Allegedly, Pandora now controls 3.6% of radio listening. This is an impressive figure, but, to me, a disturbing one. We’ve all spent the last few years touting how the Internet has changed music distribution and flattened the playing field so that everyone has equal access to distribution. Traditional terrestrial radio, with ever-shrinking playlists that contain almost new music certainly aren’t designed to appeal to a future audience, they are designed to grasp onto a shrinking past audience.
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Entries in distribution (5)
I’m filling in on bass for a band that’s gearing up to release their new CD. When filling in for a band, I try to take a back seat on the band’s business. However, I sometimes just cannot keep my big mouth shut. In this case, the guys were discussing details of their upcoming CD release, and I had to chime in. Here’s a rant based on both my experience with my former band and quite a few drunken conversations with various bands over the years.
Derek Sivers revolutionised the way music is distributed when he created CD Baby. Since then many others versions have popped up. Is there scope now for another CD Baby-esque venture?
Simon Tam explains the approach that artists should take to get endorsements and sponsors. Artists need to create opportunities by initiating contact in a unique way. Artists need to focus on how they can provide value to the company instead of the other way around. To start, artists can contact companies with less competition such as local businesses that may be more likely to become a sponsor.
“It’s about creating a lasting relationship where you can build an audience together with that company.” (Read On)
Internet Radio Is the Future…Duh
Charles Hill writes about his rant on recent articles that he finds obvious.
“I run across articles with titles like “Internet Radio is the Future”. This cracks me up. Its like writing a book on the fact that the sky is blue.” (Read On)
Relationships Are The New Distribution
Greg Bates discusses one aspect of the 4 P’s of Marketing: Place. Most artists think that their distribution is taken care of by putting their music on iTunes or Bandcamp, but distribution is made up of the quality of your relationships. Artists need to build relationships with fans and reach out to other bands, businesses, etc. to collaborate on projects.
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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(Updated May 3)