimmie! Gimmie! Gimmie! - ABBA

9. Sweet Dreams / Seven Nation Army - Mashup

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Ryan & Weronikas Band - Voodoo Rooms 18th April 23

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This is a performance of the Jazz Standard, Desafinado at Whighams bar. The theme of the song is centred around the idea of being “out of key” and accepting ones imperfections as they are. This was the first time I have performed a JS and I brought along chord charts which the gents used to play along. The vocal performance suffers a little by going out of key which is fitting as the translation of Desafinado literally means "off -key" but I put this down to the nerves and being in a live situation.

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I was given the opportunity to play piano as part of Weronika's degree project, in which I played piano on 6 of the tracks. This was a new genre to me and included many chords more commonly seen in Jazz and Soul which was particularly challenging but has opened the door to a new genre for me. The piano is one of the best instruments for accompaniment and for understanding music theory so I feel that it is only fitting to include this as my first artefact in this section.

1. Misty - Ella Fitzgerald

2. Autumn Leaves - Multiple

3. Something's Got A Hold On Me - Etta James

4. Maybe - Janis Joplin

5. Tell Her You Belong To Me - Beth Hart

6. I Just Wanna Make Love To You - Etta James

7. Sunday Kind Of Love - Etta James

8. I Put A Spell On You - Nina Simone

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I played the piano for Marta's degree project, specifically in the Nina Simone song Feeling Good. It was a pleasure to work with so closely with Marta on a 1to1 basis for this track. Over the course of a month where we worked on timings, stops starts, and the long arpeggios in the intro, which I felt greatly helped me in my ability to accompany someone and alter my playing style to fit their needs. The video does cut off which is a shame but it should be enough to display my abilities on the piano.

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This is a cover of another Elton John song where I am playing piano with The Rainflowers during a Music Box session. I am particularly proud of my two piano solos when I improvise using the C blues scale. This was a great track to do as it's very rocky/ dancy and the piano gets a big feature. Matthews face in the thumbnail is definitely worth a mention as well!

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The Rainflowers - Saturday Nights Alright For Fighting   (Elton John cover)

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High Roller is another original song that we done with the Music Box Sessions. Description as follows: "The song High Roller explores the dichotomy of someone caught between chasing the carefree, hedonistic lifestyle portrayed by Rock n’ Roll, and the reality of their struggle with their own existence, insomuch as they cannot even find the motivation to get out of bed and engage in everyday life". The vocals are much more gritty in this song than in Colour Tree and involve many phrases sang in quick succession.

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This is worth a watch if you've got time we had a real fun time putting this together and reminds me of a theatre production. It is a video of our HND2 live performance band in which I sang vocals and played guitar on the tracks. We had a theme of songs related to colours (Pink Panther, Redbone, Mr Blue Sky..) which was really fun from a performance aspect. It is an example of my support as a guitarist, mainly through chords and some lead lines, although at times the amp is too quiet. The vocal performances and harmonies are also a highlight, particularly during Supermassive Black Hole. Also my performance during Purple Haze is another showcase of my vocals and crowd interaction.

1. Pink Panther Theme - Henry Manchini

2. Redbone - Childish Gambino

3. Green Eyes - Arlo Parks

4. Purple Haze - Jimi Hendrix

5. Evolution Orange - Earth Wind & Fire

6. Big Yellow Taxi - Joni Mitchell

7. Gold On The Ceiling - The Black Keys

8. Supermassive Black Hole - Muse

9. Blue Medley - Various

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I originally started this song in Composition class earlier this year whilst getting accustomed to using Musical Script software Noteflight. While it may not appear directly related to the role of a performer, the ability to sightread or compose music opens up many more avenues in music

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More Than A Melody Free Sheet Music by Glengo for Various Instruments | Noteflight

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Get free More Than A Melody sheet music by Glengo as a digital notation file for various instruments in F Major (transposable).

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As part of the first study descriptor a vocalist must be able to sing the main scales and arpeggios as well as the modes from the diatonic major scale. This is particularly challenging as one must be able to correctly recite the rest of a scale from a starting note. This allows a singer to more easily distinguish between scales and notes in band situations and also gives some ideas for improvisation

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A lesson from Instrumental Instruction class where we had to make lesson plans and follow through with three 30 minute lessons. The piano is the best instrument I have found for conveying the concepts of music theory and being able to teach it requires a greater understanding of those concepts. Sarah had much knowledge from our classes together but it was great for us to sit down and go through these in a setting where she could ask questions to help link up this knowledge. While not directly linked to a performance role, this ability is important for communication of ideas to other musicians or to other members in band/ ensemble settings.

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An EPK is a description of the song and is what you send to producers and radio stations to promote your track. This was for one of the songs we released a while ago for Dun Eideann. It is important to be able to state oneself clearly and this EPK serves as an introduction to the band and the song, as well as highlighting the importance of being able to promote your own material.

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A skill sheet showing my relevant experience over the last few years both in terms of employment and music. Worth a miss unless you're really keen!

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A Strengths, Weaknesses , Opportunities and Threats analysis of my relevant attributes. Again, worth reading only for extra credit.

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The Groove Garden was a gig that was put by a few students myself included, as part of Live Event class. This included all the planning, equipment hire, budgeting, ticketing, insurance, risk assessment, and promotion to name a few. While I did perform at the event, my inclusion in the planning committee highlights my proficiency at many skills that are supportive as a role of a performer such as the ability and need to promote yourself. The gig was a great success and we sold over 100 tickets, meaning we payed off the venue and turned a profit which went to each of the bands.

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While still very much in it's infancy, AI is a business idea of mine centred around creating a platform for musical cooperation and collaboration. Whether it be through providing support, promotion, or advice to aspiring musicians, the hope is to create a community which fosters musical independence and creativity. As a performer it is important to have a large support network to help with your own projects, or provide opportunities for you to help others in their own projects.

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This is the landing page for the Dun Eideann Instagram page. As a musician and performer promoting your music and telling others about upcoming gigs is very important if you want to make a living and grow your following. Instagram has over 2 billion accounts and is the No1 means for music promotion and for showcasing upcoming bands (3).

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This is the landing page for the Rainflowers social media on Instagram. The same applies for the basis of this page as mentioned in the previous post. As this band is mainly a covers band we have had more success posting short form videos or "reels" on Instagram and TikTok in the hope of building our following.

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Again while not directly related to being a performer, the ability to mix music is very important and provides another potential income stream to a musician with a portfolio career. The ability to mix ones own music or a track to be used as a backing track for a performance is also a good skill to have. This track Redbone was recorded in the studio with the HND2 Spectrum (colours) band aforementioned. I sing vocals alongside the other band members and it is a great example of my mixing abilities from the last few months.

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Disguise is an original song that I wrote in Songwriting class last year and it describes the existential struggle we all face from time to time when we question our direction in life. It is another example of my vocal performance, mixing abilities and instrumental abilities as I also play the instrumentation and programmed the drums myself.

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Stayin' Alive (Bee Gees cover) - recorded in the studio session in December 2022. The session was recorded in the studio as part of the Session Skills unit and was mixed by myself. I also provide lead vocals and harmonies on the track.

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Jaggy Midtones cover of The Bee Gees Classic

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Move Yer Feet was the first demo recorded for my band Dun Eideann over a year ago, over which time my skills have improved. It was much cheaper for us to record the tracks in the college studio then I done much of the mixing and mastering myself.

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Another original song which I wrote last year, recorded at home using my own instruments and mixed and mastered. The song attempts to capture the desire to make something of your life. It started many years ago with the phrase "Caught between study, or only working for money" and grew steadily over the years as that message became clearer.

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Using the information from Music Business and Online promotion classes I wrote a couple blogs for my AI website. These pieces showcase my abilities as a communicator and researcher, which are important traits in the music industry:

1. Can you keep up with the trend? - A look at trends within online music promotion and the dissemination of music

2. Relax and float down-stream - A look at the consumer habits for music consumption and the dominance of music streaming services

3. A collective society? - A look at Collection Societies and how one makes money from released music

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Join the community and promote your own musical independence

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A look at the songwriting techniques from the Let It Be album. This was from our Songwriting course last year and was very enjoyable to look into and research the techniques used by Lennon & McCartney in writing this album. Again it showcases my ability to articulate myself and to conduct my own research.

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A look at The Clash and how they defined the Punk Rock genre. As one of my favourite bands, I found this was a very enjoyable part of the Appreciation of Music Course. I particularly like the inclusion of quotes from the lyrics which I use to introduce a new idea or paragraph. One of the highlights of my academic writing over the years.

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After becoming dissatisfied with working in scientific research and the typical 9 to 5 arrangement, I took a number of jobs in the retail and hospitality sectors. I found they better suited my outgoing personality and I enjoyed the more flexible shift based approach to working. I then went on to work as a carer for the elderly which gave me much to reflect on. It was upon the advice I received during this time that I decided to apply for college, in a bid to develop my skills and fully commit to a life in music which until then had only been a hopeful side project. While making a full time career as a musician is a big ambition to have, the industry itself provides many opportunities for someone to create a portfolio career by making money from multiple revenue streams such as: teaching, producing, creating music, and performing.

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2. Where do you see yourself in five years?

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2. Where do you see yourself in five years?

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In five years I aim to have overcome the financial difficulties involved in regulating the work- study balance I am currently facing. It is hard to pursue creative endeavours when you struggle just to get by each month. My hope is that in that time I will have the relevant experience and connections in order to fully commit to a life as a performer and musician. My dream would be to tour the UK and abroad showcasing my music to people who it has provided a positive impact. In terms of business, I have the blueprint for an events and promotions company to help up and coming musicians involve themselves in the music scene which would include a live music venue in the city as an operational hub. I believe that the creative arts should be appropriately protected against big corporates who seek to use music as a money making tool and way of controlling the social narrative.

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3. Why does the role of musical performer suit you?

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3. Why does the role of musical performer suit you?

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Being a performer allows me to express myself in a unique way and there is nothing quite like the exhilarating feeling of being on stage. I have come to enjoy the anticipation and nerves prior to a performance and I see them as a necessary reminder of the importance of being on the top of my game. As someone who loves singing and dancing, being a performer is an opportunity to turn a personal hobby into a potential career. People want to be entertained, especially if they have paid for the experience, so I take the role seriously. As a result I see the performance itself as a chance to escape myself for a little while by being more daring and outgoing than my typical personality might be.

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I like to think of myself as an outgoing person who positively impacts the lives of others and supports them in their achievements. My obsession with the ideal of perfection may at times come across as overbearing, but it helps me see the potential for greatness in myself and the people I work with. I have met some truly remarkable people in the last year, musicians much more talented than myself, and the things I have learned from them are responsible for the things I have achieved thus far and the direction in which I am headed.

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5. What do you need to overcome in order to succeed?

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5. What do you need to overcome in order to succeed?

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Joining college gave me an understanding of the music industry as a whole, how competitive it is, and how hard one must work in order to make a name for themselves. When compared to corporations, it is extremely difficult for an individual to make a stand in the music scene, which is why it is so important to surround yourself with like minded individuals who share the same goals and values as yourself. Music has become monopolised by the people at the top and this trend is indicative of most sectors and industries, and it is only by taking a stand together, for the belief that music is a right entitled to everybody, that real change can be made.

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All the information in this section is evidence in and of itself of research into the job role of a performer. A link to a particularly good website I use for performance tips is attached here.

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For the vocal section most of the research I conducted was based on learning the pieces both lyrically and melodically. The recital video involved the most practice and watching of live videos to match the style and character of the performers as well as trying my best to replicate their mannerisms and vocal qualities. I also looked into the relevance of the Estill method (named after the late Jo Estill) for vocal performance, and I will be shortly attending a course on how best to incorporate these techniques into my own practices.

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Vocal knowledge is vocal power. Estill Voice Training uses science to teach voice. Estill Voice Training Exercises are effective tools that will give you the confidence to know that your voice will be ready to respond to any challenge you may face in performance and daily life.

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The research I conducted included looking at chord charts for the Shades Of Love performance. This was challenging as I was not accustomed to reading Jazz standard chord charts which include much music theory and terminology, such as m7b5, dim7, 7b9, and augmented chords to name a few. I also had to learn the songs for all of my live performances by watching videos and listening to the songs extensively.

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In this article you’ll find every chord symbol you are likely to encounter while playing from lead sheets or The Real Book. Everything from chord symbols with triangles, circles or chord extension are explained here in detail.

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One example I done for research in this section was looking into different teaching techniques and the importance of fostering a Growth Mindset in your students. The basis of this is positive reinforcement and giving the student the correct level of small tasks and exercises to build their confidence, rather than showing them the mountain they have to climd. The more they engage in their own development and "feel like they are playing music" the more they are likely to go away with a positive memory of the lesson.

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Do all students share a growth mindset?

Yes. Carol Dweck, a lead researcher on the topic, states that as humans, we operate in both a fixed and growth mindset.

How is it possible to operate in both a fixed and growth mindset you ask? Here's an example: Most humans have a fixed mindset about jumping (unaided) off a cliff. No amount of belief in your ability to fly; no amount of "hard work and practice" (e.g. jumping off a stair, a table, etc.) will prepare you to fly. Knowing that you cannot fly and that no amount of work will change your ability to fly, is a normal, appropriate (life-saving) fixed mindset.

Dweck goes on to provide a definition for both:

Fixed mindset: "In a fixed mindset, people believe their basic qualities, like their intelligence or talent, are simply fixed traits. They spend their time documenting their intelligence or talent instead of developing them. They also believe that talent alone creates success-without effort." (Dweck, 2015)

Growth mindset: "In a growth mindset, people believe that their most basic abilities can be developed through dedication and hard work-brains and talent are just the starting point. This view creates a love of learning and a resilience that is essential for great accomplishment." (Dweck, 2015)

Whether a student holds a fixed mindset or growth mindset significantly impacts their learning experience-from elementary school to high school. Students that hold a fixed mindset give up when they can't solve a problem and admit defeat. This can be detrimental to students' future efforts and leads to limited student growth. With a growth mindset, students continually work to improve their skills, leading to greater growth and ultimately, success. The key is to get students to tune into that growth mindset.

Why does it matter, anyway?

How we interact and encourage students affects their attitudes toward learning. A positive mindset is the difference between a student giving up because they're "not a math person" and a productive struggle that yields growth. But a growth mindset isn't just about effort. Dweck writes, "In the fixed mindset, everything is about the outcome. If you fail-or if you're not the best-it's all been wasted. The growth mindset allows people to value what they're doing regardless of the outcome. They're tackling problems, charting new courses, working on important issues. Maybe they haven't found the cure for cancer, but the search was deeply meaningful," (Dweck, 2015).

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A growth mindset is when students understand that their abilities can be developed. Effort is your means to an end, not the end.

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The amount of research we done for the Groove Garden was excessive, including the legalities and risk assessment work. This was all essential in preparing for potential disasters should they arise on the night. I have attached the Padlet we used that encompasses our research should you want to look further into our process.

Padlet within a Padlet (Padlet Inception I know!) XD

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This a link to one of the websites I used in my early days of mixing and mastering which provides great support and step by step guides to the process.

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What is Mixing and Mastering?

Mixing and mastering are two separate audio engineering processes done to give a work of audio a professional level of sound quality. They are most common in music, film/tv and podcast/audiobook applications.

Mixing is the process of taking several different individual tracks of audio (whether they're vocals, instruments, etc.) and literally "mixing" them together to make the final product something that is (ex/ nothing too quiet or too loud), (ex/ no harshness, etc) and (ex/ not too dull/cold/lifeless).

Mastering is the final stage of the audio engineering process. It involves mostly correcting any imperfections in the "mixed" audio (from the above mixing process) in a finely tuned environment using special equipment. Mastering also adds a final "layer" of polish to the overall work and maximizes it's "loudness" (how loud the overall track is) while maintaining as much "dynamic range" (the difference between loud parts and quiet parts) as possible.

Overall, the goal of mixing and mastering is to have a polished piece of audio that will translate well (i.e. sound relatively the same) across different types of sound systems.

How Do You Mix and Master Music?

Contrary to popular belief, mixing and mastering starts long before you send your tracks to an audio engineer.

THIS IS IMPORTANT: The process starts from the very beginning - the recording and composing process WILL affect your final mix/master.

So it's essential that you try to get the BEST possible recordings of your vocals ( learn more) and instrument tracks.

If you're composing a beat ( like we teach here), that means you need to use high quality sounds and choose sounds that don't clash with each other or fight for space in the mix ( learn how).

The better you are at doing these things, the easier it will be to get a stellar mix/master of your song or track.

Remember these words: garbage in, garbage out.

- Related Article: How to Make Your Own Sounds - Read More -

But once that's all taken care of, actual mixing and mastering is done by using a DAW ( digital audio workstation) or a mixing console (like you see in pictures of big studios), along with tools like equalizers, compressors, reverbs and more (either software or hardware versions).

The essence of mixing and mastering is to:

1. Correct imperfections in the audio

2. Balance various sounds together optimally

3. Add life and character to sounds and make everything "gel together"

4. Increase the loudness of the overall track

5. Make it sound similar across different types of playback devices

Important Note: In this guide, we're only talking about mixing and mastering inside a DAW (using your computer) using software plugins/effects.

The Different Tools Involved

There are a lot of tools (and variations of tools) that can be used for mixing and mastering music. They all provide a piece of the overall puzzle. Depending on your preferred workflow, all of these tools can be software-based or pieces of hardware you run audio through.

Below we get into the general tools you'll use to mix and master, but it isn't an exhaustive list. There are lots of specialized tools out there too that all do specific things. It's a rabbit hole...

Here's a general overview of the different things involved:

Studio Monitors and/or Headphones

When you're mixing and mastering, it's important you have a good set of neutral speakers or headphones to listen on. If you use a regular old set that you would to normally listen to music casually, you're not getting an accurate enough sense of what's happening in your mix. A lot of consumer-grade headphones and speaker systems have a hyped up sound (often in the bass or the high-end). You need a set of studio monitors that are neutral, and not "colored" too much.

Mixing and mastering on headphones is a contentious subject that has a lot of differing opinions. Some say it's possible, other's say you shouldn't. I've done it and will continue to do it. If you want to mix using headphones, take a look at our top picks for the best studio headphones.

Digital Audio Workstation (DAW)

A digital audio workstation is a piece of computer software that mimics hardware mixing consoles you see in a lot of big studios. It's not exactly "beat making software" in the most literal sense, but does often allow you to make beats too. You can import audio into a linear timeline with full "mixer" controls and digitally adjust all of it's parameters. DAWs provide a lot of flexibility, and so are often also used in combination with hardware effects and consoles and third-party software plugins.
BUT, you can do EVERYTHING you need to with ONLY a DAW - they all come with included plugins for the rest of the tools below.
Harmonic Distortion Tools

Usually we think of distortion as being bad. And usually we're right. But for the purposes of mixing music, you can often add character to a sound by applying subtle "harmonic" distortion. This harmonic distortion complements a sound and is often pleasing to the ear in small amounts. Other types of distortion (like "digital" distortion or clipping) are NOT good and should be avoided at all costs.

Equalizers (EQs)

EQs are a type of tool that let you shape a sound's frequency range. Every sound you can hear falls somewhere within the "frequency spectrum" of human hearing (20 Hz to 20,000 Hz - measured in "hertz"). An equalizer will allow you to either boost (increase) or attenuate (decrease) a specific part of a sound's frequency range. You can carve and sculpt sounds so they fit well together without clashing or fighting for space in any part of the frequency spectrum.

Compressors

Compressors are tools that literally "compress" an audio signal. Every audio recording has "dynamic range" (the difference between the loudest and quietest parts of a sound or several pieces of audio). Compressors allow you to control this dynamic range so that if the differences are too far apart, they can be made more balanced/tamed. The louder parts are turned down and/or the quieter parts are turned up - the dynamic range is "squashed."

Time-Based Effects

These effects are things like reverbs and delays. They play with our sense of timing when it comes to audio. Reverbs add "ambience" to a sound to make it sound like it's coming from a specific type of space (like a concert hall or a bathroom, for example). Delay's, on the other hand, are used to add echoes to a sound. These effects help give a sense of real life to recorded audio, which is often naturally very clinical sounding (in other words, dull and lifeless).

It's important to keep in mind you won't always use each and every tool available to you all the time. But all of these tools are used to clean, polish and embellish sounds in a mix and across an overall song. They're used to heighten the listening experience and make the listener feel like they're hearing the music in real life (or get as close as we possible can).

Step-By-Step Mixing and Mastering Workflow

A general workflow on how to mix and master your own music.

1. Import and Organize Your Audio Tracks
First, drag all your audio material into your DAW. If you're working with a beat inside your DAW, export each track separately, and start a new mixing and mastering project. Organize all the audio tracks by similar groups (drum sounds, melodic parts, harmony parts, sound effects, vocals, etc.).

2. Balance the Volumes of Each Sound Against an "Anchor" Sound
Pick the most important sound in your overall mix - this may be a kick drum or a lead vocal or something else. This will be the "anchor" you'll use to mix in everything else. Bring every sound to 0 volume, and bring up the anchor sound to a level you like (that doesn't clip/distort). Then bring in other sounds one by one until they're all well balanced.

3. Use Panning Controls to Widen the Sound Stage of the Mix
Think of yourself looking at a stage from the audience perspective. Using the left/right "pan" knobs on each track, start to spread each sound around the virtual "sound stage" in your mind. This helps separate sounds from each other so they don't sound muffled and jumbled. Lead vocals, kick/snare drums and bass are usually kept dead center in most modern music.

4. Use Equalizers to Help All the Sounds Fit Well Together
This requires an understanding of the frequency spectrum associated with human hearing. Each sound will fall into a range of the frequency spectrum that humans can perceive (20 Hz to 20,000 Hz). Sometimes two sounds will overlap with each other in a given range or sounds can have too much or too little of a given frequency. You can use EQ (equalization) to carve out frequencies to help sounds sit well together and not clash or fight for space.

5. Use Compressors to Control the Dynamic Range of Sounds
Sometimes in a given sound (especially microphone-recorded vocals/instruments) the quiet parts are too quite compared to the loud parts and vice-versa. The differences in the loud/quiet is the "dynamic range" of the audio. You can use a compressor plugin to bring the quiet parts and loud parts closer together so they're more consistent and can be heard/felt equally well by the listener.

6. Use Creative Mixing Plugins to Add Life and Character
Now that you've corrected things in the mix, it's time to get creative and liven up the mix. Here you'll use things like eqs/compressors/delays/reverbs/distortions/etc to add some character to the mix and bring it to life. There are so many things that can be done in this regard to really capture a listeners attention and suck them into the song experience.

7. Adjust Volume and Panning to Avoid Clipping and Unwanted Distortion
Now it's time to make sure nothing is "coming in too hot" and causing audio clipping and unwanted distortion. Think of audio meters turning RED. That's what clipping is and it means the audio signal is way too high. You don't want to clip at any point in the mix. In fact, in the mixing stage you usually want to stay WELL BELOW the clipping limit throughout the song (ex/ -6db during the loudest parts). If needed turn all tracks down a couple dBs (decibels).

8. Take a Break, Revisit and Print
It's important to take a break (preferably overnight) to let your ears rest and reset before re-visiting your mix. Once you've given yourself a fair amount of time away, go back to the mix and listen all the way through. If anything sounds bad or off, you can now make adjustments with fresh ears. If you're happy with the mix, it's time to print the stereo track or stems. Render/export the finished mix as a single stereo WAV file or a few "stem" WAV files (i.e. groups of sounds - drums, vocals, etc).

9. Import Stems/Stereo WAV Into a New Project
Keep things clean and start a new project in your DAW for the sole purpose of mastering the song. Import all your rendered audio files from the mix and organize them however you'd like. If you're using stems instead of a single audio file, you can spend some time adjusting each track's volume in relation to each other to get the optimal balance.

10. Use Specialized Plugins to Accentuate the Good and Help With "Translation"
Using specialized equalizers and other plugins, it's time to correct any last minute overall imperfections and imbalances in the song as a whole (as opposed to each individual sound). You use this opportunity to mold the overall shape of the song's frequency spectrum so that it will sound ideal on any type of playback system. You may also add additional warmth or character to the song's sound as a whole.

11. Use Specialized Compressors/Limiters to Finalize the Track
Very light compression on the mix as a whole (on stereo 2 bus or master track) at this stage helps the track gel together as a whole. Next, you'll apply a special type of compression called "limiting" to bring up the overall loudness of the song without clipping, so that it will stand up and compete against other songs in the market.

12. Test/Reference On Several Systems and Adjust
Finally, you want to test your finished song on several different playback systems (ex/ car stereo, home stereo, phone, headphones/earbuds, etc.) to see how well the song translates across them. You'll also want to test it against a professionally produced/mixed/mastered track to see how it stands up against it. Make adjustments to the mix/master as necessary and re-test until it stands up reasonably well.

13. Print the Master Audio File
After you're happy with the overall sound of the song across several playback systems, it's time to print/render/export the master copy as a 44.1 Khz 16-bit WAV audio file. This is the master copy of the song you'll use to upload to streaming sites and make other digital/physical copies of.

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Beginner Mixing and Mastering Tips

If you're a complete beginner to the concept of mixing music, then you may feel a little overwhelmed at the info in this guide.

Don't worry - it'll become clearer to you the more you do it and learn about the ins and outs of the tools/techniques used by pros.

For now, just try doing some light mixing on your tracks to clean things up a bit. Let a pro (or an online service) handle the mastering.

Follow the tips below to get started on your mixing and mastering journey.

Understand the Purpose of EQ

The EQ is like the scalpel of the audio engineering world. It's one of the most fundamental ways to shape your sound and correct imbalances.

The real purpose of corrective EQ is to get rid of "masking" - when two or more sounds occupy the same frequency range and end up boosting those frequencies in the overall mix. This can make the overall song sound muddy/boomy/harsh, etc.

With EQ, what you're trying to do is "un-mask" things in the mix. You're trying to bring clarity back by carving up the frequency space to let everything play well together.

Cut, Don't Boost

Boosting when using an EQ can be useful in some cases. But if you're inexperienced you can really ruin a mix. When starting out, always opt to cut/attenuate frequencies instead of trying to boost frequencies. Things will be cleaner that way.

Something that a lot of beginners do is place a high-pass filter around 80-100 Hz on any non-bass sounds in a mix. A high pass filter is an EQ that cuts out lower frequencies and only lets the "high(s) pass" through. This alone can clean things up quite a bit.

But be careful, cutting too much (or over-doing your high pass filtering) can cause things to become too thin sounding.

Don't Over-Compress

Compression can be very useful in making a sound/recording more consistent in volume (amplitude), and sometimes even make it louder, letting it cut through the rest of the mix easily. But it's VERY EASY to overdo it.

It's most commonly used on vocals, bass and drums but can be used in many other instances as well. Use a light touch with compression and fully understand all of the controls and what they do before using it widespread in a mix.

And be careful, a little compression helps but too much makes everything sound flat and lifeless. Over compressed music is difficult and fatiguing to listen to. Dynamics (and dynamic range) is important - it lets things breathe and keeps life in them.

Make Small Adjustments and Take Big Breaks

Most of the time you shouldn't have to make drastic adjustments with EQ or compression or any other effect/plugin (including reverb/delay). Work small and compare whatever you did to a sound to it's original, unaltered state. Make a decision about which sounds better to your ear and move on.

And try not to mix for long, extended periods of time. Usually an hour to an hour and a half (60-90 minutes) is a good session. After that your ears are probably fatiguing and you'll make worse decisions. Take a break (best if overnight) before going back to the mix.

The Magic is in the Middle

Some of us love extra bass, and some of us love those shimmering highs. But the real secret is that the magic is in the mid-range. What you'll start to notice when you get better and better at mixing, is that a lot of your work will take place in the middle of the frequency spectrum.

Sure you'll boost and cut in the high end (i.e. treble) and the low end (i.e. bass), but when it comes to clarity and making things sit well together, a lot of it is a mid-range issue (especially low-mids). That's because a lot of the sounds we hear are made up mostly of mid-range frequencies.

Frequently Asked Questions

What's the Difference Between Mixing and Mastering?

Mixing is when you take several different audio tracks (instruments, vocals, etc) and "mix" them together so that every sound is clear and balanced in relation to the other sounds. It's also the process of cleaning up imperfections in any of the individual sounds. Mastering is when you take the finished "mix" of the song (as a single piece of music, rather than individual sounds/tracks) and give it a final "quality check" and additional polish/work so that it's loud and clear on several different types of playback systems.

Is Mixing and Mastering Necessary?

If you plan on releasing your music to the public, then yes it is necessary. It makes sure that everything sounds good to anyone who might listen to it. Listeners don't usually like hearing unmixed/unmastered) music because it often sounds "bad." You also want your songs to be able to stand up to all of the other professional-grade songs out there in the market.

Is Mixing or Mastering More Important?

Mixing and mastering go hand-in-hand. Neither is more important than the other. They do different things, both of which are necessary to achieve a professional sound with your music. But a well mixed, un-mastered song will sound better than an un-mixed, but mastered song. Just remember, without mastering your music won't be loud and clear in every listening situation. And it definitely won't stand up to competitors in the market.
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How to Mix and Master - A Beginner's Guide | Deviant Noise

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dittomusic.com. (2023). How to Promote Music on Instagram in 2023. [online] Available at: https://dittomusic.com/en/blog/how-to-promote-music-on-instagram.

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Instagram has more than two BILLION active monthly users. So as well as uploading your music to Instagram, it's well worth investing some time in creating and maintaining an awesome Insta profile to market your music on.

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In fact, there are lots of independent musicians and influencers who have built a career off the back of Instagram alone.

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Remember, it's important to spread your efforts and focus on all aspects of music promotion. But with that in mind, let's dig into how Instagram can help you reach new fans, engage current ones and grow your brand as an artist.

Best ways to promote music on Instagram

1. Edit & maintain your profile

Setting up your Instagram profile and bio is pretty straightforward. But there are a few things to keep in mind to make sure it's optimised and being used to it's full potential.

Profile Picture
Make sure your profile picture has the right aesthetic and conveys your brand identity and image. It could be a headshot, band photo, a logo or unique graphic - it's your call.

Also, make sure it's a perfect square too with nothing too crucial at the edges. You don't want anything getting lost when Instagram crops it into a circle.

You can check our social media image size guide for all the deets on this!

Get verified
Getting verified on Instagram is another great thing you can do to boost the legitimacy & authenticity of your Instagram persona.

You'll need to request for verification and include details about you, your music, plus links to any noteworthy press you've garnered so far.

Your bio
You've got 150 characters to say whatever you want in your bio, and you can change it at any time.

Perhaps the most important part of your bio is the link. Instagram doesn't like links, and your bio is the only place you can share one with your followers, so make it count!

You might choose to link to your latest release or your upcoming show tickets, whatever is most important right now. Make sure to mention "link in bio" when you post something about it.

Also think about using your bio to cross-promote. Including links to your other social accounts - such as Twitter & TikTok - is an easy way to direct traffic from your Instagram and grow your followings elsewhere.

TIP: There are free specialist tools out there, like Linktree for example, that can consolidate all your key links onto on webpage. You can then use this URL in your bio and link to everything at once. It's a great way to link all your important stuff from your Insta profile and an easy trick to get around the platform's one link rule.

Remember - when you distribute with Ditto you'll get your very own free Ditto SmartLink that you can feature in your insta bio - with links to all your recent releases across multiple music platforms.

At Ditto, we use Linktree to consolidate all our important links on one page. Then link to it from our Insta bio!

2. Post great content

This is obvious, right? But what exactly is "great content"?

Well, that depends entirely on you and your audience.
What makes great content?
It could be backstage photos, clips of your live set, music promo graphics, funny memes, inspirational posts, pictures of your musical heroes... the list goes on.

What's important is how your followers will respond to it. You should know your audience better than anyone, and use this knowledge to create the kind of content you know they'll get a kick out of. Keep it authentic, keep it engaging, keep it real.

TIP: Try to always have a video teaser of your music within the first 6 posts. This makes sure potential followers checking out your feed can get a taste of your music as soon as they come across your Insta profile, without having to scroll down too far.
Don't be afraid to take inspiration
If you're struggling for content ideas, don't be afraid to look at what similar artists and other musicians you admire are doing on their Insta.

Obviously, don't just straight up copy them. That's not cool. Instead, take the type of stuff they're posting and put your own stamp on it to make it your own.

3. Look the part

Invest some time in your graphic design skills. Make sure all your graphics and album art looks professional and eye-catching, and convey a slick and consistent brand identity.

If you've got Photoshop - great! But if you can't really afford a hefty Creative Cloud subscription, there's free design software out there like GIMP or in-browser tools like Pixlr.

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4. Schedule & plan ahead

When it comes to your Instagram feed, it can be helpful to make a plan and schedule posts in advance.

Spur of the moment content can work well too, but this isn't true all the time, particularly when you're posting content to your stories (which we'll get into shortly), but it can help ease the pressure if you work in advance.

Scheduling and planning ahead is a particularly good idea if you've got a single/album launch or a tour announcement coming up. You can create and plan your posts and graphics in advance, then schedule them to go live at a specific time.

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TIP: There are loads of Instagram scheduling tools and services out there like Hootsuite, Later and Buffer, many of which have free options. Try them out and see which you prefer.

5. Use hashtags

Hashtags are still an effective way to reach new potential fans with your Insta posts.

If you're still starting out building an Insta following, don't hold back on the hashtags. Lots of Insta users still use hashtags based on their own interests to find accounts they'd like to follow, so it's always worth piling them on.

The max number of hashtags you can use is actually 30, but start out using around 10-20 while you're still building a following. You don't want to come off as too spammy or posts can lose their authentic feel.

TIP: We've found that hashtags work the more effectively if you post them as a comment, rather than in the post itself.
Choosing your hashtags
So what hashtags should you be using?

Well, you should use hashtags that align both with your persona and your music. So for example if you're an indie band - use #IndieMusic #IndieRock #LiveMusic. You could also hashtag nearby locations, similar artists, anything that's relevant to you and your music.

If you're struggling to come up with hashtags, check out an online hashtag generator. You just type in your genre of music, hit generate and watch the hashtags roll in.

6. Tell Instagram Stories

Over 500 million people are posting and viewing Instagram Stories every single day. They're a great way for musicians to share personal updates and off-the-cuff content with fans.

You can use Stories to promote anything and everything. Just released a music video? That's a story! Got a gig tonight? Share a story backstage! Just bought a new bit of gear? Why not do a quick story about it.

Stories are often more spur-of-the-moment and a great way to give your followers an authentic look at your musical journey and life in general.
Ideas for Instagram Stories
Instagram Stories have lots of engaging features such as location tags, insta users, hashtags, gifs, links and more.

There are some great features that encourage your fans to interact with you and your profile too. You can spark a debate by using the 'poll' or 'ask me a question' features. Or the 'countdown feature' is a cool way to announce when your next gig is happening or your new release is coming out.

Adding to that, Stories tie right into direct messages. Fans can choose to "Reply" to your story, which will send you a DM. This opens up opportunities for one-on-one conversations between you and your fans.

If a fan direct messages you, it's always worth replying! Unless of course it's a troll sending you creepy or offensive stuff. Just ignore and block those d-bags.

One on one conversations with genuine fans can build much stronger relationships, so chat away to as many as you can.

Recently, Instagram also launched their "Like a Story" feature - meaning fans can spread the love and let you know they loved your Story with the tap of a heart. Keep an eye out for the love hearts to see how your Story content efforts are yielding the response you hoped for.
Adding stories to highlights
One important thing about stories is that they only last for 24 hours. After that, they're gone.

Well, that's not entirely true. You can find them in your archive and create highlights.

You can categorise your highlights so new fans can flip through your past stories based on different interests. You could have a one set of highlights for a certain tour, another for studio sessions, another for rehearsals, etc etc.
Links in Instagram Stories
Another great thing about stories is that, unlike feed posts, it's sometimes possible to add links.

While adding inks to Instagram Stories was previously only available to users with over 10,000 followers, as of a major new update, Instagram Story links are now available to anyone with a business or creator account!

Regardless of your followers, you can now add a link to your story via Instagram's clickable link sticker. To add a link, just click the link sticker icon from the Instagram Stories sticker tray while editing your Story.

TIP: It's also well worth actually telling viewers to "click the link" in your story. This is what's known as a "call to action" and will help to get more people following your link.

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7. Post Instagram Reels

Born off the back of TikTok, Instagram Reels are the latest content craze all over the platform.

The IG Reels feature allows users to post short, 15 - 30 seconds long video clips in portrait view, and add features like music or audio, editing cuts/stitches & stickers to create highly entertaining, watchable content for other users to engage with on the app.

So for musicians, Reels are actually one of the best ways to get creative and feature your music in a visually interesting or memorable way. Maybe you'll use your track to overlay some sort of stitched video montage, post a clip from your latest music video or show a quick demonstration of your favourite music production technique.

The point is - short form content vids have BLOWN UP on Instagram and something tells us they're here to stay - so don't miss out!

Looking for a little more info? We've got a whole other article all about promoting music on Instagram Reels, Threads and Instagram Broadcast Channels.

8. Instagram ads & sponsored posts

Paying for Instagram ads and sponsored posts is an easy way to put your content in front of new people.

You don't need to break the bank with ads, so it's worth experimenting to see what impact they make on your following and engagement.

Instagram is owned by Facebook, so you can actually set up Instagram ads through Facebook Ads Manager.

If you're unfamiliar with Ads Manager here's a quick overview of how to get started.
How to set up Instagram Ads
Often, the best way is to learn by doing. It's pretty easy to get the hang of Ads Manager so jump in and play around.

Here's a few things to keep in mind when it comes to setting up and running Instagram ads.

Firstly, decide what your goals and aims are. Ads Manager does offer up examples of goals to track. Some of the most useful ones for musicians include Brand Awareness, Engagement & Video Views.

Remember, clear goals are easier to track and make it much easier to decide whether your ads are making the impact you were expecting.
Next, set yourself a budget.
If you're new to sponsored posts and ads, start small with your budget, and work things out as you go, so you don't blow loads of money straight away.

Depending on the goals you've set, you can choose to pay either by cost per thousand impressions, or cost by click.

Instagram ads work like an auction, so the cost of them is decided by the amount of competition for the particular audience you're targeting.

Which leads us on to finding and setting up your target audience.

There are loads of options for setting up audiences in Ads Manager, based on location, gender, interests and other things. So again, just have a play around and see what options suit you best.

Then it's just a case of creating and uploading your ad. Instagram ads can include photos, videos, carousels and stories. Make sure to check out Insta's design requirements and recommendations to make sure your ad will be accepted.

Ads Manager will guide you through all these steps and flag up anything that might be wrong, so we'd recommend setting up an account and just trying it out for yourself to get familiar.

Once your ad is live, you can track its performance, see what's working and what isn't, and make changes if you want to.

9. Add your tracks to Music in Stories

One more thing about Instagram Stories.

When you release a track though us here at Ditto Music, you can actually select the option to release it to Instagram and Facebook, as well as release music to major platforms like Spotify and Apple Music. That means it'll be in Instagram's "Music in Stories" audio library for everyone to post in their own stories.

So if you're not already releasing music through Ditto, you can create a free account and get started here.

10. Go Live

Instagram has it's own "Go Live" feature which allows creators and users to form a live stream session right from their profile.

The obvious choice would be going live with a performance of your song, either at a gig or at home. But you can also use it cleverly to promote behind-the-scenes, uncut material that you think your fans would love to see.

Live streams are also a great way for your fans to learn new things about you and establish a strong one-on-one connect with the artist behind the music. Live Q&A's are extremely popular between fans and their favourite influencers, creatives & artists. Invite users to join at a set time and watch the questions roll in. User generated content made simple.

New singles, new merch and new tour announcements are also a great way to utilise the Live feature. Just make sure you tell fans ahead of time when they should tune in, and be weary of things like time differences if you've got a mixed, global fanbase.

Get more tips on how to live stream your music here.

11. Recruit Instagram influencers

Alongside TikTok and Youtube, Instagram is one of the top places to find music influencers to promote your music to a large fanbase of people who might not know about you yet.

Popular musical tastemakers on Instagram have the ability to land your music in a prime exposure spot and send it viral - if you only know how to find one.

Learn more about how to find influencers to promote your music.

12. Prizes & Giveaways

Giveaways, competitions and rewards are a great incentive to get your fans more actively engaged with you on Instagram.

Think about it from your perspective - if there's a prize involved, you're much more likely to get stuck into whatever it is that's promoting that prize for a chance to win.

And you don't have to break the bank either - rewards like free merch, gig tickets, samples or premium content are all great prize ops that fans won't want to pass up.

Start by organising some small-scale competitions, polls, trivia sessions etc. (all with rewards), to get your feet off the ground. Once you know it's something your fans want to get involved with, you can start pushing it into the big leagues and levelling up the prize pot.

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How to Promote Music on Instagram in 2024

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Want to promote music on Instagram? We've created this essential guide to the best tips, tricks, hacks & know-how you need to effectively promote your music on Instagram effectively.

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It has been a pleasure working with so many talented people over the last few years and I am always looking to help and support other musicians when I can.

Please feel free to reach out if you have anything you would like to discuss or any opportunities you feel that I could bring my sparkle to.

My work related email is : amplifyindie@hotmail.com

Many thanks again for taking the time to look at my portfolio.

Stay Indie

Glengo x

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"I don't know where I'm going from here, but I can promise it won't be boring." - David Bowie (4).

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Now you're feeling like you've never felt before

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Now you're feeling like you've never felt before

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Another photo this time a close up of my performance during the Groove Garden.

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A shot taken from the first night at The Voodoo Rooms gig April 2023.

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The Jaggy Midtones of Milton Rd Edinburgh College fame, after the second night of the Voodoo Rooms, April 2023.

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BrainyQuote. (n.d.). David Bowie Quotes. [online] Available at: https://www.brainyquote.com/quotes/david_bowie_384309.

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Livin' for the weekend: looking for The Dream

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Livin' for the weekend: looking for The Dream

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Bansky inspired photo editing from the first Dun Eideann shoot.

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Taken from the Whole Lotta Noise gig at Bannermans, the first Dun Eideann headline gig.

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Prospects provides in detail profiles of many different career paths, and describes the roles and responsibilities for a musician in detail. The field is very large but some potential occupational avenues for progression into the music industry as a performer include:

Playing music either as a solo artist, in a band, or as a session musician

Playing music live at gigs or festivals

Being a music educator either through 1to1 teaching or through creative content

Releasing music as a recording artist

Mixing and mastering music for yourself or others

Most performers will do many or all of these things in unison to provide many different revenue streams, an approach sometimes called a Portfolio Career.

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Musicians are composers, conductors or performers of music, and use their skills to pursue a creative role in a variety of settings

You could be a composer, instrumentalist or a singer performing either in the studio or to a live audience.

You may work alone, as a freelance artist, in collaboration with others, or as a salaried member of a:

Competition in this field is high, so you'll need to dedicate hours of practice to maintain and develop your skills - whatever your preferred style.

Responsibilities

As there are many genres of music, some activities will differ depending on your area of expertise. However, you'll typically need to:

perform at concerts, festivals, theatres and other music venues

participate in recording sessions

practise regularly

attend rehearsals and plan performances

prepare for auditions

look after your instrument and/or voice

set up/tune your instrument and other equipment, arranging for its transportation if required

compose new songs and music

promote your act by making demos, using social media, setting up your own website, and contacting agents and record companies

handle the administration of business activities such as handling accounts, negotiating fees and organising distribution of your recordings both offline and online

seek out new venues in which to perform

arrange gigs and tours either yourself or through a manager or agent

deliver educational work in schools, businesses and the wider community.

Salary

Your income will vary widely depending on, for example, whether you're working freelance or as part of an orchestra, or whether you're performing a gig in a pub or in a concert venue.

You would normally negotiate gig fees on a case-by-case basis. However, the Musicians' Union (MU) provides minimum casual stage rates for groups performing on stage (usually in a theatre or concert venue) ranging from £164 to £182.75 (for a single performance plus rehearsal on the same day), as well as a national gig rate for groups performing in pubs, clubs and functions ranging from £139.50 to £186.

In orchestras, your salary will depend on the orchestra you work for, your grade and experience. For example, salaries for BBC orchestra players can range from £30,000 to £55,000. Rates for freelance orchestral concerts range from £167.50 to £191.

The MU has guidance on rates for employed and self-employed orchestral musicians, gigs and live engagements, session musicians, and musicians working in theatre.

Increases in income will depend on your genre, experience and skill, the type of venue you play in, your popularity and the general economic climate.

For salaried musicians, extra payments can be made for overtime, concert fees, recordings, porterage of large instruments and travel expenses. In some instances, you may also be paid an additional fee for rehearsal. Royalties may be additionally paid if the music has been registered with the PPL or PRS for Music.

Figures are intended as a guide only. See the MU and the Incorporated Society of Musicians (ISM) for more information on fees and rates for musicians.

Working hours

You won't have a regular Monday to Friday, 9am to 5pm work pattern. Rehearsals usually take place during the day and performances in the evenings, though this can vary.

Studio recordings can take place late into the evening.

Private practice can take place any time of the day or night.

What to expect

It takes time, skill, practice and dedication to develop a reputation as a musician and you'll be expected to learn in your own time.

You may need to diversify and branch out into other styles of music in order to enhance your employability. You may also have to take on other work, for example teaching music either to individual pupils or peripatetic teaching in schools/colleges, to enhance your income as a performer.

Performing and auditioning can be stressful for some musicians, and performance-related psychology can be helpful. Repetitive strain injuries are not uncommon.

It's relatively common to spend time away from home, sometimes for long periods, both in the UK and abroad. This goes hand in hand with touring companies or going on tour with your band. You'll need to be flexible and travel where the work takes you, whether this is freelance or contract work.

A limited number of orchestral posts are available and tend to be in the larger cities. There are opportunities for singers and instrumentalists to audition throughout Europe and beyond.

Actor musicianship

Immerse yourself in music and acting with renowned academic Jeremy Harrison

Qualifications

Although you don't need a degree in music to become a musician, for some genres, such as the classical repertoire, it is highly regarded. Experience and overall musicianship are paramount.

Most musicians start learning an instrument or singing from an early age. This is particularly true of classical musicians, who take graded music exams, including theory, before going on to further training at a conservatoire (music college) or university.

Conservatoires differ from universities as they focus more on performance-led diplomas or degrees, with an emphasis on practical skills. You'll be expected to work a full week with performances and workshops usually held in the evening or at the weekend. You must also be prepared to practise in your own time. Entry is via audition and undergraduate courses last three or four years. There are also postgraduate courses available. See UCAS - Conservatoires for information on courses and to apply.

There are also many universities offering music degrees - visit UCAS for details and to apply. Some courses focus more on the academic side of music so do your research to make sure the course matches your career aims.

Relevant qualifications and graded exams are also provided by organisations such as The Associated Board of Royal Schools of Music (ABRSM) and Rockschool Music.

Competition is tough in the industry, but a love for your style of music combined with the determination to succeed should improve your chances. Entry to full-time posts in orchestras is particularly competitive and you'll usually need to build a musical career incorporating performance work in a number of different settings and groups, teaching and arranging music.

Skills

You'll need to have:

motivation, determination and perseverance

confidence in performing before an audience

stamina and dedication to continue practising every day

reliability and flexibility as you'll need to work long and irregular hours

the ability to work well as part of a team

creativity

self-discipline and good time management

good communication and interpersonal skills

patience, understanding and resilience, to take on board criticism and accept rejection

attention to detail.

You'll also need business and marketing skills as many musicians work on a self-employed or freelance basis.

Work experience

Whatever your genre of music, you'll need to get practical experience. Get involved with relevant orchestras, choirs, music societies, bands and solo musicians at university and in your local area. Introduce yourself to as many musicians as possible, use any professional contacts you make and keep up with social media to promote yourself and showcase your work. For more information on how to promote yourself, see the MU's advice on marketing yourself.

Networking is vital as opportunities are often discovered via word of mouth, and personal recommendations can sometimes lead to auditions. Take any opportunity that arises to gain experience - by doing so, you'll build your confidence and professional network and extend your repertoire. Examples of where to gain this experience include:

playing for amateur orchestras

attending auditions

entering talent competitions

playing at festivals

playing gigs

joining student society music groups.

Entry is usually through an audition. Where appropriate, keep a record of when different organisations audition by closely following their website or calling them in person. For example, some orchestras and opera houses hold auditions on a yearly basis, while others only audition when a current member leaves.

See BBC Introducing Music for information on how to get started.

Find out more about the different kinds of work experience and internships that are available.

Employers

Many professional musicians, regardless of their genre, are self-employed, with the exception of some classical musicians, who are occasionally employed as a full or part-time member of a specific orchestra.

There is a great variety of orchestras and ensembles in the UK and they differ in terms of size, style, location and repertoire. Employers include ballet, symphony, opera and chamber orchestras, some of which will be large enough to employ musicians on full-time contracts. For a list of member orchestras and ensembles see the Association of British Orchestras (ABO).

As a popular musician you could form part of a band, a backing group or be a solo performer. You'll generally need to work in another role and play part time until you become successful.

The most common employers of classical singers are opera companies, although as there are very few professional choirs opportunities can be limited. Some of the larger choral societies employ opera singers for solo and oratorio work.

There is also occasional work offered by independent fixers for recording sessions and outdoor performances. Freelance musicians or permanent staff can take on this ad-hoc work.

Organists are attached to a specific cathedral or church and their full-time post may also include the role of choirmaster and director of music. The majority of organists will work part time and combine their role with teaching at an associated school or conducting a local choral society.

Other employers of musicians include holiday camps, cruise ships, theatre companies and the Corps of Army Music (military music for the British Army and wider defence community).

Look for job vacancies at:

You can also visit the ABO website and search individual orchestral and opera company websites.

Although some jobs and auditions are advertised in the music and entertainment press, one of the most common ways to learn of vacancies is via word of mouth and networking.

It's also possible to find work through an agent or manager.

You could also produce a demo CD, DVD or MP3 of your music to send to recording companies.

Professional development

You'll need to continue training to improve your performance and professional development throughout your working life. This is achieved through practising every day and performing, as well as by taking lessons with private music teachers.

Further training and support is available from a range of organisations and professional bodies related to your genre of music, for example:

These organisations provide a range of professional development opportunities such as training courses, qualifications and seminars, as well as access to advice, awards and bursaries.

The ISM and the MU provide members with access to careers and business advice on issues such as fees and contracts, as well as networking and professional development opportunities.

Funding and grants may be available to help further develop your skills. See Help Musicians UK for information on funding opportunities through their Creative Programme.

It's also worth reading the specialist press for your area of music, such as Music Week, to keep up to date with what is happening in the industry.

Career prospects

Establishing a career as a musician can be difficult as it's a very competitive area of work. It's not always possible to work full time as a musician, particularly at the start of your career, and you'll need talent, determination and perseverance to succeed.

There isn't a great deal of movement within the orchestral profession, so bottlenecks do occur and progression can be slow. Movement to another orchestra may be the only way to advance in this situation. With experience you may be able to progress to principal player or section leader. This is likely to involve extra duties such as organising a section of the orchestra, editing the music and discussing options with conductors.

Solo performers may start their career within an orchestra or amateur choir and then progress to become a soloist, but very often they start their career from day one as a solo performer with a mixture of freelance solo work and teaching. You'll receive more work as you build your reputation.

Once you've gained experience in the popular music industry, you may decide to move into the business side as a producer, manager or writer or you could work for a record company.

It's also possible to develop your career as a composer or conductor, start your own ensemble or move into related areas of work such as music education, administration or community arts work.

Find out how Isabel became a musician at BBC Bitesize.

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Musicians are composers, conductors or performers of music, and use their skills to pursue a creative role in a variety of settings You could be a composer, instrumentalist or a singer performing either in the studio or to a live audience.

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Taken during the first Dun Eideann Photo shoot, December 2022.

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Photo Credit : Jack Joseph Photography 

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The Rainflowers playing their set at The Groove Garden, April 2024.

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Dun Eideanns first gig at Whistlebinkies May 2023, also my first live performance with an originals band.

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I have attached a 15 minute walkthrough of the presentation if you're in a hurry or just want the highlights.

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The band formed for Weronika degree project, Shades of Love.