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Entries in Digital (15)

Friday
Oct142016

The Return Of The Song Plugger - The Unsung Heros Behind Songwriting’s Renaissance In The Digital Age 

By Thomas Scherer, EVP US publishing and international writer services at BMG

We’re in the middle of a golden age of collaboration in the music industry. The digital age has removed barriers for artists and writers teaming up to work together, contributing parts, ideas, lyrics and so much more. In the past twelve months, some of the biggest hits in our catalogue - such as DJ Snake’s “Let Me Love You” ft. Justin Bieber and Florida Georgia Line’s “H.O.L.Y.” - have been co-created by amazingly talented writing and production teams. Yet all of this creativity is underpinned by an unsung role that has never been more important within the music industry - the song plugger. 

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Tuesday
Jul122016

Vintage Music In The Digital Age - Collecting Your Favorites

Ever since you were a kid, you’ve collected records. Most of your collection is in the form of long playing records and the singles that you bought every time you could find one with a picture sleeve. As much as you love your collection, it would be nice to have digital copies you could take along on the go. The good news is that you can digitize your vintage music and listen to whatever you want whenever you want.

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Thursday
Apr212016

How To Advance Your Music Career In A Digital Age

Being a musician these days is tough! Back in the good ‘ol days, artists just had to worry about learning their craft and booking shows, hoping to get radio support along the way that could eventually get you signed to a label. But today things have gotten a bit more complicated. But with every challenge there always lies opportunity. This opportunity is that we now have more access to information than ever before–information is knowledge. Now all the barriers of entry only large record labels knew about are out there in the open. With a bit of research and time, we know the industry works and we know how musicians can make money in it.

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Wednesday
Jun272012

Research Says Young Listeners May Embrace CD Quality Audio. Habit Says It Won't Be on CD.

The music industry wishes young listeners would abandon low-bit-rate compressed digital music for harder-to-pirate and more profitable CDs. Contrary to the long-held belief that young listeners think lossy compressed music is “just fine,” Harman researcher Dr. Sean Olive has published results from the first peer-reviewed scientific test showing that young listeners will in fact choose CD-quality audio over lossy alternatives when given the choice. Has the dream of a new generation embracing CDs come true? Not so fast.

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Thursday
Apr122012

The Importance of Album Art in the Digital Age

As we all increasingly download our music rather than browsing through the shelves of our local record shop, album artwork is less important. Or is it?

There is evidence to suggest that musicians and audiences are still interested in imagery surrounding music.

“I like a bit of controversy. It tests the nation’s intelligence.”

When photographer and director David Boni came up with the idea of hanging The Stranglers in a kids’ swing park, bass player JJ Burnel, replied “I like a bit of controversy. It tests the nation’s intelligence.” And so, the cover of brand new album ‘Giants’ was born. Currently touring the album – and, inevitably, some of their classic tracks like ‘No More Heroes’, ‘Golden Brown’ and ‘Peaches’ – the band has seen a revival in fortunes across Europe, only tainted by drummer Jet Black’s recent illness.

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Monday
Feb152010

My Interview with SXSW Magazine on Online Strategy for Musicians

At last count, if I’m correct, I’ve attended the SXSW Conference at least seventeen times, and on many of those visits I have been very grateful for the opportunity to speak on a panel. When Brian Zisk, a co-founder of the SanFran MusicTech conference, invited me to speak again on a panel in December, and also to join him on his panel at this year’s SXSW, I gave pause.

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Thursday
Feb042010

Digital Distributor Math: Choosing the Right Distributor for Your Band

Question:
You are a musician and you want to sell your music on digital retail sites.  You are deciding between two digital distributors to deliver your new album to retailers.  The two distributors, Distributor A and Distributor B, have different payment terms and fees.

  • Distributor A charges a one-time album set-up fee of $20, plus an annual “maintenance” fee of $20, and takes no percentage of your sales (Distributor A passes 100% of the sales revenue it collects on to the artist).

  • Distributor B does not charge any set-up or annual maintenance fees, and takes a 10% cut of your sales revenue (you the artist keep 90%).

Assume both distributors will deliver your content to the same stores and offer identical service except for the payment terms. Which distributor do you choose?

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Tuesday
Dec292009

No One Has the Answer, But Sivers Told Us That

If there’s any doubt about the disarray and desperation afoot in the music business, just check out the Internet’s affect on the media business – music, print and broadcast – overall over the past decade. A recent article in the New York Times covers the waterfront on this issue quite well.

While the devastation of digital democracy vis-à-vis the Web made its first blitz through the belly of the music biz, the print media was next in line, and the battlefield there rivals Antietam.

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Thursday
Dec172009

Breakthroughs, Bitterness and Biopics

Music biographies mesmerized me when I was a kid. Whether it was Glenn Miller or Elvis Presley, it was always the same fascinating formula: talent and tenacity leading to the precipice of success, with the artist always searching for that one elusive element to define his signature sound, to breakthrough. With Miller it was the addition of trombones. The proceedings always put me on the edge of my seat and the breakthroughs set me reeling. I guess it was in my blood.

It persists. The other night I watched two great documentary-style biopics on TV, one on Johnny Cash, another on Willie Nelson. Willie, as many of his fans may not realize, was actually a Nashville songwriter penning such classics as “Crazy,” which Patsy Cline etched into the music lexicon. Despite his preeminent status as a writer, Willie couldn’t get arrested as an artist in Music City. His quirky phrasing was way too off-beat for the 60s sound, which was infused with sweet strings and pop arrangements.

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Sunday
Oct252009

‘It’s tough to beat up a guy that never quits’

Babe Ruth mouthed that ungrammatical gem, and a slumping Nick Swisher of the New York Yankees just invoked it at a critical moment in his career.

Hang with me a moment, and you’ll see what this has to do with us music artists. Swisher made the last out in Game 5 of the American League Championship Series the other night. It was a frustrating moment, since a hit in that spot could’ve finished off the Angels and put the Bombers in the World Series.

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Wednesday
Sep302009

Dog Guru

My wife, Roxanne and I saw Jamey Johnson last weekend in an awful club in Clifton Park, N.Y. Johnson’s a country songwriter cum recording artist who’s anything but awful. He’s one of those rare artists who come along once in a generation in a genre, in this case country.

He’s so raw and real it hurts. He’s of the outlaw breed, and his songs — even some of his hits – hold a bare light bulb to reality.

He’s a Montgomery boy, an ex-marine, ex-family man, and ex-rebel rouser, and his voice is as perfectly imperfect as his life. I’m not writing this to pitch Johnson, but country fan or not, this plainspoken poet is worth a listen.

I’m reminded of Steve Earle, who blew me away with his 1986 debut album “Guitar Town.” One literate bad boy with a voice to match. The first time I heard him I wanted to burn my guitar and typewriter (remember those), but eventually returned to my auteur senses.

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Sunday
Sep202009

You’re So ‘Yester-moment’

It’s no longer the flavor or the month or what used to be called 24/7 or wall-to-wall coverage. The new media cycle, at least for this nanosecond, is called “perpetual movement.”

In other words, spin or die. That’s the latest from Internet guru Michael Moritz, a Sequoia investor who backed Google, Yahoo and the Sugar Inc. blog-networks.

Quoted in a recent New York Times article, Moritz says:

“Perpetual movement is the essence of survival and prosperity online. If online media and entertainment companies don’t improve every day, they will just wind up as the newfangled version of Reader’s Digest — bankrupt.”

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Sunday
Sep132009

Viral, Schmiral (‘Greatness’ Pt. 2)

Baimurat Allaberiyev – a YouTube sensation – has a major record deal but still has few teeth, literally. And those teeth are planted on the cutting edge of the latest boom-and-bust trend in the music industry: viral-video microfame.

So, let’s get real about the sobering statistics of enduring Web 2.0 success among music artists. To that end, I will explore the verities of the viral-video trend.

But first, this exploration is not meant as a discouragement. It’s simply a reality check. Like a sound check, it gets us in tune, so we can perform at our best. And, as with the old industry, the new music model presents real, if limited, opportunities for enduring success. So, as in the past, the motivation for the serious artist is the very challenge of the overwhelming game itself.

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