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Caroline from Radar recently chaired a panel at legendary music industry conference, Midem. Top industry professionals discussed strategies for promoting and making money from your videos and here are some of the top tips they shared:
The importance of YouTube
Having your video on YouTube is essential for musicians:
- availability (YouTube is the primary search tool for music).
- shareability (it’s easy to share and embed from YouTube).
- monetisable streams (YouTube LOVE music videos and encourage partnerships with labels and artists).
- statistics (radio decisions re playlisting are commonly based on YouTube stats).
How to become a YouTube partner
- YouTube are making it increasingly easy to become a partner, which means you can earn money from your video views. YouTube Partner Programme
- Partnership also improves search rankings for videos in your channel.
- There’s a myth you need to have over 100,000 views to become eligible – not true. YouTube want more quality music content in the partnership scheme, so get registered.
A YouTube Don’t
- Don’t split views. Upload the video to the artist channel and favourite in the label channel. Favouriting means the video will show up on the label channel, but the views all aggregate on the artist’ copy.
Pros and Cons of Monetised Ads
- You earn money, versus monetised videos can be less viral – artists and sometimes fans hate ads. Sharing is often the most important metric for a video, above and beyond monetisation.
- Two kinds of ad: 30 sec pre-roll, very intrusive but high earning and 5 sec skippable banners.
- Infectious Music don’t run ads for the first two weeks of a new artist’s campaign – they consider ads can be THAT off-putting to fans of new acts.
- Monetised videos become unavailable to German and Chinese fans, due to lack of licensing agreements in those territories.
The Pros of VEVO
- The biggest global network dedicated to music visuals.
- Improved recommendation to viewers – who stay longer and watch more.
- Higher earnings for partners.
- They will do special promotion projects with the right partners.
- They like independent artists, there are many ways for independent artists to get onto VEVO, eg via The Orchard.
The Cons of VEVO
- You have to upload a new master file, so you’re splitting views across Youtube and VEVO.
- The ads are the more intrusive type ads.
- You can’t opt out of ad type, eg you can’t opt out of alcohol ads.
- VEVO works better for some kinds of artists than others.
Packshot and Lyric Videos
- It’s useful to have all your tracks on Youtube – if you don’t then someone else will.
- Packshot videos are quickest and cheapest way to do this. If quality content is important, lyric videos are a good solution.
- Always service a video when you’re going to radio.
UGC User Generated Content
- Various responses exist for YouTube partners; Don’t allow, which serves up a stern looking message. Allow but monetise, which takes away some creative control.
Video for Promotion and Discovery
- Channels such as Balcony TV can deliver an audience, but don’t yet deliver monetisation. Very useful for new artists, where growing a fan base is more relevant than monetising views.
Buying Ads for Promotion and Discovery
- Link your Google adwords account to your YouTube channel and buy re-targeting ads. This allows you to serve relevant ads to people who have already visited your channel. It can be a highly effective way to build views and channel subscribers.
- Subscribers are extremely valuable – every time you serve a new video you can send a bespoke message to subscribers’ inboxes.
The Top Industry Professionals are:
Eric McKay, Business Development VEVO
Connie Meade, Label Manager, Infectious Music
Stephen O’Regan, Founder, Balcony TV
Patrick Ross, Label Services, Kobalt.
Caroline Bottomley is Managing Director of Radar.
The Full Midem Panel Video
Radar is an award-winning, global network connecting independent artists and labels to professional music video directors. Post your brief here: Radar Music Videos.
Many thanks to Caroline Bottomley
Originally posted on Bzzzsocial.com
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By Caroline Bottomley, Radar Music Videos.
A lot of promo people we talk to say artists and managers often don’t know what professionals do to promote single releases.
So we asked for help from some real professionals (see credits below).
Then we made up an indie band with an established following and a few previous releases. We made up £5,000 to spend.
Then we wrote this rough guide – enjoy and feel free to add your own tips.
14 WEEKS OUT FROM RELEASE
* Commission single artwork, even if it’s for download only. Designer £300
* Commission artist photos. Photographer £500
TIP: “Commission nice/weird/cool COLOUR band photos, the brighter the better” David Laurie SiC Records
Start social media engagement. Digital Promotions £500 – £1,000
NOTE: Social media work continues from here up to and after release date.
12 WEEKS OUT FROM RELEASE
Start with sending out a simple press release announcing the single and put the single into context, eg from an album or a stand-alone track? Will there be associated shows? PR TIP: There are very few print outlets for singles, a couple of dozen really. It’s ALL about online for singles. David Laurie, SiC Records.
NOTE: Press work continues from this point up to and after release date
TIP: “The press release needs to be straightforward and attention-grabbing “artist releases great new song/album” just isn’t enough. What’s your story? What’s special about you/the song/album and why?” Gillian, Million PR and Naked Press.
* Engage Agent 10% of gross
* Engage Radio & Video Plugger £500-£1,500
NOTE: “I would separate Radio & TV costs. Radio Promotions £1000-2000 and TV Plugger £500-1000 per release. They might be able to get it for less, but this is much more realistic of the going rates.” Prudence, Rocket PR
* Commission the official music video, the aim is to create a stand-out, remarkable video. Producer/director (Radar) £2,000
TIP: “The video must be one that compels you to hit SHARE at the end, that is the idea. Not the new Bammers video but the video where the guy turns into a monkey and eats the aeroplane” David Laurie, SiC Records
TIP: “Commission the video now so it can be ready to service at least 6 weeks before release” Prudence, Rocket PR
TIP: “All video people take longer than they say to deliver, so I give at least 2 weeks ahead of my deadline as the actual deadline” David Laurie, SiC Records.
* Create a lyric or packshot video, the point is have this video on the band’s YouTube channel when radio play begins ahead of release date, capturing early views and interest. Producer/director (Radar) or Digital Promotions £0 – £200
8 WEEKS OUT FROM RELEASE
* Track/remix completed.
* Book banner/Facebook/Google advertising. Digital Promotions £500
* Advance copies/links to share released to weekly and daily press, for review. PR
* Release show/s booked. Agent
* Radio promotion begins. Single and album promos are presented to radio producers and presenters with a press release and list of forthcoming live dates. Plugger
TIP: “Almost none of them (radio producers and presenters) listen to albums or anything after the first track on a single promo unless there is some headspinning remix” David Laurie, SiC Records
* Build up support through plays on individual radio shows, working towards playlist consideration. Plugger
* Social media begins to focus on the release campaign. Digital Promotions
* Digital store promotions set up. Digital Promotions
4 – 6 WEEKS OUT FROM RELEASE
* Service video to TV for playlist rotation consideration. Plugger
* Radio playlist consideration. Plugger
* Digital store promotions set up once you have provable ammo from press. Digital Promotions
* Soundcloud stream premiere on a top site followed a day or two later with a blast out to other sites for more embedding, start adding up those NUMBERS to convince radio you are POPULAR. PR
2 WEEKS OUT FROM RELEASE
* Secure a video exclusive with a popular music site and general coverage in music media. PR
TIP: “Securing exclusives is PAINFUL and you have to (more or less) only ask one at a time – Pitchfork; Fader; Guardian; Stereogum in that order.
Each one takes at least 24 hrs to get back even if you have a shit hot PR, so running through those top four will take a week and likely they will all pass” David Laurie, SiC Records
* Fan special offers; exclusive tracks, early order discounting etc. Digital Promotions
* Digital store promotion. Digital Promotions
* Music media coverage. PR
* Paid advertising live. Digital Promotions
* TV rotation. Plugger
* Radio sessions and interviews. Plugger
* Release show. Agent
* Follow up press campaign to generate further press coverage. PR
* Album and tour news to be associated throughout if appropriate.
NOTE: “It might be an idea to mention that there will be VAT on top of all costs as this seems to come as a surprise to many unsigned acts as they are most likely not VAT registered themselves.” Prudence, Rocket PR
Companies providing these promotion services can be found in Radar’s resources.
This rough guide has been complied with the help of David Laurie at Something in Construction Records (SiC); Gillian at Million PR & Naked Press**; David Riley at Good Lizard Media**; Prudence at Rocket PR and Caroline Bottomley of Radar Music Videos.
** Willing to advise new artists and labels about promotion strategies.
PS: An important note about paying for services. It’s possible to do just about all these things for free. You do it yourself, get friends to do it, pull in favours. The reason these services are worth paying for is good professionals will do a much quicker and more effective job.
More to the point, people will actually listen to stuff from reputable PRs; press and pluggers are personally connected to press and playlisters; promotions people know which advertising is cost-effective; experienced directors make attractive music videos that get featured on blogs. All that should result in more sales of your single and more tickets sold to your gigs.
Special Thanks to Caroline at Radar Music Video.
This post originally appeared on Bzzzsocial.com
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- How to Be More Productive on #SocialMedia – #infographic http://t.co/2XtfTDEsUL @digitaliworld http://t.co/L2gOQnMpbo 20:31:23
- Interesting. The fastest, cheapest way to launch a new one-page website. http://t.co/qFf19fFdAP @picnic_support http://t.co/GWV7F5b3Yh 20:39:38
- Insight on how @JoshGarrels hit the @billboard charts utilizing ‘Free’ as a Format via @NoiseTrade http://t.co/2nn63CmjrR @MusicGeekSvcs 22:13:17
“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There’s also a negative side.”
One of the best and most misused ‘quotes’ about the music industry, allegedly from Hunter S Thompson’s book “Generation of Swine: Tales of Shame and Degradation in the ’80s”
But David Emery at About.com dug around and sourced the correct quote from the book here:
“The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason.”
Thieves and Pimps (HST Books)
“Where Thieves and Pimps Run Free” (About.com)
Generation of Swine (Google Books)