Zildjian Endorsement Agreement

Steve Gadd 2007

Regardless of the above, there is something very important to consider: endorsement deals are usually exclusive. That means that if you agree to endorse Sabian cymbals, you are officially saying, “I love these cymbals more than any other brand of cymbals and I will play ONLY these cymbals for the duration of my agreement with Sabian.”. Oct 16, 2018 Product endorsement in the music industry Product endorsement deals are particularly attractive in the music industry. After all, when musicians appear in public, they are usually accompanied by their instrument, which is a huge opportunity to raise your brand’s profile – especially if you are not yet a household name like Marshall or Zildjian.

Steve Gadd (born April 9, 1945 in Rochester / New York ) is one of the most influential and renowned drummers in the music business. He had a lasting impact on the world of drums, as many new grooves and figures can be traced back to him, such as the rhythm from Paul Simon's “50 Ways to Leave Your Lover”. He became known through his work with artists such as Paul Simon, Steely Dan , Joe Cocker , Bob James , Chick Corea , Eric Clapton , Randy Crawford , Eddie Gomez , Manhattan Transfer , Michal Urbaniak , Steps , Frank Sinatra , Paul McCartney , Ringo Starr , Barbra Streisand or Peter Gabriel .

Live and act

Steve Gadd began his career as a drummer at the age of three. His uncle, an Army drummer, encouraged him to take drum lessons. Already at the age of eleven, Gadd was playing in various clubs in his hometown with jazz greats such as Dizzy Gillespie and Gene Krupa , but also drumming in the drum corps of his school. After high school he attended the Manhattan School of Music. There he studied classical drums with John Beck. He then moved to the Eastman School of Music in Rochester. During this time he regularly played concerts in clubs with young musicians such as Chick Corea, Tony Levin and Chuck Mangione . After graduating, he was one of the two drummers in the 'US Army Stage Band' for three years during his army service.

After serving in the army, Gadd formed a trio with Tony Levin and Mike Holmes in 1972 and returned to New York. One of his most important first gigs in New York was with Mike Mainieri's White Elephant (with Michael Brecker , Randy Brecker and Warren Bernhardt ). Gadd began his studio work for Creed Taylor's CTI Records , playing for Hubert Laws , Joe Farrell , George Benson , Jim Hall, and Paul Desmond and Chet Baker .

Gadd's big breakthrough came almost overnight with the recording of the Paul Simon album “Still Crazy After All These Years” in 1975. His rhythms for “Fifty Ways to Leave Your Lover” (or later for “Late in the Evening “) Set standards for song accompaniment and are still considered milestones today. With his first studio work in the same year for Chick Corea's album “The Leprechaun”, he gained high recognition.

In the late 1970s, Gadd was one of the busiest and most influential drummers in the world. His great stylistic range as well as his precise playing with absolute rhythmic security in every tempo contributed significantly to his success. At the same time he influenced a whole generation of drummers with his unmistakable feeling for the groove and his transparent, extraordinarily creative and musical playing. His influence on drummers like Dave Weckl and Vinnie Colaiuta is unmistakable.

Transcriptions of his drum grooves and solos were on sale in Japan, and almost all of the leading Japanese drummers sounded like him. Chick Corea said of Gadd, 'Every drummer wants to play like Steve Gadd because he plays perfectly ... He has brought orchestral and compositional thinking into drumming while also having great musical imagination and the ability to swing .'

His drum solo in the final part of 'Aja' (1977), Steely Dan's album of the same name, is still considered a classic today and is repeatedly cited by drummers as a major influence. Corea's albums “Friends” (1978) and “Three Quartets” (1982) as well as the live album from “Steps - Smokin 'In The Pit” are good examples of Gadd's virtuoso jazz drumming.

In 1983 the world's first drummer instructional video 'Up Close' was released, which is considered a classic of the genre. Subsequently, in 1985, another instructional video Gadds appeared under the name 'In Session'.

Between 1985 and 1989 Gadd concentrated on his own band 'The Gadd Gang', toured with them around the world and released four albums. During this time he was also a permanent member of David Matthews' band 'Manhattan Jazz Quintet' and celebrated great success with tours and albums in Japan. After advances in studio technology ensured that the number of interesting jobs on offer decreased noticeably, since the nineties he has been working as a live drummer in the bands of Carly Simon , Al Jarreau , Tânia Maria , James Taylor and Paul Simon , in addition to selected studio sessions , Michel Petrucciani , Eric Clapton ( Riding with the King ) and Chick Corea. In addition, he continues to record with the Manhattan Jazz Quintet and musicians such as Tom Scott , Bob Mintzer , David Sanborn , Bob James , Al Di Meola and Hermine Deurloo .

In 2005 he held drum clinics in the USA again. The 'Mission from Gadd' tour was a great success and experienced its third edition in June 2006. In 2010 Gadd successfully continued his 'Mission from Gadd' tour in Europe.

Steve Gadd in Karlsruhe 2010 - As part of his 'Mission to Gadd' Clinic Tour.
Steve Gadd in Karlsruhe 2010 - As part of his 'Mission to Gadd' Clinic Tour.

Some of Gadd's favorite drummers are Elvin Jones , Tony Williams , Jack DeJohnette , Buddy Rich, and Louie Bellson . Gadd is considered one of the most recorded drummers in history , alongside Bernard Purdie , Hal Blaine , John JR Robinson , Peter Erskine and Jeff Porcaro . The list of releases includes more than 750 albums.

Gadd is married and has four children.

Honourings and prices

On September 13, 2003, Gadd was honored and recognized by the “Avedis Zildjian Company” at the second “American Drummers Achievement Awards” (ADAA) at the Berklee Performance Center in Boston. On September 23, 2005 he was awarded an honorary doctorate by the Berklee College of Music .

In 2016, Rolling Stone listed Steve Gadd 24th of the 100 best drummers of all time .

Equipment

Gadd has been playing Yamaha drums since 1976 . The endorsement agreement between Yamaha and Steve Gadd helped make the Recording Custom Kit (RC9000) one of the most popular professional kits around the world in the 1980s. Steve popularized small 10 'toms and introduced floor tom stands. He plays Yamaha signature snares. Yamaha now has five Steve Gadd Signature Snares on offer. Gadd plays Zildjian cymbals. A separate pool line - the 'K Custom Session' pools - was introduced in 2004. Gadd plays Vic Firth's signature sticks and brooms .

Recordings (selection)

Gaddabout - 1984
The Gadd Gang - 1986
The Gadd Gang - Here & Now - 1988
The Gadd Gang - Live at the Bottom Line - 1988

DVD

Paul Simon - One Trick Pony - 1978
Paul Simon - Live at the Tower Theater - 1980
Grover Washington, Jr. - In Concert - 1981
Simon and Garfunkel - The Concert in Central Park - 1982
Up Close, Steve Gadd - 1983
In Session, Steve Gadd - 1985
The Gadd Gang - Live - 1988
Paul Simon - Concert in the Park - 1991 (VHS)
Eric Clapton - Live At Hyde Park - 1996
Eric Clapton, Steve Gadd, Marcus Miller , Joe Sample, David Sanborn * Legends - 1997
Michel Petrucciani Trio - Live in Concert - 1998
Eric Clapton and Friends - 1999
Paul Simon - You're the One (In Concert from Paris) - 2001
Michael McDonald - A Gathering of Friends - 2001
Chick Corea - Three Quartets Band Live - 2001
Drummers Collective - 25th Anniversary - 2002
Eric Clapton - One More Car, One More Rider - 2002
The American Drummers Achievement Awards - 2003
Eric Clapton - Sessions For Robert J. - 2004
Musicares - Tribute To James Taylor - 2006
Paul Simon and Friends - Gershwin Prize for Popular Song - 2007
Steve Gadd - Master Series by Hudson Music - 2008
Stuff - Stuff Live at Montreux 1976 - 2008
Eric Clapton - Planes, Trains and Eric - 2014

Web links

Individual evidence

^ The DRUM SOLO That Changed Popular Music. Retrieved June 13, 2020 .
↑ 100 Greatest Drummers of All Time. Rolling Stone , March 31, 2016, accessed August 6, 2017 .

Your band is on the move. You’ve recorded and released a debut CD on your own indie label and it’s selling well at gigs and in the local stores. You’ve got a publishing and distribution deal, you’re getting radio airplay too, and an A&R guy from Ignatz Records has been seen lately at your gigs. You have a cool website, a good local and regional following, and a proposed tour with a national act that will take you into 3,000-seat halls, festivals and large clubs on a two month trek across country, with the possibility of more.

Unfortunately, your equipment is a bit tattered and out of date. With a big tour coming up, you sure could use some new gear, but lack the funds to buy everything you need, even at retail discount. Your mind suddenly solves the problem in one fell swoop: Endorsements! But how do you go about getting endorsement deals?

Too many misconceptions still exist about endorsements. I am constantly amazed at the ridiculous number of pro drummers I come in contact with who have CD’s on the market, who have never considered going after endorsement deals. They seem clueless. The average player basically thinks the following:

1 “You have to be a famous drummer on a major gig to get endorsements”.
2 “You get equipment free of charge”.
3 “If I get an endorsement, I’m bound forever to that brand.”
4 “You have to know somebody to get endorsements.”
5 “Drummers can’t use and/or endorse two brands at once”.
Not one of these statements is true. Here’s the truth, quote by quote.

FIRST: You do not have to be a famous drummer to get endorsement deals. I currently have endorsement agreements for sticks, heads, cymbals and snare drums/percussion instruments, plus a brand new “user” deal for the drumset of my dreams. I am not and never have been (although I still hold out foolish hope, even in middle age, that I will someday become) a famous drummer. I’m fortunate to be a well known music journalist and author of a book on sixties rock drummers. People in the business know my literary work. Perhaps like you, I’m just a hard working weekend warrior, but consider myself a professional drummer, regardless. I have a few studio credits, tons of local live work experience, including gigs with a few well know musicians, and two cuts with a blues band released on a local compilation CD that has gotten extensive domestic and international airplay over the last year.

Another thing I have is a good promo package. A few years ago, I put together an exhaustive bio/resume, with a professional photo and a three song demo tape. I’ve had the opportunity to jam with some very famous musicians over the years, so that’s included, as well as information about my drumming education, band associations, recording details and personal strengths and accomplishments. A professional package will open the door for you. You know what they say about first impressions?

How do you get started? Decide what type of equipment you want first. Make a “dream” list of drums, cymbals, hardware, accessories, sticks, heads, etc. Find out the mailing and web addresses and phone numbers of all the companies who make these products, and most important, find out the name of the artist relations representative from each company. Visit the company websites and get a feel for the products. Go to your favorite drum shop and try out the gear to make sure it’s what you want. Remember, a manufacturer needs to know that you truly want to use their products, and that you’re not some creep just trying to scam a low price on equipment. More on that later.

Next, prepare your publicity package. If you’re not sure, talk to another musician who has a good package and copy his or her style and layout for your own. You could even have a professional writer help you (email me for info in care of this website. Sorry for the blatant self-plug). Make sure you have a good photo and a professional-sounding demo.

Then, call each artist relations person and introduce yourself, saying something like this:

“Hello, ……………., my name is………….., I’m a professional drummer, currently working with …………………………… I’d like to talk to you about an artist endorsement opportunity with your company.” Customize this approach any way you wish.

Don’t say something like this: “Uh, er, like, dude, I want to know how to get free sh** from your company.” You’ll get the royal diss very quickly. Don’t be surprised if the guy hangs up on you.

If you present yourself in a professional manner, the response will most likely be, “Cool, send me a copy of your press kit and a tape or CD, and we’ll get back to you.”

Send out your press kit immediately with a nice cover letter telling him or her exactly why you want to endorse their products. Wait about two weeks, follow up with a phone call to the AR person, and ask if he/she received your CD/tape and package. Politely inquire about the status of additions to their endorsement roster for the present time. You may also want to inquire as to how the company structures endorsements. Every company handles this differently. Many have levels of endorsement deals available. Usually, the first tier is for the “major name” drummers. Level two might be called something like “Working Regional Pro”, and level three may be called something like “Local Level.” The terminology is different everywhere.

Where you fall within each company’s standards will decide what kind of deal you are offered, if the company decides to make the offer, that is.

Unless you have high powered management that can negotiate a better deal for you, usually what you’re offered is what you get. Accept the offer or reject it if it doesn’t work for you. I’ve turned down several deals over the last three years because the terms weren’t right.

And what if they say no? The bad news most often arrives courtesy of the US mail in the manner of a form letter. Call the artist relations rep and calmly ask why you were passed over. I was once told, “It’s not that we didn’t want you. We have our quota of new sign-ups for this quarter. We ‘ll keep you in mind for next quarter.” I just kept bugging them in a friendly but tenacious manner until they finally said yes.

If they say there’s no room on the roster for anyone new at this time, their endorsement program is closed, or you don’t measure up to the company’s standards for some reason, don’t take it personally. Thank them for their consideration and go elsewhere. We drummers have a lot of choices these days, don’t we? There’s too many fish in the sea to get upset about a rejection.

Other problems can arise. Several years ago, I was accepted by one of the major Far East drum manufacturers as an endorser, but then the AR rep (who I later learned has a “difficult” reputation within the industry) refused to take or return my calls. He’s now working for a major European drum maker, by the way. So, I bided my time and ultimately went to a high-end American manufacturer and got the kit I really wanted in the first place. That jerk may have won the battle, but I ultimately won the whole damn war.

SECOND: Free equipment? In your dreams! DO NOT expect to get equipment free of charge. There isn’t very much free gear being given away these days by anyone in the music business. I always seem to get little gifts– free accessories and clothing from my sponsors, and am very grateful for that, so I assume others are getting these perks as well. Most drum companies offer less well know players fifty to sixty six per cent off list price, which is usually better than you could expect to get from any retailer. Don’t kid yourself though. Manufacturers are still making money at “their cost,” which is almost always two-thirds off list. These generous discounts are automatically built into their pricing structure. A known player will likely get a set below cost. It is only the highest level of professional drummer, the big names, the lucky few, who manage to get equipment for free, and even then, there are limits to every company’s generosity. If that describes you, my sincerest thanks for reading this column. But if it doesn’t, stay tuned for next month’s installment!

Last month, we discussed how to put together your bio/resume kit for the purpose of obtaining equipment endorsements, some common misconceptions about endorsements, and useful tips on how to handle endorsement “politics.”

This month, we’ll continue looking at those misconceptions.

Third: “If I get an endorsement, I’m bound forever to that brand.”

No! You are never tied forever in an endorsement agreement, in fact, some companies may offer only a one or two year plan to be renewed or terminated at either party’s request. I once endorsed a brand of heads manufactured in the far east and after several months, became dissatisfied with them. I simply called the distributor who granted the endorsement and canceled it. No fuss, no muss, no hard feelings. I found American-made heads I liked at lot more. It was just a musical and business decision.

Some musicians switch equipment allegiance with more frequency than they change their underwear. Take Gregg Bissonette, for example. Although he’s an excellent drummer and a warm human being, Gregg has endorsed more drums than I can count. Same with Carmine Appice, Terry Bozzio, the immortal Buddy Rich, and many others.

Carl Palmer is a classic case of a drummer about to break free from a bad deal. Although he was endorsing Gretsch at the time, he complained vociferously in a Modern Drummer interview not only about the quality of the drums, but customer service problems that existed at Gretsch at that time. You could tell that relationship was doomed…and it was.

Another great story concerns the late, great Buddy Rich, who started his professional life in vaudeville as “Traps, The Drum Wonder,” playing Ludwig drums, but he endorsed Slingerland during the swing era. Buddy eventually went back to Ludwig, to Vox, to Fibes, to Rogers, back to Ludwig, back to Slingerland, back to Ludwig, and eventually, ended his career with no endorsement, playing a vintage Slingerland Radio King set specially restored for him by the Eames Drum Company. That set is now in the Smithsonian Institution. What goes around comes around.

Fourth: “You have to know somebody to get an endorsement deal.”

Zildjian Endorsement Agreement 2020

Yes and no. It can’t hurt to know someone in high places. That’s the way business works in some cases, but not all the time. It’s ultimately better to get the endorsement based solely on your talent, credentials, and sincere desire to use a particular product.

But let’s be realistic about this. If you happen to know someone who is related to the fellow who manages artist relations for XYZ drum company, there’s no crime in using that contact to get the drumset of your dreams, but only if their products float your boat. Common sense tells you to use whatever tools happen to be at your disposal in order to get what you need, outside of illegal or immoral activity, of course.

It cannot be emphasized enough: All musical instrument manufacturers need to know you genuinely want to use their products. Sincerity and professionalism in this case, as well as a little well-placed flattery, just might get you everywhere.

Fifth: “Drummers can’t use or endorse two brands at once.”

Again, yes and no. It depends on many factors and the individuals involved. Nowhere in any of my endorsement contracts does it state that I am forbidden to use a competitive product either onstage or in the studio. Fortunately, I am very loyal to the companies that supply me with sticks and heads, and have no desire to use another brand. I have even turned down free samples of other sticks because I am totally happy with Pro-Mark products, as well as the manner in which I am treated. Likewise, with Evans drum heads. I’ll occasionally use other snare drums for various applications when I see fit, and have no worries that a company representative will come beating down my door for treasonous activities. However, depending upon who you are and the details of your agreements, things might be different. I am expected to use and promote the products I endorse, and I do that every weekend and more.

There are a few great stories of endorsement problems that have circulated around the industry for decades. Years ago, Buddy Rich was deep into one of his Slingerland deals when he was spotted by Don Osborne, the company president, playing a Fibes snare drum in a Chicago jazz club known as the Plugged Nickel. The hot-tempered Osborne was furious with Buddy for using a competitor’s drum, and let him know it afterward. Buddy, in his typical fashion, told him to get screwed, and bolted for Ludwig again soon after that.

In the late eighties, Phil Collins was endorsing a brand of Asian drums for live performance, but quietly admitted in a Modern Drummer interview that he kept a special round badge Gretsch kit for recording sessions, the first quality set he had owned as a teenager. Shortly thereafter, Phil Collins’ management announced he was a Gretsch endorser. Obviously, someone at the Asian company got riled up, or Gretsch came knocking with an offer Phil couldn’t refuse. Probably a little of both.

Next month, Part III: We’ll discuss endorsements with music industry professionals as they pertain to working drummers.

Parts one and two of this series focused on misconceptions, do’s and don’ts of pursuing endorsements, and more. For our final installment, we’ll hear from three percussion industry artist relations experts; John De Christopher from Zildjian, Steve Lobmeier from Evans, and Dave Kilkenny from Grover Pro Percussion, presented in an imagined roundtable format.

BC: Who is the ideal endorsement candidate?

JDC: Someone who is highly visible and influential, and can give Zildjian tremendous exposure for a long period of time. Unfortunately, this is very rare in this day and age with the current state of the music business; i.e., record industry. Bands don’t have the kind of longevity they once had, so as a result, we have had to adjust our Artist Program to work effectively within the parameters of the music industry. On the other hand, education is vital to the development of young musicians, and you can never overestimate the value of a good teacher. Teachers have their own realm of influence and we recognize this.

SL: We look for exposure level most of all, and does the player REALLY like the heads. Does he/she feel a difference from what they currently play? We want someone who drummers will look to as an influence or inspiration. It’s like, “Mr. X plays Evans, so maybe I should check these heads out.”

DK: We want artists who will give Grover products recognition and exposure and help us sell to the public. Of course, the more visible the artist is, the better it is for us.

BC: How does your company decide who will be awarded an endorsement?

JDC: There are numerous variable at work. Due to the number of solicitations we receive, each applicant is pre-screened through the East or West Coast Artist Relations Manager depending on their geographical location. If the AR Manager feels the applicant has potential and meets the criteria, they forward it to me for further evaluation and I ultimately make the decision. If the AR Managers feel strongly about signing a cymbal artist, I will usually accept their recommendation. The same applies with drumstick endorsements. It’s their job to be aware of the new, hot players, and I have a lot of faith in their judgement.

SL: We judge each applicant individually and make a decision based on their standing within the music industry. Of course, we want people who will influence others to buy Evans products. DK: We do the same, basically. It’s all done on a case-by-case basis. We evaluate applicants based on what they can bring to the table, but on their talent as well.

BC: John, what criteria does Zildjian use in making the decision?

JDC: Given the number of high profile artists already on our roster, our criteria is probably a little different than some other companies. Just because we have Vinnie Colaiuta, Steve Gadd, Dave Weckl, Dennis Chambers, Steve Smith, Neil Peart, Lars Ulrich, Carter Beauford, etc., doesn’t mean we aren’t interested in signing new artists. It simply means we are looking for artists who are further along in their career and can provide us maximum exposure within their genre of music. Someone in a band signed to major label with a hit record on the charts and a video in regular rotation stands a better chance of getting our attention than someone playing clubs in their local area. After all, we are in the business of manufacturing and selling cymbals and drumsticks. Having said that, there are many artists on our roster who were signed based on their ability on the instrument. Carter Beauford is the best example. Carter sent me a demo tape of the Dave Matthews Band long before they broke into the mainstream and truthfully, I had no idea how big they would become later. In addition, our drumstick program is open to all existing cymbal artists. In other words, any Zildjian cymbal artist can sign up as a drumstick artist, but must play our drumsticks exclusively. Contrary to what some people may think, our cymbal artists are not required to play our sticks. It just so happens we make an excellent drumstick and have signed some major drumstick artists.

Zildjian Endorsement Agreement Template

BC: Does your company have different levels of endorsement programs?

Zildjian Endorsement Agreement California

JDC: Without going into too much detail, some artists have a little more leeway in terms of how much support we can provide, relative to the amount of exposure they provide us. Neil Peart recently requested a new set of cymbals for use for the new Rush record and of course, we happily sent them. The vast majority of our artists trade their old/used/broken cymbals in for recycling, and we replace them with new ones if necessary. Many of our artists purchase their cymbals and drumsticks at an artist discount price. The vast amount of drumstick artists pay for their sticks. No stick company can afford to give all their artists free drumsticks.

SL: Evans has three levels; Silver is a buy at a reduced price deal, Gold is a particular amount free, the rest at the Silver discount, and Diamond is a free ride, with full page ads, etc. Big name drummers get free equipment, but it depends on where they are in their career, what that particular artist wants to do, and how we want to handle it. Some drummers don’t want the obligation that goes along with an endorsement, so they just buy what they want.

DK: We primarily sell at a deeply discounted price to endorsers, but it all depends on the artist. We’re a small company, so we don’t operate on the scale of Zildjian or one of the other big operations. We can be more flexible.

BC: John, Do any of your endorsers get free equipment?

JDC: Following what I said earlier, certain artists are allowed more leeway than others in terms of support. For example, if Steve Gadd calls to say he needs a different crash cymbal for the Eric Clapton gig, we will send it to him at no charge. That shouldn’t be confused with big name drummers getting free equipment. Ironically, most of the “big names” never ask for anything. For most of our artists, it’s the service we offer them on the road that is most important.

BC: Is it of primary importance that endorsement candidates really want to use your products over other brands?

JDC: Absolutely. This is one of the most (if not THE most important) aspects of being a Zildjian artist. It doesn’t do any good to enter into a relationship if the artist doesn’t truly believe in the products he or she endorses. By definition, an endorsement of a any product means it is used and recommended by that individual. I think too many people are fixated on obtaining an endorsement and lose sight of exactly what an endorsement means. I have been approached by people at trade shows shopping for endorsements, only to watch them walk across the aisle to our competitor and give them the same promotional materials they just gave me. It’s obvious in those situations that the product is irrelevant; it’s really about “the deal.” The other thing people don’t realize is how small the percussion industry is and that we all know each other. I have developed good working relationships with the various drum, percussion and drum head company AR managers over the years and we all look out for each other. It’s not unheard of for a competitor to call me, or vice versa, to discuss an artist, of course, always within the boundaries of proper protocol and confidentiality.

BC: Do endorsements from name drummers help sell product?

JDC: Definitely! There is no question that certain drummers influence the buying habits of young and even more established drummers/customers.

DK: Of course, it does. Having a guy like Dennis Chambers endorsing our snare wires is a big plus for Grover. He helps sell product, and we’re in business to sell what we make.

BC: How many endorsement requests do you get per year?

JDC: We receive well over 200 requests per year in the US alone, and that number increases greatly when you factor in worldwide requests. Out of respect for individuals, we try and make our decision and respond back within 6-8 weeks. It sometimes takes us longer to evaluate materials due to the volume of requests or time of the year.

SL: At Evans, we get literally hundreds of requests per year, and out of that number, 10-15 get “on-board” and it’s usually on the Silver level.

BC: What responsibilities do endorsing artists have once they come aboard?

JDC: First and foremost, we require they use the products exclusively. We also expect them to promote our products whenever possible, whether in a CD’s liner notes, or mention in a magazine article, to the ideal situation of getting our logo prominently displayed in a music video. The fact that you see Zildjian all over MTV, VH-1, South Park, The David Letterman Show, Jay Leno Show, Conan O’Brien, etc. is no accident.

SL: Endorsers must promote the Evans name anywhere and everywhere, via album liner notes, logo stickers on bass drums, interviews, word of mouth, to even wearing our T-shirts, hats, etc. Our artists must be willing to “spread the word,” so to speak.

DK: All we ask is that the artists who endorse Grover products use them and let other people know about them in the most visible way possible.

So, you’ve heard the scoop from the professionals regarding artist endorsements. Remember, the deals are out there to be had. Don’t sell yourself short. If you feel you’ve reached a level of professional status or expertise and deserve an artist endorsement for percussion equipment, go for it.

Good luck!