Showing posts with label Hypebot. Show all posts
Showing posts with label Hypebot. Show all posts

Sunday, October 5, 2014

5 Reasons Why A Music Attorney Won't Shop Your Demo

Music Demo image
Music lawyers have been the key to getting a record deal for years, as they've been a trusted source by the record labels. Most lawyers will agree to shop a demo, as it can mean more business for them if the project is picked up. It's not an automatic though, and there are 10 reasons why, according to an article on Hypebot by music attorney Mita Carriman of the Carriman Law Group. It's definitely a post worth reading in its entirety and you should follow the link to do that, but I thought I'd paraphrase some of the reasons here as well.

1. You cold-called the attorney. That could work, but usually an introduction from a mutual friend helps speed the process. Even better, pay to engage the attorney to shop the recordings.

2. Your tracks aren't ready. They're not fully produced or don't show you in the best light, or the attorney just doesn't feel good about showing them yet. Don't fret, just go back and either rerecord or polish what you have, depending upon the feedback you get.

3. You're using uncleared samples. Lawyers are very keen on having all the paperwork in order before moving forward with anything. Get this done first, or pay the attorney to do it for you.

4. You don't have an online presence. You're not real as an artist or band until there's at least something online to point to. Record labels sign an act for their audience or potential audience, not their music, so the more views or followers you have, the more compelling the case to sign you is.

5. The attorney doesn't like your music. They're putting their reputation on the line by showing your music to someone, and they're just not going to do that if they don't like your material.

Read Mita Carriman's article called 10 Reasons Why A Music Attorney Won't Shop Your Demo for a first person perspective.
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Tuesday, September 17, 2013

8 Tips To Getting Played On College Radio

College Radio image
Hypebot recently ran a great article by David Roberts and EricTheReDD about how to get your music played on college. David is the founder of the Sunshine Promotion company while Eric is the former general manager of WJSC-FM of Johnson State College, Vermont. While you can read the entire interview of the Hypebot website, I thought I'd distill the main points here.

1. Make sure that the title track has the ability to "wow." If that track sucks, it's tough to take the rest of the album seriously.

2. Send a pressed CD that's professionally packaged. CDR's don't cut it. In fact, send two; one for the music vault and one for a possible giveaway. Remember, the liner notes will be read, so take care in crafting them.

3. Make sure the songs are registered with Gracenote and have the proper ID3 tags attached so the info doesn't have to be input manually when transferred to the digital library. No Gracenote information may be enough to keep your songs from getting played.

4. Make sure you send a short press kit. Short is the operative word, keeping it to only a page about who you are and what's on the disc.

5. Address your package to the music director. He will assign it to the appropriate DJ. Do not send to the program director, as he's in charge of scheduling and is too busy to deal with music. If you have the DJ's name that deals with your genre, it's okay to send it to him to directly.

6. A short personal note can go a long way. Something like, "Hey WJSC, thanks for the airplay" can get you extra attention.

7. Call the request line or the DJ and ask them to play your song. It really works and might even land you an on-air interview.

8. Don't take the shrink wrap off the package. If the CD gets smashed in transit by the post office, the disc stands a better chance of being playable, and there's less cleanup involved for the station.

Remember that these tips come directly from someone on the front lines of college radio. They're pretty simple, and can make the difference between getting played or not.

Wednesday, June 5, 2013

Is Music Discovery All It's Cracked Up To Be?

Radio Music Discovery image
To many in the music tech community, the holy grail of online music involves music discovery. As a matter of fact, some within the industry feel that the music business' future depends on it. That's why any company that has "discovery" as a feature suddenly becomes a hot investor attraction even as investors grow wary of the music industry.

The reason why some think that discovery is the future is many feel that's the best way to grow the industry. Instead of listeners recycling their listening with more or less the same songs from years past as well as a smattering of songs from today that are high on the charts, any way that exposes a listener to something new means that there's a new potential sale, either from buying music, merch or concert tickets.

While that certainly seems plausible, one has to wonder just how much better the current discovery algorithms can get, and if an improvement is really all that necessary. In an interesting article on Hypebot last week, a number of industry vets were asked their views on the subject, and they had some interesting insights.

In the article Jay Frank, the author of Future Hit. DNA (a great resource for anyone in the music business) postulates that music discovery is overrated, since it appeals to only a limited segment of listeners, the ones actively looking for something new, to begin with. That, of course, limits the widespread usefulness of such an algorithm considerably.

Where once upon a time you were exposed to new music on the radio whether you wanted to be or not, today we have too many choices for that to happen as much (even though radio is still the largest form of music discovery, with YouTube far behind). In fact, so much of music discovery still comes from word-of-mouth. If all of your friends rave about the new Daft Punk album, of course you're going to check it out. If you hear mixed reviews, you're less likely to take a listen unless you're overwhelmed by the media exposure (think the last Justin Timberlake album). With a discovery algorithm, you might be exposed to something new, but will that single listen to a single song be enough?

While an improved music discovery algorithm might still be the holy grail for some, it doesn't seem likely that it will change the music business as much as some hope it will.
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Sunday, April 14, 2013

Are Cassettes The New Vinyl?

Every time you think the novelty has worn off the resurgence of the lowly cassette, it seems to come roaring back again. As unlikely as it seems in this age of instant access libraries of millions of songs online, this technology from the last century still has some life.

The great Hypebot blog recently posted an article regarding the number of cassette-related articles found in a Google search, which showed the revival still gaining speed. That's difficult to quantify in numbers, since most units are distributed by micro-labels who only do limited runs and don't report to SoundScan.

That said, this report and video from the Wall Street Journal shows the mindset of the typical cassette buyer and seller very well.



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Interested in the Music 3.0 archives? Buy The Music 3.0 Guide To Social Media. The best of over 800 posts.

You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Tuesday, October 23, 2012

10 Great Music Marketing Ideas

Music Marketing image from Bobby Owsinsk's Music 3.0 blog
Here's a post from a couple years back that bears repeating. It's about the 10 music marketing ideas from the marketing chapter of the Music 3.0 Internet Music guidebook. It’s easier to sell your music if you add extra value to it, so it helps to think outside the box when it comes to distributing your music. Thanks to Bruce Houghton of the great music blog Hypebot for numbers 7 through 10.
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"1) Develop a package - This could mean anything from a CD and a vinyl album, to a digital download and album with all alternative mixes, to a boxed set of CD’s or anything in-between (Trent Reznor’s Ghosts I-IV is a great example). The idea is to go beyond just the typical CD and digital offerings.

2) Sequential numbering - Numbering a physical product (for example; "#5 of 1000") gives it the feeling of exclusivity. The product becomes a special edition and a must-have for the true fan.

3) Tie it to merchandise - Offer a physical product that contains the code for a free download of your album. Mos Def was so successful with the T-shirt release of The Ecstatic that Billboard magazine even began counting it as a music release on their charts. Other artists have sold their music via codes on such items as golf balls, bandanas and even canned food!

4) Release a “double-sided” digital single - Rhino Record's digital releases celebrating 60 years of the 45 RPM single set a fine example for this format. For between $1.49 and $1.99, Rhino provided the original hit song, its B side (the flip side of the vinyl record) and the original artwork. You can do the same by providing two songs for price of one - an A and a B side.

5) Release on an old alternative format - We’ve seen some artists (The Decemberists Hazards of Love come to mind) release a vinyl-only physical product to great success. Cheap Trick did it on the old 8-track format from the 60’s, and some bands have even recently released on cassette tape. Releasing on a older format can be good as a publicity tool (as long as everyone else isn’t doing it) and who knows, maybe you can start a trend?

6) Release on a new alternative format - A new alternative format that’s getting some traction is flash memory, or the common USB memory stick. Once again, Trent Reznor met with great viral success by planting unmarked memory sticks in bathrooms at Nine Inch Nail’s concerts, and Sony even released the 25th anniversary of Michael Jackson’s Thriller on the format. Everybody uses these things so you’re bound to get at least a look, which you can’t always say about other formats.

7) Three Sides - Offer a song in an early studio version, the final mix, and then captured live.

8) Radical Mixes - Offer two or three very different mixes of the same song, perhaps even done by the fans.

9) Two Sides of (Your City) - Two different bands each contribute a track to a series chronicling your local scene.

10) “Artist X” Introduces _____ - Add a track by your favorite new artist/band along with one of yours. This is similar to a gig trade-out with another band that many bands use as a way to play in new venues. The idea is that the band you feature will also feature you on their release as well."
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Wednesday, August 8, 2012

Artists Warming To Facebook Timeline

Facebook Timeline image from Bobby Owsinski's Music 3.0 music industry blog
In a study conducted by ReverbNation and Hypebot, it seems that artists and bands have a more positive opinion of Facebook's much maligned Timeline after using it for a bit. Here's what they found:
  • 30 days after release, only 39% of artists would give Timeline a Like. After 90 days, that figure increased to 45%.
  • 62% said that Timeline makes it easier to share videos and photos.
  • 55% say that Timeline is better at publicizing shows.
  • 54% say that Timeline is better at sharing music.
  • 49.5% say that Timeline is just as good or better at growing their fanbase.
  • 49% say that Timeline has helped their fan engagement.
  • 68% are getting more likes since the switch.
  • 61% thing that their "People talking about this" stats are better after the change.
  • Only 15% say they have more comments since the introduction of Timeline.
  • Only 17.6% are noticing more Shares.
It seems that the more artists live with Timeline, the more they like it. What do you think?

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Wednesday, July 4, 2012

Facebook Loses Active Users

Facebook-unique-visitors-drop image from Bobby Owsinski's Music 3.0 blogIt's been evident that the number of unique visitors on Facebook was leveling off in recent months, but now comes evidence of a significant decline. Via an article on Hypebot, the site analyst company ComScore has determined that the number of unique visitors to Facebook have declined by 4.8% in the last six months!

This is pretty substantial in that Facebook was counting on its subscribers to rise a bit in the US rather than dropping, in order to support its recent IPO and subsequent investors. It's true that its more likely that the company will gain users in other parts of the world (in Asia in particular) as the US market seems somewhat saturated, but a decline of almost 5% is really unexpected.

So what's the reason for the decline? Are the users tiring of the Facebook experience? Do they hate the redesign (especially Timeline)? Are they using another social network instead? Are they still using the network but not loggin in? What do you think?

For the record, Facebook claimed that it has over 900 million "active" users in their last quarterly report. It'll be interesting to see what the next quarter report looks like.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Sunday, April 1, 2012

Now It's Pay To Play Radio

no pay to play graphic from Music 3.0 blog
Ask any random collection of artists or bands, and one thing that they'll all readily agree on is that pay-to-play is evil.

It used to be that artists and bands faced pay-to-play gigs in only New York, LA and Nashville, but the practice has unfortunately spread to many more cities in the United States. For those musicians blissfully unaware of pay-to-play, that's where a club charges a band to play a gig as opposed to the traditional other way around. The club doesn't actually ask the band for money per se; they demand that the band buy a number of tickets, which they can then resell or give away, in the hopes of drawing a crowd.

For a venue, pay-to-play is usually a terrible strategy over the long term since it relies completely on the bands to draw a crowd, instead of the venue itself. In the case of a healthy venue with a strong built-in following, many from the venue's crowd will go to the club regardless of who's playing. Not so with a pay-to-play club, which has no following, and therefore those who go to the club have absolutely no loyalty to it. Eventually this means a slow death for the club, since it's not in the business of providing a positive experience for the fan; it's simply a middleman for the bands.

OK, we can all agree that pay-to-play doesn't really help anybody too much, and it's generally the scourge of the musician who wants to gig, but what if I told you this might happen to Internet radio as well? No kidding. If you want airplay, you gotta pay. Not under-the-table record promotion stuff where money and "favors" change hands like in the 50s, 60s, and 70s, but straight up paying for placement on the playlist.

Well, it appears that Internet streaming service called Earbits is trying a pay-to-play plan that charges for the honor of appearing on their playlist. Actually, it's a bit worse than that because bands or labels end up bidding for a space on the playlist, plus they get paid even less than the pittance that Pandora or other online radio stations pay so far.

What does an artist get for that privilege? Not much from what I can see. According to an article in Hypebot, when people "like" a song or band, it also shows up as a Like on Facebook as well. The artist can customize some of the visuals that the listeners sees to promote themselves as well. If listeners skip the song too much, it's jettisoned from the playlist. Earbits has a label to sign bands they like, and are doing licensing and branding deals for artists and bands, but so are a lot of other companies. So far Earbits has delivered only 4.5 million streams, which is a drop in the bucket compared to a service like Pandora. For the user, it's commercial-free (it better be) and customizable, and available on iPhone and Android devices.

I can understand the business model behind Earbits, which appears to be financed through a round of angel funding like Geoff Ralston (former CEO of LaLa, which Apple purchased a few years ago). It's new service (founded in 2011) that wants to be profitable as soon as possible, but this sets a terrible precedent. The last thing music needs is another play-to-play situation.
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You should follow me on Twitter for daily news and updates on production and the music business.

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Tuesday, February 28, 2012

EMI vs. Artists: The Big Battle Ahead

EMI logo graphic from Music 3.0 blog
Leave it to a major label to turn something meant to benefit artists into a potential business busting battleground. EMI was once a welcome home to some of the biggest names in the music business (The Beatles, Pink Floyd, Coldplay and Bob Seger to name just a few), but if they continue on their present path they're going to have the mother of all lawsuits on their hands, according to former MP3.com ceo and industry gadfly Michael Robertson.

It all started a few years back when Congress changed the copyright law so that artists had a chance to reclaim ownership of their works after 35 years (see my previous post on the subject). Obviously there's been a lot of artists who were taken advantage of 35 plus years ago, so beginning in 2013, it was going to be possible for them to get the rights to their songs back and therefore finally collect their fair share of the royalties, thanks to the new law.

But EMI doesn't look like it's about to let that happen says Robertson, declaring that their works were actually a "work for hire," which is a term that basically means "we paid you some money to produce this material for us, and now we own it all and you own nothing." Bottom line, it means that these artists might not only get their rights back, but may not even see another dime in royalties as well.

So who are the artists that EMI is trying to take to the cleaners? Here's a partial list:

Adam Ant
Amy Grant
Asleep At The Wheel
Beastie Boys
Ben Folds Five
Bill Evans
Billy Idol
Bob Seger
Bob Welch
Bonnie Raitt
Boz Scaggs
Crystal Gayle
Daft Punk
Duran Duran
Everclear
Fats Domino
Frank Sinatra
George Clinton
Herbie Hancock
Iggy Pop
Katy Perry
Keith Urban
Lenny Kravitz
Megadeath
Missing Persons
Norah Jones
Paul McCartney
Pink Floyd
Sammy Hagar
And the list goes on and on.

To say the least, if this is really true EMI is playing not only with fire, but with dynamite, since some of the names on the list are extremely well financed and very prepared to do battle. If nothing else, it should make for an interesting couple of years should they follow through on their plans.

For the full list as well as Michael Robertson's insight into this story, go to Hypebot.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.


Monday, February 6, 2012

15 Artist Revenue Opportunities

Clyde Smith recently posted a nice compilation of revenue opportunities at Hypebot that I thought everyone should know about. One of the great things about Music 3.0 is that there are a lot of sources of income. You might not get a substantial income from any single one, but start to put them together and it really adds up.

Here are the 15 revenue opportunities available to artists for 2012:

1. Alternative Performance Venues
ConcertsInYourHome ~ Slowbizz.com

2. New Retail Outlets
Melodica Marketing
~ Offline Music Distribution Network

3. Affiliate Programs
Amazon Associates
~ iTunes Affiliate

4. Unique & Interesting Band Merch
SoulBlendr
~ Dizzyjam vs. Bitvibe ~ Shirtify

5. Ecommerce & Direct to Fan
ThingLink
~ CD Baby MusicStore ~ FanBridge on Facebook

6. Find Unique Pairings
Turntable Kitchen Pairings Box


7. Music Licensing
Vimeo x Audiosocket ~ Audiosocket MaaS: Storefront

8. Mixes That Pay
Dubset
~ Legitmix

9. Digital Archives
Fugazi & The Rolling Stones ~ Nugs.net

10. Live Streams
backBEAT
~ StageIt ~ StreamJam

11. Sell Your Knowledge
Ebooks ~ MuseSpring

12. You Have to Give Before You Can Give Back
Downtime Facebook App
~ Ramble At The Ryman

13. Find Your Love
Blood, Sweat + Vinyl

14. Find Your Crowd
Crowdfunding ~ Patronism ~ TuneRights

15. Save Money
Poorsquare

More:
Go here to read the entire Hypebot article.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Tuesday, January 31, 2012

The Entertainment Sky Is Rising

If you read this blog with any kind of regularity, you know that I'm one who is quite optimistic about the entertainment business, and the music business in particular. You hear a lot of doom and gloom and rather bold "sky is falling" statements in the media, but most of them are from the old guard of the business who's business is under attack.

It's quite true that things are different fiscally than they've ever been before, but that isn't necessarily a bad thing. All it means is that the entertainment world as we know it is morphing, shifting and evolving to a new model. If you're part of the old school, the last thing you want is this change because things were so comfortable as they were, but it's too late - we're in the middle of something completely new. It's Music 3.0.

Here's a great inforgraphic from Techdirt by way of the great Hypebot blog that explains how the entertainment sky is rising rather than falling.

Entertainment Sky Is Rising image from Bobby Owsinski's Music 3.0 blog

You can find a nice presentation of the full report over at Hypbot.

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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.


Tuesday, January 17, 2012

Social Media Tips From The Roxy In Hollywood

The Roxy Theatre logo image from Bobby Owsinski's Music 3.0 blog
The Roxy Theater on Hollywood's famed Sunset Strip has long been a prime venue for acts of all sizes and genres, regardless of their level of success. But like so many other venues, it met with some challenges during the tough years of the financial crisis. Owner Nic Adler decided to turn to social networking to breathe some new live into the club, and did so with resounding success.

Lydia Dishma interviewed Nic Adler for Fast Company and he revealed his tips for using social media. I found this part of the interview on the ever excellent Hypebot blog.

(1) Be Early To Be Influential
"It is this land grab that's happening. If you are on early you can move your base. By the time it becomes an awesome network to be on, you are already at 20K followers."
(2) Keep Moving
"If you miss a beat they've passed you by, so be everywhere. That is why we find ourselves in so many different networks. If we were just on Myspace we'd only be talking to a small group. If we spread out we have a better opportunity to reach more people."
(3) Forget Search. Discover
"I go on Pinterest without anything in mind, I'm just looking and discovering in this different mode...So say you are a business and you have this idea to find the best 20 beers, so you ask your fans. Then you build a new board of your followers' favorite beers and turn around and tweet that out. Your fans are then going to a place where all their ideas are visually placed with links."
(4) Be Generous
"It's about watching that feed and seeing someone tweet, 'Hey I'm broke but I wish I could go to that show,' and I'll turn around and say, 'Hey you are on the list plus one.'...It's better than a contest. It's not something we do every day but the response is amazing."
(5) Be Authentic
"Being authentic and organic are the two biggest things we talk about at The Roxy. It's about a slow build and being honest, and if we are wrong we are honest about that, too. When we are wrong and we make it right, those are almost the most important marketing moments we have at The Roxy."
(6) Change The Way You Think About ROI
"For us, Facebook is more about communication and awareness than trying to get people in the door. People use Facebook as this tool for selling, but more of our content is about music, food, TV...More than 50% of fans might not ever come to The Roxy but we all have this interest in music and pop culture in common."

As with all social media promotion, what works for The Roxy might not work for you, but then again it just might. Especially take note of #6. Too many times we try to measure our promotion by the amount of sales, but sometimes it's more about communication to your fanbase that's important.
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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Tuesday, September 27, 2011

Hashtags And The Most Effect Promotional Tool

rainbow hashtag image from Bobby Owsinski's Music 3.0 blog
Here are a couple of different articles posted on some great blog sites that recently included a thing or two from yours truly.

First of all, the excellent Hypebot blog just posted an article called "Hypebot Readers Share Their Top Music Industry Hashtags." It's a good insight into the hashtags that work for a number of bloggers, including myself. Check it out here.

The second is an article by the first lady of musical social media, Ms. Ariel Hyatt, that was posted on another great blog - Music Think Tank. This one's called "Music Marketers FAQ – What's most important as a promotional tool: Facebook, Twitter, or YouTube?" In it, Ariel (from Arielpublicity.com), Rick Goetz (from musiccoaching.com), Corey Dennis (of TAG Strategic), Carey Lynn Hall, Cassie Petry (of crowdsurf.net) and moi give a brief overview of which of the social media tools we find most effective. You can access the post here.
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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for daily discussion of music, recording, and production tips and tricks.


Wednesday, September 21, 2011

8 Tips For YouTube Marketing

YouTube discovery graphic from Bobby Owsinski's Music 3.0 blog
Here's an interesting post from Hypebot a while back regarding YouTube marketing. I've posted a lot about YouTube optimization, but there are a few tips here (3 and 7) that I hadn't touched on before. You can read the entire article here.

1. Post Compelling Videos on a Regular Basis. Give folks something worth looking at and a reason to return.

2. Optimize Titles and Descriptions for Findability. Important for searchers on both YouTube and search engines.

3. Create Custom Thumbnails for Your Videos. This is your first look but try to entice without misleading.

4. Use All Analytics/Metrics, Not Just Views. It doesn't matter how many views you have if they're only a few seconds long.

5. Interact With & Include Your Fans. Engage your fans in the comments and create ways to include them in your videos.

6. Collaborate With Other Artists. Working with others can extend your fanbase while leading to new ideas.

7. Create Playlists for Different Sets of Videos. Some folks will want to see behind-the-scenes, others just want finished product.

8. Brand and Optimize Your YouTube Channel. It's not just about individual songs or videos but about creating a following for your channel.
These tips were taken from the following sources, all of which have more to say as well as additional tips:
YouTube Music Marketing with David Choi
8 Ways to Maximize Your YouTube Marketing Results
YouTube Creator Playbook
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You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for daily discussion of music, recording, and production tips and tricks.

Sunday, June 12, 2011

10 Ways Musicians Can Use QR Codes

image from www.hypebot.comIt took some time but QR codes look like they're finally catching on. If you don't know what a QR code is, it's the symbol on the left, and it's actually an analog web link. Just scan it with you phone or iPad and you're sent automatically to the webpage.

Recently Bruce Houghton over at the great Hypebot blog posted the 10 creative ways that musicians can use QR codes. The original article is here.

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Inspired by Clyde Smith's Guide To QR Codes For Musicians, I wondered about how indie musicians might use these scanable graphics that link the offline and online worlds. Marketer and artist Erica Glaser had already created a strong list of 50 creative uses for QR codes that's geared to filmmakers and visual artists as much as musicians, but she provided the spark that led to my own list of 10 Creative Ways Musicians Can Use QR Codes:
  1. Connect a gig poster with a place to buy tickets
  2. Connect posters to a video or track that "sells" the band
  3. Connect your t-shirt to your web site
  4. Connect a t-shirt or poster to a free download
  5. Connect a poster to your online store with a discount
  6. Connect a poster to your Facebook page
  7. Connect signage on stage and merch table to mobile firendly site with email signup 
  8. Connect your CD cover to an email signup
  9. Connect a CD cover to bonus content
  10. Offer a free track to retailers who include you name and a QR code connecting to a tweet-for or email-for-track landing page
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Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

You should follow me on Twitter for daily news and updates on production and the music business.

Check out my Big Picture blog for daily discussion of music, recording, and production tips and tricks.

    Tuesday, June 7, 2011

    8 Essential Facebook Promotion Tips

    Jennifer Moire wrote a great post on the essential Hypebot blog a while back that outlined the 8 tricks for publicists using Facebook. I changed the title because I think that it applies to anyone promoting on Facebook, not only publicists, but the body of the post is the same. This is some really valuable info that can be useful immediately if you use Facebook as a promotional tool (which you should be doing).
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    A rash of recent social media conferences inspired us to compile these tips to help public relations professionals get the most out of the social media site.

    • Thursday is the best day of the week to get the most visibility for a Facebook post.
    • When sharing stories, include the full link on Facebook — that’s 300 percent more likely to get clicked on than any shortened address.
    • Use both the like and send Facebook buttons on your site.
    • Want the secret behind making it into your friends’ “top news” feed? It’s based on an algorithm known as Edge Rank. Use words like “today,” and “limited-time only,” to increase its Edge Rank.
    • According to a recent study from Pew Research Center’s Project for Excellence in Journalism, Facebook is among the leading drivers of traffic to 21 news web sites. So when sharing a good media story, don’t forget to leverage the leading social network.
    • Want to know which words are most “shareable” on Facebook? Try words like “best,” “most,” and those that explain, such as “why,” and “how.”
    • Facebook may be a better platform for making a video go viral than other social media platforms, probably because the site makes it easy to embed multimedia content into a post.
    There's a lot of great information available via the links, so take a look at those as well.
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    Help support this blog. Any purchases made through our Amazon links help support this website with no cost to you.

    You should follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for daily discussion of music, recording, and production tips and tricks.

    Monday, March 28, 2011

    10 Great Music Marketing Ideas

    Here are 10 music marketing ideas from the Music 3.0 Internet Music guidebook. It’s easier to sell your music if you add extra value to it, so it helps to think outside the box when it comes to distributing your music. Thanks to Bruce Houghton of the great music blog Hypebot for numbers 7 through 10.

    1) Develop a package - This could mean anything from a CD and a vinyl album, to a digital download and album with all alternative mixes, to a boxed set of CD’s or anything in-between (Trent Reznor’s Ghosts I-IV is a great example). The idea is to go beyond just the typical CD and digital offerings.

    2) Sequential numbering - Numbering a physical product (for example; "#5 of 1000") gives it the feeling of exclusivity. The product becomes a special edition and a must-have for the true fan.

    3) Tie it to merchandise - Offer a physical product that contains the code for a free download of your album. Mos Def was so successful with the T-shirt release of The Ecstatic that Billboard magazine even began counting it as a music release on their charts. Other artists have sold their music via codes on such items as golf balls, bandanas and even canned food!

    4) Release a “double-sided” digital single - Rhino Record's digital releases celebrating 60 years of the 45 RPM single set a fine example for this format. For between $1.49 and $1.99, Rhino provided the original hit song, its B side (the flip side of the vinyl record) and the original artwork. You can do the same by providing two songs for price of one - an A and a B side.

    5) Release on an old alternative format - We’ve seen some artists (The Decemberists Hazards of Love come to mind) release a vinyl-only physical product to great success. Cheap Trick did it on the old 8-track format from the 60’s, and some bands have even recently released on cassette tape. Releasing on a older format can be good as a publicity tool (as long as everyone else isn’t doing it) and who knows, maybe you can start a trend?

    6) Release on a new alternative format - A new alternative format that’s getting some traction is flash memory, or the common USB memory stick. Once again, Trent Reznor met with great viral success by planting unmarked memory sticks in bathrooms at Nine Inch Nail’s concerts, and Sony even released the 25th anniversary of Michael Jackson’s Thriller on the format. Everybody uses these things so you’re bound to get at least a look, which you can’t always say about other formats.

    7) Three Sides - Offer a song in an early studio version, the final mix, and then captured live.

    8) Radical Mixes - Offer two or three very different mixes of the same song, perhaps even done by the fans.

    9) Two Sides of (Your City) - Two different bands each contribute a track to a series chronicling your local scene.

    10) “Artist X” Introduces _____ - Add a track by your favorite new artist/band along with one of yours. This is similar to a gig trade-out with another band that many bands use as a way to play in new venues. The idea is that the band you feature will also feature you on their release as well.

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    You should follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

    Monday, January 17, 2011

    4 Things To Know About BitTorrent

    Kyle Bylin had a nice article on Hypebot recently about the 5 things to know about BitTorrent stats. I'm going to repurpose that article a bit for this post in order to make a few points. If you don't know what BitTorrent is, then you're probably not illegally file sharing or moving large amounts of data, but it's a peer-to-peer file sharing protocol for distributing large amounts of data.

    That being said, if you're a content creator or owner of any kind, BitTorrent can be one of your worst nightmares as your work can be freely distributed to anyone anywhere if they so choose. Here are a few things you should now about the service.

    1) BitTorrent has over 100 million monthly users. That includes over 20 million active users that download over 400,000 files daily. That does not include what may be up to a couple million unofficial clients.

    2) BitTorrent has twice as many users as Hulu and Netflix combined, but it's only has about half as many users as iTunes or YouTube. This puts things into perspective a bit when you realize that twice as many people are willing to obtain their entertainment legitimately.

    3) BitTorrent still makes most of its money from its toolbars. This means that unless they figure out a different business model, they're leaving a lot of potential money on the table since there's really no other way to take advantage of this massive amount of traffic.

    4) Surprisingly enough, the highest searched for music item was only #47 of the most searched items (that was Eminem). All of the top 10 searches where Hollywood movies. People may be still downloading your music, but I would worry a lot more if I were a film studio, although that doesn't say too much for the popularity of music these days, does it?

    What does this all mean?
    A) People still are willing to pay to a quick and easy user experience.

    B) Music is in trouble because people are beginning to feel that it's not worth stealing.

    C) BitTorrent makes a lot of money but it's not the huge cash cow that it should be, given the amount of traffic that it has. Services like this have a tendency to be bought for their technology, or disconnect from their audience to find a new business model, so don't be surprised if one day BitTorrent isn't there anymore or becomes something else.

    Read Kyle's article on Hypebot here.

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    You should follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

    Monday, December 27, 2010

    Ask For The Sale

    image from t2.gstatic.comThere was an article on Hypebot a few weeks ago by Peter Tanham of Amp Music Marketing regarding "call to action" buy buttons. Amp Music Marketing decided to test a number of buttons to see which was most effective when it came to selling music. The choices were:

    "Get The Music"
    "Download The Music"
    "Buy The Music"

    It turns out that the most effective was the most direct "Buy The Music (album, CD, etc)" while "Get The Music" was the least. It seems that consumers relate "Get The Music" to a bait and switch in which they're lured into clicking only to find that there's something additionally asked of them.

    When it comes to sales, sometimes the very best technique is the most direct. Ask plainly for the sale. If your fan or customer really wants to buy from you, you're doing them a favor by making the process streamlined and easy. If your fan or customer is unsure, you're not helping the cause by being ambiguous.

    And another thing. Keep the choices to a maximum of 3 (two works best). If given too large a variety of choices, the customer is likely to throw his hands up in the air in frustration and not buy anything!

    Read the entire article here.

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    You should follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.


    Wednesday, December 22, 2010

    Music Industry Trends For 2011

    Here's a post that I wrote for the great Hypebot blog earlier in the week regarding what I see as some of the music industry trends that we'll see in 2011. For those of you who don't read Hypebot (you really should because it's a great music industry blog), I thought it would be a good idea to repost it here.

    I'd really like to thank Bruce and Kyle at Hypebot for all their support this year. They've been a great proponent of my Music 3.0 guidebook, and have frequently posted excerpts from it, for which I am much appreciative.
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    As I see it, there will be several important trends in 2011, but they’ll all be mostly a continuation of what we’ve seen in 2010.

    1) The most important trend for 2011 will be realism.

    *  The realism that DIY takes a lot of work and the rewards aren’t as great as in the heyday of the major labels. Musicians and artists will begin to see success in a different way as making a living replaces stardom as the big score.
    *  The realism that social networking has limitations, and traditional marketing and promotion can’t be abandoned. You still need both for effective branding and marketing.
    *  The realism that the touring market is not nearly the goldmine that it once was during better economic times. Fewer venues, less money and more competition makes gigging more difficult than ever. That being said, look for this to loosen up a bit towards the end of the year as the economy rebounds.
    *  And the realism that some things in the music business never change. You still need talent, some great songs, lots of hard work, and a little luck to make your mark.
    Other trends for 2011 include:
    2) The major labels lose even more influence, but don't go away. They'll always be needed for what they do best - taking a successful artist and making them a superstar.
    3) A new generation of record label will emerge, helmed by music entrepreneurs like those in the 50's and 60's. These entrepreneurs are part of their audience, love the same music, and are as far away from corporate execs as you can get.
    4) The album continues to lose ground. It’s no longer a total listening experience, so the listening consumer cherry-picks the best songs as a result. This trend will eventually reverse, but not in 2011.
    5) Music subscription will finally reach critical mass as consumers realize its benefits and more services become available (iTunes subscription perhaps?).
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    You should follow me on Twitter for daily news and updates on production and the music business.

    Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.


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