Nov 02 2010

The new rules of merch. Anything goes (almost.)

“As chocolate lovers and Vermonters, we’re big fans of Lake Champlain Chocolates, so hooking up for a first time collaboration between rock ‘n roll and chocolate seemed natural. Our creation will rock your world. Sweet dark chocolate blended with bold red pepper and savory pistachio – one taste calls for an encore. Enjoy.”
- Grace Potter & the Nocturnals from the Lake Champlain Chocolates website

Talented band Grace Potter & the Nocturnals, whom I met a couple of years ago when they played awhile back with minty fresh band Ezra Furman & the Harpoons, are boldly expanding the world of artist merchandising. They’ve created their own chocolate bar with Vermont chocolatiers Lake Champlain Chocolates. My first reaction to this news was, “Is that a good idea?” This was quickly followed, was, “Why the hell not?”

Grace Potter & The Nocturnals “Under Fire” Chocolate Bar

Artists (and record label owners like myself) too often get in the rut of new release= new t-shirt design+new button, and then stop there. Besides, when you think about it, is something that covers your torso any more relevant to your music than something you eat? Exactly.

If Grace Potter & the Nocturnals can create and sell an item that excites the taste buds instead of simply pleasing the eye it may be a very inventive way of leaving a good impression with their fans. The memorability is huge too; there are a bazillion band t-shirts out there but I can now only think of one band chocolate bar. Clever.

Here are a few sensible things to keep in mind when you are thinking about new forms of merch (”merchandise” for you rookies):

1. Do I like the merch? If it is a shirt would I wear it even if the name of my band weren’t on it? (This is a helpful way to gut-check the design & color of the shirt.) If I’m selling food such as chocolate, do I love the taste of it? Grace Potter and the Nocturnals went so far as to create the blend of ingredients for their candy bar with the chocolatier. Smart. The best merch reflects a genuine part of you.

2. Is the merch practical and can it be profitable? You might love your Band imprinted masonry brick idea for its timeless durability, but you’d lose 5 bucks in gas money for every unit you sold. Keep it light and easily transportable. The one thing I’d suggest to Grace is that she and the band keep those tasty chocolates away from the stage lights.

3. Avoid band coffins. S’been done.

“This is the ultimate KISS® collectible, ” said Gene Simmons. “I love livin’, but this makes the alternative look pretty damn good.”

Kiss Kasket

Check out the latest issue of the excellent magazine about women in music, art, film, and fashion, Venus Zine for more about Grace Potter & the Nocturnals.

What is the most inventive/impressive type of merch you have seen? Do you think it was effective? Let us know by posting a comment below.

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Oct 28 2010

YouTube – “Take Me Out” by Atomic Tom LIVE on NYC subway

Your music can be created, performed, and shared anywhere today.  In addition to the music itself (most important),  the manner in which you create can also be an interesting part of your story.

Witness how clever band Atomic Tom use technology  to both create their song (via iPhone) and promote it (via YouTube).  Cool!

YouTube – “Take Me Out” by Atomic Tom LIVE on NYC subway.

And here is a snippet of just some of the diverse Atomic Tom press exposure that resulted.

Have you had any success with unorthodox recording, performance, or marketing ideas? Tell us about them!

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Oct 15 2010

Jason Feinberg shares his 10 Truths about the Modern Music Business

Jason Feinberg is vice president, direct to consumer marketing for Concord Music Group. He offers some interesting perspectives for musicians and labels in mediashift.

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Sep 30 2010

A Recording Studio is No Place For Democracy

Nigel Tufnel knows

Nigel Tufnel knows

When is comes to decision-making, a one vote per band member democracy in theory makes sense and seems fair. In the studio it’s often a recipe for disaster.

For example, when listening back to their song mix in the studio, musicians naturally tend to focus on their own performance. Of course, this is important – they should feel satisfied with their contribution on a track. However, while each individual obsesses about their individual element in the recording and where it sits in the mix, the most important element of the recording is often forgotten – the sound and impact of the song as a whole.

What you don’t want is your entire band sitting on a couch behind the console all chiming in with their opinions to a beleaguered engineer. Remember, a good mix is like a perfectly balanced house of cards. Changing one sonic element alters the perception of everything else around it.

Also, inevitably at least a couple band member suggestions will be diametrically opposed to each other.

BASS PLAYER: Something’s missing. It needs more bass.

(Engineer adjusts bass level)

DRUMMER: Now, we lost the kick. Can you boost it a little?.

(Engineer adjusts kick level)

BASS PLAYER: Hmm. Almost there, give us just a touch more bass.

(Engineer adjusts bass level)

DRUMMER: Fine. Now, more kick please.

(Repeat indefinitely)

The best songs come across as a singular experience, transcending any individual contribution. Someone has to be entrusted with looking out for the impact of the song above all else. The reality is, not everyone in a band cares equally about every track or pays equal attention to it. This is where a trusted producer, or band “leader” can be helpful as a more objective listener. Determine your best “steward of the song” to pay attention to the cumulative impact of the music and listen to them.

If the band is self-producing, then one, or, at most, two band members should complete an initial mix before bringing it to the entire band for feedback. Further mix adjustments can then be made accordingly, but at least you are starting with a mix that has direction and lowering the chances of ending up with a sonic mess of appeasements. You will also spend less time burning money and time in the studio.

You may think that the songwriter(s) should be the one looking out for the song. Often this makes the most sense, but not always. Some people are prolific creators but have no inner-filter, no sense of which ideas resonate with others. Best then to rely on someone else in the band as a sounding board, or discuss song picks and favorite elements in a song as a band before you enter the studio and during playback ask yourself whether those elements are adequately presented in the mix.

A great song is forever. Give each of your songs its best shot.

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Sep 17 2010

Long tail or broad ripple?

With immediate access to global distribution of your music today, it’s tempting to envision effortless opportunity. The Long Tail concept popularized by Chris Anderson a few years ago in his book The Long Tail: Why the Future of Business Is Selling Less of More (ISBN 1-4013-0237-8) popularized a promising revenue model in selling smaller quantities of many titles around the globe rather than selling large numbers of a few hit titles.

This concept has provided hope for many niche oriented music labels, publishers, and musicians. As a small label owner or as an artist running your own imprint, the logic of The Long Tail is appealing. It has been misinterpreted by some to mean that if you simply put your music out there amidst the entire population of music fans around the world, statistically speaking, surely someone will relate to your music and be willing to spend a few dollars on some downloads.

In reality its better for the music entrepreneur to view the concept of global sales as “broad ripple” based. Think of your music release as a stone thrown into a pond, and the resulting surface ripples as market response. Even if your goal is a small level of sales, your music releases have to make a small splash somewhere, (e.g., press review, radio exposure, blog buzz, live show response) to generate waves of awareness around it. This awareness recedes the farther away from the point of generation (perhaps your home city?) but still carries on far from the initial source of energy. However, make no mistake, it is up to you to make that splash with interesting music marketing well. No splash, no broad ripple, no sales.

There may be a couple of hundred people in Australia who would be willing to pay for music by your San Francisco based band, but they are going to have to be made aware that your music exists. Simply putting your music out there isn’t enough.

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