Tags Posts tagged with "Music"

Music

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Mega Slash Promo

Sell Your Music With Freeme Digital and Keep 70% of your Revenue

FreeMe Digital introduces the 2018 Mega Slash Promo. Get your music on both international and local digital stores at pocket-friendly prices.

Mega Slash Promo

To signed up with Freeme Digital simply follow these easy steps:

– Fill our Artistes Details Form http://bit.ly/2mAIfdC or in our office which will be used to setup a contract
– Select any of our packages according to your needs (Classic, Silver, Gold, Record Label or Videos Only)
– The contract will be setup and sent to you or if in our office you can sign immediately
– The company’s account will be given to you for payment of the package selected
– Submission of content (songs, artworks, pictures, videos, lyrics)
– Account setups/uploads on the digital platforms e.g. iTunes, Spotify, Deezer, MTN music plus, Boomplay, VEVO, YouTube etc.
– Links will be generated and sent to you via fanlink (a single link that contains your other links for ease of promo)

Contact us:
Phone – 08179905358 (Timi or Stephanie), 08110029085 (Ugo)
Instagram, Facebook, Twitter @freemedigital
email – info@freemedigital.com, distribute@freemedigital.com

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FANZY PAPAYA INVOKES BLESSINGS

Bless Me

Ace musician and member of the FathaFigga Entertainment family ‘Fanzy Papaya’ is back with a new single titled ‘Bless Me’. The artiste who is famed for his unique style has teamed up with reggae superstar Patoranking to deliver the visuals for the hit track ‘Bless Me’.

Bless Me

Together, they succeed in performing the video beautifully, with the help of very talented dancers and impressive choreography.

Bless Me

The video which was shot by Paul Gambit for Kurleva Productions is a testimony of the star’s rise to fame, and a plea to the maker to keep blessing him.

Enjoy: Bless Me by Fanzy Papaya ft Paatoranking

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Does Anyone Still Buy CDs These Days??

When was the last time YOU bought a music cd? DistributionCan’t remember, right? Absolutely unsurprising. We’re in the techie age, and everything is accessible on the internet, including and especially music. As a result of this, a lot of artistes and musicians are finding it really difficult to make sales, because their music is made readily available for free download on any and every other blog and every site, and a lot of artistes are not interested in the hassles that follow the enforcement of copyrights. So most times, talented musicians spend time, energy, money and other resources creating amazing music, and they have nothing to show for it financially.

Thankfully, technological advancements have also created easier and faster and more efficient ways for artistes to handle the sale, distribution and even monetization of their music. No, its neither magic nor witchcraft, but you as an artiste can be hands-on involved in your music from creation to sales!

Distribution

FreeMe Digital, being the largest online content distribution company, is known for its dedication and efficiency in uploading and monetizing content. We’re working with several A-Listers and industry giants and all of them say basically the same thing: these guys are the best. Our job is simple: take your great content, turn it to money, and give it right back to you. Zero Stress!

You’d ask how, yeah? Simple as 1-2-3-4

Step 1: Visit freemedigital.com ,register and create an account.

Step 2: Select and create a distribution release with details of the content.

Step 3: Send us your great content to distribute.

Step 4: Receive payment, updates, and reports.

Viola! All your problems solved in a heartbeat!

The taste, they say, is in the eating. Visit freemedigital.com and see for yourself.

We’ll be expecting you to join us in 2017!

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AS YOUTUBE MUSIC KEY SETS TO TAKE OVER.

A revolution is soon to erupt within the music industry globally and Nigeria should be ready to partake in it.YouTube’s importance as a distribution channel and discovery platform of musical contents is undeniable. Most of the top viewed videos on YouTube are mostly that of artistes and record label channels. Recently, YouTube made its strong connection to the music industry and the listening habits of their users official; they launched a separate music streaming channel along with a beta version of their own music subscription service.

YouTube Music home page, similar to the home page, shows users the music videos recommended for them, along with the most popular music videos and playlists by genres. YouTube Official blog also promised full-length albums in high quality to be uploaded through YouTube Music for users’ listening pleasure. The page can be accessed through a web browser, as well as on YouTube’s mobile app for both Android and iPhone.

However, users wishing to enjoy free tunes on YouTube will run into a familiar inconvenience—advertisements, an expected trade-off for the video network to afford streaming rights for high-quality audio.

For those wishing to have an uninterrupted music-listening experience, YouTube has launched a beta version of a paid music subscription service called YouTube Music Key. A starting monthly fee of $7.99 (expected to rise to $9.99) guarantees users an ad-free listening experience, along with offline access and a subscription to Google Play Store. Sadly, YouTube Music Key beta is only available to the network’s “biggest music fans” by invite only, as stated on the official blog, with the wider service later.

What Your Business Can Learn from YouTube’s Evolution as A Social Channel

Here are three lessons brands can take from the rise of YouTube as a music platform:

1. Young audiences can define a market

A survey conducted in 2012 shows YouTube as the most popular source of music for teenagers, with older media like radio and CDs trailing behind. For social media and online marketing, user engagement is everything. A critical mass of users signing up or leaving your service for your competitor can make or break your brand. And the one user group social media analysts watch the most are teenagers: their love of Instagram made the networks’ user base double in less than a year, and their preference for social media as a source of news put newsrooms around the world in a panic for their future. Behaviors and habits of the young and broke often shape a market, so don’t ignore the needs of a younger customer. Teens can make a single target employee into a social media sensation overnight, so you should not ignore their needs and interests in your online marketing efforts.

2. Put your customer’s needs first and profits will follow

Despite the copyright battles and numerous opportunities to monetize on their active users, YouTube remained free to use. And now, some say that if a fraction of YouTube Music users converts to the paid streaming service, YouTube Music Key, the service will quickly outperform veterans such as Spotify and Rdio in the field. Nothing good is free for long, but you have to prove your worth to your clients before introducing a charge for your products or services. YouTube’s music offering is well-positioned to demonstrate how a free platform model can generate real profits.

3. Never underestimate Google

The 2006 acquisition of a one-year-old YouTube was one of Google’s biggest buys at the time. Now the video-sharing services reaches more US adults ages 18-34 than any cable network, according to YouTube’s official blog. If you’re in the streaming music business, you learned firsthand not to underestimate the search giant’s power. For good measure, maybe also brush up on your SEO knowledge and update your Google + profiles. And while you’re at it, why not learn a thing or two from Google’s new marketing training app, Google Primer.

 

Excerpts from: www.hypebot.com

 

 

 

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This is the big question. This article looks at the situation from the point of view of someone who is just now trying to enter into the world of producing. While there are opportunities to be had, I will not be painting a pretty picture. The demise of the music industry is a well-documented subject–revenue is down, competition from other entertainment sources (video games, social media, etc.) is up, and the few existing record labels spend a fraction of what they used on artist development.

Not all is bad though. Technological advances have liberated the artist to create, release, and promote without the restrictions that used to exist. The advantage that you have coming to the music business today is that you don’t have any experience of what it used to be like. You can be open to whatever twists and turns that happen, without expectations of how the system should function. In some ways, experience with the old system puts people like myself at a disadvantage–my gut reaction is still to find a label, or at least an organization that resembles a label, make/release an album, and tour it around for promotion and sales. While this model still works for some, this perspective can be a hindrance when considering new approaches.

If someone came to me and said: “We can make a digital image of your music and instill it into pre-packaged coffee grounds, and when someone drank the coffee, she could hear your music and would search you out and pay you via Paypal.” I would be very hesitant to pursue this approach as legally and ethically it seems a little dicey. I am exaggerating the coffee music to make a point that as a newcomer, not beholden to the past you can see opportunities, which will be blind to me. The only thing I can guarantee is that the future model for the music business will be dramatically different from what currently exists.

So lets look at the opportunities of trying to go on your own and produce music.

  • Produce your own tracks. This approach provides you with no money initially, but leaves you free to do what you want creatively, and monetize the music any way you can: licensing, sales on digital music sites, promotion to get paying gigs as a DJ or band, or attract paying clients. These tracks will be the calling card for your online presence, so be sure to pick only the music which best represents the music you wish to produce. This is how most of us start: we make music because we love it. In the beginning, making money is of no concern. It’s important not to lose that feeling when your passion becomes your business as well
  • Produce unknown Singer/MC/Band – This is a real source of revenue, and how one creates and negotiates these relationships will often dictate the success of the project. The challenge is that unknown artists are often convinced that they can’t afford to pay a producer, and are unaware of the skills a producer can bring to the table. It’s best to take an honest and realistic approach, explaining what you will provide and how this will be to their benefit.The artist has already invested a huge amount of time, energy, and resources by paying for lessons, instruments, recording equipment, and by spending thousands of hours working on music. However, one of the strongest arguments you can make is that hiring you will save money in the long run: the music will be created faster, and the results will be stronger than if they do it all themselves. Getting great music quickly to market means they will be able to make money from their creation sooner rather than later. In my experience, the most expensive part of a production is simply the cost of living. An occasional studio, mixer, or producer do cost money, but not as much as rent and food. When the artist considers this, they are usually much more open to paying for a producer, and seeing the value they bring to the overall creative process.

 

Rates for Music Producers

When asked about rates, most producers will say something like “I need to be paid at least 150,000 Naira per track,” or “I can’t work for less than 100k. Generally speaking, this is a lie. I don’t mean to shoot anyone (and all other producers) in the foot, but everything is negotiable.

As a beginning producer, you need to balance the needs of the artist and yourself. Try to be very clear about the expectation of the artist:

  • Do they want you to simply record and mix?
  • Will you be involved with song development? (Royalty splits on compositions should be negotiated.)
  • Will you be writing all the backing tracks on a computer and having them perform over top? (Again, are you sharing songwriting?)
  • How long will the engagement last? (It’s best to define an end date, and specify how much time per week you will be involved.)
  • Are you providing gear/studio space?

Once this has been decided, tell them what you would like to be paid, and any expected royalties or profit sharing.  Don’t ask for an amount that they can’t realistically come up with. Doing it for free sets a bad precedent–in my experience, when producers work for free hoping for some back end payoff, they get less respect from the client. They’ll be more likely to take advice from someone they have paid, but they will also have the right to push you farther than they might with no money involved. This push-and-pull will lead to a stronger results. Remember, in this society, money is the main way we assign value to something. Your services are valuable; if you give them away, people will often assume they are not.

So, let’s throw out a ballpark figure for a time producer with little to no track record: 300,000-750,000 Naira to make an album (10-14 tracks), and 5% of the profits from CD sales/downloads and merchandise. Time period: three to six months, but not full time. The producer will provide some gear and a free space for some of the production and mixing, but the artist will have to pay for any outside studio time and extra musicians. The producer will do the tracking and mixing, usually with help from the artist. Mastering should typically be done by an outside mastering engineer, and is a separate negotiation.

I’m sure some people will read this and say “How can I, as a producer, put in so much time for so little money? They are using my gear, and benefiting from my skills and creativity!” Conversely, an artist may say “450,000 Naira? Why should I pay someone to do stuff that I can do myself? They are my songs, and gear is cheap and easy to use!” Both sides are right: this is why negotiations for new artists and producers is so delicate. Try to understand both sides of the negotiation and find an agreement that works for everyone. This leads to the strongest results.  Remember, producers–you need to get your name out there too. It’s not just the artist that benefits from the end product. We got into this game because we love music. If you want to make a lot of money quickly, go work for an investment bank.

Contracts for Music Producers

I recommend the producer and artist write up an agreement that specifies what both sides will provide, and sign it. Whether or not it’s legally binding, having a set of working parameters clarifies the vision and lays bare the expectations of both parties. There is no need for the artist to be insulted by the suggestion of a written document; it may even create a stronger sense of professionalism. The clearer everything is during the initial “Peace and Love” phase of a production, the longer the peace and love will last. If you and the artist are both working with limited resources, it’s usually not practical to involve lawyers in the creation of a production contract. The fees to draft contracts can be greater than the entire production budget!

Funding a Project

So, where does the money come from? It is surprising how many albums are self-funded. Artists save up from day jobs, or maybe a family member will kick in. You’ll encounter artists with an inheritance, and ones who put on fundraiser concerts or take out loans. Sometimes it’s the job of the producer to be involved with financing. For example, let’s say an artist sets up a Kick starter campaign to support a new release. In the overall budget that the artist presents, there will be a producer’s fee. It’s your job to have your online presence as solid as possible, so the potential Kick starter donation fund raisers can link to your site, and check out what you do.

You may also want to get your community involved in the project. After all, whatever is good for the artist will be good for your career as well, and you have people out there who want to support your goals. Give people the opportunity to believe in you!

The final responsibility of getting the money together falls on the artist. If the artist is not able to raise the funds, you’ll need to make a decision. If you don’t want to work for what they can offer, be gracious and try to help them to find someone who fits their needs. If you want to be in this business for a long time, treat everyone fairly–no attitude. You may be at different stages in your careers, but you never know when someone who you turned down will explode on to the public stage. You want them to have a positive memory of you–word spreads fast.

When funding projects, being creative and open to new ideas goes a long way. For example, many countries have art councils which provide grants for artist development and production. Even if there is no government support available, consider what support systems might be available. If you want to produce a Nigerian born rapper, look into that community, and organize a fundraiser, or try to identify potential patrons who might want to be associated with the artist, or are interested in elevating and increasing the visibility of their culture.

The one thing we can assume is that a record company won’t be writing a big check up front. There is no single approach–sometimes the money flows in easily, and sometimes it’s a struggle. But, each struggle gets a little easier as your network grows and you generate more forward momentum.

Make great music, and a successful career will follow!

 

Credits: Michael Emenau a.k.a. MNO

Blog.dubspot.com

 

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