Question: Could you summarize the advantages of having sponsorships? In terms of advancing your career, what is the most useful aspect? How have
sponsorships aided you?
Answer: One advantage of having sponsorship is that by developing a
relationship with a company, you can expand your network exponentially
by gaining access to the company’s network. Any major company in the
music industry (whether a manufacturer, publisher, label, etc…) will
normally have established relationships with other artists and other
non-competitive companies. This allows you to connect with these
contacts who in turn can help you with your goals as an
Other promotional benefits from sponsorships include PR through
advertisements (whether in print ads or flyers, emails blasts, etc..),
subsidies for your appearances as a clinician, performer, teacher, or
speaker, and support for attendance at trade shows and other VIP
Another important advantage is that your name, i.e., your brand, gains
greater credibility through your association with an established
Most importantly, in terms of advancing your career, an established
company provides insight and feedback into your work, products, and
Through my relationships with Yamaha, D’Addario, and the Berklee
College of Music, I’ve been forced to mature in my professionalism and
artistry. These companies all represent excellence, and they demand a
high standard from me, not just as an artist, but as a professional
who must communicate and produce in a businesslike way. Like any
relationship, these present a virtual mirror through which I see
myself and my limitations. They push me to reach a higher
standard of professionalism as exemplified by the work of these
Fortunately, the companies that I work with have their own unique
perspectives on the music industry. This helps me broaden my
perspective of what I do as an artist; it also helps me broaden my
perspective of my market and the opportunities that are open to me.
Q: Would you recommend that other professional players pursue
sponsorships? Is so, why?
A: Artists should always be pursuing relationships of all kinds to
broaden their network and their opportunities. Developing a
relationship with a company will normally not result in an immediate
panacea of opportunities, free money, etc…, but it could lead to
many things over time. It’s worth taking time to see what kind of
common ground you have with a company, because you never know the
kinds of creative ways you might work together.
One thing to note is that not all sponsorship has to come from a
corporation. You can look at “sponsorship” relationships in a broader
way: For example, your hometown violin shop might make a great
advocate for your new CD, your new teaching studio, promoting gigs
around town, etc… The Loft Violin Shop, with whom my family has done
business for over 30 years, is a very close partner with me in
promoting my clinics, camps, new projects, gigs, etc… It’s only
natural that we would support each other. It doesn’t mean they need to
give me free products or money. It’s enough that they are willing to
post my flyers at their shop and spread the word about what I’m doing.
By starting small with them, over time we’ve come to rely on each
other for all kinds of mutual support and helpful feedback.
Another advantage is that having a sponsorship gives you an alternate
source for feedback and ideas. Many times I would go to Yamaha with
an idea about what I thought I wanted from them, and they would make
other suggestions that I never thought of, which ended up helping me
even more. Different companies have their own way of going about
these types of collaborations, and it’s important to listen, to be
open to their ideas. Don’t just come in runnin’ at the mouth and
expect to have all the right answers. Again, it’s like any good
relationship- you need to be a good listener and find out what your
partners are looking for and how you can help. It’s not what they can
do for you that you should be focused on, but instead it’s what you
can do for them.
Mostly, I recommend that you develop a habit of creating conversations
with companies, colleagues, venues, press, fans, etc…, because this
is what being a free-lancer, an entrepreneur, a small-business, or
whatever you call it, is all about. It’s about reaching out to find
common ground and creating opportunities day in and day out, whether
through the back door, front door, or side door, so to speak. Over
time your network grows and you have the ability to sustain yourself
through more opportunities which are flowing out of that network. If
nothing else, making calls and pursuing these sponsorships will hone
your ability to pitch yourself in a variety of contexts.
Q: How much effort have you put into acquiring those sponsorships?
A: I’ve put tremendous time and effort into selling myself, i.e., my
products, my services, just as most anyone who is successful in any
field must. I’ve told many people who asked, “Music is the fun part.
My real work is sales and business administration, including contact
management, promotion, pr, strategy, etc…”
Acquiring sponsorships is very much like acquiring other opportunities to
work, i.e., getting gigs, getting press, acquiring students, selling
cd’s, winning clients for production jobs, and selling publishing
opportunities. A salesperson only succeeds by asking clients to engage in a transaction of some kind
. This is the same whether you audition
for a symphony job, ask a restaurant owner to give you a gig, or
pursue a recording contract or sponsorship agreement. The more you
ask, the more chance you’ll end up with a check in your hand to go to
the bank with.
Finding the right balance for an artist is difficult, because
obviously we need to spend time developing our art, whether
practicing, composing, producing recordings, etc… But you only need
to be “good enough” to start asking for opportunities. Too often
artists suffer from the belief that they “aren’t ready”- chances are,
you are ready. It’s virtually never too early to develop your career,
to develop “real world” working experiences as an artist. This is why
I place an emphasis in my Creative Strings Workshop on real life
learning experiences, i.e., learning “on the gig”. During my annual
week-long camp, participants perform in a variety of public venues to
get a sense of what the music is all about in the real world. In the
conservatories we tend to practice music in a vacuum, without the
pressures and parameters of the working world. In real life, music is
generally attached to business concerns of one form or another.
I’ve always seen the need to pursue business as a given-Counter to a familiar “starving artist” mindset, it’s from the
flow of business that opportunities and resources come in order to
generate the music.