Getting Your First Clients Without Working for Free Forever
By Written by Peter McVeigh
Early work often pays little. How to build experience and a reputation without getting stuck there.
Everyone starts somewhere, and at first your problem is that you've no credits, so nobody hires you, so you have no credits. A bit of low-paid work can break that loop. The trick is to treat it as a short-term plan with a purpose, not as a way of life.
When free or cheap work makes sense
Doing a job for free or cheaply can be worthwhile if you get something specific in return, such as:
A recording that shows what you can do.
A chance to work in a new genre.
Experience in a real session, with real pressure.
A credit on a release that'll actually come out.
An introduction to people who hire.
Exposure on its own isn't enough. Ask who will actually hear it, and what's likely to happen next.
Set limits before you start
If you're reducing your rate, agree the details anyway:
The number of songs and days.
How many changes are included.
Your credit and whether you can use the work to promote yourself.
What happens if the track makes money later.
Who pays for studio hire and other costs.
A small project still deserves a short written agreement. It shows that you take yourself seriously, and it teaches you how to do this before the stakes are higher.
Choose your early clients carefully
Look for people who rehearse, turn up on time and have a reason to release the music. A brilliant band that never finishes anything can't help your portfolio. Local venues, songwriter nights, colleges and rehearsal rooms are all places to meet people. Go to shows because you like the music, and speak to people. Real interest is easier to spot than a sales pitch.
Build things you can show
A short page or showreel with your best few tracks, not all of them.
Before-and-after mix examples, if the artist agrees.
Clear contact details and what you offer.
Quotes from people you've worked with, with their permission.
Genuine work beats perfect branding. If you're just starting, record a band you like and ask if you can use it to show what you can do.
Be the person people want to call back
In many studio jobs, repeat work and word of mouth matter a lot. People remember whether you were prepared, calm, on time and pleasant to be around when something went wrong. Reply quickly, deliver what you said you would and keep files organised. Those are skills you can have on day one, before you've got much experience.
Assisting
Working as an assistant is one of the classic ways in. You learn how experienced people work, how they speak to clients and how a session runs. Pay and opportunities vary, so ask questions and don't accept unsafe or endless unpaid work. If you're asked to do a professional's job, you should be treated accordingly.
Plan your move to paid work
Give yourself an exit plan. For example:
Your first three projects are at a low introductory rate.
Your next three are at a higher rate.
After that, you charge your normal rate.
Tell clients the normal price from the start, and that this is an introductory offer. When a past client calls again, it's a good time to move them on. Keep a note of how many hours each job actually took, as it'll help when pricing the next one.
Know when to say no
A bad-fit project can take up the time you could use to find a good one. Warning signs include someone who says it'll be "easy", who promises money later without any plan, or who's had a falling out with everyone they've worked with. Say no politely. Your time is the main thing you've got to sell.
What to do next
Write down three artists you'd really like to work with, and find out where they play. Then use our Studio Client Intake Form from the Documents page to treat your next enquiry like a proper job, however small it is.
Disclaimer
General information, not professional advice. Every session and client is different, so adapt this to your own situation.