|
STUDIO JINGLE SINGING: I am often asked about entering the potentially lucrative work of a studio singer (jingle singer). I do not use the term "jingle singer" for this career area, because studio singers sing many types of projects other than "radio TV jingles" which, frankly, are not used in advertising as often as in former decades. Jingles have always followed, not led, the music business fads and fancies. Today is no exception. What types of music do advertisers and advertising agencies favor today to use in car ads or cosmetic ads or in an advertisement slated to play on a Superbowl broadcast? The same types of music as are on the "charts," that is, whatever instrumental and vocal sound the people who support the music biz by buying CDs, downloading tracks, wearing I-PODS, favor most at any given time. Many of these music choices feature solo singers and rock or rap ... not the "jingles" of former days. Thus, the life of most "jingle singers" is tenuous at best. Singers fade in and out of fashion and win and then may lose favor with the producers who hire them. One day, you're the favorite making oodles of money singing in the studios. Two months later, the singer who just "blew in" from Memphis is that producer's favorite singer, and your phone rings less and less with studio date appointments. I recall when I was replaced in a vocal group (we sang 9 a.m. to 1 p.m. four days a week!) when the tenor's WIFE took my place. What's more...she was a lousy singer and an even worse music sightreader! Oh yes...politics often rears its ugly head, just as in all other endeavors! That's the brutal fact. Plus, the career life of a studio singer tends to be short. One singer made oodles of money because she could sing in the manner of the late star, Karen Carpenter. That career lasted several years but then, the girl began to get fewer and fewer studio dates because while she had the "Karen" sound, she could not read music and was not capable of singing in a group in the studios. For many years, the "sweet voice" in both males and females has been out of favor for the most part. The 'gravel-voice' and the Bruce Springsteen voice types have been popular. Ethnic approaches are always in demand. Soul and R and B and gospel and rap...very popular. Just like the music business in all of its phases, producers and advertisers tend to favor "young, hip voices," particularly those that echo pop music trends. Most studio singers blossom and bloom and then fade out with the passing years. Like dancers and models, a studio singer had best "take the money and run," because the gravy train won't be in the station forever! So, that said, "How do I break into the world of studio singing and what is required," you continue to ask ... Well...read on! DO YOU HAVE WHAT IT TAKES? A studio singer must have versatility--that is, he or she should be able to sing in a wide variety of singing styles. Oh, of course, there are exceptions to this, such as, the male gravel-voiced rock singer who always sounds exactly the same but does what he does quite well or the thin-voiced, almost 'little girl' voice that is excellent for Disney-type 'wispy' music themes, or singing the role of a fairy princess or a young girl in 'a magical kingdom.' But, for the most part, the singers who work most often and make the most money can change their vocal style instantly, singing rock for a producer in the morning recording session and singing in the gospel style at their afternoon recording session. A romantic movie theme song is the third "studio call" of the day. That evening, the singer appears with her country western band in a local nightspot. Versatility! Oh, that brings up another subject: Vocal Stamina! A working studio singer must be free of vocal disorders or problems and be able to sing for hours without tiring. Producers become wary of singers who are always complaining of vocal problems or illnesses. Studio singers are supposed to be work horses in every sense and must 'pull that wagon' without complaining about the long hours or the hard seats given them when they sit before microphones without any back support while singing in vocal groups. They must never ask to sit down when forced to stand around microphones from 9 a.m. to 1 p.m. and they should not complain that a studio background track makes them strain to sing "higher than is comfortable for them." With only a fifteen minute 'water break' now and then and a late lunch hour, it's greuling! The 'glamour' soon fades from view. What's more, many studio singers have night gigs in clubs or theatres. In my career, I've often sung non-stop eight- to ten-hour days (or more!). The money was well worth it. I always had incredible stamina as a singer. I credit my voice teachers through my post-graduate college vocal study for that blessing. I learned to sing without excess muscularity and I had a wide vocal range. I learned how to rest my voice too and refrain from abusing it. A singer with an overly-classical sound is not desired often as a working studio singer. If you're trained in those classical and Broadway musical genres, either lose that sound or stick to singing in church and Broadway musicals. It just isn't "popular." These singing styles are ok if you can switch to other styles on demand. Oh, there are exceptions, but few and far between. Conversely, if you are an untrained vocalist, better seek some training, particularly in the areas of breath control and pitch control. Studio singers also need some 'musical savvy.' While a studio singer need not be a 'crackerjack music reader,' sometimes a producer seeks exceptional musical skills. If you have those skills, you'll be prepared for all kinds of producers and their demands. You'll make more money over the course of your career. That's not to say that unskilled vocal and musical singers don't work...they do...when prized for their vocal sound alone. But it's been my experience that the musically trained singer has a longer career and sings for a wider variety of producers. Plus, many studio sessions are NOT solo sessions! You are hired to sing with two-to-six other singers in a group format. Mostly, those other singers are musically skilled, good music readers, and good choral singers. Pick up choral experience everywhere you can. Producers particularly prize singers who are good at solo vocals and group vocals too. If you live in a geographical area in which recording studios are scarce, music production houses don't exist, then to begin a career, you'll need to relocate to a large city where jingle and music production houses are operational and where other studio singers are making money singing. Once you relocate, you'll have to circulate and network, get to know studio singers who can help you find your way (the opposite sex will help you much more than same-sex singers will because you are their competition!). Your studio singing CD demo is you entry ticket, your calling card. The demo must show you in your best light, in a wide variety of styles. The CD should feature contemporary 'chart-type' songs (not classical or Broadway musical fare!) and should also include some jingle singing if you can locate someone to provide the backgrounds for this. I have a library of jingle background tracks I use with making my jingle demos for clients.
My CD, "THE VOICE OF EXPERIENCE," tells you what you need to know about the world of studio singing. It also includes information about making money with your voice as a voiceover talent. I always suggest you do both...it is twice the income and twice the chance for studio success. Producers love singers who can also perform a voiceover while in the studio. It's for sale here in our online store. It is one CD, 80 minutes in length, and a goldmine of information. I designed and created this product when I presented my workshop on Studio Singing for Singers and their Coaches at the 50-year anniversary conference of the National Association of Teachers of Singing in Nashville in 2008.
Contact us at: btzol@aol.com Phone: 214-638-TALK (8255)
|
Examples of Bettye Zoller's Studio Singing Available On Request