Increasing your CD Sales with help from the Music industry
There are more differences between independent and major label artists than being signed to a record label. One pretty telling statistic, CD sales account only 20-22% of a major label artist’s income. The bulk of you average national artist’s cash comes from touring and merchandising.
For independent artists, it’s all about CD sales; both in terms of industry recognition, and how they generate the majority of their income. Most major labels aren’t interested in any independent artist until they have sold 20,000 or more CDs. Considering 90% of independent artist CD sales take place at their shows, it’s not hard to see why regular well attended performances are so important to artists attempting to hit that 20,000 CDs sold mark. That’s why the next few For the Record’s will be devoted to teaching you how to get more people to your shows and selling them your CD.
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Major label artists are together an average of six years before getting signed to a label deal. In most cases, it’s what the artist’s did during those six years that put them into position to get signed. Sure you have to have the talent to write and perform great songs, but there are thousands of artists with fantastic material who never get signed.
So if you’re an independent artist we can make two general assumptions: First, if your looking to get some industry attention - you need to sell CDs, and secondly the best place to sell your CDs is at your shows.
Many independent artists are overwhelmed at how much time and effort is required to develop themselves and their careers. You have no doubt experienced this first hand by contacting club booking agents and reporters, handing out flyers, writing new material, band practice, networking with local artists and music pros, recording, hanging posters and playing your shows.
As an independent artist, how well you spend your limited amount of time has a direct impact on how successful you will be as an artist. Initially you will do all the work yourself as you build a fan base and develop your project in your hometown. Its certainly not easy, but it isn’t all that hard either, it just requires putting in the time and effort. Some bands are eager to get the word out and happily hit the streets to do some guerilla promotion. Others spend more time complaining about how handing out flyers is a pain in the ass than they do actually handing the flyers out.
Once an artist starts to look at getting on the road and touring, you begin to understand how crucial it is to develop a network of support staff to help you on your quest to become the next big thing. Its one thing to do it all yourself in your hometown - you know the scene and have had a lifetime to build up connections. Its something entirely different to use the DIY mentality in a place you don’t live in, or haven’t built up a lifetime of connections. That’s where a support staff comes in.
There are many benefits to having a support staff at your disposal. First and foremost, these music pros are skilled at what they do. You may be able to book your own shows, but a professional should be able to do a much better job, in less time. When you think about it, it makes perfect sense. No matter what activity, a beginner will always take longer than someone experienced - and they will most likely do a better job because they know what they are doing.
Many independent artists understand that concept until it comes to their music career. Since they already did it all themselves in their hometown, they mistakenly assume they can continue to do so in new markets. But when you start working in unfamiliar markets without the benefit of the numerous connections you have at home, coupled with the fact your not there 24-7, the job gets much more difficult.
The good news is there are thousands of music professionals out there who are looking for new artists to work with. These are experts in their fields and can be the difference between a band that makes it and one that never gets going.
One of the biggest problems facing independent artists in this regard is ignorance. There is no school that teaches you the ins and outs of the music industry. This is one of the reasons why having a support staff is so crucial, they know what they are doing because they have years of experience to draw on. Unfortunately this also leaves independent artists open to the charlatans and con artists that prey on naïve musicians.
So you know you need help and want to start putting together a support staff, the question is, how are you to know what you should expect from a booking agent? Manager? Publicist?
Over the course of the next few months we are going to go through all the categories of support personnel listed in the Music Phone Book and tell you what you should expect from them as well as what they will expect from you as an artist. To ensure we are providing you with the best information we have enlisted one of the music industries most knowledgeable and well known consultants, Tim Sweeney.
Sweeney has been a leading industry figure for the last 20+ years and is has been hired by virtually every major label in the country to help develop the careers of their artists. Sweeney usually gets the big bucks for passing along such valuable industry information, but as a For the Record subscriber, its not going to cost you a thing.
So if you’re a Music Phone Book subscriber, be on the lookout for next month’s For the Record. We’re going to show you how to use the MPB to open doors for you across the industry. If your not already a MPB subscriber, now is the time to get a copy for yourself. You’ll never pay less for something that will help you as much as the Music Phone Book. |
