Music Marketing: The definitive guide of musical marketing to launch your musical project

Definition of Music Marketing

Musical marketing is a set of strategies and studies that aim to improve the overall results of a musical project.

To design a musical marketing plan there are different formulas, although it is true that after the transformation of the music industry due to the technological impact in society, nothing should be done without having in mind the new consumption habits.

The music marketing is today the only vehicle to transport your musical project to the goals marked. I’ve written a lot about musical marketing but this guide will give you a very clear view of where you should go so you don’t waste any more time and start a stage that delivers results.

I would tell you that more than 90% of the musical projects that fail, have done it by not knowing the main “drivers” of the transformation of the current music industry.

What will you contribute to this Music Marketing guide?

  • The step-by-step steps you must run to carry out your music marketing plan.
  • How to meet the environment you are going to face.
  • How to get to know your competitors to draw the right strategy.
  • Steps and tips to create a winning product that moves away from the mediocre.
  • How to carry out a plan of musical promotion with low budget.
  • How to design and structure a landing page to seduce big companies.
  • How to present it to the mass media to make the leap towards the mainstream.

He thinks that the person who consumes music in any country in the world has become highly demanding of more than 30 million of songs in his pocket.

That’s why little of the music marketing techniques that were used about 10 years ago, will serve in the Times that run.

If you really update the concepts to develop a musical product applying an optimal music marketing, you will have gained time and at least you’ll have the clearest horizon although it would be interesting to know some mistakes that are usually committed with a Music marketing Plan.

Music Marketing in Argentina, music marketing in Mexico, music marketing in Chile or Spain does not differ in anything. We live in a global world and thanks to technology, consumer habits in this regard are very similar.

We get into “work” with the different phases of your musical marketing plan:
Phase 1 | Environment

Do you know your future fan?

One of the big mistakes that I appreciate in the musical projects that I get is that they have been done leaving all the weight factor luck and luck, although part of the play, will be minimized the better the quality of the product.

First of all, you mount what you mount, you must study perfectly as it is the public that you address. I pass some relevant data based on this that I tell you, will change the concept after reading:

  • The current music consumer watches the mobile more than 150 times a day on average.
  • Youtube is the preferred platform to know more about that artist that you may have discovered on the radio.
  • The CD has been added value according to which artists so if your target audience is young, do not even think to sell your product in this format. You’ll be throwing away the money.
  • The consumer today is the one who rules so always put it in the center of your strategy.
  • If you want me to buy you a product, you will have to earn your trust always through emotions.
  • The new fan of music likes to talk in social networks, and you?
  • Your potential fan is more unfaithful today than ever. The fidelity time limits are shortened by the saturation to which they are subjected. Depending on your ability to reinvent yourself, you will last more or less time in the industry.
  • Mouth-to-ear is the best way to win a fan. If a friend recommends another your music, be sure it will give you a chance.
  • The new consumer wants to live experiences and to contribute value. Not only songs are seduced.
  • Now the music consumer wants to get involved in your project. Don’t leave him aside.
  • Do not pretend to live alone from the income coming from concerts. There are different ways of income waiting for your development.

Do you know who your competitors are?

In a musical marketing strategy it is inconceivable to not know your competitor. Sounds bad in the music environment talk about “competitors” but there are.

Not all of them fit in the consumer’s mind and in that selection you must be. It is important in this sense that you devote the time needed to study the following factors within this section:

A | Which artists are similar in style and identity to your proposal.

B | Of those artists that you have pre-selected, stay with the 3 most relevant and look what they are doing to connect with the public in all aspects (social media, promotion, direct, activations with brands…)

C | Write down everything that makes your competition that you do not see with total degree.

D | Apply the concepts you consider attractive and valid but do not lose the north of differentiation.

Phase 2 | Creating the Product

In this case we talk about the musical composition of the style that is, the concept of group or artist, the values that we are going to transmit…. This, under my experience, is the most important pillar because it will not be useful to perfectly apply the following phases of your music marketing plan if you do not have a brilliant product to defend. So goal number 1: Creating an optimal Song

Do not stop until you find an excellent subject. The haste are not good companies in this adventure and you must have the project parked until that “Súpercanción” is not born, it is not easy, I know, but exigent yourself is the best way to get better results.

I am not the most appropriate to talk about composition because I have not composed a topic in my life but in my blog there are some interviews about music composition that can contribute.

What I would like to make clear from the knowledge of creativity I have, are some tips I want you to know to avoid future “mental collapses”; You know what I’m talking about? …. and thus give free way to the imagination:

  • To be creative, you must absorb by the 5 senses. With this I want to say that if you live 24 hours a day enclosed in your study of the garage of your house, the little mind will contribute.

Before embarking on the creative phase, I recommend you read, do sport, travel, discover new styles of music, share with others… In short, get out of your comfort zone and break with all monotony. The psychological aspect of an artist is vital.

  • To create a subject with guarantees you must apply one of the great drivers of any successful product, the differentiation. To make a topic different or stop being more of the same, you should risk without losing your line and style, but exploring new Territories that allows you to create a competitive product in the market.
  • If you compose, do it from the passion. Get the best out of your creative side with a theme that you transmit to connect with the consumer.
  • If you look stuck and can’t find the way, look for alliances that can bring you fresh air. Sometimes composing with a “colleague” is tremendously enriching and 2 minds contribute more than one.
  • Think about the habits and movements of your fans so that what you think carries the same codes. Social networks are excellent tools for musicians.

Again, do not take a step forward until you have a subject with guarantees. The opinion of your close beings is not objective, test it on social networks and ask for opinion. I recommend you use type-form to make attractive surveys to your fans.

We have the song, and now what…

Then the next thing is to get into the studio to shape it.

It is very important the figure of the producer. He will be in charge of “putting it pretty” so with or without budget, you must give with someone who is able to create a sound.

There are many mediocre producers who only make copy what has already been created. The optimal in this sense is that the producer bets and integrates into your project.

Phase 3 | Low-budget promotion

We already have the product and our video on Youtube. A large company would immediately attack the mainstream media to promote the issue itself.

If you are independent, you must go through a new stage and then get to knock on the doors of mainstream media. The stage that will provide you with visibility.

I want you to know 24 useful tools for independent artists and project with options to the world.

Who are you on the net?

The first thing to do is to draw a strategy to increase your social influence, ie to get a considerable number of followers on social networks that you have activated.

I recommend the use of a platform to win followers of accounts similar to yours in an automated way. It’s called Twittmate and can bring you more than 1,000 new and qualified followers on Twitter a month.

The use of Twittmate will be advisable in a first phase.

There are 4 social networks that are essential for an artist: Facebook, Twitter, Instagram and Youtube (it is not a network exactly but we integrate it here). Then there is Instagram that well managed can give many fruits.

Phase 4 | Design of a landing page/dossier

We have the brilliant product, our influence on networks is multiplying by creating viral experiences and uploading value content….

The time has come to collect the “premium” of the road and translate it into a landing page. Basically one landing page is a landing page that is used to sell a particular product with a unique offer but I really like that format and I consider it attractive to be able to offer companies, media etc… so we forget to saturate accounts of Emails with Megas of PowerPoint and with this model, we integrate the content that we want so that you only have to send a URL by email without any weight.

There are many ways to create landing pages. If you are lost in this aspect I recommend that you go to a freelance to control WordPress or search among your friends that you sure have someone.

There are many platforms to create so I recommend you use the best you come.

Phase 5 | The mass media

And we got to the last phase of the essential pillars of a good music marketing plan, the media.

Realize the long but exciting path you’ve had to travel to get here. It is clear that being independent you must forge a project with solid structure, hence the special emphasis that I make to the social influence because it is a very important fact when a medium will attend or support you.

In this phase, we will send the landing page to the main mass media to contribute to the project. It is also the phase to send our proposal to managers, record companies and publishers in case you did not have.

For an artist, as the market is conceived there are few mass media to get support:

– The musical chains

– Tv (although there is very little gap)

– Written Press

It is important to succeed in this last point, that you have done the work well in the previous ones.

Without a great song and an optimal social influence, it will be difficult for you to open bigger doors.

Another channel to consider is the independent festivals where if you are good and your style block, you can open an interesting window to promote you. To this end, it presents a dossier in the form of landing page that is consistent.

Now you have no excuse to remove the handbrake to your project.

Has he ordered the schematic in your mind? Let’s go!!

Music Marketing Trends to Keep in Mind

In this post I will show you the trends of music marketing that proliferate for the next few months.

In one part of the world we enjoy the summer and that means holidays, reflections, good weather, meetings and especially the time to define where we want to go in the coming months.

The habits in the music industry move and it is possible that things that gave results months ago, have already expired. Incredible but true. In turn, new ways and tendencies of music marketing are born based on the behavior of the musical consumer and that’s where you belong.

I ask you, wherever you are, do a reflection exercise and look back to see what plots you need to improve to keep growing. Once you get to this point, you have to take into account these music marketing trends because that’s where you’ll find your way.

Let’s go for it!

Don’t settle for a good song, look for “the memorable”.

A group or artist in the launching phase, will not have enough punch if the song shuttle, ie, the theme that will serve to launch the project, is not powerful enough. Eye, because with this I do not mean that should be the best song but the most commercial or that has more ability to seduce the public to the first of change.

You will have little chance before a highly demanding consumer and you will have to attack with a direct song that penetrates the brain without having to go to new listeners.

If the song is memorable in this sense, you will have a tour of social networks, on Youtube so that your community grows more quickly and is shared by those first adopters who discover it. This is how new artists are born.

If you lose, I recommend you see my Music Marketing Guide 2016 and so have a clear concept of the steps to follow to launch a new musical product.

Speaking of the shuttle song, if it’s not strong enough, it won’t make doors open and the musical project will die at the first change.

In this sense it is better to wait to have the memorable song to cut to the events.

Song to song instead of 12 on a CD

I’m surprised even to see new artists who think in the CD format. For me the CD is a product more merchandising, only attractive for those nostalgic for music but not for the new generations.

The great majors still draw CDs because they deal with consecrated artists who can still guarantee a number of sales that contribute benefits but this fact each will be decreasing.

The most coherent thing is to think of three great songs and produce them to have a few months of guaranteed work. At that time you should not stop composing because at any time a super song can be born. With three well-produced songs will be enough to make community and introduce you to the media with guarantees.

A single will last what the public wants so to think even in the CD format with 12 songs is to throw a lot of effort into the “gutter” without common sense.

Production with differential values

The producer takes special relevance in the Times that run. Don’t settle for a proper producer, there are thousands. Find a professional who has the ability to transform the song by providing an original sound that comes to strengthen the hallmark and personality of the project.

Surely you will think that this I expose is not as easy as it seems and I give you the right thing but there is the key to play in one league or another, in your ability to convince or find people who can get involved in your project with fresh ideas and VA Lor.

There are young people in the production sector who come with strength and are not yet listed to dismiss your proposal. It will all depend on the level of your project and your ability to convince you to be a part of it.

Use the rrss only if you have the ability to add value

I recently read an article on Cd Baby with a striking headline; “Why social networks have died for musical marketing.” Staring only in the title could be in total disagreement but once read the post I have to say that they are partly right; In order to benefit from social networks it is more and more essential to go through the box. Still there are ways to take a slice if what you offer is of great value and your fans exercise in promotional vehicles.

The problem lies in the scarcity of quality content and the increasing tendency to auto bomb, which ends up tiring the fan causing a massive abandonment of the page.

Social networks should be the support to capture those first adopters who by one way or another have managed to know your musical proposal and would like to know more about you. Now, it makes no sense if it all ends there so the next step will be to try to apply the well-known inbound Marketing technique to turn these social followers into subscribers.

The best way to do it is to offer a good lead magnet in exchange for your name and email and from there, start working with subscribers in a more direct so that once loyal, be able to sell products through email marketing , much more effective than all social networks together.

Did you bring this post? You’d do me a big favor if you’d share it with yours.

Thanks!

Music in Mexico: Classical Music

Classical Music

Any revision of the musical work in Mexico, however superficial or profound, will necessarily lead to findings and conclusions that will, to a large extent, reflect a panorama of crisis and backwardness similar to that which characterizes all the other areas of the task Social and cultural in our country. It would require more pages than those that make up the total of this magazine for a thorough analysis of what happens in Mexico in music, but it is possible to try a compact approach to the topic exploring some generalities related to the four aspects of the subject: composition, interpretation, public and dissemination.

Although it may seem paradoxical, it is probable that the most solid area and with better perspectives in our musical medium is the composition. While it is true that music education systems in Mexico are, to say the least, nineteenth, it is also a fact that many composers of several generations have benefited from the opportunity to study in strong institutions and teachers First-class abroad. I would almost say that, on the contrary, the vast majority of Mexican composers who have made their careers exclusively in the schools and conservatories of our country have clearly lagged behind their colleagues who have been exposed to environments Academics and professionals more rigorous, more demanding and, above all, more modern.

On more than one occasion I have been asked what trend stands out in the composition in Mexico, and my response has been invariably that, for better or worse (I think for good), the trend is that there is a particular trend that dominates the other , and that the key concept in any attempt at definition is eclecticism. As in virtually all other areas of artistic creation (in Mexico and the world), this eclecticism can be a two-edged weapon, in the understanding that, depending on the circumstances, composers and works, it can be synonymous with healthy Variety or scattering aimlessly. Even taking into account the enormous and growing distances that separate us from the most important and developed musical centers, it is possible to find in the contemporary composition in Mexico some of the lines of conduct that appear also in other latitudes. There are the composers who, covered in the teachings of Donatoni, Ferneyhough et al., embrace the current of extreme complexity (new or not) in musical writing. Some of our composers have made it possible for this complex conceptual framework to emerge equally attractive works for the mind and spirit; More than one, on the other hand, has tried to hide a severe lack of ideas under the mantle of the abstruse. Others have opted for musical creation based on numerical foundations, different formulas, matrices of different order, rigorous structural analyses, to produce a music that offers the listener a high content of almost scientific speculation.

There is No shortage of those who, still interested in the sound matter as principal guiding principle, create music of solid, tight instrumental or vocal textures, sometimes taking the guide of the important Polish School of the twentieth century. Another important current is that of the Mexican composers who, sometimes against the current of a misunderstood avant-garde, insist Venturosamente in creating a music that, without giving up an unmistakable modernity, has its primordial goal in the expressiveness, a Indispensable musical element that went missing for several decades. A current derived from this, and that in our midst does not have yet too many followers, is that of those who also try to recover that expressiveness in the sound content of their music, but they do it from constructive and stylistic references archaic.

There are also some sages of untimely localism, proposed by composers who at this stage of the 21st century insist on breaking their heads with the very old discussion about the identity at all, and they do not feel able to find it if it is not through the reiterated and drawling appropriation and transformation of folklore or popular motifs in the context of a neonacionalismo that is today, as long ago, a dead end, a crossroads without solution. It could not be missed, of course, the Mexican musical postmodernism, which in certain of its manifestations also contains unsolvable dilemmas. On the one hand, several composers (and composers) are working assiduously today, whose preparation and tools allow them to naturally assume this deletion of generic frontiers, that appropriation of hybrid and sometimes disparate sources, that welcome Confusion between the “cult” and the popular, those anachronisms that, in the right hands, become urgently present. On the other hand, it is a fact that some Mexican composers of today practice a kind of postmodernism by force, a creative attitude that seems to arise from a misunderstood obligation to be always novel, always recognizable through the sound wit Easy, always pleasing to the ears and to the aesthetic judgement of all factions. For several years already circulated a good number of works pertaining to this “postmodernism of occasion”, that although they have been sympathetic to certain sectors of the public and of the criticism, also have a date of expiration clearly visible, and very close.

One of the most booming slopes in recent times has been that of composers engaged in the production of electrostatic music, sometimes self-denominated sound artists to emphasize the fact that their compositions often tend to the Multimedia and interdisciplinary. It is important to note that in this area of musical composition in Mexico, the last years have witnessed a sustained and notable progress in terms of knowledge and management of new technologies by the creators involved, which has brought I get a beneficial side effect: to provoke a notable interest in the sound art in the young generations that in other circumstances are not approached or by mistake to other manifestations of the music of their time.

There are in contemporary composition in Mexico other currents and other approaches, but these are some of the most notorious and most present. And as in everything, beyond the definition of styles and the assignment of labels, it matters the quality of the work of our composers. In all the areas and styles mentioned, and in some others, we have important and outstanding creators, but the sound results heard in some concerts of contemporary music also show, unequivocally, that it circulates a lot of musical straw Produced by composers who have not fully assimilated the tools of their trade or, in the worst case, have nothing to say. It is noteworthy that a good number of Mexican composers of the younger generations have decided to abandon the petty musical environment in which they made their first weapons to conclude their preparation in musical institutions more solid than the Our. Several of them have decided not to return.

The field of musical performance in Mexico is a rare mirage. Everyday billboards could make you think of a boom and a bonanza, for the number of music sessions announced. However, any further review of the activity of our performers, whether in the field of individual interpreters or ensembles, will enable us to discover enormous shortcomings. Where to begin? For example, with the fact that in Mexico, beyond the mirage of an apparent abundance of symphonic orchestras, many of them are in permanent crisis. From those that are formed by a majority of foreign musicians of medium quality, until those that suffer the permanent ballast of the Misunderstood “conquests guilds”. From which steam is formed as a futile project of this or that official, even those who have long been in inaction and stagnation. From those who suffer constant changes of titular director, to those that are maintained for years without one, with the catastrophic evident results, going through those that suffer in perpetuity to the same director, not always the most convenient for them.

There is also No shortage of the false regional philharmonics of the occasion, formed by a score of musicians, and used by the small governor in turn as a backdrop for his political acts disguised as cultural promotion. And again, a huge contradiction: an auditory tour through our symphonic orchestras allows us to appreciate clearly that most of them urge an important renovation of the staff that inhabit their lecterns, but in the conservatories and music schools Listen to the permanent complaint that there are not enough jobs for the instrumentalists who are graduating from those institutions. It is obvious, then, that there is a rift between an obvious demand, the urgent renovation of our orchestral cadres, and an apparent offer, that of the academic production of instrumental performers. It is clear that there is something completely dysfunctional in what, in theory, should be a virtuous circle in which our musical teaching institutions constantly nutrieran from instrumentalists to the Mexican orchestras.

Likewise, it is shamefully reduced the number of stable camerísticos assemblies of good level. Periodically there are groups of different sizes and endowments, with the best intentions, but they disappear after a ephemeral life, without leaving a trace. How many high-level professional string quartets are there in Mexico? They are counted with the fingers of one hand, although we go. The groups dedicated to contemporary music, in any of its aspects, are also scarce, have a precarious life and their continuity and permanence are almost impossible apart from the official subsidy, which is not usually very generous.

The music that is programmed and interpreted by our orchestras is also a theme that leads to another cul-en-sac. Increasingly, symphonic (and Camerísticos) Mexican ensembles demonstrate a remarkable reluctance to engage with the music that most should matter to them, the music of our time and, in particular, contemporary Mexican music. In the particular case of the Mexican music of today, has been established for some time a perverse vicious circle in which the public categorically rejects any Mexican score that is not a huapango, a danzón or a star, so that the orchestras They usually do not program anything that could scare away the increasingly scarce, more apathetic and more unfamiliar public. For example, a fully current statistic: at the time writing these lines, the five most important orchestras in Mexico City are in full concert season. Within the programming of all the concerts of these five seasons, there are only seventeen Mexican works included. Of these, seven are of wild revolt and five belong to the nationalist period of our music. Thus, it turns out that during one of its seasons of concerts our five capital orchestras interpret, among all, a great total of five scores of Mexican music really of today; It does not help much, either, the fact that three of these works are from the same composer, which also points to a remarkable lack of imagination.

It happens, then, that the music of today, Mexican or of other latitudes, occupies a place practically nonexistent in the daily cultural discourse, so it has had to take refuge in cycles and special events. Such is the case, for example, of the International Forum of New Music, the series of contemporary music concerts of the International Festival Cervantino, the festival Sonora Visions, Radar and the recently rescued Spanish-Mexican music festival Contemporary. However, these activities specifically devoted to new music tend to have a very ephemeral and very local transcendence, and are usually carried out before apparently numerous audiences but which, statistically, are irrelevant because they are formed Mostly by the members of the musical community and not by lovers curious and interested in the current musical creation.

This is also due, to a large extent, to the fact that the third pillar of musical activity in Mexico, the public, is not the weight factor that should be as an active and critical counterpart of musical creation and interpretation. As in the case of so many other scourges of our cultural activity, a substantial part of the responsibility lies in our impoverished and less effective educational system. On the one hand, many of our schools and conservatories continue to use obsolete programs and teaching systems, implemented and administered by prehistoric scholars who consistently refuse to be updated. The Anquilosamiento of music education in Mexico is evident, and is perversely complemented by the fact that music (and art in general) occupies a place of very minor importance in the context of basic education; As much as it is talked about and even if it is codified in useless documents and programs, education in art and art, in the humanities and by the humanities, in music and music, is practically non-existent.

Social Networks and Music Promotion

Beyond changing the status on Facebook to say that we lost the bus because of the councillor for Transport and summon a collection of signatures to ask for his removal, or tweet the photo of the dessert so expensive that we just served with hashtags such as #babas or #capricedesdeux, digital social networks can serve as a powerful support tool in the promotion of musical artists, bands and DJs of all scope. To make them useful for this purpose is only a matter of learning some things that often the average user overlooks, combined with great doses of dedication and self-discipline. And of course spend some money, because as you know, on the Internet nothing is completely free.

In this article we will try to give you a series of tips and explain various useful things so that anyone can benefit in his artistic career of social networks.

What can you get?

The benefits of successfully using social networks could be summarized in the following points:

  • Catch new followers: people who discover your music, your sessions as a DJ… and get hooked. It’s probably the best achievement you can get through a social network and the most complex to get.
  • Keep your followers informed of your professional activities: projects you start, projects you finish, tours, new discs, TV appearances, interviews…
  • Keep your followers informed of achievements and awards: Media awards or professional associations, large sales records, appearances in charts, be mentioned for exerting some kind of artistic influence… Watch out for boast.
  • Get feedback from your work: Know what your followers think of a preview of your next song, your last concert… Respect all opinions, and if you are not able, you better not ask.
  • Official communications: Explanations on a cancellation, a member of the group leaving, court rulings, etc. Maybe the saddest thing to use on many occasions.
  • Keep the media informed: I have always believed that with the media it is better to relate by sending official press releases to the email of your writing or the journalist you have contact with, but ultimately it is inevitable that journalists do Follow up on the social networks of the artists and publish their opinion about it, so think that besides your followers there can always be a reporter reading for better or worse.

Concepts of forced knowledge

It would do you good to start knowing this:

Hashtag: Tags that serve to classify the content of your message or update status on a social network, although there is an important and very relevant tendency to use the hashtag in an artistic, humorous or ironical way. The hashtags are included in the message itself and are indicated by typing the # (PAD) symbol in front of the word or expression. They also serve to filter messages and set trends. They were originally used only on Twitter, although Facebook and Instagram also employ them now.

Trending Topic: A concept used on Twitter to refer to something that is being talked about massively within the social network at local, national or international levels. This can be set by a repeating hashtag, a user name that is referenced continuously or by a repeated word or name in the content of the messages.

URL Shortener: Service offered by some websites to give you a URL equivalent to the one you indicate but much shorter. It is especially useful for Twitter, where messages have very limited extension. In other social networks it only serves to make your message a little more aesthetic.

Zombie Accounts: Social media accounts that have ceased to be used for lack of interest from their users but still have valuable information. They are the goal of hackers to subtract information, impersonate identities or what is fashionable now, sell them as false followers of other accounts. If you stop using an account on a social network eliminate or at least disable it.

Status managers: Applications for smartphones or computers that can connect simultaneously to several of your social networks and update in all of them your status or publish a message or photo with a single action. They are practical, especially if you publish short and not very complex messages, and save time for busy people. Seesmic, Digsby or Socialite are some of the most popular applications.

Separates private life from artistic or professional life

If you are going to start taking seriously the promotion of your music on social networks The first thing you will have to do is separate your musical or professional life from your private life. Except for exceptions (which I will then detail) The private life of people is boring and does not usually interest potential followers, there may be content of your private life that people misunderstand and even that can be used against you. So:

  • If you already have accounts created in social networks in which you have dumped personal content do not use them. Create new accounts and use your stage name for them, or unless your stage name is visible. In the case of Facebook and if you are part of a band or musical group that does things together, it is better to create a page (then we see it in detail).
  • If you already had accounts but have not poured personal content in it you can use it, but you must change the name and use the artist.
  • On Facebook add to your accounts of artistic/professional use only to friends or relatives who are also devoted to your same artistic scope.
  • Hides or omits in your Facebook artistic/professional Use account information about studies to avoid receiving requests for friendship from former college or school classmates. It is also interesting to hide your date of birth, or at least not show the year, as you can always appear someone who believes that you are too old for the stage without having met you still in person.
  • Every time you enter the social network check that you have entered before you write anything, not going to be forgetfulness and upload to your professional/artistic account the photos of the binge last night.
  • Do not count where you live or activate localization services in your professional account: If you use the mobile for social networks be careful. Even if you don’t count where you live it’s easy to know roughly what your residence is, probably the area where you spend the most time. The location service also indicates when you’re not at home, do you want them to go rob you? If you indicate when you have concert or performance the thieves will know that they have enough time to rob you, and you would not be the first one that happens to him.

He commented that except for some exceptions people are not usually interested in the private life of artists. These exceptions summarize them in two:

  • Important milestones in your private life: Some artists believe that the good progress of their private life is a consequence of their professional success and they appreciate this success to their followers by sharing some important milestone, such as having a child.
  • People of amazing private life: If you’re single and young, maybe your private life might be interesting. People who go to many parties until late at night and alternate non-stop, who participates in shopping marathons, which allows pleasure trips in a habitual way or practicing sports at risk. All this has good reception on social networks if it is properly documented with photos that are not ridiculous, using witty comments and without falling into vulgar language.

Don’t be controversial

Unless you are a master of marketing and communication (and as Risto Mejide there are few) or your art is based on the pure and hard polemic, try everything you can not be controversial. Try to measure your words well because being controversial is easier than it seems and in the long run and without control, usually brings more harm than benefits. Giving a negative opinion on a political party can make you lose the sympathy of all the followers you have to vote for that party, also probably end up labeled as sympathizer of the main antagonist party that you have complained but not You are, something that you can do until you lose performances whose recruitment depends on official bodies. With this I also do not mean that artists should not have an opinion on political or social issues, but it is always preferable that they express that opinion through their art or other actions, as actions for the benefit or promotion of a particular cause , and not using other means. If you have to lose followers for your convictions, that is for a good song or a commendable gesture, and not by four lines that you wrote on Facebook.

Watch out for comments on other people’s content as well. Do you want to comment or answer something indecent in the picture of the neckline that a fan of yours has posted on your wall or timeline? Don’t do it. Maybe that will report you new male followers as well as supportive comments with emoticons that I will not describe, but you may lose a significant percentage of your female followers and that you end up labeled sexist, sexist or even perverted during The rest of your career. Only artists whose careers are based on constant sexual provocation can afford things like that, and yet they suffer from such issues as being censored for life in certain media or even lawsuits.

The controversy can also come with other artists. Don’t you like the music that another artist does? Does your last videoclip look like a real crap? Because you do not need to tell it publicly on social networks, it is better to just say positive things from other artists if you really think, something that can even make you win the support of the followers of these artists and that can be Tremendously beneficial. If you only have negative opinions, you better not say anything. Do other artists speak ill of you, of your music or try to provoke you in social networks? Do not answer, it is not worth it, surely it will be because you have done something really well and maybe even better than them, and as a result of their limited creativity can only get ahead criticizing you. If anyone thinks attacking you is good for him, that you do, the moment you answer is when you enter a spiral in which the only thing you will get is to benefit the one who has decided to become “your opponent” and that probably if you keep followers will be so ruinous com or him. If the provocations fail to honor, hire a lawyer and Demándalo, and as much publishes the sentence if you win the trial.

And after this long retailer of preliminaries, let’s look at some concrete things about social networks.

Facebook

Since its explosion in 2007 it has become the world’s most popular social network and has even counted on a film that narrated the vicissitudes of its creation. In spite of its evolution, it still maintains some peculiar things of its origins, like to call “friends” to all the contacts of an account.

Facebook can be managed at very simple or very complex levels, depending solely on what we want to get from the network. The first thing you have to decide on Facebook is if your music promotion tasks are going to be done as a particular with a standard user account or you will create a page about your artistic project/band within the social network. Please note the following:

-If you are an individual artist it is not a bad idea to operate with a standard account, but remember that your contact limit is at 5,000 “friends”. In addition to “friends” you can count on “followers” unlimited, which are people who can see your publications (status updates, photos, videos…) If you want, but they can not interact with you. To activate “followers” remember to go to account settings/followers/allow followers, and when you make a publication mark “public” in the dropdown of the bottom that is next to the Publish button, if not your “followers” will not see and only Your “Friends” will see it. Although at the beginning of the article I have recommended to have an account only for artistic/professional activities, if you insist on using the same account for your family or private things, you can subdivide your contacts (“Friends”) in different lists of Contacts, for this you see your list of “friends”, find the person you want to add to a custom list, put yourself on the logo “Friends” and a menu will appear where you have to choose “Add to Another list”, then choose the last option “+ New list” and is Cribe the name of the list. If you classify all people, when you make publications or upload content, next to the Publish button choose “View all lists” and decide who will see what you publish. Take an eye and if you follow this method always check who will see things before publishing them.

Twitter

Although considered a social network, Twitter is actually a microblogging service, in which each entry can only have 140 characters, blank spaces included. These texts are known as tweets and appear on the profile page of each account. Users see in their “timeline” The tweets of all those users who have decided to follow, and can retuitear texts that have seemed interesting in their accounts, which is basically replicate the same text in your account so that your followers see it maintaining the Authorship of the one who wrote it. Links to websites, photos, videos, etc. can be included, but links also consume some of the 140 characters in the message.

When on Twitter another user is quoted in a message (it is done by typing his/her user name with @ front), it receives a notification, and can obviously respond to the message, which can generate conversations and even debates. Many artists use this method to directly contact followers who cite them in their messages and the bravest even with their opponents. Users who follow each other can exchange direct messages that are not publicly viewed.

Many people prefer Twitter on another type of social networks, they consider it less overloaded of content (and advertising) and much less invasive. In addition, the limitation of 140 characters makes it necessary to use the ingenuity a little more than usual to express certain things effectively.

Instagram

Contrary to what many believe, Instagram is not a mobile application to retouch photos, is a social network in which we share photos that we can accompany a comment and other users can also comment. In the comments you can enter hashtags and name other users in the same way as on Twitter. The retouching with the retro filters is a complement, great by the way, but complement. Everything that goes through Instagram will be shared publicly, and for a while it can even be seen without the smartphone app, directly in the browser. What can Instagram be useful for? If you are posting photos on Facebook or Twitter, you can associate those accounts with that of Instagram, so that when you upload a photo to Instagram also upload to Twitter and Facebook.

Many artists make in Instagram detailed photographic reports of their instruments, sites that visit in performances, work sessions, covers… and have a lot of feedback with their followers thanks to the comments of the photos. They also employ Instagram as a “semi-secret” medium to advertise things to the most staunch followers, such as showing a picture of a surprise concert poster.