Young musicians often ask me about endorsement deals and how to get them.

I think most can see an endorsement deal as beneficial to their career and, in a way, a positive nod from the music industry.

In most cases, however, players who ask me this question don’t know how to go about getting one — and what an endorsement deal might actually look like.

In a nutshell, an endorsement agreement is a two-way street agreement between the artist (That would be you) and the company that manufacturers the equipment you’re interested in endorsing. Remember that while you are interested in climbing the ladder of success, the company you’re about to deal with also wants some return on whatever it will put into the relationship.

So here are some thoughts on endorsements.

First, you must be ready for a potential company to see you as a plus on the artist roster.

Before you approach a company whose gear you like, be ready to prove to them that you have music available that people like, have some sort of following and you are working hard on your craft. If anything, you have to convince them that your future’s looking promising. Regional or national touring, reviews in major publications or rabid fan following are a definite plus, but often not a necessity to obtain an entry-level endorsement.

Every equipment-manufacturing company has a gatekeeper, or an artist relations representative who deals with signing new artists and managing existing relationships. Upon calling or e-mailing the company, you need to find out who that person is and, if possible, in what formats they accept new endorsement submissions.

Most like real product like CDs, while the bio, press clippings, tour flyers or chart positions can be digital. This isn’t always the case, however, so you’ll have to ask the correct questions. When you present yourself, it really helps to think from the other person’s point of view and ask yourself why you would endorse someone who has sent in your package.

Prepare to be diligent about all of this, including making the initial contact, because artist-endorsement reps can be busy people who get bombarded with e-mails and calls from musicians. Make a plan of attack and stick with it. It’s always best if you can connect with the artist relations rep directly and they know to expect your package.

Upon sending in your package, wait a couple of weeks before following up.

WHO GETS ENDORSED:

I asked an endorsement rep from a major pedal company about the criteria regarding who they endorse; he said that, in his case, there are three major categories:

1. Less-known artist who works hard at their craft and has something to prove for their hard work (CD, shows, reviews, etc.)

2. Major artists that are so good for the company to associate with that it’s a no-brainer. A new deal with them means more sales of their product because the artist is very popular.

3. Players the company simply likes. This could be a local guitar hero with likeable personality who shows a lot of promise. Sometimes it’s a simple as that.

WHAT’S THE DEAL:

As you might imagine, if you do make it onto the artist endorsement roster, your deal might not look like the superstar artist that also sits firmly on top of the pecking order.

Entry-level endorsement might mean you get a percentage off the retail price of the product. That can be great in many ways. You get your favorite guitar cheaper, and you’ve raised your profile. It’s a great start.

The variety of deals is as wild as you can imagine. They can range from simply discounted equipment to a specific amount of free gear per year, to tour support, advertisements in major publications and company catalogs, signature equipment lines and so forth. The brighter the “brand” of the artist, the more involved you will find the agreement.

Of course, the more popular the artist, the more demands he or she will have on the endorsing company as well. Both sides will look for commitments. For example, a touring artist might want to know about things such as distribution of the product they endorse in various parts of the world.

In some situations, it is not uncommon to leave your main backline, such as guitar heads and cabinets, home while you do concerts in Europe. As an artist, you will want to know if your endorsement company can provide you with loaner equipment in various countries. If you’re a well-known artist, the endorsing company might want to know if you can open parts of your schedule for photo shoots, music convention appearances, YouTube product demos and the like. That goes back to the two-way street I mentioned earlier.

In the earlier entry stages, however, the manufacturer will simply ask you to talk about their product in relevant interviews and will allow you to post their logos on your website, music releases and publicity shots. This can be a very nice thing to have. In return, it can open some doors in getting other endorsements, getting auditions or gigs, etc.

Simply put, an affiliation with a well-known company gives you street credit.

Some agreements, especially at this stage, are not very formal and might not even include a contract from both sides. It depends on the company. If you do sign a contract, you can expect a short document stating how long is the endorsement good for, whether it is an exclusive or non-exclusive deal, what is your artist discount and a couple other minor clauses.

As your profile grows, you might be asked to perform clinics and workshops for the manufacturer, maybe even develop a signature product or be a guinea pig who tests new, unreleased equipment that’s in the development stage.

It’s fun to be involved, and I enjoy giving my feedback to my endorsing companies, on whatever they might be developing. Deals might get more formal and specific at this stage.

As you navigate through the world of endorsements, it’s important to keep in mind that not all companies work alike. You might find that some don’t mind working with lesser-known artists; some consider only high-profile players and bands. There are some killer companies out there, no matter how big or small, who take care of their artists.

Good luck — and endorse the gear you believe in!

Thanks for reading,
Metal Mike

Guitar players are usually on some sort of a mission to improve our guitar tone. For many, this journey never ends. I dare say we’re obsessed with it.

The point of this blog post is simple, and I’m not going to comment much on the new toys for our guitars. However, I can tell you without any trepidation that the single greatest way to improve your tone is practicing.

It might seem simple, but on the other hand, it can take years for us to truly understand it.

A couple of years into playing guitar, I realized practice is the greatest tone improver. Today, whenever I put in some serious practice time, I start gaining major tonal benefits as a result.

01. I notice I need less gain to execute what I’m playing, which lessens saturation. The result is a more dynamic, punchier sound. Your chords and notes get better definition and retain their character. If you play in a band, trust me, your sound man will love you.

02. I can easily play guitar with higher action, which allows the strings to breathe more, making notes sound fuller. It also can provide more room for a better, more controlled vibrato.

03. The strength in my left hand allows for a better touch on the guitar, which provides warmer chords, better intonation and less fuzz.

04. The strength in my picking hand allows for more controlled and confident pick attack, resulting in a tighter sound.

Practicing regularly will bring you the same results. You can take the above to a whole new level if you have the chance to play live for a few weeks on the road. Playing regularly in a live setting can do incredible things for your guitar’s tone and control. I call this “road chops,” and it’s basically a symphony your body goes through to prepare you for a tonal killing machine.

You’ll learn how to hit a chord so it jumps out of the speaker. And you might also find out that fuzzy, no-middle guitar sound will mean no one will ever hear you. And that’s just the beginning.

So, let’s also say this: For killer tone, aspire to practice with a band or play out live. I promise that you will learn things you can not do while practicing alone.

For the most part, I have little need to improve my guitar sound with outside equipment. If I hear that things aren’t sounding quite right, I practice more. This usually takes care of 90 percent of the improvement I might be looking for.

Till next time, horns up!