Facebook Online Music Irritants

The vast majority of online musicians conduct their business in a professional and consistent manner. This professionalism is in the overall interests of their followers, prospective followers and fellow musicians.

A great deal of online music promotion is down to good administration and timing. Supporters don't want to know every time a musician blows their nose or be reminded countless times in a short period of time that they have a new song completed. There is no need whatsoever to post the same 'news' on sharing sites many times over in a short period of time.

Quite some time ago I decided to block posting on my Facebook profile page. I was noticing bands posting their music site of choice slowly but surely increasing to the point where my posts relating to my music almost vanished amidst a collection of other bands. I have nothing musically against these bands but it came to a head when I posted a link to my ReverbNation page at around 10.pm. The following morning, I found that my page had been 'bombarded' by posts from no less than 16 bands!

I kept a mental note of these bands and things settled down for a while. Over the last few weeks, bands have

now been posting their links under 'comments' on my profile page; the initial posts generally being totally un-related. I also find posts by bands that are composed entirely in capital letters and exclamation marks somewhat off-putting. The bands message is over-ruled by the glaring nature of their posts; sometimes a few seconds apart.

I had no option than do post a pretty direct message regarding this. There are NO "three strikes." One strike and you're gone. Some musicians will be reading this thinking I'm an egotistical bastard. People who know me know otherwise. I noted that I lost about 8 'friends' on Facebook since the post went up. I'm inclined to think that this is more to do with my singular use of the "f-word."

I am not targeting this entry at any band or musician. The culprits know who they are. The professionals know who they are too. I am not taking a holier-than-thou approach either. I've made the majority of these mistakes myself....but I've learned from them.

Music, to my mind, is not a competition. What will be, will be. There are followers of every genre of music out there. Respect this diversity. If handled professionally it is your best asset.

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Is Music Changing Us?

For a number of years the music industry has seen record sales plummet with access to free music all over the internet. People will often sample a song online but move onto another before it finishes as the possibilities of what to look up are almost endless. With the internet having impacted everything now-a-days to become more fast paced with little tolerance for patience, perhaps the internet has made that impact on music as well. When an iPod is filled with hundreds of songs and set to shuffle often times people will shuffle to a new song before the one that's playing has even finished. The cost and time to acquire the songs was virtually nothing so the desire to let a song play out all the way becomes less desirable frankly.

This attitude of impatience has in some ways left its mark on the music industry as a whole, as the music itself becomes less valid to a recording artist. There needs to be an eye catching event or controversy to promote themselves online for the population to look into and only then take an interest in hearing the music. Not to single out these specific artists but in many cases rappers will try and develop a following by trashing a fellow rapper's material and calling them out for some kind of big clash. Fights begin verbally and physically, feuds develop, a reputation is made, and only then is the rapper's actual recordings brought up to hear. This may in some cases lead to artists not putting a full effort into their music instead focusing on a big PR stunt to add a controversy to their name and let the music be a secondary aspect.

Sometimes certain groups or styles of music can just become outdated or a different lineup for a band is not able to bring as solid a performance as a previous incarnation could; as a result, music itself is not as important as keeping up a certain band label and in the end the music suffers for it. A prime example of this is Guns n Roses or what passes for it today. The early albums that came out under the GnR label had a raw, hard sound that was to many people the launch of a strong, hard rock rebellion that helped reshape the music business; Rolling Stone magazine and other critics sited the band as revolutionary in ways the Rolling Stones were back in the '60s and '70s. But the feuding between the bandmates led to a split; Steven Adler the original drummer was fired due to a heroin addiction, Izzy Stradlin the rhythm guitarist and co-writer on some of the best songs quit the band as he was unhappy with Axl Rose. Slash and Axl had a huge meltdown that to this day is still unresolved, and Duff McKagan the bassist followed Slash's exit. Since then all these artists have gone their separate ways shattering what was one of the best sounds in modern music. Axl is the only remaining member of GnR and his attempts to maintain the label have been nowhere near capable of putting out music that was the trademark of the old GnR. He continues his feuds with his former bandmates, other bands, and causes many PR stunts at his shows to try and keep up an image but the music itself fails to grab attention and be solidified. The music is forgotten about because it doesn't seem worth the effort of listening to; the only reason the label is still in the media is because Axl's ego refuses to let it go.

Other times there are artists who are the children of successful artists, and try and use mommy or daddy's name in the industry as leverage to promote themselves for similar validation. An example of this is Kelly Osbourne who granted, has basically given up after making her initial attempt to use daddy's name for her own promotion. Another is Will Smith's children particularly his youngest daughter with her single that basically is one line repeated again and again. These attempts to use the parents' success falls flat and adds more questions as to what is happening in the music industry today. There's no question that Ozzy Osbourne and Will Smith each are two of the most successful artists in music, their contributions to the industry will live on long after they're dead. But their children's attempts to leech, to put it bluntly, off the success of their parents raises the questions as to what record companies are signing onto. Is talent no longer a requirement, just a name and bottomless pockets?

One positive aspect in the music industry today is artists are in larger numbers writing music that caters to protests against government and big business who choose to ignore issues around the world that need a voice to stand out and be heard. Key modern examples today are Rise Against and Anti-Flag, two bands that have made it their trademark to stand against government, particularly right wingers, and call out big business on their morally and sometimes legally ambiguous actions. Modern technology may have impacted the patience of music lovers to listen to music all the way through; but it has also led people en masse to become more aware of social, environmental, and political issues around the world. Artists catering their music as a voice to the 'waking up' of global civilization in regards to these issues has served to reignite a flame in the music industry; with deep poetically blunt lyrics mixed with an angry, raw sound demanding better of executives higher up, Rise Against and Anti Flag along with many other artists have gathered massive followings of people who share these opinions and hear the sounds of their thoughts echoed in the music they love.

So the music industry has its ups and downs, what business doesn't eh? The problem is there are far too many downs these days and the music itself is suffering for it. Some of the best music has a message to it that the artists writing it are keenly passionate about, this passion is what's needed to maintain good music. Lyrics don't necessarily need to be poetic or even protesting, but there should be some point to what's being written about. Together with a solid sound music is able to at times make people relaxed, make people think, make people be focused, make people want to better themselves. Music is very powerful and rightly deserves its power but only when used properly.

Music Promotion

Every musician starts off as an independent artist whether they care to admit this or not. Unless they have a truckload of cash behind them, independent musicians have had very limited control over the release of their material and any balanced financial playing field.

Keen to have their music made available to the widest possible audience they 'climb aboard' the major distributors without giving much thought to alternative options.

Before we knew it & without realising it, independent musicians were (& still are) giving away of unfathomable amounts of music at the request of various parties who would profit from this. As if this wasn't enough, the very same musicians were (& again, still are) having to pay outrageous amounts to have their music distributed.

To go even one step further, the independent artist has virtually NO say in the way their material is promoted. Why is this? Because an independent artist won't make the large corporations money. You pay your subscription & your latest work virtually vanishes.

When the internet began, the floodgates were open to all and sundry as people have access to so much music and are willing to pay through the teeth for it in droves. Music marketing became so 'in your face' and one-sided that it made me feel ill. It still does.Seeing the same names, images and song titles at every turn has, to a large extent, numbed people to it all.

As you read on you will slowly piece together your very own formula to making your music a more than viable financial commodity.

You have all the equipment, you have the ability, so name me one thing that can stop you? Nothing.

Many independent musicians, particularly newcomers, feel that they're not up to the challenge. Perhaps it's because they don't feel that their singing voice is so good or that they could be better on a particular instrument. Okay, let's say they're right! Bet you haven't heard that before.

Let's say you're singing voice doesn't have a wide range. It doesn't HAVE to. Find the range that suits your voice & stick to it. THAT is you brand. You're not as competent as you'd like to be on a particular instrument. Okay, play what you are comfortable with & what sounds good....that is your brand. Get the picture? If you apply this philosophy to your music in general you will soon find people commenting that they 'recognise' your music. Take this as a HUGE compliment.

The thought of having your music listened to by all & sundry has been known to overwhelm some musicians, sometimes to the point of inaction. Whilst this is a perfectly normal & understandable response, it is at EXACTLY this time when your best work can come to the fore. It's such a basic mindset that you'll kick yourself when I tell you. ALL that you read on the internet is how daunting it is. With no-one saying otherwise, why should you think any different?

• They don't WANT you to be confident from the outset! What various organisations want is a pliable & submissive musician. A musician who will pay for upgrades on their site when they are 'kindly offered.' If a musician appears to be confident enough in themselves to go it alone, they are of no use to the organisation.

• Sick of being told how better you 'could' sound? When you first enter the realm of online music, even the most competent musicians can be somewhat awestruck by what's on offer. I know I was. The key element here is the "what's on offer" part. There are CD duplication services, cover design services, CD cases, mastering services, new software, songwriting competitions, song competitions and so forth. ALL of these items, which are plugged as being necessary come at grossly overinflated prices & with the exception of mastering services, NOT ONE of them improve your music. The only thing that will improve your music is YOU. Whether it be in the form of a new set of guitar strings, singing lessons, being more patient at the mixing desk.

• Do your thing! Be ever vigilant not to fall into the trap of being over critical of your work. By doing this, you are falling into the traps laid by the online music organisations who want to make money from you & WANT you to think that you need their paid services. When you're in the studio or wherever it is you record always bare in mind that this is YOUR domain. If you make a mistake (& you WILL make countless), you are the only one to know. You now have the ULTIMATE OPPORTUNITY to experiment & be creative, discovering sounds, combinations & techniques that you never thought possible.

• THIS IS ALL FREE!!! I haven't told you anything in this chapter that you isn't already taking place with regard to the relaxed intimacy & creative freedom involved in the creation of music for online distribution. Stage-fright doesn't exist in the studio. Neither does cost. Of the online music sites that you have dealt with, how many have said what I have just said WITHOUT mentioning the cost that THEY seek from you time after time?

• You don't need them! With careful & ENJOYABLE planning at YOUR OWN PACE it is possible to create a highly marketable online presence with your music. I deliberately capitalised 'ENJOYABLE' & 'YOUR OWN PACE' as you rarely see these words on the pages of major sites. They tend to focus on 'buy now' & 'hard work,' etc. I don't care what anyone says, but NOTHING has to be 'bought now,' in fact this book will show you that nothing has to be bought AT ALL. If you are ever feeling that creating & promoting your music is 'hard work,' you can take a break at ANY TIME. The big-guns don't tell you that either. It's no crime to take a break, in fact I think it's an art-form in itself knowing WHEN to. It's natural that you will be keen to 'socialise' when you first enter the online music industry....& you should. It is important, however, to bare in mind that you are only going to get BUSIER. Make the most of this time. It is an EXCELLENT opportunity to set your own benchmark.

• Create your own stamp. They say first impressions go along way. This is never more true than in the online music industry. Generally speaking the first image, song & bio. line of an artist will remain with you for years. Following on from this mail will soon be coming & going between you & fellow musicians. This initial flurry of activity WILL stay with you for many years. The impression that you leave on THEM as a newcomer will last likewise.

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Music Managers

For many independent artists, the D.I.Y option is chosen either by design (because they are perfectly happy and capable of doing things without a manager or label) or by default (because they are unable to attract the attention of a manager or label). Either way, artists have lots of help getting things under way.

In this D.I.Y era, dozens of fan relationship management resources like Reverbnation and FanBridge, among others, are marketed to artists as tools that enable them to engage with fans in a more direct and meaningful way. Sites like GigMaven and Sonicbids enable artists to pitch directly to venues and book their own tours. Resources like Sellaband, Pledge Music, Kickstarter and others enable artists to raise money for recordings, videos, tours, and more. Music libraries and licensing agents (like those found at Music Library Report) offer assistance with music placements in Film & TV productions. Digital distributors like Orchard, CD Baby, Tunecore, IODA and others offer musicians a means to distribute their music directly to fans via iTunes, etc. Social media networks (Twitter, YouTube, Facebook, etc) make it possible for artists to handle publicity duties themselves.

So, with all these resources available to artists, what exactly is the artist manager's role in today's D.I.Y era? With fewer artists interested in record deals today, a managers' role has evolved away from choosing which labels/agents/publishers/attorneys to work with, towards finding ways to best help artists increase their fan base and generate more income.

The manager's role in the D.I.Y age is less that of an advocate and cheerleader, and more that of an analyst and advisor. The division of labor in the artist/manager relationship is for artists to concentrate on writing and recording songs, rehearsing and performing live shows, and growing and engaging their fan base; while managers analyze data and make strategic recommendations based on the information gathered.

Using resources (often in combination) such as Band Metrics, RockDex, Big Champagne, Next Big Sound, Band Camp and others, artist managers analyze data to help figure out things like:

• which of the artists' products sell the most (downloads, physical products, custom items, tickets, subscriptions, etc), and which sell the least and perhaps should be discontinued

• what new products can be added and which new revenue streams can be exploited

• which pay models work the best (fixed price, pay-what-you-want, donations, bundles, etc)

• which campaigns are the most effective (virtual street teams, newsletters, videos, chats, vlogs, blogs, etc) and which ones generate the most feedback and results

• which calls-to-action are the most effective (e.g., sign up to the mailing list for a free download, pre-order a limited edition, autographed CD, etc)

• what trends or patterns are developing, and how to best take advantage of them

• which platforms/widgets are most useful and relevant for a particular artist (review demos and sign up for trials to find the best fit)

• which songs, videos, images, t-shirt designs, etc, resonate with fans the most

• who the artists' "super fans" are, and how to leverage that relationship to generate more sales

• which questions to include in polls to figure out what the artists' fans want

• which ways do fans most wish to engage and interact with the artist

• what actionable information can be extracted from comments and feedback from fans and listeners

• where are fans clustered and what are the best ways to route a tour

• what does the data reveal that will result in an increase in sales and income

• what are the true costs of the artist's operations (i.e., what is being earned vs. what is being spent)

• And much more.

While artists can perform many of these tasks themselves (and indeed many do), doing all this alone along with writing, rehearsing, recording, performing music, touring, and interacting with fans will leave them very little time to do much else, and will often cause them to burn out and/or get discouraged when things (as they very often do) don't go as planned. The managers' role is to do much of the "dry" analytical work that helps to chart a course for the artist to take, while leaving the artist to create and perform music and engage with the fans.

As an artist manager, however, it is important to keep in mind that there is more to the "business" side of music than what these resources alone offer, and while all these resources, widgets and apps help to reveal a strategy; they are not in and of themselves THE strategy. It is up to the manager to have a deep understanding of how things work in the music business, and along with access to the best available resources, to formulate the appropriate strategy for the artist to follow.

A manager's role today must be to contribute more to the artist's career and financial bottom line than the artist can do alone or with the help of fans, friends, and family members. Without such a contribution, the managers' role will fade into insignificance while artists do it all themselves (even if they don't necessarily do it all alone).