Why is the music industry so full of dickheads?

How should you promo music? CD and vinyl - not links

By now only an idiot could have missed that it's mostly lies. Digital's effect on music has not made it easy to promo new singles; the bands and musicians breaking through are still the ones spending money on physical promo and using well-connected promo companies.

No-one downloads links. There are several reasons why.

Purist magazines like Groove in Germany won't download tracks from links no matter how much you beg. If it doesn't arrive on a CD or a 12", they don't want to know.

For less vinyl-focused magazines - the majority of journalists and reviewers - the problem is lack of time. It's difficult, if you've not been a journalist, to understand exactly the siege they are under. If their concentration is not broken by phone calls from PRs every three minutes, that will be because their phone is switched off. And the mountain of mail and promos they see each day is exactly that, a mountain (national-newpaper journalists, Dickheads has been told, average two or three inches of press releases a day).

Given that, which promos are most likely to get a listen? The ones that arrive on a CD labelled with artist, title, label, catalogue number, release date. Plus a contact name for enquiries with phone, email, and a link to print-ready photography and a full bio. The details need to be on the CD, not just the accompanying press release - you can guarantee the two will be separated quickly.

SOME TIPS
It's comical but awful to watch musicians deal with press releases their first time round... Some questions:

If the press sheet is lost and the information is not on the CD, won't the journalist google to find an artist's biography and press shots? No. They might for a short feature; for a long interview they will obviously have done an interview; but for a review or a really short mention? They don't have the time. They're climbing up from under that week's 10-15 inches of press releases.

If the music is great, won't journalists call and ask questions to fill out not-so-great press release Unlikely. If the release reads like shit, they may not listen to the music in the first place.

The first barriers to being taken seriously in music are about presentation and seriousness. If you don't look serious, or like you know what you're doing, you are easily dismissed. Particularly by a busy journalist who looks at a press release and thinks if the release is crap, the production and song are 99% likely to be as amateur.

That is why PR companies are useful. Aside from the contacts and strategy they bring, the act of investing in PR demonstrates that you are more "serious" than musicians who will not.

If a journalist thinks your tune is "tune of the month" but they're on deadline and they can't find your photo or a link to your photo - well, that won't affect how good the review is, right?

This one isn't a hard and fast rule. But have you ever noticed that any tune given prominence - a boxout, a "tune of the month" - tends to have photography, and decent shots at that? Good photography helps. But only if a journalist can find it.

FOR MORE
This piece from the LA Times has several sets of opinion from American PR and label reps on the physical-versus-digital promo question: Confessions of a promo junkie

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Metallica too loud? (WIRED)

Edward Tufte would have a field day with the way the diagrams don't entirely explain the conclusion in this piece on the new Metallica album in WIRED. Its sound has been so tightly compressed, apparently, that the Guitar Hero version offers more detail than the CD version.

The mastering engineer blames it on the original files - which, frankly, could easily be the case with a rushed release. And he says he hopes this will lead the industry to turn its back on overcompressed music with no highs or lows.

Seems unlikely. Great music and shit music both sound the same in a 128 MP3 through an iPod, and it's not like Apple gives its users an easy way to record files that would let them hear a difference in quality.

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A new niche - covers of songs removed from iTunes (hetGuardian)

Ha! The current run of tunes being removed from iTunes has created a new market niche - banging out, getting up and selling second-rate covers to casual browsers who don't realise they're not buying the original track. It's like being in Australia in the 80s, when every western record seemed to generate a SE-Asian cover version, available on "top 40 hits!" collections on cassette and sung in a very approximate wavering cantopop style.

HetGuardian: carry on up the iTunes charts. (The spelling "h-e-t", incidentally, has been correct since the Granuiad's redesign...)

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"How to call attention to your music" - Derek Sivers (founder of CD baby)

A great deal of what's written about music covers the "how" and "what" but not the "why".

"What do you need to look at in your contract?" "What marketing should you do?"

One of the design goals of whyisthemusicindustrysofullof.com is to try to look at why the music industry is so endlessly antagonistic - "why was your original contract so unfair in the first place?" "You're sending CDs to labels and promoters; why are they ignoring them?"

So these two pieces by Derek Sivers, who founded and has now sold CD Baby, are in tune with the approach.

According to WIRED, Sivers distributed "4.6 million CDs from independent bands through online music stores in the past ten years, disbursing over $84 million directly to bands with nary a middleman in sight".

Here's a WIRED interview on what he views as the biggest challenge for musicians to earn a living: "Creating the music is easy (though still underrated). Distributing the music is so easy it's moot. So now the delicate art of calling attention to your music means everything. Marketing is distribution."

Conveniently, and this is the particularly useful piece, he's also written a guide to marketing music for the beginner (PDF, and you have to register to download).

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Pitchfork on remixing

"Somehow, the melody and chord changes never completely got old. I will say that after hearing 30 remixes in a row, I would find myself thinking, "How does the song actually go again?" Which is sort of the idea, really. There is no "real song" now; there are only "stems." Radiohead chose to assemble them one way; people here decided to assemble them another-- adding their own bits, and leaving some of Radiohead's bits out."

A well-written piece on dance music's newly popular promo habit - releasing the parts of big tracks for remixing, usually for a price. Some points: contemporary music software means all remixes in a Radiohead remixing competition sounded technically competent, but few were original enough to alter the vocal; and someone can always be trusted to turn out a cheesy eurotrance remix...For what it's worth, it's unlikely that anyone bettered the Justin Martin mix...

pitchforkmedia.com/article/feature/50432-radiohead-nude-re-mix

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Australian nightclubs to pay 1400% more for music

The Australian copyright tribunal has decided that the royalty paid by nightclubs for their use of music should increase 1,400% - from A$0.20 to A$3.07 or £0.09 to £1.43 per person in a club.

If a similar decision were made in the UK, would it be good or bad for UK dance as a whole?

Clubs obviously will not be impressed, and promoters even less impressed if the charge is passed straight through. In UK clubs, promoters typically keep the door charge and the club keeps the alcohol revenue - the more reliable and profitable cash. From the door charge, promoters pay marketing, DJ fees, staff costs, and hire; unless the promoter is running an enormous and well-attended club, margins are tight.

It's not clear that the Phonographic Performance Company of Australia (PPCA) understands that breakdown, either. Comments like "This is a modest increase when considering nightclub operators typically charge $10.00 per person for admission, $5.00 for a drink, $2.80 for a bottle of water and $2.00 to hang up a coat" suggest they believe that clubs only ever do in-house promotion - a serious misjudgement of the margins of the club market.

Either way, if this decision is copied in the UK, would the extra royalties go to the indie dance acts and labels that provide nightclubs with music (rather than being swallowed by the major labels who provide bad R&B)? It's a tribute to the consistency of the MCPS-PRS's treatment of dance labels that you won't find any small label who is easily convinced of that.

afterdawn.com/news/archive/10369.cfm

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Which is more profitable - iTunes, eBay or Amazon? You'll never guess... (NYT)

It's no surprise to see a "newspaper of record", The New York Times, make assertions like "iTunes may be Apple's most profitable business". But it's a surprise to see the NYT add a later comment to the web version of its article says "whoops, we might be wrong here".

The NYT claims that iTunes is massively more profitable than Apple claims. No real surprise, as it's a given in any music-industry business conversation that anyone claiming to have a bumper year is near bankruptcy and anyone claiming to be poor is about to buy themselves a new Porsche. What's interesting, then, is that the NYT - hedging at the end aside ("ooh, did I miss the server costs?") - claims that iTunes has margins that eBay and Amazon would kill to have.

If debunking of popular businesspeople amuses you, incidentally, this book will give you a big charge: investigative journalist Tom Bower on Richard Branson. Bower can make even a quiet walk down the street sound like an especially dirty night in a leather bar, but this is undeniably a big kick in the teeth for Branson's self-made image as a humble, honest man of the people.

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Book publishing - the similarities with releasing records

It's not the same industry but the relationship between book publishers and authors echoes some of the antagonism between record labels and musicians. And so the tips offered by those who've been through the process also sound familiar: "Walk away if the contract sucks," "build your fan base BEFORE release," etc.

Seth Godin is a successful non-fiction writer (if you like that kind of utopian Internet bizwiz thing). Here's his tips for selling non-fiction to publishers, and a similar article from another writer, secrets of book publishing I wish I'd known beforehand. There's also, for those not terrified of the word 'math', a predictable but still terrible story of how the editor of a maths encyclopedia got roughed up by his publisher. (These three articles are listed in order of readability - as noted, Seth Godin knows what he's doing...)

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XLR8R - Sub pop on vinyl

"As online labels and music blogs become the default means of discovering new music, is there still room for vinyl-and-CD purveyors in this web-obsessed world?" - an interview in XLR8R with Sub Pop's cofounder and Peter Rojas of RCRD LBL.

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Sleevage - album cover art

This is what blogs should be - an interesting topic (sleeve art for albums and 12"s) with commentary from people who really know what their stuff: sleevage.com.

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Pedro Winter interviewed - "Daft Punk didn't want an established manager, they wanted someone as young and energetic as themselves"

"Nu rave is already over. One term I really like to describe this kind of music is 'hooligan disco'."

Pitchfork on Pedro Winter, head of Ed Banger Records.

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Live Nation not quite so live

The Coolfer list is a very readable insider's guide to the top end of music business - and an excellent way to make sure you see interesting articles like the New York Times reporting that Live Nation, after signing huge record deals with acts like Madonna, now plans to outsource its music distribution.

Coolfer's commentary on Live Nation may be forced to lean on music labels.

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Modular incredibly successful but not profitable

It's sad to read but proves yet again that there are only a few ways to run a successful dance label, and they all seem to involve skirting or going bankrupt at some point.

First - you over-over-overspend on marketing, run up enormous debts and cross fingers you eventually have a big hit. (This carefree approach is increasingly common in clubs as well, where a new breed of promoter has a day job in IT and so pays far less attention to scraping back bits of budget than the traditional promoter. But then the new breed also pays the warmup DJs, which is a nice change.)

Second - create a new label from the ashes of a one that failed already (it overspent on marketing); this lets you take advantage of the money you spent on marketing the first time round.

OK, and third is you do a joint-venture with EMI or Universal. Which gives you the cash to overspend.

Australia's Daily Telegraph on Modular, not obviously written by a financial journalist.

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This week's bitchy producer fights

Bunch of ratty old queens, sometimes...

Aril Brikha: Shlomi Aber stole my presets!.

The same article has been recycled by the Independent, so we must be on, what, year four of the cycle?: All indie bands sound the same (except the ones when I were a lad).

And finally, Theo Parrish v the American music industry. Unlike the others, this one has a bit of passion and thought behind it, if also a lot of recycled ideas from the US. Points to the interviewer for asking such an extraordinarily leading first (and only) question.

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It's not even square! What kind of cube is that?

An entirely irrelevant post: after all the nonsense about M_nus's rock-star-style promotion of its Contakt tour, Beatportal publishes what appears to be pictures of "the cube". And it's not even square!

Hawtin on being resident at Amnesia, the "not cube" hanging menacingly in the background.

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New rules for dance music - Philip Sherburne (and Ewan Pearson)

In the old days, the kids had Rolling Stone - ecstatic gonzo articles, all that weird new music and videos like Prince and Talking Heads. Today the journalist making the most effort to carry on the long-writing, analytic tradition is Philip Sherburne - on his own website philipsherburne.com and in reviews and his "month in techno" column for Pitchfork.

This month, inspired by Ewan Pearson's very funny "The Supreme Overlord of Dance Decrees...", Sherburne asked slightly too many producers to come up with their own manifestos for dance music. There's some good stuff in there ("If you're not making enough as a producer, starting to DJ is not going to fix the problem" or "Albeton sets should be called semi-live,as they already are in Holland"), though Pearson is still - and probably always will be - the only really erudite producer in dance music.

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Morons at NPR - a disaster with Sigur Ros

First NPR does a terrible interview with Sigur Ros. Then it compounds the disaster with a disasterous post-interview analysis of how it went wrong. The original interview was a dud, but the good-ole-boy commentary starts with the interviewer congratulating himself on correctly pronouncing the band's names, then telling them it's because he has studied Swedish - which is "close" to Icelandic. Apparently.

I'm gonna make you squeal like a pig, Sigur Ros!

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How do you discover music? Hype machine survey

A largely American survey of 18-24 year-old men, at college, who make under $20K. How do they discover music? Online, friends and family, blogs. Where do they spend money on it? At concerts. Fantastic.

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Long tail isn't real - surprise! (Harvard business review)

DIGITAL WORLD MAKING IT HARDER, NOT EASIER TO MAKE MONEY, SAYS HARVARD BUSINESS REVIEW; FILM AT ELEVEN &TC...

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Street promotion / word of mouth for clubs and bands

Indie and rock are using street teams - kids who are paid in barter (the usual CDs, shirts and access) but who are out on the pavement whipping up the crowd.

They're flyer people, as dance has had some time. But interestingly they are mainly men - rather than women on rollerskates as you get at conferences, or the mixed-sex groups that tend to do dance promo.

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Finding the right remixer

A few years ago, if you could pick the right remixer, you'd have N% more people picking up your record in a store.

But then you'd also have enthusiastic record-store people plugging your record if they liked it. A known remix wasn't the only way to get your 12" into the hands of buyers.

Now, with record stores far less influential, there are far fewer ways to reach people with a new label. Beatport's limited "racking" space means little new material gets wide exposure. Remixes by better known artists are pretty much an unavoidable expense - and a set of remixes by recognisable names are one of few ways to break through the Beatport monopoly.

Will Saul on how working in record stores tells you which acts are getting hot and would make great remixers. Taken from ResidentAdvisor's excellent "the feed".

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The invisible badge - connecting people through "stuff"

Business and blog journalism is considered useful if you can extract one or two useful tips per article.

And so - the invisible badge. A short piece about how fashion branding was once all about big logos, and now it is about sharing personal experience.

Useful for making decisions about whether it's more important to work on myspace or the album cover...

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How do you survive on that little money?

Can you be a part-time music producer? Almost everyone seems to have a bit of part-time work on the side. London rents are ridiculous, as is the local cost of living. But part-time work means less time for writing tracks, dealing with other producers, getting music signed, chasing gigs...

If it's any help, visual artists in New York don't have it much easier...

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Why it's important to hang on to your share ...

It's not actually a music-industry piece. But this Rolling Stone feature discussing claims that the founder of Facebook stole his business from his original partner is the age-old story of people screwing each other on the way up - companies, bands, whatever. Musicians and promoters are often don't worry about the share till too late, and this is a cautionary tale.

Also, it's linked because it's got that funny American high-drama, no-actual point thing to a "T": He's young — and I'm nervous about that," says Kara Swisher, a columnist who writes about Silicon Valley for The Wall Street Journal. "How many people has he burned, and he's only 24?"

The Battle For Facebook.

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You have to love Miss Kittin

“If you deny your dark side, you will be unhappy – for example, look at those hippies living in the mountains making cheese; they’re very unhappy." Interview with Miss Kitten on Beatportal.

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Could a compulsory music licence provide payment for musicians who lose money through downloads?

One way in which music could be "paid for" by downloaders is by setting a compulsory price (while presumably also making it impossible to download through outlets that will not engage with that pricing). This essay from Patry copyright blog discusses the legal ramifications of compulsory price-setting.

But as it points out, the four largest record companies also own and control the four largest music publishers. All eight enjoy a combined market share of around 70% to 80% of all music. As close as they are as family, the record companies and their music publishers have managed to tied up the committee and the Copyright Office for years trying to broker terms for their latest “compulsory” license.

Personally, even before the conversation with big music publisher who said publishing was fantastic because so many of his clients were idiots - "and, anyhow, it's money they wouldn't have got otherwise" - publishing looked to me looked like a cartel.

It's not precisely price-fixing.

But a bunch of people know how it works; they keep that information to themselves; as a result, they make remarkable profit in return for a little simple admin work chasing payments for musicians; and funnily enough, it never quite becomes possible for the musicians to chase those payments themselves and cut out the middleman. They don't have "the relationships", apparently.

It's not an attitude that encourages trust.

Hence, according to Patry - Some reasons for the [American Department of Justice] to be [part of a compulsory licence negotiation]:

(4) Finally, all compulsory licenses impact businesses well beyond the scope of the license itself. Someone needs to take a long view inside the rate proceedings to argue the impact of price and terms on competitiveness and on adjacent open markets. That isn’t happening now.

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The $12m stuffed shark - how the art world is like music

One surprise for people not in music is how, at the top end, big DJs and producers can start to sound like the more absurd end of Hollywood - tantrums about "minor" issues like billing, set length, riders. Equally, the amount of money thrown around makes less and less sense to outsiders.

But while there isn't a book on why music is like this, there is one on the similar excesses of the art world: "the $12m stuffed shark: the curious economics of contemporary art".

Worth reading, especially for the section on "signalling" - why art dealers can't afford to let the prices of their acts head downward (among other problems, it reduces the price of all the artist's art, not just the individual pieces).

It's easy to extrapolate from this a neat explaination of why agents and DJs kick up such a stink about billing, riders, hotels, despite it looking insane to any outsider, or why promoters fight to pay too much to be associated with the right headline act...

And if you're interested in how to sell in a market where your "product" is worth "as much as you can get for it" (art, music, selling the performances of actors - anything where your buying decision is about reducing the risk of losing further money on the art collection, club night or film you hope to create as much as it is about considering the "product" in front of you), then this book on one of the world's most successful art dealers is recommended: "Duveen: The Story of the Most Spectacular Art Dealer of All Time".

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Can a musician make a living from only 1000 fans? - Kevin Kelly again

The music industry is one gatekeeper after another. But unlike most industries, the gatekeepers don't just control access to the people who make (or fund) the decisions you need made (release of a record, access to influential DJs, etc). They also, in the case of big agents, big promoters, big venue owners, big DJs are the only ones who know the industry's real financial picture.

How much should a DJs charge for a showcase at Sonar versus a headline gig at Fabric?

(Ignore the obvious question - how the hell would a total music-industry outsider get a headline slot at Fabric?)

This is extremely difficult to find out, as is most pricing information in music. What's a record deal worth? A good lawyer should know, as might someone who worked at EMI in the last ten or fifteen years.

But the people who know are in no hurry to tell.

That's one reason why the industry has its shitty reputation for being packed full of swindlers.

Which makes honest pieces like this fascinating: Ambient musician Robert Rich talks through the financial side of his career on Kevin Kelly, ex-editor of WIRED's, blog.

It's a response to Kelly's earlier piece, which I broadly agree with, that the way musicians will make money in the future is not to sell lots of records to lots of people. Instead, they will have intense relationships with a smaller number of fans, each buying everything to do with the musicians career (box sets, gig tickets, record-club membership, etc). Kelly suggests it's 1000 people paying US$100 each - "1000 true fans".

There's a link to the original piece in the first paragaph of the link above, and Kelly has also written a case against (link down the left-hand side of that piece).

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What makes music "valuable"? - Kevin Kelly, ex-editor of WIRED

American coverage of the Internet vs the music industry gets tiring. A new solution for every human problem comes along every ten minutes, invariably involving ripping and replacing whatever process you use now in favour of some untested, upcoming zippy new technology or whizzy pop-science idea. Never works, and no American utopian ever seems interested in looking back and see if their recommendations of last year or the year before had ever actually been practical.

But still, with all those brains banging about, some good ideas come out. And it's worth sighing through the worst of it for that one piece that concisely gets to grips with a difficult problem.

Ex-editor of WIRED, Kevin Kelly, on eight things to make copyable products (films, music, etc) worth buying.

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Gatekeepers: Fatdrop and RA on Beatport and download sites

Music is a far from transparent industry, so this piece is a worthy attempt to provide sales data and pricing for key download sites. Especially if, as it claims, "digital music sales now account for an estimated 15% of the global music market".

Fatblog: digital download store comparison.

However, as the piece also points out, with smaller labels no longer offered direct access to bigger digital distributors, this information is useful but not necessarily usable.

Most labels today, especially new labels, are forced to work through aggregators. That's not necessarily a bad thing. A single aggregator can service more than distributors the average label. A label might justify wasting time preparing multiple submissions to multiple distributors - but typically it's simpler to pay an aggregator a percentage to manage the lot.

But it's not like labels really have a choice. Beatport made a big song and dance recently about refusing direct access to labels that turn over less than US$300 a quarter. It's most likely PR - like most of the music industry, Beatport has never been particularly accessible to new labels or artists. It's always used aggregators as gatekeepers for new material.

But the PR has been surprisingly broadly accepted. The ResidentAdvisor forum, for instance, came out in favour of tough gatekeeping - and, arguably, against new labels and artists.

It might describe its viewpoint as pro "agressive quality control" rather than anti new talent.

But that shows little interest in or understanding of how most artists grow in quality as they release more records.

Beatport is discussed following the RA article: are MP3 bloggers self-aggrandising spoddy teenagers who compete to rip off labels, or meaningful music critics? (Short answer: do you read any of the crap they write?)

Original article. Discussion.

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Claude von Stroke on how he remixes - Modyfier blog

"Music is mostly about concepts for me. Once I have the concept completed in my head everything comes very quickly. I find that when I do not have a concept I noodle around for days with sounds and drums and the best I can hope for is a “tracky track” which means basically means “average” in my book which is not really something I want to do."

process055 :: claude vonstroke.

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Kings of A&R - Orphan Works: A License To Infringe

For a small label, compliation licences are generally only small amounts of cash. But a single licence can make more than releasing a record in the first place, particularly now dance music is selling mainly on digital rather than more profitable vinyl. And happily, at present if a compliation owner wants to licence a track, the onus is on them to find the copyright owner and agree a licence fee. If they don't, they can be sued.

Except, perhaps, in the US, where the idea of "orphan works" in under consideration. A compliation owner not only won't required to try that hard to find the copyright owner, but even if it's clear that they are at fault by not trying, they can't be sued. Which makes it open season for the unscrupulous to use other peoples' tracks for free...

Kings of A&R - Orphan Works: A License To Infringe.

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Perfect pitch - Sasha Frere-Jones / New Yorker

Entertaining podcast explaining how autotune works. Aimed at laypeople.

Perfect pitch

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Can free downloads sell records?

"This sales spike suggests that giving away music, far from destroying the music business, could be the gesture that saves it. More than a hundred free Lil Wayne tracks surfaced last year, many with Wayne’s blessing."

Wayne's World.

A later follow up on Coolfer suggests that actually it was radio play of Lil Wayne collaborations that sold the album.

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Tim Paris interview

Tim Paris is quite an amazing producer, and a very entertaining man to boot. Interview on beatportal.

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