What questions do you have as you pave your path in the music industry?
Music Think Tank Open
Anybody (no really anybody) can contribute anything relevant to this page…All mp3s should be posted on the MTT radio page. If you cannot find your post here, your article may have been moved to the MTT homepage.
How do musicians succeed in the music industry? Is it great music, practice, tours, shows, social networking (not social shouting or a numbers game), posting our music in the correct places for people to hear, monitoring our subscriptions, making industry connections, doing yoga, etc etc.? Yes all of these things are important and must be done, however, there is one huge reason why we fail in the music industry, interaction investment, you know it as marketing.
Now I am not just talking about investing in marketing here, which would say we need to get our music to the masses via the inter webs, word of mouth, playing shows etc. etc. What I am talking about is how people enjoy music threw touch, feel, taste, sight, smell, and sound.
We have to take all these elements into consideration when starting a project. What gear will you buy that allows you to play live, record, and let your fans participate? Maybe an Arduino is in your future? Perhaps you incorporate touch sensitive lights embedded within the cd cases? Or maybe a smart phone app enabling the audience control over the mood of the room at a show?
The amount of money you invest into how people will interact is such a big piece of the puzzle, if you fail to invest the right amount of money the correct way, you will never get anywhere outside of your small market of fans.
So how much money should we spend on marketing/interaction? The math is extremely simple: half of our budget goes toward marketing/interaction. Half, not 10% or 20%, but a full 50%. If you have a $10,000 budget, half, $5,000 goes towards recording the project, and the other half, $5,000 goes towards pressing up those CD’s, making a video, printing posters, getting placements in magazines, flyers, radio spots, but also ways to interact with the audience within these other methods.
I have seen it all in my music career working with the up and comers, to some of the most influential people of our time like Pomplamoose, Lauren Mayhew, and OK GO. One thing that always separates the top from the bottom is who treats it like a business and who doesn’t. Up and comers fail to treat it like a business and fail to implement strategies, or make the right investments, for the future. Marketing is always an after thought to them and they say things like “all I have to do is put it up on iTunes, Reverbnation and post it to Facebook and I’m set.” This is so far from the truth that when months go by and they have no substantial sales they question why, or blame someone else. The truth is, people want to connect and interact with the music. Let that soak in for a bit, interact with music.
After working with groups like these, I have learned a few things. One, make great music, and Two, invest into some interactive marketing tactics. The case can be made for Pomplamoose that they did not really spend much money on marketing/interacting to gain their popularity, and the same could be said about Laruen Mayhew or OK Go, however, for the purpose of their case studies marketing would fall into the category of interaction. Yes, interaction.
Videos are not the same thing as recording an album - the music is the music - they supply a means of interaction with people, or do they? In a sense, yes, videos do supply interaction. Videos allow the audience to see the group while hearing the music, but this is not really interacting by itself. Thinking outside the box, to make it more interactive, is key in the future of videos. Pomplamoose does a great job of this by not only creating unique videos but by engaging their audience through the process. They ask questions to their audience while making the videos and use the input to get to the final stage, thereby interacting with the audience in a refreshing way through their videos.
Interaction becomes a function of how & where we are going to place those efforts as an expressive method. In the end it comes down to two elements: Playback and Interaction.
Playback is the creation, recording, and playback capabilities of the project in its entirety including concerts, cds, .mp3s, and vinyl.
Interaction is getting people to interact with the music, band, artist, or art with touch, feel, taste, sight, smell, and sound.
We can take interaction a step, or many steps, further then I have touched on, and in part 2 I will discuss how to really engage the audience using feel, taste, sight, smell and sound with two case studies and ideas on how to better bring these concepts to your artistry.
The biggest thing to remember; create a budget that is achievable for yourself and make sure you put enough money aside for marketing/interaction. Remember, its a 50/50 split between music creation/recording and marketing/interaction. If you don’t follow this rule, don’t expect to be a household name.
With over 13 years experience Zaque Eyns innovative ideas, creativity & understanding of the entertainment industry have helped many individuals realize their goals & objectives. From time management to creative execution of audio or that “can’t be done” idea, Zaque Eyn understands how to deliver top tier product calling it, Creative Empowerment. He founded Funksville, U.F.O in 2008; boutique creative empowerment agency, developing and delivering innovative projects while establishing a solid community of business professionals, and most recently became an author of the book Mastering the Music Business. His specialties include: producing, sound engineering, events, marketing, branding and fashion; each project rooted in successful business approach and strategy.
Taking the first step into your career as voice talent is definitely a scary leap, but with dedication and planning it’ll be a smooth journey that will see your voice develop and blossom into the tool you need it to be.
One individual can never be allowed to undermine or destroy a successful business. If a player isn’t happy and wants to leave – they should be allowed to continue their career elsewhere. Each team needs players who will benefit the team as a whole – this benefits the business as well – because the team IS a business.
Not only can you reach your fans with new tools like live online performances, but you can also add more money to your bank account by selling tickets for your live streaming events. This article reveals 5 crucial steps for engaging your virtual audience.
There’s really no secret to it: scores of artists in the music world love to create music, have an even greater love for performing on stage, and want more and more ears to hear their music. They love to create songs and sounds that will resonate with potential fans and believers. And they have the potential to be creators, innovators, and trailblazers when it comes to making and performing this music. But when it comes to the ideals of protecting music copyrights and keeping a watchful eye on the monitoring, monetization of and compensation for public performances, things might not be quite as sexy, dramatic or fun. Still, these ideals are no less important than that of the actual creation and performance of this music, and are arguably more so. The importance of protecting works of intellectual properly and getting properly compensated for public performances cannot be stressed enough. This is where performance rights like the American Society of Composers, Authors and Publishers, or ASCAP, comes into the fray.
On this Memorial Day, I want to give a quick word of advice to aspiring rappers.
You are your own best resource. Nobody wants to see you win more than you. Nobody wants to see you happy more than you. Nobody wants to see you successful more than you.
If you get tired or frustrated, so will your progress. If you are lazy or irresponsible, then your movement will be too. If you are bitter and have an attitude that the world owes you, then you’ll be expected to pay even more.
Nobody will “make” you famous or “put you on” without YOUR OWN HARD WORK. (Unless they’re gonna sign you & promote you & rape you of all the money.)
By Zach Rickers
In February of 2014, Warner Music Group and Shazam announced that they would enter into a “strategic collaboration” in which Warner would have access to Shazam’s user data and Shazam would have access to exclusive Warner content.1 Currently, when a user hears a song that they like, whether it is at a restaurant or on the radio, they can open up the Shazam application on their smartphone and hold the phones microphone to the speaker which will then analyze and identify the song title and artist that the user is listening to.2 Once a song is identified, the app logs data such as the time of day the song was “tagged”, the song being identified, and even where the song was tagged (if the user has location services enabled).3 This is the sort of data that Warner plans to use not only for A&R, but also for marketing and promotion purposes.
Booking regular shows is an essential part of being a musician when expecting to be heard by the public, and a question we here at Phosphene Productions get asked a lot about. Though everyone has their own technique when it comes to finding the perfect show, many artists new to the scene should devise a “template” to work by and to keep yourself organized when contacting so many different people.
Our goal in this article is to give you a sort of template to use when beginning to develop your own booking strategy, and by the end you should have all the necessary information to kick off your gig.
In "Raging Bull" Case US Supreme Court Opens The Door To Even Long-delayed Copyright Infringement Lawsuits
In a copyright dispute over the movie “Raging Bull”, the U.S. Supreme Court held that the case can continue dispite the substantial passage of time. In a 6-3 decision the Court held that plaintiff Paula Petrella, daughter of the late screenwriter Frank Petrella, did not wait too long to file her lawsuit against MGM claiming an interest in the film.
Chase Hobby of Georgia
Medicinal Groove of Michigan
Seemingly Sane of Pennsylvania
Testify of Colorado
The Grooves of Austin, Texas
The Slit of Los Angeles, California
If you’re on this website, that means you’re interested in new ways that music can be shared on the internet. With that in mind, I’d like to introduce Hearo.fm, a new music social network and marketplace where artists can share and sell their music, connect with fans and other musicians, and find a home on the web.
In March, on the Google Webmaster Central blog, Google confirmed it is to start displaying upcoming gigs or concerts on the right-hand side of its search results for band name results.
It’s all well and good explaining this to the search marketing audience who already understand and practice such techniques, but does it really mean anything to musicians and artists? Perhaps the more important question is: should they take note?
The answer is yes!
This is great news for both searchers and musicians. The searcher can now see, at a glance, what gigs are coming up, with little effort, when looking up an artist. The musician can promote their upcoming concerts more effectively via Google.