Classification périodique des fans » Article » OWNImusic, Réflexion, initiative, pratiques. Jonathan Ostrow dresse la liste des différents types de fans et nous explique les actions à mener envers chacun d'entre eux, afin de maximiser la qualité de la relation fan/artiste. Jonathan Ostrow (@miccontrol) est le co-fondateur du réseau de blogs musicaux MicControl, qui se base sur une plateforme de réseau social. Il publie en outre régulièrement sur le site Music Think Thank. Tout le monde sait que construire et entretenir une fan base est l’un des objectifs principaux (si ce n’est le plus important) de tout artiste en développement qui compte sur sa musique pour développer une carrière durable.
Mais pour s’assurer que vos efforts ne sont pas vains et que votre communauté de fans grandit comme il se doit, il vous faut comprendre que tous les fans ne sont pas les mêmes. Les “fans” : une unité de mesure du degré d’intérêt d’un individu pour votre musique. Le bon pote Le fan-qui-prend-le-train-en-marche Ce fan est celui qui rejoint la fan base parce que c’est à la mode de le faire. Seth Godin: Get It Right For 10 People. Look, Lurk, Leap! A Musicians Guide For Finding Managing and Rea. I have been working on the second edition of Music Success in Nine Weeks which will be released in a few weeks and I recently revisited the section about blogs.
I believe that getting reviewed on blogs is critical for every musician because it helps create a bigger footprint for you online, builds awarness and allows for a two- way conversation around your music Here is a section from the book. To understand blogs I highly suggest you watch these two wonderful videos from the amazing Commoncraft website that explain all you need to know to get started.
STEP 1: Movie Time! RSS in Plain English - Blogs in Plain English - Now that you have an understanding it’s time to get prepared to manage your blog reading STEP 2: Create Your Google RSS Reader Now you know exactly what this is from watching RSS in Plain English. STEP 3: Create Your Blog Reader Profiles My Blog Log Google Friend Connect Hypebot. Mass Media Vs. Niche Media. I rather like having discussions with Mitch Joel, he gives me good food-for-thought.
That’s because we grew up in different times – I have only known a digital society, he has seen both a digital and analog. Due to this we tend to look at things through a different lens. Previously when he argued print is not dead, I made the point that it may not be dead, but it’s on life support and that digital is now the master copy. Mitch wrote something else that struck me recently. He made several different points so I’m going to respond to a few parts bit by bit: Imagine a world without Mass Media (which is something that many “Social Media Experts” are talking about). Not sure this makes much sense – my newsfeed/reader is made up of a variety of forms of media, including “mass” media, whatever that means. Twitter or Facebook are not what is replacing the popular media outlets of yesterday. I’m also slightly confused with what we’re talking about in terms of “mass” media. We no longer have scribes.
When Free Works. This guest post from David Harrell first appeared on his Digital Audio Insider blog. When he's not blogging, David also makes music with the Layaways. Free music is getting a bad rap as of late by some industry analysts (see Mark Mulligan's recent post), but - in certain circumstances - I still think it can work. I agree with the skeptics -- having all artists give away digital downloads of all their music isn't a long-term solution for the industry.
However, it's important to distinguish between what works for the entire industry and what works for an individual artist. Here's a recent example that I think is going to succeed, in the sense that free music is going to increase both the attention the artist receives, and his long-term income: Mojo Nixon, of "Elvis Is Everywhere" and "Don Henley Must Die" fame (and currently a DJ at Sirius XM), is giving away his entire catalog via Amazon MP3.
It works because: 1. Ld also argue that he's giving up some future sales as well.)3. The Artist As A Startup. Is A New Model Emerging? During the panel that I was a part of at yesterday's New Music Seminar, we briefly floated the idea of the artist as a start-up company. Not only is there value in thinking of an artist's career (or any career for that matter) as a business and embracing an entrepreneurial spirit, but perhaps artist and record funding should become more start-up like as well. Instead of the old label model where a large advance is given at the start of the relationship in exchange for the majority of any future profits, funding could come in waves as it does in Silicon Valley. Early stage or seed funding to launch is followed by a successive series of rounds for expansion based on performance and a company's (or artist's) current valuation. It's not a perfect analogy, but it seems to be a useful one as the music industry continues to search for new ways to fund successful music projects.
But maintaining control of your destiny and more of your future profits is not easy. Une musique piratée sur YouTube relance les ventes d'un gro. D'aucuns estimeront sans doute que ce n'est qu'un cas isolé et qu'il serait indécent d'en tirer de grandes généralités. Pourtant, ces dernières années, les exemples n'ont pas manqué : Moby et Coldplay ont expérimenté la distribution gratuite de quelques morceaux et les enseignements sont plutôt intéressants : l'un et l'autre se sont retrouvés en tête des ventes sur les plates-formes musicales. Récemment d'ailleurs, une étude menée par Interpret a relevé que le succès du téléchargement légal sur Internet n'est pas une chimère : parmi les internautes fréquentant régulièrement les réseaux peer-to-peer entre 9 et 16 % étaient également des consommateurs légaux de musique.
Un score certes peu élevé, mais qui est loin d'être nul. °videmment, dans ces deux exemples, ce sont les artistes eux-mêmes qui ont décidé de mettre certains de leurs titres en ligne gratuitement. "A creator, such as an artist, musician,... - Bret Taylor - "Does all this shit have anything to do with the music busi. My phone number is on my contact page on Unsprung Media. At least once a week a random artist calls me direct to chat about business. Have you ever seen the movie Groundhog Day?
That’s me. I have the same conversation every week. No worries, I seriously enjoy these chats. Bewildered and in disbelief, every artist eventually asks the same question: “Does is all this shit have anything to do with the music business?” Note: it’s not ‘stuff’, it’s ‘shit’ every time and without fail. And, my answer is unequivocally “Yes please! Three years ago, some artists were still tickling the man’s jewels (I hear the stories…) just to perform upon his stage, and that was what…the music business? Things are different but the same now. So yes, finding a way to work with fifty other artists may be necessary. And yes, picking out the coolest shirt and hat designs is somehow economically related.
Yes, it’s all necessary if you want to be successfully independent. Wait, I said this last week… Are fans telling friends? If not, improve, don't promote. - The most powerful philosophy of marketing I’ve heard is from my hero Seth Godin, and I think it can be summed up as this: You’ll know when you’re on to something special, because people will love it so much they’ll tell everyone. If people aren’t telling their friends about it yet, don’t waste time marketing it. Instead, keep improving until they are. How can you apply this to your business, music, product, or service? Seth wrote: “Sell one. This is encouraging, because in the past it felt like the only way to do effective marketing was to spend a ton of money on mass-media advertising. But now the goal is to create something absolutely remarkable, until customer word-of-mouth generates a buzz.
And that’s only limited by your creativity and persistence, not budget.
Tools. Viva Musica : à la découverte des marchés de la musique: Kiss Ki. L’année 2009 sera l’année des labels participatifs. Derrière la brèche hollandaise ouverte par Sellaband, la France est devenu le paradis de cette formule. En tête Grégoire + My Major Company + toi + moi + 1 000 000 d’albums = la promesse de la ruée vers l’or. Comment ça marche ? Une vidéo vaut souvent mieux qu’un bon discours.En d’autres termes, le principe est assez simple. Côté label, on profite aussi de cette souplesse.On s’inscrit et l’on propose un projet. Comment vit Kiss Kiss Bank Bank ? La structure prend une commission sur les investissements.En contre partie, Kiss Kiss Bank Bank propose un suivit complet pour les Kiss Banker comme pour les labels de l’évolution des projets (financement, production, promotion et chiffre d’affaires.Le site est assez clair, agréable (sauf la musique qui joue quand on passe la souris sur la photo du groupe qui m’a un peu « stressé »).
Un groupe de musique propose aux fans d'établir eux-mêmes l. Après les albums de musique et les jeux vidéos, va-t-on désormais voir des groupes de musiques laisser les passionnés et les curieux fixer eux-mêmes le montant d'un ticket de concert ? C'est en tout cas l'expérience (ou le pari ?) Menée par le groupe américain Lotus, dont l'univers musical évolue du downtempo au trip hop, en passant par le lounge et l'électro. Bien qu'il ne soit évidemment pas possible d'acheter un billet d'une valeur de zéro dollar et de venir ainsi gratuitement au concert, le groupe a néanmoins prévu une fourchette de prix suffisamment large pour contenter tout le monde.
Mais avec un prix pouvant varier d'un à vingt dollars, il subsistait un risque pour le groupe : voir tous les spectateurs s'en tirer avec des places à un dollar, une crainte qui empêcherait dès lors de pérenniser cette idée et bloquerait sa diffusion à d'autres groupes de musique. Ce modèle économique a-t-il un avenir ? Live Nation Opens Web Platform To Artists. Concert promoters Live Nation have made changes to their web site that places more of the site’s content int the hands fans and artists. LiveNation.com is a top 50 ecommerce site and a top 5 online music network.
Some of the new features include: The ability for artists and fans to upload their own concerts enabling these events to be searched alongside Live nation events. Some competing venues and promoters have balked at having a competitor display their shows, but in an increasingly open web environment more are embracing the service.A robust set of fan-generated content modules, including concert and artist-specific wikis, ratings and reviews, fan moderated Q&As, and integrated Twitter streams.Facebook Connect integration which enables fans to share concert information and to identify friends going to a show.A comprehensive and comparable listing of concerts and primary ticket inventory.