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Wednesday
Oct292014

The 7 Fundamental Steps To Cover Band Success (Part 2 of 2)

This is the second of a two parter. In the first post I ran through the fundamental difference between building a fanbase and getting leads. If you’re in a cover band and want bookings for lucrative private and corporate events then you need leads and enquiries from prospects most likely to want to pay for your performance.
Check out the first post here. In this second post I’ll run through fundamentals 5 to 7…

 

5. Start thinking about what you thought were costs as an investment.

In general the quickest way to find a client is broadly speaking to put a paid ad in front of them.
Most bands won’t do it because they see it as a cost rather than an investment.
But if I told you that you could spend 50 bucks to secure a booking for 1000 bucks you’d do it all day long wouldn’t you?

 

Well you can.

 

Click to read more ...

Monday
Oct272014

How to Book Your Own Gigs

Every musician has to start out booking their own gigs, but, as you’ve probably realized, this is a lot easier said than done. After all, there are so many musicians and bands competing for very limited performance spots. For promoters, it’s a game of risk management - they want to book bands they know will fill the room - so getting the spot as a new band can be very tricky. There are, however, some things you could be doing that can help you get those gigs!

What is a Promoter?

A promoter or venue owner is someone who buys talent. Depending on the size of the venue, they work independently or with booking agents to book bands and musicians to perform. For local clubs and venues, promoters and venue owners get a percentage of ticket sales and also make money from food and drink sales. As you can see, the business of promoters is really all about numbers - if they don’t fill the room, they don’t make money. This is where you come in. If you want to get the gig, you need to be able to prove that you can bring an audience, therefore lowering the risk for the promoter.

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Saturday
Oct252014

MusicThinkTank Weekly Recap: Rocket Fuel – What can a new Platform add to the world of Crowd-funding?

Wednesday
Oct222014

How To Become a Digital Music Marketing Superhero

Today, I am going to tell you a story about Jim O’RecordSales. Jim’s biggest responsibility is to ensure an album’s digital marketing is optimized to earn as many online purchases as possible throughout the entire release cycle (from pre-order, to release day and beyond). He is helping to release an album that is being sold across the major digital music outlets, with the largest and most powerful being iTunes.

Jim’s standard promotional plan includes marketing the album across social channels, YouTube, on the record labels website, in a press release, setting up an AdWords campaign targeted towards English speaking countries in which this artist has passionate followings, and to work with the artist’s managers to push the promotions on the individual artist’s website, social channels and wherever else they can.

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Tuesday
Oct212014

Rocket Fuel – What can a new Platform add to the world of Crowd-funding?

The concept of crowd-funding has proved one of the biggest successes of the last few years, with musicians turning to fans to finance albums, tours, merchandise and (probably) rounds of drinks for their road crew. Not only have there been thousands of bands running campaigns, but the number of platforms available for their use has multiplied too. So in such a saturated market, can any platform really bring something new to the table?

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Saturday
Oct182014

MusicThinkTank Weekly Recap: DIY Musician Debunked: Of Course You Don't Do It All Yourself

Wednesday
Oct152014

DIY Musician Debunked: Of Course You Don't Do It All Yourself

The Real DIY Musician The reality is that though you may call yourself a DIY musician, there is no such thing as a successful DIY musician. There are only successful musicians. Everyone who is successful has help, and every large venture is a collaborative effort. Music careers are no different. DIY Musician = musician who is knowledgeable in the basics of online marketing, music distribution, and other music industry related business skills.

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Monday
Oct132014

Score a License: What Music Supervisors are Looking For

There has been a great deal of buzz about music licensing in recent years, and with good reason! Compared to other revenue streams, licensing can have potentially big payouts for indie musicians. It’s also a pretty confusing aspect of the music industry. Just how exactly do songs get on those TV shows? The conductors behind those licenses are music supervisors.

What is a Music Supervisor?

Music supervisors oversee the music-related aspects of TV, films, and video games. They are in charge of interpreting the producer’s vision, finding the right track, and negotiating the contract with the artists. Of course, there are MILLIONS of songs out there, so finding the right one is no easy task. On top of that, licensing for use in visual mediums is a juggling act, with as many as eight separate deals depending on how many parties are involved (songwriter, recording artist, record label, publishing company, etc.) and how the song will be used.

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Saturday
Oct112014

MusicThinkTank Weekly Recap: The 7 Fundamental Steps To Cover Band Success (Part 1 of 2)

Wednesday
Oct082014

The Cyber PR Guide to Creating an Effective Music Marketing Plan (Part 2 of 3)

Releasing an album or EP into today’s music landscape can feel like a daunting task. Who do you send it to? How will you get people to listen?  How do you cut through the noise? Where are all the places to put it online?

Marketing And Advertising

The first blog post in this 3-part series for creating an effective marketing plan dealt with building a strong online presence, so if you follow those instructions you are already in better shape than the majority of artists releasing music today.

In this, part 2, we will discuss steps to take in order to have a successful new release launch.

Click to read more ...

Tuesday
Oct072014

The 7 Fundamental Steps To Cover Band Success (Part 1 of 2)

If you’re in a cover band and serious about getting more lucrative private and corporate event bookings chances are you’re starved of specific strategies and tactics that’ll help you achieve this.

There’s plenty of excellent marketing advice for musicians working on original material but very little for cover band musicians.

A word of warning. While the marketing info for original artists can be very valuable, there’s a fundamental distinction that needs to be made. Artists writing their own material are generally focused on ‘getting exposure and building a fanbase’.

As a cover band looking to secure wedding, private party and corporate event bookings your main priority should be different. You don’t need exposure per se, you need to generate actual leads and inquiries from prospective clients that want to book your band for their event.

The difference seems subtle but the approach you take to marketing and selling your band is in many ways fundamentally different.

Click to read more ...

Saturday
Oct042014

MusicThinkTank Weekly Recap: 5 Questions to Ask Before Hiring a Music Publicist

Wednesday
Oct012014

5 Questions to Ask Before Hiring a Music Publicist

by Janelle Rogers, Green Light Go Publicity “We hired a music pr company to promote our last album and were really disappointed in the results.” This is something we hear a lot when new clients come to us. I get it. Nobody wants to spend a ton of cash on something and then see very little come out of it. I know I don’t. I could go on and on about starting with a clear vision of where you want your band to go and what you hope to come out of a successful campaign, but first things first – you need to make sure you are in the right hands.

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Monday
Sep292014

“Thinking Music” vs. “Emotional Music”: Two Different Kinds of Music Listening Experience

I’ve always wanted to share my thoughts on how I listen to music and how I interpret what I hear. What is it that makes some tracks “work” for me while others leave me uninspired? Of course, there’s no short answer. Sometimes it’s a vocal hook, sometimes a driving guitar part, sometimes a floating ambience or a pumping bass line. With every track it is different. However, after giving some thought to this and “analyzing” the way I perceive music, I’ve come to realize that I can clearly distinguish between the two types of music: what I call “thinking music” and “emotional music”.

“Emotional music” is probably the most obvious kind. This is the type of music that makes you feel good or makes you want to cry or just makes you feel like you’re flying through the sky and all your problems just seem to melt away. This music caters to the basic human emotions, and this is what you usually can hear on the mainstream radio. Of course, that does not exclude jazz or classical or any type of indie or alternative music. For instance, Bach’s “Air on the G string” or Beethoven’s “Moonlight Sonata” or even Philip Glass’ fabulous score to the film “The Hours” are all — to me — examples of this type of music. As are Radiohead’s “Fake Plastic Trees” or U2’s “Where the Streets Have No Name” or Bob Dylan’s “Desolation Row” or even Michael Jackson’s “Man in the Mirror” and, strangely, most of Sigur Ros’ catalogue as well. As you can see, very different music genres belong here. This doesn’t have to be pop music in the narrowest sense of the term but tracks belonging to this type usually have a strong sense of melody and/or harmony and quite simple chord progressions (although again, this is not mandatory) especially when compared to what is called “academic music” or some of the more complex forms of jazz.

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