Georgia Wonder is Stephanie Grant from London and Julian Moore from Portsmouth. We got to know each other via Andrew Dubber's blog and Twitter. You're searching for a pop/rock/folk band serving beautiful tunes and a brilliant female voice - buy their tracks. You can even choose if and how much to pay for downloads. Or you may order a physical copy.
Category / Strategies
Not long ago, ContentSphere saw a comeback of GoogleAds. I just wanted to give them a serious second try. Yet, now it gets a new twist. As you can see, I also added flattr buttons for the entire blog as well as separate ones for each entry. I'm having two additional streams of revenue. Maybe I should replace the term "streams" by "drops". What's the best choice to achieve better revenues?
Having conceptualised a good part of Berlin music conference all2gethernow's discussion topics, I suddenly find myself with heaps of thoughts and content not published on ContentSphere. It just would be a shame to not make use of it. These topics are dealing with issues and they are raising questions. I contributed them to a2n because of their relevance in today's music business.
Today I stumbled into Kyle Bylin's interview with Jay Frank of Futurehit.DNA and CMT (a division of MTV Networks) at hypebot. You can download Jay's new book "FutureHit.DNA - How The Digital Revolution Is Changing Top 10 Songs" for free on his site. There are some claims of his that I do not necessarily agree to in the way Jay puts it. It's a bit of context that's missing.
First of all, don’t moan how much you have to pay. Others share your problem as you can see. It’s only the dimensions which are different. Btw, any software company is working on several projects simultaneously. Otherwise the risk of failed sales negotiations is too high. Secondly, clever companies selling high quality can find people willing to invest.
If talking to independent musicians about the benefits of distributing content for free you most certainly will come across four arguments in monolithic defense: (1) I paid too much in creating this to give it away for free. (2) Free distribution is beyond control. (3) How am I supposed to pay my rent? (4) Free doesn’t work. This article deals with all of them.
Is this provocative to ask? Well, yes. No. Depends on. Nobody has the skills to be creative in every field. Or is there a sculptor in your band who is perfect in weaving tapestries, writing scripts for plays at the Old Vic, and at the same time artfully handling his stock shares himself and piling up his riches at the Caimans?
I intended to start out with suggestions in DIY marketing for artists today. Then Amanda Palmer posted her response to the feedback her posting on donations generated. Read her response. It is essential and the basics to everything I can tell you. Some of it she already mentioned at Berlin's all2gethernow. For all those who don't have the time I'm going to highlight some parts.
The Pirates’ Good Deeds – Tomorrow’s markets: How the Internet is shifting powers between artists and companies. [by Kolja Reichert]
The New York Times’ online archive holds the oldest message in regards to the topic of piracy in music industry. It originates from 13 June 1897, the founding time of music industry. „Canadian Pirates“ mailed counterfeit records across the border and sold them for a tenth of its real price. The industry bewailed a 50% loss in turnover demanding the postal sevice to filter items out.
Reznor's point is straight forward and easy to understand. Bottom line is, master music & online tools, work hard, deliver something good - and sell something unique other than music. Because you can't rely on selling (recorded) music in itself. Music is ubiquitous. And it's free. Cash is about extras.