Besides getting an insight in the common practices of music and media related companies, we found it also useful to gather information and opinions by an artist that has been involved in promotion and distribution processes online. By asking these questions we were seeking to get an insight in how artists are using social platforms and how they expect it to develop in the coming years, along with the growth of web 2.0 and web 3.0.
Tina is a student at Jamk, and was active in the rock group "Crimson Sun". The band had several gigs in and around Finland over the years, recording songs and releasing an EP in not too far back.
1. What is the most successful example of social media marketing company you can remember? Why do you think it was successful?
I don’t know about a company but the Finnish girl band Indica has done an awesome job in promoting themselves on Facebook. They started pretty much from the scratch and have now gathered lots of followers simply because they are so interactive! They update their status often and also upload lots of videos and pictures from where ever they are with the band.
2. Do you think there is some special challenges in music promotion in Finland? If yes what are they are?
It’s really difficult to stand out from the endless mass of bands especially now that social media has made promoting the bands so easy. On the other hand it gives smaller bands a chance to really accomplish something by putting effort on interacting on social media. Also I think that as a smaller artist especially on a major label it’s really difficult to get proper promotion in traditional media.
3. What on your taste is the best technique in the artist promotion through the social media?
Definitely interactivity. The more the artists do themselves the better. Especially if an artist is on a tour or recording a new album it gives the fans a really nice experience if they get to read blog entries and see pictures and videos.
4. Do you think it’s important for artists to be on as many sites as possible all over the Internet?
Not as important as choosing the most suitable channels and taking properly care of them.
5. Could you please share some tips and tricks which you used in your promotional practice? Could you please describe some case from your real practice?
I asked the guys of the band I was promoting to write status updates as often as they could about what they were doing for example on tour and update lots of videos and pictures. It seems that the more personal (by this I mean not just news updates) the updates are, the more people seem to be interested.
6. What is in your opinion the most important thing in building a community around the artist? What have to be done to build this community?
Hard work and, once again, interactivity. People like to get easily the latest news about their favorite artists and social media is an easy and very user-friendly channel.
Tuesday, December 14, 2010
Questionnaire of Music Promotion in Spain
This is a short questionnaire about how the bands and the levels use the social media to promote themselves or their music.
It has 10 little questions easy to understand to make easier the comprehension of the way that the promotion use into the social media.
We have to be greatfull to "Maik Maier" because of their unselfish help. This answers are really important to may this subject clearly. They have a lot of experience into the music world. They have worked in the Woody Allen's film, "Vicky, Cristina, Barcelona". But this is not a casual success, because they are a company who has a recording studio and they are completly dedicated to the music. So we thought that they were a good step to know how the promotion works into this world of the music and paying more attention on the social media environment.
You could visit their webpage if you want to know more about them:
http://test.maikmaier.com/music-to-measure
It has 10 little questions easy to understand to make easier the comprehension of the way that the promotion use into the social media.
We have to be greatfull to "Maik Maier" because of their unselfish help. This answers are really important to may this subject clearly. They have a lot of experience into the music world. They have worked in the Woody Allen's film, "Vicky, Cristina, Barcelona". But this is not a casual success, because they are a company who has a recording studio and they are completly dedicated to the music. So we thought that they were a good step to know how the promotion works into this world of the music and paying more attention on the social media environment.
You could visit their webpage if you want to know more about them:
http://test.maikmaier.com/music-to-measure
1. As far as you remember, which has been the most successful example of a marketing campaign through social networks? In your opinion, what turned to be the key of that success?
In 2007 the British group Radiohead released In Rainbows. This release had a major impact on the Internet because of the system chosen for distribution and collection: direct discharge to the price that you deem appropriate (which may be completely free)
2. Do you think there are some special hints to music promotion in Spain? If so, which kind of them?
Spanish music includes a long history of innovation in Andalusian classical music and Western classical music, as in the popular music industry, and various styles of folk music. In addition, the fields of Rock and Roll, Heavy Metal, Punk Rock and Hip Hop also enjoy a number of important artists. Each style boasts it’s strengths and difficulties, and do not think the difficulties are very different from what you have in other countries. Today I believe that Spanish music has a strong international presence. The only thing I would say is that in Spain the music lacks the professionalism required, or better said it would be a legislative regulation that allows industry professionals to develop their work with the guarantees that may have in any other profession.
3. In your opinion, which do you think is the best technique to promote an artist through social networks?
To promote you must make clear to people what kind of musician / group are. Focus on reaching an audience, and for this we must create an Internet site where fans can meet and know each other. People in social networks want to see who you are and listen to your music, and this has to be simple and try to get original. You have to show interest in the network, showing you're not one more. Definitely mobilizing things the best way possible without sitting waiting to get success.
4. Do you think it’s important for artists to be on as many sites as possible all over the Internet? Or do you select specific sites instead?
It is advisable, since in each platform there are music forums with potential fans.
5. Could you please share some tips and tricks you use to promote your music? Can you explain a real case of them?
The main thing is to have a "good" production and a "good" recording. I am in favor of the prestige opposite to the success. I prefer a long term career that hit. Ultimately what will allow this to happen is the public. A real example would be the band “Giulia y los Tellarini” who unwittingly free promotion was achieved through the network and various ways through the use of one of their songs in the Woody Allen film "Vicky Cristina Barcelona." . With a high power requirement making it more credible to the group as a group revelation. It is not the same as an internationally renowned director discovers a new group to do another kind of character or entity. In this case is much more believable.
6. What is, in your opinion, the most important thing to take in account when setting up a community around an artist? What should be done to create an effective community?
Perhaps it was simply to make the fans involved in the project in an active way and give them the opportunity to be the first to hear / purchase music from their artist. Add value to the fans for being a fan on the net.
7. How can users be attracted to join an artist’s social network profile?
Entering music forums where there are potential fans, and pages of artists / groups with who could be shared and take part actively in order that they know you. Through specialized bloggers that give more crossed to the projection of the group in the network and work as advocates. It is more credible when they speak about you, that when one speaks of himself.
8. Besides of his/her music, what other items do you think are important to attract people to an artist’ profile?
Unable to reach all audiences, so we must focus on what can be your potential fan. Also the group's philosophy, it is understood and shared by the fan.
9. Which are the most significant changes over the last years, offered by the social networks, due to customer’s demands?
That fans can know each other, talk and discuss things. This will get: they often come on your site (to find each other and talk), which become infected each other and to create platforms to introduce you, more progress in less time.
10. How do you think social networking will evolve in the coming years, specially regarding to the fast evolution of those networks, and, in fact, the global networking?
Internet is the most profitable and effective way to promote music products today. Up to us to decide if we exclude one formula or another according to our tastes, our ideas and our needs.
Monday, October 25, 2010
Social Media & Online Marketing For Musicians
From: http://www.musicthinktank.com/blog/social-media-online-marketing-for-musicians-10-questions-for.html
Social Media & Online Marketing For Musicians 10 Questions For Corey Denis
Social Media & Online Marketing For Musicians 10 Questions For Corey Denis
1.Why is it important that artists participate in social media?
At the very least, learning how to participate in social media will give artists a chance to take advantage of new online tools, which may actually enhance their current projects. Singles, videos and tourdates can be released via new outlets, fans (new and old) will have a new method of communication with artists, and artists will have a new set of tools by which to market their craft. In the face of both an unstable music economy and the evolution of the new music economy
2. Name 10 sites you think all artists should have a presence on?
3. Do you think it’s important for artists to be on as many sites as possible all over the Internet, or should they be selective and only sign up to the ones that they are actively using?
It can’t hurt to have a profile on as many sites as possible, but if you don’t sign in or know how to use the networks, or understand how to integrate all the sites together, then the profile will not automatically generate any exposure for you other than the top tier of popular artists who sell millions of records per month. An artist could viably create 50 profiles and optimize search-ability online, but it’s crucial to consider what a person will find once they get to the profile. I advise artists to start with 3 networks and to use & manage them correctly and actively, or hire someone who can do it - then increase to 5, 10 and so on.
4. What would your recommendations be for the busy artist that only has 30 minutes a week to dedicate to social media?Set aside a small budget to hire someone to help, and treat them like an additional band member. If you only have 30 minutes to spare then the concept of “your time is money” should make sense to you - and if you want to sell music online and are not Britney Spears, it’s worth your time & money to bring on this additional band member to increase your visibility, discoverability and sales online.
5. How can an artist save time by using widgets, and which ones would you recommend?
Widgets are time savers if you know how to create and use them. They enable fans to spread information more easily. The only task at hand is to copy-paste-embed on a website or as a blogpost. Think of a widget as a mini web page that can be embedded on a larger web page, or somewhere in a social network. I am a fan of the Sprout widget but since most social networks and services offer widgets i recommend simply finding one that you like best and then putting it up on your website, myspace page and facebook page. Then email your fans with the embed code and invite them to spread the word.
6. What’s the best way for an artist to get blogged about?
There are no guarantees. However, I advise indie publicists and artists who are brave enough to do their own publicity to develop a relationship with bloggers by reading their blogs, learning more about their taste and then you can write to them individually to let them know why you think they might be interested in your music. In addition, start your own blog, build a blogroll, and link to your favorite blogs.
7. Do you think artists should focus on getting played on Internet radio? Or has the scare with the RIAA stopped most Internet radio programmers in their tracks?Internet radio is very important if you want to be heard online. Terrestrial and online radio stations have to pay for the right to use your copyrighted art on their stations. The focus of the RIAA is not to stop the existence of Internet radio, but to hold “interactive” internet radio as well as large venture funded internet radio stations accountable for higher rates. In other words, the RIAA and Sound Exchange are claiming to fight for the rights of artists and get artists paid for large amounts of airplay.
Unfortunately there are largernternet radio channels with over 20 million listeners who are actually squeezing out the smaller webcasters by claiming that they (the large stations) are also small. There are two (or more) sides to this now-famous issue and their arguments (and lawsuits) are not ending anytime soon. I highly recommend to all artists that they push for airplay online the same way you might have pushed for airplay on terrestrial radio 10 years ago. I support webcasters and strongly advise all artists to treat webcasters like they are KROQ. Know which stations are playing what genres, know the DJs, and send them music appropriately. get airplay! Then promote those stations on your website and fanlists/ emails. Support their cause to stay alive and share the love. (note: in the music industry radio play and promotion is commonly referred to as “love”) :-)
8. When consulting with a band or an artist, what do you do for them that helps them sell more music online? How do you quantify your results? How can they?
When i consult with bands, labels and artists, I strategize digital presence. Simply creating a facebook or myspace page or a twitter account does not sell music. But learning to use these tools can greatly increase exposure and eventually sell music. In addition there are creative ways to utilize each network to target fans and potential fans. Usually none of this can be quantified financially until at least 3 months after the onset of a campaign. However, there are many numbers revealing exposure such as how many followers, fans or streams an artist accrues over a three-month period. With full engagement, I have yet to see an artist flounder when they know how to utilize the tools.
I teach artists and labels how to use these tools and help them devise creative ways to increase exposure with various tricks inside the tools. Whether it’s using a hash tag or starting a funny group on facebook, these strategies increase visibility and therefore the discoverability of your music online increases. There are ways to flood google so that you are always at the top of your own search results without ever buying an adword. I call this Music Discovery Optimization. Increasing visibility and discoverability of quality music will only increase an artist’s chance at selling music new and old.
9. Can you name five bands who are doing it right online?
10. Finally, if I was an artist and I had $500 of promotional money to spend, what would you advise me to do?
See answer to #4 - if you have $500 and don’t know what to do with it, hire someone who has command of the new music climate online and can execute quickly to increase your visibility online and teach you how to twitter. If that’s not an option or you just don’t want to bring anyone into the fold, spend it on an email newsletter service if you aren’ t already emailing your fans with news.
At the very least, learning how to participate in social media will give artists a chance to take advantage of new online tools, which may actually enhance their current projects. Singles, videos and tourdates can be released via new outlets, fans (new and old) will have a new method of communication with artists, and artists will have a new set of tools by which to market their craft. In the face of both an unstable music economy and the evolution of the new music economy
2. Name 10 sites you think all artists should have a presence on?
- myspace
- youtube
- flickr
- ning (network)
- imeem
- blogger (so you can comment on other blogs)
- vimeo
- qik
3. Do you think it’s important for artists to be on as many sites as possible all over the Internet, or should they be selective and only sign up to the ones that they are actively using?
It can’t hurt to have a profile on as many sites as possible, but if you don’t sign in or know how to use the networks, or understand how to integrate all the sites together, then the profile will not automatically generate any exposure for you other than the top tier of popular artists who sell millions of records per month. An artist could viably create 50 profiles and optimize search-ability online, but it’s crucial to consider what a person will find once they get to the profile. I advise artists to start with 3 networks and to use & manage them correctly and actively, or hire someone who can do it - then increase to 5, 10 and so on.
4. What would your recommendations be for the busy artist that only has 30 minutes a week to dedicate to social media?Set aside a small budget to hire someone to help, and treat them like an additional band member. If you only have 30 minutes to spare then the concept of “your time is money” should make sense to you - and if you want to sell music online and are not Britney Spears, it’s worth your time & money to bring on this additional band member to increase your visibility, discoverability and sales online.
5. How can an artist save time by using widgets, and which ones would you recommend?
Widgets are time savers if you know how to create and use them. They enable fans to spread information more easily. The only task at hand is to copy-paste-embed on a website or as a blogpost. Think of a widget as a mini web page that can be embedded on a larger web page, or somewhere in a social network. I am a fan of the Sprout widget but since most social networks and services offer widgets i recommend simply finding one that you like best and then putting it up on your website, myspace page and facebook page. Then email your fans with the embed code and invite them to spread the word.
6. What’s the best way for an artist to get blogged about?
There are no guarantees. However, I advise indie publicists and artists who are brave enough to do their own publicity to develop a relationship with bloggers by reading their blogs, learning more about their taste and then you can write to them individually to let them know why you think they might be interested in your music. In addition, start your own blog, build a blogroll, and link to your favorite blogs.
7. Do you think artists should focus on getting played on Internet radio? Or has the scare with the RIAA stopped most Internet radio programmers in their tracks?Internet radio is very important if you want to be heard online. Terrestrial and online radio stations have to pay for the right to use your copyrighted art on their stations. The focus of the RIAA is not to stop the existence of Internet radio, but to hold “interactive” internet radio as well as large venture funded internet radio stations accountable for higher rates. In other words, the RIAA and Sound Exchange are claiming to fight for the rights of artists and get artists paid for large amounts of airplay.
Unfortunately there are largernternet radio channels with over 20 million listeners who are actually squeezing out the smaller webcasters by claiming that they (the large stations) are also small. There are two (or more) sides to this now-famous issue and their arguments (and lawsuits) are not ending anytime soon. I highly recommend to all artists that they push for airplay online the same way you might have pushed for airplay on terrestrial radio 10 years ago. I support webcasters and strongly advise all artists to treat webcasters like they are KROQ. Know which stations are playing what genres, know the DJs, and send them music appropriately. get airplay! Then promote those stations on your website and fanlists/ emails. Support their cause to stay alive and share the love. (note: in the music industry radio play and promotion is commonly referred to as “love”) :-)
8. When consulting with a band or an artist, what do you do for them that helps them sell more music online? How do you quantify your results? How can they?
When i consult with bands, labels and artists, I strategize digital presence. Simply creating a facebook or myspace page or a twitter account does not sell music. But learning to use these tools can greatly increase exposure and eventually sell music. In addition there are creative ways to utilize each network to target fans and potential fans. Usually none of this can be quantified financially until at least 3 months after the onset of a campaign. However, there are many numbers revealing exposure such as how many followers, fans or streams an artist accrues over a three-month period. With full engagement, I have yet to see an artist flounder when they know how to utilize the tools.
I teach artists and labels how to use these tools and help them devise creative ways to increase exposure with various tricks inside the tools. Whether it’s using a hash tag or starting a funny group on facebook, these strategies increase visibility and therefore the discoverability of your music online increases. There are ways to flood google so that you are always at the top of your own search results without ever buying an adword. I call this Music Discovery Optimization. Increasing visibility and discoverability of quality music will only increase an artist’s chance at selling music new and old.
9. Can you name five bands who are doing it right online?
10. Finally, if I was an artist and I had $500 of promotional money to spend, what would you advise me to do?
See answer to #4 - if you have $500 and don’t know what to do with it, hire someone who has command of the new music climate online and can execute quickly to increase your visibility online and teach you how to twitter. If that’s not an option or you just don’t want to bring anyone into the fold, spend it on an email newsletter service if you aren’ t already emailing your fans with news.
Sunday, October 10, 2010
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