Category Archives: Music Industry

Musicians, Start Making a YouTube Content Strategy

By Lucy Blair & Caroline Bottomley at Radar Music Videos.

Devising A Content Strategy For YouTube

It’s an inescapable fact that YouTube is now the world’s largest music streaming site, and also its second biggest search engine.

As YouTube continues to mature as a content platform and revenue stream, it’s more important than ever for record labels and artists to have a solid content strategy in place for their YouTube content.

YouTube Content Strategy

“YouTube logo” by Rego Korosi via Creative Commons

But with over 100 hours of video uploaded to YouTube every minute, how do you optimise content creation and make sure your content stands out? We speak to key music industry figures at record labels and MCNs to put together a two-part best practice guide to devising a content strategy for anyone in the music industry working with YouTube.

Part One

  • What’s Possible on YouTube?
  • Developing A Strategy
  • Content Checklist

Part Two

  • Content Scheduling
  • Content and Channel Optimisation
  • Collaborations
  • Measures of Success

PART ONE

What’s Possible on YouTube? Your first step is to identify your target audience and what you want to achieve on the platform. Building subscribers is the foundation for success, whatever you decide success will be. Jeremy Rosen, The Orchard’s Director of Audience Development, outlines the possibilities:

“Ultimately, building a successful channel gives the artist or label a large marketing platform. It can be a creative outlet, a good way to connect with fans visually, a place to test out material, and even a primary revenue source. As tools like Google+ integration mature, I estimate it will also become an important direct-to-consumer hub for artists.”

That direct connection to fans and the increasing importance of streaming music represent the main opportunities for Laura Bruneau, Anjunabeats’ Label Executive:

“YouTube is one of the main platforms where consumers stream music, especially younger audiences. Having a great content strategy means more people will find your music, play your music, and hopefully buy your music. And while they’re streaming they’re earning you revenue too. With the boom of streaming in 2014 with Spotify, Beats Music, iTunes Radio and of course YouTube Music, this is a key platform you can’t afford to ignore.”

So, marketing possibilities on YouTube relate to:

  • Discovery
  • Revenue
  • Cross-promotion
  • Up-selling / creating a D2C sales hub
  • Artist creativity
  • Fan relationships
  • Developing A Strategy

To develop a content strategy, work on tying in your on-YouTube goals to your off-YouTube goals.

Artists and labels will naturally need to focus on creating different kinds of content, according to Jon Baltz, INDMusic’s co-founder and Vice President:

“An artist that is about to go on tour should release videos that further their tour, reminding the audience where they will be and when they will be there. A label on the other hand is juggling release schedules for several artists and tours. The label should be producing art tracks (videos with still image and audio), lyric videos, and official music videos, with a focus on upcoming releases.”

Should established and new artists create different kinds of content on YouTube? Yes, according to Laura Bruneau:

“The most important distinction between an established artist and a new artist is the size of their current audience. If you have an established artist with a big audience, you can focus on creating more ambitious and interactive YouTube experiences. For example, live-streaming or Google+ Hangouts On Air are examples of content that I would recommend more for established artists than a new artist, as you know you have sufficient numbers for your audience to be engaged in a live event. For a new artist, you need to build their personality on the channel alongside their brand. A good way to do this is to create a fan-led, pre-recorded interview series like our ‘Tea With Anjuna’ series, where fans are encouraged to send in questions for the artist via social media in the run-up to filming, and then the questions are posed to the artist on camera. That way, you’re ensuring that the questions asked are what people really want to know about and it makes your audience feel involved. Interviews are also a great way for artists to put across their personalities in a relaxed and enjoyable environment and plug (in a non-salesy way) what they’ve got coming up.”

Content Checklist

What kind of content do you want to create? The possibilities are endless. Content types span:

  • Documentary: self-shooting, artist POV mobile footage, interviews / pieces to camera
  • Live: gigs / rehearsal footage
  • Promo: lyric videos and full blown promos

Here’s a checklist of content that artists and labels should and could be creating and curating on a regular basis: 

  • Official music videos / release videos
  • Audio uploads of music with a static visual (aka ‘art videos’)
  • Live performances
  • Lyric videos
  • Behind the scenes (which could be anything from a ‘day in the life of’ to a tour video diary or the making of your latest music video)
  • Covers
  • Breaking news announcements (e.g. a new album/single/tour, or a big milestone)
  • Tutorials
  • Interviews including fan led
  • Video press kits promoting your latest album/single/tour
  • Playlists
  • Fan-generated videos
  • Competitions
  • Google+ Hangouts on Air
  • Live-streaming (archive-able streaming may be necessary across different timezones)
  • Episodic events

Cost and complexity range from free and easy to expensive and professional. As Jon Baltz says, “Not every video has to be an official music video with a big budget; syncing your music to what you film with your smartphone out of a train window can be just as effective.”

It’s also worth bearing in mind that building engagement doesn’t always mean having to create new content; curating playlists is a great way to mark yourself out as a tastemaker, and will keep your homepage looking fresh and interesting with regular content. Updating your subscriber feed is also key, as Jeremy Rosen advises:

“It’s possible for your subscribers to see when your channel likes, favourites, adds to playlists, or comments. Scheduling this activity to, say, promote a video from a band you’re touring with or a crazy viral video can help keep you at the top of your audience’s mind.”

YouTube Generation

“YouTube Generation” by jonsson       Creative Commons

PART TWO

  • Content Scheduling
  • Content and Channel Optimisation
  • Collaborations
  • Measures of Success

Content Scheduling

The days of aiming to create a one-hit ‘viral’ on YouTube as a marketing strategy are long gone. These days it’s more helpful to think of YouTube as your own TV channel.  Think of content as programming – and not programming for an album cycle, but a 12-month content cycle.

It’s essential to create a programming schedule and produce regular content to drive subscribers, repeat views and watch time, and to give subscribers a reason to return to your channel. As Zac Vibert, Hospital Records’ Head of Digital, puts it:

“If you look at the traditional TV model, scheduling is a big part of it – and YouTube is no different. Have content that viewers can come to expect and look forward to. It is important to have regular content uploads, but also make sure you prioritise quality over quantity!”

Jeremy Rosen advises: “At a minimum, there should be one piece of video content posted to your channel each month. Try to keep it a consistent day of the month, like every third Thursday, and publicise that fact. For a label these would typically be music videos or lyric videos. An individual artist would probably have a short monthly update or Hangout on Air scheduled. You could also consider publishing music on a regular basis or come up with an episodic concept you’ll be able to pull off consistently (like “My Top 5 Listens This Month).”

Laura Bruneau makes an important point about programming unreleased content: “YouTube is a great way to preview unreleased material to your audience – plus your content is monetised and preview content makes it much easier to automatically remove unauthorised 3rd party use of your content. However, it is important to mix up this regular standard content with things like interviews, behind the scenes content and music videos so that your audience does not get bored. I would suggest at least 1 piece of non-release video content per month, or more if you have the time/budget.”

Different types of artist need to cater to their respective audiences when it comes to content programming, according to Jon Baltz: “More established artists have the luxury of being able to widely space out their content because every time they release something people will jump on it. New artists are in the exact opposite situation; they need to be putting out new content constantly, at least once a week.  The goal of releasing videos for a new artist should be growing an audience organically. Producing a viral hit is great, but a viral hit is most valuable when it generates views on older content – that makes fans.”

At Midem, INDMusic also recommended scheduling 6-8 pieces of content to support an ‘activity’ – be it announcing a tour, releasing a single, planning a hangout etc.

Content and channel optimisation

It’s not just about what kind of content you create or how often you upload it; if you don’t optimise your content properly, it won’t get the views or subscribers that you’re aiming for. Remember that YouTube is one giant search engine and, as Zac Vibert advises, “Never underestimate the importance of good data!”

Keywords are the most important factor in making your content easily searchable, so always ensure that your video titles, descriptions, links, annotations, tags and thumbnails are optimised. In addition, use tools like playlisting and in-video programming in order to link your viewers to related content and keep them viewing videos within your channel.

Laura Bruneau points out that monetisation is another key factor: “Other people will be exploiting your catalogue so it’s essential that you are too! Make sure that you have claims set up on your audio so that you are monetising 3rd party content. You might not realise how valuable this is, but the bulk of our YouTube income at Anjuna comes from other people using our songs, rather than our own uploads.”

Collaborations 

Collaborate with your fans: YouTube is one of the most powerful social networks in the world, so focus on building up and engaging your community on YouTube. Tailor your content around the likes/dislikes/needs of your viewers, engage with them and evolve your content strategy accordingly. Consider creating video content to answer the questions/comments of your fans instead of another blog post, tweet or Facebook post.

Zac Vibert advises: “Make YouTube the central hub for your music/artists, and create a community feel to your channel. If you want to build a good following, try to prioritise your channel and make sure you upload your music to YouTube first.”

Collaborate with your peers: artists and labels should also look into creating collaborations with fellow musicians and music networks in order to reach new audiences and cross-promote content across a wider channel network.  As Jeremy Rosen suggests, “Consider approaching YouTube creators to help you. There may be a vlogger or episodic series on YouTube which fits your fans, your style, or are simply fans themselves. Some of the best videos on YouTube have been collaborations between channels and the value in cross-promotion is a no-brainer. Consider it product placement, with you as the product.”

Measures of success

How will you know if your content strategy is delivering the right results? If you don’t measure it, it’s not marketing. YouTube Analytics gives you a detailed insight into what content is and isn’t helping you achieve your YouTube objectives. Check Analytics regularly and keep an eye on not just numbers of views, but also subscribers, watch time, engagement and so on. You can then adjust your content strategy accordingly.

And as a final note, the YouTube Music Playbook PDF is one of the best guides to the platform that there is, so use it to your advantage.

Time to get creative…your fans are waiting!

Radar is an award-winning network of over 10,000 music video directors worldwide. Radar enables labels, artists and managers to commission great music videos for affordable budgets, between $800 and $8,000.

Radar helps music video directors progress their professional careers. It is a free service for labels, artists and managers. We charge a small subscription fee to directors to access and pitch on briefs.
Radar Music Video

 

Related Reading

YouTube Statistics (YouTube.com)
YouTube Multi-Channel Networks 101 (YouTube.com)
YouTube Creators Hub
PDF-YouTube Playbook Guide:Music (11MB download)
YouTube, BPI and INDMusic talk Online Music Video Strategies (#Midem) (Musically.com)

Timeline For Promoting A UK Single Release, A Radar Rough Guide

Buzzsonic_Vinyl_distributio

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

* Engage PR £500 – £1,500
* Release advance copies/links to share to monthly press, for review, eg Q, Mojo, Clash, Uncut.

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

Securing Music Press

* 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

RELEASE WEEK

* 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

POST LAUNCH

Post-Launch Promo

* 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

The Music Business is a Cruel and Shallow Money Trench

“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.”

Hunter S Thompson MusicBiz Quote

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:

Hunter-S-Thompson-TV Biz Quote

“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.”

Thanks David.

Further Reading

Thieves and Pimps (HST Books)

“Where Thieves and Pimps Run Free” (About.com)

Generation of Swine (Google Books)

The How, Why & Where To Press Up A Vinyl Record

This is a much needed update of a post that first appeared in Buzzsonic way back in March of 2008!

I’ve updated the links and information  to bring things bang up to date. I thought it was worth reviving, simply because there is a massive renaissance in interest (and sales) in vinyl records, a format virtually killed off by major record labels in their crude attempts to get us to buy everything again on CD.

“Vinyl sales are at their highest level for 15 years, according to figures from the British Phonographic Industry (BPI) and the Official Charts Company.
Just over 780,000 vinyl albums were sold in 2013 – the largest number since 817,000 were sold in 1997. The 2013 figure also constitutes a 101 per cent rise on 2012 sales.” (The Telegraph)

Now that we’re swamped by a billion and one MP3 downloads from a bazillion bands, there’s a absence of scarcity, fans with musical ADD and bands are having to get increasingly creative to even get five minutes of attention (let alone that Warholian 15!).

MP3 Marketing Tips, Press Vinyl Records

 

The Ease of Digital Distribution

OK then, its nothing short of amazing that today, theoretically you can easily have your music on sale, Worldwide in the biggest music retail store on the planet. Without a tour, without a manager and even without a record deal. You can be based in Brighton, UK  and someone in Alaska or Australia or Russia (or wherever) can download your music without leaving the house. You don’t have to leave the house to get it on sale either.

Also, if you signed up with a good distributor, you could be keeping around 80% of the retail price too (assuming you’re working as an independent). Compare that to the old school record label deal where you’d be lucky to get 15%.

99th floor elevators 12 inch

99th Floor Elevators

I must admit, when I first saw my music on sale on the iTunes store it was exciting, as it was another ‘career landmark’ for me, but as music career landmarks went it really was no comparison to the day I walked into the Virgin Megastore (RIP) on Oxford Street, London, the day of its release in 1996 when the original version of the 99th Floor Elevators ‘I’ll Be There‘, went on sale.

There it was, prominently displayed in a rack with all the other big 12 inch releases of the week and there it was in the big HMV just up the road too. More importantly to me, there it was in stock and in the top 10 buzz chart in Trax Records in Soho, ten minutes walk away from the hustle of the London’s West End. A few days later ‘I’ll Be There’ had gatecrashed the national UK pop and dance charts.

I used to spend a lot of money in dance music specialist Trax Records back in the days in the late 80s when I had to travel 160 miles by coach from my home in South Yorkshire to seek out those elusive Euro imports and Belgian New Beat gems that only Trax had.

Making A Difference

And that is the point of this article. In a world where you don’t even have to leave the house to get the latest 12 inch remix or latest indie release or even pay for music anymore, how do you as an artist make a difference when everybody is a digital record label and everybody can sit next to Elton John and the Beatles on the virtual record shelf?

“It’s been well documented in recent years that vinyl sales are on the rise, but who is buying the shiny black discs, and can the antiquated format really be sustained in a digital world?” ‘Why Wont Vinyl Die?’ (Sabotage Times)

The New Vinyl Phenomenon

If you’ve more than a just passing interest in the state of the music industry you may have noticed a recent surge of interest and press on the apparent vinyl revival.

“This year’s Record Store Day was the UK’s biggest yet, racking up 30% more album sales than during 2013’s event. 245 British shops participated in the sales bonanza on 19 April, which saw particularly good results for the Pixies, David Bowie and Tame Impala” (The Guardian)

Pie And Vinyl Documentary

So, there’s no vinyl pressing plants left anyway right? Very wrong. There’s a handful of pressing plants across the USA, UK and Europe, manufacturers in Australia, Japan and Russia and others dotted around the rest of the world.

“While sales only account for a small percentage of the overall market, vinyl sales are growing fast as a new generation discovers the magic of 12 inch artwork, liner notes and the unique sound of analogue records, often accompanied by a download code for mp3s.” (Daily Mail Oct 2013)  

Pressing up a release on vinyl is undoubtedly more expensive than CD but as a limited run single or album its more of an event and even a great PR exercise. Kickstarter and other crowdfunding outlets have also proved to an invaluable source of funding for hard up bands planning deluxe vinyl pressing runs.

“On a day-to-day basis, Music Review receives 10 – 30 digital download codes/links a day. That’s in the region of 300 – 900 albums a month. That’s too much music for our small team to meaningfully listen to. With the advent of technology, just about anyone can release an album nowadays, but when it comes to vinyl, the story is very different. Unlike the digital revolution, there are fairly large barriers of entry to get a vinyl pressed, which means that only the most serious and only the most in-demand would consider it as a pursuit.”(MusicReview.co.za)

Sculpting Sound:The Art of Vinyl Mastering

 The Vinyl Pressing Process:From Studio Master to Plastic Disc

Creating a record is a complex process, but essentially breaks down into six separate steps.

1. Mastering: A mastered CD is brought to a vinyl press. Two main changes must occur to begin the process of audio mastering, tonal balancing and level adjustment.

2. Cutting: Once the mastered version is finished, the track will be cut into lacquer. A digitally created track will be converted into an analogue wave for the cutting lathe. Transferred through an amplifier, the wave travels down the arm of a diamond-cutting stylus and onto a rotating lacquer disc.

3. Stampers: The lacquer or vinyl master is delivered to the pressing plant. The plant completes the following steps:

  •  The vinyl master is covered with a thin spray and dipped in a bath of electrolyte. A current is passed through the solution and the silver-sprayed lacquer becomes coated in nickel which creates a negative image of the vinyl.
  •  A second generation negative is created and the nickel plate is peeled from this lacquer to become the stamper. The stamper represents a negative image of one side of the vinyl.
  • Two stampers are needed to press up both an A and B sided record.

4. Test Pressings: With both stampers in place, a “puck” of vinyl is introduced into the press. Two labels are placed above and below the puck and the press is closed. In order to flow seamlessly into the grooves of the stamper, the vinyl is heated up to 200 C.

It is then rapidly cooled so that the vinyl can be immediately lifted out of the press. This whole process takes approximately 25 seconds. Normally, a short pressing of 10 copies is made first. These “test pressings” are sent to the record label for approval.

5. Labels: Many people are under the misconception that a “white label” is much cheaper than producing a professionally designed four-colour label. The real expense, however, comes from having the label incorporated into the vinyl. The colour of the label really makes no difference in this process.

6. Artwork: Image is key in almost every industry, making the music industry no exception. Great consideration should go into the label and its packaging, as well as the marketing accompanying its promotional push.

For a rough guide as to how much music you can fit on a vinyl record Nashville veterans United Record Pressings have a useful FAQ and quick reference.

  • 7″ – 4:30 minutes per side @ 45 rpm; 6:00 minutes per side @ 33 1/3 rpm
  • 10″ – 9:00 minutes per side @ 45 rpm; 12:00 minutes per side @ 33 1/3 rpm
  • 12″ – 12:00 minutes per side @ 45 rpm; 18:00 minutes per side @ 33 1/3 rpm

The Dying Art Of Pressing Vinyl Records

And there’s more record manufacturing tutorials here and here.

Some pressing plants, like United Records Pressings in Nashville are offering vinyl + digital package deals which includes a secure digital music hosting service, custom digital download coupons with unique one-time-use codes, packaged together. With the popularity of new USB turntables kids can plug their vinyl straight into their computer and rip to MP3 anyway.

Jack White’s Third Man Records Tour United Records Pressings Nashville

If you’re looking for a vinyl pressing quote do take into account that there is a huge amount of variables/possibles (quantity, vinyl size, coloured vinyl, artwork) and generally speaking, the more you have pressed the cheaper the amount per unit. Also, if you need a repress then you wont have the expense of having plates to make up. Disc cutting and processing (metalwork) is the biggest single outlay in the whole process.

Also be aware of the difference between an actual vinyl pressing plant and a vinyl broker.

If you know what you’re doing, then dealing directly with the pressing plant of your choice is the way to go. If you’re a complete newbie, then using a third party broker – who may well cost a bit more- but who takes care of every part of the process , including dealing with the pressing plant, makes a lot of sense.

As for vinyl distribution, well for these short runs a band/artist or DJ would be better served selling discs at gigs and via mail order using TopSpin and Bandcamp and using Paypal on their own website. There’s also other mail order options like CDBaby and Hifidelics and mail order behemoth Amazon.

Such is the fragile nature of the vinyl distribution business that many of the once thriving vinyl specialists have disappeared, leaving a narrow selection of niche companies and dance outlets.

If you have a release in Florida you don’t want to be trusting your stock with a distributor thousands of miles away in California. DIY for short runs. Vinyl record mailers you can get here or here in the USA. Here and here in the UK.

“The Nashville-based United Record Pressing will nearly double the volume of records it’s able to create, which it currently does 24 hours a day, six days a week to the tune of 30-40,000 pieces of vinyl per day. The company will bring 16 new presses online, some they had already and some purchased from shuttered competitors, by the end of the year.

The move is illustrates the success of vinyl in recent years — 76.2 million units in overall sales so far this year — which has exploded in the wake of Record Store Day, launched in 2007.” (Billboard May 2014)

If you want to see what your tracks would sound like on vinyl you can get a one off 7″ cut for around $50 from Custom Records (in the US), who’ll even go as far as pressing it in colour vinyl and giving it a picture sleeve for an extra $58. In Europe you can find these ‘lathe cuts’ at Dr Dub in Austria and Dub Studio in Bristol. There are a few more, including legendary lathe cutter Peter King in New Zealand.

Pressing Plants and Vinyl Brokers

With many, many thanks to all at ‘The Secret Society of Lathe Trolls’ which has proven to be an incredible resource for anything to do with vinyl pressings, manufacturing, mastering and anything remotely related!

USA Pressings:

Archer Record Pressing – Detroit, Michigan
Quality Record Pressings – Salina, Kansas
Erika Records – Downey, California
United Record Pressing – Nashville,Tennessee
Morphius – Baltimore, Maryland
Alpha Record Services – Plantation, Florida
RecordPressing.com – San Fransisco, California
Trutone – New Jersey, NJ
Record Tech Inc – Camarillo, California
Bill Smith Custom Records  – El Segundo, California
Musicol Recording – Columbus, Ohio
Furnace MFG – Fairfax, Virginia (Broker)

European Pressings

Phonopress (Italy)
Tail Records – Sweden
DiscWizards – London, UK (Broker)
Vic-Tone Records – Sweden
Key Production – London, UK (Broker)
Curved Pressings – London, UK
Sound Performance – London, UK (Broker)
Phoenix Of Vinyl – London, UK
The Vinyl Factory – London, UK
JTS Studio – London, UK  (Broker)
Vinyl Records – Russia
Magnetic Mastering – France
My45 – Germany
Optimal Media – Germany
Celebrate Records – Germany
Rand Muzik – Germany
Flight 13 Duplication – Germany
MPO – France
Record Industry – Netherlands
Foon Vinyl – Netherlands
GZ Vinyl – Czech Republic

ROTW

Rip-V – Montreal, Canada
Samo Media – Canada (Broker)
Zenith Records – Victoria, Australia
Toyo Kasei – Japan
Tuff Gong – Jamaica
Polysom – Brazil

Related Reading On Vinyl Pressings & the Vinyl Revival

Worldwide Vinyl Pressing Plants (Mono Equipped)
The Truth About Selling Vinyl; Independents React to Amazon’s 745% Rise in Record Sales (TheVinylFactory.com)
Music Industry Survival Guide:Everything You Need to Know About Vinyl (Tunecore) PDF
Vinyl Revival Continues as LP Sales Reach Highest Level In More Than A Decade (BPI)
The Baffling Revival of the Vinyl LP (TheWeek.com)
Vinyl Frontier: The Music-lovers Behind London’s Big Record Revival (London Evening Standard)
The Vinyl Revival:From The Frontline (Clash Music)
75 Percent of Topspin’s Sales Are Physical (DigitalMusicNews)
The Secret Society of Lathe Trolls (Lathe Trolls Forum)
The Rebirth of Cool: The Turntable Strikes Back (DigitalTrends.com)
Your New Favourite Record Company. How Kickstarter is Igniting the Vinyl Revival (Shiny Shiny)
How to Reissue a Record (Classic Records)

How To Issue A DMCA Takedown Notice To Google

Its always exciting when an artist has a new release go public, but these days (and I’m old enough to have had vinyl/CD only releases in the 90s) its often tempered by the fact that the same day your release gets out it also appears on P2P networks and the endless pile of borderline legal filehosts. So, to try and keep an eye on things the first thing I do is sign up for Google alerts for new mentions of both my artist name, 99th Floor Elevators and the title of any new release, in this case ’99th Floor Elevators Hooked EP’.

99th Floor Elevators Hooked EP

Of course the very next day of my latest release I did my usual Google search query and although the Beatport (they had the exclusive option on the release for the first few weeks) entry was top of the SERPs, and my own 99th Floor Elevators MP3 page was second, queuing up in the majority of the results underneath was a swarm of outlets offering that very same release, free, most even showing the official MP3 artwork, one even having the cheek to use Beatports widget so ‘freetards’ could stream the tracks first!

First things first. I contacted the offending websites in the top 20 results (and this really is like playing whack-a-mole*) and issued DMCA’s (here’s a sample DMCA takedown notice), then I (for starters, I’ll be repeating the process today) filled in Google’s online DMCA takedown submission form with a sample of offenders from the top 10. Be aware that there is a separate process for YouTube.

Anyway, to cut a long story short the results from the first page that I had submitted to Google were gone less than 24 hours later. Bravo.

99th Floor Elevators issue DMCA takedowns to Google

Of course, the very same day those links that were removed were now being replaced by a whole host of new parasites (to which hopefully the same process will remove them as quickly!).

If you want to go through the same process yourself , read this piece from IP Watchdog, which will help you write a template DMCA notice to issue to individual websites (separate to filling in Google’s online submission form).

Sample DMCA Takedown Letter instructions.

You’ll generally find that the file hosts are much less responsive than Google, if they respond at all, but issue them anyway. Then, get them removed from the Google SERPs. Start here:

Removing Content From Google (Google Help)

And do remember also that this process is very much the same whether you’re finding your images used, videos or anything being shared or exploited, without your permission. There’s a separate process for infringement on YouTube.

Related Reading

Safe Harbor Not Loophole: Five Things We Could Do Right Now to Make the DMCA Notice and Takedown Work Better (The Trichordist)
Google URL Takedown Requests Up 100% In a Month, Up 1137% On 2011 (Torrent Freak)
The DMCA is not an Alibi: The Googlization of Art and Artists (Music Tech Policy)
Pirate Bay block effectiveness short-lived, data suggests (BBC News)
Stock DMCA Letters (Plagiarism Today)
Game of Whack a Mole Continues as Big UK ISPs Block More Pirate Bay IPs (ISPReview)
DMCA Takedown 101 (Brainz.org)

How to Press Up a Vinyl Record and add Instant Kudos to Your Music

This is a repost from a Buzzsonic post four years ago incredibly, all I’ve done is update the dead links and its all still of relevance, probably even more so now as the vinyl resurgence continues and with it being Record Store Day this weekend. UK and USA.
There’s a more indepth update due later this month.

OK then, its nothing short of amazing that today, theoretically you can have your music on sale, worldwide in one of the biggest music retailers stores on the planet. Without a tour, without a manager and even without a record deal. You can be based in Brighton, UK (for instance) and someone in Alaska or Australia or Russia or wherever can download your music without leaving the house. You don’t have to leave the house to get it on sale either.

Also, if you signed up with a good distributor, you’ll be keeping around 75% of the retail price too.

I must admit, when I first saw my music on sale on the iTunes store it was exciting, as it was another ‘career landmark’ for me. Still, as music career landmarks go it really was no comparison to the day I walked into the Virgin megastore on Oxford Street, London, the day of its original release in 1996 when the original version of the 99th Floor Elevators ‘I’ll Be There’, went on sale.

There it was, prominently displayed in a rack with all the other big 12 inch releases of the week. And there it was in the big HMV just up the road too. More importantly to me, there it was in stock and in the top 10 buzz chart in Trax Records in Soho, ten minutes walk away from the glare of the west end. A few days later ‘I’ll Be There’ had gatecrashed the national pop charts.

I used to spend a lot of money in dance music specialist Trax back in the days in the late 80s when I had to travel 160 miles by coach from my home in South Yorkshire to seek out those elusive Euro imports and Belgian New Beat gems that only Trax had.

And there is the point of this article. In a world where you don’t even have to leave the house to get the latest 12 inch remix or latest indie release or even pay for music anymore, how do you as an artist make a difference when everybody is a digital record label and everybody can sit next to Elton on the virtual record shelf?

“Further hinting at physical music format’s dismal future, a new study shows 48 percent of U.S. teens did not buy a single CD last year. This means not ‘Graduation’, not ‘Kala’ and not even anything from that Soulja Boy guy. It means literally not a single one.” Brock Thiessen from the Exclaim.ca article, ‘Teens Not Buying CDs Anymore?’

“I think the time is not too far off where some releases come out on vinyl and MP3 only — no CD. But who knows.” Josh Maddel, Other Music on Wired.com, Jan 2007

If you’ve more than a just passing interest in the state of the music industry you may have noticed a recent surge of interest and press on the apparent vinyl revival. Recently a representative from Sony BMG, mentioned that his parent company is working on releasing its entire back catalog on vinyl. Even Warners interest in the format has been revived.

“It’s not a significant part of our business, but there is enough there for me to take someone and have half their time devoted to making vinyl a real business,” says John Esposito, president and CEO of WEA Corp., the U.S. distribution company of Warner Music Group, which posted a 30% increase in LP sales last year.


So, there’s no vinyl pressing plants left anyway right? Very wrong. There’s a handful of pressing plants across the USA, UK, Europe and even two active manufacturers in Australia.

“One thing we took away from the talk that I feel is pretty important is pressing size. Some efforts are getting to the point where the records aren’t going to hit store shelves anymore. We‘re past the point where it can be difficult to move 300 copies. You folks making vinyl should strongly consider even a slight increase in the number of copies made available. The demand is there as well as the infrastructure to handle it. In addition, increasing the number of available copies should do well to keep the eBayers off for a while. If you can do 300 copies, you might as well do 500. If you know you can sell 500, it’s very likely you can sell 1000. ” Tonys Tales of Texas BB discuss the Vinyl Revival panel at SXSW.

Pressing up a release on vinyl is undoubtedly more expensive than CD but as a limited run single or album its more of an event and even a great PR exercise. Safely Meeting Record label boss Carlos Wells sums it up best here. ” The vinyl, it’s more of an event. If you throw on a CD, you can almost toss it in from across the room. A record, by contrast, is a process.  In 20 or 25 minutes you’re going to have to go over, take the arm off, flip it over. You wind up paying more attention.”

Creating a record is a complex process, but essentially breaks down into six separate steps.

Taken from the (now defunct) Quick Press website.

1. Mastering: A mastered DAT or CD is brought to a vinyl press. Two main changes must occur to begin the process of audio mastering, tonal balancing and level adjustment.

2. Cutting: Once the mastered version is finished, the track will be cut into lacquer. A digitally created track will be converted into an analogue wave for the cutting lathe. Transferred through an amplifier, the wave travels down the arm of a diamond-cutting stylus and onto a rotating lacquer disc.

3. Stampers: The lacquer or vinyl master is delivered to the pressing plant. The plant completes the following steps:

a) The vinyl master is covered with a thin spray and dipped in a bath of electrolyte. A current is passed through the solution and the silver-sprayed lacquer becomes coated in nickel which creates a negative image of the vinyl.

b) A second generation negative is created and the nickel plate is peeled from this lacquer to become the stamper. The stamper represents a negative image of one side of the vinyl.
c) Two stampers are needed to press up both an A and B sided record.

4. Test Pressings: With both stampers in place, a “puck” of vinyl is introduced into the press. Two labels are placed above and below the puck and the press is closed. In order to flow seamlessly into the grooves of the stamper, the vinyl is heated up to 200 C.

It is then rapidly cooled so that the vinyl can be immediately lifted out of the press. This whole process takes approximately 25 seconds. Normally, a short pressing of 10 copies is made first. These “test pressings” are sent to the record label for approval.

5. Labels: Many people are under the misconception that a “white label” is much cheaper than producing a professionally designed four-colour label. The real expense, however, comes from having the label incorporated into the vinyl. The colour of the label really makes no difference in this process.

6. Artwork: Image is key in almost every industry, making the music industry no exception. Great consideration should go into the label and its packaging, as well as the marketing accompanying its promotional push.

For a rough guide as to how much music you can fit on a vinyl record Nashville veterans UR Pressings have a useful FAQ and quick reference here:

7″ – 4:30 minutes per side @ 45 rpm; 6:00 minutes per side @ 33 1/3 rpm
10″ – 9:00 minutes per side @ 45rpm; 12:00 minutes per side @ 33 1/3
12″ – 12:00 minutes per side @ 45 rpm; 18:00 minutes per side @ 33 1/3 rpm

And there’s more record manufacturing tutorials here and here.

California based Rainbo Records have several short run vinyl pressing deals which start at $1329 for 500 12inch singles and $829 for 500 7inch singles. Things like picture sleeves would add to that cost.

Some pressing plants, like United Records Pressings in Nashville are offering vinyl + digital package deals which includes a secure digital music hosting service, custom digital download coupons with unique one-time-use codes, packaged together. With the popularity of new USB turntables kids can plug their vinyl straight into their computer and rip to MP3 anyway.

In the UK (quotes taken from Curved) expect to pay around  £850 for 500 12inch pressings and around £600 for 300 7inch singles (+VAT!). Take into account that there is a huge amount of variables/possibles and generally speaking the more you have pressed the cheaper the amount per unit. Also, if you need a repress then you wont have the expense of having plates to make up, which are the biggest single outlay in the whole process.

As for vinyl distribution, well for these short runs a band or DJ would be better served selling discs at gigs and via mail order using Paypal and publicizing things on their Bandcamp profile and own website.

Such is the fragile nature of the vinyl distribution business that many of the once thriving vinyl specialists have disappeared, leaving a narrow selection of ultra niche companies and major label offshoots.

If you have a release in Florida you don’t want to be trusting your stock with a distributor thousands of miles away in California. DIY for short runs. Vinyl record mailers you can get here or here in the USA. Here and here in the UK.

“In the United Kingdom, where the CD single is basically dead, there is such a resurgence in vinyl that retailers can’t keep up with capacity. In the U.S., figures as high as 22 per cent are being floated about the growth in vinyl record sales.”
(National Post : March 2008)

If you want to see what your tracks would sound like on vinyl you can get a one off 7″ cut for around $50 from Custom Records (in the US), who’ll even go as far as pressing it in colour vinyl and giving it a picture sleeve for an extra $58! In Europe you can find these ‘lathe cuts’ at Dr Dub in Austria and Dub Studio in Bristol. There are a few more, including legendary lathe cutter Peter King in New Zealand.

USA Pressings:

Archer Record Pressing (Detroit, Michigan)
Quality Record Pressings (Salina, Kansas)
Erika Records (Downey, California)
United Record Pressing (Nashville,Tennessee)
Morphius (Baltimore, Maryland)
Alpha Record Services (Plantation, Florida)
RecordPressing.com (San Fransisco, California)
Trutone (New Jersey, NJ)
Record Tech Inc (Camarillo, Califronia)
Bill Smith Custom Records (El Segundo, California)
Musicol Recording (Columbus, Ohio)

European Pressings
Key Production – London, UK
Curved Pressings – London, UK
JTS Studio – London, UK
MPO – France
The Vinyl Factory – London, UK
Record Industry – Netherlands
GZ Vinyl (Czech Republic)

Related Reading

Return of the Record: Vinyl Sales on the Increase (Amoeba.com)
Amazon Vinyl Store (Amazon.com)
Teens Not Buying CD’s Anymore? (Exclam.ca)
Hard to Find Records (HTFR.com)
Vinyl Gets its Groove Back (MIT via Time.com) pdf file. Slashdot response
Vinyl Maybe Final Nail in CD’s Coffin (Wired.com) Digg response IndieHQ response
Putting a New Spin on Vinyl Records (NPR)
How to Reissue a Record (Classic Records)
The Making Of Vinyl (Random Good Stuff)
Vinyl vs. iPod (The Huffington Post)
The CD is Dead… Long Live the New CD ? (LAist)
The End Of the Music Biz As We Know It (Forester Research)
The Inevitable March of Recorded Music Towards Free (Techcrunch)

How Vinyl Records Are Made

This post first appeared on Buzzsonic back in 2009 but I thought seeing as its Record Store Day here in the UK and in the USA and elsewhere, it was worth a repost. Seems more topical now than it did back then actually what with all the renewed interest in vinyl and increase in sales and manufacturing, so…

In support of my recent post, ‘It’s Official, Vinyl Not Dead Shock’ and my older more detailed look at getting vinyl records pressed, ‘How To Press Up a Vinyl Single and Add Instant Kudos to Your Release’ , I dug around YouTube and found a bunch of instructional videos that should fill in the blanks for bands and artists looking for the inside look on vinyl pressings, cutting and mastering.

Having said that, Vimeo came up trumps with better quality instructionals but its also worth looking at this YouTube video of Detroit techno cutting engineer and producer legend, Ron Murphy who passed away almost a year ago now.

If you play Detroit techno and have played records with the letters NSC etched into it, you’ve played music that has been mastered by Ron. In fact most of the records that have come out of Detroit have been mastered by him.

Related Research

Vinyl Pressing Plants Listings  (Lathe Trolls Wiki)
Long Live Vinyl (Mastered and Manufactured) In Detroit (LX7.ca)
Vinyl Pressings (YouTube.com)
Everything You Need To Know About Vinyl-PDF (Tunecore.com)

How To Follow an Interesting Twitter Conversation (On One Page)

An interesting question. I posted this Tweet

[blackbirdpie id=”191088423925317633″]

from @Mark_Mulligan which had a bunch of responses which involved a lot of clicking and timewasting if you’re reading via Twitter’s web page. A quick search via the Goog came up with 445 million possibles but thankfully Brad McCarty at TheNextWeb hit paydirt with the top result, a useful run down on ‘how to follow a Twitter conversation’.

Which basically lead me to Aaron’s Twitter Viewer where you add that long number at the end of the Tweet URL and bingo, you get this:

Aaron's Twitter Viewer, helped Buzzsonic view a twitter conversation

  How cool….

EDIT..

I noticed the conversation on Aaron’s app seemed to get cut off along the way so I’m continuing my search. I tried Twitter’s own search using my user name but that sends back the flow from all interaction including none related streams.