There are a lot of musicians and groups that artistically want to stretch people’s minds and make people think, figure out and really dive deep in to the meanings of their songs, their name, their image, different elements of their marketing and other underlining elements that many artists think will add that hip or cool edge to them. The problem that can occur though is flat out confusion or actually deterring more people away from your music and you than helping bringing them to listen to you and want to find out more about you.
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I met Amber Rubarth through Derek Sivers who wrote a wonderful profile on her on his blog.
Here is what Derek wrote: Amber Rubarth is a 26-year-old singer/songwriter from Reno, who only started playing music five years ago, but is making a full-time living touring, including four tours of Europe, booking it all herself. She’s also one of the happiest musicians I’ve met. Most musicians I know feel it’s tough, but Amber seems to glide through it all effortlessly.
My interest was peaked and I concur with Derek’s assessment! I am delighted that she was willing to be the subject of my ongoing conversation about 1,000 true fans.
There are some great posts to be found on MTT Open. Anyone can post just about anything relevant on MTT Open. Please keep the self-promotion to a dull roar.
Here are some recent posts:
Important stuff for artists approaching labels/ managers/ bookers by Sebastian Hess
Think Outside the Venue To Get That First Gig by Refe Tuma
Music Marketing DIY - Amanda Palmer tells All by Kevin J Ryan
Mix Tips that I tell my clients by AC Mastering
Here are two things that you may want to consider when planning out your life as an artist that earns a living by staging performances (live and not).
If you are contemplating the future of music sales revenue, the most alarming thing about inexpensive (they actually call it “premium”) all-you-can-eat streaming models (Spotify, MOG) where music fans pay roughly $72.00 a year (for example) for endless access to all the music in the world (anytime, anywhere, anyplace), is that the $72.00 is divided by (all songs consumed times each song’s play-frequency).
I’ve read two very interesting related articles this week. The first suggested that people who download music via peer-to-peer services spend more money on music than their non-filesharing peers. The second insisted that the net drop in CD and download sales overall has increased concurrent with, and as a result of filesharing.
It’s difficult to argue with either, since they’re both backed by respectable-seeming research and surveys - and yet they can’t possibly both be true. Until you realise the fundamental logical flaws in both positions: the presupposition that unauthorised downloading of music has a causal effect - indeed, is the only causal factor - on the fortunes of the music business.
Clearly, as soon as you take a step back and think about it logically, so-called ‘piracy’ cannot possibly be anything more than one of a whole range of factors affecting the music industry as a whole, simply because the world is a complicated place and people are complex and interesting. There are political, economic, social, cultural and technological factors all influencing the industry’s affairs - and it stands to reason that different influencing factors are pulling in all sorts of different directions.
It’s a hard thing to admit when you’re wrong. Whether it’s in an argument or approach, at work or at play, it can be incredibly challenging to suck it up and admit that it’s not someone or something else’s fault, but your own. You know the people who have a thousand reasons for why they’re not getting somewhere, and the reasons always have to do with all these other people and all these other things, but let’s be honest: the world at large is seldom solely to blame.
If I had $5,000 to spend on music promotion, I certainly wouldn’t waste it on any of the following:
I recently had the chance to interview acclaimed musician, Zoë Keating. Zoë has been called a “one-woman orchestra,” layering her cello into unique and captivating works. She has worked with Imogen Heap, Mark Isham, The Dresden Dolls, Rasputina, DJ Shadow, and Paolo Nutini. Her self-produced album “One Cello x 16: Natoma” soared to #1 on the iTunes Classical charts and #2 on the Electronica charts. Continue reading to get a glimpse into the mind of one of today’s musical greats.
Everyone is tired of that same old phrase “you only get one chance to make a first impression”. It is repeated ad nauseum from business schools to beauty pageants and everywhere in between. As much as I would rather say to throw away the stuffy old phrases, parables and sayings, this is one that seems to grow more and more true every day. Especially in the music industry.
Over the next few days, Music Think Tank will be undergoing some cosmetic renovations. At times, the site may appear unfinished and some items may look out of place.
Does anyone have a good music-related domain they want to sell for less than $1,000 USD? Please post a comment that includes the domain. I can’t provide more information, but chances are there are other readers looking also. Personally, I prefer the .com over any other extension. Thanks.
If you are interested in stats and examples about the power and cost of social media, check out this video.
As the holiday season approaches, and we get in to that thing about good will to all, all those other quips about being better people for a moment—which personally, I think should go through out the whole year and not just the shopping season (sorry, holiday season), I wanted to put out a quick rant (speaking of Good Will) that I’ll call Ten Tips that Every Musician Should Apply to Their Career. These apply to both the music and business sides of he equation. Many apply to those who are not musicians but work in the music business.
Hell, a few apply to anyone working in any business. So, New title: Ten Tips for Everyone Alive on the Planet
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(Updated Feb 25, 2014)