Rob Chapman

Hello again. It’s been a splendid summer and I haven’t been blogging since, er, before the summer. But now the blog season is upon us so here’s one to get restarted: Rob Chapman’s top tips about everything for new guitarists. If you skip the small amount that’s about blues, rock and metal I think this applies for everyone.

If you haven’t heard of Rob, he’s one of the many, many musicians, artists and writers these days who  don’t do it the old school way. It’s the change I was hoping for when I started my web site in 2002 and it is now well and truly among us.

4 thoughts on “Rob Chapman

  1. Most of it is pretty transferable, especially “it’s a lot harder” – but I do wonder how many people will mentally skip over that point…

    Wow that’s a huge seagull!

    More blogs required ;¬)

    • Hello again Drew. Hope you had a splendid summer too.

      I’m not entirely sure that it is that much harder. It’s certainly very different. The standard of musicianship today is higher, it has risen relentlessly over the years dropping somewhat in the 1960s (there was only one Hendrix) and perhaps in the 1980s. The facilities we have today (mobiles, web, cameras, recording gear, even amps and cheaper instruments) while creating some work free us from a lot. The old University and College circuit was a ready made live opportunity and competition used to be somewhat less than it is today. But touring and live work has always been hard—maybe the perception of the golden years is responsible for the idea that it was easier, and cases vary enormously. In the past there was no real equivalent of today’s multi-media DIY musician.

    • Even if you compare going it alone today with being signed today I think the work rate of both is pretty high, and being signed has become much more of a job than it ever was. Rihanna (love her or hate her) has an incredible work ethic, even if it’s not the kind of stuff most people would even want to do and certainly not the reason anyone gets into music.

  2. I guess I was thinking of doing a full DIY approach, musician, manager, promoter, fan club manager, poster designer etc. I still think one of the likely business models that will emerge is one of partnerships; artists, musicians and promoters working as collectives to support and promote each others work with someone technically and market savvy (quite possibly one or some of the collective) doing a lot of the drudge work as well. Finding you audience remains one of the biggest challenges, certainly one I never worked out how to overcome.
    I suspect that there are very, very few people at the top of the game who don’t have a pretty phenomenal work ethic, there may be a tiny handful of people who’ve “got lucky” but I suspect most people who don’t want to necessarily commit that much of their energy have also worked out what level of success that they want to support.

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