Monday, June 4, 2012

7 Points About The Future Of Facebook

Facebook f's image from Bobby Owsinski's Music 3.0 music industry blog
It's been a couple of weeks since the Facebook IPO, and we can all see a little more clearly what happened and maybe get a hint to where the social network might be going. Here are some thoughts that I have on the network as it currently stands, and what the future may hold for it.

As you'll see, there are 6 points, some good and some not so good. Let's begin.

1. Facebook still has room for growth. It's at 900 million users now, but that doesn't include much of Asia. In fact, most of the countries where Facebook has its greatest penetration (like the United States) are only around 50%, while India, Japan and Russia still are less than 5%. This is one reason why investors were somewhat bullish on the service, because no matter how big it is now, odds are that it will get bigger soon.

2. Facebook is a force. It gets 9% of all online visits in the US, according to Experian Hitwise. It's users are extremely engaged (the average user spends 20 minutes per visit). It could make money from revenue streams not yet in place, like the new phone, selling data on its users, monetizing storage or photos. It may seem like a one trick poney at the moment with advertising, but it doesn't have to be.

3. Kids aren't using it anymore. There's lots of empirical evidence that the current generation of teenagers (ages 13 to 17) don't find FB cool anymore. In fact, the largest growth (in the US anyway) seems to be in the over-45 demographic. Most teens are looking to Google+ (so they can keep their conversations within their Circles) or Tumblr instead. How can a network be cool if your parents are using it? This is a long term problem that FB faces as it loses the next generation of users.

4. They haven't figured out mobile yet. While FB has been able to make some real dough through advertising, it admittedly hasn't been successful at all on a mobile platform yet. You may not feel it, but the world is moving to mobile (especially outside of the US where bandwidth is higher and cheaper), and while the days of the the laptop may never come to an end, we'll soon be using our phones for much more than we ever envisioned. Unless FB can find a way to monetize mobile, it again has a long-term problem.

5. Facebook's advertising model is shaky. Major advertisers are beginning to question the value of FB ads. Of course, GM made headlines right before the IPO when it announced it was pulling its ad budget from FB, but other advertisers are looking to do the same (check out this article in Forbes from the ad buyer from American Apparel). It seems that the ads as they now run are very ineffective. Let's face it; do you ever in bother to look at any of the ads? This is a major problem for FB, and it's more current to medium term.

6. People don't like Timeline. Facebook hasn't been good with updates and it seems that every one raises the ire of more people than it pleases. Timeline has been universally panned, and as it becomes standard on FB, look for more people to check out social alternatives as a result, and never come back.

7. But they have $16 billion to make purchases with. This is the saving grace for FB. Say what you will about the IPO, but Facebook made out just fine, wringing every last cent out of the market instead of the middlemen getting it. With that much cash on hand, they can buy and develop other profit centers even if the current onces fold. But Microsoft, Yahoo and Google also had huge mounds of money and their acquisitions didn't amount to much, so the track records of public internet companies isn't that good. Still it does give Facebook a fighting chance if everything else goes wrong.

Did I or would I invest in Facebook? Hell, no! At least with Apple you had a genius, with Microsoft you had a monopoly and with Google you had a forerunner with massive momentum. I see none of that with Facebook. But don't count them out. That $16 bil in the bank is one formidable tool.

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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, June 3, 2012

5 Ways To Turn Fans Into Superfans

Wrist Band Merch image from Bobby Owsinski's Music 3.0 blog
There are a number of lists available for developing fans, increasing fan engagement, and taking casual fans to the next level of superfan or "tribe" (in master marketer Seth Godin parlance), but a post from merch packager United Manufacturing has some good ones that I've not seen before.

You can read the entire list on the UM site, but I've singled out the ones that I really like below:
1. Always have cheap merch handy as a free giveaway. Stickers, patches, guitar picks, necklaces, wristbands are all less than a buck but reap a lot of goodwill. 
2. Share some dark secrets on your blog. Fans can relate when things get tough, and if the post is done well, it can quickly increase their goodwill with you. As a good example, check out Black Sabbath drummer Bill Ward's site where he outlines his pain at not being able to do the upcoming tour because of some "unpleasant" contract negotiations. 
3. Conduct a live webcast with the fans. There's nothing better than a live shoutout to your fans, especially when they can give you a shoutout right back. 
4. Showcase fans in your music videos. What better way to make fans a part of your tribe than to feature them in a video. 
5. Post photos of their gifts to you on your website and social networks. Fans are always sending gifts to the artist they love. Show your appreciation right back by featuring photos of those gifts, or reprinting their emails, on your site, blog, and social network feeds.
There are a lot more tips that you can read in the original article, but the ones above that I singled out you don't often see on many lists, and they can be the most effective of all.

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Thursday, May 31, 2012

Grooveshark's Beluga Analytics

Beluga Screen Shot image from Bobby Owsinski's Music 3.0 blog
This week beleaguered Grooveshark released its free analytics tool called "Beluga." It's an interesting tool for researching the demographics and music habits of the people listening to a particular artist. Even better, it's free.

What's more, you can even dig deep into the culture and lifestyle, socioeconomics and product affinities of the listeners. And it's free.

Culture and lifestyle provide answers to questions like:
Do you own any of the following gaming systems?
What languages do you speak?
What kind of pets do you own?
How many children live in your home?
Socioeconomics questions include:
What's your current employment status?
What's your annual income?
What cellphone network do you use?
What brands of credit/debit cards do you use?
Not enough? How about some product affinity info like:
What kind of gaming system do you use?
What kind of insurance do you currently have?
What bank do you currently use?
Do you use any of the following websites?
So exactly how does Grooveshark get all of this info just from streaming some music? They've actually been offering opt-in surveys to their users for a while, which allows them to collect a tremendous amount of data on the listener if he/she chooses to answer the questions.

Why is Beluga a free service? On their FAQ page, they'll give you a mumbo-jumbo non-answer, but the underlying reason is that Grooveshark knows it's in trouble in the streaming business, facing some stiff competition from services like Pandora and Spotify as well as the wrath of the major record labels. There's a lot more money to be made in data collection, so Grooveshark is actually positioning itself for life after music streaming, as I see it.

What's the achilles heel? If an artist isn't on Grooveshark, there's no way to determine any information about their listeners. The Beatles aren't represented on the service, so there's no demographic data available as a result.

That said, it's a pretty cool tool if you're an artist and you're on the service (By the way, Grooveshark is about to release an artist's upload tool that will make that easier in the future). By no means do you get a complete picture of your listeners, but it's another piece of the puzzle. Did I mention that it's free (at least for now)? Check out Beluga here.

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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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Wednesday, May 30, 2012

The Land Of Fake "Like's"

It never takes long for someone to come up with a way to game an online measurement that the music industry finds useful. Once upon a time, the major labels used MySpace followers as a measure of a band's popularity. That's until it was discovered that there were multiple ways to fake the numbers. Of course, the number of website hits were once used as a measurement until every unknown band seemed to have a million.

We knew this days was coming for some time, but now we have proof that Facebook likes are being paid for. Take a look at the graphic below and you'll see a number of tell-tale signs that the number of Like's may not be what they seem.


We live in a high-tech era that claims to have popularity measurement figured out, but it's interesting that the only sure way to determine popularity is decidedly old and low-tech - the number of people you pull at your concerts. Sales have always been gamed (although it's a bit more difficult these days), but if you have a string of sold out dates with people fighting to get tickets (that's the key), then you can be sure that an act is popular. Ironically, the artists above don't have any trouble on that front.

Yes, I know all about "papering the house" (giving away or offering tickets at extremely low price), but which would you trust more; a venue packed with rabid fans or a bunch of Facebook Like's?

Thanks to Bob Lefsetz for the heads up on the graphic.

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Tuesday, May 29, 2012

6 Crowdfunding Mistakes

Crowdfunding image from Bobby Owsinski's Music 3.0 blog
Crowdfunding for music projects is a hot topic these days, especially with Amanda Palmer's ongoing success (a million dollars in 30 days!). Everyone wants to get in on the act, and I've certainly covered many of the strategies on how to do that here already.

But let's look at a different side of crowdfunding. Why do some campaigns fail? There was a recent article in Mashable that specifically looked at this,  and I'll quote their bullet points, but the explanations are mine.

1. Nobody Knows You. If you don't have a fanbase to begin with, you're probably not going to attract one on a crowdfunding site. Why should someone give you money if they don't know you, or even worse, don't trust you? You have to do the hard work first before you can ask anyone for their dough.

2. No One Can Tell What You're Talking About. Unless you can concisely describe who you are, what you want the money for, and what the contributor gets back in return, you're sunk. This is easy to overcome; just test it on some friends, fans or even some strangers. Their feedback will help you hone your pitch.

3. Nothing Sets You Apart From Your Competition. There are a lot of open hands out there, especially now that crowdfunding has become so popular. You have to communicate why your campaign is different and why the rewards are so valuable before they'll pledge some money though.

4. You Fail To Ignite, Engage, Or Connect. If you don't get the word out, or can't close a potential contributor when they get to the campaign site, your campaign will fail. A great video (see Amanda Palmer) can help people to understand what you're trying to do, but engagement through social media, email and your website is just as important.

5. You Don't Maintain Contact With Supporters And Backers. It's important to keep a running dialog with contributors through email and social media. They want to know how well the campaign is doing so they can feel good about their contribution. If they do, they may tell others that might make the difference in being a success or not.

6. You're Greedy Or Clueless About Fundraising Goals. Be conservative about your fundraising goals. If you aim too high, you may scare away potential contributors. If you're unrealistic in how much you need for a project (like $500,00 to just record an album), you can be sure you won't get it. Remember, it's a good thing to blow past your goal; bad if you don't reach it.

Keep these points in mind when planning your crowdfunding campaign. It's not an easy process (nothing good ever is), but you won't help yourself much by ignoring this advice. Read the entire article at Mashable.

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Monday, May 28, 2012

Setting Album Launch Milestones

Ariel Hyatt image from Bobby Owsinski's Music 3.0 blog
Recently on Music Think Tank Cyber PR maven Ariel Hyatt wrote a great article about marketing tactics for a new album launch. I'd like to reprint just a part of that post; the section that deals with launch milestones.
"Plan some milestones starting from two months before the release date to at least one month after the album comes out. Here is how this could look: 
Two Months Before Release - Release a single, a great way to get the fans excited and also to get some current press quotes to include when contacting press about the full length album - Announce to your fans that tickets are for sale for the CD release show 
One Month Before Release - Press campaign begins for new album - Announce pre-sale campaign through your newsletter, and social networks including Facebook and Twitter - Set up a Facebook invite for the new release, send it to all your Facebook friends and post on your Fan Page 
Two Weeks Before Release - Keep the excitement going, hold a contest to win a copy of the new album or tickets to CD release show 
Release Day Activities - Write a news post about the release on your official website - Send out a Newsletter to mailing list - Update Twitter and Facebook with an “album out now” post and link to where they can purchase it. 
One Month After The Release - Service press with official music video and announce tour dates. Again, the more activities you can plan leading up to the release will help build the excitement with your fans, and the more press points you can arrange for after a release will enable you to keep contacting press with new content, while at the same time reminding them about the new album. Also, don’t forget to ask your family, friends, and fans to write reviews of your new album on iTunes and other digital retailers the minute it becomes available. Studies have shown that albums that are reviewed at iTunes actually sell more than albums with little to no reviews posted. In the next and final post, I will talk about supplying content while you’re in between album cycles, as a means to stay relevant and fresh with your current fans, and to increase your fanbase as well."
This is some great advice. Unless you formulate definitive milestones, you have no idea if your plan is working or not. Plus, it's a lot easier to achieve your various goals if they're broken into achievable parts. If you have an album that you're finishing, it's never too early to make a plan for it.

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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, May 27, 2012

The Secret To Tour Routing

Martin Atkins has toured for years as a member of Public Image Ltd, Killing Joke and many others. He has a great site especially dedicated to helping bands tour called Toursmart.com that has a variety of tips and tricks to help that tour go a lot easier while keeping your expenses low.

In the following video, Martin goes into detail about the value of tour routing, and how it can make or break a tour.



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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.

Thursday, May 24, 2012

Music Sales Directly After The Show

Ovation Tower Kiosks image from Bobby Owsinski's Music 3.0 blog
Let's say you just played a great show that beats all of the studio tracks that you've recorded. Your fans would be eager to purchase the music right there on the spot if it were available. It's the perfect impulse purchase. The problem is that while it's easy to record the show, making it immediately available isn't that easy. Until now.

Migratory Music has a new system called the Ovation Tower that does just that. Now your fan can purchase a recording of the show and download it as an MP3 to their favorite MP3 player, or have a download link sent to them by email. The kiosks are also capable of selling recorded music from your catalog as well as present advertising.

No word on any of the details on how it's done, how much time it takes, or what the cost might be (except for the fact that they're aiming for "less than $20" to the end user).

I can see a venue installing this and then taking a piece of the sales from the bands. That sounds easier than it is, since we get into the whole legal area of publishing rights, but that hurdle is easy to overcome if there's a new revenue stream coming on the scene.

Check out this short video on the system. I'll post more details as I discover them.



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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, May 23, 2012

The 8 Principles Of Fan Communication

Communication image from Bobby Owsinski's Music 3.0 music industry blog
Here's a repost from way back when I started this blog about 3 years ago. It's still just as relevant today.

Staying in touch with your fans is probably about the most important thing an artist can do these days, but the way it's done is equally as important. In an excerpt from the Music 3.0 Internet Music Guidebook, here are 8 principles of fan communication.

1 - Talk to your fans, not at them. Don’t try to sell them, but keep them informed. Anything that reads like ad copy might be counterproductive. Always treat them with respect and never talk down to them.

2 - Engage in communication. Communication is a two-way street. Fans want to know that they’re being listened to. You don’t have to answer every email, but you have to acknowledge that you heard it. The more questions you ask, polls you supply and advice you seek, the more the fan feels connected to you.

3 - Keep your promises. If you say you’re going to do something, do it in a timely fashion. Don’t let the fans wait. If you promise you’re going to email a link and post a song, sooner is always better.

4 - Stay engaged. Even if you’re only sending something simple like a link, take the time to engage the fan. Tell her about upcoming gigs, events or releases. Take a poll. Ask for advice. This is a great opportunity for communication, so take advantage of it.

5 - Utilize pre-orders. If you have a a release coming soon, take pre-orders as soon as you announce it, even it’s free. It’s best to get people to act while the interest is high, plus it gives the fan something to look forward to. To motivate the fan for a pre-order, it sometimes helps to include exclusive content or merchandise.

6 - Appearance means a lot. Style counts when talking to fans. Make sure everything looks good and is readable. Spelling or grammar mistakes reflect badly on you. Try to keep it simple but stylish, but it you or your team don’t have the design chops to make it look good, it’s better to just keep it simple and readable.

7 - Cater to uber fans. All of the members of your tribe are passionate, but some are more passionate than others. Fans have different needs and wants and it’s to everyone’s benefit if you can cater to them all. Try to always include a premium or deluxe tier for every offering such as a free T-shirt or backstage pass as a reward for posting, a free ticket to an upcoming show, signed artwork, extra songs, anything to satiate the uber fan’s interest.

8 - Give them a choice. Give fans numerous ways to opt-in since not everyone wants to receive their information, or the type of information, the same way. Ask if they would rather receive info by email, SMS or even snail mail. Ask if they’d like to receive info on upcoming shows, song releases, video content, or contests. And ask how often they’d like be contacted.

Follow these 8 principles and your communication with your fans will remain both smooth and profitable.

To read more from the Music 3.0 Internet Music Guidebook or my other books, go to my website.

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Tuesday, May 22, 2012

Crowdfunding Tours With Gigfunder

Gigfunder logo image from Bobby Owsinski's Music 3.0 music industry blog
Crowdfunding is quite the buzz word these days and rightfully so. Both new and established artists are using it to gain funding for new recording projects using a variety of sites like Kickstarter, Crowdfunder, Sellaband, Rockethub, and many many more.

But one new crowdfunding site recently launched that's very unique. Gigfunder is like those other sites in that it helps raise money from fans, but it's dedicated strictly to funding tour dates.

Let's face it. Touring is not easy or cheap, especially if you're just starting out. You not only have to pay for gas, but hotel rooms, food, transportation and even festival buy-ons. A new band, no matter how good they might be, are at an immediate disadvantage money-wise. Gigfunder not only mitigates some, but adds a few extra incentives too.

First of all, it's a way to publicize your tour and where you're playing in a targeted way. That's because fans suggest cities and venues for you to play. If you don't reach the funding tier, you don't play there, which is the second great thing about the service. No use playing to an empty club. If a gig is funded by your fans, you can be sure they'll be there.

You can find out more about Gigfunder by checking out this FAQ.

Touring is the key to a band's success. Don't let expenses get in the way.
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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, May 21, 2012

LimeWire Owes The Major Labels 75 Trillion

LimeWire logo image on Bobby Owsinski's Music 3.0 blogWhen the file-sharing service LimeWire was shut down for copyright infringement in 2010, you would have thought that the RIAA got exactly what it wanted. After all, shutting down a major source of digital music piracy should be considered a victory in a war where the RIAA has had few.

But no, that wasn't enough. Now the RIAA and 13 of the record labels that it represents are sueing LimeWire for the grand amount of $75 trillion. That's right, "trillion" with a T. That's 75,000 billion and 75,000,000 million, if you're counting.

The RIAA determined this absurd figure by identifying just 11,000 songs they felt were infringed. Figuring that each one was illegally downloaded thousands of times at the maximum damage award rate of $150,000 per download, they came up with the magic number.

Let's put the $75 trillion into perspective. The US economy is around $14 trillion per year, and the entire world's economy is around $60 trillion a year. That means that the entire world economy couldn't pay the maximum damages the RIAA thinks it should receive!

Now the judge isn't swayed by the RIAA's claim and will most certainly rule that each infringed song is worth just a single award regardless of the number of illegal downloads, but that would mean that the final number would still be in the billion dollar range.

What are the chances that the RIAA picks up that billion (let alone $75 trillion)? Probably zero.

All of these numbers are posturing for headlines. By throwing out absurd numbers like $75 trillion, the RIAA gets people like me to write about them (you're welcome, guys). It increases the chances of a larger settlement, since almost anything less than a trillion sounds like a victory. It makes the attorney's look good.

Does it help the music business as a whole? Does it move music along it's path of evolution? Does it help the music fan? Does it help the artist or band? The answer to all is "no." Whatever judgement is awarded will go directly to the bottom line of the labels with a hefty sum off the top to the attorneys. The artists will be lucky to see pennies on the dollar.

That's the remnants of the Music 2.0 music economy at work. Long live Music 3.0, where the artist takes control. May it happen ever more quickly.

You can read more about the case on law.com.

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Sunday, May 20, 2012

The Secret Meeting That Changed HipHop

anonymous person image from Bobby Owsinski's Big Picture production blog
Here's a pretty fantastic story that I'm not sure is true, but it sure is interesting, especially if you believe in conspiracies. It's based on an anonymous post on the HipHopIsRead.com blog where the poster states that he was formerly a high-level major record label exec who was invited to a mysterious private meeting in 1991 along with 25 or so other execs from the music business.

During the meeting the execs were urged to change their signing emphasis to acts that promoted criminal behavior and activity (Gangsta rap). The reason? The owners of the record companies had silently invested in private prisons, and it was good business to keep those prisons filled!

Here's a sample of the post.
"At the time, I didn’t know what a private prison was but I wasn’t the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us. We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares. Most of us were taken back by this. Again, a couple of people asked what this had to do with us.  
At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled. Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice. 
He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employees, we’d also be able to buy personal stocks in these prisons. Immediately, silence came over the room.
You could have heard a pin drop. I remember looking around to make sure I wasn’t dreaming and saw half of the people with dropped jaws. My daze was interrupted when someone shouted, “Is this a f****** joke?” At this point things became chaotic. Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside. 
My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting. I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences. 
We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him. The men rushed us to our cars and actually watched until we drove off."
I didn't know what private prisons were either but I did a little research and found out that it is indeed a huge business. Used by 30 states, one company (Corrections Corporations of America) is attempting to corner the market in 48 states as long as the states will guarantee them the prisons will remain 90% full! In fact, private prisons in 2009 housed 17 times more inmates than they did in 1989.

So I must admit I don't know what to believe. If it's true, it's a said indictment of our business and culture. If it's not, it still goes to show what a huge business prisons have become at the expense of our youth. Either way, we can't win.

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.

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