Future of Music Coalition (FMC) has launched a groundbreaking research project called Artist Revenue Streams, where we ask US-based musicians and composers, “How do YOU make Money from Music?” Project Co-Director Kristin Thomson from FMC explains in this MTT post where they idea came from for this research and why it’s so important that every musician or composer in the US takes this online survey, which is available at http://futureofmusic.org/ars until October 28, 2011.
Entries in music career (65)
Most musicians or artists think of only one or two aspects of their career; music and social networking. I find that most musicians just go through the motions not really giving it their all especially when it comes to social networking. In order to improve your skills as a musician, get more gigs and make more money you have to think outside of the box. Improvisation is a key asset to your bag of tricks and can pay you back ten fold. If you always practice what you know you will never learn anything new or improve your craft and skill set. Trying new things out and getting out of your comfort zone forces you to expand your mind with the side effect being some potential hit tunes on your hand. More importantly it will help you to bridge out of your genre of music, once you get good, and allow you to diversify your income potential by taking on other projects or gigs. This article however is not about making better music or writing hit records, it’s about doing simple steps with social networking, like improvisation, that will pay off in the future.
How Jail-Time and Cults Can Help Your Band Become Successful, PART 1: A Poll of Leaders from Bandcamp, CD Baby, FanBridge, ReverbNation, Topspin Media, and More
The founders and leaders of web-based services for the music industry have the unique opportunity to see what musicians are doing to build awareness among fans and what they are doing to amplify their story
through the media. I polled seven such thinkers with the question: Can you tell us about a band or two whose STORY has helped their careers? They told me compelling stories about jail-time, tragedy, and cults, but also about crowd-sourcing band members, using technology to answer fan questions, and giving fans ownership of a band. Here is part one of two:
“I wanna get signed!”
How many bands or musicians say that? Perhaps not as many as in past years. These days, an independent musician has access to tools that allow them to self promote through a giant web of online resources and then sell their music through the same. Certainly some musicians have no desire to sign to a label contract – their musical style is one that may not be saleable to mainstream audiences, or they prefer the self-control of handling their musical career independently. Some major artists were label signed, and having already gained a large audience share, they feel their own team can now market and sell to those same fans, without the controlling relationship certain labels may offer.
As I made my way back from Los Angeles, I started to think how many talented young artists out there have made the wrong decision when it came to their personal manager? How many of them had an attorney present when signing their management deals? How many of them involved a sunset clause? How did the contract say the manager was paid? Gross revenue stream or would the manager be dipping into “restricted areas”?
It amazes me that after being in the industry long enough to be considered a veteran by many that I have come to respect over the years, that there are some artists and companies industry related out there that think they are going to “GET TO THE TOP” by backstabbing or undercutting other musicians, agents, managers, producers, etc. That being said, they are “Playing Games” in our Industry!
It’s true that industry professionals and artist mind sets could not be farther apart. They are on two totally different sides of the game, yet working together as a team. All industry people probably receive anywhere from 15 to 200 emails or calls a week from indie artists wanting to work with them or get their advice. This is not an exaggeration. Most of these calls/emails are unfortunately misguided and are not going to get the artist anywhere just based on their approach. As an indie artist I am sure this must be incredibly frustrating… constantly sending out emails to industry people and not receiving replies. You’ve been told that to be proactive you have to mail, call, email, and send presents to industry representatives to get their attention. This is NOT true… let me help you out here.
How Middle Class Musicians Navigate the Nodes on the Network: Topspin Media's CEO Ian Rogers Says "It Just Takes a Long Time"
I recently asked Ian Rogers, CEO of TopSpin Media, about the role of the press in music careers in the new era of the music industry. Topspin Media is a direct-to-fan marketing and retail service, so Ian observes a lot of bands stepping through the stages of development from unknown to known. Here’s what he had to say:
I am a songwriter. I typically work from home using a small studio set up and have been fortunate enough to have written, co-written or produced many songs that have been commercially released.
What am I waiting for? As a musician you live in a hurry up and wait world. You hurry up to travel to a gig and then you wait three hours to hit the stage. You hurry up and make contact with a booking agent and then you wait 3 months for them to get back to you. If your lucky you hurry up and record and then you wait for your label to release it six months later. Plain and simple, it sucks! One of the main reasons why artists don’t have success is that they wait on others to do what only they can do.
So much talk about the success, or lack of, making it in the new music business industry. But it really comes down to treating your musician career as a business. Let’s look at some statistics. History shows that…
Logic would suggest that the most talented musicians would get the best work. The better you play the more people will want to hire you, right?
The validity of university music programs - especially the ones that focus their curriculum exclusively on performance and completely ignore business, entrepreneurship, or career-building - seems to be predicated on this talent myth. Become the best and you’ll succeed. Why else would you pay $100,000 for a fancy conservatory education?
But we all know the truth. We’ve all seen overwhelming evidence that the most talented musicians do not, necessarily, have the most success as working musicians.
How’s that fair? What’s the deal?
Balancing the different facets of being a musician, along with our social, personal and professional lives can be very difficult. How do we do it, and do you have anything useful you can share with others?
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?
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(Updated July 8, 2015)