As technology becomes an ever increasing part of our daily lives, the way we interact with the things we label as entertainment evolve as well. Whether substituting regular cable for Netflix or curating a coveted music playlist with Spotify, the consumer is consciously changing the way companies market to them. With the focus of most marketing initiatives shifting from web 2.0 to the era of data collection and mobile, it should be noted that most marketing initiatives and the archaic ways we try to get fans or consumers to engage with the product should follow suit. It’s no longer okay to just have a Facebook page where posts are made on a somewhat normal basis or a Twitter account where a tweet lives for thirty seconds. The shift to mobile and data collection has seen an increase in how fans want to be not only engaged with but to have the content of engagement be compelling.
Entries in Music (60)
Defining what exactly is “quality” music is an age-old process that never comes to a conclusion. The music that one person loves, another hates, and vice-versa. But now it’s possible for an artist to use that to their advantage.
Imagine a painting that you really like. Imagine that you see that painting for the first time at an opening in an art gallery (think a fancy, somewhat pretentious art gallery…). You like the image, the colors, the technique, etc. You’re impressed. You love that painting.
It would look awesome in your living room, wouldn’t it? You have a chat with the artist, where she explains the concept and the process behind creating the painting, the materials used, and what it means to her. She tells a bit of her life story, and how and why she became a painter. You have a glass of wine; you discuss the painting with a few more people. They also like it.
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.
Every year there’s a rush in the music marketplace after one trend or another, and in the past year it’s been cloud services and the concept of ‘music as water’ subscription services. While the notion of selling music subscription like cable TV may be appealing at first glance, it is proving hard to monetize on for both the companies that launch such services and the content owners who participate in them. There are several reasons why I have always been very skeptical about the future of all-you-can-eat subscription services and cloud service models:
If you’re a musician or in a band that’s trying to get your music out to the world, your website is a valuable marketing tool. Your website helps your fans, bloggers, and journalists find out who you are, what you sound like, and where you’re playing. It’s important that your website contains content for all types of visitors, from fans - current and potential - to booking agents and media outlets. Below are ten essential elements that every band’s website should have.
This is a response to Ariel Hyatt’s recent post ‘The Musician’s Guide To Affordable, Effective Websites’. In this article, Ariel outlines the fact that all musicians should have a website, and goes on to detail how you can set one up on a tight budget. In this article however, I want to elaborate on some of the points she makes, and give you an alternative method to setting up a lot cost website. As I’m sure you know, there’s more then one way to skin a cat, and today I’m going to show you a method that has worked well for me.
I’ve already outlined step by step how to build a music website, but today I’m going to be looking at the reasoning behind each of these decisions, so you can yourself decide if they’re right for you. I will also be looking at the set up cost, so you will know how much something like this will set you back. Considering what it costs to get a ‘professional’ to set up a website for you, I’m sure you’ll be pleasantly surprised…
A few weeks ago Wired posed the question “Is YouTube Bad for Music?”. Their article asks if music fans’ access to almost limitless free music via YouTube is hurting revenue for artists by undercutting premium streaming services, and of course, iTunes/CD sales.
Later on, YouTube responded, stating that “Free Music Can Pay As Well As Paid Music”. YouTube retorted that their monetized views via AdSense and In-Video ads were putting millions of dollars into musicians’ pockets every month. (well, more accurately, into the record label exec’s pockets, but that’s a discussion for another article).
The more interesting debates seemed to happen on various music industry blogs who weighed in on the discussion with their own oped pieces.
This is not another one of those opinion pieces, this is a fact piece.
Yesterday I uploaded what I’m calling a “Video LP” for my album Erase This to YouTube. [watch it here] The Video LP consists of eleven different videos (one for each song on the album, and a personal introduction from myself), tied together by a YouTube playlist that will automatically roll through all eleven videos, in order, with the click of one button.
For music listeners and fans, the Video LP (LP referring to “long playing”, the name given to 12” vinyl records in the 40s) is a great format for sampling an entire album before making a purchasing decision. It’s similar to streaming the entire album on my website, but better. The Video LP format allows for on screen lyrics and all of the liner note artwork typically associated with CD and record sleeves. You won’t find that on most streaming mp3 players.
Additionally, because each song is its own YouTube video, songs can be favorited, commented on, embedded and shared easily, in a format that listeners/viewers are already familiar and comfortable with.
If you keep an eye out for the latest research on music consumption habits, you can use these statistics to help guide you in creating an effective sales and marketing plan for your music releases.
After all, that’s how the marketing department of a major record company would operate - basing their plans on the latest market research.
If you’re despairing at the idea of having to add market research to your “to do” list, don’t worry - there’s an easy way. Just google for Google Alerts, and set up a few alerts such as “music consumption research”, “music consumer survey”, or “music market research”. The latest research will just appear in your email inbox.
About a month ago a blog post titled “Why Your Art is Cheaper Than a Latte” appeared on the Digital Music News blog. In it, the post focused on the singer/songwriter Sufjan Stevens, and the reaction he and his label had to the declining price of music (CD or digital). I’ll talk about Mr Stevens’ reaction later on here, but first discus why music has gotten cheaper these days.
Remember that economics 101 class you took back in college and the whole supply and demand graph? I know, it was boring, but it can explain this reality. If you never took economics, I’ll explain what I mean (I used to teach the class). To refresh any memory, I put what the supply and demand graph looks like below.
You know your song is great, but is it a hit? Will it inspire listeners to share it with their friends, hand over their email address, or maybe even open their wallets? You need feedback from average music fans who have nothing to lose by being honest.
SoundOut compares your song to 50,000 others from both major labels and indies. They promise to tell you how good your track is with guaranteed 95% accuracy (I’m still trying to wrap my brain around what that means). Starting at $40, they compile the results of 80 reviews into an easy-to-read PDF report. Top rated artists are considered for additional publishing and promotional opportunities.
The head of business development invited me to try out the service for free with three 24-hour “Express Reports” (a $150 value). I used the feedback from my Jango focus group to select the best and worst tracks I recorded for my last album, along with my personal favorite, an 8-minute progressive house epic. You can download all three of my PDF reports here.
I remember as a kid in the late 1970s that where I lived there were three television stations & no cable or VCRs or home video games. My oldest brother is seven years older than me & the big thing with him & his friends was coming over to the house & playing whatever new vinyl record loud enough to rattle the paneling on the wall. It was a social event. New albums & a decent stereo were the center of the social world & what made you the coolest kid in school & my family’s house was a center for cool. Every new Led Zeppelin, AC/DC, or Kiss release meant a week of non-stop rocking.
A couple of years later my other brother hit high school, the center of things in teenage social events had shifted from music to a couple of things; the Atari gaming system & the VCR. This time around our family wasn’t at the center of a social circle & my brother spent most afternoons at some other family’s house. Until my dad broke down & got us the Atari & VCR so that thirty years later I can still close my eyes & pretend I’m playing Yars’ Revenge & still have dreams inspired by watching Dawn of the Dead when I was eight.
Music is so spread out online these days. Why? And why do artists not get paid for all the free plays they give away on these websites? These are two huge questions that I’ve been studying, and the answers are well worth addressing.
Part of music being so spread out has to do with the fact that the internet is still fragmented itself. The web is still set up like our real world - you have “sites” with their own “addresses” and you have to physically go to them. This is part of the problem for sure, and it turns out that it is actually easily solvable. With the software, you can pretty much make up your own rules, which means you could make everything just come to the user instead, almost like the iphone model, where every app is in one spot waiting for you at all times. That’s another topic though.
The rest of the problem really seems to be about preference. There are hundreds of music sites out there, and certain fans, or fan-bases, like to stick to certain ones for certain reasons. It could be the difference in interfaces or the difference in people in the network, but it usually has to do with simple preference.
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(Updated January 13, 2016)