Tuesday, February 27, 2007

Ignore The Sawdust

Wow, that was a lot of time off! I haven't posted in a month for a number of reasons. Some silly (I hated the e-mail provider I used as a contact for this anonymous blog--please don't mention inbox.com to me ever again). Some not so silly (I felt the tone was too negative and was thinking of ways to be constructive as well as critically constructive).

So I'm now moving forward with a much better vision on how this blog should go. To celebrate I've given it a new name (Ignore The Hype), and I have a new e-mail address (jack@ignorethehype.net). So expect some hopefully educational as well as helpful posts as I roll out of Winter and into a new era for this blog.

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Saturday, January 27, 2007

A Warning Sign

I was browsing a blog written by music business "coach and consultant" Madalyn Sklar when I came across something interesting: a blog entry recommending an e-book on indie music promotion. The title of the entry was "Recommended Reading..." so I was looking forward to seeing Madalyn's comments and then following up by perhaps looking the book over myself. Here's Madalyn's review:
In this revolutionary eBook, you will discover WHO TO APPROACH TO GET YOUR MUSIC HEARD in advertising, television, and even film. You’ll discover how easy it is to get your work into the right hands. You’ll be given step by step information on how to package your material and get your music heard!
My hype radar immediately went off. That didn't look like the kind of objective book review you read in a blog, even for how short it was. So I clicked over to the book's site to follow up, and check out what you find there:
In this revolutionary eBook, you will discover WHO TO APPROACH TO GET YOUR MUSIC HEARD in advertising, television, and even film. You’ll discover how easy it is to get your work into the right hands. You’ll be given step by step information on how to package your material and get your music heard!
Mighty familiar, isn't it? But wait, this re-printed paragraph of hype is just the beginning. If you look at the link to the e-book site from Madalyn's blog, it looks like this: gogirls.music456.hop.clickbank.net/. That's not a direct link to the site, that's a link that goes through a paid affiliate program run by Clickbank.

What does that mean? It means that if you click on the link from Ms. Sklar's site and then buy the e-book after visiting the book site, Ms. Sklar gets a paid commission. So here we have a woman who provides her services to the indie community as an expert selling out her "expert recommendation" for a quick buck. She didn't even have the decency to indicate that she didn't write the comments used in her blog entry--they were hype from the site who was paying her for each referral.

I don't know if Madalyn Sklar is any good at her job or not, but I do know that I find it hard to trust her when she claims her blog is "to help you with your music career by providing free advice, resources, and even some motivation" and instead she uses the entries to shill for a book she makes money from. Credibility is so important when judging who to pay to help nurture your career, and there are few things that will hurt a person's credibility more than the possibility that your opinion is for sale.

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Thursday, January 25, 2007

One Last Post On AirSpun

I received a comment about my post on AirSpun that described my opinion as a "smear." I responded to the specific complaints in the comments section of that post, but I did want to address the bigger point of AirSpun's business model. In short, the company's problems are fixable. My issues with AirSpun aren't that the idea behind their business is bad but rather that the service they provide is bad. How can they improve? Well, the following would be a good start:
  • Don't charge for overnight spots
    • Either don't sell them at all or provide them as free bonus spots for people who buy a longer schedule. I can't emphasize enough how worthless overnight spots are. Selling them to indie musicians who don't know any better is not much different from outright stealing from them.
  • Require a minimum purchase of 10 spots
    • As I outlined in my original post, the nature of reach and frequency is that a message isn't going to get across without being heard numerous times. That would require more than 10 spins, but at least 10 would be a minimal start. Selling less than 10 spins will have a marginal impact and is pretty much a waste of money.
  • Give the artists more time to customize their spot
    • The current AirSpun template includes a brazenly self-serving ad for AirsSpun.com that is part of the required 15 second tag at the end. Why are you advertising your service in an ad that the artist is paying for? Sure, you need to include a legal mention at the end of the spot that states it is a paid commercial, but that doesn't need to be more than 3 to 5 seconds, and it certainly doesn't need to include AirSpun self-promotion.
    • Give the artist 50 to 55 seconds of time to include either more music or a co-op ad with a local venue or record store.
  • Require radio stations to define spot schedules using exact language
    • Is it too much to expect a station to tell an advertiser that the spot is going to run 3pm-7pm Monday-Friday? No, it's not. So why do they use undefined terms like "prime" that potentially can be twisted to mean a wide range of times if the station has oversold its inventory?
  • Use a paid monitoring service to verify that ads aired
    • Radio stations are infamous for filling out affidavits swearing that they ran advertisements only to have never run them. And why not? Outside of sitting by the radio all day long, there's no way to know for sure.
    • AirSpun can--and should--get around that by using a paid service like RCS's monitoring subsidiary or somehow convince BDS or Mediabase to monitor the commercials.
    • The irony here is that this problem would be solved if Mediabase or BDS monitored the commercial spins, but AirSpun has taken pains to point out that they don't want that to happen.
As my follow-up post on Google indicated, a lot of these problems inherent in AirSpun aren't relevant to dMarc/Google: dMarc uses a computerized system to monitor the airing of commercials, the musician has total control over the content of the ad, the spot schedules are purchased using very specific language, and you can exclude overnights if you want.

It would be nice if AirSpun, which claims to be a small company sensitive to the plight of the aspiring recording artist, actually served them as well as the corporate insensitive behemoth that is Google.

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About me

  • I'm Jack
  • ...and I'm here to save you money and help you better navigate the music business waters. I have worked as a music director in a major market rock station, a promotion executive at a major label, and I oversaw marketing at a major distribution company retail branch. So I know of what I speak.

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