Fire and Stone - Future Plans
Record Deals
and Professional Home Studios
Years ago, when I began recording for Fire and Stone (back then named 'Kokiri'), I had a firm plan of recording an entire album on my own, learning and improving my technical mixing skills as I went, then re-recording the entire album once I had mastered the art of balancing.
These days, I still feel that my original plan is the most likely way Fire and Stone will reach the public. But now, there are other options as well. In the last several years, I've grown older and more experienced in the working world. I've built and run small businesses, and specialized in marketing and design.
Back when I started Fire and Stone, beyond the idea of recording of the first album, I didn't really have a handle on what to do from there--how to produce, market, and sell my albums. Now, I own a small publishing business and can produce the music myself, if I care to.
So, today, there are really two different directions Fire and Stone can go:
- I can continue my original plan to self-publish ... eventually.
- I can produce my music quickly and professionally via the resources of a record deal.
Today I'm involved in many business ventures, and despite the fact that my music feels like 'my calling', I've got plans to develop cashflow and income streams through other business ideas BEFORE I really focus on the professional pursuit of my arts.
It makes more sense to build a constant source of income that pays the bills before I focus on making music full-time.
That means developing business systems and more traditional companies before I seriously pursue my music. Just like writing and publishing books on marketing and business before writing my fiction. And self-publishing Fire and Stone, as much as I love the idea, to be more than a hobby, is the most difficult sort of business to see an immediate return that can actually support myself and my family.
So what does that mean?
If I go with 'Option 1', I'll be continuing with my 'real jobs' (as 'real a job' as entreprenuership can be, anyway) until those businesses are self-sustaining enough, and my passive income reliable enough, to where I can focus on building my art as a career without having to worry about paying the bills. That means eventually buying a home, dedicating a room to become a professional home recording studio, and gradually buying and installing the equipment I'll need to make music much more polished than what I make now.
And finally, some years down the road, once my plans have attained fruition to the point where I can devote some real time to my music, Fire and Stone will be published by Lightbringer Media, marketed by my own efforts, and will sell real albums. Maybe I'll even do some shows.
Then there's 'Option 2'.
If a record label company caught interest in Fire and Stone enough to offer an actual record deal, to where I'd have access to a professional studio and technicians, hired musicians to fill in for my own personal musical weaknesses, and a contracted income/advance that would allow me to record and promote Fire and Stone full-time without having to worry about my expenses?
Well ... that would change everything.
So in the unlikely event that such a talent scout, would-be manager, or other such representative happens upon this humble webpage?
Let's talk.
I've been around long enough (and in business long enough) to realize that record companies like to sign artists that view their contract as more of a 'partnership' than a gravy train. I know that the company is investing a lot of money in the calculated risk that an artist can produce and market music that people will enjoy (and buy), and want results that will bring a very healthy return back to 'the investor'. I understand that a record label is looking for an artist who will work hard to not only create sellable material, but also seek to market and promote himself instead of leaving all of the burdens on the shoulders of the company.
- The music of Fire and Stone is unique. While being unique is a double-edged sword, I've never heard anyone say they didn't like it. And plenty of people have told me I should be selling it, just like it is. (i.e. my 'drafts')
- I currently have 32 original songs ready to record, and over a dozen more in various states of 'partially written'.
- In the beginning, I realized the importance of composing my music in a way that it could be logistically played by a typical sized band: a front man with a guitar (me), a lead guitar, a bassist, a keyboardist, and a drummer. A solo artist that doesn't think ahead in that regard will have a much harder time performing, at least without an orchestra or doing it 'karaoke style'.
- My business experience brings a lot to the table in marketing and promotion, increasing the likelihood of being more of an asset than a risk. I already have a good head for business, and wouldn't need a babysitter to realize my end of the deal.
While I'm confident that Fire and Stone will see publishing and professional quality eventually, it still seems that the traditional route of signing a record deal would still be a much faster and more efficient way to pursuing my happiness and seeing my music brought to life. Should anyone in the music business care to contact me, I'll be willing to consider all offers and discuss options as casually or as seriously as you'd like.
Please visit the 'Contact Fire and Stone' page to get a hold of me, or listen to some more Fire and Stone music.
Contact Eddie Patin & Fire and Stone
Listen to Fire and Stone Music
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