iLike.com is a nice tool for posting content to several social networks from one place. There are other syndication tools out there but iLike is tailored for musicians and has a huge musician user base ( iLike was acquired by Myspace in 2009). What I like about it is how easy this site makes it for a musician who is running a crowdingfunding campaign to post their pitch video across all of their profiles in one shot. TunePledge will offer similar tools for promoting your funding campaign but once the campaign ends you can still keep in touch with your fans across several social networks easily with iLike.
There is a great blog post by Suzanne Lainson from her blog Brands Plus Music that outlines several tactics and strategies that could lead to a successful music career. The list covers musical ability, performance skills, fans, merchandise, technical/production skills, image, marketing and touring. Several of the tactics she mentions including;
Can you make frequent videos? At home? On tour? Using split screen? Animation?
Can you do all of your recording in a home studio that you’ve put together yourself?
HAVE STUFF TO SELL
Do you have great looking merchandise? Or maybe not so great looking merchandise, but you made it yourself and you’re marking up the price like crazy?
Are you offering merchandise at multiple price points?
Do you have something for the guys and something different for the girls?
Limited edition items?
A snazzy display table?
A sexy merch person?
can be paid for with a crowdfunding campaign. Crowdfunding for musicians is becoming part of the standard arsenal of tactics to establish and build a successful career.
What other basic strategies and tactics do musicians have to master to manage a career in music today?
One of the best panels at the 2010 SXSW conference was How-to Create a Viral Video. This panel is especially relevant for anyone considering a running a crowdfunding campaign because a good pledge video is one of the most critical elements of a successful campaign. All of the tips mentioned by the SXSW panelists; Damien Kulash from OK Go, Margaret Gould Stewart from YouTube, Jason Wishnow from TED, can be used to gain a bigger viewership for your pledge video.
We’d like to know what the most expensive aspects of being a musician are so we created this simple poll. In our experience these are the most common expenses most musicians and bands face but if we’ve left something off the list please email us your thoughts or leave a comment.
This is the first in a series of polls we’ll be publishing to learn more about your funding needs as an independent musician.
As we’ve mentioned, the days of the traditional label deal and 90′s type recording career are long gone. In fact, the pursuit of a music label deal should be at the bottom of a musician’s list of priorities. The lottery-like odds of ever being discovered by a major (or minor) are probably the most important reason musicians today should self-manage their careers but when you drill down into the economics it seems almost silly to want to join a music label, especially a major or major subsidiary. Due to shrinking revenues from CD sales the reduced margins from digital sales, labels are putting more economic pressure on musicians by requesting 360 deals; deals that require the act to share profits from touring, merchandise and other revenue streams with the label – on top of the cut the label takes from the music. Seems like double-dipping.
Today musicians can manage all aspects of their careers with help from partners like bandcamp & ReverbNation and keep a much bigger share of the revenue they create. A hard working act may generate enough revenue to keep recording, touring and marketing themselves – why give up any left over profit to a label? Is a music labels marketing efforts going to be any more successful than an independent musicians? Do music labels know social media better than you? I doubt it. Most use interns or junior employees to manage their acts social media marketing.
The labels are passing on some of their risk to musicians with the 360 deal. Why assume any of the label’s risk? Musicians today should shoulder all of the risk associated with their career. Sure, its a lot scarier, but the rewards are all yours to keep. I would think long and hard about signing any type of deal today. If you’ve generated enough buzz to get on a label’s radar, chances are you can do just fine without them for the rest of your career.