If you’re looking for a venue to play in Berlin as an artist or band, but also if you’re into going out and checking…
We’re very happy to introduce you to a site called beehype. Started in Poland, the idea of beehype is that a collection of music…
Through the years we have gathered a very active community of artists and organizers from the world over, from the noise experimental fields to pop and techno and whatever else. The Bloop is a place where this community can become sustainable and grow without the limits that physical places have. It´s meant to be a map of all of us where we can share projects and work our way to make beautiful moments.
To say it in a pitch: it´s a community of artists and organizers to do booking and manage tours
We’ve all been there: You spend ages rehearsing, you make lots of phone calls, you get the gig, you tell everyone about it, you make sure you get there on time, you do the sound check, you buy something to eat, you hang around, then you play. Maybe to a couple of hundred people, maybe to twenty…and its a great gig but after everythg’s paid you think, well, I’m not going to get rich like this.
So how do you make sure that every gig you play brings you proper results, makes you money and takes you further on the road to success?
Glad you asked!
I’ll admit, I fess up, I come clean. I’ve had this book in my possession for a while now and I’ve become strangely reluctant to let everyone else in on this…for no good reason, but like Kreecher in the Rings films darkly muttering „My precious…“ while casting evil glances at the others who might wrest the gem from my hand.
Odd perhaps, but there you go.
Sehr geehrte Leser,
hier meine Meinung über die GEMA, mit der ich als Kulturschaffender auf Grund von gesetzlichen Grundlagen zu einer Koexistenz verdammt bin. Vorweg möchte ich betonen: Geistiges Eigentum muß geschützt werden und Dritte, die dieses nutzen, sollen selbstverständlich dafür auch eine Lizenz bezahlen. Ich bin mit der GEMA und anderen Verwertungsgesellschaften auf mehreren Ebenen zu einer Zwangsgemeinschaft verdammt und habe mir daher gut 30 Jahre lang aus verschiedenen Perspektiven eine Meinung bilden können. Einmal als Komponist und Arrangeur, der vieles geschaffen hat und daher auch der GEMA beigetreten ist. Leider aber für das, was meine Veranstalter für meine Konzerte bezahlt haben, fast nichts erhalten hat. Dann als Verleger, der viele Werke in Verlag genommen, bei Funk und TV eingepflegt, live auf Tour geschickt, natürlich der GEMA gemeldet hat, aber auch dafür fast nichts ausbezahlt bekam. Dann als Boss einer Plattenfirma, die mechanische Lizenzen zahlen muß und last but not least als örtlicher Konzertveranstalter, der eine GEMA Abgabe für eine öffentliche Aufführung leisten muß. Ich stand und stehe sowohl auf der Seite der Empfänger als auch der Einzahlenden und ich sehe das klare Mißverhältnis.
“Stop promoting, start entertaining.”
— Matt Colon (Manager of Steve Aoki)
Have you ever had one of those Aha-moments when you finally get it? These 12 quotes have the potential to change the way you think about promoting your music:
In the next logical step of wanting to be all indiethings to all indieberliners, we here at indieberlin snapped our fingers and said something akin to Aha!!
Again one quick logical skip and jump from there (we are after all in the land of undefeatable logic), took us to this moment, this moment when after shoving and whispering, “no you press it!” “No, you!” we took straws and then one of us tentativley crept forward and pressed the button that launched…..
the indieberlin classifieds.
Behold: This fully operational deathstar (of classified ads)
Ah, the classic nature vs. nurture debate. Otherwise known as – “Do some people just “have it” and others don’t?” “Is everyone who “makes it” just born with superhuman vocal cords and movie-star looks?” First of all, you should know by now that not even movie stars have movie-star looks – there’s a lot of airbrushing, styling, and general disguising going on behind-the-scenes. And though some singers are gifted with perfect pitch, that’s not all it takes to make it today in music.
For any emerging brand (yes musicians, this means you), a music PR campaign is a great way to spark new conversations, build visibility within key markets, and grow your overall influence over a long-term. The problem is, your budget may be tied up in basic costs such as recording, production, touring, rent, food, etc.
Working with an established, professional publicity or marketing firm might be the ideal, as they will have a proven process and a network of strong media connections, but unless you have a few thousand dollars available in your budget, you may need to design your own publicity campaign.
Bit of a strange one, this. Now generally, my position in indieberlin entails various escapades (or quests, as I prefer to call them); seeing a band, getting inappropriately drunk and forming whatever I can remember into semi-coherent pieces of prose. I tentatively dip my toes into the ‘Artist Support’ section of indieberlin on warrant of having potentially useful information for my musically-inclined kin out there.
As some of you may have seen on my Facebook lately, I’ve been diggin this super simple, easy-to-understand Feng Shui book lately called Move Your Stuff, Change Your Life by Karen Rauch Carter. It’s no secret that the environment you’re in can affect your mood (if you’ve ever been in a rehearsal room where people have been smoking and generally trashing the place and you have to sing, you know what I’m talking about!). It’s up to you to create a safe haven for your creativity and music career. Here are some tips I’ve gleaned for using Feng Shui to help your music!
Distribution of music has opened up from being controlled by record labels’ to now being practically free for all musicians.
Being your own record company is a reality for the DIY musician. You have to be able to market, record and distribute your music.
Luckily there are many sites and apps that allow you to propagate your finely tuned songs around the world in seconds. Soundcloud, Reverbnation, are all sites that work; however, BandCamp is the site that will present your music in a way that is visually appealing and also provide tools to build and analyze your fan base.
Gigmit.com is a portal that aims to make booking easier both for bands and promoters, with gigs posted on the site and musicians able to create a profile and apply directly through the site. To get more info go to their site and check it out. It’s a cool idea and they’re doing it well.
I guess you know the basics for the moment: That Twitter #music is a discovery platform not a streaming platform in that it lets users discover music through artist and others’ Tweets, listen to their music using Spotify or Rdio, watch their videos on YouTube or Vevo and buy songs via iTunes. You won’t actually listen to music within the Twitter app unless it’s the 30 second iTunes preview of the track, to listen to the full track you’ll have to click through to one of the platforms that Twitter #music integrates with.
As a musician knocking on doors, you’ve usually got less than half a minute to convince the other person to listen to you. Laura Allen says that actually it’s more like 15 seconds. And here’s how you do it….
Since I started my career in this business. I’ve always been working within the 1,000 True Fans model.
Here’s my story: In 1996, I was living in Boulder, CO and I had just started Ariel Publicity, my boutique PR firm.
Acoustic Junction and Zuba two local bands became my first clients. Both had been staples in Boulder for a couple of years, and both made fantastic livings touring and selling their independent releases from coast to coast. They did this with no label, no distribution, and no major marketing budgets: just a manager, a tour manager, and me.
I also represented The Toasters, Bim Skala Bim, The Slackers, and Skinnerbox, (and practically everyone touring during the third wave of Ska).
These artists and dozens like them all made full time livings from playing and touring. They had a core group of fans that supported them by seeing several shows a year, buying merch and buying albums.
Today, it feels revolutionary when we hear about bands that make a living based on their music.
Another guest post from music licensing expert Aaron Davison of howtolicenseyourmusic.com
Do you ever have the feeling that you’d like to move your music career forward but you’re not sure how? Like you know you have what it takes to “make it” If you could just figure out what the next “right” thing to do is. As I’ve said before, the music business doesn’t always have a clearly defined, well laid out path to follow for those aspiring to succeed in the industry. But there are plenty of examples that will point you in the right direction, if you know where to look.
Twitter offers one of the most widely used APIs (application platform interface) in the world, allowing other businesses to create apps that will heighten the experience of using the Twitter platform. Among these apps are games, tracking apps, picture apps, and also apps that will better your chances at engaging a larger pool of people.
There is an app out in the ether right now called Tweepi. It has been around for a little less than a year and is still evolving, but it has found a place as the Twitter janitor and also the Twitter stat machine.
If you are anything like the majority of people, artists, authors, entrepreneurs and beyond who have built a Facebook fan page, then I’m sure you’ve noticed something…
Facebook makes it ALMOST impossible to make any sort of real growth happen.
A recent study reported by Mashable (from Napkin Labs), showed that on average only 6% of fans engage with a brand’s Facebook page:
On average, just 6% of fans engage with a brand’s Facebook Page via likes, comments, polls and other means, according to a study from Napkin Labs, a Facebook app developer that works with brands and agencies. Of those fans that did, the average engagement was the equivalent of less than one like over the course of the eight weeks the study was conducted.
There are several reasons for this.