If you work in the music industry, and you want to spend the summer in Massachusetts (New England - USA), we are renting out the left side of our home (red square in the picture above) as a private, furnished apartment.

Lancaster, MA is a 60-minute drive from Boston, a 20-minute drive from Worcester, a 60-minute drive from Providence, and a 3.5-hour drive from New York City.

Here’s what you get:

• It’s very quiet where we live.  This is a country setting.  Zero traffic.  The only noise you will hear is our kids, and that’s minimal.
• Expansive views.  We live on one of the highest hills around.
• Full kitchen with appliances, fireplace, woodstove (you will not need it in the summer), washer and dryer, living room, one huge bedroom (upstairs), four large closets, a full bathroom with a shower (no tub).
• The apartment is brand new.  Wood floors downstairs, carpet upstairs, spiral staircase.   
• There is playground equipment and a huge rope swing in the backyard.
• Heat (no AC), electricity, Internet and BASIC cable television included.
• Conservation land and hiking trails abut our property.
• We also have several bikes you can use.
• The nearest store and car rental company is two miles away.  We can help with sporadic transportation. 

Here’s who we are looking for:

• Share the grill.  Drink some beer.  Visit New England.
• Someone (a small family) from the music industry that my family can share the summer with.
• No more than two adults and one child (over the age of four).
• No smoking in the house.  If you smoke, we just ask that you go for a walk to do it.
• This is a family situation.  No chaos. 

Price:  $4,000 USD (total) for any three contiguous months during the summer (June, July, August, September). 

Contact me about your situation.
 

 

Where do managers come from anyways?
Consider the suddenly popular band from any city, featuring four guys banging out original rock songs that appeal to the college crowd.  Who’s the manager?  Where did he or she come from?  The manager is probably the person in the band that knows the most about business, or he’s the mate from school that has some sort of degree in business, or she’s a friend that just knows business.  

Chances are, the first manager of every band has been schooled, trained and practiced in the art of competing.  And, depending on his or her personality, he or she may have the innate desire to simply snuff the life out of infringing competitors.  After all, crushing the competition is what capitalist typically do.

I’ve heard more than one manager talk about blowing the doors/socks/shorts off other bands playing on the same ticket as his band.  Is this the right attitude?  Is this the person that you want managing your band?  I believe the answers are NO and YES.

There are many instances where having a winning attitude, a competitive spirit, or even a crushing drive is important in every business.  However, in the music business, more so than other businesses, I believe you have to know when to uncork your inner Gordon Gekko.

Try putting 1,000 washing machines into an iPod…
Think about this:  It doesn’t matter if you sell washing machines, cars, computers, software, swimming pools, web design, or just about anything else or earth, you’re probably only going to make one sale per customer / per opportunity.  In just about every product category you can think of, a sale for you…is NOT a sale for your competitor(s).  Music is different.  Fans are capable of loving you and dozens or your “competitors” equally and simultaneously.  Moreover, music is just about the only category where customers switch between competitors every 3.6 minutes.  Blogs are the only thing I can think of where switching occurs faster.   

Crush your competitors if you know who they are...
If you are blowing the doors off the bands you are playing with on any given night, you are probably loosing the competition.  Huh?  The real competition is not between bands.  The real competition is between entertainment categories.  If your band is far better than the bands you gig with, you may be loosing the competition to attract fans away from other forms of entertainment.  The best strategy is to put together the finest night of live music possible, a night of live entertainment that can compete with everything else in the city that’s vying for the attention of your target audience.  

Who are you competing with on the Internet? 
First, you have to understand what you are competing for.  You are competing for the “disposable Internet time” that every consumer has.  This is the time that people allocate to using the Internet for things not related to work.  People spend their disposable Internet time on various forms of entertainment.  In a previous post, I argued that your standalone website and your MySpace profile can’t compete on the Internet with these other forms of entertainment; that you will have to “brand together” (cooperate and partner) with other artists if you want to be entertaining / competitive on the Internet. 

Battle of the bands, it’s not competition, it’s a recruiting event…
Too many young managers look at band battles as…battles.  It’s nice to be liked, but the business reason to participate is not necessarily to win.  Band battles are interviews for your band, and for the bands that you may want to join forces with (see previous sections).  When you look at these competitions as recruiting events, everything changes; you go from being a competitive manager to the friendliest guy in the room.  

Is this the person that you want managing your band?  Yes
Hopefully, I have given you a new perspective to pitch to the manager of the band; without changing who he or she is inside.  Competitiveness has a use when it comes to things like collecting money at the end of the night, negotiating timeslots, negotiating rates, and especially when it comes to poaching fans away from other forms of entertainment.  I would love to hear your thoughts on cooperation versus competing; especially in regards to the perspective that new managers should adopt to achieve success in the music business.

 

I try to post something weekly on Music Think Tank.  What’s the difference between Music Think Tank and Unsprung Media?  For me, it’s my writing style.  On this blog I kind of club you over the head, and on Music Think Tank I am trying to compose my posts as questions.  If you have a style preference, please let me know.  Here are my posts to date on Music Think Tank:

• Using a Momentum-Toward-Celebrity Strategy for Marketing Music
• 1,000 True Fans - Another Perspective
• Crowdsourcing for Hits - is it a Mistake?
• Create Validate Sell  [Don't forget to validate your music prior to growing a business around it.]
• Save The Earth Use BitTorrent

 

I read most of the music business blogs out there, and I read a lot of comments that readers post on many of these blogs.  I believe it’s a common misconception that new-music-business bloggers generally advise artists to give away all their music for free.  So, I am declaring my position here, along with guidelines for implementing a Free Song Strategy.

General Comments on Making Songs Available for Free
The day you enable fans to download your songs without paying for them - will NOT be the day you experience a massive spike in traffic.  In fact, nothing will change.  Those that really wanted to obtain your music for free already did so.

More than 50% of the population will buy your songs if they like your music.  Digital music revenue is growing not shrinking.  There is no survey or statistical evidence that demonstrates that FANS that share/borrow/demo/steal music will NEVER buy music from the artists they like.  

When people get older they have less time to share/borrow/demo/steal music; instead they opt for uniformity and convenience; this is when you will convert the other 50% of the population into purchasers.

There is a lot of dribble out there about the growth of BitTorrent/file sharing and the percentage of demonstration (stolen) music within MP3 players - ignore this.  There are bigger picture concerns that labels and artists should be focused on.  The only thing these surveys tell me is that a lot of people are test-driving a lot of music.

You are NOT training an entire generation of music consumers that music should be free.  You are declaring to the world that you may try my music prior to buying it.  However, you should also be declaring that your music is available for purchase on every digital music store on earth.  “PLEASE BUY AFTER YOU TRY” should be your message.

It is EXTREMELY difficult to run a profitable business when you are relying upon selling $.99 cent downloads that are sold by stores that take a cut of your revenue; irregardless of your size and popularity.  MP3 downloads will NOT be the last digital product this industry creates.  If you focus on seizing every bit of download revenue you can obtain, you will be hurting your chances to increase your popularity; which will hurt your chances of selling high-margin digital products when they arrive.  Focus on popularity not on selling $.99 cent MP3s.

Reasons Why You Must Make Some Music Available For Free
For a lot people - the MP3 player is their radio, and this is a rapidly growing segment of the population.  If you want to be on this radio - you have to make free songs available for download.  You cannot expect people to buy your music until they are fans of your music.

Falling in love with songs is a complex process; although widgets help, it rarely happens by listening to songs played through a widget that is tied to the Internet.  In a recent post I use this equation: Listeners * Frequency * Conversion Rate = Fans.  If you have a few minutes, you should read this post.

Someday soon every device (MP3 player, car stereo, cell phone, home stereo, computer, etc.) will be tied to music recommendation engines.  Recommendation engines will be the most convenient way to attach HUGE pools of songs to devices.  Many of these engines rely upon DATA to make recommendations.  If you the artist, or if your songs are VOID of data - it will take forever for you and your songs to FILTER their way up the data-driven recommendation ladder.  It is essential that you work to accumulate P-SPINS (plays) if you want the advantage as these systems come on line.  

Strategies For Setting Songs Free
Flood the world with versions.  This is not 1995 - it’s 2008.  Release multiple versions of your songs.  Release versions of your songs that have lower encoding rates than the versions you sell.  Some people say encoding rates don’t matter to consumers.  It does and it will.  Have you ever cranked up an MP3 encoded at 128KBPS - it sounds like shit in the car.

Release multiple mixes.  Chances are - if you are looking for a record deal - your best songs are going to be rerecorded, remixed and repackaged under the guidance of a label.  This is one of the versions/mix/packages that you will ask people to purchase.

Labeling matters.  Put your encoding rate and the word DEMO right onto the label of your MP3s.  This matters, especially to people that are freaks about uniformity and sound quality.  This segment will be happy to upgrade when they fall in love with your music.

Clip the end.  You could clip off the last ten seconds of your song.  I wouldn’t do this, but I’ve seen it done.  

Append a message.  Once again, it's 2008.  You have the tools to tag the end of a song with a five second message - try it out.  Find someone sexy to speak your name and your song names for tags that can be stitched onto the end of each song.  Get creative and make your end-tags into a puzzle.

Glue songs together.  Sandwich multiple songs together with no ID tags in-between songs.  I guess you would call this your free songcast, podcast, or song-sandwich.

Hold back some songs.  You don’t have to enable the download button on every song/version.  Use caution when applying this strategy.  If you only have one great song, you probably have to cut loose a version of this song to accumulate P-SPINS.

Find a sponsor - this may be annoying, but tagging the end of song with a soft message or placing an ad into a song-sandwich could be an interesting revenue source for you.  

Consider trading for something such as an email address for the free version of your song.  To find tools and widgets that will help you implement and manage a Free Song Strategy, check out ReverbNation.

 

Study the diagram attached to this post.  This diagram is the future.  When I say that substitution is going to be a far bigger challenge for record labels and artists than replication/file sharing - this is what I am talking about.  File sharing should be a dead issue.  Use your energy to conquer the future.

Sudden Substitution Impact
Attached to every play, forward, reverse and shuffle button will be a digital aggregator, a recommendation engine and ten million songs.  Every link on this chain is or may become a commodity.  

Devices - Commodity
Apple has a device manufactured like the one shown in the diagram for less than $50 USD.  It doesn’t matter if the thing is bolted into a cell phone or implanted in your head, the hardware to play music will be a commodity business.  Any record label or group of artists will be able to buy/sell/give-away these things by the truckload.  MP3 players will multiply like the one billion used cell phones rotting in your junk drawers.

Digital Aggregators - Commodity
Paid downloads, ad-supported music, personalized streaming, etc. - any company will be able to wrap songs into a business model that uses inexpensive point-of-sale and/or ad-coupling services; supplied by the companies that will compete to supply this low-margin, high-volume service.  It won’t be much different than seeking a company to process credit cards - it’s will be an obtainable, competitively priced commodity.

Recommendation Engines - Commodity?
It’s early days for recommendation engines.  I’m still undecided if one service will outperform another service to the extent whereby they all don’t end up competing on price?  Nevertheless, any company will have the ability to plug and unplug recommendation engines into their consumer offering.

The Song Pool - Commodity
Record labels don’t like hearing this, but the combination of device + digital aggregator + recommendation engine + ANY large pool of songs makes every pool of songs a commodity.  So what if Universal is missing from the pool - take this device (Brand Z) - it’s free.  Press the play button, press the play button again, press it again, press it again, press it again… Sounds pretty good huh?  Brand Z doesn’t need 100% of consumer mindshare to make money - no, they just need an hour or two a week of their target market’s disposable time.

It’s a Great Time To Be an Artist
Artists please take note that I did not say your song will be a commodity - it’s the pool of songs that will be the commodity.  While the eventual reality of this scenario is a problem for some, for artists that make great songs - this is the future that will cause the companies with cash to bid for your songs and services.  Every company that can offer a branded music solution will seek to differentiate itself from every other company offering a competing product.  While I stressed “commodity”, it won’t be a commodity like bananas are, it will be more like cars or television channels; switching will occur within the category less frequently than it does in the produce isle.

Strategies For Artists
Stop worrying about file sharing, forget everything you know about promotion and do nothing but make great songs.  Everything else will sort itself out.   But seriously, read about P-SPINS on my previous post and think about how to improve the odds of enabling your songs to be found within a large pool of songs connected to a recommendation engine.   Translation = great songs placed everywhere and anywhere, paid and unpaid - will increase your odds for success.
 
Strategies For Labels
Stop worrying about file sharing, clone the red square, put it under the blue container and stock your pool with the best songs.  Cut overhead, hire the Google guy and prepare to bid on the best songs and artists.  Start building/looking for products that will generate higher margins and offer a deeper level of engagement for consumers.  Pray that Live Nation isn't doing all this.  
   

What would it take for an independent artist that is not on the radio to generate $100,000 a year in net income from digital music revenue?  The answer is 5,000,000 P-SPINS.  

SPINS ON THE RADIO
A spin on FM, satellite or Internet radio occurs when a radio station plays a song. Every spin generates a number of impressions.  For example, if 50,000 listeners on average are tuned in to a radio station when an artist’s song is “spun”, the artist receives 50,000 impressions from that one spin.  On that same radio station 20 spins would yield 1,000,000 overlapping and/or unique impressions.  

CONVERTING LISTENERS TO FANS
People are listeners first; they become fans through repeated exposure, filtering and imprinting.  The conversion from listener to fan is a complex process.  100% of the people that are repeatedly exposed to a song do not become fans and buyers of a particular song. 

• The number of exposures during a given time period is called Frequency.  
• The rate that listeners convert to fans is called the Conversion Rate.
• Listeners * Frequency * Conversion Rate = Fans.
• 500,000 Listeners * 10 (spins within a time period) * 2% Conversion Rate = 100,000 Fans

SPINS OFF THE RADIO ARE P-SPINS
Getting on mass-market radio isn’t easy. Most artists have to rely on Personal Play Spins or P-SPINS for exposure.  A P-SPIN can occur anywhere there’s a PLAY button tethered to one of your songs.  A P-SPIN can occur on MySpace, FaceBook, ReverbNation, Last.FM, iLike, your website, or within any widget carrying your music. The easiest place for a P-SPIN to occur FREQUENTLY is on a listener’s laptop or iPod.  

P-SPINS ARE MORE VALUABLE THAN RADIO IMPRESSIONS
Presumably, a listener is already motivated to press the PLAY button that causes a P-SPIN to occur.  The listener has found or obtained your song, and/or some level of filtering and/or imprinting has already occurred.  In addition, the effort required to purchase your song is minimal, as the ability to convert from a listener to a fan/purchaser is just a click away. 

UN-TETHERED P-SPINS DRIVE FREQUENCY
Remember this equation: Listeners * Frequency * Conversion Rate = Fans.  It’s always nice to see your P-SPIN numbers going up on a site where you don’t have to give your music away.  However, to convert many listeners to fans you need the FREQUENCY that only comes from un-tethered P-SPINS.  Un-tethered P-SPINS are the spins that occur on laptops or iPods that can be disconnected from the Internet.  When it comes to racking up P-SPINS nothing beats being in “heavy rotation” (most frequently played) on devices that can be used anytime/anyplace.

DIGITAL MUSIC CONSUMERS BUY DIGITAL MUSIC
I have not seen survey or statistical data that demonstrates what percentage of FANS actually purchase digital music instead of test-driving it.  There’s lots of information that shows that consumers have lots of stolen (for the purpose of trying) music, but what about those consumers that become fans?  At what rate do FANS convert to purchasers of music?  For the analysis I did here, I used 50% as the percentage of FANS that will eventually buy your music.  

AVERAGE FAN SPENDING PER ARTIST PER YEAR ON DIGITAL MUSIC
For this analysis I am carrying $3.00 per artist, per year.  Given that most digital music consumers are spending less than $250 per year on all artists, I believe that it’s safe to assume that $3.00 per year is an appropriate average for all artists combined.

THE MATH
Click here to download the spreadsheet.  Try your own assumptions.

THINGS YOU HAVE CONTROL OVER
Listeners * Frequency * Conversion Rate = Fans

• Listeners - one of the simplest strategies you can pursue to increase listeners is to be everywhere and anywhere on the Internet.  
• Frequency - set your songs free.  You need frequency/spins to convert listeners into fans.  The best way to increase frequency is to be in as many un-tethered devices (MP3 players for example) as possible.
• Conversion Rate - the percentage rate in which listeners convert to fans - you can improve this rate by improving your songs.  I have always maintained that a great producer is invaluable to improving the quality of your music.
• % Paid to a digital aggregator - try to push your fans to the store that charges you a flat annual fee instead of stores that extract percentages from your sales (coming soon).

THE SUBSTITUTION PROBLEM
I have been talking about how substitution is a far greater challenge to the music industry than replication.  As the use of digital music grows you will have less and less control over reaching Listeners and/or boosting Frequency (from the equation above).  The number of Listener will grow, but so will the number of songs attached to the shuffle, reverse and forward buttons.  Since we are talking about multiplication, you could argue that the equation will balance out.  However, the number of places digital music consumers hang out already challenges your ability to REACH listeners; this challenge is also part of the solution (hint).

DISCLAIMER
I am not an expert on radio promotion (not even close).  The purpose of my writing is to test my assumptions.  If you have any contradictory facts, figures or thoughts - blast away.  I intentionally left off all other revenue sources.  However, you should expect the potential for other revenue sources to be substantial when you have reached 5,000,000 P-SPINS.  Create your own projections by counting your P-SPINS to date and comparing that number to the digital music revenue you generated over the same time period.