Music Business

There is a fabulous feature that will help you highlight the things that happen throughout your life an career that you would like to post onto your Facebook Page.

This is a phenomenal tool for going back in time and recording important things in the history of your personal life, your band life, or anything you would like to have highlighted.

For artists that have histories with other bands this is doubly amazing because you can go back and create milestones for practically anything, and really build your story.

Here are a few things you can add:

• Past tour dates
• Past album release dates
• Past press placements & radio add dates
• The day you saw an amazing concert that inspired you
• The day you were signed to a label
• The day you were dropped from a label
• The day you got your publishing deal
• The day you recorded your first song
• The day you entered the studio
• The day you had your first vocal lesson
• Etc.

Anything that was important in the history of your band and your life and your music can be added as a milestone.

Here’s how to create a milestone on your timeline in 5 easy steps:

Step 1: Login to Facebook, go to the Status / Post Bar and click milestone

Step 2: A box will appear. Input all the information – Fill out the event name/ location and date

Step 3: Tell a story about the milestone- Why was it significant?

Step 4: Add any photos that relate to the milestone

Step 5: Click Save and your milestone will be published on your timeline

TIP: Make sure when you create a milestone to add a photo, a little story or blurb, or a link to another site that helps to tell the story of that particular milestone.

Now your entire timeline will be robust and look amazing!

TIP: Note: If you are going to be adding multiple milestones at once I suggest that you check the box that says “hide from your newsfeed” so that your fans do not receive a whole bunch of notifications at once. –Music Think Tank

Recently I read a good article by Stephen Carmichael on Music Think Tank called “How Google And Search Engine Optimization Changed The Music Industry.” In it he puts forth the premise that search engine optimization has changed music because it emphasizes good SEO technique as a means for high search ranking, which in turn means that “quality music” usually takes a backseat to what happens to be currently popular.

One of the examples he shows is how Rebecca Black’s viral hit video/song “Friday” still ranks highly on a innocent search of the word “friday.” If you were living in a cave last year, “Friday” became a huge hit mostly because it was so bad that you had to experience it at least once. Unless you were a 13 year-old girl. Then you probably thought it ranked right up there with Justin Bieber in the pantheon of greatest music of all time.

And that’s the problem when we try to define “quality music” (or quality anything for that matter). As the saying goes, “One man’s trash is another man’s treasure.” Skrillex’s music might be nirvana if you’re into EDM, but it might be the depths of audio hell if you’re into Nirvana the band. And likewise if you’re a big dixieland fan or marching band fan, or classical music fan, or hip-hop fan……. you get the point.

In fact, Frank Sinatra is regarded as one of the greatest singers and musical icons by most of the world (take a look at this footage of Ol’ Blue Eyes in the studio), but I had a very knowledgeable and well-thought-of music professor from a major university write me about his poor technique and phrasing and how it crushes him that the masses over-rate him so. Quality is a moving target.

That’s one of the reasons that I try to never make blanket statements like “This is bad,” “This is good,” or “This is mediocre” when doing the weekly song analysis on my Big Picture production blog. What I consider good or bad is probably exactly the opposite of someone out there, and who am I to say that they’re wrong?

Music is something that you can’t touch, but it can touch you. It’s all about how it speaks to you and makes you feel. It might be a hook, an arrangement, a melody or lyric that has that special spark that only you hear, even if the rest of the world doesn’t. It’s your special connection that takes you to another dimension that maybe only you can get to, and only from one particular song. Who is any one else to dare comment on that connection?

That’s why it’s so important for an artist to keep searching for an audience, because regardless of what kind of music you’re playing and your proficiency level, your audience is out there. It may be just a dozen people, but they’re waiting for you to find them. The music you make will be really important to them, even if the rest of the world doesn’t get it.

Making a hit is really, really hard, even for the best hit makers. When a song becomes a “hit” (meaning that some group of people immensely dig it), it’s happened for a reason. There’s magic that’s involved that should at least be appreciated, even if you can’t get your arms around it. Any music that touches the heart of another is special. The smartest in our business know enough to learn from that and apply it to their own work. Because in the end, music quality is a moving target. Hitting the bull’s eye is the tough part.

Via Billboard:

This year will mark the first time digital distribution revenue will overtake physical distribution in U.S. music sales, according to Pricewaterhouse Coopers’ Entertainment & Media Outlook 2012-2016, issued Tuesday. The continued rise of subscription-based streaming music services and digital downloads are projected to help the U.S. music market rise to $19.8 billion by 2016, a 5.5% increase from the $15.2 billion in 2011. Additionally, radio is projected to total $22.5 billion in 2016, a 4.1% increase from 2011, on the strength of increased spending on broadcast, satellite and online radio advertising.

“If you go back to 2007, 2008 and 2009, we’re at the end of a cycle where tremendous recorded music sales really drove the industry,” says Greg Boyer, PwC’s managing director of entertainment, media and communications. “After the 38 to 40% downturn over that rough period, the innovation, access and ability of subscription services is fueling the ability to at the very least get back to very healthy revenue numbers. It’s also providing unique opportunities for artists, for the labels, and unique opportunities for other companies that are growing up in that new environment.”

Declines in physical distribution will continue over the next five years, albeit at single-digit percentage rates, dropping from $3.4 billion in 2011 to $2.2 billion at an 8.0% compound annual decrease. Digital distribution, buoyed by a boost from streaming services, will rise at an 11.7% compound annual rate to $5.5 billion in 2016 from $3.1 billion in 2011. Total spending on recorded music will rise at a 3.4% compound annual rate to $7.7 billion in 2016, from $6.5 billion in 2011.

Live music will also see growth during the time period, with spending on concerts and music festival expected to expand at a 7% compound annual from from $8.7 billion in 2011 to $12.2 billion in 2016. Live music is also attributed as the leading factor for the U.S. music market’s 3.4% growth in 2011, with a return in concert ticket revenues making up for the declines in recorded music sales.

One revenue source not included in PwC’s report is commercial synch revenue, which IFPI included for the first time in its global “Recording Industry In Numbers” report this March. “It’s not included in our base projections, but it’s certainly a growing aspect of the business,” says Boyer. “More importantly, it’s one of the more stable parts of the business you can really depend on. With the recent M&A activity in music and how some of that has been priced into the market, specifically on the publishing and licensing side, you’re seeing very significant valuations related to the recorded music companies because of the stability of those revenues. I think you’ll see that continue as a core part of the next evolution of how the value of the labels and and the record companies is determined.”

On the radio front, 2012 will see a return of ad revenue after terrestrial ads declined 0.1% in 2011. Automotive and political spending will drive much of the growth this year, which will eventually slow down to a 3.0% compound annual increase to $18.2 billion by 2016, compared to $15.7 billion in 2011. Broadcast advertising will increase at a 2.7% compound rate through 2016, while online will grow by 11.5% during the same time period from $465 million in 2011 to $802 million in 2016. Satellite radio advertising will also rise from $74 million in 2011 to $116 million, at a 9.4% compound annual increase, with satellite-radio subscription spending expanding from $2.6 billion in 2011 to $4.1 billion in 2016. –Allindstrom

You don’t need a fancy report to tell you this. Just look at what’s happened to the so-called ‘indie digital distribution’ space for ample evidence of major label domination.  The Orchard now features a massive ownership share by Sony Music, INgrooves Fontana is substantially owned by Universal Music Group, and once-indies like IODA and Iris Distribution have been swallowed alive by the machine.

Indie groups like A2IM will scream that they’re still in control, they’ll blast Soundscan and the majors for shady marketshare counting.  But according to a report just issued by the Consumer Federation of America and Public Knowledge, the fact that majors can get away with this creative counting proves they’re in a position of power.  ”We interpret the recent brouhaha over the calculation of market shares as a demonstration that the independent labels have failed to diminish the market power of the dominant firms,” the report grates.  ”We believe this dispute proves the continued importance of the majors, not their imminent demise. While independent labels have grown, they have been unable to escape from the domination of the major labels.”

But just how dominant are the majors in this picture?

“The independent labels are dependent on the majors for distribution of over 60 percent of their content, hardly a demonstration of their ability to challenge the majors with regard to fostering new distribution.”

Methodology please?  The groups calculated that indie marketshare is roughly 30 percent regardless of the ultimate distributor.  But when indie-only distribution channels are isolated, that marketshare shrivels to just 12 percent.

But who really cares about that? Universal Music Group, that’s who, especially as it tries to convince lawmakers to approve its pending acquisition of EMI.  Which would explain why the label is suddenly trying to undo its marketshare-grabbing calculations with an “eleventh hour flip-flop,” according to the report.  Because smaller marketshare means a smaller anti-competitive threat, which means the game suddenly changes.  And both Consumer Federation and Public Knowledge, both ardent opponents of this merger, are more than happy to expose that game.

But wait: majors still control a massive amount of music the mainstream wants – across physical and digital.  Which means the broader picture looks like this:

Perhaps this is just a prelude to the real problem. After all, massively-funded companies like Spotify aren’t paying royalty ransoms and doling out ownership stakes because it’s fun.  ”Alternative distribution models must gain access to the content of the majors to succeed because, as we have already seen, the majors control such a large share of the music that sells across all media and genres.”

And more importantly, they can crush the small-but-growing level of independent marketshare by using these tactics.  ”Major labels can stifle this competition by limiting the number of successful digital distribution platforms, which are the very places where independent labels’ offerings can compete with those of the major labels on a level playing field.  The major record labels may accomplish this by withholding licenses entirely or by demanding high advances, royalties disproportionate to their market share, or an equity stake in the digital service as a condition of a license.

“Any of these tactics threaten the long‐ term sustainability of independent labels.”

Indie Artist/Band Career Got your atte

ntion? Good. Now obviously there is no ONE path to launching a career as a musical artist, whether you are going the Indie Route or aim to get picked up by a Major Label…

But I fear that the overwhelming DIY concepts saturating the already overloaded artist/musician is causing analysis paralysis and/or an unneeded amount of complication surrounding what one really needs to do to build your foundation as an Independent Artist or Band.

Throughout this two part article series I am going to do my best to break the component parts down to understandable and slightly over-simplified concepts to leave you with what I believe you’ll find very valuable insight and a message that you can apply to your life/career in some helpful way.

Or, screw it… If you read this article, 4 million dollars will fall out of the sky and land on your doorstep, and the girl/guy of your dreams will instantly show up in your life… Ok. NOW you’ll read!

But today, in retrospect of what I know now, and from working with artists and bands to progress and develop their career, launch albums, and get more clear on what they need to do and as a DIY Indie Artist, there are a few things I would do differently to build the foundation of my musical career…

This is what I would like to share, and exactly what I would have liked to have had someone tell me eight years ago, so hopefully you will be able to benefit from this.

What’s the Problem?

Read the rest after the jump! –Music Think Tank