music business

How To Start Crucial Music Industry Conversations

March 9, 2013 by Andy

What do you mention when talking about what you’re up to musically? Anything! As an indie musician you need to be highly versatile and agreeable to ANYTHING that has to do with music. A friend wants a band to play at a party? Someone else needs a DJ for their wedding? Your boss needs help choosing music for her kids? Yes, yes, and yes.

Get used to saying yes to everything that has to do with music. Even if you’ve NEVER done it before. Even if you don’t have the right equipment. Say YES and figure it out.

This is a key insight into the minds of some of the world’s greatest entrepreneurs. They see someone with a need and find a way to fill that need for that person. Eventually their reputation grows as a problem-solver and soon enough they’re making money – or even building a company – by simply having capitalized on the opportunities all around them.

Here’s how it could work:

Your friend’s friend needs a band to play at a party.

You say YES, figure out what kind of music they want, and do it.

When you go to the party, use it as an opportunity to:

Sure, you may get nothing or you might meet a bunch of people who work in accounting firms who seemingly can’t help. However, if you convey your message clearly, it makes your message easy to remember and easily repeatable. They can then relay your skills to their friends. You can see how literally anyone becomes a great new lead. Plus you might need an accountant some day anyway!

Here’s another more basic setting:

Your friend needs some new music for their daily workout.
You say “I know a TON of great workout music, what kind of stuff do you like?”
You put a playlist together, put yourself in the meta-data in iTunes with your email address, and tell your friend to spread the playlist around if they like it.
– This could potentially lead to a few new fans or mailing list subscriptions, or just some new friends-of-friends who loved your choices, who can now think of you when they think of music.

Saying “yes” is also a great way to learn new skills and develop side projects and alternate revenue streams as you pursue your passions – all because your friends know that when they think “music,” they should think of you.

But this email is titled “what to say” and I know how most of you feel when it comes to self-promotion. You think of it as annoying or contrived and it may make you feel uncomfortable. Well the great news is if you’re starting with friends and colleagues conversations are immediately more comfortable.

But the key when talking to anyone is to thinking about talking UP!

U – Updated
P – Positive

This means that everything you say about your career should be some new detail with a positive spin. Let’s say you’re currently trying to find a music publisher. When your friends ask “hey how’s it going” you could respond by saying:

“It’s going really well, thanks for asking! I actually reached out to a few different music publishers last week about my new EP!”

Your friend might ask what a music publisher is, or ask to hear your new songs, or maybe they just change the subject. Whatever they do, if they engage in a conversation later and music comes up, you can bet they’ll say “oh yeah my friend’s in a band – in fact, I think he just recently was talking to a music publisher about his new EP.”

Simple phrases like that go a very long way. From here it’s possible your friend’s friend could want to get in touch and ask how you did what you did. Maybe they need advice because they’re starting to record their own EP. Or maybe it’s something simple like they’re looking for a new guitar player. This means potentially being able to advise them about publishing, helping produce their EP, or getting an extra gig with their band.

Either way you can see how each time you simply mention what you’re working on in a positive way, the response can lead to a situation where your skills become relevant, interesting, and useful.

Why is it so important to be positive?

Well, check out this response to the same question of “how’s it going?”

“Pretty good I guess. I tried emailing some publishers but I haven’t heard anything back yet. It’s really frustrating. The music business is so tough to get into. I’m not even sure my new EP will get listened to by anyone.”

WHOA! Big difference right? This statement sure says A LOT about how you feel about your own music, and how successful your friends perceive you to be. What do you think your friend might say to their friend now? Do you think they’ll relay a simple, positive statement that gets the person they’re talking to interested? Probably not.

Furthermore, how do YOU feel when someone talks to you in this fashion? How does someone who is positive affect you? Start paying attention to it today – you’ll be blown away.

Here are a few more examples of updates you can give to friends when they ask you “what’s going on?”:

Invites to upcoming live shows (that you’re either playing or attending).
New gear you bought.
New songs or bands you love, or how you’re re-discovering a classic (this one is really easy)
Some new tool you use on the business side of your efforts (maybe you started using Evernote for keeping an archive of industry contacts)
New songs you’ve written or co-written (feel free to talk UP co-artists too!)

You might even mention that you dig working your day-job because every paycheck brings you 10% closer to your next studio day or an awesome effects pedal or whatever.

Finally, I’d like to talk about when you really don’t want to, or can’t say “yes.” Keep in mind you can always TRY to help. Let’s say someone loves Neil Young and wants to meet him. Well, unless you know Neil or his manager, it’s unlikely you can help, right? But what you might do is head home, hit up the internet and see if you can find a few tips others have used to meet famous people. Then fire off an email with a link.

It might not be an intro to Neil Young himself, but you never know how it can help someone until you try.

Action Step: Write down an example phrase you can use no more than 2 sentences long for each of the 5 examples above. Then, just like you would when working on a song lyric, edit them relentlessly until they are positive, precise, and clear. Start putting one or two of them to use immediately the next time someone asks you “How’s it going?”

We covered a lot in this email, but I hope you found it useful. If you have, please pass it along to a friend, or tweet it and mention my name (@andylykens). I would very much appreciate it!

In the final LHF article we’ll be covering WHO the best people are to find when it comes to advancing your career, and how to find them more quickly through genuine connections to build strong relationships.

Low Hanging Fruit in the Music Business: Part I – Find Opportunity Anywhere

March 9, 2013 by Andy

The how to be the first thing to spring to mind when a contact thinks about music.

What is low hanging fruit?

Low Hanging Fruit is a sales concept which means that we need to be sure we’re capitalizing on the opportunities in the places where the fruit is ripe, and easy to pick.

While the metaphor is obvious it exists for a reason: we often get so focused on some large, grandiose plan that we tend to miss out on the easy-wins that surround us everyday…or we get so paralyzed and distracted that

This is especially true in the music industry and getting music licensed. Yes, it’s insanely competitive. Yes, there is a TON of specialty knowledge to learn. Yes, there are a LOT of things you “need” to do.

So we focus on major projects or outreach looking for that big score – music in a commercial, a music publishing deal, some mega-artist recording our song…

But what would we see if we looked for the low-hanging fruit first?

Where do we find it?

Friends, colleagues, and aquaintances. That’s where. Maybe relatives sometimes too.

“But I don’t have any friends in the music business.”

Shut up and stop being dumb. You don’t HAVE to have friends directly involved in the music industry. In fact, it’s probably better if you don’t since the music industry is a complete shit show right now anyway.

Capitalizing on the opportunities that are around you everyday will involve people that work for an entity that simply uses music. There are obvious ones like ad agencies and production companies, but it could also be less obvious like a dog food company, a car dealership, or even a school.

Being tuned in to what your friends are talking about, getting interested, and simply talking about what you do is the next HUGE step you need to take. Once you do that, you’re on way to being able to genuinely help them while applying those skills and traits we mentioned before.

Now pay attention because this next bit is SUPER important:

Low-hanging fruit will scarcely be a 1-step process

Think about that. It means that when you talk to a friend or connection, you realistically cannot expect that because of one conversation all of your dreams will come true. Instead, you should expect that it leads to ONLY ONE MORE step toward uncovering an opportunity to exploit your music.

Yeah, yeah, that isn’t sexy and it certainly isn’t what people want to hear. Tough cookies. Take a look at the goals you created from the last email. How many of those can you instantly achieve in one fell swoop? Probably none. But the nice thing is there is good news about this too:

It also means that you don’t need to know someone super important to take a step in the right direction with your music career.

You may not know anyone directly in the music industry, but I bet there’s a great chance that you know someone who knows someone that can use your skills. Or who knows someone who knows of a conference or event where you can meet people to start making real strides.

What does this really mean though? That you need to be some sleezy, sales-y, douche-bag handing out business cards and CDs to any and everyone you meet? Excuse me while I puke.

No, quite the opposite (this is why your friends are great contacts – they’ll make funny faces or throw bagels at you if you’re being creepy and weird). You can never look ahead into the future to see where things may lead. So, even if you think your friends don’t know anyone it’s important to just talk about what you’re up to as far as music goes. Then, if they ever hear of someone needing a musician or song or something related to music, they immediately think “oh wait, my good friend can help!”

Now we start taking action. Here’s what I’d like you to do to start practice this technique, do it now:

Make a list of friends, co-workers, and aquaintances you can start talking to about your current music projects.
Next, make a list of skills or tools you have that pertain to music.
Now, next to each friend’s name, see if you can come up with 1 or 2 things they may not know that you do.

*note: if you’ve only mentioned something to someone one or two times in the past, they don’t know you do it. Trust me.

The next time you see anyone from your list above, try and work just one of those things into the natural conversation. Maybe you have a live show coming up, maybe you love making playlists for peoples’ parties, or maybe you have an in at a studio. Whatever it is, just be concious of that one thing the next time you see that one person.

So now we’ve honed in on our skills and goals, and we’ve started integrating those skills into conversations with friends. The journey continues! Do you feel like a hobbit? That’s too bad cause I’m dressed like Gandalf today.

Planning Music Industry Goals

February 12, 2013 by Andy

This is part 3 of a four part series on treating your career in the music business or as a professional musician like an entrepreneur.

Click here for Part 1 – Being A Music Industry Entrepreneur

Click here for Part 2 – Goal Setting in the Music Industry

Click here to register for the newsletter to be sure you don’t miss out on the rest of the series…

Crafting a plan for any music industry project is key. It allows you to materialize an action plan, gives you a tangible list of tasks that act as a checklist and can present to potential partners, and allows you to lay out risks and pitfalls in order to nip problems in the bud.

The key element to ANY music business plan starts with your end goal in mind. We talked about setting goals in the last newsletter so if you missed it, click here. Clearly state the specific goal you have and then list a few of the positive outcomes it will create. Your goal can include acquiring new fans, creating a fanbase mailing list, getting in touch with music supervisors about music licensing opportunities, or even your next EP or album project. Let’s use creating a mailing list as an example.

Example: Create a mailing list based on email addresses acquired at live shows of at least 50 fans over the next 4 gigs.

Once you have your goal stated clearly, you can then consider the steps it might take in order to achieve the goal:

Register for an email service

Research and choose a way to collect emails at gigs (ie: apps, sign-in sheet at door, collect after the show)

Outreach to local venues to get more gigs

Write, edit, and practice mic banter for asking for emails at gig

Create 4 emails to be sent to the list, 1 per week for the next month

Promote email list sign-up via social media and website

Your list might look very different than mine for this particular project, but you get the idea. You’ve got a goal, you’ve got action steps. An excellent start to any plan. What’s next? Adding a deadline of course!

We already know we want to populate the list with at least 50 people over the course of 4 gigs. We can take this 1 step further by adding something like “or in 1 month, whichever comes first” (although, without a live gig it might be tough to populate an email list).

Then take a look at your other tasks, and work them into that time frame. Once you’ve got it planned set calendar reminders on your phone or laptop, write it down on a calendar near wherever you work, or just refer to it in the plan anytime you boot-up your computer. I will say here it is DEFINITELY a good idea to have it in front of you physically and having your phone beep at you once in a while so you don’t lose sight of your project.

Great! We’ve got our goal, our plan, our schedule, what could go wrong? Exactly! That’s what’s next. Let’s try and come up with as many things that can go wrong along with at least 1 solution for each. It might look something like this:

Band member has to leave town – get a back-up player for each band member lined up for gigs

After 1st gig, email collection is poor – consider giving away an EP or band sticker in exchange for an email sign-up

Not able to get more than 1 or 2 gigs – ask some other musicians about getting an introduction to a venue booker in order to facilitate getting a gig

Again, your solutions and dilemmas may look different than this, but the key is to find reasons why you CAN achieve the goal despite setbacks. This helps break barriers. Again keep in mind, you won’t find the BEST process for goal-planning immediately. It will take time to learn how long it takes to do things, and what things work best as far as accomplishing certain goals. Once you find some processes that work for you, iterating the process and tweaking it to increase your success rate.

Whatever you do, remember to craft a plan, and get started. You may not hit your mark exactly at first, but like we said in the last email, there really is no such thing as failing. Learning, improving, and tweaking is all part of the process.

Two Terrible Emails To Ensure You Will Not Get Your Music Licensed

January 28, 2013 by Andy

As my mailing list has grown and my twitter following increases, I’ve been getting emails from some of you. The crazy part is despite the writing I do, I still get some of the most ridiculously crappy emails you’ve ever seen in your life.

Today I want to highlight two such emails and encourage the folks that sent them to write down any complaints, put them in a letter, address an envelope, and then crumple it up and throw it away. There’s no helping you if you’re constantly sending garbage to people.

Here is the first email

Seriously? They haven’t even changed their default mail name from “Yahoo! Mail” – and, oh yeah, they SPELLED MUSIC WRONG. Are you serious? How does this person expect me to respond? Here are a few responses that immediately jump to mind:

NO!
YES, I am able to, but I won’t.
What the hell is “muaic?”
Dear Yahoo Mail, I wasn’t aware that non-living computer entities were even self-aware, much less writing compelling “muaic” that I may or may not be able to listen to! PLEASE tell me more!

Look. If you can’t write a complete sentence, give up now. If you can’t do an inkling of homework BEFORE you reach out to someone, give up now.

People will tell you to follow your dreams – I am telling you to stop immediately following your dreams if you can’t write a complete sentence with properly spelled words – you’re wasting everyone’s time. I’m more compelled to open spam emails than garbage like this.

Moving on to email number two

This person can at least write sentences and has included their name. Big improvement.

However, they COMPLETELY miss the point of one of my FIRST key elements of marketing your music: they make it all about them.

I’ve blurred out the info but take a look:

Do you see why people aren’t listening to your music? Do you get it?

If I sent you an email that was incredibly verbose and offered nothing but biographical information, would you ever read it? No, you wouldn’t. You’d sigh heavily, throw your sandwich across the room and run to cry under your bed.

Remember, your goal is to get the person to listen to your music, but you want to be relevant to the person you’re writing to.

If you want to jump-start your outreach efforts, subscribe to my email list. You’ll get a free 8-part music licensing how-to course delivered right to your inbox.

3 Must-Know Music Licensing Contract Points

January 14, 2013 by Andy

Many musicians find the legalities of the music industry scary or, according to some research from my blog and newsletter, haven’t even looked at a contract. In fact, the music industry itself has made a point to tout it’s legal strength anytime someone tries to do something inventive and effective in the music space, rather than trying to learn from or emulate the result (zing!).

The fact of the matter is that yes, you do need a lawyer to review your contracts and licenses. However, you don’t need one in order to understand the fundamentals of a license. You see there are three key terms when a television show, film, or ad agency wants to license music. These 3 terms are also the foundation of negotiations and help determine the cost of the copyright to be used. Here they are:

Media: This is essentially the “what” of a music license. Will it be broadcast on TV, streamed on the internet, or will it be used for an in-house presentation? It can be any one, or any combination of, pretty much anything you can think of.

Term: This is the “when” of a music license. Licenses can be as short as a one-time usage or as long as eternity (called perpetuity). While there are few times as an artist you would want to license a song in perpetuity, this is something music libraries do with relative frequency. It also saves a huge headache for the producing company, and keep in mind a license in perpetuity is only for the ONE usage outlined in the media definition.

Territory: This is the “where” of a music license. This will delineate where exactly this particular project is going to show up. Will it show up all over the world? Will it just be in Ohio? Maybe it’s going to be shown at a convention center.

There you have it, the licensing basics. Keep in mind all of the above can be adjusted and negotiated and the cost of the license should reflect such adjustments.

One final point: It comes down to how many people are going to see a project, and how much you value your music, the exposure, and the project itself. If someone wants to license your song for all-media, worldwide in perpetuity (which I would HIGHLY advise against unless you’re running a music library), they’re anticipating a lot of people are going to see it. This means the exposure is high, which is great, but they’re also asking for a lot of rights which means it should be a cost consideration vs. the history of your song.

When it comes to contracts of course consult a lawyer before signing anything. But understanding these basics should help give you a good idea of how to gauge a music license and evaluate a proposed fee to ensure you’re getting a great deal.

If you’re REALLY serious about getting your music licensed, subscribe to my newsletter for a free 8-part how-to course, music publishing 101 audio download, and more!

Who Wants to License Your Music?

December 23, 2012 by Andy

In my last article, I mentioned recent efforts in getting to the bottom of what independent musicians want to know most about getting their music in film, tv, and advertising. By far, the top answer is “who do I contact?”

Who Ya Gonna Call? Today, I’m going to give you some ideas about who might be looking for music and where you can find them. Most of the information you need exists online as far as WHO you need to contact. Here’s a quick rundown of some GREAT resources.

Television & Film – It seems like everyday there’s yet another television show going on air and I would venture to say that 99% of them use music. The easy win here is IMDB. Check out a show you think your music would be appropriate for and bring up the full “Cast & Crew” details. Do a quick find on the page for the word music or music supervisor, and voila. Another idea is to simply check the credits on your favorite show that you DVR, and then Google the person’s name.

Advertising – Ad folks are no more difficult to find. Probably the biggest downfall to the ad industry is that the creative decisions might be funneled to a specific music producer but the final say is up to the end-client (the brand) or, at the very least, a group of creatives at the agency. This makes it tough because you can get into the running for a spot, but then at the last minute someone else can come along and veto. It can be a frustrating process if you let it get to you but if you learn to roll with the punches, something will come along. The best place to get contact ideas is AdWeek. It’s a cool publication all around if you have any interest in advertising outside of music, but they often post credits for their “Ad of the Day” where you can get names of specific people working on specific brands across the globe.

Video Games – Video games can be a bit trickier, but you have to remember that the people with the coveted positions as music producers and music supervisors have been interviewed, participated on panels, and generally are bombarded with enough attention that digging them up on Google is easy. Give LinkedIn’s search a shot, or try googling the video game company’s name along with “music supervisor” and see what you come up with.

People You Know – You probably have heard a million times that the best source of pretty much anything is your address book. I can’t emphasize enough that having a connection to someone who can potentially use your music will be the most efficient, least painful way to go about securing a license. Both parties involved will be more comfortable leading to more useful conversations earlier on. Hit up your Rolodex and see if you know anyone that works at an ad agency, in film or TV, or at a video game company. They don’t have to be THE music contact, but they will be able to help you in some small way if you ask.

Finding the right people is really straight-forward and easy to do. If you’re smart about it, you can put it to use TODAY to start building relationships with the proper folks. I’d like to emphasize “building relationships” and not “sending emails all about how great you are.” Keep that in mind before you start dropping emails to folks, they will VERY much appreciate a genuine connection versus yet ANOTHER artist sending them more music they’ve never heard of and don’t care about.