Food trucks are everywhere, so why not mobile music stores? The potential for a mobile retailer of physical music products may feel like a pipe dream, but at least one ride-hailing company is currently doing their best to disrupt the world of music sales with an innovative approach to artist collaborations. Lyft, perhaps the second most recognized app of its kind behind Uber, has partnered with Justin Bieber to offer fans the chance to grab a digital download of the singer’s new album, Purpose, for just $5. It’s a limited time offer, lasting 10 days in total, and its being promoted with a viral campaign that finds Bieber surprising fans on random Lyft rides across America. Here’s a promotional video released by Lyft late last week:
Here’s how it works: To get your copy of Purpose for just $5, all you have to do is slide into ‘Bieber Mode’ (Yes that is a real thing) in the Lyft app between 9 p.m. PST 11/12 and 11:59 p.m. PST 11/19 while supplies last and tap ‘Buy & Ride.’ Then, after you finish at least a $5 ride, Lyft sends you a unique download link and credit your account $5 for your next ride.
Anyone who has ever used a ride-hailing app in the past knows it doesn’t take long to spend $5, so I imagine practically anyone who desires the new Bieber album will be able to get a copy through using Lyft without much stress. From my research, ‘Bieber Mode’ offers the cheapest option for purchasing Purpose, just as long as the cost of your ride does not exceed $10. That price point puts Lyft in a unique position during what will almost unquestionably be the album’s biggest single sales week, and if proven to make a significant impact on the number of units moved you can bet the company’s competitors will follow suit with deals of their own in the months ahead.
Really though, this promotional collaboration seems like a better deal for Lyft, as the company is seeking to connect with the demographic Bieber’s music appeals to the most. Recent studies have shown less than 70% of people 16-21 even have a driver’s license these days, so demand for services like Lyft are on the rise, as is the number of competitors in the ride-hailing market. Aligning themselves with Bieber during the height of his comeback allows Lyft to target young people in a way Uber, Fasten, and all the competitors cannot possibly hope to match with copying their idea. It’s honestly kind of genius.
The question still remains as to whether or not this promotion will work. A lot of press has already been given to the company’s initial reveal of their Bieber collaboration, but it’s unlikely any hard data will be released regarding the successfulness of the campaign. We reached out to Lyft for additional information on this promotion, as well as any future music collaborations they may have planned, but we did not receive a response.
Purpose, the new album from Justin Bieber, is available now wherever music is sold.
This is the latest post in our ongoing collaboration with SonicBids.
In today’s highly competitive music industry, it seems like it’s becoming harder and harder for independent artists to break through the noise into the mainstream. Record labels are constantly bombarded with samples from “the next big thing,” but what’s the trick to actually standing out from the crowd? A high-quality demo is the perfect place to start.
A demo is a recording that demonstrates the talent behind an artist or band, usually created specifically for the purpose of convincing a record company (or other opportunities) that they should work with you. It needs to be well thought out, but come off as authentic. Short and sweet, but deep and powerful. Good quality, but not overproduced.
So what are some of the trade secrets to recording a great demo? Here are some tips and tricks.
1. Have a unique vision for where you’re going
It’s crucial when laying down the initial take to be thinking about the overall shape and vision for the idea. It’s a demo, of course, and when being spontaneous you might not want to write detailed parts.However, after you’ve built a strong foundation for a song, every other musical decision you make will come easier because it’s based off of something that is real to you. It’s that genuine passion that can ultimately come out when a record executive listens and helps you stand out, as guitarist Jack Côté explains: “My best guess at what the ‘it’ factor is, is something that’s catchy – familiar enough for people to enjoy, but also different and unique, bold and honest as possible. I think people can tell easily when things feel derivative, so it’s mostly about being as musically unique as possible.”
2. Capture ideas on the fly
Traditionally, recording a demo could only be done in a recording studio. It required time and energy spent writing the actual song, then countless hours rehearsing it before paying to make the final recording. Now, thanks to the ever-changing world of technology, musicians can capturing ideas right as inspiration strikes. They don’t always have to be fully fleshed-out ideas, but rather can serve as a reminder of great thoughts for future reference.
“Where we’ve had great traction as a band is capturing those spontaneous, genuine moments,“ shares Matt Hines of Dan & The Wildfire. "We often jam, trying out new ideas, committing those sparks of inspiration to a recording simply to listen back to later, and so as not to forget that riff we liked by the next time we meet. It’s such a joy to be able to go back and listen through so many ideas and rehearsals and moments from the past few years.”
3. Don’t sacrifice sound quality
Five years ago if you told a record executive you were submitting a demo that was recorded on a phone, they would have laughed you out of the room. Even today, when recording on the go is becoming a more common occurrence for independent artists who are often traveling from gig to gig, chances are recordings will come out sounding awful, thanks to the less-than-superior microphones on today’s smart phones. Luckily, there are new apps out there that exist to help solve this problem. One of them is Spire, powered by iZotope. Spire is a free 4-track recorder that adds professional polish to your recordings so you can record, mix, and share great-sounding audio anytime inspiration may strike.
No matter how you end up recording a demo, the important thing to remember is to make it a reflection of who you are as an artist. Staying inspired and motivated are traits you should never lose in this industry, and will only help drive you towards that breakthrough musical moment!
Spire is partnering with Sonicbids to discover the best original tracks to feature on the Inspired Collection, an official Spire SoundCloud playlist. To enter, just download the free Spire Recorder app (iOS only), record your original song, and enter it for free on Sonicbids by December 2, 2015.
In addition, the songwriter with the most incredible song will be selected to be featured in a performance video, shot in their favorite recording space. We’re so excited to hear all your original creations! Be sure to enter by December 2.
Stacey Dyer Messier is the strategic, creative liaison between product and marketing for the Spire brand, which is passionately designed by iZotope. As a trained vocalist and past performer of metal, jazz, trip-hop, and classic rock, she’s excited to be working with the incredibly talented members of Sonicbids.
The idealized version of being a young band on the rise in America is becoming more and more of a myth with each passing day. The market for talent is more crowded than ever, and the number of venues looking to take a chance on a low-to-no level band just starting to cut their teeth in the business is at its lowest point in recent memory. Music has always been a buyer’s market, but these days you don’t even have to be an actual consumer to set the rules for engagement. There will always been an artist willing to play for less, and there will always be people willing to give away their music, but the number of artists and groups who actually establish themselves by doing everything for free is pretty low. Like, so low you probably can’t think of more than 10 artists you enjoy who made their career that way. A free release or two, sure, but somewhere along the line they had to start making a living through their art before a label or management company would pay attention. That’s just the way things work in the music business. You have to be, for better or worse, a business.
With all this in mind, it’s easy to understand how an artists starting out in 2015 or 2016 may be completely lost on how to establish themselves in the world of music. Anyone can upload a song online and anyone can email blogs with links to said content, but the likelihood of breaking through the vast array of wannabes and never-gonna-bes that exist today through strictly promoting online is again, very low. You have to follow the saying about rolling up your sleeves and doing, day I write it, actual work. You have to build your career one step at a time, just like the vast majority of musicians big and small who have ever existed throughout all recorded time. You have to start small and dream big, striving daily to make your reality more closely resemble the future you envision for yourself.
Claiming to know the right way to establish yourself is easy enough, especially when using vague words and tired motivational phrasing, but proving your knowledge is far more difficult. No one at Haulix has been in a band or musical project that ever made an impact on the world at large, but we do know a few people who have, so we’ve turned to them for additional insight. Joey Genovese, vocalist for Maine based pop punk group Friday Night Lites, was kind enough to write something for our readers on the topic of establishing yourself that we feel really puts into focus the elements of marketing that matter most. You can enjoy his thoughts below.
Theres a certain reality in becoming an established band. Where do you want to be established? Some establish themselves heavy in their hometown. Starting off strong as a cover group. Then trying their hand with originals. Unless you’re Our Last Night, doing both can be stressful and damn near impossible to succeed in. But if you start from the bottom, write your own material, and keep a level, humble mind. You can succeed. You don’t necessarily need to be “the next big thing.” Rather, focus on what you do know, as the future is just so flooded with unknown(s), in this industry. Who’s ears you may land on, and what may come of that. Fight for a chance in the spotlight. Love what you do and how you do it. If luck is on your side and the hard work pays off, then there’s a future in this. With luck you can “skyrocket” onto the scene. Making waves in a huge pond, isn’t easy. But, there’s a chance. There’s also the "slow steady climb" method. That may seem more of a reality for most.
With the ever so crowded & growing Internet and social media outlets being mobbed with bands that also want their chance. How do you stand out? Get original material that speaks to people. You have to stand out. My guitarist Matt and I have been writing music for almost a decade together. It’s work. We put in the hardest of work. You have to. We didn’t even have a band for a long time. But we kept creating. The Internet and social media is full of thousands and thousands of bands. Where does it end? It doesn’t. Kids are brilliant these days.
Gigs/promoters aren’t paying some “nobody” tons of money to be on their bill. So you have the classic “you have to spend money, to make money” business model knocking hard and loud on your door. Requiring you to travel down wherever and whenever, as much as you can, to bust your asses to impress the hell out of promoters and potential “authentic” new fans. This will cost you. But that’s where you decide, where’s your commitment? How much sacrifice do you have in you?
Being in a small band is HUGE! You have to start somewhere. With all the small bands out there, there’s gonna be some amazing acts breaking out into the scene. It’s important to get your local scene up and running and as much alive as you can. Hit the streets post up fliers go to local shows that I have bigger acts. And to talk to the local kids. A small band in your town could be the next BIG thing!
Hello, everyone. Thank you for stopping by our blog. Whether it’s your first visit or your hundredth, we’re happy to have your attention. This is our weekly recap post, which runs every Friday, and in it we talk all things Haulix. Before we get there however, we like to share a song that has been on repeat in our offices this week. With the weekend only a few short hours away, this track will help you celebrate your impending freedom like no other. Enjoy:
As I mentioned above, each and every weekend we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.
Development News:
We hate to say it, but there are no new development updates this week. Our team is working each and every single day on our new platform, but right now we don’t have anything ready to share with the general public. We ARE aiming to release the update before the end of 2015, but right now that is all we can say for certain.
Blog News:
The theme around our marketing department this week has been 2016. We may still have over a month left in 2015, but our sights are set on the new year and all the opportunity it contains. We feel near year will be our biggest to date, and in the weeks ahead we will begin to reveal all the future has in store. For now, use the links below to catch up on our latest content offerings…
It’s hard enough to get people to click play, or Like, or Favorite, or whatever else, but to get someone to pay money for any album in 2015? Who does that? Ask any number of mid-level bands who are still managing to sell 5,000+ in first week sales. Great numbers compared for 2003? Of course not, but I’ll take 1,250 in sales than 72,000 “Likes” any day.
“You can’t transform the record buying public into a million clones of your mum, sadly, but you can still apply this lesson: People value music that they are personally connected to and such music is scarce – therefore it is not worthless … People who have no reason at all to pay anything for 45 minutes of generic recorded music have a host of reasons to pay for 45 minutes of music that they know will explore the happy side of a depression that they recognise in themselves recorded by that nice girl who played in their local, chats to them about Geordie Shore on twitter, wrote that great blog post about economics and such; and who seems like a nice person who you could approach if your download didn’t work properly.”
Can you know all 1,000 people who bought your album in the first week? No, but it wouldn’t be a stretch to have a few hundred of those emails. Probably a few of your followers on Twitter bought your album, and some even came to your show.
There’s no shortage of jerk-asses that get press everyday for stupid shit. But there are probably so many albums out there that people are crying to in their bedrooms at night, or screaming along to in their cars at night. Bands that aren’t just “music,” but they mean the world to some folks. Strive to make that sort of music first and foremost. Count your successes in the number of people who thank you after the show, or shoot you an email, not in magazine covers or music blog mentions.
Maybe “nobody” buys music in 2015, but if only one person buys your album this month make them feel like they’re somebody.
Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.
Facebook may still be frustrating musicians with the limited reach of their posts, but the social media giant has launched a new feature that helps users share and discover new music called “Music Stories.”
What is this thing? Good question. Music Stories is a new post format that allows people to listen to a 30-second preview of a shared song, as long as that song is currently available on a major streaming service. The content is pulled from either Apple Music or Spotify, and can be either purchased from or saved to the streaming service.
The previews are available directly from Facebook, but if you want to hear more you can click through to the streaming service. If you don’t have an account, the preview will be all you can hear without making a purchase (or at least signing up for a free trial).
Using the Music Stories feature is surprisingly simple. Just copy the link to the song or album, then post it to your status update box. This creates a preview that others can interact with. An animated spinning record with a pause button shows as the track is played.
Reach may still be an issue, but Music Stories does provide another avenue for artists and their fans to share new music with the world. Plus, it’s more interactive than a basic text post, and from what we’ve seen it looks like these posts could actually lead to real sales. Whether or not that is true remains to be seen, but we’re optimistic. What do you think?
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2015. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: Gibson Brands, Inc., the world’s premier manufacturer of musical instruments, professional audio equipment and consumer electronics, is seeking an experienced Entertainment Relations Professional based in Nashville, TN. Candidate should be a highly motivated, self starter that is able to work at a very fast pace, manage multiple projects, and have strong organizational skills. The ER Pro should be a team player who is able to produce innovative programs through a network of local, regional, and national contacts within the entertainment industry.
Job summary: Support senior media staff with implementation of media strategy for their assigned roster of Sony Music Nashville artists, as well as implement publicity plans for roster of artists assigned to Media Manager.
Job summary: To provide assistance to music students and staff; to maintain the music library, instrument inventory and recording arts laboratory, and to coordinate all publicity and correspondence associated with the music area.
Job summary: The Assistant Marketing Manager is a strategic and tactical leader in planning and managing marketing activities for frontlist and backlist books, including market positioning, consumer messaging, budgeting, campaign project management, and ROI analysis for each campaign. In partnership with authors, editors, vendors, retail sales and other team members, the marketing manager uses integrated digital and traditional marketing methods to ensure the highest possible unit shipments and revenue for assigned book campaigns.
Job summary: The main job is picking acts that will be successful and then working with the act to find the right producers and writers. The process is very much a nurturing one to ensure the band or solo artist impacts at the right time with the right material. Besides scouting for new artist the a&r manager also manages the current roster of artist. Duties include booking performances for artist, updating social media for artist,booking tv appearances and publicity for artist, booking recording studios for artist and much more.
Job summary: This position is responsible for assisting with budget management in Universal Music Group’s finance system (Uniport) and processing marketing department-related invoices. The position also assists with other departmental support, including booking travel, routing vendor contracts, and assisting VP of Marketing with phones, calendar and expenses. Some administrative support of publicity and radio staff.
Job summary: The Events Coordinator will manage the detailed logistics and planning of MAD and MPCS events. The Events Coordinator will oversee the staff hired to assist with events. The Events Coordinator will provide customer service for guests of and visitors to the Roselle Center for the Arts and the Amy E. DuPont Music Building.
Job summary: This position reports to the CEO, partners and V.P. of Development, the marketing department is focused on providing strong marketing campaigns. The marketing manager will manage the development and execution of marketing and sales campaigns with brand partners and retail outlets. Marketing Manager is also responsible for overseeing all aspects of marketing for assigned artist and for coordinating the efforts of the label to ensure the consistency of imaging between artist and their music. Sales and marketing will involve all facets of MIH Entertainment, LLC physical, digital and mobile products. The marketing manager will be responsible for creating, managing and executing third party sponsorships and promotions involving MIH Entertainment, LLC labels and studios. One of the primary goals is to develop and create revenue-driving opportunities and promotions between third party companies, promoting MIH Entertainment, LLC music/video content at physical, digital and mobile retailers. Involved in this position is the ability to make cold calls to new corporate partners as well as agencies interested in cross promotions/sponsorships with entertainment. Additionally, will manage local physical and digital music accounts, and be the company’s onsite point person in California to handle any miscellaneous duties that require handholding or personal delivery in the marketplace, including covering visibility and artist performances.
Job summary: Sony Corporation of America (SCA) is seeking a Marketing/Executive Assistant to join the Life Electronics (LE) group and Sony Biotechnology in the San Jose, CA office. Reporting to the Senior Vice President, who has a dual role as CEO of Sony Biotechnology, the Marketing/Executive Assistant will be responsible for taking initiative in delivering full administrative support to the SVP/CEO and will also provide additional team support on an as needed basis.
Job summary: Do you love art and nightlife? ArtJamz – America’s original public art studio and lounge – is looking for smart creatives to join our growing team. The events & marketing coordinator helps support both our private events business as well as our ongoing marketing efforts. This is an awesome opportunity to join a leading concept in the fast-growing paint and sip industry.
Job summary: The FADER is looking for a dynamic and strategic Project Manager. This is an opportunity for someone to make his or her mark in a successful and fast growing environment. Day to day responsibilities will include overseeing The FADER clients, executing branded events and content programs, coordinating activities between multiple internal departments, financial reporting and maintaining the overall health of client/agency relationships. Position will report to The FADER Marketing Director.
Job summary: We’re looking for a motivated, creative and analytical Email Marketing Manager to run the day-to-day operations of Goldstar’s email channel. The Email Marketing Manager’s focus is on the planning, execution and analysis of daily email promotions to 5 million members in 26 major U.S. metros, using our in-house email platform.
Job summary: The Programming & Special Accounts Manager reports to the Director of Programming, assists with all programming responsibilities and helps support live concerts on performance nights when necessary at the discretion of the Programming Director. In addition, this person will operate as the point person for a specific corporate sponsorship account and a number of off-site programming & cultural initiatives and provide support to other departments when required.
Job summary: UEG is an artist management company who represents rock, country, and pop artists at an international level. We have offices scattered across the nation, with our main office being located in Austin, TX. UEG has been a flourishing, boutique company managing artists of all types for the past 20+ years. We are looking for a new intern for our Austin office to oversee some of the day to day aspects of artist management, with a special emphasis on media management.
Job summary: Under the direction of the Marketing and Communications Director, assist in the writing, design, production, and distribution of marketing and communications tools and materials in accordance with editorial and graphics standards. Assist in implementation of organization’s engagement strategy on web, social media, and mobile platforms.
Job summary: The primary responsibility of this position is to manage and coordinate 95.9 The Fish Digital and New Media assets, including our in-house support and externally branded websites, digital initiatives, Facebook/Twitter/Instagram, mobile app, special sales and promotional projects, digital newsletters, listener clubs and programs and other projects within the scope of this position. Daily activities might include regular website maintenance, digital and traditional content creation, newsletter production, usage statistical analysis, ratios, click-through analytics and other empirical data, banner ad creation, custom landing pages, scheduling of audio and video streaming pre-rolls, interfacing, and supporting and collaborating with other digital content coordinators.
Job summary: Execute PR & Social Media plans in close collaboration with the team at Allen & Heath HQ in the UK. Generate compelling stories which connect users with the brand; then disseminate the content through media, social media and case studies for the web site and email distribution.
Job summary: Counterpoint Press is seeking a Publicist with at least 1-2 years of publicity experience, preferably with a trade book publisher focusing on high quality fiction and nonfiction. The ideal candidate will have exceptional written and verbal communication skills, a proven ability to juggle projects and duties, demonstrated organizational skills along with creativity and a passion for books and reading. Applicants must have a BA in English Communications, or a related field, as well as some relevant internship or working experience. Candidates must have impeccable attention to detail, the ability to be proactive and problem-solve, and a communication style that instills confidence in authors, editors, and agents.
Job summary: Established classical music public relations firm seeks colleague with ability to communicate with press and classical music performers. Imagination and ability to interest journalists in our clients are a must and work well in a friendly, small non-corporate environment. Looking for a self-starter with genuine love of classical music, computer knowledge, and strong verbal and writing skills. Classical music background, press contacts, and previous PR experience desirable. Responsibilities include: writing press releases, artist biographies, pitch letters, social media postings and newsletter items; placing stories with local, national, and international print and electronic media; coordinating interviews with clients and journalists, efforts and strategies with outside publicity and management firms as well as artists. Salary, benefits and position commensurate with experience. Applications without cover letters will not be considered.
Job summary: This vital, customer-focused position strives to serve our valuable customer base with knowledgeable and timely communication, efficient data entry and aggressive follow-up/issue resolution. This position is centered on taking customer orders over the phone.
Publicist (Nacional Records / Cookman International – Los Angeles, CA)
Job summary: The candidate will play a key role on all Nacional releases and Cookman projects, taking responsibility for the publicity and promo activities of our Artists and outreaches. They will report directly to the head of the company and collaborate closely within the team.
Job summary: To provide artistic, musical and administrative leadership for the Dartmouth Symphony Orchestra. Recruits and trains performers. Plans and conducts rehearsals and performances. Responsible for associated administrative duties.
Job summary: As part of Sony Music’s digital marketing team, the Digital Marketing Specialist will promote artists and grow online communities for Sony Music artists using a combination of internal and partnered resources including websites, social networks, wireless services and other digital tools.
Job summary: The successful candidate needs to have at least one year professional work experience in a media related field and a strong working knowledge of social media, videography, graphic design and photography. Candidate must have the ability to work well with all departments and maintain a positive attitude in an often hectic work environment. The position requires a self-motivated, hard worker who understands that sometimes work must be done outside of normal business hours. The position includes the coordination of content from our radio station websites to the public, assisting in our social networking campaigns, production of short video segments, gathering measurement data, and helping to maintain quality among our six web properties.
Job summary: We are looking for a Brand and Creative Coordinator that will play a critical role in supporting the supporting the global brand and creative team, organizing and coordinating team- and project-related operations and processes. This team develops strategy, creative tools, content, and experiences that drive Spotify’s creative and communication agenda with various audiences, including fans, consumers, artists, creators, labels, business partners, and more. Programs the team leads include brand identity and guidelines, on-platform advertising, marketing programs in paid/earned/owned channels, large-scale experiential programs like Spotify House at SXSW, and more. Above all, your work will impact the way the world experiences music.
Job summary: Represent three iHeartMedia Las Vegas brands, KPLV-FM, KSNE-FM and KWNR-FM at remotes and appearances. Serve as the ambassador between the radio station and the listeners. Work among a team that will include promotions, programming and sales. This is a part-time position/that will be no more than 20 hours a week. Weekend and night heavy. The managers for the iHeartMedia Promotions Team request a two week written notice for any time off requested. Major holidays and “black out” periods must be approved by the department’s supervisor.
Job summary: The Associate Marketing Director is responsible for planning, supervising, administering and evaluating programs that meet or exceed attendance and ticket revenue goals for orchestra events and maximizing the visibility of the orchestra in the community. The Associate Marketing Director will plan and manage all marketing activities, including but not limited to: public relations; advertising; season subscription and renewal campaigns; all ticket revenue and audience research.
Job summary: An Artist Manager works on behalf of groups or artists to promote the artists’ careers and run their business affairs. Their job is to secure the best work for their clients, for the best fee.The job may include: negotiating contracts and fees, finding and booking events and venues that match the artist’s career strategy, advising on career decisions, publicity and promotion, helping them on career decisions such as which record producer to work with, or which songs to perform, and managing media relations on their behalf.The Artist Manager’s work is very competitive and can be intense and sometimes stressful with long hours. Artist Managers are frequently required to attend their artists’ performances in the evening or over weekends.Most Artist Managers advance by building a strong reputation for good client services, and attracting more top performers onto their books.
Job summary: Responsibilities include reviewing video and other materials to determine clearance and related issues; conducting research to evaluate the status of copyrighted and trademarked materials and products, invasion of privacy, defamation and rights of publicity, and other legal issues. Negotiate licenses and releases for uses of copyrighted or trademarked materials such as film clips, artwork, photos, music, and ensure each license properly addresses essential terms and protections. Prepare correspondence advising staff on status of clearance issues; administratively support department as required.
We received a lot of emails at Haulix from labels, publicists, and bands alike hoping to learn a few additional tricks or tips for better exposing whatever music they are working at that particular moment. We do our best to help everyone that comes to us, and we would hope many of you would respond in a similar manner, but recently we were contacted by someone seeking additional press who seemed to completely misunderstand what it is they needed in their career.
While coverage on blogs and in print is always helpful, it is not something every artist needs in order to be a success. In fact, history is littered with brilliant minds who lead long career in the arts without ever having a number one song or a feature in Billboard magazine. They probably wanted those things, of course, but in the long run they were not an essential part of a healthy career in entertainment.
So here’s what happened:
A call came in this week from an industry contact who shall remain nameless. During our chat, the person who called explained how they were running a label where almost every cost was covered by two very successful electronic artists. These artists have made literally millions of dollars from licensing and placements in everything from movies, to TV shows, advertisements, and even video games. They have been making money this way for years, all while continuing to release new music, but for one reason or another their label had struggled to garner much, if any, traction in the world of music journalism. Their artists were labeled as too electronic for rock blogs, but too rock driven for electronic blog, which left them feeling as if there were no place for them in the modern music business.
While we sympathized with the label owner and how he felt his artists were basically successful outcasts, we also felt that somewhere along the line the label owner had forgotten the point of press. Getting mentions on blogs and in magazines is something done by artists and their representation in order to generate more excitement for an upcoming release. While we could debate all day over the effectiveness of mentions on top music blogs as it relates to sales, the fact of the matter is that in this unique case the artists going uncovered by most members of the music journalism community had long proven their ability to financially succeed in the industry. They don’t need music blogs, or even music magazine to care about their efforts because clearly there is already a well-established demand for new content from them by people who have the power to make sure the artists in question can pay their bills (as well as the bills of their label).
If you or someone your represent are working full time on creating art, and by that I mean living a life that is not dependent on a second source of income, we urge you to not allow yourself to be frustrated if members of the journalism community do not take notice of those efforts. Just because someone with a blog or byline does not see the talent you or your artist possesses does not mean everyone else who has supported that act up to this point is somehow wrong or misguided. Headlines will come in time, but if you’re already paying your bills with music then you’ve already won the game of existing in this industry. You’ve reached a point of success most will never know, and you cannot allow the fact some teens and/or twenty-somethings don’t ‘get it’ hold you back. You don’t need them.
This is the latest post in our ongoing collaboration with Sonicbids.
Once you’ve decided that working with a producer will benefit your album, and it’s time to audition talent, it can be difficult deciding who’s right for the project. Producers are a dime a dozen these days, and if you don’t know exactly what you’re looking for, you’ll find yourself lost amidst all the options. Don’t fret! We’ve compiled a list of top traits to seek in choosing the best producer for your work.
Let’s start off by defining what a producer’s role is. The producer of an album is the person who balances artistic considerations with the technical aspects of record making in hopes of delivering a competitive product within the commercial marketplace. The career is a complex cocktail with equal parts musical knowledge, historical context, and perception. To properly integrate all this data, a producer must exhibit excellent multi-tasking abilities, as well as be able to wear multiple hats and constantly change his or her perspective to remain objective. Below are some questions to ask prospective producers to help guide you through the interview process.
4 questions you should ask a prospective producer
1. What’s your working style?
You’ll want to know this because if someone is used to working in 12-hour sessions on weekends at large-console Hollywood studios, but you work best in intimate home-recording environments, you won’t be compatible. Find out what type of studios they typically work in, if they have access to rehearsal spaces, and typical timelines and project pacing they prefer.
2. What’s your musical background, if any?
You don’t need to know your candidates’ personal vinyl collections, but you want to have a good sense of the genre neighborhood they live in. Find out if they play any instruments or have knowledge of other styles than what you’re familiar with. Versatility is golden when it comes to songwriting and finding sources of inspiration. A producer who is comfortable working with alternative rock but also has experience with soul grooves may offer you creative insight that can help give your record a competitive edge.
3. Who have you been listening to recently?
Production is an ever-shifting craft, and it must be constantly studied. Producers should always be listening to music, both old and brand new, being experts of their main genre. You want to find out the type of sounds that get them hyped, and you’ll want to have a general idea of the direction they’ll push you in.
4. Are you affiliated with a label, and do you have connections with publishing, A&R, TV/film, or radio companies?
This seems obvious, but a lot of artists are afraid to ask this in fear of seeming too hungry for success. The truth is, producers should have connections that can help get your music heard. If a producer is offended by this inquiry, he or she may not have your best interests in mind. The perfect producer will effortlessly balance your creative endeavors with specific marketing prowess unique to your project.
Now that you’ve got a sense of who your candidates are, these are the top qualities to look for in their answers.
5 qualities you should look for in a producer
1. Good listening
A good producer will know when to speak and when to take everything in. If you’re interviewing a candidate who seems to talk more about his past projects than ask about yours, he’s probably not going to offer you the focus you deserve. The right producer will make you feel as if you’re the only artist on his radar, even if he’s juggling multiple projects at once.
2. Confidence (not cockiness)
There’s no room for ego in the control room. As an artist, you should steer clear of producers who are looking to establish themselves or promote their brand using your talent. You want a producer who shows you she knows music and understands industry trends, but doesn’t try to sell you by talking about how much she knows. Actions don’t always speak louder than words, but a proven track record of humility speaks volumes. Remember, the producer’s job is to consistently bring out the best in you, not highlight her own success.
3. Empathy (but also relentlessness)
A producer must understand the multitude of challenges in making a record, from the physical to the mental and emotional strains. Nevertheless, producers are the people who make it all come together, enforce deadlines, and keep everyone on track. You want someone who’s keen on recognizing weaknesses, but able to quickly avert obstacles. Ask your producer about situations he’s encountered in prior projects that hindered success, and how he overcame them.
4. Challenges you to grow
If a producer has heard your material, she should be able to immediately provide you with detailed feedback on what she sees for you as an artist, what she envisions, and what you lack. A great producer will be able to recognize a hit song from a rough demo, and you want to ensure the person you pick has a good ear. It’s crucial that you seek out a producer who’s tactful in presenting honest opinions, because this will motivate you to grow as an artist. Negative feedback isn’t always easy to digest, so you’ll want to find a producer who doesn’t make you feel like giving up while giving you guidance. Ask potential hires what they hear in your songs, and what they’d like to hear from you.
5. Passion
As an artist, you’ve decided to make music your life, and you’ve no doubt made sacrifices along the way to pursue your dreams. It’s paramount that your producer genuinely loves music and wholeheartedly believes in you. You want a producer who’s excited by your progress and eager to make your record come alive.
Caleb Hsu is an independent vocal producer and freelance recording engineer based in Los Angeles. As a classically trained pianist and composer, he enjoys writing music technology features that combine his psychology background with current industry trends.
On this episode of INSIDE MUSIC, host James Shotwell calls producer and budding software entrepreneur Joey Sturgis to discuss the life he leads behind the scenes of everyone’s favorite heavy albums. Joey has been responsible for some of the most important alternative records of the last decade, and he’s made a lasting impact on the world of production as a whole through his efforts. In this conversation, Joey speaks with James about his career behind the boards, as well as his newly launch plugin company, and the goals he has beyond his current projects. If you have ever wondered what it’s like to help bands refine their sound, or if you have ever been interested in getting started in music production, this is one conversation you don’t want to miss.
The music you hear in this episode is “I Won’t Give In” by the band known as Asking Alexandria. Joey discusses his work with them at length on the show.
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
