Thursday, September 13, 2012

It's True, The Music Business Is Not About The Art

Line Outside Club image from Bobby Owsinski's Music 3.0 blog
Last week the entire music portion of the blogosphere seemed to be lit up by the following statement from Universal Music Group CEO Lucian Grainge when talking about Justin Bieber:

The company likes hits, the fans like hits, and that's what he's there to do--make hits. 
We're not in the art business.

Why this statement should be any surprise to anyone I'm not sure. First of all, except for the label pioneers of the 50s, 60s, and 70s like Motown's Berry Gordy, Warner Bros' Mo Ostin, and Elektra's Jac Holzman (among a few others), this has been the label mantra for at least 30 years since the majors were bought out by the international conglomerates. Why should it be any different today?

Here's the bottom line if you're an artist or band and want label interest: a label doesn't care how good or bad your music is, they only care if you have an audience.

Good and bad is so subjective anyway. What's great to one person may be crap to another and vice versa. Most record companies only care if you have a line around the block waiting to see you. Really when you get down to it, that's all that counts.

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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, September 12, 2012

Most Online Listeners Stream Classic Rock

Cloud Computing image from Bobby Owsinski's Music 3.0 blog
Here's something that's definitely unexpected. According to a Wakefield Research survey targeting cloud computing literacy that asked which music from the cloud they listen to, most chose both classic and modern rock legends. The top 10 artists mentioned were:

1. The Beatles

2. The Rolling Stones

3. Michael Jackson (okay, I agree, he's more r&b)

4. Bon Jovi

5. Pink Floyd

6. Bruce Springsteen

7. Eminem (definitely not rock)

8. Maroon 5 (their rock credentials are suspect)

9. Led Zeppelin

10. Coldplay

There are a few other things the survey found:
  • 5% of those who think they're not using the cloud, actually are
  • 59% believe the workplace of the future will exist entirely in the cloud
  • 33% agree that using the cloud allows them to interact with people that they rather not in person
  • 68% recognize the economic benefits of the cloud
  • 14% have pretended to know what the cloud was during a job interview.
The survey just goes to show that the cloud has permeated our everyday lives to the point that we're really not aware that we're interacting with it. Let's hope that this connected remains forever intact.

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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 11, 2012

10 Advantages Of Social Media Over Traditional


Here's a great post on the advantages of social over traditional media from Hubspot via marketing guru Simon Mainwaring.

Social media is the hub around which the Music 3.0 wheel turns, and the following provides some reason why.

As traditional and social media duke it out for the leadership role in commanding consumer attention, it’s worthwhile to highlight some of the undeniable benefits of social media. Here are ten that quickly come to mind. My comments in italics.

1. Cost: There are almost no barriers to entry in creating or distributing social media content. Or put another way, beyond your time and production costs, it’s almost free. (Still need the other nine reasons? OK.) And that single piece of content ricochets around the web indefinitely with no additional expense unlike TV, print or radio. The cost of time can be significant though, so that must always be kept in mind.

2. lntimacy: Traditional media necessitates broadcasting to thousands or millions of people at once robbing it of the specificity and dialogue that can be achieved through social media. Fans of any type want a personal interaction with the artist or brand, especially since they see it's now possible - another Music 3.0 fundamental.

3. Targeting: A key advantage of social media is that it can be far more specific in terms of isolating exactly who that brand or product wants to talk to. What’s more, consumers share the load by constantly sourcing information and products of interest and distributing them to others. Why broadcast to those who have no reason to care about you? Such a waste of time and money.

4. Nimbleness: One of the unique advantages of social media is that it allows brands to adapt to consumers buying and sharing habits almost instantly. Traditional media necessitates sizable (and often prohibitive) investments by corporations who then can’t react as quickly as market requires. While big media buys will probably never go away, they're far less necessary than ever before thanks to social media.

5. Measurement: Traditional media has to rely on long-term measurement tools to gauge the effectiveness of brand messaging. With social media that measurement can be almost instantaneous as the customers respond to brands and each other across networks, platforms and apps. When that response is negative, a brand has the chance to course-correct quickly minimizing damage to the brand. As the old advertising saying goes, "50% of advertising works, we just don't know which 50%." The age of that is now over.

6. Newness! Consumer preoccupation with whatever is new is hardly unique to social media. Yet as a function of its ability to constantly evolve in response to consumer demands, social media retains the sheen of “new” re-engaging consumer attention. With traditional media content can change but the format of distribution changes little and slowly. In marketing, "new" is more about what's current. It's far, far easier to be current ("new") using social media.

7. Exponential: As difficult as it is for a brand or product to thread the viral needle, the potential for exponential growth is almost unlimited and repeatable at a low cost. The problem here is that you never know exactly what will become viral. Still, at least the prospect of exponential viral growth is always available, while it's possible but pretty unwieldy with traditional media.

8. Participatory: As soon as the barriers to content creation approached zero, consumers quickly stepped into the vacuum and began participating in the commercial dialogue. It’s as if the longstanding presumption of traditional advertising that brands and consumers were in dialogue has finally come true thanks to real-time communication tools. Once again, true fans, super-fans, "tribe" members crave interaction, especially since they now know it's possible.

9. Proximity: Time and distance have virtually disappeared as a barrier between consumers around the globe. As such, social media has created a global, connected community like never before. That opens up enormous potential for success or failure depending on how well brands understand the new dynamics in play. We are truly in a global economy, especially if social media is used.

10. Future: Just as advertising dollars have followed consumer eyeballs online, they will shortly follow consumer adoption of mobile community (enabled by smart phones) as the new defining social media dynamic. While new rules of engagement will appear and consumers will increasingly be defined by where they are (hello, Foursquare), much can be divined about how to prepare for the future from current social media practices. Social media evolves quickly so you must stay on top of the latest evolutional trend to take advantage.

What other advantages to social media do you see?

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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, September 10, 2012

It's Time For The YouTube Music Awards

YouTube logo image from Bobby Owsinski's Music 3.0 blog
There's been much hoopla over this year's Video Music Awards (VMA's), with everything about who won, who didn't win, the fights, the pouting, and finally, the low ratings. The fact of the matter is that the VMA's have long been obsolete, but sadly out of touch as well.

MTV, who sponsors the VMAs, is now a lifestyle channel and rarely plays videos any more. How can it have any award credibility if it's not in the game. That's assuming, of course, that it had any in the first place.

But here's the most damning indictment; some of the biggest videos that have been nominated in this past year (Gotye's "Somebody That I Used To Know" and Carly Rae Jepsen's "Call Me Maybe") have been a product of viral videos on YouTube. In fact, many studies point to the fact that YouTube is one of the main avenues of discovery for new music. When was the last time MTV could claim that? 1989?

That's why it's time for an music video awards show that's far more relevant to what's happening today - the YouTube Music Awards. Google, who owns YouTube, is already building broadcast facilities and gradually dipping their toe into television, and this would be the perfect way to start it off.

Just image how they could tie it all together. Do a live stream on YouTube Live and GoogleTV in conjunction with a TV network, and tie in the social with a massive Google+ Hangout. In fact, I volunteer my services as exec producer, if you're listening Google, because the YouTube Music Awards is an idea who's time has come.

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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, September 9, 2012

Here Comes Apple's Streaming Service

Streaming Music image from Bobby Owsinski's Music 3.0 blog
It's been predicted for years, but it looks like Apple is finally entering the realm of streaming music. Reports from The Wall Street Journal now indicate that the computer and music giant has been in talks with the major labels to create a custom service similar to Pandora's that would create virtual music streams based on a listener's song or artist choices. The report also states that the new service would not be available on Android devices, which is Apple's way of maintaining a strong grip on its online music market share.

There's already competition in this space, since iHeartRadio and Spotify besides Pandora offer an algorithm that make custom song choices. Rumor has it that Apple's service will be different in that it will offer a lot greater interactivity than any of the other services however, and their license fee to the labels will be larger as a result.

That said, you can see the shakeout coming already. Pandora's stock fell 17% on Friday, and you'll see a giant change overnight not only in that part of the industry, but online music in general if Apple's service comes to pass.

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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, September 6, 2012

Making A Living In Music Is The Same Everywhere

We have one of the most sophisticated networks for making money from all aspects from music in the United States, but when it comes down to it, it's not that different from some of the less developed entertainment areas of the world.

Take Nigeria, for instance. The music business is primitive in so many ways, but when you dig deep into it, it's exactly the same as the US if you're a DIY artist and not a huge corporation. Here's an interesting video interview of Rapper LD on SmartMonkey TV that illustrates the point. LD is smart and hip, and has been at it long enough that he knows just what to do in Nigeria. My guess is that he'd make it in the States in a minute.




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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, September 5, 2012

Who Buys The Most Music? Top 40 Listeners

radio image from Bobby Owsinski's Music 3.0 blog
There's a new study conducted by The Media Audit that reveals what most of us already thought to be true; Top 40 radio listeners purchase the most music. The study looked at the habits of 41 million users across 81 markets and found the following:
  • 42.8% of Top 40 listeners frequently purchase CDs or downloads
  • 27.7% of all US consumers frequently purchase music (who would've thought it would be that high?)
  • 39.2% - Urban listeners
  • 38.3% - Hot AC (adult contemporary)
  • 36.4% - Rock
  • 34.1% - Urban AC
  • 33.2% - Sports
  • 32.7% - Public Radio
  • 31.5% - Classic Rock
  • 30.4% - AC
Frequent purchases are defined as having purchased a CD or download within the last four weeks.

To break it down even further:
  • 49% are female
  • 46.6% are between the ages of 25 to 44
  • 67% are between the ages of 18 to 44
And finally, in a figure that should be no surprise at all, frequent music buyers are more likely to have a college degree and have a higher income, with the average household income being $76,739.

The bottom line, there's still a lot of music being purchased, it's just not making its way back to the artists and songwriters.

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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 4, 2012

Twitter Commerce With Chirpify

Chirpify logo image from Bobby Owsinski's Music 3.0 blog
For many artists, Twitter is a great tool for promotion, but the problem until now was that you couldn't directly use it for commerce. Now a new platform called Chirpify provides that ability.

The way it works is that the artist uploads digital content to a Chirpify dashboard, then click's to tweet. The consumer connects their Twitter and PayPal accounts via Chirpify and simply replies to the tweet by the artist. Chirpify then sends a secure download link via a direct message or an email to download the digital content, merch or even a ticket.

Chirpify takes a reasonable 4% commission along with any PayPal fees, although the company has flat monthly pricing for labels or major users.

One of the big early users has been Amanda Palmer (there's that name again), who recently about $19k worth of T-shirts in 10 hours using the service. I don't know anything about her music, but she sure knows how to make money.

If you're a big Twitter user, take a look at Chirpify. It just might be another revenue source.

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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, September 3, 2012

Can Live Concert Streaming Become A New Revenue Source?

Concert Window logo image from Bobby Owsinsk's Music 3.0 blog
Here's an idea who's time might have finally come. You can't get enough of your favorite artist or band but you just don't have the ability to follow them on tour. Wouldn't it be great if you could watch their show at home? Now maybe you can, thanks to Concert Window, a new service that provides live streams of concerts for just $3 per show.

Concert Window splits the proceeds with both the artists and the venues, giving both not only a new revenue stream but also a new avenue for exposure. Of course, this has been tried by venues before over the last ten years or so, but what stopped it in its tracks with larger artists was the issue of rights ownership. If you shoot the show, who owns the video?

This issue is circumvented by the fact that the show is streamed only and not archived. Everyone gets paid fairly (a third each) for that show only, so there's no worry as to what happens to the file afterwards. As far as the technical end, Concert Window has a simple turnkey solution that their team will install in a new venue, and requires no tech skills as far as the production is concerned except for a wi-fi connection.

Right now it looks like there are only 10 venues signed on from all over the country, and the majority of artists aren't what you'd call household names, but there does seem to be a need for this service if it can grow on a larger scale. Hopefully it will survive and prosper.

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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, September 2, 2012

7 Steps To Make Your Merch Table Magnetic

The Merch Table image from Bobby Owsinski's Music 3.0 blog
I'm a huge fan of CD Baby's DIY Musician blog, and almost every week they have at least one post that's full of killer info. Here's a post called "7 Easy Ways To Attract Fans To Your Merch Table" that I thought was fantastic. You can read the entire post here (the tips at the end about LEDs is worth it), but here are the 7 steps that cut right to the heart of the matter.

1. Make it intriguing. Capture the attention of concert attendees before they hear a single note. 

2. Avoid clutter. Clearly display the products for sale and their prices.


3. Quickly convey your artist aesthetic. It is an extension of you and should “jive with your vibe.”


4. Make it accessible. The merch booth has got to be easy to get to, unobstructed, and clearly visible to many people at once so long lines don’t hinder sales opportunities.


5. Diversify. Offer a few different items (CDs, t-shirts, stickers, mugs, etc.) and bundle them together for a reduced price to entice fans who might be on the fence.


6. Get your email list up there front and center. The merch booth is your opportunity to attract new fans even if they don’t buy anything. This may be the only chance you have to turn a stranger into a lifelong fan, so on’t miss it!


7. Be visible at the booth following your performance. If you’ve created a moment on stage that made a fan say to themselves “I need to take some memory of this home with me” then what better way to ensure a lasting connection than to have a conversation with your audience after the show.

Merch should be one of your main sources of income, but it can only happen if you present it 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.

Thursday, August 30, 2012

When Public Domain Isn't Really Public

NASA Curiosity image from Bobby Owsinski's Music 3.0 blog
There are a lot of horrifying things happening in the world today when it comes to artist's rights, but the following might be one of the worst. Now the major publishing companies are claiming they own songs in the public domain.

According to an article in TechDirt by Mike Masnick, musician Dave Colvin has been recording his own versions of Public Domain songs like the Christmas classic "O Little Town of Bethlehem," and each time he's posted one on YouTube, he receives a lawyerly email from either Warner Chappell, Universal Music Publishing or Sony claiming that they own the rights and he must cease and desist. Not only that, now YouTube is threatening to disable his account as a result.

Just to refresh here, Public Domain means that the public is free to use these songs because no one owns them! You are absolutely able to make money from them if you can, but you can't stop others from making any money either. Talk about power hungry, it's not like these publishing companies aren't making enough money already.

Colvin is trying to monetize the PD songs in his channel (which amounts to only pennies anyway), but now the majors are trying to stop him from doing even that.

But guess what, even NASA has had the same problems lately when their own feed of the Curiosity landing on Mars was blocked because Scripps News claimed they owned the copyright! Now imagine, NASA is publicly owned (which means by you and me and everyone else), and some slimy news organization says they own it just because they rebroadcast the feed as well?

Obviously this is all getting out of hand and just screams for new regulation, or at least that the current regulators be more vigilant. It's also another good reason why the Universal/EMI merger is not good for the industry. Giant companies don't need any more leverage than they already have.

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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, August 29, 2012

7 Website Mistakes Musicians Make


Mistake image from Bobby Owsinski's Music 3.0 blog
As I wrote in a number of previous posts, having a website is important to any artist or band. It's not enough to have just a Facebook page anymore, a dedicated site is needed if you really want to control your message and build your tribe. Here's an excerpt from Music 3.0: A Survival Guide For Making Music In The Internet Age that are common mistakes that artists and bands make when they don't pay careful enough attention to the dedicated sites.

1) No contact info. This is the worst offense of all. You can have a website that looks great and has tons of great stuff about the band, but it will all be for nothing if people can't reach out and touch you. This means they can't send you an email to book you for a gig, to ask you to exchange links, to become your fan, to buy something, or to complain about something. Music 3.0 is all about communication with your tribe, so displaying your contact info so it's easy to find is job #1.

2) No mailing list registration. If you don't have a mailing list, now is the time to create one. It's the main way to reach out to your tribe. Consider it your marketing arm for telling your fans when you have a new release or when and where you'll be gigging. Make this really obvious because it's one of the main reasons for having your own website.

3) No easy way to purchase your music. It has to be both obvious and easy to buy one of your tunes or CD's. Don't make someone go find it. Either sell it directly from your site or have a direct link to iTunes, Amazon, CDBaby or any other distributor you're using. Make sure you go through the process yourself to make sure the process is completely easy and seamless.

4) Too much information. Don't make the pages of your site so loaded with photos and text that they're difficult to read. Try to keep the text down to 300 to 400 words, and make sure there's a lot of white space. Check out some of the artists and bands you really like for ideas.

5) Bad links. Everyone hates bad links. Your fans will loose interest and Google will penalize you in the search engine rankings. That's why it's important that every link works on your site, and every incoming link to your site work as well (which is a given, because you won't even have visitors if the links are bad to begin with).  Consider the "Error 404 Not Found" prompt as the worst thing that can happen on your site.

6) Bad email address. Almost as bad as a bad link is a bad email address that bounces. Fans find this very disrespectful. Sending them to an email address that you never check is almost as bad. Make sure that the address works and is forwarded to the address that you check every day. Make sure you answer any email within 24 hours.

7) No Press section. While not having a press section on your site is not fatal, having one is a sign of professionalism and will be a big help to anyone trying to book you or write about you. See this previous post for more about what your website press section should be.

These are mistakes that usually result from not giving your site enough attention in the first place. They're easy to correct and totally necessary to avoid in order to maintain and build your tribe, and facilitate any marketing and sales efforts.

For more excerpts from Music 3.0 and my other books, go to the excerpts section of my website.

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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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