Andrew McAuley: Nowadays, the internet has changed everything and allows people to network from the privacy of their own homes. Sites such as Youtube channels, Facebook groups, Twitter, and Instagram have allowed musicians to get themselves free exposure to thousands of people from all around the world. That being said, there is still no replacing real world, one on one experiences. There is no substitute for speaking to someone face to face. One of the best things you could do is attend as many shows and open jams as possible. You never know who might be in attendance, who you might end up playing with, and you’re more likely to be surrounding yourself with musicians who are looking for the same things out of music as you. What are some other ways you guys would recommend going about networking?
Gootch Ibarra: This subject brings some interesting feelings for me personally. I would tell a young player to put his/herself in positions to play with people as much as possible and the natural exposure will come about just by people hearing you and hopefully liking what your playing does. For me personally I got to a place where as a professional full time player I started “networking” just to get gigs and make money and I quickly found I didn’t like who I was becoming and the music was starting not to be fun. Now I much rather play in situations with people I enjoy being around and play music that I care about. It’s a hard thing to try to explain because I know getting gigs can be challenging and finding your niche can be hard. On a positive note meeting lots of people and playing in a lot of situations helped me to be confident and gain many good friends. But on the negative side I started to see how competitive and territorial the music world could be. HOWEVER. .. Play a lot have fun LOVE what you do and people will want to play music with you.
Jeromy Bailey: Well social media but what’s worked for me time and time again. Business cards and getting to know people. A lot of people. Get out and talk and make your existence known. Everything else just sustains your existence.
Jerry A. Anaya: at every conceivable opportunity and through any available resource.
Scott Jones: I’ve had great luck with a strategy employing some of the following:
1) Craigslist – have an “always on” post communicating what you are about and opportunities you are looking for
2) Website (of some sort) – doesn’t have to be amazing, but have something that people can do to to find a curated set of your best material
3) Local Jams in your Scene – do your research (online, arts publications, and analog / in-person) to find scenes you are interested in, and start going. This is an amazing way to become known.
4) Business Cards – i use moo.com for really hip / interesting cards that stand out from the pack and are really rather cheap. Pack the cards with your requisite links and contact info and have them always on the ready to hand out.
5) Personality – work on your social skills. Just about everyone at the top of the game seems to recognize and explicitly call out that there are a ton of amazing players out there, but not everyone is cool and fun to hang with on tour for 3 months, or to be locked in a studio for 14 hours. Find your sweet spot for relating to people and develop that skill.
6) Take Every Gig (within reason ) — def get Gootch’s points. But it does seem that each opportunity one gets is often a vessel to take one to the next opportunity. Someone sees you with Band A, thinks you kick ass, and then says “you should meet my buddy in Band B. Turns out Band B then networks you with Producer X, yada yada yada. Classic network effect, but the best way to energize the web of connectivity is to keep setting up nodes by taking on opportunities.
Thomas Izzo Play: really good on every gig even if you hate the music and the players.
Stephen Silvia: i think the internet is sort of limited … the best way to network is and will always be hanging out.
Bill Ray: Get off the computer…get into real life. Stay connected online for sure but make sure theres ample face time involved.
Jon Berger: don’t schmoose. As in act a role.Just try your best to connect with fellow musicians. introduce yourself to players you want to work with, admire. ask questions, if posible study with others.if you are in such a position hire cats to play on your gigs, if you get called for work, can’t make it, pass on the number of players you know can handle the gig. it creates good “gig karma’.Use social network to connect as well. Promote your own work, invite folks to gig you are doing.Positive gig karma can include supporting your friends gigs as well.And simply start a flow within the music community that you are trying to become a part of.As well as help create that sence of community by inviting people in .Naturally people in similar circles migh beging to ask about you, talk about you etc. Learn to get along with others and be not just great at your craft but someone players enjoy and want back on the band stand.