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Showing posts with label videogames. Show all posts
Showing posts with label videogames. Show all posts

Sunday, October 26, 2014

Twitch Debuts Live Streaming Music Concerts, Twitch Broadcasters Can Play Host

Twitch Debuts Live Streaming Music Concerts, Twitch Broadcasters Can Play Host

Twitch is an odd seeming thing, a platform primarily for live streaming video gameplay, that is incredibly popular. Since at least May various reports have it that Google is buying them. So far it's only been confirmed by "sources" and it's hard to say what that would really mean for Twitch. But there are lots of people watching Twitch and though there is music on the site in various forms, yesterday they supported their first official livestreamed concert featuring dj Steve Aoki.
Twitch is a true phenomenon with:
"more than 50 million monthly active users"
"more than 1.1 million members who broadcast videos each month"
"more than 13 billion minutes of video are watched per month on Twitch"
"in March, Twitch represented 1.35 percent of all Internet traffic"
So Twitch is doing great as it is but they say they "surveyed the Twitch community" and that a full 80% answered yes to the question:
“Would you be interested in watching your favorite artists perform live on Twitch?”
Apparently the music industry is quite aware of the promotional potential of live streamed concerts on Twitch:
"Some friends in the music industry have been interested in sharing free live concerts on Twitch for some time."
And to further integrate such shows, beginning with yesterday's stream of Aoki's Playhouse from Ibiza, Twitch now has Host Mode:
"Imagine you’re done broadcasting for the day, and about to go offline. Rather than just signing off, Engage Host Mode! Your chatroom remains entirely the same, but your video player is replaced with an embedded version of whichever channel’s stream you decide to host. Now you and your chat community can continue to hang out even after you’ve gone offline."
For an artist like Steve Aoki Twitch is offering a great tool for promoting his new album, "Neon Future." In fact, given that this is the first show on his Twitch channel, the stats of 529,980 views and 17,778 followers should be essentially for the show.
Keep in mind that Twitch has a Partner Program that includes monetization so Twitch's potential power for music goes beyond promotion alone.
There are also issues with unlicensed music playing during video gameplay cause people listen to music while they play games. So if Google has bought them, we're looking at many of the same problems and possibilities raised by YouTube but on a livestreaming platform.
Hypebot Senior Contributor Clyde Smith (@fluxresearch) also blogs at DanceLand. Send news about music tech startups and services, DIY music biz and music marketing to: clyde(at)fluxresearch(dot)com.




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Saturday, September 21, 2013

Word shuffle


First write a few random words on some index cards or small pieces of paper, one word for each. Then mix them up and place two side-by-side. Try as hard as you can to come up with a new idea from the two resulting words.
This creative idea is great in so many ways, and you never how people really use this idea to come up with some of their ideas. Song writers, authors, poets, and I use on a daily basis, but my problem I can't remember everything that I come up with LOL. But like I was saying everyone is most likely to be using this creative idea themselves. So why not you. Give a try to see what you come up with.

Wednesday, September 11, 2013

The Most Important Problem The Music Business Must Solve


By David Sherbow (@MusicBizGuy) of My Life With Music.
What is the greatest problem which the new music business must solve to maintain it relevance in the future? In my humble opinion, it needs to figure out how to simply curate new music, filter it down to a small enough selection that is easily digestible and readily posted some place on the Internet, seamlessly accessible by mobile phones, where people will want to come, listen to it, own it emotionally and support it financially. When this happens, and eventually it will, the music business will be forever changed.
Artist development and new music discovery via the Internet seem to be incredibly lacking when it comes to finding a clear, defined path on which true artistic and financial success can be built. Where are artists mostly found hoping to be discovered? Major sites include Bandcamp, Bandpage, SoundCloud OurStage, Reverbnation, MTVMusic, and the new Myspace. Lesser sites include Tunezy, TastmakerX, WeAreHunted and TheSixtyOne. This list can go on forever as there are hundreds of sites out there that no one has ever heard of which have little or no traction and allegedly were built to discover new music. Streaming music services like Spotify, Grooveshark, Rdio, Deezer, Rhapsody, Songza, iHeartradio and Pandora are not in the business of new artist and new music development.
Former Topspin and now new Daisy Project CEO, Ian Rogers, made a telling point a while back when he guestimated, that the real market for serious bands and musical artists around the world was most likely in the vicinity of 30,000 serious artists making some kind of income. The Future of Music Coalition's artist revenue stream study certainly did nothing to shed any further light on whether or not this was an accurate number or what they thought the number actually was. Admittedly there are hundreds of thousands, if not millions, of people who have created profiles and posted music somewhere on Internet. At least 99% of these have no intention of ever making a career out of music. So how do we find the really good new stuff that could resonate with millions of people? This is the new music business' greatest question and it begs for an answer that no one seems to have except me.
There are lots of blogs that are more than willing to help with the curation process and which recommend new music for people to listen to on the regular. Some of them like Pitchfork actually can and do influence a large number of people to take a shot with a new song or artist. However, these trusted sources make a very small difference in the grand scheme of things. There is no longer in place a system of filtered choices and listener control. Occasionally a song or artist will pop up on YouTube, go viral and generate loads of activity and some income. If I were a talented artist, I could not reasonably rely on the fact that my music would ever go viral on YouTube and make me famous. Furthermore, all the web sites mentioned above combined have broken only a handful of new artists into the mainstream. When they actually have or lay claim that they did, there has usually been no rhyme or reason from their end for the success of those few artists.
Unfortunately, Top 40, Rhythmic and Country radio are where most people still discover their new music. This environment is carefully controlled by major labels and rarely sees a newly developed unique act because those chosen to be exploited are usually brought into the mix by major players with little vision and cookie cutter mentalities all about making money.
Very few real music business veterans are connected on a day to day basis with most of the above mentioned sites. Most have been built and are being run by technologists under 40 who have been in a band or worked in new media for a label but don't really, for the most part, understand the true mindset of a working musician and his or her actual needs nor what it's going to take in today's world to develop a casual listener into a true fan. Show me a site, any site, that has one million plus uniques a month or that has converted into paying customers a large portion of Rogers' 30,000 serious artists AND that is making more than just a little bit of money. Show me any site that has created an ecosystem for artist development and exposure that regularly spits out a stream of successful moneymaking artists and I will bow down to their genius.
I have been analyzing the music business Internet space for almost eight years. It is clear to me that there is one piece that has been completely missing: none of the alleged music discovery/artist development sites has any kind of meaningful and compelling value proposition for casual listeners that gets them to aggressively participate in a site's discovery process in large enough numbers to develop an emotional and financial bond with a particular artist to make them a successful mainstream artist who can live off their music. Without there being something substantial in it for the user why should any user change from their present course of music activity to a new one? For example, what's the Daisy Project going to do for the casual listener to make them leave Rhapsody, Pandora or Spotify?
Extremely well funded sites like Reverbnation, TopSpin, Bandpage, OurStage, Turntable.FM, Pandora and Spotify would have been bought up by now if they were really making money. None of these sites or any others that I can see have anything to do with new music content development and ownership. Content used to be king. Major labels and major publishing companies don't need to develop new content because for the time being they still control 95% of the content people want to listen to. Record promotion is broken like the rest of the traditional music business. In time, some company will figure out how it can successfully promote new music in the new music business and then the clutter overwhelming the music space will become manageable once again.
Most streaming services have access to 10-20 million songs of which only a very small percentage are listened to on a regular basis. Those songs actually listened to more than once are made up overwhelmingly by good to great songs from the past. How is the content of the future being discovered, developed and meaningfully exposed? Whomever or whatever entity figures out how to access, discover and control new and great future music content will have found the new music business' answer to the "Holy Grail."
At the beginning of this piece, I told you that I have a solution to this problem. My visionary idea for a startup has evolved over eight years of personal trial and error in the Internet music business space. Here is the link to my proposal, entitled "MusicWhirl.Com: A Weapon of Mass Music Discovery."
David Sherbow is a 35 year music business veteran, former artist manger, booking agent, indie label operator,urban independent record promoter whose companies have broken over 100 No.1 records, Internet music business entrepreneur and Adjunct Professor of Music Industry, Towson University, Baltimore, MD.

Breaking Into The Music Business Today


Breaking Into The Music Business Today
By Mika Salmi, CEO of creativeLIVE.
Whether you love making music, or love listening to it, there are now more ways than ever to break into the music business.
It's been 14 years since Napster emerged, marking the start of an industry-wide revolution. Today, more music is being made and listened to than ever before, and the flow of both money and opportunity has changed radically.
Once upon a time, six major record labels controlled the music business. Now there are only major three labels — and they don't control the industry like they used to. With the traditional gatekeeper model all but destroyed, what opportunities are available to the aspiring musician or manager?
Musicians As Entrepreneurs
In the past, if you were a musician, getting signed to one of these labels was your only goal (okay, besides sex and drugs). That's not because it was easy to do; it was straightforward. The only way to make it big was to land a major deal with a major label.
Today, as an artist, you have a multitude of options — all starting and ending with your own bare-bones initiative. You can create music in your bedroom and distribute it directly via online platforms like Beatport or Soundcloud. You can play it like Macklemore did and spend years on the road, playing hundreds of live shows, building a fan base that will eventually fill arenas and land you on Billboard charts. You can try the old (and hardest) way and sign to a label. Or you can do all three.
Your path depends, first, on your talent and, second, on how much control you want over your career. Today, musicians have choices that hardly existed pre-Napster. You can now decide.
Music Fanaticism Is Now a Career Path
If you are not a musician but a music junkie like me, your only option in the past was to get a job working for a record label. These jobs were in short supply so they were hard to get, but you once your were "in", you were set. And then sometimes you'd have career-defining moments like I did, when I discovered the Nine Inch Nails back in 1988.
Today, after a few decades running music and entertainment companies, I'm the CEO of creativeLIVE, an online education company. And guess what channel we just launched, because we see such a huge opportunity? Music.
If you are a music fanatic, you have as many choices as the artists themselves. You can go work for a technology-based music company like Spotify or Pandora (there are hundreds of these companies popping up every day) as a product manager, engineer, or in business development. Or, you could choose to work at an ad agency or media company sourcing music for commercials and TV and movie soundtracks (many, many companies here too). Or, you can go work for a label and help them figure out how to stay relevant in this ever-changing industry.
Anyone Can Try to Make a Career in Music
Alternatively, whether you see yourself as a music artist or a music fanatic, you can now learn how to make music on your computer. creativeLIVE is bringing a world-renowned DJ, Big Chocolate, in to show you how to make Electronic Dance Music (EDM) tracks in Ableton Live. EDM is the hot thing right now, permeating all genres.
Due to the democratization of the industry over the last two decades, music is alive and well and the opportunities are numerous. The days of being a "cigar-smoking fat cat music exec" are pretty much gone, but the music lives on. Music "careers" are now more creative and exciting, taking a number of shapes, both on the artist side and the business side.
Whether you are an aspiring musician, a marketer, a deal maker, or a coder, there are more, and, in my opinion, better opportunities today to follow your passion for music and make a good living doing so.
Former label exec, current Incubus manager, and all-around man-in-the-know, Steve Rennie will be on creativeLIVE on September 12 teaching a workshop about networking. While the landscape of the music business is constantly changing, one thing remains the same: it's all about who you know. Steve is a candid and insightful expert who has seen it all and managed to stay both relevant and honest.
Hisham Dahud is a Senior Analyst for Hypebot.com. Additionally, he is the head of Business Development for Fame House and an independent musician. Follow him on Twitter: @HishamDahud

Rapt.fm Launches Battle Rap Platform For Artist Discovery and Promotion


Rapt.fm Launches Battle Rap Platform For Artist Discovery and Promotion
Rapt.fm launched to the general public in beta last night offering a place to battle rap online or to simply observe the competition. But Rapt.fm intends to be more than just a battle rap platform with aspirations to help artists promote their music and possibly even get a record deal. To further that effort, Rapt.fm is also planning a YouTube rap video contest with a singles distro deal through Tommy Boy.
Rapt.fm is now officially open to the general public after a period of alpha development that began in 2012. Along the way Team Rapt.fm have been participants in Detroit's Bizdom startup accelerator and are rising symbols of Detroit's future.
The basic concept is simple. Rappers queue up and accept challenges that are conducted live in video chat room style. You can observe as a guest and, though I missed the high points of last night's launch, I did get a look at some late night action.
I haven't been keeping up with battle rap website developments but it's no surprise that video chatrooms have moved online battle rapping far beyond the days of typing raps in forums in realtime or posting rap videos and waiting for a response. Rapt.fm feels more like you're sharing the space with the participants, virtual though it may be, rather than observing a process from a distance.
But the world of rap is no easy place to succeed and simply providing a platform for rap battles may not be enough to build a real business. However, from Rapt.fm's site and statements to the press, you can see that there's a larger vision at work.
It's Bigger Than Rap Battles
In the Beta launch press release, CEO Erik Torenberg is quoted as saying:
"Our goal is to make Rapt.fm the premier place for hip-hop talent to be discovered."
In addition to providing a platform that allows any rapper anywhere to participate and possibly be seen, Rapt.fm has been organizing contests. Previous competitions have picked openers for shows by acts like Girl Talk, Royce da 5'9" and Bone Thugs-N-Harmony.
The new YouTube video rap contest is said to result in:
"A singles distribution deal through Tommy Boy Entertainment...The winning competitor will record a single that Tommy Boy will distribute worldwide through partners ADA Music and Warner Music Group."
Currently I can't find anything on the site about the contest but they may be running into launch glitches or haven't yet officially launched the contest.
Battle raps and contests are a good starting combination to encourage participation and slant it towards those with professional aspirations. But building a platform to be discovered by the industry will require industry involvement and that will require real talent showing up on the site and being recognized in the marketplace.
Rapt.fm has a long ways to go but a big plus is the fact that everybody on staff is said to rap, however talented they may be, and the CEO seems legit from the few Rapt.fm videos I've seen.
Hypebot Senior Contributor Clyde Smith (@fluxresearch/@crowdfundingm) also blogs at Flux Research and Crowdfunding For Musicians. To suggest topics for Hypebot, contact: clyde(at)fluxresearch(dot)com.

Saturday, September 7, 2013

How To Make A Music Website Like Ed Sheeran, Case Study Part 1


How To Make A Music Website Like Ed Sheeran, Case Study Part 1

BY: SHAUN LETANG 
Hey guys, today I’m going to show you how to make a top music website which will allow you to better turn visitors into fans, capture their details for future contact, and effectively make more money from your music career. I’ve already show you how to set your site up from scratch, so I won’t be talking about that again (use that guide if you haven’t already got a music website). What I didn’t cover in that guide however, is how to structure your site to make the most of your visitors.Having your own website as a musician is vitally important, as it provides a piece to thesales funnel you simply can’t get with social sites like Facebook and Twitter. Add a mailing list to your site, and you’ll be able to find your most interactive and valuable fans much more easily.That said, you need to structure your site correctly for it to have these benefits. All too often a good looking design is put up, and the site stays looking the same for the rest of it’s life. Just because it looks good though, it doesn’t mean it’s laid out properly for maximum fan conversions and retention. A bad layout and site structure can mean you’re not retaining anywhere near as many fans as you could have other wise, and your site may even be turning would be fans away. Both of these things lead to less buzz and income for you.So how should you be laying out your website? Well, to help you better get a idea of what a good site structure looks like, I’ve picked a site I think does quite well in terms of getting fans interactive and keeping in contact with them.The site in question is the Ed Sheeran website. If you’re not sure who that is, have a look at his website for the lowdown.
Here’s a look at Ed’s website’s home page as it is at the time of this case study. Click the image to see a larger one pop up in a new window:
Ed Sheeran music website
As well as looking at what this site does well, I’m also going to look at what I would do differently and why.
The aim of this guide is to show you what goes into making a top website for your music career, mainly in terms of layout. If you’ve already got your own .com website (or .co.uk / .ca etc) then you can use this guide to help you better structure your existing site. If you haven’t already got a site (I’m not talking a Facebook page here), you really need one. I’ve already put out a guide on how to set up your own professional site quickly and easily, so if you haven’t got one yet, first get one sorted in the next 20 or so minutes using that guide. Then come back here for an idea of the structure you should implement.
So now you know what we’ll be doing, let’s have a look at what goes where on Ed Sheeran’s website and why.

The Video On The Front Page

The first things I want to mention about Ed Sheeran’s website, is the video he displays near the top middle of his home page. This is what most people will instantly notice when they visit for the first time. Not only is it in a prominent position, but it’s also eye catching.
In this space, Ed puts his video playlist. The reason for this is simple: video is one of the best ways to get people interested in what you’re offering!
Think about it, how many times does it take you hearing a song before it sticks in your head? While it’ll only take one listen for some songs, in general it usually takes two, three or more. On the other hand, usually if you see a good video, you remember it instantly. It’s also a lot easier for most people to get hooked watching a video, over hearing a song for the very first time.
Of course this is generalizing as everyone takes in music differently. But as a general rule, video and music grabs people’s attention a lot quicker than plain audio does.
My bet is that this area is one of the most popular on the website’s home page.
One more thing to note about this area is that the embedded video also contains a playlist. So if you’ve seen the first video he displays, you’ve the option of looking through his other material either for something you haven’t seen before, or for your favorite song of his.

Social Boxes In The Right Sidebar

Social proof in the sidebarThe next thing I want to look at are the social boxes in the right hand sidebar of his website. He displays a Facebook ‘like’ box showing how many Facebook fans he has, as well as a Twitter follow button above it at the top of the sidebar.
There are two main reasons for this:
  1. Social Proof.
    People like reassurance that what they’re doing and what they’re into is socially acceptable. Social proof is a way of convincing people this is the case, and is a good way to get people to become a fan of your music much quicker. If you see that your friends has already liked Ed Sheeran’s facebook page for example, you’re more likely to click and like it yourself. And if you see that almost 3 and a half million people already do like him, most people would take that as a sign that he’s talented and worth looking into some more. Even if you haven’t heard his music before but then hear he’s got 3,404,045 Facebook fans (which he has at the time of writing this), chances are you’ll be that much more likely to think there’s something too him, and want to hear for yourself.
  2. He’s Working On Building Up His Social Following.
    When you’re building up your audience, it’s very important to retain the people that arrive on your website. If they come but you don’t get them either on your mailing list or social sites, the chances that you’ll get them on your site again will drop greatly. If you did get their contact details in some form however, you can contact them when something new and exciting is happening, and send a wave of your fans where you want them relatively easily.
While Ed has both the option to sign up to his mailing list and social sites on his website, he’s chosen to focus more on building up his social presence than collecting email addresses. This is shown by where he places both his social profiles and mailing list opt in box. His social profiles are near the top of the page in one of the first places people usually look (the top right hand side of the sidebar), while you have to scroll down the page to see his newsletter opt in box (also known as ‘below the fold’). On top of that, the mailing list sign up box is on the thinner left hand side sidebar.
I personally feel it’s better for musicians to focus evenly on both their mailing list and increasing their social presence, but you can do one or the other if you like. That said, I feel it’s possible for Ed to increase the amount of email addresses he collects without it affecting the growth of his social presence too much. I’ll explain how a little bit later.

The Top Nav Bar

When internet surfers visit a website, they often expect to see the website’s navigation bar in one of two places:
  1. At the top under the header, or
  2. At the top of the left hand sidebar.
As a lesser rule, nav bars on the top right hand side of the sidebar are also becoming increasingly popular. If you don’t have your nav bar in one of these place, you’ll often confuse your website’s visitors more than you need to. And when your website confuses people, people leave.
In the space where the top navigation bar usually goes, Ed (or his website creator) has chosen to put two things:
  1. His music player.
  2. A link to all his social profiles.
Again, this shows that he’s actively building up his social presence. It’s not common for websites to have these kind of links directly under the header, so it shows he wants to get people to join his social sites wherever possible.
The music player provides visitors another way for people to listen to his music. Even though people have the option to view his videos when they first come on, not everyone has fast internet, and may not be able to play these videos for this or another reason. The music player helps with this; songs don’t take as much internet usage to play as videos do, so more people will be able to hear his material over if he was to display video alone.

What I’d Do Differently 1

As I’ll look into more later, his mailing list opt in box is a lot lower down the page in the left hand sidebar. The sidebar navigation is directly above that. I would personally take the social icons out of the top nav bar, and place the sidebar nav links in the area for the top nav. I’d then move the mailing list opt in form to the top of the left hand sidebar, and put the links to the social profiles below the mailing list opt in form in the left sidebar.
I’d do these things because, even though he’s mainly focusing on getting social followers, building up your mailing list is still very important. I’ve already looked at why this is andhow to build your list here, so I won’t go into that again.
Ed already has his main social profiles prominently displayed on other parts of his website (Facebook, Twitter and Youtube), so having these links here seems to be a bit of a waste of space. By moving these links, he’ll still get his social sign ups from other parts of the website, but he’ll also most likely increase his list subscriber numbers as it’ll be in a much better position.
On top of this, by using the structure I mentioned, it’ll also mean he has links to his social profiles both above and below the fold. While it can’t be confirmed either way until tested, this may actually increase the amount of people he gets clicking over and signing up to his social sites.

The Side Navigation

The sidebar is important when building a music websiteThe next part of this music website we’ll look at is the left hand side navigation. I want to point out the order in which the links to each page are in. They go as follows:
  1. Home.
  2. News.
  3. Live Dates.
  4. Photos.
  5. Videos.
  6. Lyrics.
  7. Contact & Links.
  8. Store.
While a lot of things can be drawn from this ordering of pages, there’s one key things I want to point out: His store page is listed last!
Now while some may assume this is a bad move and that he should be trying to sell people things asap to make money from them, I disagree. I actually thing this layout is pretty smart.
All the links above the store page are there to get people to find out as much as they can about Ed Sheeran, and really buy into what he’s doing. They can hear his music, see his videos, see what the latest news with him is, see where they can see him live and the like. Then after they’ve taken all that in and are now a real fan of his (if they’ve got that far and are still browsing they can be classed as a fan), they’re directed to the shop page where they can buy some of his songs and merchandise. Of course, here he offers them some cool goodies they can’t get without coughing up the money.
If he was to send people straight from the home page to the store page, chance are a lot more of his visitors would ‘bounce’ off that page and leave without buying anything. By giving them knowledge and the chance to really buy into his movement however, he increases the chance that they’ll want to at one point get involved with him on a financial level.
By displaying your store page last, you won’t generally lose out on sales. If someone really wants to find your store before they’ve gone through every link, they will. So don’t be in a rush to sell straight away. That said, always give them the option to buy and make it easy for those who are ready to invest in your music. If you haven’t yet got something to buy on your website, you’re missing out on a big opportunity.
Side note: By Ed showing his live gig dates quite high up in the nav bar, not only is he encouraging people to come out and see him live, but that’s also another way he’s monetizing his music career. When you go onto his Live Dates page, you see both details of his live shows, as well as have the option to buy tickets to these shows in question. It’s not done in a forceful way, but the option is there for those who are ready to take that step.

How To Make A Music Website Like Ed Sheeran End Of Part 1

Even though we’re only half way, above you’ll find plenty of handy tips you can use and apply to your own music website. If you haven’t got a site yet, I suggest you make one right now using my guide on how to create a music website using Wordpress. In it I walk you through the steps which will get you a professional looking website up within 20 or so minutes. It’s the same process I used to make my own sites, so give it a go.
Next week I’ll post part two of the guide, and look at the remaining features of Ed Sheeran’s website. What it does well, and the areas I feel it can improve on. If you want to be informed of when that’s out, be sure to sign up to my newsletter here. You’ll also get a free ebook on music marketing for doing so. :)
Shaun Letang,
Music Industry How To.

Not All Musicians Are Entrepreneurs, But Successful And Professional Ones Are


Not All Musicians Are Entrepreneurs, But Successful And Professional Ones Are

Lemon-bulbGuest post by Julian Weisser (@iamweisser), CCO of Bottoland writer of Ideas then Lemonade.
Most of my days are spent working on the business and communications end of the music and technology industries. Because of my immersion in these areas I tend to read and absorb many ideas, concepts, and philosophies. They are all mainly related to doing business in a global ecosystem based around innovation and constant iteration as a startup. I have found the core concepts to be remarkably transferable to many industries and buyer/seller relationships.
Sometimes musicians ask me for advice on the business end of what they are trying to do. Admittedly, my advice is sometimes not even solicited but I give it anyways. One thing that troubles me is when very talented players tell me that they are not entrepreneurs. They say they are professional musicians. If you want to have success in this intense musical landscape you must be able to think like an entrepreneur or be willing to pay the team of people that can do that kind of thinking and ideation for you.
Irish-French economist Richard Cantillon defined the entrepreneur as “someone who engages in exchanges for profit; specifically, he or she is someone who exercises business judgment in the face of uncertainty.” The emphasis of this definition should be placed on the word “uncertainty.” Few things are less certain than what will become popular in the music industry. There is no formula for success and the pathways to that rare sliver of spotlight are numerous. Forget uncertainty, the music industry is very unpredictable but this actually presents enormous opportunity to those that know how to look at this kind of landscape through the correct lens: that of an entrepreneur.
I try to help musicians train their way of thinking so that they realize the broad scope of their actions and how easy it is to pivot and change direction when needed. When they are starting out, the risk of damage from a failure is nearly zero. This means they should observe how the fan/user reacts while they constantly improve things and are open to new ideas and directions. This is a core component of what makes up a lean startup; a term coined (and trademarked) by Silicon Valley entrepreneur Eric Ries. It’s a development philosophy used by everyone from Jeff Bezos of Amazon.com (where you canbuy Lean Startups) to Mark Zuckerberg.
There is no reason for a band with a few hundred FB likes not to continually put out new material and see how the followers react and what gets them talking and sharing with their friends. If you are reading this article and you think you have an established audience you likely do not. Don’t feel bad because very few do. If you intelligently develop and improve based on your observations you will certainly gain fans but better yet you will have an understanding of who they are and why they like you.
Amanda Palmer recently spoke at Rethink Music about the freedom she has with no label and the stronger relationships she can build in the new industry with those that enjoy her music. "I don't like using the term ‘fans’ with my fans,” stated Palmer while discussing her listeners, “it starts to feel patronizing sometimes." Amanda Palmer has developed a large but tight-knit community around her music by being very open to "fans" on her Twitter account and blog. This falls directly in line with a thesis from the Cluetrain Manifesto that “markets are conversations.”
Those that have meaningful conversations with their listeners/fans/customers (take your pick while being mindful of the baggage associated with each) will have created the strongest bond and most emotionally invested stakeholders. This emotional investment creates evangelists, your best way of acquiring new listeners and your true backers. Gone are the days of labels investing money in experiments. If you can develop an organic following through constantly tweaking and communicating with those that care you will find immense support that is not hollow. As of this publication Amanda Palmer has raised $563,607 from 10,271 fans for a new album, art book and tour on Kickstarter. Unlike 10,271 typical investors that would care most about the financial success of the project they were funding, these fans care first and foremost about the experience they will be able to help Amanda Palmer create. Palmer talks to her fans constantly and they trust that she will be able to give them something they will love and value.
“Entrepreneur” is a French word but I assure you it is not a dirty one. If you are a musician interested in making that into your full-time job I suggest you consider yourself an entrepreneur. You are about to embark on the most uncertain and imprecise mission of your life and the bumps and bruises will be the lessons that make the biggest impact on how you proceed forward. Remember that the risks are usually much lower than they initially seem and that a meaningful conversation and constant improvement are key.

Thursday, August 15, 2013

5 Tips For Breaking Into Music For Film By Elliott Wheeler, Arranger For The Great Gatsby


5 Tips For Breaking Into Music For Film By Elliott Wheeler, Arranger For The Great Gatsby
By Elliott Wheeler (@elliott_wheeler), a screen composer, producer and cinematic indie-pop musician based in Sydney, Australia. He was the Arranger and Additional Music Producer on Baz Lurhmann's The Great Gatsby.
I'm often asked how one goes about getting into scoring for film and soundtrack work, particularly on a project the scale of Gatsby. The answer (and annoyingly it's one that's heard often) is there's no particular path that works for everyone.
In this particular circumstance, I'd worked with Baz Lurhmann and his music supervisor, Anton Monsted, on a project attached to the film Australia. I happened to run into Anton at the airport in LA just as he and Baz were beginning to explore musical ideas and experiment with doing the many different tracks that they and Jaz-Z had been collating in different styles, and Anton and Baz asked me to help with that process. And it just sort of flowed on from there.
The composer on the project, Craig Armstrong, wrote an incredible original score, and I was lucky enough to be able to continue work as part of that team arranging and helping to bring all of the different artist's voices together.
Though it was a particular circumstance, I guess there are a few principles that can be taken from how the work came about. Again, it's nothing ground breaking, but it's what people who maintain working relationships in film are doing constantly, and if they can be helpful at all, maybe might just re-enforce or remind somebody of what they already know.
5 Tips For Breaking Into Music For Film
1. Always do your best work, no matter what the project.
The work I'd done for Baz previously was for a significant project, but was relatively small in comparison to the behemoth of finishing a film, as he was doing at the time. But we poured ourselves into the work, gave it our all, and everyone had a good experience. A few years down the track, when you bump into someone again, they remember the experience. And that's happened time and time again with projects I've worked on
One of the very early short films I did as a favour for a friend ended up leading to almost a decade of work, just being recommend on to various people, but pretty much all stemming from that one good experience. I spent the entire budget on players, and the director was stoked. It's a cliche, but you never know who's in the crowd.
2. Follow up on meetings
If you do happen to make a contact or renew a relationship, take the few minutes it takes to follow up. It's not tricky, just imagine what you'd like to receive as a point of contact if you were the person you're trying to establish the relationship with. Don't be a pain in the arse.
3. Don't treat anything as a "demo" that you'll finish up later on once the director/producer sees the brilliance of your idea and gives you funding.
Finish everything the way you want to hear it. Everyone else does. If it's good enough, you'll get paid. if it's not, it'll make you think harder about what you're doing because it will hurt more.
4. Don't rely on someone else to make your relationships.
Agents/managers are wonderful, but they're not going to be the person in the room with the director for weeks on end. And it's the director who's going to give you the call for the work. And those relationships are a fantastic part of why you want to be working in the industry anyway.
5. See lots of film and study the soundtracks.
One thing that I find interesting is how many musicians say they'd like to do score work, but either don't really have a passion for film, or know anything about the craft of scoring. Writing music for the screen is a very particular skill, and there are wonderful composers who devote their life to it and are incredibly good at it. A score by a Desplat, John WilliamsCarter Burwell, Craig Armstrong, Jerry Goldsmith, or any of the wonderful composers we've all heard so much music from on film, can tell a part of a story that exists alongside the other elements of the film, but really only tells its tale in the music. And when it's done right, it's a magical thing, and you can't imagine the film without it.
If you're serious about doing film work, get serious about finding out how score writing works. Practice, and constantly compare your work to the best work being done. It's incredibly exciting, humbling, and educational.
I'm sure other composers with far more experience and talent than I have would have a completely different set of pointers for people looking to get involved in film work, but they're a few of the principles I've been using over the years. If there's something there someone finds interesting, great, otherwise, keep reading, the article on the next page is much better.

Tuesday, June 18, 2013

Break it down

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I tend to like this creative idea here, it's allowing you to look at every part of the problem, or project that you are involved in. And as it saids in the title break it down. And look at every part or every piece individually and see what is wrong and see what you have to do to fix it, or improve it. And at the very end see if every piece, or part all fits together to make everything a whole. Once you have done all that then your project, or whatever that your working on will be finished.