Tag Archive for 'Marketing'

Sales Figures Do Not Tell the Future

Published on January 14, 2008 in Article and Blog. 0 Comments Tags: , , , , , , , , , , .

Spotted on: CNET
Trent Reznor released sales numbers for the new Saul Williams release on his blog. The album “The Inevitable Rise and Liberation of NiggyTardust” was produced and released by the Nine Inch Nails mastermind with a forward thinking model: Download the album for free, or pay $5 for a higher quality MP3 version (a la Radiohead). According to the numbers released, approximately 18% of the downloads were sales.

This number is likely slightly lower than reality. There is no information to measure how many people downloaded the album for free then went back and bought it. CNET interviewed both Trent Reznor and Saul Williams, and their opinions are quite different.

The album has been out for two months, and the major campaign of videos and touring begins in the next few weeks. The album sold almost 30,000 downloads and gave away another 120,000 with almost no marketing campaign, and no publicist. Although the album hasn’t gone digitally platinum, this experiment is a positive sign. Williams’ music does not neatly fit into a pigeonhole. While the sales model is similar to Radiohead’s In Rainbows (which is no longer available as a free download), these two artists are not in the same position, and the IRLNT test will be a gauge of what mid level artist can expect from this model, at least for this year.
Having 20% of your listeners buy your album may not seem like a large amount, but it’s hard to measure who they are, how they know Saul Williams, and whether they were pre-existing fans or not. Consider that an album’s life span is long – upwards of two years, and over the next eight to ten months we will see how this model works when promotions are put into play.
Bottom Line: Whether or not this model of selling albums works is still unclear. As time passes, and more artists try this model, we will see whether audiences will pay for something they can get for free.

A World Without the RIAA

Published on December 5, 2007 in Blog. 1 Comment Tags: , , , , , , , , , , .

Spotted on: CMJ

The RIAA is funded by the big four record labels, to the tune of around $130 million per year for each label. EMI was recently bought by a private group, and are now considering drastically cutting their investment to the lobbying and enforcement arm of the music industry.

Given that the RIAA’s legal moves over the last few years have been disastrous at best, it’s a great sign for artists that the RIAA’s financial base may diminish significantly. The amount of money that the RIAA has spent suing mothers and college students as been astronomical, and has led to a severe loss of credibility toward the record business in the public eye. Let’s take a moment to look at what a world without the RIAA might look like.

Without constant legal pressure to buy, audiences would begin to feel confident that albums they buy are supporting artists’ careers (this is part of consumer confidence). File sharing would continue, but people would be more willing to buy music they love knowing that they aren’t labeled as criminals anymore. The business model of turning artists into products, overcharging for albums, and using hype instead of quality would fail.

The music industry would become a free market, where any artist with great music and dedication could create a viable career. Rather than a few mega platinum artists, we would begin to see a massive amount of artists selling between 50,000 – 200,000 units on releases. This level of sales can cause an artist to be dropped from a major, but on an indie label, this is a great living for an artist, and a massive success for the label. Royalty rates for artists would also become much higher. Some artists already see similar profits selling 200,000 units with an indie label that they would see selling a million on a major.

New contracts would become the industry standard, similar to Polyvibe’s practice of leasing artist’s copyrights rather than owning them. Artists would have freedom to call the shots in their careers. The industry would shift to artists owning their masters, with labels existing to empower artists rather than to exploit them. Album advances would shrink; the amount of money owed to labels would shrink, too. In the major label world, an artist owes almost every penny the label spends on them. Label investment in artists would become the cost of doing business, rather than a loan.

The practice of shelving albums would become non-existent, as artists would have the ability to have promises for release dates in their contracts. Polyvibe currently includes release dates in our contracts, with a provision that if deadlines are not met, we will set a new release date. We even promise in our contracts that if we do not release an album within a set span of time after receiving masters, the artists is free to go elsewhere with their album. This type of provision would be standard fare, as well as other artist protection clauses.

Marketing, promotion, and booking companies would become the major players in breaking artists. The media will flock to what people want instead of what the Big Four tell them to promote. New and far reaching models and methods of grass roots promotion will become the norm. Music quality will again become the primary factor in an artist’s success; promotion and hype will be a second tier service. Radio will begin to offer a wider variety.

Without the ability to force legislation in their favor, major labels would become the victim of a music economy they no longer control. Consider that what allows major labels to force low quality music down our throats at high prices is their ability to grab politicians ears, to threaten us with lawsuits, and their near domination of media exposure and radio. We are now at the tail end of a 60 year monopoly on the music business. Rats swarm off of sinking ships, a perfect analogy for the exodus of mega-artists from major labels (getting off the ship, not the rats). In this new music environment, there will be dozens (maybe hundreds) of popular labels, and everyone will have the opportunity to create success.

Bottom Line: Without the RIAA, the major label business model will be obsolete, and a new paradigm and renaissance for music will appear within five years.

Steve Albini on DIY Music Promotion

Published on November 7, 2007 in Blog. 0 Comments Tags: , , , , , , , , , .

Spotted on: Gar Lives

Steve Albini speaks about DIY music promotion and bands operating in the music business.

The Cult of Personality – The Modern Artist’s Mantra

Published on October 26, 2007 in Blog. 0 Comments Tags: , , , , , , , , , , , , , .

Lately I’ve notice that there are musicians and artists that are tuning into this frequency, so here’s something for you to consider:

The future for musicians looks like more than just great recordings and live shows. The opportunities that the internet provides modern artists is available to everyone, and thus its potential is diluted. One powerful tool in creating buzz around your project or career is to get noticed. And one way to get noticed is to generate interest in who you are, and what you’re saying. in other words, creating and maintaining a conversation with your audience.

Pop culture can overwhelm us with the personal lives of famous people, and annoy us to no end with the antics of celebrities. Billboard has an excellent article on the effect of this kind of marketing on the careers of the ultra-famous. Keeping themselves in the public eye is a critical element to the careers of these top tier entertainers. Even bad press is good press for them.

For the independent artist, this same technique can yield different results. We can expand our scope and reach by generating attention for who we are, and what we have to say. Marketing a personality is nothing new. Here’s an article from Time Magazine in 1978, looking at the same methods and issues we are discussing today.

Once you have fulfilled your artistic vision, and you’re putting yourself out there, the make-or-break factor in success becomes notoriety. While having ten thousand friends on Myspace seems like a powerful promotional tool, does it really measure anything other than the number of people that landed on your page and clicked add me?

One of the most effective tools for creating a buzz for yourself, your project, and what you’re up to is blogging, and blogging often. If you are anything like me, you spend at least some of your week surfing the internet and consuming content. You have sites that you visit regularly. Consider that what keeps you coming back to a site is the steady stream of new and interesting content. Content that speaks to you.

A healthy career is grown through a fanbase. Radiohead, Nine Inch Nails, Prince, and Madonna are able to free themselves from major labels and even give away their music because their fans are loyal, and people are tuning in.

While it may seem like the forward momentum is slow, steady and regular content on your project webpage, blog, or social networking page is critical to bring people back. And the more time people spend on your sites, the more interested they will be in supporting your cause.

I am guilty of not providing a steady stream of information on my blogs at times, and it impacts my return traffic, and the hype around my own projects and Polyvibe. I am preparing to condense this blog with my personal blog, providing the same great content with half the work. Like Uncle Scrooge says, work smarter, not harder.

For any artist who is committed to bringing viability to their career, having a powerful voice, and keeping the conversation going are critical elements to success.

I invite you to comment on this post with your opinions. If the waters ripple, we’ll talk more about creating a cult of personality, the results people are seeing from this kind of grassroots marketing, and methodology that can be implemented to increase your results.

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