Monday, July 26, 2010

The Ultimate Chart

One of the problems with today's music charts is the fact that they utilize the sales numbers to determine chart position. While has been the primary way of doing it for years, it's certainly a less valid methodology that it was in the past before Internet metrics were available.

But now that we do have multiple online metrics, what exactly should be used to determine chart position? Internet music measurement company Big Champagne thinks they have the answer with a chart that takes a combination of traditional sales, airplay, audio and video streaming, plus fans, friends and followers from various social networks. It's called the Ultimate Chart and it measures everything except illegal downloads, which is Big Champagnes core business so it's charted separately.

The Ultimate Chart currently only looks at the top 100 artists, so you'll only see label acts and those that have a high profile, but Big Champagne is said to be working on the Ultimate Independent and DIY chart as well for those up and comers. In the meantime, an interesting blog called We Are Hunted has a chart that measures chatter and blogging for indie acts.
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Sunday, July 25, 2010

Engagement, Not Just Awareness

There have been a number of articles in the past couple of weeks that have touched on the subject of how important fan engagement is, as opposed to simple awareness. Let me elaborate.

Awareness is when someone knows the name of the artist or band (or company or brand). This is what advertising or PR tries to do - build awareness. But just because someone knows about you, it doesn't automatically mean that person will become a fan. For that to happen, everything must go to the next level, which is engagement.

Engagement is the act of getting someone to respond. This could mean something as simple as listening to a song, watching a video or reading an email, which is all well and good, but true engagement really takes things to the next level. That means really turning the person into a fan by motivating them enough to physically do something, like go to a concert or buy a download, CD or a piece of merchandise. Even just talking to their friends about you is an excellent example of fan engagement, since nothing spreads the word like direct communication.

So how do you change awareness into engagement? 

First understand that awareness is built by a mass-marketing campaign. It's a shotgun approach that's meant to cover as many people as possible. This might be a good first step, but it also might mean a lot of effort and money spent on building awareness with people who will never be your fans in the first place, and therefore never engage. If you're a rap artist, there's no point building your awareness with someone who loves country music (unless your music is connected with country in some way).

Engagement is all about targeting. It's finding the people who are most likely to respond and concentrating on them. How? 

By watching the metrics from apps like Google Analytics or StatCounter, but also from the more empirical data on a personal level like reading emails or blog responses or even speaking directly to fans. 

Once you'e found that potential fan base, the next step is content, content, and more content -  songs, shows, videos, and regular (but not too regular) communication. Contests, surveys, and give-aways are excellent ways of engaging because you engage fans by giving them something to engage. The deeper the connection to your fans, the more engagement.

Above all, remember that engagement is what you're actually trying to achieve because a career can't be had from awareness alone.
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Thursday, July 22, 2010

How To Check Your Backlinks

One of the best pieces of information you can have is exactly who is linking to your site. Backlinks are one of the best ways to move up in search engine ranking, so the more you have, the better. It's also great to know exactly what people are saying about you as well. Here are a couple of cool ways that you can  check those backlinks.

First, let's go to Google. Go to the query window and type "links:yoursite.com" (excluding the quotes) and you'll see all some of the backlinks to your site. Here's an example for my main bobbyowsinski.com site below.

This isn't perfect because it doesn't show all the links to your site by Google's own admission (not sure why), but it does give you an idea of who likes you enough to backlink to you.


Yahoo also has a nice backlink checker called Site Explorer. Simply plug in your site on the top left as shown below. After you hit the "Explore URL" button, click on the second button right below "Results" as outlined. There's all your links! I've cut mine off at 9 here, but you get the idea.




Enjoy exploring your backlinks.

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Wednesday, July 21, 2010

Top Earning Musicians Of 2010

Every year Forbes magazine releases their top 10 best earning musicians. The chart runs from July 1 2009 to June 30, 2010, which ends up being important as you'll see. Keep in mind that the Forbes figures are NET, not gross amounts.

1. U2, $130 million (the cancelation of their North American tour was mostly after the end date)
2. AC/DC, $114 million
3. Beyonce, $87 million
4. Bruce Springsteen, $70 million
5. Britney Spears, $64 million
6. Jay-Z, $63 million
7. Lady GaGa, $62 million
8. Madonna, $58 million
9. Kenny Chesney, $50 million
10. Black-Eyed Peas, Coldplay and Toby Keith (tied), $48 million

Here are some interesting notes about the list:

1) Most of the income is from touring, which should be of no surprise if you read this blog with any regularity.

2) A third of the list is under age 30, so it's not all about dinosaurs anymore.

3) 40% of the list are women, and it could have been higher if the period would've have lasted a little longer, since Pink would've made the list.

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Tuesday, July 20, 2010

A New Marketing And Distribution Idea Twist

Here's a new twist on an older music distribution and marketing idea. Garage-pop band Killola is joining forces with digital concert distributor Aderra to create USB Dogtags as a way to sell unique merch items to their fans and provide the group with a another way to instantly connect with them. How? Fans who purchase the $40 Dogtag not only receive the band’s new album, but also their previous two on the same flash drive.

But here's the new angle. Fans plug the USB drive into their computer to receive exclusive updates from the band including new songs, remixes, live recordings, music videos and photos, which is also the basic idea of the different digital album formats like MusicDNA, CMX and Cocktail, which I talked about last year on my Big Picture blog. It's a great way to utilize the Music 3.0 connection with the fans that have a Dogtag, and for them to connect back.

So the basic premise is pretty good if you already have fans. If you're a new band however, you're better off just giving the things away to try to establish that fanbase. One of the cool things about providing music on a USB drive is that hardly anyone ever turns one down, since they're pretty useful whether you want the music or not.
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Monday, July 19, 2010

Another Take On How Music Videos Have Hurt Music

We all know that music videos were responsible for changing the primary emphasis of most record labels from artist development to image development, but it seems that there's more to it than that.

In an interesting email to music industry gadfly Bob Lefsetz, former MTV exec Bob Wilson (who was also the founder of the now defunct industry trade magazine Radio & Records), talks about some of the research that the network did when it first began in the 80's. Among the surprising items they found that appear to have had a profound effect upon current music:
  • Music is personal and a song means different things to different people (although we intuitively knew that already). When you put visuals to a song, the visuals over-power the personal meaning and everyone "sees" the same thing, which also de-personalizes the music.
  • This visualization of music makes songs burn out much faster than just hearing them.
  • Live performances are perceived differently since the mind sees them as "events."
  • It usually takes 5 to 6 times for a person to hear a song and like it enough to buy it.
  • "MTV doesn't play videos any more and the Internet has moved in to replace the new music void for those that crave new music. Things have changed but the way the brain takes it all in remains the same. The Internet allows a person to hear a song as many times as they want - whenever they want -- which should reduce the time to the purchase cycle -- especially when they can purchase and download the song they like from the source they are listening to it on..rather than have to make a trip to a record store. I think it will take some time and more research to monitor this but as you say - the model is changing."
Wilson goes on to say, "I believe history will prove the MTV period to be the beginning of the end of what music used to be to each of us." We already knew that, but perhaps we didn't really know the reason why.
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Sunday, July 18, 2010

Anatomy Of A Concert Ticket Price


Ever wonder where all the money for that concert ticket goes? I'm not so sure that this chart will tell you, since it comes from LiveNation and it's obviously skewed to their needs. There might even be some truth to it from the standpoint that the real moneymaker at a concert has become the parking and concessions, since the act gets most of the door.

Here are some other figures (I don't know if I'd call them facts) from LiveNation by way of Digital Music News.
  • The average LiveNation ticket price in North America increased 3 percent to $49.80 in 2010. The talent percentage was 74%, down 1% from 2009.
  • Internationally, the average price was $54.30, and the talent percentage 55% (down 1%).
  • The drive to relax ticketing prices is on. LiveNation indicated that 10% of tickets will be discounted in some fashion this year, up from 6% in 2009.
  • Among the discounting weapons, 4-packs and $10 lawn seats were cited as the most aggressive sales drivers.
The concert business is in a tough spot this year, with many marquee acts having to cancel some shows for lack of sales (The Eagles and Christina Aquilera to name a couple). LiveNation is in the business of getting people in the seats, so they'd rather give the tickets away (or at least steeply discount them) to get the parking and concessions. But that just upsets the people that paid full pop for the ticket, which will make them less likely to buy the next time around. And people still hate the service charges (I personally won't go to a concert anymore if I have to pay them).

This situation is going to get a lot worse before it gets better.
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    Thursday, July 15, 2010

    Prince CD Sales Up, Bombing Online

    Prince might think the Internet is over (or maybe not), but one thing is for sure, hype still works to sell product. As I posted a few days ago, Prince's comments on the Internet were well-planned in order to make people aware of his new album 20TEN.

    As he did with his previous Planet Earth album in July 2007, 20TEN was released as a free giveaway attached to the London's The Mail on Sunday newspaper. In this case, the sales of the paper were up 27% (from 1,230,000 to 1,572,000). Planet Earth reached more people (2,801,000), but the increase was only 23% for the newspaper.

    But that doesn't mean that the album has any Internet P2P traction though. According BigChampagne's Eric Garland, who's company measures the file sharing world, 20TEN has seen very little online activity, with downloads only in the low thousands. According to Prince, the album will not be available for digital distribution, but it seems that so far no one online cares anyway.

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    Wednesday, July 14, 2010

    Who's Getting Paid In The Music Business


    There's a big disconnect when it comes to musicians and where they think the money for their efforts comes from. Although in the Music 3.0 world the view has changed somewhat, artists and bands always believed that if they sold a lot of records (meaning CD's, vinyl, digital downloads and recorded music in general) that they'd make a lot of money in return in a major label deal. Well, not from the sales of music they won't.

    In the chart above from high-power industry attorney Don Passman, author of the excellent book All You Need To Know About The Music Business, we see just where the money goes and it's not pretty.

    I think that the figure on the bottom says it all - "For every $1,000 of music sold, the average musician makes $23.40!"

    But this isn't all that different in the grand scheme of musical things than it ever was. Another high-power attorney, Ken Hertz (who handles Beyonce, No Doubt, Christina Aquilera and Alanis Morrisette among others), once told me that it was an acknowledged industry insider fact that bands and artists have always made 95% of their money on the road, not from records. Records are the engine that make everything go, but not the real breadwinner, as we see from the chart.

    There's a nice article about this chart at the Root.

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    Tuesday, July 13, 2010

    Fan Purchase Motivations


    Here's an interesting chart that outlines the purchasing motivations of everyone that might buy music from a band or artist and how to take advantage of them.

    The chart pretty much nails music purchasing in a very simplistic way and the suggestions on how to sell to each group are excellent.

    Sorry, but I don't remember where the chart came from and I can't find the source after multiple searches (their SEO obviously isn't that great).

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    Monday, July 12, 2010

    6 Ways The Biggest Artists Use Social Media

    Sandbox recently had a great post regarding how the biggest musical artists use social media these days. The data came from famecount.com, a most interesting site that measures the number of fans, followers and subscribers for all sorts of popular entities.

    While you can read the original article for yourself, there are a number of conclusions that can be drawn from the two charts on the left.

    1) MySpace participation is clearly an afterthought by major artists these days. Katy Perry and John Mayer’s MySpace sites haven’t been updated since mid-November last year, while Britney Spears’ MySpace profile boasts a single blog post from 2010 so far. Other MySpace blogs gathering tumbleweed in June include those of Ashley Tisdale, Coldplay, 50 Cent and Justin Timberlake.


    2) The stars keep in touch with their fans often. The 20 top artists on Famecount’s rankings posted (or had posted for them) an average of 25.5 Facebook status updates in the first 28 days of June, 81.9 tweets, and a only 3.4 MySpace blog posts.

    3) The most prolific user when it comes to social engagement is Soulja Boy Tell ‘Em, who racked up an astounding 113 Facebook updates and 367 tweets in the first 28 days of June. That's a rate of 13 tweets a day, not including retweets and replies (of which there were many). Other prolific tweeters included Justin Bieber (336 tweets) and Diddy (335 tweets).

    4) All three appear to be tweeting themselves most of the time, and while there’s a lot of self-promotion going on for new releases and products, they also retweet and reply to fans a lot. Only two more of the top 20 artists tweeted more than 100 times in the period covered, Demi Lovato (151) and Katy Perry (106), and in both cases they appeared to be tweeting personally too, rather than having someone do it for them.

    5) Alicia Keys, Demi Lovato and Eminem all use Facebook mainly to blast marketing messages at their fans. In fact, that reflects a wider trend for these top-tier artists to use their Facebook presences to promote content – particularly new videos and iTunes releases.

    6) Photos posted from backstage, in the studio or at promotional events, livestreams and webchats, and shout-outs to cities after playing a gig there, seemed to be working well on Facebook and Twitter for these artists.

    The article takes the reasonable position that none of this may account for an artist's popularity, and they may be popular on social networks just because they're popular in the off-line world. The problem is, there's no way to really know at this point. But it's clear than the social networking of these artists are not hurting them and they feel it's well worth their time.

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    Sunday, July 11, 2010

    Hashtags Redux

    I wrote about Twitter hashtags frequently in the past, but it's worth bring up again because not enough people using Twitter seem to get the idea. If your tweets are personal, then hashtags aren't necessary, but if you're a band or artist or a business, they're extremely important to helping potential visitors find you.

    Using a hashtag (the "#" symbol before a keyword) is like including a keyword in your tweet. It's an unofficial feature of Twitter but now widely accepted and supported, and is an easy way for people to search for and find a particular topic.

    Here's how it works, using some of my own tweets from the last couple of days.


    "Rock Of Ages" - Def Leopard Isolated Vocals. An unusual vocal in many ways. http://bit.ly/xnQ1b #recording #producers #vocals #bands


    This is a simple tweet regarding a post from my Big Picture blog last week, complete with a shortened url link. At the end are the hashtags #recording, #producers, and #musicians. How did I select them? First of all both "recording" and "producers" appear in the tweet, but I researched them first to see what kind of searches there were by going to twitter.com/search. There I searched for "#recording" and determined that there was a sizable enough search so it was worth using, as was "musicians." I figured that bands would be most interested in this tweet and the blog post, so I did a search and found that "bands" was also sizable, so I used it as well.

    Here's another way I could've used the hashtags in this tweet.


    "Rock Of Ages" - #Def Leopard Isolated Vocals. An unusual #vocal in many ways. http://bit.ly/xnQ1b 



    In this case I embedded the hashtag directly into the tweet text. This works too but I find it too difficult to read and it can turn quickly into a negative for less sophisticated users, so leaving some room at the end for the tags seems to work a lot better.

    Here's another example.

    "The Magic High-Pass Filter. Some tips for using the mixer's secret weapon. http://bit.ly/dpL9bv #highpass #filter #mixing"

    Same thing here. I did a quick search and discovered that #highpass had a lot more searches than #high-pass and #mixing more than #mixer (there was also some confusion with a food processor as well).

    Since I've been using hashtags the traffic to my blog sites have gone up by about 50% and I've gained some more Twitter followers as well. Using hashtags is a great way to help people find you, but don't forget to include a link to take them to your blog or website as well, since that's the real goal.

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    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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