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Welcome to the fan-funded music era

Crowdfunding has become mainstream among many artists introducing a new way for bands to raise funds needed for their album, tour, merchandise or anything else, and more importantly, doing it in advance.

The pioneer of this practice was the British band Marillion, in 2001 they released and distributed their album “Anoraknophobia” entirely using the money obtained from pre-selling the record to their fans, paving the way for future platforms offering similar services like Indiegogo (2008), Kickstarter (2009) and Pledge Music (2009).

Fan campaigns are currently used not only by emerging or unsigned musicians, but also by more established artists. Emerging artists usually finance their first release or tour, while well-known performers mostly appeal to fans when they want to work independently.

Crowdfunding opened their doors to everyone creative and driven to put out their dream product. This format has gained popularity year on year while playing the role of a democratic income generator.

Even though this platform is popular it’s not without criticism, but at the end of the day it’s just another way to give fans what they want.

 

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Is music streaming profitable for independent artists?

In July this year, streaming was included in the official UK singles charts.

Since streaming services were launched they became significantly important for the music industry. Digital accounts for 50% of UK record industry revenues, streaming holds 10% (BPI) of that and apparently that’s just the beginning.

Streaming is now an integral part of the music industry and is helping it to move forward and decrease the illegal downloads, but all that glitters isn’t gold.

Spotify declared that on average a song generates between $0.006 and $0.0084 per stream in royalties.

It’s clear that the revenues generated will only impact big named artists while smaller artists’ slice of the cake is smaller.

Streaming does have its upside for indie artists and labels creating visibility and accessibility to the public, but what else can it offer?

By giving more and more power and relevance to streaming, will these providers pay enough in royalties? See what’s happening between YouTube and indie labels, if that is the future, it doesn’t look bright.

We’re going forward, but the main revenues for artists still stand in merchandise, gigging and album sales, hopefully streaming services will find a way to blend in, find their place, please every party and be a welcome member of the music industry family.

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The Best Platforms for musicians for building a website

In the previous blog post, we highlighted the importance of having a website as part of your Social Media Strategy.

Social Media platforms should guide fans to your website where they can turn their enthusiasm into action. Website can convert visits into email addresses, sales, and moreover showcase what you’re doing and offering.

Read the points below and stay tuned for the next post about how to choose the Social Media Platforms right for you.

What should you have on your band website?

Your contact information.

Links to all your social media profiles.

Gig listings.

Online store (built in or linked).

A Subscription form to gather fans’ email addresses.

There are different options you can consider to build your website, below are some suggestions to get you on your way.

Music Glue

Music Glue is a nice solution that incorporates everything you need. You can have a page up and running in no time, including a great looking online marketplace.

The goal is to offer your fans everything they want without leaving your website. Downloads, merchandise, tickets, everything goes in one cart without being redirected to any other different platform.

There are no monthly charges, you only pay commission on sales you make and you can have different options from basic, bronze, silver and gold to build and design your page depending on your needs and budget.Moreover there’s an interesting opportunity for Print on Demand Merchandise, where your T-shirts are printed only when orders are put through avoiding stock risk.

Who’s using Music Glue?

Enter Shikari, Cloud Control, The Jezabels and more.

WordPress

WordPress is an incredibly powerful and versatile platform, highly customisable and easy to use.

Start with a free beginner version and you can upgrade anytime if needed. It offers a great range of plugins and you’ll benefit from an enormous user base and developer community for support.

A considerable number of website templates (some free) are available, if you know how to code you can create custom plug-ins and themes yourself.

You can choose whether you want to install the software on your own server or sign up for a hosted version at Wordpress.com or another provider.

Who’s using WordPress?

Arcade Fire, The Pixies, Unkle and more.

Tumblr

Tumblr can act as a blog, website, and a social media platform. It’s perfect if you don’t want to commit to a website with all the associated costs and you want to be part of an already established and active community.

It’s easy to use, just sign up, choose a theme and start posting. Your options are limited, but you don’t have to be proficient in coding.

You can get a Tumblr default domain (yourusername.tumblr.com) or a custom one, then other Tumblr users can find your content easily and reblog your posts allowing your content to reach more people and it’s completely free.

Who’s using Tumblr?

Sky Ferreira, Skrillex, Def Jam Recordings and more.

 

[Source: http://www.lifehacker.com.au/2012/12/the-best-platforms-for-building-web-sites/]

 

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David Gray’s new album Mutineers

David-Gray

Key Production is delighted to have manufactured David Gray’s 10th album “Mutineers”. Mutineers is David’s first album in four years and one of which he has every right to be proud. The standard CD format features 11 tracks recorded at Church Studios and produced by Andy  Barlow and is presented with a 12page, matt finished fold-out booklet featuring some of David’s own photography.

 
A deluxe CD version features in addition “Cascade”, a 2 disc recording of the 2011 Lost and Found tour performance at the Royal Festival Hall presented in a gatefold wallet with notes on the show by John Aizlewood. The 3 discs and booklet are presented in a matt–laminated clamshell box.

 
The double LP on heavyweight vinyl is sleeved in a gatefold with download card and includes an exclusive 12th track “Nearly Midnight”.

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