During the last few years musician website and marketing platform Bandzoogle have reviewed thousands of musician websites, and often, the same issues come up over and over again. So they’ve released a free eBook called “Quick Fix! 12 Ways to Instantly Improve Your Band Website“.

Having the tech tools at your disposal is only one step in making an amazing website. How you design it, how you organize the content, and the content itself are key to building a site that will impress new visitors, where your fans will want to stay and explore, and come back to buy from
your online store.

This eBook is a collection of 12 quick ways that musicians can improve their websites to make them look more professional and be more effective.

Download the free eBook here: http://bit.ly/quickfixebook

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This is a guest post by Ariel Hyatt of CyberPR. Ariel is founder of CyberPR, a New York based digital PR firm that not only helps but also educates artists. 

Imagine if you could measure the likelihood of your financial and personal success by measuring your comfort zone?

I had a taste of the medicine that all the artists must swallow on a consistent basis this holiday season. I decided to give away my book Music Success in 9 Weeks in exchange for e-mail addresses using NoiseTrade. When I committed to doing it, I was uncomfortable.

I collected 1,100 e-mail addresses to add to my list. If I work hard to engage, captivate and earn trust in the long run it will be a good.

However in the short run it really hurt.

I usually sell my e-books for $27.99 – over 1,100 people downloaded it and the “suggested donations” I received equaled a measly $79.00. If I had charged my normal retail I would have made $30,789.

That’s a lot of money lost.  Really uncomfortable.

But the truth is, a very small percentage of the artists that downloaded the book would not have paid $27.99, because they don’t know me and I haven’t earned their trust.

It is unfair that we have to give away our intellectual property and life’s work as a “calling card” in order to build up trust and engagement hopefully a sale in the future. Especially since earning that sale takes a Herculean amount of work and effort and time and marketing knowledge and social media savvy…. Something most musicians I know don’t have the patience to learn.

They don’t want to learn it because it’s completely out of their comfort zone and it’s much easier to just play your music.

I’ve been thinking a lot about comfort zones lately because I’m currently in the middle of a crowd funding campaign, which is confronting and makes me so uncomfortable that it took me almost a year to get up the guts to launch it.

At this point I’m at 46% and I don’t know if I will make my goal, but I do know this:

It’s the best risk I’ve ever taken.

While I was putting all the pieces of my crowd funding campaign together and freaking out about whether or not I would have the guts to go ahead and do it, I came across this fabulous 5 minute video by my colleague and friend Marcus Taylor who is an entrepreneur, thought leader and runs The Musicians Guide UK.

It starts like this: If you have never done anything that made you nervous where would you be right now?

1. “If you want something you don’t already have, you have to do something you haven’t already done.”
2. “We all have this comfort zone which determines what we believe we can and can’t do and if you are not being proactive in pushing your boundaries and getting outside of your comfort zone, you are effectively SURRENDERING all of the possibilities that exist outside of your comfort zone.”
3. “There is correlation between how much we get out of our comfort zone and how much money we earn!”

The post Why Getting Out Of Your Comfort Zone is the BEST Thing You Can Do For Yourself in 2013 appeared first on The Musicians Guide To World Domination.

A while back, we wrote a post that’s become quite popular giving advice on what the best earplugs are for musicians. It seems that almost everyone in the industry is familiar with someone who’s had their hearing impaired due to not wearing earplugs, and so when I came across All Earplug’s infographic on Why You Should Wear Ear Protection, I just had to share it. Enjoy!

Made by AllEarplugs.com. You can see the original / enlarged infographic here.

The post Why You Should Use Ear Protection (Infographic) appeared first on The Musicians Guide To World Domination.

Marcus’ note:
In the run-up to the next Epic Deal, i’ve been fortunate enough to speak to some pretty smart cookies on what artists should and shouldn’t be focusing on to promote their music. Rather than losing these tips in the depths of my inbox or in the ether of phone calls, I asked a few people whom I respect in the industry to share their pearls of wisdom here on The Musician’s Guide.

Up first is Heidi Drockelman, the editor of Indie-Music.com. Enter Heidi.

Q1: What are your favorite online music promotion tools for bands and why?

Heidi: Without question, CD Baby is one of the best resources for selling your music online. We have all been longtime fans of the affordability and variety of their services – which keep getting better, more easily integrated with distribution services everywhere on the web. They offer sync licensing, distribution, free tips and a ton of discounted partnerships with other reputable online promotion resources. They continue to evolve and maintain their place at the top of the heap in online music promotion.

I’ve been greatly impressed with Reverbnation’s PROMOTE IT service as well. Recently launched, it’s a super-focused method to place ads that are going to promote your music and shows in a logical and targeted way. There are options now for an independent artist to place their music/ad on heavily trafficked music discovery sites. The numbers seem to back this up and ReverbNation proves that they continue to “get it,” giving indie artists a promotion option that’s affordable, focused and smart.

The folks at Indie Ambassador have also put a new service/product into the mix with Presskit.to. What I like about this service is its ability to serve as a digital business card, taking the simple concept of the EPK and elevating it for maximum impact. The Pro account lets you create different kits – so you can be tour-specific on one, tailor for magazines on another, add one for contest/festival submissions, etc. It’s mobile-ready, looks great on tablets and smartphones, and is very easy-to-use and navigate. This is a highly affordable solution to the conundrum of having a professional and presentable press kit.

I’m also loving the way that independent artists are using Google+ Hangouts, YouTube artist channels and services like Ustream.tv to interact with fans, and give them a live performance presence online. Taking advantage of online video options only allows for more meaningful fan engagement – and drives them to merch options, ticketing for your next show and straight to your website. This bulks up your online presence, and looks good to venue owners and promoters who might be looking for an artist who is in touch with their fanbase to play their next show.

Q2: If an artist asked you for advice on how they can use the web to specifically book more national gigs, what would be your advice?

Heidi: That’s a tough question, because booking national gigs can certainly require a solid following, the ability to mobilize that fanbase for a wider-reaching gig and the patience and tenacity to follow up on any and all industry connections to make it happen. It starts with being consistent and “paying your dues” to some extent on the festival circuit scene and working your way up to larger venues. My advice on breaking into a larger market, or widening your potential audience, is to start with some of the smaller, indie-friendly festivals that aren’t overloaded with a ton of headliners and that will allow you to have more “face time” with the audience. Start with the festivals closest to you, and then work your way out by region or country (if you happen to be in Europe). If you score a few solid festival slots, you can use them as leverage to approach more well-known venues in the same date range as that festival or area and beef up your touring schedule.

Also, don’t be afraid to put yourself out there at a music conference – but don’t go crazy applying for showcases randomly. This can get expensive, so be selective and find out which conferences are going to be best suited to your style, genre and allow you the most opportunity to network. While this type of gig doesn’t necessarily get you fans, it does put you in front of a captive audience of music industry decision-makers and can lead to corporate gigs, more showcases and a wealth of new connections that can tap you into different geographical markets.

Using the web to search for potential artist sponsorships or endorsement deals is also a great way to to subsidize national travel, and get you the type of exposure that’s going to impress larger venues. There are so many companies and organizations that are looking for unique ways to market their products, services and causes. A great place to look for this type of opportunity is Sonicbids, but you can find a lot of great gear company opportunities by checking their website and seeing what type of sponsorship contests they might be running. Greater exposure, perks for using their products and access to gigs that may be more difficult to gain on your own. Check out your favorite gear suppliers and see if they offer any ambassador programs or contests online.

Q3: How important do you think it is for artists to get their live audiences into their online presence? What are your tips on getting fans to do this?

Heidi: Maintaining and initiating fan engagement is crucial to building a steady audience, keeping them interested in your music long-term and getting people out to your shows. If someone has paid to come watch you play, it only takes a few minutes to say hello, jot down their email and find out why your music speaks to them. If there’s more than one of you in the band, then “fan” out and do your best to split up the room and just make a connection with everyone there.

Let me ask a question: if you go to a show and the artist takes even the minimal interest in saying hello, aren’t you more likely to leave with a positive impression? Let’s say that person goes home or logs onto their mobile device after (or during) the show and gives you a “shout out” on their page, leading their friends to also have a good impression and you end up turning a few more fans just by association with that ONE person you took a moment to engage at the show. It’s worth it. You want to build goodwill, because that leads to loyalty and the strong likelihood that person will come back to your next show, and drag a few more friends with them.

Download cards are great tools, and if you can spare some, leave them with the venue, scatter a few on any tables in the place prior to your set, add a QR code to your gig poster and make sure it’s posted in the bathroom and entryway of the venue. Say hello, tote your iPad/tablet/smartphone around with you and ask for their email. Most people are going to give it to you without question – fans are so much more likely to sign up for an e-mail list on the spot than to take the extra step to do it themselves after they leave. They like to feel appreciated, so show your fans some love.

But don’t let the email addresses and new “likes” on a page just sit there – get them added the next morning to your list, just make it part of your “morning after” 5-minute task. Same with doing quick checks of your fan pages, calendars and email and keeping all of your social media updated. There’s nothing more frustrating to your fans than not knowing when your next show is and how they can find your newest music. Make it easy for them to find you, both online and performing live.

Q4: How important would you say relationship building with promoters is for acquiring gigs – and is this something that can be done effectively online?

Heidi: It’s essential. Developing and maintaining positive relationships with promoters, venue owners and other bands who perform in your area and those who might share a cross-section of your fanbase make all the difference when you’re trying to book gigs. Promoters can be a tough group to develop rapport with; not because they don’t want to see artists and venues succeed, but because there can be a lot of “take” and less “give” when it comes to working with them. They may be skeptical, and sometimes cynical, especially if you’re new to the scene or overeager. Look, it’s a business. And everyone in the musical food chain relies on the promoters to drive numbers and profits on the local, regional and national levels.

I think it’s possible to nurture a positive relationship with promoters online, for sure, but you want to make sure you’re making a real connection. Ask them thoughtful questions about what you can do to help them promote the show and then follow-through. Solicit advice from them about how you can most successfully work together and be proactive about ideas you have to show them you’re serious about making everyone happy – venues to fans to ticketing companies. Don’t pester them. You know that saying about the squeaky wheel getting the grease? Don’t be the squeaky wheel. There’s a fine line between seeking their expert advice and not being mindful of their time and e-mail inbox limits.

Make direct contact, but make sure that you are also utilizing indirect methods like a Twitter mention or engaging on their Facebook page or letting a venue owner know when you’ve had a positive interaction with them. The small subtleties add up and they’re going to be far more receptive to a sincere request rather than bombarding them with emails every other day. Don’t stalk them, be patient and respectful, and maintain a professional relationship – don’t fall into a trap where your interaction is too casual, remember that this is their business. And their business depends on getting people to their shows and keeping venue owners happy.

Support your friends’ shows online and in person, be mindful of the types of artists they book and you’ll find yourself opening for someone with a strong fanbase or headlining your own show. It requires patience, and doing your homework, but it pays to be a loyal supporter to a promoter all the time, not just when you want your own show.

Q5: Where can people find & connect with you?

Heidi: Fans, bands, music and tech companies can find us online at http://www.Indie-Music.com, on Facebook, Twitter, or Google+.

News and product releases can be sent to us at pressrelease[at]indie-music.com or you can contact me directly at heidi[at]indie-music.com. We look forward to hearing from you!

About Heidi Drockelman / Indie-Music.com

Indie-Music.com was founded in 1996 by Suzanne Glass, and became known as one of the early online resources for independent musicians, DIY services and music industry professionals. Over the years, our website has evolved from what was once primarily an exhaustive resource database and music review service to what it is today, a daily news source for those who are making music and those listening to them.

The post Using the Web to Build Fans, Book Shows & Build Contacts (Interview with Heidi Drockelman of Indie-Music.com) appeared first on The Musicians Guide To World Domination.

About to form a band and wondering how to make a band name? Well you’re in luck, as today I’m going to show you the best way to do just that!

Picking the right name for your band is an important process. The name you choose can say a lot about you, so it’s important you pick one that every one will be comfortable with.

Here are a couple of the best ways to go about making a band name. If you use them, let us know some of the best (And worse) names you come up with in the comments.

1. Create A Random One Using A Band Name Generator

If you want to make a band name in the quickest time possible, your best bet would be to use a band name generator. This is a free tool that will allow you to create random band names at the click of a button. Some of the results you get will be very good, while others not really for you. Either way though, you should get a load of great ideas for band names with the minimum effort possible.

Many bands have used these tools to create a name for their band, so give it a try.

2. Brainstorm With Band Members

Another option is to brainstorm ideas with the rest of your band members. There are a couple of ways you can do this.

The first option is to give every one a task. Each of you needs to go away and come up with say 10 potential names for your band. You will then come back in a set amount of time and share your ideas with the group. Together you can work the list down to 5 or so potential names, and have a vote on which one you feel is the best.

The second options is to pick random band names from your head, and just write them down no matter how silly they sound. When you have a big list, you can see if there are any you like. If not but one sounds half ok, use the bit you like, then think of a better way to start of finish the name. You can then present these band name ideas to the rest of your band, if they haven’t seen them already that is.

3. Pick The Best Band Name Ideas

Now depending on whether or not your band is already formed and who decides your final band name, this process could go one way or another. If the band’s not formed and / or you have the final say of your band’s name, you simply have to make a final decision. This is the simplest outcome.

If however your band is already formed and you have to make sure everyone’s happy with the final decision, you need to make sure you pick the final name in a fair way.

The best way to do this is to narrow it down to a few options (That everyone has contributed with), and vote. This is fair, as everyone in the band will have their say. Before you do the vote, you should all agree that the name that wins will be your new band name and everyone will stick 100% behind it. This will save arguments and any potential hesitation once the results come out.

Some times the voting won’t be a necessary and you’ll have a clear winner you’ll all like, but other times it’ll be needed. If you can’t decide on one name at the end of your vote for whatever reason, another option is to get outside people to vote as well. Alternatively, you can start again and think of another name using the above process.

Conclusion

Creating a band name isn’t always a quick process, but it’s necessary if you want to get the perfect band name. Your band’s name is what will define you as a group, so you want to get it right the first time around.

Using these methods, you will be able to come up with a good name for your band. Both of them work well, but using a band name generator is often the easier of the two.

Shaun Letang
Shaun is the owner of Music Industry How To, an advice website helping a wide range of music industry professionals. Other guides you may like include how to form a professional band, and how to market your music. Enjoy.

The post How To Make A Band Name In 3 Straightforward Steps appeared first on The Musicians Guide To World Domination.

A few weeks ago I was contacted by the guys at Moozar to look at their new ‘reward for support’ service for artists. I was immediately intrigued by their idea of rewarding fans financially for sharing music – and encouraging fans to pay to *support* the artist, rather than paying for a tangible product.

Moozar, in a nutshell, is another site where bands upload their music and connect with fans who will listen to their songs. Nothing new there.

But Moozar isn’t trying to be the next Soundcloud or Reverbnation. From what I can tell, Moozar wants to build a platform that encourages fans to reward their favourite artists with small tips. The other side to Moozar, which I find particularly interesting is that they’re offering music fans what they call a ‘reward link’, which essentially allows music fans to earn 20% of any referred rewards that come through that link.

At this stage, I’m skeptical. I have two big questions going through my head.

Should fans be paid for sharing music?

First of all, would anyone actually reward an artist? The music fan doesn’t appear to get any tangible benefit for doing so, so why would they?

Secondly, is it ethical / right to be encouraging fans to share music via financial incentives?

The answer to the first question appears to be yes – fans do appear to be rewarding artists. After scanning over some their artists, I found some songs with over 250 rewards. However, most artists using Moozar seem to have around 10 – 20 rewards per song.

The answer to the second question is tricky. IF a fan were to a share a song anyway, I see no reason why they shouldn’t receive a 20% commission on any referred ‘reward’ money that the artist wouldn’t have received without them.

Another consideration is that this is completely normal in other industries – You can become an ‘affiliate’ of virtually any product sold on Amazon (including AmazonMp3s), and earn a commission for referring sales.

I don’t think there’s an ethical issue in paying fans to share music, I just think it’s perhaps a bit of a grey area when it comes to people who aren’t genuine fans who are passing off as being fans to share your music for profit – but that situation seems very unlikely.

A great platform for getting your music heard

One thing I love about Moozar is they’ve built the compelling sharing mechanism into the platform, so that the artist doesn’t have to work out how to persuade fans to share their music.

The prospect of earning a small amount of cash for simply hitting a like or tweet button makes doing so a lot more attractive for music fans. There’s now a clear ‘what’s in it for me’ for sharing music, which has long been an altruistic act or an action to imply status / personality.

In that sense, Moozar is a very smart service.

Using Moozar as a revenue stream

The concept of Moozar’s business model for artists is a smart one, but I don’t think it’s going to revolutionize the music industry just yet. From what I can see on their website, the average ‘reward’ donation appears to be around $0.80. This means that even with 250 rewards (which seems to be the upper level of rewards per song) that’s still only $200 in revenue.

This is a decent amount of cash, especially when compared with other revenue streams like Spotify royalties or iTunes sales, but it’s not something you could live on easily – that is, unless Moozar increases how much fans pay.

The obvious solution to me is to offer fans something for their $0.80 – rather than having an altruistic platform of fans supporting the artists they love, go one step further and integrate some Kickstarter-esque reward scheme, where fans can reward $0.80 to get a digital download, $10 to get a single posted to them, or $100 to have a 1-on-1 Skype with the artist.

That kind of reward scheme + the current sharing mechanism could be a powerful combination.

To check out Moozar for yourself, visit Moozar.com.

Over and out,
Marcus

The post Moozar Rewards Fans for Sharing Music appeared first on The Musicians Guide To World Domination.