The introduction is almost over! Wasn’t too bad, was it?
Going in, the first thing you need to know is what you’re about to do, in broad strokes. And you need to understand the reason for each thing.
So, let’s list these things here:
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You need to have good original music – or original performances of established music – performed by you, recorded in a “good-enough” way. That’s the starting point. Having good music is a given. I will soon guide you through the process of making sure it’s good. Meanwhile, you can pretty much understand this point, yes? You music needs to be good at least for some people – people like you – your “target niche” or a “target market”.- You need to showcase your music in an appealing way – that’s your recordings, videos, website presentations – that sort of thing. Again, I’ll talk you through this to help you make sure that your message is coming across loud and clear. I don’t think you should have any problems understanding this step, right? You need to be able to show people what you’ve got and it must engage them.
- You need to have a showcase vehicle – That’s a fancy way of saying that your music has to be somewhere. On a website you own, on YouTube (or any other social site), on a CD – whatever you like. Ideally, all of the above. You need to have a base – or multiple bases – where your music resides and can be easily found and accessed by people who are looking for it. That’s pretty clear, isn’t it?
- You need to know how to promote your showcase(s) to the broader public – This is, essentially, all about how to get found, how to put your music in front of some eyeballs (erm… ears), etc. Thanks to the Internet, this is in many ways easier than you might imagine! I will devote quite a bit of this presentation to dealing with exactly this topic, and I’ll give you some proven techniques which really DO work – if you see them through to the end.
- You need to know how to engage your fans – Treat all people who stumble upon your music as potential fans. How do you engage them? How do you make sure they come back for more? WHO are they?
- You need to monetize your fanbase – That’s a fancy way of saying that you need ways to convert your music – and/or your online presence – to… cash. An example of monetization is selling somebody an MP3 or a CD. Or a poster. Or gigging for money on the strength of your online presentations. Or giving away your music in order to sell “X”. I will get into this topic in a big way within these pages.
- You need to raise some funds to seed your business (OPTIONAL) – As you go through this book, you may discover that you won’t need to take this step at all. But if you do – I will tell you how to achieve this. The only thing to keep in mind is that your own money is always better – “healthier” – than someone else’s. When you risk your own funds – you’re much more likely to think twice before you leap. That’s why.
- You need to cultivate and grow your fanbase – Whatever you do, you want your fans to stay with you, and you want new fans to join regularly. There are a number of do’s and don’ts here, and we’ll get into all that in due course.
- You need to manage the whole process so that it lasts for as long as you want it to last – This is another mission of this book – to show you how to manage all of the above using just your own brains and energy – without compromising your artistic integrity – and spending only as much money as is absolutely necessary.
The above items are what you need in order to succeed. Not too much, is it?
Artists whom I know, who have applied these exact techniques, have annual incomes ranging from a modest $30-50k – up to a slightly more respectable million or two! Some even more than that. And they’re all independent. Almost all of them are making more money than most artists signed to major labels!
And now it’s time we delved into the nitty gritty. Whether you already know many of these topics, I still recommend that you read everything, just to be sure you’re not missing something. And I’ll make sure that there are plenty of those “somethings” here!
Book 2 deals mainly with your music, while Book 3 is the hands-on technical stuff. All essential to your success, so read each upcoming chapter carefully.
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| Book 1 – Chapter 16 Objections |
Course Overview | Book 2 – Chapter 1 Getting The Product Right |
Book 1: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, Overview
