Using Social Media to Increase Social Marketing Integration Efforts

noreply@blogger.com (Nicole McFadden) — Mon, 12 Mar 2012 19:28:00 +0000

Being that I am a vocal artist and a graduate student as well, I have been faced with every aspect of marketing and promoting myself as an artist. I have to market, advertise and promote my music through social media in order to establish myself a presence as an independent artist. I had utilized social networking sites like Face book, Twitter, Reverb Nation, and MySpace.

I have integrated social media into my life by becoming a well-known artist in the Orlando area by being a member of Reverb Nation because it gives me a chance to market my music and reach out to my fans at the same time. I would say that my marketing efforts are becoming more successful day by day. I have a fan page on Face Book and Twitter that is constantly growing. I have a fan base on Reverb Nation that is constantly being viewed by others with separate accounts, which helps me to build an online presence for myself.

My marketing efforts alone have brought me into a better position than I was before I moved from Chicago to Orlando. I have made a blog site specifically for music and updated information about the scheduling of show events, and the actual song that I am performing. I have a budget in which I have to control that aids in financial assistance for my wardrobe attire, costs of registry itself, and tickets for promotion of my events. I am still currently learning new approaches to the music entertainment business by pursuing a degree in my field of expertise. I am in the process of recording a mix tape that I will register on dattpiff.com, which is an online website used for promoting mix tapes only. My mix tape will them be in format to download or share to Face book and Twitter as an extra promotion and marketing strategy. Dattpiff.com is another marketing strategy that will benefit my music production overall.

If I could change anything about my marketing strategy, I would consider doing more street promotion by distributing flyers and my mix tape with contact and booking information. I do have my contact and information listed on my Reverb Nation account, but I should have some physical material to present to my target audience and fans.During the promotion of events, I have found that social networking is the easiest and cheapest way of promoting yourself and sending out invites for my own performance events. Free promotional assistance with the planning and implementation of events really cuts down the financial budgeting because promotion is considered to be inclusive in the entertainment business.

noreply@blogger.com (Nicole McFadden) — Thu, 05 May 2011 15:50:00 +0000

As an independent artist, I always look for ways to market and distribute my own personal musical content. Due to the fact that Digital Marketing has become the highlight of the music entertainment industry over the past decade (2000-2011), artists have new revenue streams through digital distribution companies like iTunes and CD Baby. Digital revenue streams have become the way in which signed and unsigned artists market their musical content. I found this article about the music industry and its metrics in digital marketing and distribution to be very interesting because it’s relevant to my industry of music entertainment.

The Future of Music Coalition was founded in 2000 and is a national nonprofit organization that works to ensure a diverse musical culture where artists are compensated fairly for their work, and where fans can find the music they want. They specialize in education, research, policy and advocacy. They also organize events that bring hundreds of musicians, technologists, attorneys, policymakers and industry representatives together for cutting-edge discussions about the changing music landscape, and making sure to include a variety of voices in the conversation.

Future of Music Coalition (FMC) has several different news articles within their website to offer to individuals who would like to know more about music education, policy, and advocacy.

Digital distribution is the most used revenue stream in the music entertainment industry of today. I read an article that was co-authored by FMC Communication Intern Scott Oranburg. The article was titled, “EMI’s In-House Licensing Move: What does it mean for Artists?”

EMI Music CEO Roger Faxon announced today that EMI will start directly licensing a sizeable chunk of its digital music catalog throughout North America, bypassing the American Society of Composers, Authors and Publishers (ASCAP)-a Performing Rights organization (PRO) that licenses and distributes royalties for the musical composition copyright. EMI’s licenses for certain digital uses have been handled by ASCAP, who in turn pay songwriters and performers they’re half of applicable royalties, which is typically 50 percent (the other half goes to the publisher).

According to Faxon, EMI’s move will “reduce the burden of licensing to create greater efficiency and, importantly, to reduce the barriers to the development of innovative new services.” Due to the fact that EMI has moved its publishing royalties in-house, they hope to streamline aspects of their licensing process. More importantly, EMI will also bypass fees ASCAP collects for doing similar work. This particular change in the licensing process has transitioned the digital music market in a good way because artists and songwriters won’t have to worry about the hassle of paying licensing fees from a separate licensing company such as ASCAP.

What does this mean for songwriters and composers?

“For nearly a century, ASCAP has compensated artists for use of their work over the airwaves. Since it’s founding in 1914, ASCAP has worked primarily in the collection and distribution of royalties for use of music on radio and television. ASCAP collects fees from radio stations and other music distributors, granting them a blanket license to play any music created by ASCAP members. From there, ASCAP surveys the use of its members’ works over the airwaves in order to distribute owed monies.

At first blush, EMI seems to be looking towards the future. ASCAP was valuable because of its unique capacity to survey the overall performance and broadcast of music. Rather than undergo the laborious process of having radio stations pay rights holders individually, ASCAP’s blanket licensing fee made it possible for broadcasters, artists and publishers to mutually benefit from airplay while avoiding the burden of itemizing each use.”

“For obvious reasons, digital plays are more easily monitored, and with greater precision. EMI could theoretically track web-based plays as efficiently as ASCAP and avoid the cost (in both time and money) of outsourcing this process. For a company on the auction block like EMI, this streamlining might also make the company more fiscally attractive to potential buyers and investors as it increases profits. Songwriters and composers can now be compensated in a more fair way. Historically, individual artists have lacked the resources to ensure that industry acts in compliance with agreements, and they often relied on third parties like ASCAP to protect their rights. Are songwriters and composers simply expected to trust EMI that they will be paid in a timely and equitable fashion? That’s a question that should be posed more often than never. Maybe it’s streamlining or maybe it’s fracturing. Either way, we’ll be paying close attention to how thing develop in this area of artist compensation.”

For more information about FMC or this particular article, I have referenced the link below.

http://futureofmusic.org/blog/2011/05/06/music-industry-metrics-gazing-backwards-while-looking-ahead

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Using Social Media to Increase Social Marketing Integration Efforts