It is important for a producer, or an arranger, mixer, recording engineer or anyone associated with creating a recorded work, to understand that the artist has quite a tough job ahead of them. They have to expose their persona. They have to expose their meaning, the intention of their individual work and their overall art, to their peers within the music industry and their audience.

Our Responsibilities

What we have to do as studio personnel or production people is make sure that they’re consistent. We must make certain that the message is always on point and that we’re always headed in a direction that they want to head without killing creativity or spontaneity.

You have to tread a fine line. But, it is the responsibility of the producer to keep someone on point and relevant to their own message. You could get lost in the woods really easy through the process, through any creative process, and then the artist’s intent is never revealed fully.

Music Education

With an online music education you learn the knowledge and skills needed to guide artists during their music career and artistic journey. You learn about these and other important areas that studio personnel and production people manage on a daily basis.

The next thing with social media that also piggybacks on this story is really trying to bring your audience with you on some sort of journey. One of my favorite examples here is the wonderful Vulfpeck. They’re sort of a funk group out of LA. And something they did a few years ago was they wanted to do a national tour. But they were just out of college, and they really didn’t have the size following or the money to pull off a full tour.

So, they came up with kind of a funny idea. They posted a whole album on Spotify of complete silence. It’s called Sleepify. It was 10 songs, 30 seconds each, complete silence, no music. And the idea was they were going to reach out to their audience and say, “Do us this favor. For the next few weeks when you go to bed, play our album and press loop so the album is playing all night. And our hope is that maybe we’ll earn a little bit of money from Spotify, and we’ll be able to go on tour.”

Their fans start doing this, and the money starts coming in. After a couple weeks, there’s a few thousand dollars that have come in through the band. And, so they think, this has been amazing. It’s hilarious. Is there a way we can even raise the stakes more here?

So, they say to that same group of fans, not only if you keep doing it can we go on tour, but if you get your friends to do it, if we can really blow this thing up, we’ll make every date on the tour completely free.

They knew their audience. They knew their audience didn’t have a lot of money to spend. They knew that that would resonate with their audience. If there was a fan of theirs in a far-off city from where they were that never sees this band, they would happily go evangelize and tell their friends to do the Sleepify stunt so they could see the band for free.

So, it really blows up. Tons of people start doing it. The money is rolling in. Eventually, Spotify notices it because it’s a little bit controversial. They tear it down. That gets the band lots of press. At the end of the day, they ended up making tens of thousands of dollars from this. They were able to do the tour for free.

And to this day, their fans that were part of that still talk about it. Their fans feel like they were part of this journey with the band. And especially when you think about fans who might not have as exciting lives as an artist doing things like this, this is an amazing psychological thing to tap into. Make your fans feel like they’re part of what you’re doing.

Thinking orthogonally again, a really great trend that comes more from the technology world but is a great one to also bring into the music world is this concept called growth hacking. The overlying idea behind growth hacking is this sense of taking areas of marketing and creating things that we’ve always described as completely disparate things. For example, being in the studio, getting my message out, advertising, doing data analyses, looking at who is resonating with my stuff — we’ve traditionally thought of these as separate phases and that they each happen only once.

Growth Hacking in Music Education

Growth hacking says, “Not so fast.” That process can be cyclical and going on all the time. If I have enough songs and am putting out a song today, I can look at how people resonate with it and who’s resonating with it, and that can influence the song that I’m putting out next month.

And we just keep going around. It doesn’t have to be so isolated. A really great example of who’s done growth hacking well is anyone who makes a change to their product that sort of does the marketing for them. Remember this as you continue your online music education.

Before releasing work in the music industry, something really important I recommend doing is called “quant-based marketing.” It’s basically this idea of literally plotting out how you’re going to get the amount of traffic that you would like to get before ever releasing music. What we really want to avoid is putting out a song, and then first starting to market it, and getting a certain amount of traffic. A music journalist or an influencer wants to feel like they’re getting to cover something new.

The first thing to do is to establish a goal. Let’s say you want to put out a song soon. Say you would like in the first four weeks to get, say, 50,000 streams. That’s totally cool. We just need to reverse engineer how you’re going to get that. So what I’m going to do is pick a few outlets, influencers, things I either have relationships to or people that I’m starting to build relationships with, and I’m going to look at their audience size. If you’re a student at a university, a great place to start is to see if there’s a school paper or a school blog at your university, even if you’re in online music education. Would it be relatively easy to look up the editor’s email address and send them a message, asking to be covered in it?

Next, I would look up the traffic amount; what is the audience size of that school paper? In music education, you’ll find there’s a great website called SimilarWeb. Amazon has a tool called Alexa, where you can check the traffic counts of different websites. So, let’s say your school is getting 100,000 unique visitors a month. Basically, you can think of it like this: if the school paper writes an article about me, in theory, 100,000 people could be seeing that article about you and your song.

The next part of it is sort of trying to guess how many people would actually convert from that. So even though 100,000 people might see that article, maybe only 10% will click on it. So that gets us down to 10,000 people actually seeing your article. Now, they’re reading your article. The question is how many of those people are actually going to click on the song? That was your goal all along. Maybe 10% of that 10,000, so let’s say a thousand people end up being converted to your song if you’re featured in your school paper. That’s amazing.

We know that beforehand, even if our goal is 50,000 hits and we just got a thousand, we’re on our way. Now, we just need to do that five, six, ten, fifteen more times with different kinds of outlets. Doing all that before deciding what the release date is is huge, because then the release date comes, and you know what? You can sleep really soundly knowing you’re not guessing. You’ve pretty much guaranteed the amount of traffic you’re going to get. This is going to be a very big difference between artists that are really disheartened by the response they get versus ones who know that it’s starting at a certain point and hopefully grows from there.

When you’re booking a show, there are a whole lot of actions you need to take before you actually get into the venue on the day of the show, and one of those actions is called advancing. To do this, you write an email to the venue in preparation for your show with your tech rider, your hospitality rider, your questions about the run of the show, and any other information you may have, including your stage plot as well as your input list.

The hospitality rider is often what the band sends to the venue to make sure that they’re hydrated, and that they have everything they need in terms of a backstage setup. That includes water, drink tickets, towels, a mirror, chairs, and other things you might need to make sure that you take care of yourself in order to put on the best performance that you can.

In some cases, hospitality riders can actually be pretty funny. Some people will put that they only want green M&Ms. Some people will put that on Monday, they would like Doritos, and on Tuesday, they would like Ruffles. Some people have puzzles on their riders. They like to keep things fresh backstage and have something to do. A lot of people have newspapers from the area on their riders. Some people have even put kittens and puppies on their riders and actually received them.

One of the most important things to remember when you walk into a venue is that you are in control of your show. I don’t mean that you need to be overconfident about the way that you take up space in the room. What I do mean is that your kindness to your bandmates, your kindness to the employees of the venue, the front-of-house engineer, and everyone else who’s working is really paramount to everything else. You are in control by the way that you treat everybody and the way that your generosity comes through while playing the show.

If you’re interested in finding out more about how artists interact with venues, in addition to many concepts and lessons about working and succeeding in the music industry, think about giving online music education a try. This is the only form of music education that requires nothing more than an internet connection, and ideally a passion for the subject.

There are many different ways to understand music history, but one that I find helpful is to talk about the orientation of an artist rather than the genre. In other words, what does an artist want to do? What is the goal of an artist?

By the 1970s, two major archetypes had emerged in the music industry. The first was the entertainer. An entertainer is someone whose primary goal is to acquire and minister to as large an audience as possible — or as large an audience as possible for them.

Another archetype emerged as well: the auteur. That’s somebody who performs and creates as an artists almost for their own benefit. They do it for the growth of their art or art in general.

Many artists use both orientations. Even still, in online music education, it’s helpful to think about the primary drive of certain artists because that’s why we have such different kinds of artists and such different kinds of audiences.

Of course, these archetypes are just a way of thinking about music, but it’s an approach that’s very helpful for people who are going into the music business to help artists. What are you helping an artist to do?

One of the reasons that David Bowie is so important is that he was one of the first — if not the first — recording artist to create an entire career out of adopting a succession of personalities, aliases and characters, such as Ziggy Stardust and Thin White Duke. David Bowie is somebody who has a huge strain of that auteur mentality. He is essentially cultivating his own world.

On the opposite side, you could think of somebody like Michael Jackson. In many ways, Michael Jackson was born for the stage. He was born into it. He started performing when he was a child.

Even though Michael Jackson is an incredible artist and auteur in himself, he called himself the King of Pop because that’s what he wanted out of his career. He wanted to have a massive, massive audience. A lot of the choices he made were oriented toward acquiring that audience.

Now, this isn’t a hard and fast delineation, but it is one of the ways that we in music education can compare different motivations. Why is Taylor Swift different from Mitski, for example? Why is Beyonce a different artist from Janelle Monae?

Now, it’s important when pursuing music education or online music education to know the history of the business. The early music industry business is essentially divided into categories that mirror American society at that point. American society was in the middle of a period called “Jim Crow,” which is essentially legal segregation. The early segments of the record business essentially mirrored that segregation.

First, you have the mainstream, popular records. Then you have a category called “Race,” which is where all the black artists were signed and sold. Then, you have something called hillbilly, which is seen in many ways as the province of poor, white Americans. This triangle of Jim Crow became embedded in the architecture of the modern music business.

As the music business grew up, what you’re hearing on these records is, in general, musical forms that come from African Americans. We’re talking about ragtime. We’re talking about blues, and we’re talking about jazz. Those became the main drivers of popular music in America.

When creativity came into the music business, it was a whole other story. In the 1920s, an African American woman named Mamie Smith recorded a track called “Crazy Blues.” To everyone’s surprise, this track by an African American sold a million copies even in the midst of segregation and everything else going on in this period of history.

Suddenly, the big companies in New York–RCA, Columbia, and what would later become Sony–realized that they could make money doing this. They hustled down to the South, and they started recording African American artists. It’s that culture–it’s black American culture–that essentially established the recording industry as one of the most creative forms of expression in the 20th century as it is still seen today.

Perhaps the master of the form that becomes known as rock and roll in the music industry is Chuck Berry. He developed a particular kind of guitar style that we in music education associate with rock and roll, a particular kind of singing that we associate with rock and roll, a particular way of holding his body that we associate with rock and roll and a particular lyrical obsession that we associate with rock and roll, whether we’re talking about cars or school or girls.

In, “Johnny B Goode,” Chuck Berry sings, “Go, Johnny, go, go. Go, Johnny, go, go. Go, Johnny, go, go. Go, Johnny, go, go. Johnny B Goode.”

This becomes, essentially, what we know in online music education as rock and roll in the 1950s.

In the field related to music and the music industry that folks are calling XR-AR, VR, and MR are all collectively called XR. That’s your new-fangled bucket for immersive experiences. AR being Augmented Reality, VR being Virtual Reality, MR being Mixed Reality. XR is eXtended Reality, and it is a catch-all for the terms you hear — AR, VR, and MR.

They each have nuances. Augmented reality seeks to bring a connectivity between digitally generated images and your real world. It’s not about putting headsets on. It’s about bringing digital images, or holograms, into your space via either a device or supported by some technology like glasses or contact lenses, which would enable you to see what are now projected digital forms in your physical, real environment.

Virtual reality is when you are putting on a device and immersing yourself inside of an entire, enclosed virtual space. While that virtual space may include real spaces, you are entirely inside that place with goggles on and moving yourself around as an entity, usually with some controller. There are also certain technologies where you might actually be the controller yourself.

MR is Mixed Reality, and it’s a way of picking from all sorts of the various pieces of new forms of technology that are coming out and trying to blend them in any kind of way that’s beyond the traditional means. Mixed reality is a blend of real-world environment and what a performer’s doing on stage onto the various screens and devices. If they’re not formally AR or VR, you’re projecting and combining audio and trying to synthesize it all together for the MR experience.

Hence AR, VR, and MR are the world of XR, and these are influencing music education and online music education in new and interesting ways than have ever been done before.

In recent years, the biggest thing that has happened to the music business has been social media. And streaming, of course. Everything’s changed. Streaming music, when I was in school, we talked about this. We knew that it was happening. It was just a question of what the music business was going to do about it.

So, while waiting for the answer, musicians needed to find other means of income. I love the fact that you can be an independent artist — for real. Being able to own your distribution. Being able to own your narrative of your brand. Being able to own everything that surrounds the ecosystem of how you make money. That is important. If you’re an artist, you’re going to want to do that.

Granted, you can phone it in and have the label be a sort of consigliere for everything related to you. But that’s not the best way to do it. The label is just a big bank with a marketing team and a PR team. With the right capital, you can do all those things on your own. And you can have your own teams that you hand-select — teams that get your brand and get your vision. And you can have a lot of success doing these things on your own.

This is what Beyoncé figured out. This is what Chance the Rapper figured out. This is what Wu-Tang Clan figured out. This is what all of these huge names in music have figured out for themselves.

One of the biggest ways that the music industry has changed has been the democratization of the industry for the little guy, as well as the older talent that’s out in the world and trying to reclaim the narrative of their music.

If you’re interested in using music education to learn more about finding success as an independent artist, but aren’t sure you have the resources or time, consider giving online music education a try. It may be exactly what you need to get a jump start toward the career that you desire.