My return to the front line of music management and major label artists has given me a number of insights into how things have changed over the last five years.

Some of the changes are the same for every artist, from the DIY musician to the global superstar – digital downloads, social media and increased ‘fan engagement’, and a hitherto unknown reliance on brand partnerships are all good examples.

But, perhaps the biggest change of all is to what we used to call the ‘album cycle’, wherein an artist would disappear from view for 12 months or so following the last single from an album and reappear that year later with new singles leading up to an album and a tour to sell that record.

That’s now been flipped on it’s head for many artists, especially those from the pop mainstream.

Singles as marketing tools

Singles are now marketing tools, both for the artist themselves and for the live tour. The music now sells the tickets rather than the old paradigm that was the other way round.

The fear of your fanbase evaporating in the ‘off cycle’ between albums means that more artists than ever are staying continually in the public eye with marketing driven by regular single releases. In many cases the albums that result from this activity are merely collections of the singles that went before. And, the gap between albums and the first single from a notional new record may be non-existent.

There are obviously other factors at play. Global radio seems to have become homogeneous in support of pop derived from dance music, with pure R&B and Hip Hop suffering something of a decline. New mainstream artists in Rock and Indie have almost completely failed to materialise and although there is still a level of support for established acts in those genres from mainstream media, that isn’t guaranteed if the act has been out of the spotlight for some time.

There’s plenty of heritage rock acts still making great money playing to their ageing audience on US tours, but those more recently successful acts are finding it harder to keep their audience with them between album releases.

The worst thing is not being in the marketplace

So, in order to keep the career momentum going many artists are now ‘Always on’.

The perfect example is Rihanna. Six albums in six years and thirty singles. And that’s not including appearances on other artist’s tracks!

It clearly works on a host of levels. There’s always a new track at radio which fuels press and media coverage. Although tours are scheduled there is always an opportunity to do a small run of shows outside of a full touring schedule where demand presents itself. A dip in chart success of a particular single is steamrollered by the arrival of the next record.

In this article, her manager Jay Brown notes that, “Kids want new material all the time” and that “I think you become disposable when you put out an album every three years”.

It’s also very important to recognise that he believes albums had become ‘bloated’ as record companies sought to get the most from the available running time of CD’s and that in the digital download world, an album needs ‘no filler’. Having too much music on the album dilutes what an artist is aiming to do. He says that he wanted her latest album to be ‘all hits’! Interestingly Adele’s ’21′ and Amy Winehouse’s ‘Back to Black’ have similarly short running times.

Of course, if you’re going to move on to the next album quickly, you can keep this one short and make another too.

In this Billboard article this attitude is summed up in another quote from Brown – “The worst thing is to not be in the marketplace”.

You can see this paradigm working for The Black Eyed Peas (and Will.I.Am), Katy Perry, David Guetta, Jay-Z, Kanye West and many many more.

Always on for the DIY musician

So where does this leave the DIY musician, who doesn’t have the endless opportunities to promote a new single on a global scale or tour the world in style?

Well, follow that lead and be constantly making and releasing music. It doesn’t have to be reaching everyone but it can reach your fanbase and build them into an army.

I have sent so many of my readers to this presentation by Ian Rogers of Topspin. It’s not quite saying that every musician should be alway’s on, but approaches the same idea from a different direction.

Ian is talking about building a fanbase and having 2000 fans before you try to sell them anything. His presentation is a brilliant roadmap to do exactly that and I’d urge you to read it all.

But, the key concept is that every artist should do ‘one small thing every week and one large thing every month’. Small things might be a blog post or a video to YouTube and a large thing might be a big show or a release of some music, but the concept is clear – be ‘always on’ for your fanbase…..and it will grow.

Going forward as an independent musician you can have the same type of opportunity that major label artists are given. The internet and scoial media are great levellers. Sure, they may have way larger budgets and an army of people to help them, but you can compete by constantly and consistently giving your fans something that stems from your creativity that keeps you and your music ‘front of mind’ – another saying I’ve heard a lot recently in label meetings!

It is a tragedy that so many DIY musicians sit at home perfecting and honing their work in the belief that they will be able to release it with no fanbase and no prior awareness. This doesn’t work. You must make great art but you can do it with your fans and comtemporaries watching on.

Growing and developing in public is one of the great changes that the interent has brought for artists. Early adopters will find you when you’re still raw and others will join later as you become the finished article. But do document that journey in public. Make more music, put it out however you can. Build a tribe and lead them in other ways that your art inspires.

The winners will outwork the competition and they’ll do that by being always on.

Everything you ever wanted to know about music industry agreements, all wrapped up in a free pdf.

I’d always intended to write something along the lines of this guide, but now there’s really no need as this is great piece of work and does the job as well as I could – probably better.

Whether you’re resolutely DIY and never intend to sign a record deal with a major label or an indie or whether that elusive major deal is your first goal and step to global success, you’re going to learn a huge amount by downloading and reading this. Most successful artists will need a manager and do a publishing deal and these are covered in the guide.

It’s written by leading music industry lawyers in the UK, Lee & Thompson, who know their stuff inside out. Obviously it’s written from a UK perspective but the vast majority of the guide is great advice and factual detail that applies in any part of the world. They claim that it is written in a way that is more ‘practical than legalistic’, but you’re going to find it dry!

360º deals

What you’re also going to find is that it’s amazing. The explanations of the various agreements and how they fit into the overall structure of the business is detailed, comprehensive, accurate and up to date. This last point is crucial. The guide was updated for 2010 so it has a few MySpace references to date it a little but, importantly, it was written after it became usual for record companies to offer what is known as ’360º’ deals.

In such a deal the record company will require an artist to share the revenue from the other ways that they make money with the record company – such as from touring, merchandise and songwriting.

The reasoning is that the label provides the platform for the artist’s success and, with dwindling income from the sale of records in the modern download music economy, they need to have a share of the remaining healthy and profit making parts of an artist’s career in order to justify the investment that they make.

Whether a 360º deal is a good idea or not for any particular artist is a massive ongoing debate as many predict the oncoming demise of the old major record companies – but if you’re going to sign a deal with a record company they will be looking for these ‘ancillary rights’. The guide covers this in detail.

Management as a ‘joint venture’

The other area that shows the understanding of the latest trends in the music business is in the section on management agreements.

Traditionally, a management agreement is simple and the artist pays the manager 20%of all revenue (with some exceptions), but, again due to the changing nature of the business, it is becoming more and more common for the manager and artist to enter into a ‘joint venture’ creating a company that owns all of the artist’s rights and receives all their income from all sources (records, publishing, touring, merch, sponsorship etc…everything) and that is then split. These days that split might be greater than 20% for the manager.

Whether those joint venture deals for artists are right for you or not is another ongoing debate. The reason they have become more normal is that many artists now need a lot more financial support for longer before they can earn enough to sustain their career and reach their potential.

This applies in the world of the DIY musician just as much for those artists shooting for the mainstream, perhaps even more so. Understanding that this non-traditional management structure might be right for you will be helped by the guide.

The guide to Music Industry agreements

The guide covers the following agreements:

•  Management Contracts
•  Recording Contracts
•  Producer Contracts
•  Publishing Contracts

In each section it looks at the commercial and personal reasons behind each deal an artist will do – for example, how to choose a manager, or why you may need a team of people in place to help you get a record deal, and it then looks at the framework of each type of agreement, going through them in detail.

So, regardless of how you plan to build the career you want, DIY or signed to a major, going it alone or with a team to guide you, you’ll be well armed if you read this guide.

You can read the guide to music industry agreements online here.

You can download the music industry agreements guide here.

Want to know the state of the music industry right now and where it’s headed?

Want to know what some of the sharpest marketing minds in the world think are the things that matter in the future of music?

If so, I’d take the time to read this presentation from J. Walter Thompson.

These people know their stuff seeing as they are the leading marketing agency in the world.

The presentation covers a very wide range of topics, starting with looking at where the music business is right now. It then looks at the sea changes that are occurring in the consumption of music (streaming being paramount) but also in music production and promotion.

It looks at length at all the internet platforms and services that we are all using to spread the word about the music we listen to as well as about the music we make. There are services discussed that all DIY musicians will be aware of but there are also plenty that were new to me.

Of particular use to aspiring musicians are the sections towards the end on such subjects as ‘Motivational objects’ (non-traditional physical releases), ‘Artists doing it for themselves’ (discussing direct-to-fan), and  ‘Fans in the front seat’ (about the latest ways to engage fans in the process of creation). These should inspire you with plenty of ideas for your own music and how to use the latest methods at your disposal to spread the word.

As a roundup of everything that is impacting on the future of music this is a must-read.

You need to learn what the music business is all about, right?

And you need to learn from people who actually know what they’re talking about?

If that’s you, read on.

Knowing how the music business works will help you chart your way through it and tell you what you need to learn to promote and market your own music.

That’s what these two music business pdf‘s are all about. Oh, and they are free to download.

Music Business Handbook Volume 1.

Music Business Handbook Volume 2.

In them, you’ll find a collection of articles by faculty and guests at BerkleeMusic.com, the online part of thew world famous Berklee College of Music.

These people know their stuff – being successful artists and executives with countless years of experience actually working with and breaking artists. I have done a couple of their courses over the years, so I know first hand how good they are – they should be listened to!

Particularly good, in my opinion, are the pieces by Mike King on ‘Direct to Fan Music Marketing’ and ‘How to get your music in TV & Film’ in Volume 1 and ‘Using Fan Funding techniques to help a Direct to Fan marketing campaign’ in Volume 2.

However, there are 13 articles in all. Some are music business theory and some are ‘how to’ lessons that you can apply. It’s all good though!

We’d normally put something like these on our daily musician tips sites, but they are so good I want them to be here for every musican who need them to find easily!

Get both music business pdf‘s here.

Music Business Handbook Volume 1.

Music Business Handbook Volume 2.

In ‘Part 1’ we looked at why you should be building a mailing list of fans and some of the basic ways of going about that, both online and at gigs.

This second part is a look at what options you have in setting up your mailing list, in which will decide that it must be web hosted In a 3^rd part, we will look at how you can best use it to build your relationship with your fans.

Often when we first meet a band they tell us that they have a mailing list already. The two most common things that this means is that they have a list of names scrawled on sheets of paper that they have had the brains to get filled in at their shows. Or that they have managed to get these names (and others) on to a spreadsheet or in to the address book of their email client. Nothing wrong with that, per se, but it is very much stage one and obviously fraught with possible cock-ups.

Firstly, there is the perennial problem in getting that information from drunken scrawl on a sheet of paper from the gig the night before onto a database of some sort and being able to accurately transcribe people’s names. That problem can’t be overcome when collecting details at a live event from people. That is, it can’t be avoided unless you plain just take a laptop, which I would heartily recommend, and get people to type in their details themselves in some way. These days you can get a very cheap netbook that will do all you need and it’ll save so much time, whichever way you choose to manage your list. There are clever widget bits of Champion Sound and FanBridge which will allow you to do this, or you can get your own cool techy system – which we’ll look at below

If you have managed to get a way to also collect details on your MySpace page, facebook, and on your own website etc, you still have to get them into your one combined database. Often what we see people doing is manually transcribing this collected data with that from shows on bits of paper into a spreadsheet or their email address book and then mailing fans from there in small groups. OK – it works, but it’s a load of grief and you’ve missed out a load of very cool and useful stuff that comes from being in the 21^st century and using what’s available.

It’s also a major pain sending emails from one account and copying it to all the other addresses in your list – plus it can get you into trouble as a spammer!

In short, it just about works, but why would you, when there are much, much better solutions available, some of them for free.

We’re only going to look at some of the possible options, some in much more detail than the others. There are other options and we cover a lot of them in the resource section of our MySpace book, and will get that on to the forthcoming ‘Resources’ section of the site as soon as we can!

All of these systems are web-hosted databases for your fan’s emails and other details and will give you varying degrees of ease of use and control. No single one suits all and some are more difficult to use than others. But, you must use a web based email mailing list tool! There is no debate!

1. ReverbNation

ReverbNation is, quite simply, awesome, and I make no apology for spending the longest on it.

I think that using ReverbNation’s mailing list system, called ‘Fan Reach’ is the easiest and most obvious route for many, at least up to a certain level.

We’ll have a good look at the whole site’s great in depth features another time, but it’s certainly somewhere that you should have a profile and where you should send your fans.

There’s always a lot of chat about ReverbNation on the forums at Taxi, so go over there and get an impartial view.

For now, I’m just going to have a very quick look at their email list system.

The reason it’s so good at what it does is that it’s simple to set-up, import lists that you already have and, since you’ll be running a profile here anyway, it makes it easy having it all in one place. What it’s not so good at is offline data collection and some major tracking and detail tools that others offer, but they aren’t exactly slack in that department either. Oh, but it is free, nada, zilch! Well, at least for the basic version which is all you need to begin with.

So, the main ways that you’ll be getting new emails for your list will be by having sign-up forms, widgets or boxes at various places on the internet, or by collecting names in the real world – at gigs or wherever (a band we worked with had a sign up form at their local record store – owned by a friend – and when he played their stuff he left a sheet out for people to sign up, and it worked, building them a very healthy young local fanbase). ReverbNation excels at online widgets to create the sign-up forms. Their widget creator is set up to automatically make the form for most of the Social networking sites (MySpace, Facebook, Bebo, etc), so it’s really easy to do. The system will also create html code for you to use anywhere else – or to give to your friendly geek fan who helps you out to deal with – you do have a friendly geek ‘fifth Beatle’ don’t you?

The widgets also integrate seamlessly with all the other elements of a ReverbNation profile so that it’s very easy to offer a free track in return for an email address and it’s all done automatically. When you see how this works in practice and how your new fans can take parts of your profile to spread around the web for you it makes sense to use such an integrated approach – and the email element won’t let you down

To start you out, Fan Reach will allow you to import any existing mailing list you have, either from your email address book, a Word or Excel file, or just by typing them straight in. To ensure that you’re building a valid and useable list, these names get quarantined for 72 hours whilst ReverbNation’s systems ask people to opt out if they don’t want to be on your list. That’s fair enough and actually means your list is better targeted.

Lastly, you can email people a link automatically from your email client asking them to join your list. You can also use the same link as your usual email signature.

It’s a great system that covers all the online bases. What it doesn’t do….. is have a straightforward answer to the issue of getting people to sign up offline. OK, you can still use the pen and paper routine and transcribe the addresses very, very regularly (preferably the day you get them, so that you can send a thank you email immediately – preferably with a freebie), but that’s what we’re trying to get away from.

You could take the html and get your geek to make that into an application that you run on a laptop at shows for later uploading when you can get to the web, but that requires some skill. I’m pretty sure that ReverbNation will come up with the solution in the near future –as others have – see below!

The last thing to cover on Fan Reach is the upgrades available – ‘Fan 360’ and ‘Fan Reach Pro’. Fan 360 is a paid upgrade and basically helps to flesh out the information that you have about a fan – name, location (useful if you’ve not asked for that in the first place, as we suggest is sensible) and details from their Social Network profiles.

Fan Reach Pro is a further upgrade that includes the Fan 360 features but also adds a load of customisable templates and integrates with your ReverbNation content, which could be song players or your digital download store.

For the pricing and all the other details you need on thisclick this link – ReverbNation Pricing

This is a great option!

2. FanBridge

FanBridge comes next as it deals with the one current flaw in ReverbNation’s system – it has a totally cool offline widget that is called the ‘Merch Table SignUp Form’.

So, not only do you get all the same online widgets that are dead easy to use and place in all your internet profiles – all going to one central mailing list database – but you also get this cool way of dealing with sign-ups offline!

This form installs on a laptop and runs full screen so that fans can walk up to your merch table at a gig and put in their details. It’s all saved to a file and uploads the next time you log-on to the web and the fan is added to your list. They’ll receive whatever welcome email and freebie you’ve set up.

A great addition and, of course, makes you look like a very switched on band to everyone at the gig – fans and promoter alike.

The best way to look at FanBridge is as the cut-down email-centric little brother of ReverbNation – it doesn’t have all the other stuff that ReverbNation offers for a full band profile, but it does the email bit just as well, probably a bit better in fact.

FanBridge offers all the sign-up boxes and widgets that you’d need and allows a significant degree of editability. Its tracking stats are fantastic too, giving you information about who opened the emails, when and whether they clicked on any links in the email you sent them. All good data to have.

You lose nothing in the ‘offer for email’ department either as FanBridge allows you to automatically offer tracks or images in return for a fan signing up. It also has clever methods to incentivise fans to share your newsletter to spread the word and build your list even further.

The other difference that it has as an advantage is the mobile marketing that’s possible if you’ve collected mobile numbers on your sign-up forms. Being able to update fans via SMS at the last minute before a gig is a major plus.

Downsides? It’s not free. Well, it is for the first 400 messages per month. This is calculated as a total number of messages sent, so that 100 people on a list sent four messages in a month use up your 400 total. After that, it becomes paid – see the rates here – FanBridge Pricing – but it’s a small investment to make to have such a powerful tool to communicate with your fanbase at your fingertips.

3. Champion Sound

Champion Sound is a smaller company that doesn’t yet have the reach of FanBridge and ReverbNation, but it’s a really great alternative that some will decide suits them perfectly.

It does most of what the first two do, but with a little less sophistication overall than FanBridge in terms of pure email managemnent (although it’s still very good) and none of the bells and whistles in addition to email list management of ReverbNation.

You can offer free downloads for an email sign-up but you’ll have to do some of the work to deliver that mp3 or image yourself – setting up a page on the web where people can download it. Not hard but not slick. You do however get a public profile page on which to do that.

So why’s it mentioned? Well it has great tracking and list sub-division (so it’s easy to split the people in one town from another in an email blast) and does the main task of building a list and mailing newsletters without any drama. Users also like the way that you can blast out the email messages to Twitter and Facebook. And it builds guest lists too!

But that’s not why we include it here. It’s maybe a bit sad for us to be excited by it, but the thing that makes it different is the iphone app! I know, it shouldn’t come down to that, but it’s a great idea and it works brilliantly.

The app allows people to sign up on your phone at a gig. Simple as that. It does other stuff too but that’s the cool trick. One of our clients uses this platform and people at gigs love it!

Using Champion Sound is effectively a paid service unless you have a tiny list and don’t use all the features (and that’s not the point is it!). Check the pricing here – Champion Sound Pricing.

We like Champion Sound – it’s another good option.

4. Aweber

So, what’s left?

Well, we’re going to be a bit perverse now and recommend the service that we use to contact all of our subscribers on this site and which we have used in the past for our bands. Aweber.

The reason that this is perverse is that it isn’t an email list system that is designed for musicians to build a mailing list – it’s actually a system that is designed for email list marketing for any business and it’s the market leader in that field. The number one system that businesses use if they need ultimate flexibility in email list management.

That means that for the job of building an email list and communicating with the people on that list, it is the best that you can get.

Why is it so good? Well, basically it comes down to the depth of the functions and what you can do with them.

The big advantage is that Aweber is not just an email management system it’s also an ‘Autoresponder’. That means that it can be set up to automatically send a series of emails that you pre-load into it at any given intervals. So, you can send all the new people that sign-up to your list an email the day after they signed up asking them if they liked the free tracks you gave them, and then a week later asking them to leave a comment on your blog and then two weeks later asking them to buy a single – and, once you’ve set this up once, Aweber will send all these emails automatically.

This is a very powerful way of communicating with your fans. You can actually set up as many pre-determined emails as you like. It could be one a week for a year.

You kind of have to use an autoresponder to see how clever and effective it is. Explaining it doesn’t really do it justice.

All emails are what is called ‘double opt-in’. This means that when a fan signs up, they are sent an email that asks them to confirm that they want to be on the list. This makes for a better controlled list that only people who are genuinely interested get signed up to. It also means that your emails are more likely to be delivered when you send them which then also adds to the ‘open-rate’. This is significant and ‘double opt-in’ (not used by any of the others we have looked at) is industry standard for professional email list management.

Of course, Aweber will allow you to create a form that you can use anywhere on the web to get sign-ups. This will be html or javascript but is easy to use, to update and is super effective.

Aweber allows you to do some really cool stuff with your list. It’s easy to write a newsletter and send it to a segment of your list. And then, a few days later, you can send it again to only those that didn’t open it or didn’t click on the link you wanted them to click. Maybe you can change your offer just to those people? Lists can be segmented and mailed as often as you like. There is no charge for the number of emails sent) unlike the other systems. Aweber charges for the number of people on your list, not the number of emails that you send them.

As you’d expect, you can create as many lists from scratch as you like.

And, the analytics of who is doing what with the information you send them is more detailed than you can get anywhere else. Split tests to increase open rates and click conversion, automated follow ups and web-hosted versions that you can link to Facebook and Twitter – all very trick stuff.

What’s wrong with it? Well it’s not designed for musicians. It’s not hard to use and the tutorials, and step by step set-up, are fantastic (as is the customer support) but you will have to build your own ‘thank you’ pages where you send people after they sign up to get the free download track or whatever you’re offering. That could be a pain and a deal breaker if you have no geek / nerd skills at all.

At the moment they don’t do mobile and they don’t have an offline sign-up, but you could code one from their html form if you were smart enough. I have raised this with them though and they are looking at it as it’s something they know they should offer.

And, of course, there is no integration with a myriad of widgets and a full music profile like you get with ReverbNation. This, again, may be a deal breaker for many as it does make a whole lot of sense to have all your software tools talking to each other.

If though, you are tech savvy and are building your own site (which you should be) and can deal with creating a page for free downloads for people who sign-up, then it’s well worth thinking about. Particularly if your band is getting to the stage where the fan sign-up is more than a trickle and your fanbase is active.

We use it and we work with bands who use it and, used correctly, it is the best email management tool

5. Anything Else?

Just to confuse you a bit there are three others to consider.

Bandcamp is another brilliant multi-faceted online profile site that allows you to sell your music direct. It has an email collection element, but the reason we haven’t looked at it here is that it just isn’t up to the job like the four we’ve covered. It’s a great system overall but the email list is an add-on, not the focus.

Then there’s Nimbit and Topspin. These are the lurking wannabe giants that might change things for good.

In short they’re full service music systems that do email (very well but not with autoresponders) and manage all your digital (and physical) sales of music and merchandise and provide tools to virally spread your music.

They have subtle differences. We haven’t looked at them here as they aren’t just about email and aren’t necessary for most bands until they are up and running and selling commercially viable amounts of music.

We’ll look at them both in detail in the future. For now, let’s say that Nimbit is the longer established of the two with great tools and an expanding user base and is great for all levels of artist. A slightly more heavyweight answer is Topspin but they don’t let all and sundry in to use the platform. More another time. Just be aware of them and have a look around the web to see what people think of these before making your choice.

In conclusion, I’d recommend all four systems we looked at. My preference is for either ReverbNation or Aweber depending on your point of view and how important the added features of ReverbNation are to you.

It may be a little unfair, but if you are going to be a long term underground band that never ‘breaks through’ but makes a living playing circuit gigs and selling to a small diehard tribe of fans, then ReverbNation is probably right for you.

If, on the other hand, you think you’re going all the way and want the best solution and can find a way to integrate it with other tools to offer your fans all the things they come to expect, then Aweber is the one for you.

In ‘Part 3′, we’ll look at how to use your list and how to communicate with your fans.

You can read ‘Part 1′ of ‘Building a fan mailing list‘ on this site by clicking the link.

I just read about this minisite that Devo put up a few days ago and tweeted it, but thought I ought to leave a permanent post about it and just give a little more detail. It’s a brilliant piece of online music marketing.

Why?

Well, it’s a perfect example of fan acquisition, engagement and selling. An object lesson in the mindset that you should have in the modern music business. Sure, Devo have label funding and this particular idea might be too expensive for you if you haven’t got their budget, but it’s the mindset that you need to learn from and the steps that you need to employ.

Have a look at the promo video that they have made for their ‘Devovision’ YouTube channel…….

…..and then go and take the test at the Devo song study site.

So, the site is there to help Devo get feedback from their fans to choose what tracks should be on their next album. But, it’s not just for that is it?

No.

When you’ve listened to and selected your favourite 12 tracks, you’re then asked to pick your favourite. Now, that information (data, if you must – but that makes it feel too clinical!) is obviously very valuable to begin with. Devo are finding out what their fans want on the record. That’s great for them as they can pick the record that most appeals to their fans. Remember that in the digital music age you are free to make music for your fans, rather than for radio or your record company bosses, but you need to know what they want.

However, what is also going on as you select tracks is that you are pre-selecting yourself as a future Devo album buyer. Not everyone – in fact, just a small percentage – but you’re now engaged in the debate and will, despite yourself, need to find out more when the record is released.

I bet that the track that most people select as their favourite is the lead single! Don’t you think?

The next bit is even better. So, you’ve picked your favourites and then you’re asked to give up your name, email address and location. We’re all used to giving this up for free music, but here we’re doing all the giving and not getting anything for free….but the humour in the site and the historical oddness of the band has helped us want to be part of the process. The request for additional thoughts and a photo (nothing rude, please!) all just adds to that sense of ‘Devo fan’ inclusion.

I’d have added a surprise bonus. When you click the final ‘Submit’ button, it would’ve been great to be taken to another page where you were thanked and maybe given a free download of a couple of tracks or a pre-order button for the album with a discount.

In online music marketing it’s essential to remember that your fans are ‘hottest’ to take action just when you’ve engaged them, usually by giving them something free, but here by giving them a sense of ownership and having some fun with them. That’s the time to sell them something or give them something else for free to cement their love of your band.

An unannounced bonus as a thank you would’ve made this perfect. And I’d have sent an email to each person who did the survey and signed up, immediately, saying ‘Thanks’ too.

So, what else do Devo get out of this?

Well, obviously, they’re building a very targeted list of fans and, in particular, as I said above, people who are pre-selecting themselves to buy the next record.

But, the minisite also engenders discussion and is newsworthy itself – thereby spreading across the internet and by word-of-mouth, bringing more people in to the site to learn about Devo. An idea like this is, by its very nature, inherently viral and will do more than just reach existing fans. It can even ready traditional offline media to be more interested in the band when the new record has its traditional release.

Devo have been no slouches when it comes to using the internet to connect with a pre-web audience from their original incarnation. But, because they were making records before all the online marketing techniques that bands are now using came in to play, they need to use all the tricks they can to dig up old fans and get them on to their email list.

It reminds me of the Led Zeppelin reunion concert a year or two ago. With no database of fans from their active years, the need to register your name, email address and location for the ballot for tickets for the only show, brought in a million fans in a matter of weeks. I wonder if that list will be used time and time again to market re-issue albums and merchandise to Zep fans?

So, have a look at the Devo song study site and see what you can learn from it to apply to your own efforts marketing your band and reaching your fans.

Let us know what you think by leaving a comment below.

So, another year comes to an end – and, for us, the first year of our blog and our efforts to spread a little of our hard earned wisdom and expertise in the music business.

We feel that we started well when we launched in March but tailed off in the last four  months -but we do have the excuse that we’re still managing 5 songwriters and producers (all of whom have had a very successful 2009) and we also launched an entirely new business that we have mentioned here before – manufacturing and selling the best football gift ever – that’s ‘soccer’ for our US readers.

So, time became very short and this site and the  musician’s educational and training business that we are working to build have ended up taking a back seat. To be fair, we didn’t realise quite how successful the football toy would quickly become and how much of the time of all of us in the office would end up being consumed by entirely new jobs in which we had no prior experience – manufacturing in China, warehousing and logistics, customer service and more.

Strangely, the experience, whilst time consuming, has taught us some new skills that we will be using in the music business – particularly the direct marketing and internet marketing stuff. Its also become a ‘hit’ by virtue of both being really good (if we say so ourselves) but also because we applied some of our Web 2.0 marketing ideas to the launch of the product – although not as many as we should have and not as many as we are always exhorting you to do!

So, before I finish with the excuses, here’s another one. The No.1 Fan business is still going to take up a great deal of our time in 2010 – there’s this little thing called the World Cup coming up and the demand for an England version of our toy is immense. So, our best laid plans for ”Make It In Music’ could still go awry, but we hope that we have thought this through sufficiently to be able to cope with all three roles that we now have to fill.

BTW, the reason why we ended up with another business to run that has nothing to do with the music business is a long story for another day, but it’s indicative of how you need to overcome the problem of too little time when you’re working a day job and trying to make it as an artist as well. We looked at that a little bit in this post about needing to make your music career a full-time job. We know how it feels!

As for how we came to be making a singing, dancing football toy – we’ll tell you another day!

So, we’ve spent a good part of December looking at this site and thinking through our plans for what we want to achieve for us and for you.

We were already doing this, but then I read Ariel Hyatt’s post about setting goals and thought that it merited me putting our plan and goals on the site.

So, without going into tedious detail, we’re planning to:

a) overhaul the site and give it a refresh in the design department. Expect that to be in place sometime in February; and

b) post valuable actionable information to help you further your music career a minimum of once a week. We’d love this to be three times a week but the schedule will be entirely down to other demands on our time; and

c) introduce video training wherever possible both on the site and in our products; and

d) build out the content of the site to include the best musician’s resources on the web, both written and filmed by us, but also outward links to third parties whose content we admire and respect – you’ll know who a lot of those we like already are; and

e) we’re going to be applying everything that we teach to two of our own clients in their embracing of direct-to-fan techniques for their albums due in 2010 (and we’ll keep you up to date with our own experiences of what’s working and what’s not); and

f) launch a whole range of in depth training products that will distill our experience and expertise into step-by-step training that you can follow to tackle specific parts of the process of furthering your music career.  A key prodcuct available from this site will be groundbreaking training designed to take you from ‘know-nothing’ dreamer with no material (and possibly not a lot of talent), to ‘know-it-all’ self-promoting artist with commercially viable and critically acclaimed material, bound either for direct-to-fan success or the sometimes still pursued record deal.

That’s a big undertaking but we have the plans to make it a reality. Amanda is a long way into her eBook on how best to use Facebook to promote your music – which will be an essential tool for all. (We still think a MySpace profile is a necessity – Amanda talked about why MySpace is still relevant in this post back in March, but although users depart daily, ‘the industry’ still likes to go and check out that profile for every new band).

I’m writing our Twitter methods down, and am doing the same for YouTube, and we plan to do another piece of training that ties all four sites together and deals with the other web presences you need to have and how best to use them to promote your music.

However, we have felt for sometime that our expertise is about more than handing out training on how to promote your music in the Web 2.0 world – our training is and will be class-leading on those topics, but our knowledge goes far wider and deeper. There are people who espouse that online promotion of your music is the be all and end all of how to make it in music today. And some of their training is fantastic. But they are missing a lot of very important things out that our years of frontline success in the music business makes us uniquely placed to divulge.

After all, we spend a lot of time telling you that you and your material need to be great before you spend ages promoting it – no-one wants to listen to music that isn’t good enough, no matter how much you try and stuff it down their throats.

So, we’re going to be looking at that aspect of your career development as much as possible and our cornerstone product will be training that teaches you everything you need to know to succeed as an artist. Whether you do or not will be down to how much effort you put in and how much of our training you take on board. I’m not saying that you’ll be able to make it if you haven’t got enough talent – but if you haven’t, we’ll tell you how to make the most of what talent you do have and how to find those with talent to spare to help you (and them) on their way to the top.

I’m really excited about 2010 and what we can achieve for this site, the business that I want to build and, ultimately and more importantly, for your career and life as a successful artist in the music business.

What we both need is the much-touted fireworks. No better time to plan for your own than when watching the last ones of the year set off at whatever celebration you’re at today. Just remember that when the clock strikes 12, there’s another year of challenges and goals ahead.

So, Happy New Year and let’s work together to make 2010 the year that you achieve everything you always wanted to in music.

I wanted to stick up a very quick post to bring hope to aspiring artists, yet also hammer home once again our core argument.

Maybe we’re finally getting to the time where a few artists really can break ‘big time’ without the record company machine, thanks to their own online efforts. Maybe.

Adam Young – he is Owl City – is an inspiration to the DIY musician using MySpace (still….) as their primary marketing tool. The story goes that Adam started recording in his basement and posting material to his MySpace profile with no real plan to speak of. (I’d heard the buzz and then Bob Lefsetz mentioned him today – and I got to thinking!)

Soon enough, people began to take notice and word spread – in the viral and natural way that online music discovery has long promised and only occasionally delivered. Two self-released albums and mammoth MySpace attention led to the moment of truth, and Adam, understandably, went for the old-school record deal with Universal.

Did he need to?

I think we’re still at the point in time that an international Major record company can push an artist with a groundswell of support far more successfully than they can on their own. Whilst the internet was fundamental to his early success and awareness, the world remains a big place in which to ship physical stock (and more than half the people still want CD’s!) and to drive radio and TV exposure. Sure, a lot of kids find new music on the web, but many don’t and all sorts of people still rely on the mainstream media to push things at them rather than discovering for themselves. Add to that, ‘offline buzz’ and personal recommendation, both of which can be amplified by the cash injection and expertise offered by those dinosaur record companies.

My view – they still have a lot to offer.

On the other hand, what he was doing to get noticed by those companies is exactly the same stuff that needs to be done to build the online buzz about your band and build a real fanbase – so do it anyway.

What can we learn from his experience?

1. He’s very talented and his material is great – you know we bang on about this a lot, but all the web promotion and Social Networking in the world is pointless if your material is crap. Study your craft, hone your skills and then present to the world.

2. He’s very prolific – Owl City was the third or fourth project that he had worked on. And he didn’t just sit there and do it half-heartedly. He finished songs, finished recordings, put them on the web. All the time perfecting his art and learning skills to promote himself – through experience.

3. He engaged with the feedback that he got – honestly and openly. If you’re seeking to build a following these days, you need to be available to your fans in a way that old school stars never were. It’s a mutually beneficial journey now – not you and the fan divided by awe. Look at how Imogen Heap talks to her artists and revels in their intense feedback.

4. Now that he is signed to Universal, they have amplified his web-presence with a light but skilled touch. Have a good look around his official site and see what they now offer – loads of information, his personal blog, streamed music, buy links, radio request telephone numbers, links to all his Social Networks, Street Team sign-up, mailing list, a forum, wallpapers and banners…… The site is a lesson in how to do it right. Not too flash, just nicely designed and stuffed with content that shouts out his appreciation of his fans. The only thing I’d add is a dedicated YouTube channel and Flickr page.

So, look & learn – be great at your art, push it out there, communicate and climb higher. If you do and the Major record label A&R guy comes calling, it might be the right thing to do, or, maybe, just maybe, you’ll decide to keep going it alone – and soon that really will be an option.

Read about Adam Young and Owl City below:

Owl City Official Site

Owl City Wiki

Star Tribune – article on Owl City success

You already know that having your music available digitally is becoming more and more important in today’s DIY musician environment – essential really.

As owners of an extensive music catalogue that we have for sale in a whole load of places, we can tell where our digital sales come from by looking at traffic and our monthly digital sales reports. A very important site to us for generating the interest that leads to sales is Pandora, and it’s one key place that we would suggest you make your music available.

Pandora is a music discovery service designed to help people listen to and enjoy music they already know, and to help them discover new music they’ll love using the Music Genome Project. On the site, you tell them one of your favourite songs or artists and they’ll launch a streaming radio station to explore that style and genre of music for you. The system recommends other songs and artists that they think you’ll like based on what you tell them and your listening behaviour.

When Pandora accepts new music they painstakingly tag it with a whole load of identifying keywords to make the Genome engine put the right type of music in front of the right type of person to whom it will appeal. Unlike Last.fm, this is done by employees to a set of criteria (Last.fm does it by algorithms based on member’s behaviour). More info on the Genome project can be found here: Pandora Music Genome Project

So, if you have commercially available records, then clearly, having them as part of Pandora will lead people who like similar bands and styles to hear your material. Such is the nature of the Pandora community that the people who use it are very open to finding new music – all good for you, the aspiring artist.

We’ve also found that not only is the feedback about new artists very positive, but Pandora users also go out and buy music they have discovered on Pandora and evangelise about it to others – spreading the word about you even further.

However, the bad news is that getting your music onto Pandora is not as straightforward as it sounds.

First off, they don’t take everything that they’re sent – they have a subjective quality control threshold that you are going to have to satisfy – not all our records get approved!

And, secondly, Pandora can only stream songs to users in the US due to licensing laws, and as such, users from outside the US will find themselves blocked if they go to the Pandora site. Still, the US is a very significant part of the world market and worth targeting – even if you don’t live or tour there.

If you’re outside of the USA, you’ll never be able to stream music from Pandora as a user – it’s not possible. (Actually, if you’re a bit of a geek, you could do it by hiding your IP address or other things that we don’t understand!) However, you can still use the Pandora site for promotion of your music, without a fully functioning user account. How? You just need to sort yourself out with a US-based email address. If you’re in the States, obviously this is no problem to you, however outside of the States this is a whole other matter.

When we decided to put some of our catalogue up on Pandora we asked a friend who lives in the States to set us up a US email account, which we now use specifically for Pandora. It’s just a Gmail account that he set up from his US-based IP address.

So, if you have any friends or family in the USA then that’s the perfect route for you to get access to Pandora. Other options include doing it whilst on holiday to the States, or finding someone who is going and getting them to log onto a computer long enough to set you up an address. If you have no contacts in the US, ask around (try forums that you should already belong to!) and see if anyone can help you. This may seem like an annoying thing to do, but it will be worth it in the end.

So, once you’ve sorted out your email address, here’s how to submit your music!

• Using your US email address sign yourself up at http://www.pandora.com

• Once you have signed up you will be able to submit your music through your profile by going here: http://submitmusic.pandora.com. This is now the only place that you can submit your music to Pandora, so make sure that you have the following available to you before you start the submission process:

* A CD of your music

* A unique UPC code for that CD

* The CD to be available through Amazon. Pandora cannot accept music available only as downloads through the Amazon MP3 store; you must have a physical CD for sale.

* MP3 files for two of the songs from your CD

* The legal rights to your music

Anything that you want to submit must be available on Amazon and you will be asked to provide a UPC barcode on submission. This is a 12 or 13 digit unique number that identifies your release. If your release does not have a barcode then you can get one from here: Nationwide Barcode. There are other places that you can get a barcode that satisfies Amazon – Google “upc barcode for my CD release” or something similar for the latest information.

This page is worth a read as it tells you a load about how barcodes work – http://www.cd-fulfillment.com/bar-code.asp.

By the way, we really like the service that that company (CD-fulfillment) offer. One at a time CD’s, made on demand – so you can have a commercially available CD without a minimum stock quantity. Have a look around their site here – www.cd-fulfillment.com.

If you don’t already have your stuff for sale on Amazon then the best way for you to do this is through Amazon Advantage. It is the simplest and quickest way to get your CDs up for sale through Amazon sites and is targeted at self-publishers. For information on this head over to Amazon Advantage UK if you’re in the UK and Amazon Advantage US if you’re in the States. There is a significant charge (approximately $30 per year) but it’s a good system and that fee applies across all your stuff for sale on Amazon – it’s not per CD.

If you tie that up with on-demand CD manufacture from CD-fulfillment (or other companies that are out there offering that service), you can get CD’s on sale at Amazon for less than $50 all-in.

To start your submission process you will need to send the two mp3′s from your CD via the Pandora site to their approval team. You will be told that your upload has been successful and then it’s all a case of waiting. It may take a while before you hear from the submission team again as they get a huge amount of music to process but eventually you will get an email telling you if your submission has been accepted or not.

An updated status message for your submission can always be viewed here:
http://submitmusic.pandora.com/submit/status and you’ll need to sign in with the same Pandora account that you used to submit your music in order to see the status.

If it has been accepted you will then be sent an email providing you with a link to download a full submission form which you must then complete and sign before returning to Pandora with a full, finished copy of your release for them to add to their catalogue.

Once this has been received, your music is uploaded onto their systems and becomes available for everyone with a Pandora account to listen to, with the option of buying if they like it!

It can only help spread the word about your music to a receptive audience – and once done it’ll sit there giving you a little exposure all on its own – not like all the Social Networks that you should be beavering away at day in, day out!

It’s as easy as that. So, if you’re music isn’t on Pandora, go get it on now.

For further discussion on the Pandora requirements have a look at this topic on Artists House: http://community.artistshousemusic.org/forum/topics/the-new-pandora-requirements

If you like the idea of this, you can get some similar listener driven promotion at www.last.fm. Have a look here and read this great blog post about it.

http://www.last.fm/

http://www.jimmyshelter.nl/blog-75-Using-Last.fm-to-promote-your-band-in-6-easy-steps.html

http://www.knowthemusicbiz.com/index.php/BIZ-BLOG/BIZ-BLOG/How-to-Promote-Your-Music-on-Last.fm-by-Fiona-McLaren.html

And here’s a pdf on how to promote on last.fm. It’s a few years old but still worth a read. http://www.quaxle.com/ebooks/quaxle-ebook-lastfmpromotion.pdf

A Guest Post by Bas Grasmayer

To the readers of the Make It In Music blog, I would like to present my paper looking into some of the best practices of the online promotion of new music releases.

The paper identifies trends at play in the online practices of music promotion, looks at five different case studies and draws some observations and conclusions based on these case studies.

With the great, and some times not so great, examples set by Radiohead, Nine Inch Nails, DangerMouse & Sparklehorse, Mos Def and Groove Armada, the paper aims to show very simply what works well when promoting music on the web and what does not.

Are you familiar with the phrase ‘freemium’ yet? Where you give something away for free, only to give yourself more opportunities to sell your premium content (fan packs, high quality versions, bundled packages, etc.).

Something else the paper discusses is that when you give something away, you should really give it away. So no DRM (copy protection), no sub-par quality versions (anything below 128 or 192 kbps), or other things which might actually disappoint people expecting to be delighted.

Without further ado, I present to you my paper about the online promotion of new musical content, click the link to download: Online Promotion of New Musical Content by Bas Grasmayer

This article was written by Bas Grasmayer, an International Communication Management student at INHOLLAND University Amsterdam, The Netherlands. He’s currently writing his thesis about successfully using the web for monetizing music and wrote this paper as a side-project.

As part of his studies, he’s completed an internship with the Bulgarian National Radio in Sofia with excellent results, studied new media and PR at Yeditepe University in Istanbul, Turkey for a semester and has combined two of his biggest loves, new media and music, into one research objective for his thesis, which will be finished and made public somewhere within the next few months.

Bas regularly tweets about innovation in the music industry on Twitter: http://twitter.com/spartz

Bas’ contact info can be found on his blog: http://www.basbasbas.com/

You can also find him on LinkedIn, FriendFeed and Facebook. Be sure to check out his Google Reader shared items for many more interesting articles about the music industry and web 2.0!