Electronic Artist Success Recipe Box [Free For A Limited Time]

WeSpin Box Cover (Electronic Artist Success Recipe Box)via hypebot:

Dotted Music’s Andrew Apanov is kicking off their new We Spin business training program for electronic music DJs and producers with a free bundle of audio and video interviews. The interviews include some ideas that are important for all DIY and indie musicians but the focus is always on the distinctive needs of electronic musicians. This is not production oriented material but rather focuses on the business side of things.

You may know Andrew Apanov from Dotted Music which provides a variety of marketing and web services for musicians. Apanov also produces the Stand Above The Noise video interview series with music business professionals which we’ve been premiering here at Hypebot.

In an email Apanov explained a bit of the rationale behind the We Spin training program and community, which starts in the fall, as well as the free bundle of business interviews:

“The tips that apply to bands do not always work for electronic artists. Most of the promotional and business advice still works, but there are a number of specifics (to start with, indie labels have always been key players in any electronic genre, and now their impact is only raising; so the popular ‘you don’t need a label’ advice sounds odd to a producer).”

He also pointed out:

“90% of producers I’ve met and consulted have no idea what to do with their music other than ‘sending it to labels’ and through We Spin they will be able to learn how to brand themselves, use non-music hobbies and interest as their USP (unique selling proposition), build fanbases, partner with brands, approach labels and bloggers the right way, book DJ and live gigs and so on.”

“The community part (technically, it will be a subscribers-only forum) is for getting answers to any marketing and business questions, like a one-stop destination for all things related to running an electronic music business career. I will be providing personal support and assistance to every member in there. There will also be monthly webinars for subscribers, invited guests, special offers.”

The free for a limited time Electronic Artist Success Recipe Box is available in exchange for an email address, which will get you more info on the upcoming program, and contains the following:

10 Exclusive Audio Interviews

Starkey – “What It Takes To Make A Living Making Music”

Philadelphia-based street bass producer and DJ, released on the likes of Ninja Tune, Planet Mu etc. Co-founder of Seclusiasis record label.

Ian Clifford – “This Is The Best Time To Be An Electronic Artist”

Music marketer, founder of Make It In Music, worked at Three Six Zero (a management firm behind Deadmau5, mau5trap, Calvin Harris etc.)

Terry Church – “You Are A Brand And A Publisher”

Co-founder of social media management platform JustGo Music, former Editor of Beatport and a former DJ Mag editor, has done PR for David Guetta, Luciano, Dubfire, and many more top brands.

James Vorres – “Digital Stores Raise Your Exposure”

Digital/Label Marketing Manager at Juno Download, founder of Sccucci Manucci record label.

Jay Cunning – “Musician As An Entrepreneur”

A bass DJ, founder of Sub Slayers record label, co-host of the Sub Slayers show on the UK’s underground KoolLondon.com.

dimmSummer – “You Have To Build A Fanbase”

Co-Founder of High Chai Recordings, an electronica label with numerous records making it to the Top 5 of the Beatport charts; founder of TrygaDesign.com.

N-Type – “It’s About Persistance”

A multi award winning dubstep DJ / producer, radio show host at Rinse Fm, founder of Wheel & Deal, Terrain, co-owner of Sin City Recordings.

Yvette Chivers – “Broaden Your Horizons”

A DJ and radio host, Managing Director at NE-Xcuse, creator of B-Side Project, a music network remix project.

Rob Sparx – “You Need A Team”

A drum & bass / dubstep producer and DJ with releases on Formation, Grid, Propaganda, Vibez, Audiophreakz, Dubting, On The Edge etc.

Mennie – “Labels Help Artists Grow Big”

A house DJ / producer, label manager at Fahrenheit Music, one of the Top 10 house labels on Beatport.


Video Interview With Robert “Monolake” Henke

(Co-Founder Of Ableton Live)


Is There No Such Thing As A One Hit Wonder Anymore?

One hit wonders no more??

I want to know what yall think about this >>>>>


Is it true that there’s no such thing as a one hit wonder anymore? Has the internet eliminated the one hit wonder phenomenon? Or, as the author suggests, has the internet simply made it possible for artists to capitalize on the success of a big hit and establish a long-term career with more moderate hits?

Read the article and let me know what you think >>>>


The Hit Music Academy | 2012
:: twitterfeed @hitmusicacademy ::

#MusicBiz: Street Teams Level The Playing Field

Music Business || Street Teams Level The Playing Field

Music marketing comes down to spreading the word. You need fans in order to spread the word, and if you want big mouths you better put together some street teams for your band.

Run over to thinklikealabel.com because they got shit you need to know ASAP:

One of the largest promotional teams any band has access to is their fan base. When trying to reach a large group of people, a great way to do so is using “street team marketing.” Street teams provide a great way to strengthen your relationship with your fans while building momentum for your career and promoting your latest project. While many artists mistakenly think you need to have a huge following to get a street team established, the reality is you only need a few dedicated fans to help spread the word about you to get things started. As your band gets bigger, so too, will your Street Team.

In actuality, your first street team is going to be mostly comprised of your family and your closest friends. When you start to get paid for performing, record in a professional studio for the first time, or have a track or EP up on iTunes, those closest to you may finally stop rolling their eyes at you and begin to think you’re actually serious about this music thing. This is usually the point at which people go from dismissing your dreams to bragging about you ad nauseam. This is also the point at which you can start hitting them up to about giving out flyers promoting your latest gig or about emailing the the local radio station to play your latest single.

Read more @ http://www.thinklikealabel.com/street-teams-level-the-playing-field/


The Hit Music Academy | 2012
:: twitterfeed @hitmusicacademy ::

Music Industry Trends & Advice from Greg Rollett

I subscribe to emails from people with brilliant music business minds. One of those people is Greg Rollett. He’s always giving great advice and a recent email was so loaded with necessary info that I had to share it with you.

The following deals with trends in multimedia and internet and how they will affect you as a musician:

1. Instagram just got bought for $1 billion. With a B! What this means for you is that you need to be using multi-media and at a frequent rate.

YouTube is the 3rd most trafficked site on the web. Instagram now belongs to the #2 site (Facebook).

Your music marketing strategy needs to include multi-media. Music, video, images. If you are not good in one of these areas – find someone who is. They will be extremely valuable to you and your career.

2. Facebook Timeline is killing you, I know it. Here’s the real thing it is killing, all your Facebook Apps. Your ReverbNation or BandCamp pages. No one will ever see those pages again.

This goes back to one of the fundamentals in the New Music Economy. Don’t get obsessed with the platform. Get obsessed with driving fans to you, on your email or mobile list. Talk to them on your terms.

That way when Facebook or Twitter or whatever else changes, you still have your fans and they can still get your music, learn about your shows and support your lifestyle!

3. Get your fans involved more. Learn their names. Tag them everywhere. In photos, in videos, on your site, on Twitter, on Facebook, on Pinterest. Make them feel like you care about them (you should care about them).

We all have egos and by tagging them, shining the spotlight on them, you are feeding their ego and they will tell others.

Hope you motherfuckers are having a good day. And hopefully you pick up on how important it is to market yourself online and reach out to your fans 🙂

The Hit Music Academy | 2012
twitterfeed @hitmusicacademy

A Guide to Touring for the Industrious Yet Clueless Indie Musician – Part 1

By Kayte Grace

“Kayte Grace is a singer/songwriter who loves people, singing to people and talking to strangers. She lives in New York City and writes about life as a feisty 20-something at http://www.longcitywalksblog.com and you can check out her music at http://www.kaytegracemusic.com.”

Video from the tour (a performance video with behind the scenes footage afterwards!):

Blog: www.longcitywalksblog.com
Twitter: www.twitter.com/longcitywalks
Music: www.kaytegracemusic.com

Two August 15ths ago, I got in an Extended Length Expedition with 2 musician friends and we didn’t come home until 20 cities, 22 shows, 10,000 miles and 45 days later. We went on tour. We played in DC, New York City, Ann Arbor, Chicago, Willoughby (OH), Bethel Park (PA), Norfolk, Williamsburg, Chapel Hill, Nashville, Collierville (TN), Dallas, Austin, El Paso, Tucson, Phoenix, San Diego, Santa Barbara and San Francisco. When I started planning the tour, sitting on the couch with my laptop as my only weapon, I didn’t have the foggiest idea what I was doing. But I was hungry for it and excited to learn on the job. Here’s some of what I did and learned, especially in terms of planning and prep … I’ll delve more into promotion, making the most of the tour once you’re on the road and CD sales in Part 2!

1. Print out some maps. When you map out your tour you need to be part researcher, part travel agent. I printed out two maps of the US – on one, I researched the tour routes of other independent musicians in my “genre lane” and relative career level, and traced each of their tours in a different color. Once I had two or three, I started to notice certain cities that probably had an audience for my music, and I made a list of those. On another map, I circled cities where the highest concentration of my fans are. I used my YouTube insight, cities where I’d performed before and a poll on my website to determine which cities those were. I combined that information to form a list of 20 cities and began to play connect the dots.

2. Snoop around. Because I’d never played in half these cities before, I had no idea how to find the good venues. So I went on the websites of those same musicians whose tour routes I stalked, and I started making lists of the places they played in the cities I’d be going to. I also went on the website of a respected music venue in NYC where I’ve performed before, and started Googling musicians on their calendar and getting venue ideas from their tour schedules. Once I had ideas, I’d weed out the seedy or dead venues by using Google Maps’ “Street View” to check out the neighborhood the venue was in. Doing that helped keep me out of scary parts of town and steer towards places in neighborhoods with tons of foot traffic and energy.

3. Next, I picked dates. I chose a random start date and placed the cities either one or two days apart depending on the length of the drive. (I read somewhere that you shouldn’t drive more than 8 or 9 hours in a day … it’s true. You definitely get better at long drives the longer you’re on the road, but you also get tired and antsy at times, and you want to be fresh and energized for your shows.)

4. TravelMath.com is your best friend. I used this to calculate driving time and distance between cities, as well as how much gas would cost for each leg of the trip (for our specific car!)

5. Phone a friend. Since I had basically no money for this tour, it became an “it takes a village” kind of thing. We saved money by driving my electric guitarist’s family’s Extended Length Expedition instead of spending literally thousands on a rental. They also (very, very kindly) left their Smart Trip in the car and offered to pick up the tab for the tolls …which over the course of 10,000 miles, added up. We also only stayed in maybe 3 hotels in the course of 20 cities. For the rest, we stayed with college friends’ families, extended family, friends of friends and friends of friends of friends. And an unexpected thing happened: we were so thankful to stay with these people, and we were ready to totally rough it and sleep on floors, but instead we were put up in fluffy guest quarters, the neighbor’s empty summer home with an ocean view or the sweet attic loft in a trendy downtown neighborhood. We were taken out to dinner at the country club, taken (at midnight) to the secret donut place that’s only open in the middle of the night, given gifts and the families came to our shows! We experienced the most incredible hospitality … It was beautiful. But I digress …

6. Delegate. I put my electric guitarist in charge of securing our accommodations. We helped him out by giving him the numbers of contacts we knew in some of the cities and he ran with it. A week later he emailed this beauty of a spreadsheet with the names, phone numbers and addresses of the people we’d stay with in each city. Done. And I put my acoustic guitarist in charge of securing our equipment (I don’t own any.) He got everything we needed for $0 – a campus group all three of us were involved in in college let us borrow the sound gear they weren’t using over the summer!

7. Stay organized. One word. Spreadsheets. I was sending like 8 or 9 booking emails per city, had lists of things I wanted to remember to pack, set lists, lists of things we’d borrowed. Contact information for venue owners and the names of websites and newspapers I wanted to promote my shows on.

When we actually left for the tour, my (incredible) parents put together this massive binder that was our lifeline. It had a divider for each day we’d be on the road, labeled with the date and where we’d be. (i.e. August 15th – driving from DC to NYC or August 29th – rest day in Nashville) In each day’s section were printed out MapQuest directions (should Edith, our GPS fail us,) from the previous city to the venue, and from the venue to where we’d be staying that night. There was also a SHOW form in each day’s section that my dad created with the name of the venue where we were playing, the address, our contact person’s info, a box to check whether or not that venue had its own equipment, a space to write how much money we made selling CDs and merch, a space to write how much we spent on gas that day and any relevant notes … as in, Charlie, the cafe owner hates the song “Hallelujah” … don’t cover it tonight … Or such and such blogger will be there – make sure to give them a CD. The binder also had a huge envelope to put all of our receipts in (for food and car repairs and such) so that we’d have any easy time doing taxes later.

8. Be prepared. You WILL need the following things … don’t even question it, haha: Wet wipes, paper towels, batteries, a tip jar, a lot of snacks, a camera, extra strings, a Tide Stain pen, a credit card swiper (my merch sales more than doubled when I started accepting credit card), some sort of small sign with your band name (I spell Kayte in an unusual way, so I can’t assume people will be able to Google me if they only hear me say it,) portable GPS, water, an umbrella, a portable outlet that you can plug into your cigarette lighter (so you can charge your cell phone or work on your laptop on the road), Brush Ups, a big box of CDs, a tiny plant (for your cup holder) … it’ll make you happy (pick something resilient like a cactus – our basil plant got burnt to a crisp in Dallas.)

9. Roll with the punches. Things will go wrong – You’ll accidentally back the car into a parking meter in Chicago … call the family you’re staying with in that city and ask for suggestions for a good mechanic. You’ll get to the venue and no one will be there – despite all of your promotional efforts … have one of your band members head outside with the extra flyers you brought to get some of the foot traffic inside. You’ll start planning the tour thinking you’ll be able to fund the whole thing with sponsors (I contacted everyone from the local music store where I always buy strings to Chipotle) but those didn’t quite work out … and you’ll realize all the ways you can save money creatively, and that email to Chipotle will lead you to talks with their music supervisor about having your songs play in the restaurants all over the country.

I hope these ideas are helpful! Leave your touring tips as comments, and stay tuned for Part 2.

The Hit Music Academy | 2012
twitterfeed @hitmusicacademy

The Essential Role Of Artist Management In A Post-Label World

London-based music managers James Barton and Brian Message have some very intelligent ideas about the future of music and business–or as they have named it: the “Post-Label World.”

via hypebot.com:

managers must recognize that “every artist is a standalone business that generates income from multiple revenue streams” and that a “manager’s job is to create those businesses and run them well.”

Here’s a quick list of my favorite points made in the article:

  • “artists – and their art – are the only real assets” — the components of the traditional music industry, from labels to publishers to merchandisers, should be “regarded primarily as service providers to artists.”
  • managers must focus on “accepting consumer behavior and looking for as many ways as possible to monetize it.”
  • managers and artists must leave “behind the notion that record sales are the key indicators of success.” In other words: focus on generating income from multiple revenue streams.

Read the full story @ http://www.hypebot.com/hypebot/2011/10/the-changing-role-of-artist-management-after-the-death-of-the-record-business.html

Blog by Black Tarzan
The Hit Music Academy | 2011

The Hit Music Academy twitterfeed @hitmusicacademy
Black Tarzan twitterfeed @BlackTarzanDME

MC Lars on DIY Success & Making A Living In Music [video]

Your ultimate goal is to make a living with your music, right? Then listen to what MC Lars has to say.

via hypebot.com:

Since 2006, hip-hop artist MC Lars has been a poster boy for indie music success and the DIY work ethic. After a short-lived relationship with Terry McBride and the Canadian record label/management company Nettwerk five years ago, Lars formed his own label, Horris Records. Since then, he has taken his self-described “post-punk laptop rap” and delivered it to a target audience he calls the“iGeneration” — kids born between 1982 and 2000.

In the interview below, MC Lars reveals his approach to a DIY music career, making money as an indie musician, his advice for new artists, and much more.

MC Lars interview, Part 1

MC Lars interview, Part 2

Source: http://www.hypebot.com/hypebot/2011/10/mc-lars-on-diy-success-and-making-a-living-with-music.html

Blog by Black Tarzan
The Hit Music Academy | 2011

The Hit Music Academy twitterfeed @hitmusicacademy
Black Tarzan twitterfeed @BlackTarzanDME