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February 2001
Reviews
BOSS JAMSTATION JS-5
By Peter Drescher

ELECTRO-VOICE ELIMINATORS AND PSX1000
By Mike Sokol

GODIN A5
By Ed Ivey

SHURE PSM 400
By Karen Stackpole

Departments
Performance TOOLS
BY BARRY CLEVELAND

Editor's Note
The Streets Are Paved with Goals
Mike Levine Editor

General
All Together Now
By Joanna Cazden

At Home on the Road
BY MIKE LEVINE

Code Dependent
BY PETER DRESCHER

CORRECTION

Get Rhythm
BY ROB SHROCK

Location Is Everything
BY MIKE SOKOL

Managers and Agents
BY JAKE JACOBSON

Morphine
Mark Smith

Pearl Jam
Jeff Perlah

Respect Them, and They Will Come
BY CHRIS GILL

The Beach Boys
David Simons

 
Article
 
The Streets Are Paved with Goals

Mike Levine Editor

Onstage, Feb 1, 2001
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In this month's feature about Vertical Horizon (see “Respect Them, and They Will Come,” on p. 14), singer-guitarist Matt Scannell talks about how the band methodically built up a grassroots following and put together a success story from the ground up. It didn't just happen; the band members knew what it would take to succeed and planned their strategy accordingly. Their story underscores the point that it's important for musicians to have an idea of where they want their careers to go and how to get there.

Of course, it's no simple matter. The music business is complex and confusing, and, unlike other professions, it has no set career paths. It's not just a matter of having talent and plugging yourself in to the system. That means it's important to take a proactive approach: instead of just waiting for that big break, you must help make it happen. A great way to do that is by setting goals for yourself and your act. Doing so can help you maintain your momentum and avoid leaving your fate entirely to the wind.

Start simply. Let's say you've just put a band together and started gigging. Sit down with your bandmates and sketch out some realistic goals for the next six months, the next year, and even beyond that. Think incrementally. Make each goal reasonable and reachable, because if you set the bar too high too fast, you'll never get there.

For example, say you decide that your six-month goals are to put four sets of strong material together, develop a Web site and a mailing list, and play at least four gigs a month. Your one-year goals could be to have steady weekend work and record your CD, and your two-year goal could be to begin touring regionally.

Your success all depends on your circumstances, the music scene in your area, and, most important, what you're trying to accomplish. Having goals will help you take a firmer grip on your career. If you don't achieve a particular goal in the time you've allotted, it might mean that it's time to try a different strategy or that you need to give it more time.

Independent of your band situation, personal musical goals are also helpful. For instance, you could give yourself six months to increase your own repertoire by a considerable amount or to practice your instrument enough to markedly improve your skills. You might even want to set a goal of saving enough money by a specific date to upgrade your gear.

Whether individual or collective, goals will give you direction, prompt you to periodically reevaluate your progress, and help keep your career moving in a positive direction.



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