Go on, admit it! You are probably nurturing some kind of a world domination plan in the back of your mind. Wouldn’t it be nice to play to a huge room filled with people that came specifically to see you? How amazing would it be if your music could take you around the world? What if you managed to find people from all corners of the world that connected with you and your music?
Hi Nashville Friends & Family,
I have a favor to ask. If I was there I would do this but I’m in New York feeling really unable to do the Maximum I can.
Vince Romanelli is an extraordinary friend and independent musician who I adore needs us.
see why I love him here
His bandmate Kenny’s parents just lost everything they had in Joplin.
Vince is leaving tomorrow evening to drive to Joplin on a supply run.
Anything you can do to contribute will be deeply appreciated.
The album format has it tough these days. With all the FB posting, tweeting, and social networking going on, how can any musician hope to grab attention with a product that takes longer than three minutes to experience?
I’d venture to say that almost all bands start by playing cover songs. After all, what better way to get your chops together than by emulating something already tried and true - i.e. a hit song. The problem comes when a band or artist begins to get popular from playing cover songs, yet has aspirations of one day playing their own music. Unless you’re extremely clever right out of the box, chances are that your self-composed material doesn’t get the crowds going the way the cover material does. This means that as soon as you begin to play one of your own, that hot enthusiastic crowd suddenly goes ice cold, making you feel like your song just isn’t cutting it.
The question: Is this the best or the worst time for independent musicians to be successful?
So here we are, in a world where the power to make, publish and become extremely successful from our own music has been stolen from the almighty gatekeepers. We no longer need third party executives to direct us, we don’t need giant media conglomerates to get our music out to a captive market. We no longer need to pay exorbitant amounts of money to people who don’t really deserve it.
Why? Because the tools, the technology and the means have been delivered right to our doorsteps. We can thank people like Sean Fanning (of Napster) for changing the way we discover music, and Mark Zuckerberg (Facebook) for delivering communication to the entire world right into our hands, and for developing an even wider network of social sharing.
Now for a fraction of the cost of going to a professional recording studio, musicians can set up their own home studio and make equally stunning recordings. They can upload to a digital distributor such as CD Baby, and within 48 hours their music can be sitting alongside the major players in iTunes, etc.
Two months ago, I began implementing Ariel Hyatt and Carla Lynne Hall’s strategy to increase my Twitter following, as laid out in their book Musician’s Roadmap to Facebook and Twitter. The basic idea is to follow potential fans in the hope that they will follow back. I discovered that the more selective I am in choosing who to follow, the more likely I am to connect with people who may become genuine fans. I’ll share my process and results below.
I’m just back from the mighty ASCAP Expo in Los Angeles. I learned so much from the hundreds of artists I spoke to over the 3 days there and I boarded the plane with a whole new perspective on just how confronting marketing and social media is to 90% of artists. You guys REALLY hate this stuff. You hate it so much that I literally felt like I had been beaten up over the concerns, complaints and sheer confusion directed my way. So I will kick off with this: Making it in music is HARD
Thousands of artists, bands and music companies have a Facebook fan page these days. Perhaps you do too.
But way too many of them screw up big time when it comes to using a fan page effectively. (Of course, I’m sure YOU don’t fall into that category … or do you?)
Watch this new video clip and find out if you’re making any of these major Facebook music promotion blunders.
Haven’t created a Facebook fan page yet? Then you REALLY need to watch this so your first fan page gets off to a great start …
Every day MusicThinkTank’s sister blog Hypebot, covers news of the music industry, music tech and the d.i.y. music movement. Each Saturday we’ll share with you the week’s top stories.
- Limewire settled with the RIAA and labels for $105M, but it appears artists won’t see a dime.
- WMG Sale Update - A shareholder filed a lawsuit to block the sale to Access Industries. At the same time Access is looking to add EMI to it’s portfolio.
- Major Label Losses: Universal Muisc’s revenue fell 5%, sales were down 2.7% and losses widened at WMG.
- As MySpace pageviews dropped another 50% within the last two months, founder and former CEO Chris DeWolfe pondered making a comeback.
We’re proud to name Natalie Cheng as Music Think Tank’s first ever Community Manager. Natalie has toiled away in the shadows here for months; editing comments, tagging posts and in general keeping things flowing. This acknowledgement of her efforts is long overdue.
So, who is Natalie Cheng?
By David Greenberg. Learn more about this outspoken industry veteran at the end of the post.
To the cloud. Google’s created MUSIC, a here-to-fore hush-hush (though everyone seemed to know about it) service to shunt all your music up to a locker in the cloud. Apple will soon have a Cloud iTunes too. Then you can play your music everywhere and anywhere on just about any device that the gods of I.T. allow it to. Though, right now Google’s only on Android and Apple’ll probably stick to the iPhone.
Here’s the best part: You may be able to share your music with your friends, family, step-children, and even ex-significant others. There will be an App for that. Maybe,
How many times have you heard this saying? It’s almost gotten to be a cliche around the recording blog world these days. It’s something, however, that I believe needs repeating. And it’s one that I am constantly reminding myself of in the studio. It’s amazing how many questions I’ve received from friends and colleagues about what kind of mics I’m using. Of course, the recommendations follow: “Oh man, you should try the enter mic of choice here on your kick drum – best mic money can buy.” Or how about, “Hey man, what’s the BEST microphone for recording vocals?” Have you fallen into this trap? I know I have.
I spend a ridiculous amount of time thinking about the music industry, and particularly the new independent music industry. This is partly because I am an independent musician, and partly because I write a blog on music biz stuff. I’ve also got a natural interest in patterns and systems (and the music industry is one). I like watching things emerge, and I like the ideas that people are forced to come out with to try to make a little money in the current climate.
This article is part 1 of a 4-part series by guitarist Cameron Mizell. For more information about self-releasing your album, visit the series home page: The Self-Released AlbumIn what seems like a past life, the only way to release an album was through a record label. The label had the money to pay for your recording, the ability to distribute it around the world, and the marketing resources to make sure people knew your album was hitting the stores. Today, any resourceful individual with a little bit of money and a lot of creativity can make an album commercially available to the same number of people as a major label. I have been involved with coordinating the release of about 200 albums, ranging from my own self-released album to Herbie Hancock’s Grammy winning River: The Joni Letters (2008’s Album of The Year). My previous job at a record label taught me a great deal about this process, and it’s definitely helped me when I released my own albums.
Recent Popular Content
(Updated July 8, 2015)