Sunday, September 7, 2014

9 New Rules For Making Music In Today’s Online World

Online music image
The music world we live in today is decidedly different from that of only five years ago, let alone a few decades. Where once the entire business was based around physical sales, today its more about aggregating multiple revenue streams for both the artist and the record label. Here’s a set of 9 rules that have been excerpted from my book Music 4.0: A Survival Guide For Making Music In The Internet Age that all artists need to at least be aware of if they want to succeed in our current music environment.

1. It’s all about scale. It’s not the sales, it’s the number of YouTube views you have. A hit that sells only 50,000 combined units (physical and digital) may have 50 million YouTube views. Once upon a time, this would’ve been deemed a failure, today, it’s a success. Views don’t equal sales, and vice-versa.

2. There will be fewer digital distributors in the future. It’s an expensive business to enter and maintain, so in the near future there will be a shakeout that will leave far fewer digital competitors, and fewer places to distribute your music. Don’t be shocked when you wake up one day to find the landscape of online music to be very much consolidated in a way similar to what happened with the major record labels.

3. It’s all about what you can do for other people. Promoters, agents, and club owners are dying to book you if they know you’ll make them money. Record labels (especially the majors) are dying to sign you if you have have an audience they can sell to. Managers will want to sign you if you have a line around the block waiting to see you. If you can’t do any of the above, your chances of success decrease substantially.

4. Money often comes late. It may not seem like it, but real success is slow, and even in this social media world, you still grow your audience one fan at a time. The longer it takes, the more likely you’ll have a longer career. An overnight sensation usually means you’ll also be forgotten overnight. This is one thing that hasn’t changed much through the years.

5. Major labels want radio hits. They want an easy sell, so unless you create music that can get on the radio immediately, a major label most likely won’t be interested. This is what they do and they do it well, so if that’s your goal, you must give them what they want. Once again, this hasn’t changed much through the years. Read more on Forbes.
----------------------------------

Thursday, September 4, 2014

What Leads To An iTunes Purchase?

iTunes Purchase image
Our music world is changing significantly in that it's rapidly becoming built around streaming rather than sales. iTunes sales of music downloads have decreased in each of the last 3 quarters, but that doesn't mean that people have stopped buying completely. Individual track sales are still at a billion plus per year, so significant sales activity will continue for some time even as streaming takes over our musical lives.

Since sales will be around for a bit, a good question to ask is, "What happens before someone purchases a song?" Viacom Research (the people that own MTV, VH1 and CMT) did a study that asked just that from 1200 18 to 30 year olds. Here's what they found:
  • 66% of people search for info about a song online
  • 83% make sure they really like the song before they buy it
  • 87% listen to other songs from the artist
  • 91% listen/watch the song/video on YouTube
This shows how influential YouTube is in the current sale of music, which is a great reason to be sure that you have a video available the day your songs are available on iTunes. It doesn't matter if the video is a plain vanilla lyric video, or even just a static picture with the music playing behind it. It's now an integral sales tool!
----------------------------------

Wednesday, September 3, 2014

There's More To Music Than Social Media

Amanda Palmer TED talk image
So much of an artist's promotion and visibility is built around social media these days that it's easy to believe that it's almost more important than the music itself. Sometimes it's possible to be a social celebrity without making any meaningful penetration with your music however, as this excerpt from the New Masters chapter of my Music 4.0: A Survival Guide for Making Music in the Internet Age guidebook illustrates.

"If you’re in the music business there’s a good chance that you’ve heard of Amanda Palmer, although there’s an even better chance that you’ve not heard her music. Palmer represents a conundrum in social media where she’s become a huge presence in the music industry thanks to her extremely effective social media and crowdfunding campaigns, yet that hasn’t helped to spread her music much beyond a small, yet avid following.

Palmer rose to a low-level of prominence as half of the duo Dresden Dolls before going solo in 2008. Her cult following grew from there thanks to her extremely hands-on relationship with her fans. In an interview with Techdirt in 2012, she gave her secret:
"I've been tending this bamboo forest of fans for years and years, ever since leaving Roadrunner Records in 2009. Every person I talk to at a signing, every exchange I have online (sometimes dozens a day), every random music video or art gallery link sent to me by a fan that I curiously follow, every strange bed I've crashed on...all of that real human connecting has led to this moment, where I came back around, asking for direct help with a record. Asking EVERYBODY...And they help because...they KNOW me."
Palmer’s notoriety again grew thanks to reports of big merch sales through Twitter campaigns (like $19,000 worth of T-shirts in less than a day), to where it reached a peak with a massively successful Kickstarter campaign in which she raised $1.2 million (the goal was $100,000) from nearly 25 thousand fans in 31 days for the marketing of an album/art book/gallery tour. This was followed shortly thereafter by a riveting TED talk where she described her fan-first business model.

Considering the exposure that Palmer has garnered from the mainstream media thanks to these events, her music still hasn’t gained much traction and she remains very much a niche artist, though one with a fanatical following. Only three of her videos have barely cracked 1 million views, she has less than a million Twitter followers, and just over 200,000 Facebook Likes. 

While these are really great numbers for an indie artist, Palmer hasn’t managed to transcend that narrow category despite generally positive and vast exposure and a supercharged fanbase. Amanda Palmer proves that no matter what your social media connections are, star and superstar success still depends on your music. In order to gain a mass audience, it must connect with the masses.

There’s More To Music Than Social Media Summary
  • Social prominence won’t automatically cause people to like your music
  • But it can cause people to notice you
  • Caring deeply about your fans builds an avid fanbase
  • An avid fanbase is essential for crowdfunding"
To read more excerpts from Music 4.0 and my other books, go to the excerpts page at bobbyowsinski.com.
----------------------------------

Tuesday, September 2, 2014

The 25 Most Popular Clubs In America

House of Blues image
There are fewer clubs than ever in the US, but there are some that continue to thrive. Here are the 25 most popular club venues over the last year, according to Billboard Boxscore. Not surprisingly, most House of Blues clubs seem to always be in the mix.

1.) House of Blues, Orlando Fla.: 339,470 (attendance)
2.) House of Blues, Boston: 322,755 (attendance)
3.) 9:30 Club, Washington, D.C.: 268,727 (attendance)
4.) House of Blues, Dallas: 222,988 (attendance)
5.) House of Blues, Chicago: 211,446 (attendance)
6.) House of Blues, Houston: 209,799 (attendance)
7.) House of Blues, Anaheim, Calif.: 192,424 (attendance)
8.) Tabernacle, Atlanta: 185,769 (attendance)
9.) House of Blues, Los Angeles: 172,005 (attendance)
10.) House of Blues, San Diego: 155,938 (attendance)
11.) House of Blues, Cleveland: 155,566 (attendance)
12.) The Fillmore, Silver Spring, Md.: 152,332 (attendance)
13.) The Fillmore, Denver: 151,387 (attendance)
14.) Palladium, Hollywood: 148,555 (attendance)
15.) House of Blues, New Orleans: 145,077 (attendance)
16.) The Fillmore, San Francisco: 140,100 (attendance)
17.) Irving Plaza, New York: 135,398 (attendance)
18.) The Fillmore, Charlotte, N.C.: 133,212 (attendance)
19.) House of Blues, Las Vegas: 131,208 (attendance)
20.) House of Blues, Myrtle Beach, S.C.: 129,528 (attendance)
21.) The Fillmore, Detroit: 129,199 (attendance)
22.) Lifestyle Communities Pavilion, Columbus, Ohio: 128,975 (attendance)
23.) The Paramount, Huntington, N.Y.: 127,730 (attendance)
24.) Stage AE, Pittsburgh: 124,013 (attendance)
25.) Stubb's Bar-B-Q, Austin: 116,582 (attendance)
To put this into perspective, the #1 venue (House of Blues in Orlando) drew an average of 928 people per night over the course of a year. I'll leave that to you to decide whether that's good or bad.
----------------------------------

Monday, September 1, 2014

The 5 Most Expensive Music Videos Of All Time

Madonna "Express Yourself" image
Once upon a time music video budgets were almost like TV movie budgets in that directors took advantage of the record label's largess and went for the best of everything available. Today that's all changed as music video budgets have decreased quite a but due to the ever falling fortunes of the music business, but also because the basic costs of gear has fallen so low as well.

That said, there are 5 music videos that totally stand out from the crowd as the most expensive ever created. Surprisingly, all 5 are divided between only two artists - Michael Jackson and Madonna. Here they are in decreasing order in today's dollars adjusted for inflation.

5. "Black or White" - Michael Jackson - $6.9 million. 11 minutes long and premiered on all the music channels at the same time all over the world with an estimated audience of 500 million!

4. "Bedtime Story" - Madonna - $7.7 million. Surprisingly, this was not one of her bigger hits.

3. "Die Another Day" - Madonna - $7.9 million. The James Bond inspired video was the best selling dance song of 2002-2003 and nominated for a Grammy.

2. "Express Yourself" - Madonna - $9.4 million. The most expensive video ever made up until that time (1989).

1. "Scream" - Michael Jackson and Janet Jackson - $10.7 million. It won a Grammy and 64 million people watched when it debuted on ABC's Primetime Live show.

They don't make them like that anymore, and we should all be thankful.
----------------------------------

Sunday, August 31, 2014

Instagram Launches The Hyperlapse App

Every platform needs a "killer app" and while Instagram has always been about pictures, it's new Hyperlapse feature might be just the thing to push its use in video over the top. While time-lapse video has always been pretty cool, it's been a major production pain, requiring hours of shooting time. Hyperlapse allows the user to instantly get that same look without any pain other than holding your smartphone still for a while.

Hyperlapse is different from most platform apps in that it doesn't require an account since its a dedicated app that sits on your smartphone. You just tap to begin recording and it automatically defaults to 6x speed, although you can change it to something slower or faster if needed.

You can shoot the video for as long as you like (providing you have the arm strength to hold the camera still that long), but like all video shared on Instagram it's limited to 15 seconds and presented in its signature square format.

Music video directors should love it though, and here's a video called "Overblown" by Doctor Popular as a sample. If you have an iPhone, you can get Hyperlapse from the App Store here.


----------------------------------

Friday, August 29, 2014

Social Media Expert Dae Bogan On The Latest Inner Circle Podcast

My latest Inner Circle Podcast features social media and video distribution expert Dae Bogan, who'll provide a number of tips that every artist and band will find useful.

I'll also talk about Facebook Likes, who has the most and what they really mean, as well as a look at my personal experience with some expensive high-end audio and power cables.

Take a listen at bobbyoinnercircle.com, iTunes or Stitcher.
----------------------------------

Thursday, August 28, 2014

The Numbers Add Up For YouTube’s Music Key

YouTube Music Key launch screen image
For the better part of a year we’ve been hearing rumors about YouTube’s “soon to be launched” subscription music service, but details were always sorely lacking - until now. Android Police seems to not only have uncovered some details about the service, reportedly to be called “Music Key,” but even has a few screen graphics as well.

If you’re not familiar with the situation already, YouTube (which is owned by Google) is the leading online platform for music discovery, as well as the preferred music service for those 18 and younger. In fact, 38.4% of all its video views come from music, and 10 of YouTube’s top 20 channels are dedicated to music, according to the YouTube analytics firm Tubular. Google has wanted to monetize these music video views even more than it has already with advertising by spinning off a separate music-only subscription service, and that’s what Music Key is.

Reportedly the service will be an audio-only platform that will cost $9.99 per month, but for that the commercials are eliminated, and the user will have the new-found ability to listen to songs offline. A free 30 day trial is said to be offered, at least during the product launch.

Google does face a number of challenges with Music Key however. First is the cannibalization of its own Play All Access music streaming service. Word is that the company will rebrand it as Google Play Music Key, but it still seems like there’ll be some confusion there, like which service do you subscribe to? Is there a difference between the two? Does one have advantages over the other? Does a subscription cover both? The problem here is that the company should be trying to draw a distinction between itself and other competing services, not between its own properties. It seems like a small issue now, but it just might be enough to make a potential customer throw her hands in the air in a fit of indecision and subscribe to Spotify instead. Read more on Forbes.
----------------------------------

Wednesday, August 27, 2014

The 2 Types Of Fans That Every Artist Has

Fanbase image
Every artist, whether they're selling out arenas or still working in clubs, has two types of fans. Most artists never bother to differentiate between the two and therefore don't grow their fan base as quickly because they tend to cater to the wrong group. In this excerpt from the latest edition of my Music 4.0: A Survival Guide For Making Music In The Internet Age book, you'll see the differences between groups and why one is more critical to your success.


"Music 4.0 is totally dependent upon the development, care, and feeding of your fanbase. Your core fans or “tribe” is only a piece of your total audience though. Your audience can be broken down into the following two categories: your casual fans and your core fans. 

Your total audience, or your fans, are fervent about a particular small niche of music that’s usually a subcategory of a larger genre, which means that they love speed metal (as opposed to the much larger metal or hard-rock genres), bluegrass (as compared to the larger country-music genre), or alien marching bands (as opposed to either of the larger alien-music or marching-band genres). If you’re an artist in that particular niche, your audience will automatically gravitate toward you, but still might not be your fans. This includes casual fans, occasional listeners, and people who like what you’re doing yet aren’t particularly passionate about it. 

Although this part of your audience can’t be ignored, it’s probably not a good idea to expend all your energy on it. They’re aware of you and will probably give you a try with every release, unless they’re disappointed too many times in a row. They can be turned into passionate fans though. One “hit” song or album, a change in image, or a change in general perception, and they become the passionate critical mass needed for the breakout that turns a respected artist into a true star. 

In Music 4.0, your most important core audience contains your most passionate fans, or your “tribe,” as described in Chapter 4. They’ll buy whatever you have to sell, work for free, recruit other fans, and basically do anything you ask. All they want is access to and communication with the artist, which is the basis of Music 4.0

So to summarize:
  • Your audience consists of your casual fans and your core fans
  • Fans may like an artist but may not be particularly passionate
  • Your core fans (true fans, uber-fans, super fans, tribe) are very passionate about everything you do
  • Most of your energy should be directed towards your core fans"
Knowing the difference between fan groups can make a difference between chasing your tail trying to please casual fans that only marginally care about you, or growing your audience by cultivating your most passionate ones.

To read additional excerpts from Music 4.0: A Survival Guide For Making Music In The Internet Age and my other books, go to the excerpts section of bobbyowsinski.com.

----------------------------------

Tuesday, August 26, 2014

Getting Paid For Soundcloud Plays

Soundcloud image
Soundcloud has made the ultimate move of monetizing the platform by deciding to introduce advertising on the platform for the first time, it was announced recently. The good part about this is it gives artists a chance to actually get paid for their streams just like on YouTube.

Until now, the company derived its revenue primarily from Pro accounts, but as of August 21st the company introduced a new strategy designed to give users new tools for uploading and tracking engagement, growing Soundcloud's audience, and introducing adverts into the platform.

Soundcloud will implement a new partner program called On Soundcloud that provides a brand new Premier tier, which is invite only at the moment and includes advertising from 5 different components - native (not sure what that one is yet), audio, display, channel sponsorship and contests. The first five sponsors are Red Bull, Jaguar, Sonos, Squarespace and Comedy Central.

What's interesting is that Soundcloud doesn't have signed deals with the major labels in place yet, but has decided to launch anyway. That said, the company is said to be in talks about the agreement, and expects to have something in place by the time it rolls out its new subscription service. For the moment, the program is only available in the US.

Bottom line - Soundcloud is trying to become an audio-only YouTube, and having a revenue model in place in order to pay artists for their participation goes a long way to that end.
----------------------------------

Monday, August 25, 2014

Analyzing Online Album Buying Patterns

Album Release Buying Patterns image
Fewer and fewer people are buying albums, especially online, but it's still interesting to look at the buying patterns. Global ecommerce company GeoRiot analyzed 500,000 clicks to albums on iTunes and found an interesting trend.
  • 26% of clicks occur before the album release as potential pre-orders.
  • 19% of clicks happen within 24 hours of release.
  • 54% of clicks happen within 2 weeks of release.
  • 20% of clicks happen after the release.
What that means is you have a very short period for potential album sales that's based around the release date in most cases. That's why the new strategy of releasing a digital single every 4 to 8 weeks before the album is released makes much more sense for our Music 4.0 world. That way there are many more events to generate interest, many more opportunities for your fans and listeners to be exposed to the music, and you can still compile them into an album release at the end anyway.

We now live in a singles world and that means our strategy based on the album has to be revamped.
----------------------------------

Sunday, August 24, 2014

The Dumbing Down Of Taylor Swift

Taylor Swift image
The music of female pop singers, not to mention the pop singers themselves, is so interchangeable these days that it’s difficult to tell them apart. Jesse J, Miley Cyrus, Rihanna, Demi Levato, Ariana Grande, Rita Ora - unless you’re a 14 year old girl you’d be hard-pressed to identify which is which when played back to back. The last star we expected to fall into this crowd was Taylor Swift, but there she is, dumbed down like the rest of them with her latest release “Shake It Off.”

In a world where the music on the radio increasingly sounds the same, Taylor Swift stood out from the rest. She wrote her own music, and was able to share the details and feelings of her life in a way that was overwhelmingly relatable to her audience. Not only that, she had a personal relationship with that fans that was fairly unique amongst pop stars today. She wrote about the things they cared about, but she was also reachable by social media, just like they were, and had the most amazing and enduring quality that any music star could hope for - she was her audience.

It’s fair to say that the measure of an artist isn’t necessarily their singing or musical ability. What really makes an artist into a star and provides for a long career is the ability to write songs, a rule of stardom that virtually every American Idol winner has managed to prove. Of course, songwriting has been Ms. Swift’s strong suit, and she certainly had her hand in “Shake It Off,” as evidenced by the lyrics. Read more on Forbes.
----------------------------------

LinkWithin

Related Posts Plugin for WordPress, Blogger...