One of my earliest musical memories is watching Michael Jackson videos on TV and begging my dad to tape them and painstakingly write down all of the lyrics so I could sing along. He didn’t hesitate to buy me a guitar, and didn’t scold me when I never touched it and asked for a drumset a year later. I ended up playing drums in various bands for about ten years before I picked up guitar and vocals around the year 2008. I remember telling all of my friends that I was going to release a solo album, and I honestly really tried. I’ve probably written 20 – 30 songs a year since then, but have never really been satisfied or had the time to pursue releasing a proper album.

All that changed a couple of years ago when I woke up in the middle of the night in a tent in the mountains of West Virginia with a tune running through my head. I had fallen asleep the night before listening to Rufus Wainwright’s latest album and thought maybe for a second that whatever was stuck in my head was simply a reincarnation of one of his songs. Conveniently I had brought my ukulele and iPhone camping with me, as I never leave home without them, and started demoing this song, much to the chagrin of my neighbors (which is a whole other unbelievable story).

That song turned out to be “Wrecking Ball,” which is my first proper solo release and single which is now officially on iTunes, Spotify, and the like. It’s the first song I wrote where I didn’t poorly rip off Neutral Milk Hotel or attempt to sing high-pitched whiny pop-punk songs just to fit into a mold which didn’t fit me. I also recorded, mixed, and mastered all of it myself, except for the help of audio engineer Ryan Liptak (of Happy Tooth & Dug fame) who recorded the drums and lead guitar.

This is the guy that I probably ripped off.
This is the guy that I probably ripped off.

In the year 2015, I set one and only one goal for myself: to finally release my solo album. I even came up with a fancy name, “Some Things Never Change,” which is spot on considering this has been my great white buffalo for the past six years. I’ve written and demoed the majority of the songs, buying fancy recording equipment and trying to push myself to the outer limits of my comfort zone. It has been rewarding and stressful all at the same time, and when you actually think about everything that goes in to making an album, it can certainly seem daunting.

The first step in creating an album is being a competent musician. In all my years of private lessons, practice, ripping off my favorite bands, and trying to create a niche for myself, I finally feel competent enough as a musician to be able to write a decent song. I usually start with a lyric, or a “hook,” craft a melody based off of that, then pick up an instrument. My go to instrument is usually guitar, ukulele, or piano as of late, and helps me craft the chords with which the song will take shape.

Then I do a free-write to help me fill in the lyrical holes, and basically just journal like a sixth-grade girl until I pull something from deep enough within to be taken seriously as an artist. Being a marketing graduate, I crafted a press kit with the quote “lyrical topics include accepting your past, fatherly advice, marriage and income inequality, suicide, and of course a self-deprecating song about hipsters.” Pretty serious stuff, right? It’s not all bad, I did attempt to write a self-deprecating song about hipsters, but honestly it seems so gimmicky and vapid that I’m not sure it will even make the cut.

Dear Diary: Why Aren't I a Rockstar yet? :(
Dear Diary: Why Aren’t I a Rockstar yet? 😦

So I’ve got the bare bones of the song done; chords, melodies, and lyrics, and the next thing to do is to record a scratch track or demo track. These two are not technically the same thing, but I’ll often demo a song and use it as a scratch track later when I’m recording the master. Many engineers and musicians will tell you to always record drums first, and I’ll have to agree with them. Trying to record drums over anything is a serious pain in the ass, even if you’ve followed your metronome like a robot. But music isn’t robotic. Music ebbs and flows and is rarely static.

I always record drums first, and always close enough to a click that it sounds like I know what I’m doing. I guess I forgot to mention the step where I also have to write the drum part. One summer when I was on Vans Warped Tour I spent the whole two months without access to recording gear, so I would listen to my acoustic demos and tap out drum parts with my hands or think of them in my head. I remember my bass player asking me with a genuinely confused look why I always listen to myself. He must have thought I was extremely self-centered. Well, he wouldn’t be wrong in assuming that.

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Photo Credit: twitter.com/THAOphoto

I write and record the drums, and then it’s off to the races with the rest of the rhythm tracks. I lay down a rhythm guitar, bass guitar, scratch vocal, then I start crafting my leads. I never truly appreciated leads until I joined the band Someone Like You and we recorded our debut EP as professionally as we could afford to. I watched our three guitarists come up with lead after lead and heard them seemlessly melt into the verses and choruses, adding texture, melody, and harmony to an otherwise bland rhythm guitar.

Once I have all the leads written, I record the main vocal, add some harmony, back-ups, and listen to the song on repeat enough that if it were on Spotify I’d be rich by now. The next phase is mixing and mastering, which is honestly so much of a science that I wouldn’t do it justice by discussing it here. I add some compression, equalization, reverb and delay, adjust the levels, and once all that is sorted out I start the mastering phase. When mastering, I always refer to the phrase “Radio Ready” to compare my final mix with what one might hear on the radio. Is it loud enough? Have I panned appropriately? Is it clipping anywhere? What about unwanted noise, or even sounds getting lost in the mix?

Mixing and mastering is probably the hardest part of the whole album process, as you can never truly be done mixing. I learned early on to realize when something is the best it’s going to get and just roll with it. Once I’ve got the masters, I can start uploading them to bandcamp, SoundCloud, YouTube, and get my wavs sent off to iTunes, Spotify, Amazon and other digital retailers. At this point in the game, I’ve spent practically no money on recording as I already own or borrow the instruments, have cheap home recording gear, and most websites and retailers are free. I’ll spend about $20 getting CD Baby or TuneCore to put my music on iTunes, but it’s not a bad return on investment.

This s**t takes forever.
This s**t takes forever.

Artwork and photography are a very important visual representation of your music. I’ve got a decent camera and some free editing software, and can easily come up with some promo pics and album artwork. In the day and age of digital purchases, artwork is less important, but it’s not difficult to create something professional on your own in one evening. Next I’ll take my camera and make some YouTube videos, lyric videos, or promotional videos, throw them up for free online and publish them to my social media accounts.


I went to school for marketing and public relations, so it’s easy for me to come up with branding, distribution, press releases and media kits. I work in business administration so I’m able to stay organized and within budget. I’m just a kid from a small town in Ohio, so trust me when I say that if I can do this, anyone can. Getting out and playing shows is the next step, and honestly networking is key. Music is all about community and one of the most valuable lessons I learned playing in punk rock bands is that we all look out for each other. Trading shows with bands or getting added at the last second is common, and concerts are one of the most important means of keeping the momentum of your music going.

If this sounds like a lot of work, it is. You’ll likely have to invest some money before you even get started, and be prepared to make a lot of personal sacrifices (sorry babe). I can only imagine that I won’t earn much income with my music, and having a day job and a personal life can hinder that even more. The important thing is having fun, not putting too much stress on yourself, and sharing one of the most basic human rituals with others. That’s why I’ve decided that in 2015, I’m finally going to release a new album for a new year.

As an artist, you are your product. Your album, your live show, your image, your prose. Out of all of these factors, recent studies show that musicians earn the most income on the road. I’ve always been more of a studio geek than a stage presence, so in this article I’m going to focus on one of the most important products in the music industry: your album. First of all, let’s define album. Is it a single? EP? Full length? Is it digital, or on CD, or vinyl? You’ll likely want to choose the right kind of format for your genre; for example country artists are still moving CDs, many indie artists are selling large numbers of vinyl records, and digitial releases have never been more successful.

Once you’ve figured out what your release will be, you’ll want to start focusing on packaging. Packaging is the visual and physical representation of your product before it hits listener’s ears. Important aspects of packaging consist of cover art, track listing, and liner notes. Cover art is easiest to achieve with digital releases, as you often only need one image to act as the cover of your album. Track listing is also as simple as writing up a text document of the songs included on the album, which order they’re in, and each song’s length. Liner notes may take a little longer to create, as they include lyrics, credits, art and photography contained within a .PDF document. Barriers to physical releases (CD, vinyl, cassette) consist of creating front and back album art including barcode/UPC, designing the actual CD face, and artistically creating the layout based on the format’s physical space limitations. Not only are physical releases more costly to produce, but they often take longer to complete.

discmakers
DiscMakers has about a million options for physical packaging

In order to create a successful product, the music, lyrics, and recording quality need to be good, but I’ll leave that topic alone in the hopes that you’ve already achieved those traits before preparing for release. When you are finally ready, you can use the checklist below to narrow your focus.

– Your album is a single, EP, or full length
– Your product will be released digitally, on CD, vinyl, cassette, or all of the above
– You have album art/professional photography, track listing, and liner notes

Above all, you should only release your album once it’s ready. If the songs are poorly performed, or the art isn’t appropriate, the audience will recognize that and respond accordingly. One question I always ask myself is “am I proud of this?” If I am, then I can move forward. If I’m not proud of my work, I go back and tweak every little thing I can until I’m satisfied. I encourage you to take pride in your work and never try to run before you can walk.

Next Phase: Learn How to Price Your Album