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Advice: What To Do If Your Album Leaks

Here at Haulix, we dedicate the majority of our daily lives to making sure the music stored and distributed through our state-of-the-art servicing platform is as secure as it can possibly be. From the moment clients upload music to our servers their files are watermarked, and from that point forward every individual accessing their content is given a unique identifier that allows us to trace the source of any future leaks (should they happen to occur). It’s our mission to keep your music away from the public until its intended release date, and we are always open to discussing that mission with anyone who may be unfamiliar with our efforts. If that applies to you, please do not hesitate to email support@haulix.zendesk.com and ask for additional information. We can also be found on Twitter and Facebook

There is a hard truth to life as a musician that you might as well face now: Your music, be it a future single or the album that follows a few months later, will sooner or later fall victim to music piracy and be freely available to anyone with a working knowledge of Google. It has happened to countless artists from every corner of the planet millions of times before you came along and it will, unfortunately, continue to happen to artists who deserve better for the foreseeable future. We are doing our part to put an end to music piracy, but until it’s wiped from the internet for good artists and groups of all sizes need to be prepared for the worst.

When that frustrating day comes, and it pains us to confess it will more than likely happen to every artist one day, you need to have a plan in place that can be enacted on extremely short notice. These plans will vary greatly from group to group, but there are several universal steps every artist can follow to minimize the damage done from their album reaching blogs before iTunes or Bandcamp. Let’s take a look at them now:

1. Stay calm and remember that the world is not coming to an end.

Album leaks are usually cause for disappointment, but there is a strange sense of comfort to be found in the fact people around the globe want to hear your music so badly that they are willing to risk being in trouble with the law in order to enjoy it before the scheduled release date. That comfort does not take away from the fact those same individuals have completely screwed the carefully crafted marketing plan you had in place, or course, but focusing on the negatives is not going to do anyone any good.

Whether your album leaks a day early or a two months in advance it is important to remember that your career has not been blown to tiny bits of completely free digital dust. It is only a minor setback, thanks in part to the fact you properly prepared for such unfortunate events after reading this article, and with a little focus you will be able to recognize that you’re in a unique position to capitalize on fan-driven curiosity in your album. Embrace it.

2. Recognize the fact your album has leaked, and ask those who enjoy it to support you any way they are able.

Will everyone who downloads your album eventually purchase a copy if they enjoy it? No. What may happen, however, is that a number of people who otherwise may have never encountered your art might come to appreciate your work as a result of the leak, and in time those newly converted followers will begin to show their support by attending a concert, buying merch, or possibly even picking up a record or two. Remember: Your album is as much a product as it is a marketing tool for your brand, and like it or not your band is a brand at the end of the day. If you cannot sell your album to consumers, you might as well try and sell those who take it for free on seeing you live. If they come, great! If they come and buy merch, even better! Either way they will come away from engaging your band with the outlook that you appreciate them simply for being a fan, and even though you wish people bought your music you can understand it’s not something everyone is capable of doing. That kind of outlook makes you appear more human than rockstar, and being viewed in that context is often far more rewarding longterm than any short term financial gains.

3. Revisit your marketing plan and make changes where necessary.

A lot of artists believe that if they choose to ignore the leak of their album and forge ahead with their originally scheduled promotional efforts that their sales will not be hurt. That may apply if you’re someone currently topping the charts, but for those of you on the come up each and every promotional effort made can mean the difference between advancement and career stagnancy. Album leaks should change your marketing plan because the circumstances surrounding the availability of your latest material has changed. Song premieres, for example, are not going to have the same impact now that fans can download the full record with a few clicks, so it is of the utmost importance to take time as an artist or group to try and further refine what is already scheduled it order to make that content more appealing to those who accessed your material early. Offer a behind-the-scenes look at your time in the studio, or put together a track-by-track rundown of the record. If you’re going to continue with songs premieres then make sure you have a lyric video or similar accompanying item to make the exclusive more enticing to fans who have already heard the full album, as well as the blogs who are hosting that content. If you know your album leaked it’s more than likely the bloggers do as well, and they also recognize how unlikely it is certain exclusives will bring in much traffic if the material is freely available elsewhere. 

Challenge yourself to do more than you thought necessary, or even possible, and you will succeed. Stay the course and your release may very well be forgotten by the time it hits iTunes. It’s that simple.

4. Make a stream of your album available and direct all traffic to that stream.

This is kind of a continuation from the tip above, but it’s worth highlighting on its own. You can choose to look at album leaks as something people have to hunt for on the vast plains of the internet and try telling yourself that not many people will be willing to go through such efforts in order to hear a few songs a little earlier than everyone else, or you could choose to be realistic and reclaim a little control over how your fans access your new material by hosting your own stream of the record. Use Soundcloud or Bandcamp and, after recognizing the leak, direct all curious parties to hear the album through your link. Ask fans and friends and industry people to do the same.

Timeliness is next to godliness as far as this tip is concerned, but if you have a good relationship with any music writers this may be the perfect time to call in a last minute favor. Getting a blog or site to host your premiere ensures even more people with social influence will be directing fans to content you essentially control. You can survive without their help, but if it’s available to you then you might as well use it.

5. Make the album available for purchase as soon as possible and consider offering it for a discounted price. 

There may be two weeks until your physical product comes in for pre-orders, but if your album leaked before you got out of bed today you better do everything in your power to make it available for sale before sundown. Services like Bandcamp makes this type of immediate change incredibly easy. 

You will also want to consider discounting the price of a digital download of your album for a short amount of time. It may seem counter-intuitive to ask for even less money on an album you’re already losing sales on due to piracy, but lowering the cost may actually increase the chances of fans supporting the album financially. Most people pirate because it’s both affordable and incredibly simple. You cannot beat free, but you can combat it by lowering the price of your downloads, or even making the record available on a pay-what-you-want basis and appealing to fans to contribute whatever they feel they are able. 

You can also take things one step further and offer a discount on all your remaining pre-order packages. How much to offer will vary based on your overall costs, but any amount will help to further entice listeners on the fence over whether or not they should purchase an album all their friends have received for free.

As an example of someone taking back control of their release, please take a quick look at this message released by our friends at Topshelf Records following the leak of You Blew It’s new album near the beginning of 2014:

Wow. The response to yesterday’s premiere has been overwhelmingly awesome — thank you!

I noticed a ton of “leaked” copies of the record being shared everywhere within an hour of that premiere going up, though, and just wanted to post about that. We don’t mind that, at all. We get it, and that doesn’t bother us — we’re excited people want to share this. However, when “this” is a 92kbps 2003-Myspace-dot-com-era-quality-sounding rip of a stream, we get kinda bummed how that’s what people might be hearing and sharing. So, we’ve now sent out the high quality downloads to everyone who pre-ordered the record. We’re not gonna be download cops about it — share it, enjoy it, tell your friends about it — sing it when you see them on tour this month.

As always, we’re for damn sure gonna make the record available for download at the more than reasonable price of $5 on bandcamp and as affordable as we can on physical formats (with an immediate download on FLAC, ALAC, MP3 320, MP3 VBR or AAC 256). Also, if you’ve got an iTunes gift card for the holidays and don’t know what the hell to buy with it, well, the record’s for sale there too.

If you haven’t listened to the album yet, you can stream the premiere on Pitchfork now.

Thanks, you guys. 

This messaging recognizes the leak, then immediately directs everyone’s attention back to the band and what the band has going on in the immediate future. It’s about the band’s stream of the album,  the band’s store with pre-order options, and the band’s upcoming tour dates. Bring the focus back to the you and your music. Don’t let pirates steal the spotlight.

It’s worth mentioning that those who choose to put their album on sale early will have a few additional decisions to make, including whether or not to distribute album downloads to those who pre-ordered the album prior to the leak. There are pros and cons to both sides, so the best advice we can offer is figure out what is best for your audience and run with it. 

6. Be proactive in fighting music pirates. Submit take down requests and whatever else needs to be done in order to keep your music away from leak sites.

Fighting an album leak is forever an uphill battle. It only takes one person to leak an album on one site or social media service before files begin spreading like the common cold across the web. You may not be able to completely erase every trace of your early album leak from the net, but with time, dedication, and a little help from Google you can make it a lot more difficult for pirates to locate your stolen material.

First, set up notifications through you favorite digital alert service to notify you anytime someone mentions your album online. You will (hopefully) be inundate with news and reviews most the time, but this service will also peak up leak blogs/sites running your album. You may also want to search for your band name and album title, both together and separately, with the phrases ‘zip’ and ‘rar.’ As soon as you find a link you need removed, contact the blog owner, as well as the site hosting the file download (Mediafire, Sharebeast, Zippyshare, etc.) and politely request that your content be removed with the help of a DCMA take down letter. Then use this form and ask Google to remove links from search. It may take a few days, but most people and sites will comply with your requests. As soon as one goes down, however, another one or three will likely appear. Keep pushing. Keep fighting.

You can also ask fans to join in your anti-piracy efforts. Lady Gaga, for example, called on fans in 2013 to report any early leaks of her Artpop album, and thousands sent Mother Monster links in response. It did not plug the leak entirely, but it delayed the majority of music fans from hearing the material until much closer to the intended release date, and in doing so forged a stronger connection between Gaga and her fans.

7. Live to create another day

When all the take downs have been issued and you have told the story of how the leak impacted your plans for the future to the last blogger and fan willing to listen the time will come when you simply need to move on with your career and begin working towards the future. There are more songs to be written, more albums to be recorded, and more many more shows to be performed. People all over the world now have access to your music and no matter what happens from this point forward that will never change. The discovery of your art is going to continue, every day, week, and month for as long as there are people online with a passion for music. There is something beautiful about that, even if it is also financially frustrating, and it offers a rare opportunity to connect with others that many never receive. Make the most of it and forge ahead. Live to create another day.

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How To Kill Your Band #4 – Don’t Tour. Yet.

Hello and welcome to the fourth installment of Eric Morgan’s How To Kill Your Band series. We run this column every other week and encourage anyone who enjoys the material found below to visit previous editions of HTKYB they may have missed. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

An Introduction:

I’ve been in the music industry as an artist for nearly 10 years now. In that decade I’ve achieved nearly all of my childhood music dreams, but I’ve also made just as many mistakes that run over my mind before I fall asleep each night. A wonderment of how a few different decisions, rerunning in hindsight, would work out in some alternate universe. This ever creeping determinism is a fallacy I’m quite aware of but one that I will never completely shake, though it’s these experiences I’ve learned the most valuable lessons. These are the things I’d like to share in a series of mini-blogs I call How To Kill Your Band.

Part 4 – Don’t tour. Yet. 

Learning to book your own tours is perhaps the most important skill you can learn as you make your way in music. It’s not only useful because of it’s immediate impact on your ability to promote yourself on the road, but is also one of the few skills that can pay dividends after your own band calls it quits. Becoming adept at booking takes practice more than anything, but it heavily favors those who are a bit obsessive. Locking in a tour dates takes a certain neurotic tendency necessary to piece together a complex puzzle that never really has a exact solution. No tour is ever going to be 100% perfect from start to end, something that tortured me early on, though the key is learning how to adapt and work to the constantly changing variables – venue closings, promoter drops, competing tours in the area, etc. But before we get to the actual mechanics of tour routing, we’re going to spend this week answering just one question: 

Why would anyone book your band?

Every young band would want to be out there promoting their music nightly but it just isn’t something most should do. There has to be a reason for a promoter to book your band and you need to be able to communicate that clearly. As I touched on in HTKYB #2, being signed gives you immediate value to a talent buyer even if he’s never heard of you before. They can build a show around your band because local bands are smart and know every single label so it gives them a reason for sharing the stage with you – essentially something to put on their resume and the fleeting hope that you’ll be so amazed by their set you’ll personally recommend them to your label. 

If you’re not signed it’s still possible to tour diy, plenty of bands do it successfully, but you need to be able to offer another kind of value to the promoter. Here it helps to be different – why would a promoter in Toledo book an unknown metalcore act from out of state when there are plenty local bands who actually draw? Offering something not already saturating the market gives them an unique event to promote while also just supporting the basic economics of the situation. This doesn’t necessarily mean you need be genre defying but could also stem from having a distinct live show or an unconventional type of branding. If all else fails, you can even separate yourself by brute force through effort. Offer to set up your own publicity for the show with local radio stations, get posters hung at local joints, and even go out on foot to promote. On many of the early AHAF tours, we’d call ahead to Hot Topics and FYE stores at malls located near that days venue and set up our own in store meetups. We’d get to the store around noon to ready our merch table by the entrance where we’d handout show flyers and promo items to people as they walked in. During the holiday season it was even more valuable because parents would be rushing around looking for last minute stocking stuffers and it was it was easy to convince them they could end their search with an album or t-shirt. 

The long and short of it is that it all comes down to giving a talent buyer something they can promote. Whether that be through label support, originality, or meticulously growing your support region by region, you must understand the basic economics through a promoters eyes and give them something they can build a show on. There are bands that get insanely lucky by starting out with notable agent even before their first show (Woe, Is Me, Capture the Crown) but that’s rare and having the ability to book your own tours is a highly valuable skillset if you plan on working somewhere in the music industry post bandlife. Perhaps what I’ve learned most from my experiences on the road is that you shouldn’t rush into touring. I’ve witnessed many bands, who while sounding great, simply weren’t ready to be on the road and eventually succombed to the depleted morale and mounting struggles of unsuccessful tours. It’s much more financially and emotionally supporting to be patient before going on the road, as the consequences of premature touring could end even the most promising bands. 

Now if you’ve decided that you have a band ready to tour but unsure on how to get started, then check back next week when I’ll go through some tips and tricks from my experiences on creating your own promoter lists, negotiating prices, and communicating effectively in your offer sheets. 

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Common Mistakes Artists Need To Avoid When Contacting Journalists

Hello and welcome to another week of music industry insight and advice here on the official blog of Haulix. We love to entertain, but being informative in a way that is easy to understand is always our primary goal. If you have an idea for this blog, or if you would like to learn more about the digital distribution services we offer, please do not hesitate to email james@haulix.com and share your thoughts. If you prefer social media, feel free to reach out to us on Facebook and Twitter

There are more music zines, blogs, forums, and fan sites now than ever before in the history of entertainment. If you have a unique audio creation to promote, there is most certainly a corner of the internet’s boundless landscape waiting to devour every second you lay to digital tape. You already know this, of course, which is why you’re so excited to send press kits, press releases, and every type of blanket promotional messaging you can think of to any writer whose email address has been foolishly made available to the general public. We don’t think that is the best way to get your name out there, but if you think it will work for you then by all means give it a go. After all, sometimes the best way to learn is through trial and error.

If you can resist hitting the send button for just a few minutes, however, there are a few simple tips we can offer to help increase your music’s chances of receiving consideration. It’s not a guaranteed formula for success by any means, but if you avoid the following common pitch messaging mistakes you will have an upper hand on the countless bands who are also competing for those writers’ attention.

1. Forgetting to properly introduce yourself

Most small bands handle their own press, but some choose to let friends and small PR firms lend a hand as well. Either way, make sure the person handling your band’s publicity identifies themselves across all messaging and social networks. There are few things more frustrating than receiving genuinely promising music delivered by people who failed to make their own identities known to the people they are writing. It may sound like a hard mistake to make, but it actually occurs quite frequently. Musicians want to share the good news of their exciting new sounds so badly they forget the importance of introductions, leaving journalists to wonder whether the person writing them is a fan of the band, an incredibly amateur publicist, or a member of the group themselves.

In short, don’t let bandname123@gmail.com be your only calling card.

2. Forgetting bios and contact information

This one goes hand-in-hand with number 1. Don’t let the thrill of possibly having your latest creation shared on a popular music publication distract you from covering the basic steps of artist promotion. Introduce yourself and your music, share your latest news, and then provide enough supplemental information that the journalist receiving your materials can create their content without a lengthy string of emails. Your messaging needs to provide everything writers and their readers may need or want to know about you and your music, including your history as an artist and where you can be found online. No one wants to write about someone they’ve never heard or who has no history and seemingly no presence online.

3. No photo

Essentially every website uses photos when creating new content. Whether it’s a review, news tidbit, interview, or something else, sites who cover your music will need photos to help sell the content to their readers. Including an image with your pitch email, or at least a link to an image stored online (via dropbox, for example) makes it easier for journalists to quickly create content around your music. If they like what they hear, but do not have any images for their article they will need to delay writing about you until finding/receiving a photo.

Remember: The fewer hurdles a journalist has to go through to cover you the better.

4. Links Don’t work

This one is just plain embarrassing. You finally get the attention of the editor you have always hoped to contact and the link you’ve supplied for your new EP is dud. Maybe you copy/pasted the wrong link, or perhaps the way you formatted your email caused an error, but either way the person you wanted to impress is now presented with a blank page informing them no such site exists.

These mistakes can momentarily squash all hopes an artist has of being covered by any publication, and the worst part of all if 99% of the time they never know it’s happening to them because they didn’t bother to check the links themselves. It’s possible the editor for Rolling Stone will write you to say the link in the email you sent about that band they had never heard of who has not done too much of note did not work, but it is far from a likely scenario. With most editors you get one chance, at least per album cycle, and broken links is a guaranteed way to get your pitch letter a one-way ticket to the trash bin.

5. Wrong Names, AKA ‘The Copy/Paste fail’

My name is James. If I receive an email to james@haulix.com and it begins ‘Dear Matt, I am writing because I am a big fan of your site,” I get a sneaking suspicion the person contacting me is being a tad disingenuous. Further, it makes me not want to read your kind words and accompanying pitch because it’s the same words you tried to sell one or more of my writing peers.

If you want to make writers think you are creating something unique you need to remember that all writers are also unique, and the same selling points that work for some will not work for others. We have stressed this in previous posts, but cannot be said enough that there is no better way to contact people than with genuinely personal emails. Use their name (and make sure it’s theirs), ask how their day is, and take the time to highlight a specific aspect or two of their craft you enjoy. Kindness and sincerity will get you much further in this business than haste and repetition. Always.

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Haulix Advice: Get Out Of Your Comfort Zone

Hello and welcome to the final Advice column of the week. We have been overwhelmed by your response to this feature’s return and are very much looking forward to sharing what we have in store next. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

One of the hardest things to overcome as an artist in any medium is working outside of your comfort zone. The term comfort zone is just what it sounds like – the place where you are most comfortable – and as an artist remaining in that place can be a hazard to your career.

The idea of a comfort zone is that it allows a person to exist in an anxiety-neutral state. You’re still engaged with the world around you, but you do so in a way that creates and maintains mental boundaries, which in turn lead to a false sense of security. You’re unable to grow and develop because to do so would be to take on new challenges, each with their own inherent risks and stressors, and as a result you become stuck in a creative rut that will ultimately drive away fans.

There is no on/off switch for comfort zones, and like any other challenge related to continued creativity there is a battle to be fought nearly every day. Comfort zones offer us short term happiness at the expense of longterm development, and for many deciding to chase the latter option is far harder than it may appear. Whether you are forcing yourself to write material for a certain genre/audience because it helped you get your start, or make it a point to play the same cities every time you tour because you know people will come to your shows, every artist faces numerous challenges to their comfort zone if they want to take their career to the next level. 

You want to write the next hit song? You want to play arenas instead of basements? You want to be sponsored by Gibson and Orange? The biggest obstacle you have to overcome to reach these goals is stepping outside your own comfort zone. Money, geography, and everything else is just another excuse for not taking it upon yourself to make something from nothing. It will not be easy, and there is no promise things will work out for the best in the end, but if you do not take chances in life you are holding yourself back from realizing your true potential.

If you really want to take your career further you must step outside your comfort zone and the best way to start doing that is by setting an attainable short-term goal. It can be anything you want – writing five new songs a month, booking two shows a day, attending a music business conference, reading some books on better marketing techniques – just set a goal, a deadline, and stick to it.

This post is part of a new series on what it means to be a professional. Those who make a career in music do so because they abandon their comfort zones to expand their horizons. Click here to read the previous entry in this series.

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Haulix Advice: What It Means To Be A Professional

Welcome to the very first Haulix Advice column of 2014. We started outlining our coverage in this area back in December and could not be more excited to begin rolling out new content this afternoon. You can expect new Advice columns every week from now on, including a few ‘special edition’ guest columns in the not too distant future. We are always open to suggestions from readers, so please contact us if there is a topic or question you would like to see addressed on this blog. Please email james@haulix.com for more information.

The dictionary will tell you an amateur is someone ‘who engages in a pursuit, study, science, or sport as a pastime rather than as a profession.’ The origin of the term amateur stems from the Latin word amare, which means ‘to love.’ Amateurs are people who pursue things they love as a pastime rather than a profession. Being a professional, on the other hand, means pursuing the things you love as a profession.

Notice that definition did not mention money? Making money does not make you a professional. Money covers the cost of living and affords you the ability to further pursue your dreams, but it is only a means to an end. Professionals see money for what it is – a tool to aide them in furthering their efforts.

Everyone who chases a dream begins their journey as an amateur hoping to one day become a professional. Whether you long to be the frontman in the next great rock band, or you hope to one day work publicity for the biggest names in music, your journey and that of everyone else in the music industry begins as an amateur. Many, unfortunately, stay that way forever. To become a professional requires great risk and sacrifice, often over long periods of time, and for those that do see it through there is rarely any guarantee of sustainability.

To attempt to become a professional is a terrifying proposal. It requires you to abandon the safety nets you have built in case things don’t pan out and dive blindly into the often treacherous waters of life with your heart on your sleeve. It asks that you put friends and family aside in pursuit of something that is completely foolish and to some insanely selfish, but for whatever reason it is the exact course you have felt propelled towards your entire life. You know deep down you possess the ability to become a professional, but to take steps toward that reality you must change, and for most of us that is the hardest step of all.

We cannot make you into a professional. No one can do that except you, and even then it’s going to be an uphill battle that you will struggle with on a daily basis. What we can do is provide insight and advice on what you can do to become more professional, and over the next several weeks we aim to do just that. Through editorials and list features we will equip you with the knowledge needed to become a professional. Taking steps to become one, however, is entirely up to you.

Follow Haulix on Twitter and Facebook for updates. Look for part two in this series to debut early next week.

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