Dirty Secrets of New Music Industry Promotion from Hypebot

by Matt @ Kurb on December 21, 2008

This from Hypebot, with my analysis in italics.

Sorry to tell you this, but…

  1. BIG CHECK BOOKS STILL TRUMP BIG IDEAS – Just ask any music start-up. You’d think that the major labels would embrace every great idea they could find to help save their struggling businesses.  Nope. Labels are inundated with so many “great ideas” and are so desperate to help their  bottom lines, that the only ideas they take seriously are attached to fat checkbooks. Don’t forget this is a business, and business I’ve learnt is all about staying alive in it. There’s gotta be a pay out coming, you can’t sail a sinking ship forever, and guys who stay alive in music learn to be hard bitten business people. We don’t back young kids with big dreams because it feels so right like in a movie, we use our business knowledge and experience to leverage talent. So get smart about it and don’t expect anyone to come to your party unless what you’re doing just totally blows people away and you’re taking big risks to back yourself and make big plays. What I do doesn’t blow people away but do you think I sit around here waiting for a leg up? Do I whinge waiting for my funding? No, I get out there and drop content attached with propositions which fly and get traction.And one day you’ll be like me wondering why the losers don’t just quit complaining and start getting on with it.
  2. EVERY TIME MUSIC IS LICENSED TO AN AD SUPPORTED MUSIC 2.0 SERVICE THEY’RE PROBABLY BREAKING A CONTRACT – How many record label or publishing contracts do you know that say “Its OK to pay me a tiny fraction of projected ad revenue every time my song is played / downloaded.”

Again this comes down to high vs. low value propositions. Cents add up. But very very slowly. This is ancillary revenue, if you’re depending on these kinds of trickles, you’re not going to last long whether they’re legitimate or not.  Build High Value propositions.

Whats these high value propositions that I keep going on about? Here’s an example the “NIN ghosts” deluxe collectors edition for $300, only 2500 copies ever made. Sold out in 2 days.

= $750,000


on this blog, I don’t care if you have credibility like NIN or Radiohead or you don’t like Tila Tequila and The Crazy Frog. I am interested in succeeding  with new models for doing profitable music business, exchanging rewarding musical experiences that people perceive as valuable for financial returns.

3.YOU CAN’T DO IT YOURSELF – There are not enough hours in the day to return emails from all of you Facebook friends, update your dates on Eventful, post new photos on Flickr, edit the expletives out of that backstage video before posting it on YouTube and still find the time to write songs, record them and then play them live. It takes a village to raise a child. It take a team to build a career. Start building one today.

Of course you need professional support.  Let’s start with these 3 people

– A music producer who helps your music to sound as complete as possible.

– A music agent who creates opportunities for you to earn money providing music services such as performances and licensing

– A music marketing manager such as me who is not only experienced in music business but has a proven track record of online earnings based on internet marketing knowledge

The real issue here is identifying  when you’re ready to begin serious music promotion and marketing. Your music career is now indistinguishable form a small business, so what you’re actually attempting to do is become profiitable as quickly as possible in orderto leverage what existing revenue streams you can create. So get started, read my blog for real value and online monetization strategies, build up your repertoire of content, build your content mass so it develops gravity, make some mistakes, then start getting business minded about the tasks you need to outsource.

Our service for US$500 for 3 months is designed to be comprehensive and affordable but I don’t wave a magic wand and make people viable music industry stars. That takes work. And so far I have met very few musicians who are grasping the future. That’s not to say that they aren’t successful or that they need me, but they could just as easily start outsourcing and earning more online, as to focus more on their core activity – writing and perfroming music.

So many music industry bloggers are wrapped up in the old ways. I don’t have to blog. You don’t have to play gigs or put out an album, sure it’s a great start, but if you’re doing something else that’s already working keep doing it! I write this blog because it helps me sort out my ideas for making money online in music so if you’re not, then keep reading.

Only do stuff that’s not profitable if you truly enjoy it and think it’s contributing to your growth as an artist.


Little has changed. Indie music still has almost no chance of making it onto commercial radio. Radio programmers are too often sheep playing fewer and fewer new records. And the vast majority still come from their pals at the majors.

Again, radio is tied to old ideas about how the music industry works. TV amd Radio don’t allow artists the domination that they once experienced so even if you are that 1 in a million that makes it through, it’s less rewarding than ever.

TV and Radio are platforms that are full of contrivance when you need to be looking to connect directly with fans because that’s the solidest long term strategy. TV and Radio should be regarded in the same way as myspace, you’re going to use that platform any which way you can to create real connections with fans, because myspace traction and radio and TV traction results in fans, but only successful engagement and management of fan relationships is going to give you a solid career. So leverage traditional media such as TV and Radio and whatever magazines that will still be around, but don’t frame it in the centre of your model.

Fans and income streams should be the centre of your model.

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