Category: Newsletter

Lead articles from the weekly newsletter.

Success in music: defining your personal strategy in four steps

Posted on | by Bas Grasmayer

Finding your way to success can be confusing as an artist. Here’s what you should be focusing on.

At the Play & Produce conference in Ghent, Belgium, I joined a panel about digital revenue streams with Jef Martens (Basto / LazyJay), and Sebastien Lintz who does digital for Hardwell, artist management at Sorted, and is label manager at Revealed Recordings.

We discussed a lot of topics, some of which are covered in this article, but a lot of questions were left unanswered when we ran out of time.

So, for all those musicians that want to turn their craft into their livelihood, I wanted to create a basic resource to be able to refer to. This article goes over:

  • Making good music.
  • Getting your music in front of the right audiences.
  • Networking (!).
  • Retaining your fans & building community.
  • Monetization.

You’ll learn some new tricks to get better at what you’re doing, but more importantly: the below teaches you to develop your own strategy. Dive in!

Step zero: make really good music.

Before anything else, you need to make great music. This is part skill, part taste, and part understanding of trends. The best music is timeless, but before it becomes timeless, great music has to be timely.

As your skills develop, so will your ability to develop a consistent sound that’s unique to you. This is important, because it’s unlikely you’ll ever be ‘the best’ — simple mathematics. However, if you make a sound that stands out, you don’t need to be the best, you just have to make something remarkable.

Seems like an obvious step, but it often needs repeating. If you’re feeling lost or overwhelmed, know that the most important thing to work on is to develop your music and your skills. Everything develops from there.

Step one: getting your music heard.

Make a lot of music and release a lot of music. Make sure it’s easy to find, to stumble upon, to access, and to share.

There are a variety of tools that help you distribute your music to a lot of different places, like Labelgrid, or distributors like CD Baby and TuneCore. They help you to be everywhere your (future) fans might be.

In order to be discovered, make sure to put time into the artwork and accompanying description for your music. The description provides keywords for people to find your music, so don’t hold back on mentioning the names of bands that influence you, genres, etc.

Make it easy to share your music. Great music is inherently viral. Since YouTube is the most universal music player, you must have your music on there. Make sure the title has all the relevant information plus an indication about the type of music, to guarantee more clicks when people share it.

Regarding the artwork, you should understand that we live in the age of feeds. Social networks like Twitter, Facebook, and Instagram encourage us to scroll endlessly, because it means we’ll spend more time on their platforms.

Make sure your artwork is a scroll stopper.

It doesn’t have to be fancy, just effective.

7 Maine Coons Head Bopping

If your sound is good, people will share it (hence step zero).

From there, you need to find your audience.

(pro tip: get your music everywhere, but figure out what channels work best for you and double down on them. Doing a little bit of everything is a good way to not get traction anywhere. Make sure you actually enjoy using the channels you focus on, because if it’s not fun for you, you’re going to get exhausted and inconsistent eventually.)

Step one point five: finding your audience.

If you understand your music’s audience and where they hang out, or who else they listen to, you can start doing specific things to get your music into their ears, such as:

  • Remix other artists in your genre. Don’t ask for permission, but communicate to them once your remix is done. After all: their repost helps you reach their audience and chances are they’ll have a bigger audience than you. Play nice. And don’t put your remix on Spotify or other monetized places without permission. It’s less about the legal issues, and more that it’s just bad for human relations.
  • Connect with communities in your genre. On Reddit you can find loads of communities where producers are helping others to learn to master their art. You can also connect to communities around certain genres or prominent labels inside a genre. If Reddit’s not your thing, you can find groups like these on Facebook too.
  • Pitch your tracks to channels your audience follows. These may be blogs, YouTube channels, or internet radio stations. You can be more creative also: if there’s a popular video game streamer on Twitch that listens to a lot of music like yours, you could reach out to them, offer to make a personal theme song for them in exchange for a certain amount of airtime on their stream. Be creative.
  • The value of being (one of) the first. On our panel, Sebastien Lintz pointed out that being one of the first people on a platform can have big advantages. So keep your eye on new apps that pop up, get on there, try them out, see what happens. This is how you secure a first-mover advantage for a specific segment. Not convinced? Just look at what Vine and Musical.ly have enabled.

Step two: develop strong relations with people.

Success in music is usually a combination of music skills and people skills. When you see an overnight success, what you don’t see is the many years of preparation involved in that.

An artist may be young, but the team around them will know exactly who to talk to, who to ask for favours, the right people to work with, etc.

So, don’t be shy. Make sure you’re frequently in the same room as people who can help you. If you have a chance to pitch your music and get feedback, then go do it, even if you think you’re not ready. The feedback you’ll get will be valuable, but it’s also a good chance to get into the mind of label A&Rs, learn how they think, and you’ll know who they are if you run into them again.

These things happen in live settings, but sometimes people like Sebastien call for artists to submit music & have it publicly reviewed.

Other things you can do:

  • Speak to the DJs, promoters, organisers, etc. at local shows.
  • Go to conferences and set aside your shyness. Go chat with people, find out what they’re doing, and if there’s a panelist you find interesting, grab them for a chat. They’re there to speak to people and they’re interested in meeting you.

Basically: talk to people, and if it’s uncomfortable, then take a friend with you who’s good with that. The music business is a network business, so understand that you’re building relations that will last your entire career. Start early.

Step three: retaining your fans.

With the previous steps, you should have a way to get your music heard by people. Attention is fickle — so the big question here is not how to get people to listen to your music, but how do you get people to listen to your music again? And again, and again, and again.

You need to feed them to places where you can reach them again. It’s incredibly valuable, so if you’re annoyed with vloggers telling people to subscribe in every video: place yourself in their shoes. And do that!

Find the best ways to reach people. Facebook posts, once you scale your fanbase, may only have a 5% reach. Tweets are similar. It’s one of the reasons why I started a newsletter to talk about the future of music. For the last year, the open rate has been close to 50%. The typical artist newsletter has a 20–25% open rate.

Other methods to get your messages to your fans:

  • Download gates, like ToneDen, which allow fans to download your music in exchange for following your social accounts, incl. Spotify. Downloads as an incentive work well with certain audiences, but realize that ‘FREE DOWNLOAD’ in 2016 is nothing special.
  • Ads & remarketing. Sometimes it’s worth it to pay for ads. For instance, if you create a unified link for your release with a tool like Linkfire, you can integrate Google Analytics & AdSense. This way, you’ll get some data about the people that checked out your release and you’ll be able to target them on sites they visit, or when they Google something… Got a show in a town with a lot of fans? Set an ad that reveals your show the next time they Google for something fun to do on the weekend.

The basic jest of social profiles is this: be consistent, stay relevant, and frequent. Don’t abuse people’s permission to appear in their feeds or inbox, because they’ll unsubscribe or learn to ignore you. Good luck winning their attention back then.

You can also use ephemeral content, like Snapchat, to become part of fans’ habits.

Step three point five: building your fan community.

I love using the example of the fanbase as a house party. In my many years of awkward beers with strangers, I’ve learned there are roughly two types of house parties:

  • The type where you get let in, stand around a room with strangers, where nobody’s really entertained and just waiting for the host to come chat with them, and thinking of an excuse to bail ASAP. 💩
  • The type where the host lets you in, immediately introduces you to people you should talk to, suggesting topics you can discuss, and then at some point in the night you realize you haven’t even seen the host in an hour, because you’ve been having such a good time with their friends. 🔥

Building a community is a great way to get your fans to keep their attention on you, even after you leave the room. Not only that, but you now have the power to get back into the room, shut everyone up, and ask people to amplify what you have to say:

“Having a great time? Let’s get some more people in here! Text your friends. BYOB.”

Facebook Groups are an excellent way to do this. It also lets you mix fans that you’ve known for a long time (eg. friends), with first generation fans, and later fans.

Help keep the community active. Get people to talk about music, art, whatever you find interesting and is somehow a relevant connector. The music shared in the group doesn’t have to be just your music.

Step four: “shut up and take my money”

Having a connected fanbase allows you to intimately understand who the people that listen to your music are, what they care about, how their minds work, what they find cool, etc.

This allows you to better package the experiences you provide to them.

In music, the money is in the package. Whether it’s the live show, the download, merch or something else.. This means you can make the music you believe in, while also developing ways to make money off of it.

I usually hold up Yellow Claw as an example of a group that understands their fans really well and have developed multiple business models based on that understanding.

Basically, what it comes down to is this:

  • Great music shouldn’t have to be charity, so don’t put yourself in the position of having to beg fans to “please buy my album.”
  • Instead, think the other way around: what can I make for my fans that will make them thank me for giving them the opportunity to spend money on me?

No need to employ dark voodoo techniques. 👹 It’s just a matter of getting into the right frame of mind. Let’s call it the Kickstarter State of Mind.

Successful Kickstarters are a combination of:

  • A great product or idea (a metaphor for your music).
  • A charismatic call to action (a metaphor for your artist persona and brand).
  • Exciting rewards for contributing money.

Go spend some time on Kickstarter and see how price tiers work. Usually they cater to different types of audiences, or fans with differing levels of commitment. But they all have this in common:

People are super excited to be able to spend their money. Not for you — that’s just a nice bonus. But for themselves.

shut up and take my money

Recap

  • Step zero: make really great music. Keep working on your skills. This is by far the most important part. It’s the fuel for everything else. If nothing seems to be working, it may just be because your music is not good enough, or simply doesn’t stand out. Sorry.
  • Step one: getting your music heard. Get your music everywhere, take into account what your music looks like when people share, and double down on the channels that work best for you.
  • Step one point five: finding your audience. Use other people’s audience (OPA) by remixing, pitching curators, connecting to communities, and securing a first-mover advantage.
  • Step two: developing strong industry relations. Make no mistake: the music business is a business of human connections. Start early. Be nice & professional.
  • Step three: retaining your fans. Keep your fans’ attention by connecting them to your socials and finding other clever ways to reach them again.
  • Step three point five: building your fan community. Fans help keep each others’ attention on you and can help amplify your message. Be the host of the most fun house party they’ve ever attended.
  • Step four: “shut up and take my money”. Besides conventional revenue streams, you should be creating things that are so exciting for fans that they’ll thank you for the opportunity to spend their money.

Success in music: defining your personal strategy in four steps

Is it that simple?

Well, yes.

The hard part is that you need to put in a lot of hours. You have to be smart and relentless. Practice grit. You have to persevere, but also know when to cut your losses.

As long as you’re flying solo, take a look at job descriptions at labels or management agencies to understand how to strategically release music and build towards milestones.

Once you’re ready to build your team:
Work with people that inspire you. Don’t work with assholes.

And for fuck’s sake, keep your focus on your music.
Your music always comes first.

Stone maze

Breaking out of the circular blockchain music discussions

Posted on | by Bas Grasmayer

The strategy of a thousand small steps to blaze trails while negotiating the music industry’s next big leap.

This year I’ve had the pleasure to take part in numerous discussions and think tanks about what blockchain can mean for the music business. The promise of blockchain, as will be explained, is transparency, fairness, and greater efficiency.

The longest session I partook in was the week-long Blockchain Lab at Music Tech Fest in Berlin, after which I wrote a piece about how the music industry’s not ready for the blockchain.

More recently, I flew to Kristiansand, Norway for 2 days of roundtable discussions organised by Peter Jenner and the University of Agder. It brought together an excellent selection of stakeholders from various parts of the music business ecosystem. Over the course of the sessions, we went through a wide range of topics, including registries, transparency, and blockchain. When discussing the types of problems that can be solved through blockchain, there were a lot of echoes of past meetings.

The problems in the music business ecosystem that are most important to solve, are too complex to solve without wide buy-in. It’s this complexity that gives people a feeling of powerlessness. Despite having the motivation to act and create a better ecosystem, the challenge of getting all the right players to sign up seems insurmountable.

In this sense, blockchain’s value right now, is in acting as a catalyst to re-ignite the types of conversations held about the (failed) Global Repertoire Database, like, for example, the Open Music Initiative. Why?

Blockchain technology provides a decentralized ledger of transactions that’s accessible to all the participants in the network. Transactions cannot be altered once recorded — only amended. So, when it comes to rights, claims are public. This should discourage wilful obfuscation or sloppiness with asserting rights, or adding metadata, because it will be publicly visible. If the ledger is the authority of truth, then acquiring and expressing rights, as well as guiding payment flows like royalties, should all become more efficient.

The biggest challenge to this happening on a meaningful scale is: how do you get rights holders to agree upon a minimal degree of transparency and investment into such an initiative? That’s a discussion that needs to be had, but meanwhile, let’s not wait.

The reality of the current landscape is:

  • There will be limited buy-in, which means we’re not going to see any industry-wide solutions soon;
  • There is a lot of interest in solving these issues from the music business;
  • On the tech side, people are eager to get going, too.

This means we need to work with a scenario where buy-in has to gradually increase.

Working with blockchain should be a carrot.

If people are unwilling to be transparent, then we need to think about branding that rewards the players that are willing to be transparent.

Consider fair trade products, free range certificates, security certificates, or the types of branding that shows products were made in an environmentally friendly way. For the first batch of companies that get such brands on their products, it acts as a carrot: a good way to show that you’re an ethical brand that cares about fair treatment.

When enough participants in the music business ecosystem get in, from music streaming services, to publishers, artists, labels, PROs and others, the carrot will slowly start functioning like a stick.

  • Carrot: “we’re a music company you can trust, because we’ve signed up to this initiative which guarantees fairness & transparency.”
     
  • ➟➟➟ Momentum ➟➟➟
    *please make a woosshh sound while imagining time elapsing*

  • Stick: “you can choose not to be transparent for business reasons, but how do you guarantee that creators are treated fairly without transparency?”

Currently, we’re in the pre-carrot phase.

More use cases need to be developed.
More experiments need to be organised.
More publicity needs to be generated.

There are a lot of players already and they’ll need to come together to discuss standards, so that certification can be created. The certification will need a strong brand and PR strategy, so that players in the music business will care, including the consumers. This means that it can’t start by targeting mainstream consumers on Spotify or Apple Music. A more realistic place to start would be Bandcamp, or next-generation platforms like Resonate, Whitestone, or Voltra, all of which are still in their early stages.

Perhaps a major label and major digital service can be incentivized to do something, eg. when they need to do damage control and need some positive PR quickly (carrot), but don’t expect them to disrupt their own status quo until it becomes necessary (stick).

If you are interested in participating in such experiments: feel free to get in touch with me and I’ll link you to the right people. I encourage you to use Medium’s response function (on this page) to advertise your own experiments or activities, or to make calls for participation.

Would you like to stay up to date on this specific topic?
Leave your email address here.

More soon.

10 Lesser Known Tools for Making Music in your Browser

Posted on | by Bas Grasmayer

When the urge to get creative strikes, here’s how you can drop a beat fast.

It’s not only the internet’s websites and platforms that change. Under the hood, our browsers are getting more powerful, allowing for rich experiences without having to manually download apps.

Here are ten fun tools to drop beats right from your desktop browser.

 

Splice Beat Maker

https://splice.com/sounds/beatmaker

Splice Beat Maker

How it describes itself: Make and share beats in your browser.

How it works: Splice Sounds is a subscription service with a million loops, samples and presets for producers. Beat Maker allows people to dig into Splice’s library for free. You can check out beats created by established producers, remix those beats, or just start from scratch and program something yourself.

First impression: You can easily spend hours on this. What I find most remarkable about it is that this is a perfect example of marketing done right.

 

108

http://martinwecke.de/108/

108

How it describes itself: A minimal beat machine in the browser.

How it works: You see a dot moving around a circle and you can populate the circle with drum samples by using your keyboard. Each time the dot hits the sample, it plays it. It runs at 108 beats per minute, hence the name.

First impression: Easy if you want to mess around quickly put some drum pattern together. Unfortunately everything gets placed in a grid: this makes it hard to create something terrible, but also hard to play with timings and get really creative.

 

Blokdust

https://blokdust.com/

How it describes itself: BlokDust is a free to use web-based music, sound and instrument creation app.

How it works: The web app gives you a tool box to generate tones, feed them to effects, link them to interactive components like your computer’s keyboard or even a MIDI controller, and has different tools that lets you power up the events. Because of the latter, you can create self-playing devices that generate soundscapes (click here for an example that lets you interact through the bottom row of your keyboard).

First impression: Very cool, very powerful. Not only do they provide an extensive set of guides and tutorials, but the project is also open source and the developers invite people to learn from, fork, or contribute to the code.

 

Sample Stitch

http://samplestitch.com/

Sample Stitch

How it describes itself: Try re-constructing the samples of popular producers’ beats.

How it works: It takes the original samples used by 3 popular hiphop tracks and lets you recompose the beat using your keyboard.

First impression: Fun to play around with and try to build something cool. It’s good to read the stories at the bottom of the page, too. It gives a perspective about the amount of work hiphop producers put into digging for samples, picking the right ones and constructing beats out of them. One downside: at the moment of writing the share-function is busted.

 

Incredibox

http://www.incredibox.com/

Incredibox v4

How it describes itself: Incredibox is a musical app in which you can quickly and easily create a mix by running a band of beatboxers.

How it works: You start with one guy. When you give him an accessory like a hat or sunglasses, he’ll start beatboxing or singing. As soon as you dress someone up, another guy appears until finally the box is filled with 6 beatboxers working on your song.

First impression: This one’s truly for everyone. It’s so easy that it’s impossible to make anything that doesn’t sound good. There are 4 editions, I suggest you start with the newest ones. Each edition has special unlockable moments that you have to find by combining the right elements… so it’s a game, too!

 

Voice Spinner

https://musiclab.chromeexperiments.com/Voice-Spinner

Voice Spinner

How it describes itself: Spin the spinner like a record player — slow, fast, forward, backward — to hear how it affects the sound.

How it works: Click the record icon in the middle. Say something, sing something, rhyme something. Then use the slider below to play it back in various ways.

First impression: Cute little tool to play around with. Especially fun to then play some music from another player and try to layer your vocal on top of it. Highlighting this, because it’s part of the Google Chrome Music Lab which has a dozen other music making tools for in your browser.

 

YUME

http://unseen-music.com/yume/

YUME

How it describes itself: YUME is an interactive musical exploration created to promote the new album from ambient artist Helios. Manipulate sound and explore a dream-like world.

How it works: You‘ll see a screen with diamond-shaped objects, or perhaps kites, that you can drag to manipulate the sound. As you play around with them, you can explore other areas in the audiovisual world, which will have other configurations.

First impression: The initial screen is a little bit confusing, but that ends up really encouraging exploration, which is the right way to bring people into these types of experiences.

 

Sampulator

http://sampulator.com/

Sampulator

How it describes itself: Music production made easy. Create beats in your browser.

How it works: Your entire keyboard gets turned into a sampling machine. It allows you to program drums, including some great 808 sounds, keys, vocal samples, and more. If you’re good, you can make fantastic beats like this.

First impression: This is right up my alley, because I love 808 driven beats and it has some samples common in the juke and jersey club genres that I often listen to. I like that you can play stuff live and then drag them around in the grid, in case your timing was off.

 

wavepot

http://wavepot.com/

wavepot

How it describes itself: The digital audio workstation of the web.

How it works: A better description would be: live programming music. If you’re a decent programmer, you can make some cool things with this. If you’re not, then just load up one of the examples and start editing numbers and variables and see what happens.

First impression: Reminds me of ‘algoraves’ where people live program music in front of audiences. I wasn’t able to get the sounds out of it that I wanted to, but the interface (or lack thereof, I guess) makes up for it.

 

Orbit Sampler

http://www.dreampipe.io/orbit/

Orbit Sampler

How it describes itself: Another browser-based music production app by DreamPipe.

How it works: Despite the lackluster description, it’s one of the more interesting tools. It lets you arrange your samples in circular sequences, which is sometimes argued to be a more intuitive way to visualize rhythms than the typical bar line.

First impression: Save it for the weekend or a late evening. It’s very powerful, but a bit hard to do something quick, because of the level of detail it offers. You can spend hours and hours on this.

 

Having fun? Drop some of your most creative work in the responses to this piece. No time to play and want to listen to music made by others? Click here for some great tools to discover something new.

The Value of Ephemeral Content: Becoming Part of Your Fans’ Routines

Posted on | by Bas Grasmayer

What some perceive as ephemeral content’s greatest weakness is actually its most powerful quality. In an online landscape where attention is most scarce, ephemerality is key. 🔑

 

Last week I had the pleasure of being on a panel with some brilliant minds at Amsterdam Dance Event. The topic: marketing music to millennials. Millennials born in the nineties have a starkly different online profile than eighties babies. For instance, for teens, Snapchat now beats Facebook and Instagram as their top social platform.

 

The popularity of ephemeral content has to do with a number of factors. One teen writes:

  • No social pressure, because the main metric is view count.
  • Ephemerality means you don’t need to overthink what you post.
  • You actually know who’s watching — if people have seen your post, their usernames are revealed.

The world these people have grown up in is different from that of older generations. Eighties babies used to think online was a bit more of a playground. I cringe looking back (and deleting) some of the photos and status updates I posted on Facebook back in 2007–2009. This generation is aware that information lives forever and their strategies for dealing with that include deleting their digital histories frequently.

 

So for many labels, artists, and managers the question is:

How do I develop a strategy around ephemeral content?

Your strategy will have to acknowledge a few core concepts:

  1. Attention, not money, is the scarcest good on the internet. And everyone’s competing for it.
  2. The online landscape is now a filtered landscape, with algorithms weighing content and deciding whether to show it to your audience, or not.
  3. In this reality, your most important question is: how do I win my fans’ attention again and again and again?

For that purpose, ephemerality is f*#ing amazing. If you content is only visible for a day at a time — your fans will have to make you part of their daily routine. Now your have your fans’ attention: every single day.

 

Habit is the key to winning people’s attention over and over. There’s a reason why I send out my music tech newsletter at exactly the same time every week. Some of my subscribers actually go get a cup of coffee and hit refresh on their inbox around the time my newsletter’s supposed to come in. Not only does that lead to good engagement and nice metrics, but it also gives a great connection between you and your followers — it’s a special feeling.

 

Once understood, ephemerality can be engineered. If Snapchat is not your thing, or if teens are not your main demographic, there are other ways to become part of people’s habit through ephemerality. The expiring nature of Spotify’s Discover Weekly and Release Radar is the reason why those features have been so successful and have deeply influenced the product’s direction.

 

A great example of a music company that has been engineering ephemerality for years, is the Main Course record label. They offer all of their releases for free on Soundcloud in the first week. Many labels do the opposite and try to drive sales first, but Main Course’s strategy makes sure fans check their page once a week. Imagine doing this on a page you actually owned, instead of on a social profile. You can establish a habit and then when fans come and check, you can nudge their attention to important things like gigs or crowdfunding campaigns.

 

What some perceive as ephemeral content’s greatest weakness, is actually its most powerful quality. Use its expiring nature to build habit, keep your fans’ attention on you, and lead them to where you need them.

 

Many thanks to my co-panelists Luke Hood (UKF / AEI), Amy Jayne (Hospital Records), Siofra McComb (The Other Hand), Shane Mansfield (Ticketscript), David Ireland (Magnetic Magazine), and Lucy Blair for putting it all together. You’ve inspired me to put these thoughts down.

 

If you’d like me to work with you on building habit loops — drop me an email: bas@musicxtechxfuture.com.

6 questions I wish music startup founders asked more often

Posted on | by Bas Grasmayer

Keeping a close eye on the music space, I encounter a lot of startups and fledgling products. Unfortunately, a lot of them are misguided, for a variety of reasons, most of which can be prevented. Often, these early mistakes result in painful pivots or founding teams giving up, which is a real shame, as we need more applied innovation in the music business.

Here are the questions I wish music startup founders would ask themselves early on.

Does this work as a mainstream behaviour?

The biggest mistake music startup founders make is they assume that everyone loves music the way they do. Most people simply don’t care that much about music. They like it, they love it, but in a very different way from whoever’s likely to read this — let alone found a music startup.

You need to be very critical of your idea. It’s ok if it doesn’t work for mainstream consumers, but then adjust expectations and target your product accordingly.

Does this work as a mainstream price point?

So let’s say you figure out you have the perfect lean-back experience for music listeners. You’re creating something that’s not demanding of its users and doesn’t require big changes in existing behaviours. In other words: you’re ready to cater to a mainstream audience.

What about the price point? Price points are difficult to determine and people are notoriously bad at predicting what price they’re willing to pay for something. If you’re going for a mainstream audience, your safest bet is pricing for impulse purchase decisions.

How does this work rights-wise in the long term?

You can’t live on the APIs of YouTube, Soundcloud or Spotify forever. At some point, you need to build your own business. Do you understand the costs involved of licensing? Will content disappear from the service?

Launching light weight is fine — if you’re looking to test an idea, using an API can be a great choice, but you need to understand your long term strategy, too, and plan for the next steps.

What are the ways in which people already solve this problem?

Changing an existing behaviour is hard work and takes commitment. It’s risky to assume people will immediately fall in love with your product, drop everything, and never look back. Problems I see entrepreneurs frequently try to tackle are: staying up to date with your favourite artists, better ways to find new music, or giving people all their music in one place.

Are these problems consumers are already aware of? We all have our workarounds, so it may not seem urgent to your target users. Understand exactly how people are currently solving the problem, so that your product fits into a certain behavior and augments it, so that it becomes better.

Radically changing a behaviour is painful for users.

Do I really need to do a consumer-facing startup?

Sometimes entrepreneurs do music startups, because they have a vision for the music business and they want to break into it. Doing consumer facing startups is often costly and makes it trickier to gauge interest and test the market. If your goal is to create a better music landscape, perhaps you could consider solving problems within the music business.

After all, many of the imperfections that consumers have to deal with have a lot to do with problems in the music business internally.

Does this already exist?

Shout out to the plethora of music discovery apps posted to Product Hunt every month.

Dollars on a plate

Are donations becoming a viable part of artists’ business models?

Posted on | by Bas Grasmayer

With the rise of live streaming and new media models, donations deserve another consideration.

 

Napster, the early file sharing service, not only introduced many to piracy. The platform also exposed two competing world views. One believed that information should be free and the other believed in combating such ideas. They were both wrong.

As a teenager, and still today, my personal sympathy went out to those who saw a better world and wanted to accomplish that by facing down large corporations. Their envisioned world was never satisfactory enough for me, though. It seemed oversimplified. One of the most common tropes you’d hear would be:

“Artists should just release their work for free and let people donate. I’d love to be able to donate to my favourite artists.”

Donation request from a band
An example of a common donation request.

At that time, there were only about half a billion connected devices. Most of the world’s population wasn’t online yet. Those that were, and thought this way, were a minority projecting their own behaviour onto others. It’s common: most music startup founders do the same thing — overestimating how much people care about music. Simply put: the donation model could not scale.

The model didn’t take into consideration the complexity of the way music is made. Let’s say artists were able to make a living off of donations — this benefits the most visible artists; the singers, but not the songwriters. How should money from donations then be distributed so that it’s fair? Does the intention behind the donation matter? Questions like these are the reason why there’s so much legislation around creative work.

An elemental overview of merely the royalty distribution part of the music business.
An elemental overview of merely the royalty distribution part of the music business. Via Bemuso.

Time passed and two trends have developed. Firstly, there has been an explosion of artists who do everything by themselves. Households in many countries now no longer have just 1 family PC, and music production software is easy to attain. This has led to a rise of ‘bedroom producers’, many of which are world famous and make a good living off of music.

The second trend is that the internet has become more real-time. Ten years ago you wouldn’t consider sharing memories online that would only be visible for 24 hours. Now, two of the world’s most popular apps, Instagram and Snapchat, not only encourage, but thrive because of that behaviour.

Fast wireless connections and increasingly powerful devices have enabled livestreaming. Anyone who’s ever ‘gone live’ on Facebook or Periscope knows that it changes the creative process of making a video. Live video streams are not just a new way to broadcast, they’re a creative format.

Facebook Live creation tool

Trends mix and influence each other. If you want to understand where things are going, you have to understand how trends converge and diverge. In this case, the two highlighted trends have culminated into a particular reality: donations are becoming a viable part of artists’ business models.

Understanding how donations are becoming viable is easiest by looking outside of music. Donations are already an important part of the economy on Twitch, a platform for broadcasting gameplay, which also encourages creatives to start streaming.

Gamers use donation apps to display tip notes in the live video stream. Some apps actually automatically read out the tip notes on-stream. Tipping is done for various reasons: to actually show appreciation, to encourage the chat to discuss a certain topic (or more likely: to emote-spam), to request a song, to ask for expert feedback, to get their name or joke into a YouTube highlight reel, etc.

Twitch tip scare
And sometimes they use tips to scare streamers shitless.

For popular streamers, it’s hard to interact with the chat, because there’s just too much to read it all — and they also need to focus on their game. Tip notes provide a way for viewers or fans to rise above the noise and get the streamer’s attention.

The takeaway here is that donations do not seem to occur for altruistic reasons in most cases. The exact ratio would make for an interesting study. Much of the donation behaviour happens due to the desire to interact, stand out or to get a request fulfilled. It’s a behaviour enabled by the immediacy brought on by the rise of high quality live streaming.

DJ live streaming on Twitch
Some streamers highlight their top donators by keeping their names visible (in bottom).

Musicians that want to incorporate donations into their business model will need a clear strategy. Firstly, it’s unlikely that donations on their own are viable if the goal is to make a living off of creative work. Although if you do it all yourself, like many artists these days, you get to keep the whole cut.

Secondly, the reason why donations are becoming viable is because of live streaming. This means the artist needs to be able to consistently generate audiences and that takes time to build. One-offs are a recipe for failure, especially if they don’t sit within a broader strategy.

Live streams being a creative format of their own means that there needs to be an intrinsic motivation to work in this way. Else one won’t be able to muster the consistency and grit necessary to succeed. The question for the artist is: “is this medium compelling enough for you to spend a significant amount of your time on it?”

Whatever the answer, the trend is clear. As artists are embracing the live format, with younger ones even coming into maturity with it, we’ll see donations make a comeback. This time, not as charity, but as a well-planned part of artists’ business models.

An example of donations on Chew.tv, a live video streaming platform for music.
An example of donations on Chew.tv, a live video streaming platform for music.