Someone has been making tracks on a laptop for two years and wants to get better. Someone else has never opened a piece of music software and wants to learn from nothing. A third runs a covers band and wants to record their own material properly.
They all send the same message, which is whether you do production courses.
Step 1: separate the levels clearly
Complete beginner, self-taught improver and working musician need different courses. Publishing what each level assumes, in specific terms rather than the words beginner and advanced, lets people place themselves.
Step 2: name the software
Students care enormously about which software is taught, because they have usually started in one already. Saying plainly what you teach, and whether skills transfer, prevents an enrolment that ends in a refund request.
Step 3: say what equipment is provided
Studio access, interfaces, microphones, monitors and whether a student needs their own laptop and headphones. Publishing this is the difference between a student arriving ready and a first session lost to logistics.
Step 4: explain studio time precisely
How many hours, whether it is supervised, whether it is shared, whether students can book additional time and what it costs. Studio access is usually the reason someone chooses a course over a video series.
Step 5: describe the outcome
What a student has at the end, whether it is finished tracks, a portfolio or a recorded session. People pay for a result they can point at, and a syllabus alone does not convey one.
Step 6: be honest about the career question
Many enquirers are hoping this leads to work. Being clear about what a course is and is not, and what the realistic next steps are, builds more trust than an implication that never survives contact with reality.
Step 7: publish the schedule and format
Evenings, weekends, intensive weeks, in person or online. Working adults choose on format at least as much as on content.
Step 8: price the whole thing
Course fee, any additional studio time, software licences and equipment a student must supply. A course that appears cheap until the extras arrive generates complaints.
Step 9: capture the enquiry properly
What they currently use, what they have made, what they want to be able to do, their availability and their budget. A tutor can recommend accurately from that and improvise from nothing.
Step 10: offer a taster
A single session or short workshop converts the undecided better than any description, and it lets a tutor place someone at the right level before they commit.
Step 10b: explain who teaches
Production students want to know whether the tutor has actually made and released records, worked in a studio or produced other artists. Naming the tutors and describing what they have done carries more weight in this field than any accreditation, because students are choosing someone to learn a craft from rather than a syllabus to work through.
Step 11: keep instrument teaching separate
Traditional lesson enquiries behave differently, as in filling music teacher timetables with better enquiry capture and lesson enquiries from adults who want to start again.
Step 12: group and organisation bookings differ again
Schools, youth projects and companies book as organisations, which is the pattern in corporate language training enquiries, and general capture is described in an AI receptionist for architects.
Getting started
Publish levels, software, equipment, studio time and outcomes, then capture experience and availability at any hour. SpideyChat for education providers answers from your published pages. Try SpideyChat on your own site, or read about capture on the features page.