Mike King - Online Music Marketing Clinic
I hope all are well and that's "it's all good". While sometimes it doesn't look that way as many people seem to be getting more quiet, nervous, frustrated and sketchy, that's what us artists are here for - to DJ this party.
I know like everyone else that I need to say what I mean and how I feel, perhaps even moreso than most. Unlike many I often can using music, which will then allow me to deal much easier with the social constipation that we all face on a daily basis that my recent projects are helping to deal with and - with help - perhaps help others do the same.
Onstage I can scream "Let's Talk!" like Coldplay to (hopefully) millions. Offstage, also like Coldplay, I can say "Well... we just try to write good songs really, we're not even really sure what they're about so don't get nervous since I can't tell you, we just hope our mums or our cats like them..." (paraphrased) or some other sheepish humble-mumble to take the edge off having one.
It's good marketing and I'm already really happy with having the ability to say what people can't and need to hear while not having to try to say it any other way.
So, muzak it is.
While sending out my press release, I also had a few music biz videos playing the the background and think they're great. I also took notes and while I missed many key things while multitasking I hopefully got some stuff here that you can use below and enjoy if this is an area of interest.
Now I'm trying to connect with more people using my music to see who's interested in addressing some of the issues I discuss; or who's interested in quietly continuing to help me address them which works just fine as well. Either way, I need to join or build a team and make some money working on this stuff or I can't. So, that's my goal moving forward.
With the combination of rapping and singing and finding neat ways to say things well that others can't but need to hear, I think I can positively influence a lot of people like many artists before me. So, even if people can't express themselves the same ways they can at least benefit from hearing them expressed honestly.
Or, I'll throw hard fastballs, then when people catch them they can softly toss allegorical curveballs at each other, or more subtly change how they talk and act to reflect their shared understanding and appreciation without going into detail.
Check it out if you feel and feel free to get in touch.
Mobile - +1.647.781.1580
LinkedIn - http://www.linkedin.com/in/blackkrishna
Music - http://www.reverbnation.com/blackkrishna
Blog - http://blackkrishna.blogspot.ca/
Consulting - http://whatyouwanttobelievein.com/
September 3, 2014
Among other tactics and contacts made I did this...
Google Search: toronto music
emailing everyone that came up for the first three pages
Google Search: toronto music blog
emailing everyone that came up for the first three pages
Google Search: canadian music
emailing everyone that came up for the first three pages
1. Don't give music for free, exchange for email address, or something.
2. Make sure you get and judge a response.
3. Raise awareness with bits of content.
4. The curse of the developing artist is anonymity, not piracy.
5. It's just not all about giving it away for free.
6. Get to know the people you give music to.
7. Need great music and live shows to make impression.
8. Storefronts – can have everything under one roof like Nimbit, have social media, can sell everything, one dashboard, ReverbNation similar – with restrictions; Topspin really good, leaders, great powerful tools to connect with fans, on marketing and sales side, make widgets to get an email, have dashboard to get more info, organize, message, don't do 3rd party distrib but others can, Bandcamp very good – hosted solution but can integrate into own site, Moontest, suggest people do research, some companies have more and better developers, but those are the top tiers.
9. Physical press kits still needed; live venues want a link – Sonic Bids can host – clubs want that – don't want physical package; regular media wants physical copy, or CD's.
10. OneSheet – Brendan Mulligan set up, collects all social media and positions it on a page, provide background image, 2 mins, very easy, pulls in everything, set up fast.
11. Bandzoogle and Verve, hosted templates, decide on tabs, takes an hour tops to set up.
12. Wordpress.org plus a theme, need domain, hosting provider, BlueHost and Wordpress together are great, very functioning, MusicMarketingBook.com – he said up on Saturday, took 5 hrs pulling in blog posts, etc. NO EXCUSE to not have own site
13. Pandora biggest internet radio – can reject you, don't take everything, have to have physical copy for sale on Amazon, review it, say yes or no, friend got nixed Orchestrotica, radio broken into commercial, non-commercial, anything below 92.0 is non-commercial, above commercial, still need physical CD for commercial radio.
Independent Artists: How To Promote Your Music
GREAT TALK! :)
1. Too much music in the world.
2. Will only listen to it for 30 seconds, if ordinary then gone.
3. Always send your very, very best work when getting media attention.
4. Some daytime shows have free plays, few slots.
5. Radio very ineffecient when comes to getting out, have to be listening, usually doing something else, little chance, internet much better today.
6. Bandcamp – money goes direct to artist, makes people happier to know this, also get their email address when buy, great site.
7. Radio not a starting point, need to have other things in order, even they check out if you're serious contender before they decide to back you, 60,000 plays on YouTube, Twitter, etc.
8. SoundCloud – great for getting comments on song from listeners.
9. Myth – shouldn't put streaming single online in case people steal it, old music model, today streaming is the new airplay, want as many people as possible to hear it, such a huge hit that lots of people download and share it, much better for career.
10. Little Comets – one of his fave bands, single "The Little Opus", hired publicist to get plays, within 2 weeks of release had online embargo, tried to get people to rush on iTunes to buy it, but die-hard fans moved on, others who heard on radio and liked it couldn't find it again online to confirm it's good, performed horribly
11. Most Important Thing is: ARTIST NAME
12. Don't skimp on the visuals, get great graphic artist, get great photogs, very important, can work with art students dying to work on stuff for portfolio, make sure it looks like you mean business, looks like you're serious.
13. Facebook, Twitter, SoundCloud, YouTube, Tumblr, Songkick, Bandcamp, Instagram, own domain name, Spotify, MusicBrainz – BBC radio, when play you, computer generates tracklist, easy to find for others to see what was played, trying to build database of all artists in world, bring traffic to their page – then link to artists, sometimes no artist image, no clickable link – MusicBrainz is public, open source, used by BBC, if have profile then have BBC profile, can click through, he has guide on FRESH ON THE NET – his blog, to get photo appearing can write to them and BBC will upload it.
14. Facebook vital, even though horrible, DON'T USE OWN FACEBOOK, GET SHORT URL, MAKE SURE, get over 70 Likes – then get short URL, can embed Bandcamp, can stream and sell, can have free downloads for email, if people like it – can name your price.
15. MAKE SURE PROFILES ARE CROSS-LINKED TO EACH OTHER.
16. Can't just post on Facebook TimeLine, just disappears soon, need more info.
17. MOST IMPORTANT – ON ALL PAGES HAVE CONTACT INFO – Need to make sure people who want to book you can quickly get in touch – PROMINENT EMAIL.
18. EASIER TO GET IN TOUCH – EASIER FOR PEOPLE TO HELP YOU.
19. Twitter, don't use properly, or enough, NOT THERE TO SELL STUFF, common mistake, just promote – not there, just there to invite to join your gang, not a megaphone to shout at people, it's a telephone to chat with people, great for befriending future allies in the media, can get to quite influential people if approach it softly, but if respond to joke, or make a joke will have a laugh and enjoy, get notice, just conversationally get on people's radars, lots of people get to know without trying to sell them anything.
20. DON'T SEND TRACKS via email, just send link to one track, one-click, all it has to be is good, don't clutter up inbox.
21. YouTube is NOT TELEVISION, it's a very conversational medium, can just record talking on webcam, entire social ecosystem, no relation to industry, charts, radio, can click like, fave, become part of the ecosystem, as you start to reach out they'll start to reach you, word of mouth will spread, like Gangnam Style, acoustic guitar and webcam can get 2 mm plays, lots of people do, most don't, but if stuff is really good then credit, respect.
22. MAKE MONEY – need to sell physical media at gigs, when negotiating with promoter who pays you little, NEED TO NEGOTIATE RIGHT TO SELL MERCH WITHOUT THEM TAKING ANY COMMISSION, 5 min window after set and want to reach you, stand there signing things people bought, posing photos, DON'T HANDLE MONEY, get friend to, get apps to take credit card payment on phone, when live, signed CD, invested, tell friends, drag to next gig, don't invest in getting them pressed, get card sleeves made up, put sticker with tracks on it, get simple CD printer on plain white discs, get great artwork, colour print CD'S, just print a handful for each gig, special, as improve can change stuff on CD's, haven't got to invest money in paying a lot, if 10 people pay $10 for album that's $100 in pocket, great way to make money and move product, have several CD's, have t-shirts, can turn business over and make more music and you're on the way.
23. Promotion on blogs, in press, all centres around release dates.
24. Release Dates: start 6 – 8 weeks in advance, can be changed, called "focus dates" now since often change, stuff online, get press, blog, YouTube video a week in advance, people start tweeting, go for high jump, don't keep on trying to get attention, tour around dates, don't do individual gigs, do them in a burst, gets much more lift, take 2 weeks off work to gig, more than odd blog, gig, here and there, need to have physical promo and digital version on SoundCloud, hi-res image, track art, just need to make it look like a record company or plugger, don't have to make it really nice, just needs to be professional looking, out of hundred records may listen to 20, from 1 in 70 to 1 in 50 chance increase.
25. Promo CD, clear plastic wallet, sticker with all relevant info, key info on sleeve, bits of paper will get lost, insert, invent a logo for invented record company, disc not finished but can be silver or white, canon printer, just name of artist, track, logo, time, where from, that makes it look professional – even they don't have time to send pro albums
26. PUT THE TIME OF THE TRACKS ON YOUR CD.
27. DON'T send jewel case CD's to radio, too big and heavy, when take home to finish then won't take yours if too bulky, don't put info on case – put on CD itself.
28. What should you put out – concentrate on ONE TRACK AT A TIME.
29. MAYBE PUT OUT ONE TRACK A DAY FOR TWO WEEKS FOR TRILOGY.
30. Single formats can be put out, radio edit, DON'T SEND F-BOMBS TO RADIO.
31. LENGTH OF TRACK – nothing wrong with long tracks, but for radio play the shorter the better chance it gets airplay, a 2 min track has 2x chance to get played, radio has 1/2 hour clocks, then news breaks, 27 mins really due to other stuff, can play 3 – 9 minute tracks, or 9 – 3 minute tracks, if yours too long then can't play others, need to make equally good version of track if shorter, send album 3x and hope get through – persistence.
32. Send full album – WRITE KEY TRACKS, 7, 8, 9
33. Sticker with KEY TRACKS, no shrink wrap, only thing that counts is right for show or not.
34. Press pack, used to have 8"x10" glossy photos, life story in lots of detail, loads of PR guff, quotes from others, badges, stickers, postcards, music, contact – used for newspapers, etc, or managers or promoters, or taken to conferences where give to everyone with influence; were expensive, bulky, troublesome, out of date after printing, at radio – thrown out.
35. Today – DO NOT NEED PRESS PACK – just put music on Soundcloud page, can offer downloads, all bio info on there, all release info on there, label, contact, YouTube, etc., can do all of this for free – write to blogger, journalist, all you need.
36. Simple little card much easier, lots of online info, can use smartphone QR code too.
37. Target every individual writer on music blog, have to listen to show in question to find out if play your music, find out what makes them tick, laugh, read blogs, certainly for newspapers, see who might want to review your music, check out what they do, follow on Twitter.
38. Most cheap PR people don't send to right blogs, shows, etc., build relationship slowly, if you seem interested in them they're more likely to be interested in you.
39. Follow up links sent, key to success must be persistence, but record must be great.
40. Pro of good plugger – know who'll like your music, can make promo for you, etc., know how to make you sound interesting, have A&R skills, know singles, radio edits, don't think we can do anything with this one, strategy advice, only chance to go national, some will cut a deal with you and take you on cheap so when you're on chart make them look good, pro plugger leaves you free to make music; CONS expensive, $2000 – 5000 for one campaign, no guarantee of results at all, can't guarantee any plays, only that producers will hear it.
41. IF WANT A TOP HIT RECORD – LISTEN TO NUMBER ONE RECORDS, KNOW THE TOP FIVE, ED WHITE – PRO SONGWRITER – LISTENS TO THEM LIKE HAWKS.
42. Didn't start to make music to get rich, central part of who you are, have to make music or will burst, that's why do it, want people to like and respect you because of your music, if want national recognition then you can have it – I promise you – but it comes with a price, have to be totally single minded, value success about everything else, those are the people you're competing against, monsters who ignore everything else.
43. He's only ever written 2 amazing songs out of 15 albums, where people lost their minds, got into the Top 5, that kind of success isn't worth that kind of price, focus on art, but aim for a balanced life, make great art, integrity, creativity, innovation, originality, that's the way to make the best possible music because have a balanced life, follow your passion.
Music business 101: Real Advice For Independent and Unsigned Artists
1. He's a 35 year veteran, poet, DJ, promoter, ran studio, etc.
2. About developing relationships, how to present yourself, network, etc.
3. Music biz – like getting into the NBA, every hood has a court, but few make NBA.
4. Need good grades, sportsmanlike, basics, but 2 – 3 major labels only, hard, why only 1 hot female rapper – Nicki Minaj, only few hot male rappers, very closed circle.
5. Need buzz, marketing, creating a demand, supply and demand issues.
6. Can't book a show unless can prove you have buzz, can't convince promoters that you'll bring people in who'll buy drinks and so on, will get blacklisted if only 10 people show, can damage the promoters name as well; so first build product, image and fanbase.
7. Get to shows early to relax and network.
8. Can copyright your own stuff, mail to self and don't open, or Library of Congress, or ASCAP, or Cdn version of same
9. Need to be flexible and go into different areas of the music biz, increase exposure.
10. Need to have biz card, have website, need to be in control of your own site.
11. Need to have something, can be simple but needs to be something.
12. When you perform, have more than you on stage, coordinate, look good.
13. CD Baby.com has partnerships with others so get money there.
14. TAG MP3's to make sure they have it.
15. 128 mbps isn't good enough, go for bigger, WAV files are best.
16. Buzz needs to be there or no go.
Jason Feinberg: Digital Strategies for Independent Music Marketing
1. Technology leveling playing field? Bullsh-t. Still hard to compete against labels with teams. Likes indie music, wishes were true, but it's not. It can, but rare.
2. Lots of tools make possible to compete with label people, need same services on marketing side, savvy with digital, run online presence, offline too, or hire agency, etc.
3. Spending money vs. Making money phase; if former then need to get fanbase, selling to them is secondary, hardcore fans then maybe, monetizing fanbase is only after building relationships and goodwill of people towards you, otherwise retail element not there.
4. Direct to fan technology platform isn't that simple, can't assume selling with better shopping cart makes more sales, need fans first, can't go too quickly to the revenue phase. Reality is with so many avenues of entertainment need to work hard to curate fan base. Element of passion one must have to get to that fan base.
5. BE fully in control of own property; distrib to store easier, lots of tools exist for data, etc.
6. Go to where fans already are instead of making them come to you.
7. Need to give them reasons to visit your site; contests; exclusive tracks; interactions; et.
8. Email is still King according to fans and others; best response, conversion rate, with a good email 70 – 80% open rates, 30 – 70% click thru rates, right people with right message; other platforms good too, but relationship between sender and receiver of email more trusted, more than "like" on Facebook, rely on their algorithm, with email know better audience.
9. See that for artists at all levels, not a lot of variance, email is still common tool; maybe teen pop-stars are different, but 25+ age email always the best.
10. Can be tough for smaller artists to use text platforms like mobile, expensive, or services, ad supported, low-cost, older audience slower to take to mobile than younger, but good response at al demographics to using the right fit for technology.
11. Access coupled with convenience beats piracy, next few years will determine what people want, can use Spotify, lots of options out there, don't need to hunt for ways to promote.
12. At Concord see a lot of lift through catalogue using services, just like Direct To Consumer, lots of revenue streams, if good and have content people want adds up to business.
13. Streaming then direct to consumer products are probably way of future for smaller artists, hardcore fans that want to buy something and support you are autographed this, limited that, name in the credits, the rest log on to streaming flavour of the day to enjoy.
14. Labels have many deals, 360 deals can work since they manage expense and revenue, spend more and take more, really good if label really believes in artist and wants to do business, but smaller artists can get screwed, or p'n'd, pressing and distribution – that's all they do while artists team does rest of the work; joint venture is 50/50 split, usually a true partnership, what does each side bring to table, maybe artist has brand affiliation and own initiatives and label brings something similar, hard to be too specific because loose definition, but both bring something to the table to work with, last two most common.
15. Look out for: who owns masters, publishing, approval over how money is spent, who controls money spending, always been the same stuff.
Renman U Lesson #8 How to Market & Promote Your Music
1. Can't learn by reading book, learn by doing and hearing from people who've done it, he's got 36 years in biz and lots to know today about image, marketing and more.
2. Need burning desire to do something big, best way to learn is to ask questions, if you don't ask, you don't get and you don't learn, so need to know how to.
3. As indie artist can do a lot of image crafting and more stuff, if get signed then label will appreciate your clarity, need to make it very personal affair, need to make calls, do work.
4. Need to have money to make an impact, recording to marketing, without need to be more creative, do you have a professional team, need manager, agent, marketing, etc., if don't have that then can pay to rent, do you have contacts in industry, influence others, etc.
5. Really need to be honest about this to have a real shot.
6. Screw the gatekeepers, need to make something happen no matter what.
7. Jay Bohberg (sp?), now Chairman of Ingrooves, digital distribution house – not about trying to do everything at once, trying to set small achievable goals, when signed Oingo Boingo did this, R.E.M. same thing, focused on regional dominance, show you're on right track, get a bit of revenue, start fueling future endeavours.
8. Have great product but if don't do great job promoting it then nobody notices.
9. Publicity, distribution, lots of things to work on, radio stuff, visuals.
10. Digital beats physical to save money and move music.
11. People's attention spans so short need to have ways to promote art quickly.
12. Touring key part of marketing plan, purest expression of your performance, can meet customers face to face, gathering point for marketing efforts.
13. In beginning of career YOU ARE the marketing department, need to give it a chance in the real world to either build career or sign with a label.
14. First impressions are very powerful so try to get it right.
15. When contacting music biz pro's, be professional, to the point and ask them to do what you want them to do. Also add personal touch, be honest to make up for lack of experience.
The Pride Trilogy - Canada Day 2014 Promo Mix