Tag Archives: featured

BECOMING YOUR OWN MUSIC MANAGER BY QUITE GREAT

The Quite Great Music marketing team at www.quitegreatmusicmarketinguk.com spend a great deal of time gaining insights into the world of unsigned and developing artists from across the globe , we are lucky to speak to around two or three bands and artists a day so we gain a real feel for the problems they face plus the opportunities they open for themselves through hard work and we are so pleased when they take time out and tell us in their own words about the way they develop as it is useful to all other acts in a similar position . The following information from the brilliant Japanese Fighting Fish is both eloquent and very informative and is a must read for anyone trying to manage their own music career from the bottom up.

http://www.japanesefightingfish.co.uk/

https://www.facebook.com/Japanesefightingfishuk

https://soundcloud.com/japanese-fighting-fish

https://twitter.com/jffuk

https://www.youtube.com/user/JFFish

As a self-releasing or self-managed band, the road to getting heard by a larger audience is fraught with challenges and not for the faint of heart, but with a lot of work, passion, and the right combination of band members is well worth taking on not to mention hooking up with the kind of guys at Quite Great music marketing who we are set to release our second single through. This of course assumes that the band have something truly unique to offer, however there are countless examples where the lack of originality has not prevented success, dispelling the myth that all it takes is the right song in a fleeting moment. That moment is made through perseverance and the culmination of multiple efforts at the same time, built on a foundation of a supportive lifestyle.

Firstly, the decision to even be a self-releasing band should be a conscious one, not to be taken lightly, but in an ever self-sufficient world of digital releases, the alternative is not always a viable option at entry level. It’s worth acknowledging that self-releasing comes in many different forms, and the extent to which it is executed largely depends on how well-informed the band is on the various options and how honest and realistic the members are in relation to their desired goals before setting out to achieve them.

In the early stages of a band’s development, creating a clear sense of what the band stands for will go a long way to defining how other people relate to the band going forward. Understanding each band member’s strengths and delegating duties fairly is as important at this stage as ever. Maybe one person has a good telephone manner and someone else has a flair for chatting to the local stage manager in person. Working to strengths and dividing duties evenly does wonders to nail that gig slot or land that studio time at a discount rate. Funding these efforts with a stable income is as important as time management and being organised, neither of which are attributes usually associated with aspiring musicians unfortunately. In for a penny, in for a pound.

Networking with the right studio engineers, photographers and ultimately booking agents goes a long way in bringing a relatively new band to big heights. Some bands are lucky to catch fire early owing to a combination of coolness, raw talent and luck, but it can be very damaging to expect opportunity to arrive on a silver plate. It can take a significant amount of time and research to have the right people in your circle of activity but once all the gears are moving in unison the energy of the band can be contagious to fans and influential individuals at all levels.

Decisions along the way may be tough, and it’s no secret that band members don’t decide on everything unanimously. Having the right attitude by putting the needs of the band before the preferences of the individual is important, both in writing songs and group decisions. A band agreement is highly useful in clearing up ambiguity and acts as great protection from uncertainty or misunderstanding.

Knowing where you need help and having the right tools at your disposal to seek that help out at the right cost is often half the battle. For example, using a digital distributor such as CD Baby can alleviate the pressure of deciding on the best retail strategy, allowing the band to use their limited resources elsewhere to promote their release. Again, promotion is something a band will need help with sooner or later, and knowing when and how the realm of the band meets the realm of the people working with the band will allow things to work in unison.

In an ideal world the right people will approach the band and offer great services at little or no cost and everyone is a winner. The reality is that this may happen perhaps in one or two realms to varying degrees of risk which is why access to the facts from the outset can mitigate time and money wasted.

There are now more than ever a whole host of things that bands can take on themselves with a myriad of online resources and pro tips. Entrusting the right people both inside and outside the band with the right tasks is a prerequisite for success, but ultimately getting out there and getting people excited about what you do is the best way to strike up a working partnership that can bear fruit in ways that are often hard to predict.

Matt // JFF

http://www.japanesefightingfish.co.uk/

https://www.facebook.com/Japanesefightingfishuk

https://soundcloud.com/japanese-fighting-fish

https://twitter.com/jffuk

https://www.youtube.com/user/JFFish

Unsigned artists! Quite Great says ‘Think Big!’

The Quite Great Marketing and label services team at www.quitegreat.co.uk spend a great deal of their time promoting  unsigned urban tracks through to unsigned  folk and classical so we feel that there are common threads to help unsigned music artists really get more media coverage , we regularly put together what we like to see as best music pr tips for unsigned musicians  and developing acts to consider, so we thought we would highlight one key way to build your profile. It may seem like a dream but as an unsigned musician it is always worth introducing your music to named acts and see if they can help spread the word , now clearly this tends to be viewed now as a social networking hoping to get an act to tweet etc but there are a catalogue of examples across the past twenty years of acts who have gained a bigger media profile by hooking in with a named act , at present we are lucky enough to be working with a really talented unsigned pop  act called Skyler who has come to the attention of the legendary rap act Snoop Dogg who has subsequently guested on her track Fire , even appearing on the video https://www.youtube.com/watch?v=zn8MfeoiTKE

As mentioned although the dance and urban world is full of bigger acts introducing new names to a broader public one of my favourite guest appearances – although it must be stressed he was not an unsigned musician at the time –  was the wonderful Russell Watson working with one of the god’s of the Madchester scene, the one and only Shaun Ryder of Happy Mondays and Black Grape fame on the track Barcelona which is featured on our Quite Great youtube history https://www.youtube.com/user/Quitegreattv/playlists . The song was originally a huge global hit  Freddie Mercury and Montserrat Caballe but the spin Russell and Shaun put on this classic meant it was embraced by a huge variety of age demographic etc and even saw them appearing on the original version of TFI with Chris Evans, a very rare opportunity indeed for a classical artist but this duet underline Russell as a huge national and subsequently international star.

Now obviously we cannot always know that a named artist will help an unsigned artist in any way but especially in the indie and rock world it is always worth approaching classic acts who may feel that they have not  been in the limelight for a while or that they may just really like to appear on a new, unsigned  artist’s  unheard track or video because they feel a sense of wishing to help develop a new career in the way they may have wished someone could have helped them at some stage in their early days when as an unsigned artist they were still living the dream.

 

So don’t be put off by thinking your heroes will not be interested in helping yes there may be deals to be done or backs to be scratched but the results can be huge .

 

 

Mixcloud Prides Itself On Being At The Forefront Of The Streaming Revolution

music

Although we live in an age of an ever expanding local and national focus on radio it is the innovative work especially amongst the global DJ community that Mixcloud have been trailblazing over the past three years that could spell the greatest change we have seen in the way we experience radio. The Quite Great brand team are really excited to now be working along side the in house Mixcloud team helping to broaden even more their media reach and building even more understanding between the mobile app and the mainstream general public. It is also even more pertinent given that Mixcloud have just announced that they are featured on Apple TV’s revolutionary new super sleek service.

With Mixcloud’s 13 million monthly listeners, the app is set to position the burgeoning tech giant alongside online media taste makers such as Netflix, Vimeo and YouTube, by breaking into the mainstream TV market ahead of the likes of SoundCloud, Spotify and Deezer.

Mat Clayton, Co-founder of Mixcloud: “We’re excited to be on the new Apple TV platform as it launches. The living room is a big opportunity for Mixcloud. We launched our Sonos app in beta earlier this year and Apple TV is the next part of our strategy to go big in the home. We’ve got a great catalogue of shows to entertain people at home both alone and with friends, and we’ve built the product to be simple and intuitive with a more lean back experience than our other apps.”

The new launch on Apple TV will help Mixcloud reach a new, broader audience catering to the in-home listening experience. Consumers are increasingly investing in high end TV/AV systems for their homes in place of pure audio systems, and so access to streaming audio services via the TV will give consumers more flexibility in how they consume their music.

Podcasts

Mixcloud offers a huge catalogue of DJ mixes, radio shows and podcasts to its users. The service, which is in its seventh year, is built for long-form radio and DJ content, with some unique features such as track-list fingerprinting, timestamping of shows and listener engagement statistics for radio stations.

77% of UK adults listen to audio at home verses 51% in the car and just 17% at work, according to research by Audiometrics. In the US, Millennials are adopting streaming rapidly and in home is leading the way with 63% adoption amongst 18-34 year olds (Edison Media). By comparison 46% are streaming radio while working out and 44% while walking/on the go.

There are millions of hours of audio on Mixcloud – now you can search and find something to suit any occasion from the comfort of your couch. The app provides access to Mixcloud’s unique catalogue of audio via shows, reposts, favourites and playlists on any host’s profile page, all tailored to fit the Apple TV with a sleek custom design. This new app also sees Mixcloud placing a greater emphasis on their catalogue of thousands of talk Podcasts, from Science and Education to Technology and Food.

Mixcloud prides itself on being at the forefront of the streaming revolution, connecting listeners to the world’s best radio and allowing users to discover new music & ideas from a community of a million DJs and radio presenters – from superstar DJs such as Carl Cox, Jazzy Jeff and Moby all the way down to bedroom heroes who have built a strong following on the site.

Feed

Links:

https://mixcloud.com

https://twitter.com/mixcloud

https://facebook.com/mixcloud

https://instagram.com/mixcloud/

http://mixcloud.tumblr.com/

Our Guide to Music Festival PR and Promotion

With hundreds of festivals now popping up in Britain each summer, we are swamped and no doubt spoilt for choice with our options. From the longstanding Glastonbury and Reading & Leeds festivals, to the young and growing festivals such as The Secret Garden Party, Boomtown Fair and Wilderness – there most definitely is something for everyone. The British Festival industry makes millions each year, and it’s no surprise that more and more people are catching on and hopping on the festival bandwagon by starting up their own.

You may have seen all these new festivals emerging and thought to yourself: “Hang on a minute, if all these Tom Dick and Harries can start up and run a festival, then what is stopping me from doing the same?!”

While there’s a lot to prepare initially – the planning, the licensing, the booking of acts, sorting out your traders and general logistics – the hurdle that festival promoters find most difficult to overcome is the promotion and gaining enough organic interest from the public!

Here are some of our Pete’s top tips for Promoting Your Music Festival.

 

Social Media Strategy

It is good practice to have a solid plan of how you’re going to keep your audience up to date on all things related to your festival. You should set up an official festival accounts on Facebook and Twitter and start posting content way before you release tickets.

You need to create a buzz and let people know that you’re here!

Schedule in posts for when you know you’re going to be announcing something exciting like a headline act, or when you’re first going to release your tickets.

Having a giveaway competition on social media is a great way to gain followers and interest. You could offer a pair of free tickets as a prize, and to gain an entry all people have to do is follow and share your posts. Just one idea!

 

What’s The Hook?

Quite Great offer all elements of promotion. Our services range from online to radio, to TV to print, but we always love to stress the creative aspect of what we do: Finding the elements of the subject that will spark the interest of the media!

Your headline acts will be a head turner, your exciting line up will definitely draw folk in but it’s our job to explore what makes your festival exciting and different to everyone else’s.

We will look at strategic focus, aiming creative PR ideas towards the appropriate audience and not pointless ideas that initially look good on paper, but fail to drive sales.

 

‘Divide & Conquer’ is Key to Successful Festival PR

Divide everything up and find a niche area that will attract media interest. Look at each subject in detail and find a story to develop. This should happen naturally, and fairly easily!

 

Pay Attention to Detail

We would always take into account arguably most important aspect of any story and that is the presentation. Imagery and branding must be on point, relevant and memorable.

One of our favourite creative ideas involved a boutique festival supplying headphones to sheep in a nearby field so they didn’t get bothered by the loud music from the local dance festival. Nice touch!

 

Build a Story

Building a story for a festival helps to build a profile… which then allows for more opportunities for gaining vital media listings etc.

Not many festivals have the benefit of being a longstanding festival, such as Cambridge Folk Festival (which sells itself and has no need for PR – apart from selling out the tricky Sunday tickets) through to the likes of Glastonbury – which has been going so long and is a total global institution that the PR is primarily vast media relations.

There are hundreds of festivals and the lesser well known need strong and constant PR to drive sales and drive the brand.

For more information contact us on Skype –quitegr8 or email –ask@quitegreat.co.uk

ONLINE PR FOR MUSICIANS IN THE UK

For over a decade Quite Great have been helped musicians from right across the spectrum to gain online PR activity and recognition.

From legends such as Mick Jagger to acts like Newton Faulkner, major compilations from the likes of Ministry of Sound to simply helping growing acts grow that little bit faster. We operate a very simple method of online development that encompasses creating foundations for our acts to build on throughout a series of release patterns.

The first thing to do is make sure there is activity. This sounds obvious, but the important thing to you as a new or developing artist to get your music seen and heard, hence with our network of music blogs, entertainment sites, release postings etc.

We rapidly develop deliverable PR activity for our clients that then sets up the focus on hitting the bigger and more influential hype-machine blogs, the Pitchforks of the world, The Huffington Post  through to the NME onlineGuardian online  and everything in between – hence driving video views and making sure that those searching for your band’s musical style come across you rapidly.

The PR campaign does not involve taking over your social networking – that is another service. That of digital and social media development (the online PR side) is all about building an online presence via targeting to our vast array of bloggers, and music journalists through to online radio shows focusing on making sure results are gained. We have been helping acts grow online since pretty much the birth of the internet, as a tool to help promote artists; you only have to look back to the likes of Sandi Thom to know where our creative heart lies.

As a small label or developing artists, the online campaign would fit alongside the structured ten week development patterns. This would add fuel to our efforts to gain radio play and traditional print media.

Although online PR is a focus, we do not let that be in a vacuum, as without an integrated plan the online promotion will rarely bring about commercial success.

This is how the first release lines up – building up online activity, combining automated postings and impromptu postings, then approaching sites to find out what they think, and if they will feature the music.

Regular reporting between our team and yourselves, along with the flow of ideas, is vital. Once we have online growth we target selected online local radio, community stations etc. to gain plays and feedback, and allow us to use these plays as building blocks.

With the build up of online PR activity, we then get our radio plugger to hit all the key relevant stations of the UK and find out what they think about the track, if they wish to play it as well as discussing interviews. With the online PR growing further, we add local print, and look to creative angles to fully exploit opportunistic national news media.

By the final stage of the campaign we will have reports relating to relevant press, online, radio. Hence your online PR campaign is the springboard to a focused team strategy.