Marketing Your Music By Liveblogging At Reddit Live

Reddit-live-400wAfter a short beta run, Reddit made their new liveblogging feature available to all this week. Reddit Live allows you to liveblog an event with a separate page for comments. The resulting thread, with embedded pics, videos “and more”, becomes an archive and you can submit that to subreddits. It’s a very Reddit kind of thing with threads ranging from “Israel-Palestine Conflict” to “I’m about to make a sandwich. Follow this thread for live updates.” Somehow I feel that range opens up the possibility of some creative music marketing campaigns.

Reddit is a world of its own with a set of customs and rules about which one must educate oneself or all is doomed.

Dave Grohl discovered what happens when you step out of line. Check out his tale for more on the culture of Reddit.

Once acculturated, with a clear understanding that anything that remotely resembles spam or advertising will be attacked, consider what you can do with the fairly simple and straightforward liveblogging tool Reddit Live.

To discover what other people are doing for ideas, check out r/live, a subreddit where you can post a link to your thread.

While there are some serious topics, a lighter tone seems to be taking the day. The range suggests that liveblogging an event can take a very broad notion of what an event might be from making a sandwich to investigating the death of a bird.

To me this suggests possibilities for liveblogging non-musical activity that connects to your life as a musician.

Here’s an example:

You could liveblog going out to get the right piece of gear or clothing item for your upcoming tour. And since you can link to photos, you can do it all through your phone and take pics as part of the liveblogging process.

You could also then be sending the pics out to your social media accounts with a link to the liveblog as it’s happening.

In the process you’re promoting your upcoming tour while also connecting with new people and creating more content for those you already know.

How would you market music with Reddit Live?

More:

  • 7 Tips For Music Marketing On Reddit
  • What Dave Grohl Learned About Reddit When His AMA Announcement Disappeared
  • Case Study: Tenacious D Marketing Music On Reddit’s AMA

Hypebot Senior Contributor Clyde Smith (@fluxresearch) also blogs at DanceLand. Send news about music tech startups and services, DIY music biz and music marketing to: clyde(at)fluxresearch(dot)com.


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Are All-Or-Nothing Music Crowdfunding Campaigns Superior To Flexible Funding?

FearOne of the many widespread assumptions regarding crowdfunding is that all-or-nothing campaigns, required by Kickstarter, give those campaigns a psychological boost due to factors such as urgency when the campaign’s success is in doubt. In fact, much of the argument for all-or-nothing over flexible funding, often associated with Indiegogo, focuses on such psychological factors. While this makes me think that the problem isn’t in the funding model, it also makes me realize that we need to find out more about what’s in the minds of those actually funding campaigns.

Is Flexible Funding More Likely To Fail?

In what I think is a recent post by Ian Anderson of Launch and Release, an example is given of how to crowdfund successfully using Indiegogo’s flexible funding option despite what Anderson maintains are significant barriers to success.

I should note that Indiegogo does offer all-or-nothing or fixed funding as an option but generally seems to be have developed an identity as the flexible funding alternative to Kickstarter.

Anderson previously wrote about flexible funding with evidence that such campaigns are more likely to fail. I’m struck by the fact that the differences he points out between the approaches all come down to organizational and psychological issues with psychology being the overriding factor.

In some respects that shouldn’t be such a surprise but it does suggest that the problem isn’t with the funding approaches so much as in our psychological response to reality!

The Arguments Against Flexible Funding Are Mostly Psychological

As Anderson discusses one of the big issues is deciding what goal to set which nicely combines a whole bundle of practical and psychological problems from researching how much things really cost to assessing one’s actual support.

Setting the goal is a specialty of Ian Anderson and Levi James at Launch and Release and I don’t have anything to add to that.

But beyond figuring that part out, everything else Anderson points to is almost totally psychologically from issues of self-doubt to appearances of desperation to benefiting from perceptions of scarcity.

Let’s take a look at scarcity about which Anderson states:

“All-or-nothing invokes scarcity because if the goal isn’t met, the project doesn’t happen. (At least in theory.) In contrast, Flexible Funding signals that the project will happen with or without the audience’s involvement.”

Note the “at least in theory.” This is not an issue of a funding model but an issue of appearances.

I firmly believe you can conduct a flexible funding campaign and create a sense of urgency if you’re so inclined.

In fact, I seriously doubt that most of the people you know outside of the music industry (dear reader) have any idea what this post is talking about.

I Don’t Think Most People Know The Difference

I periodically ask everyday people, like my relatives, if they’ve heard of crowdfunding. They usually say no. Then I ask them if they’ve heard of Kickstarter. They usually say yes.

I’m betting if I asked them about all-or-nothing versus flexible funding they’d be hard pressed to do anything but guess at the topic in question.

We’re making a lot of assumptions when discussing these issues online. And while we can do that successfully because so much related behavior has been observed and studied, formally and informally, I think the discussions I’ve encountered regarding all-or-nothing funding vs. flexible funding are missing the mark because we’re not conducting studies of the people who fund the campaigns.

At least I haven’t seen them. Please share them in the comments if you know of any.

But, until we do know more about what those supporting funding campaigns are thinking, I’m struck by the fact that most of this is about how to handle psychological issues that aren’t inherent in the funding structures.

[Thumbnail image courtesy Vic.]

More:

  • Don’t Let Criticisms Of Music Crowdfunding Stand In Your Way
  • Music Crowdfunding Without A Fanbase
  • 2012: The Year Music Crowdfunding Broke

Hypebot Senior Contributor Clyde Smith (@fluxresearch) also blogs at DanceLand. Send news about music tech startups and services, DIY music biz and music marketing to: clyde(at)fluxresearch(dot)com.


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C2SV Music and Tech Conference Returns to Silicon Valley…

Screen shot 2014-07-23 at 4.39.20 PM

C2SV (Creative Convergence Silicon Valley) Music and Tech Conference will be returning to Downtown San Jose from September 10th – 14th.

C2SV began in 2012 and is modeled after conferences like SXSW and NXNE. It was founded as a way for Silicon Valley to celebrate their tech and music scenes.

The conference is young and relatively small, but has pulled in some big names in the past. Last year, Steve Wozniak, John McAfee, Robert Scoble (Rackspace), and Nolan Bushnell (founder of Atari and Chuck E. Cheese) spoke at the conference.  This year’s speakers haven’t been announced yet, but there will be an emphasis on women in tech.

C2SV features a VC pitch competition for startups. Young startups can submit their pitch online.  The ten best submissions will present their pitch to venture capitalists at the conference

The music festival portion of C2SV 2014 will feature The Breeders, Kelley Stoltz, The Neptunas, and Gateway Drugs. An electronic music stage and club performances will also be announced.

 

Nina Ulloa covers breaking news, tech, and more. Follow her on Twitter: @nine_u

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Open Labs Releases Stagelight 2.0, Downloads Near 1 Million, Dell and Lenovo Preload Deals

Stagelight-on-a-dellYesterday Open Labs released Stagelight 2.0, their music creation app for Windows that costs $ 9.99. It comes with a variety of new features, including an in-app store, and will also be preloaded on hardware from Lenovo and Dell. Additional distributions agreements have been made with Intel, Microsoft and Guitar Center. A solid step forward for Stagelight  with the additional news that, according to CEO Cliff Mountain, they’re close to a million downloads of the full app.

Stagelight 2.0 is a free update for Stagelight owners and $ 9.99 for the rest of us. You can also download a demo version for free.

Open Labs’ announcement of the release includes new features:

“LoopBuilder is a loop-style production feature that allows you to mash-up and record your favorite performances all in a single touch.”

“Brand new Electro Instrument Series, native FX and classic features such as Key Lock, the piano that can’t play wrong notes.”

“You can easily explore new genres of music, take step-by-step lessons and learn other advanced features and tips all within the app’s SongBuilder engine.”

“Share your songs with friends and family with Stagelight’s one- touch publishing to the cloud and connect with other musicians in the Stagelight artist community.”

“Stagelight’s in-app store is designed to give you the power to find world-class sounds and features you want, when you want them and without ever having to leave the app.”

Stagelight 2.0

According to TechCrunch, CEO Cliff Mountain revealed that they’ve had almost a million downloads of the full app. I’m not sure if that included the Linkin Park and Timbaland editions.

Mountain says he also expects preload deals with Lenovo and Dell (shown in above thumbnail) along with distro deals with Intel, Microsoft and Guitar Center to result in at least 2 or 3 million downloads in the next few months which TC’s Sarah Buhr considers conservative.

Open Labs was profitable early on. Mountain said that beyond early investments, including Timbaland and Linkin Park, they’ve bootstrapped their way forward.

Sarah Buhr has more on what’s up with Open Labs.

More:

  • Timbaland Adds Open Labs To His List Of Music Tech Investments For 2013

Hypebot Senior Contributor Clyde Smith (@fluxresearch) also blogs at DanceLand. Send news about music tech startups and services, DIY music biz and music marketing to: clyde(at)fluxresearch(dot)com.


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20 Artists Set to Breakout in 2014…

Zella Day EP Promo Shot

Zella Day

 
At the end of every year the Hype Machine posts a list of their most blogged artists. They also post a mid-year glimpse at what’s trending.

As Chromeo said at SXSW, Hype Machine is basically the Billboard of indie music. 814 quality blogs are sourced (including my own), giving a fairly accurate representation of which bands are taking off. Banks is currently leading as the most-blogged artist of 2014. Disclosure topped the 2013 list, and Grimes topped the 2012 list.

Hype Machine also has a “ones to watch” list, and they’ve  provided a mid-year look at it as well. The artists in this list aren’t on the lips of every tastemaker yet, but you can almost guarantee they will be by year’s end. These 20 artists topped Hype Machine’s most-blogged list for the first time in 2014, and haven’t released a full length album yet. If you’re trying to figure out who the next hype-bands are then look no further.

_____________________

Zella Day

I interviewed Zella at SXSW this year and watched her perform. I was completely blown away by both her personality and her live presence.

Broods

Marika Hackman

Kwabs.

Tinashe

Tinashe was easily one of the most impressive live acts I saw at SXSW, just look at this photo I snapped of her.

SALES

Gorgon City

Moon Boots

Tove Lo

Phoria

IYES

Fickle Friends

Ben Khan

Seinabo Sey

ZHU

Yumi Zouma

Cathedrals

Bipolar Sunshine

Alice Boman

Oceaán

 

Nina Ulloa covers breaking news, tech, and more. Follow her on Twitter: @nine_u

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A Complete Image Sizing Chart for Facebook, Twitter, Instagram, YouTube, and Other Social Networks…

Image requirements for social media networks change frequently, so here’s the latest update.  Bookmark this!

Special thanks to our friends at Infinpixels!

socialmediaguide2014

 

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Conor Oberst Drops Lawsuit Against Woman Who Falsely Accused Him of Rape…

conor

Conor Oberst recently forgave Joan Elizabeth Harris (aka Joanie Faircloth) for falsely accusing him of rape, after she publicly apologized. Harris originally said Oberst raped her 10 years ago in a fabricated comment on xoJane. The story spread across the internet, quickly becoming an issue.

Oberst had to wait six months for an apology, and now he’s ready to move on. He has completely dropped the libel lawsuit he had filed against Harris.

Oberst’s publicist told Buzzfeed:

“Conor had his lawyer ask the Judge to dismiss the complaint against Joanie Faircloth. Conor’s only goal throughout these court proceedings has been to expose the truth. As per his statement of last week: he looks forward to moving on to happier times.”

The notice of voluntary dismissal of the case is also available via Buzzfeed.

 

Nina Ulloa covers breaking news, tech, and more. Follow her on Twitter: @nine_u

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Intour: A Festival Featuring Performances from YouTube and Vine Stars…

Intour_02

Fullscreen, a multi-channel network that represents a variety of content creators, has announced an upcoming festival featuring YouTube and Vine Stars.

Fullscreen says they are the first multi-channel network to produce their own festival. Kevin Lyman and 4Fini (the producers behind Warped Tour) are producing the festival, named Intour.

The festival will feature Connor Franta, Ricky Dillon, Jc Caylen, Sam Tsui, JennXPenn, Alx James, Brent Rivera, Crawford Collins, WeeklyChris, Dylan Dauzat, Charity Vance, and FreshBigMouf. I’ve never heard of any of these people, but their number of followers range from 10,000 to 5,000,000.

Intour will include live performances, social media interaction, music, and games. If it does well it could have serious implications for the future of digital content creators.

InTour Poster1
 

Nina Ulloa covers breaking news, tech, and more. Follow her on Twitter: @nine_u

 

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What Boyhood Can Teach The Music Industry

boyhood_main

I saw an incredible film last week. It was only playing at 6 theaters across the country. Two happened to be in LA.

We were interested in seeing a movie, picked our favorite theater and checked the listings. I use Rotten Tomatoes religiously. Like I use Yelp. It’s been years since I’ve gone to a movie before checking its Rotten Tomatoes score or entered a restaurant before reading its Yelp reviews.  Very seldom do they fail me.

Boyhood had a score of 100%. I’ve never seen that before. It was a no-brainer.

I went in not knowing anything about it. But from the moment after the credits rolled, I became obsessed.

Boyhood’s brilliance does not lie in its script. It exists in its heart. Shot for about one week a year for 12 consecutive years, this film tells a coming of age story like never before in the history of cinema. It opens in 2002, with Coldplay’s “Yellow,” on a 6 year old boy lying in the grass. Every few scenes the story jumps a year. The accompanying soundtrack helps mark the time. We see the boy and his sister (along with their father, played by Ethan Hawke, and their mother, played by Patricia Arquette) age. The boy grows into a man – with accompanying facial hair, piercings and girlfriends. The girl grows into a woman.

Sure, the concept is revolutionary. Never been done before. But what truly makes this film stick (and gets me to want to see it again) is the intimate connection the audience feels with the characters. I felt like I was a part of the family. I felt like I grew up with Mason and Samantha.

Boyhood doesn’t have the normal Hollywood beats that appear in virtually every multiplex released feature. This film succeeds in captivating the audience by reaching deeper, waking up your soul and inviting it along for the journey.

Boyhood is being slowly rolled out across the country over the course of the coming month. An indie feature, funded by IFC Productions for just $ 2.4 million, it’s a difficult sell to the multiplexes out of the gate. But something tells me by the end of the Summer it will be everywhere.

Opening week sales mean less and less in a digital world. Who cares if an album sells (or streams) 100,000 copies its first week or its first year? 100,000 is 100,000. Traditionally, record stores wouldn’t keep titles in stock if they weren’t selling, but that’s not an issue anymore. Albums remain online forever. Boyhood, like many great albums, is a sleeper. Sleepers take awhile longer to reach a general mass, but stick around forever. Boyhood will be a word-of-mouth success. How could it not be? It’s such a fun story to tell.

Instead of worrying about opening week sales of your album, create something great that people want to share. Make sure you have a story outside of the music that fans can share when encouraging their friends to check it out.

Boyhood has been getting loads of press. Its story is something reviewers want to talk about. Most indie films are lucky to get a few reviews, but this is an easy sell. Does your band have a story that people want to write about? What sets your story apart from every other indie artist releasing new music?

hand-left Why No One Cares About Your Music

Sales don’t matter anymore. The long tail can be realized in the streaming economy. The beautiful thing about where the music industry is headed is that artists can be rewarded for creating important art that people want to listen to again and again. The more people listen, the more the song earns, and (if not on a major label), the more the artist gets paid. This was never the case before streaming existed. Once an album was purchased, it never earned another cent no matter if it was listened to once or a hundred times.

hand-left How To Steal An Artist’s Streaming Money In 3 Easy Steps

hand-left Streaming Will Soon Be More Profitable Than Sales

It took Lorde’s “Royals” six months after it was released to reach #1 on the Billboard Hot 100. And that was five months after it went viral on Spotify from being featured on Sean Parker’s Hipster International Spotify playlist.

However, according to mainstream standards, this single was a flop because it didn’t immediately take over radio or chart in the first week.

So many labels, managers and artists are stuck in the pre-streaming mentality of make-or-break first week sales numbers. Create great art. Work your butt off promoting that art while continuing to create more great art. Don’t get discouraged if it doesn’t have the world altering affect in the first few months.  If it’s truly great and you continue to work hard exposing it to more and more people, it will eventually reach its tipping point.

Ari Herstand is a Los Angeles based singer/songwriter and the creator of the music biz advice blog Ari’s Take. Follow him on Twitter: @aristake

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The Week In Music Commentary

Bullhorn

  • The Value Of Giving Away Your Music For Free
  • YouTube’s Pressure Tactics? Good Old Fashioned Corporate Strong-Arming

 


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