3 Reasons to Drive Fans to Your Band Website (and not to Social Media)

Do I really need a website for my music? With Facebook, Twitter, and all the musician-specific social networks out there, you might think that your own .COM is obsolete. But there are 3 very important reasons to drive fans to your website instead:

1) You own the address

First and foremost, you own your .COM address. As long as you maintain it, it will always point to your website. This is powerful -- you are guaranteed to own that little slice of the Internet. Even if you switch companies that host your website, your .COM can be transferred, so your fans will always be able to find you.

This is not the case with your social networking profile. They can get bought out, lose out to competition, or simply become un-cool. Thousands of bands relied on their MySpace page as their home base, then switched over to Facebook (after printing their Myspace URL on their merch... ouch!).

This isn't limited to MySpace. Those of you who've been online since 2000 will remember sites like Garageband and MP3.com. Who knows what will happen in 5 years? Will Facebook still be around? Twitter? Google+? It might be an entirely new social networking site that will be "THE" place to have a profile. Your best bet is to make sure that you always have a place where fans can go to find out about your career.

One last point about social networks: if you're really unlucky, you may wake up to find your social network page repossessed. There have been many examples of MySpace doing this. Time will tell if this also happens at Facebook or Twitter. And although his page was not repossessed, one Montreal artist had his Facebook page (with 80,000 fans) hijacked by someone, who then spammed his fans. It can take a while for Facebook to sort out situations like that, and it's a great example of how you can lose control of your social networking page.

2) You Own the Experience

With your website you also own the experience. You can control what your fans see, when they see it, and the messaging that you send to them. This means:

No Distractions
Unlike with social networking sites, on your website there are no ads to distract your fans, and there also aren't dozens of other links vying for their attention. You're able to really focus on your music and your brand. And since you have your fan's full attention, you can then direct them to your call to action to deepen their connection.

No Design Limits
With your own website, you don't have any design limits or restrictions. If you want to add a blog, or put a hi-res press kit for download, or even a special "fan-only" page, you can. Your website gives you the opportunity to make a deeper connection with your fans, without the limits of the one-size-fits-all social networks.

A Better Buying Experience

If you sell music or merch, your own website is even more critical. Social networking sales tools force fans to interact within a tiny widget, or redirect them to another website altogether to complete the transaction. Having your own store on your own site allows you to give your fans a seamless buying experience, and full control over what that experience is.

3) You Own your Data

On your .COM site, you can get far more detail on your fans than what you can get on a social networking site.

Stuff like:

  • How many people previewed my track last week?
  • Which ones downloaded it?
  • Did they skip ahead to a specific track?
  • Where do those fans live?
  • What site brought them here?

More than stats, you also own your fan list. You probably noticed that you can't move your old MySpace fans to Facebook. That's because you don't own that fan list, MySpace does. Same thing could happen whenever the next hot social network appears. There is no easy "export from Facebook" option!

Remember, your list of fan emails is gold. It allows you to always maintain contact with your fans, regardless which social networks they might be on.

Social Networks Are Still Important

This is not to say that you shouldn't be present on social networks -- they clearly have a place to interact with and find new fans. But what's even more important is to have a home base to bring your fans back to that you own, where they can always find you regardless which social networks are popular at the time.

In an upcoming post I'll talk about the "hub and spokes" method of driving fans from your social networks ("spokes") back to your website ("hub"), and list some of the best ways you can do that.

Posted by Chris on 09/29/2011 | 16 comments

Bandzoogle Member Spotlight: Jon Gomm

Jon Gomm Header

Bandzoogle Member Spotlight: Jon Gomm

Bandzoogle Member Since: 2011

Genre: Acoustic / Singer-Songwriter / Experimental

From: Leeds, United Kingdom

Website: www.jongomm.com

Jon’s favorite Bandzoogle Feature: Download codes.

Favorite section of his website: Store (“Not because I’m all about the money, just because it’s SO much better than my last website”)

Jon Gomm Profile

Jon Gomm is an acoustic singer-songwriter with an incredible virtuoso guitar style (i.e. his guitar playing will make your brain hurt). He uses one acoustic guitar to create drum sounds, basslines and sparkling melodies all at the same time, and combines styles from blues and jazz to rock and pop.

He tours Europe, playing at festivals from Rome to Athens, has a huge cult following and is regarded by those in the know as one of the world’s most talented and innovative acoustic guitarists. His videos are watched thousands of times within days of appearing on Youtube, and his home-recorded CD “Hypertension” has sold over ten thousand copies with no industry backing. And we’re mighty proud that he's a Bandzoogle member.

Q: So when and how did you start playing guitar?

I got my first guitar when I was two years old (it was a ukulele actually!) and started taking lessons when I was four. So – pretty young!

Q: It sounds like you grew up in quite a musical household, what was that like?

My dad was a frustrated musician. He has the biggest record collection I have still ever seen, and he used to take me to gigs at an early age, but he can’t play a note! He became friends with local concert promoters, and he’d offer to accommodate touring bands at his house. So I knew guys like Bob Brozman and Walter Trout pretty well by the time I was 11 or 12 years old.

Q: You certainly have a unique guitar playing style, where do you learn to play like that? Was it self-taught?

It’s a mix of everything I have ever learned, and I’m far from self-taught – lessons, music colleges, the works. I just love guitar music so I’m always learning new things. There’s a bit of innovation in there hopefully too – I always loved players who broke the rules, from Stanley Jordan to Tom Morello.

Q: Are any companies that make guitar tuners sponsoring you yet?

Ha ha! No, I don’t do as well as I should for sponsorship because most of the equipment I love is handmade by tiny companies, so they don’t have a budget for sponsorship. The tuners I use are handmade by banjo legend Bill Keith, he’s a wonderful, friendly guy!

Q: Who are some of your influences as a guitarist? Is there even anyone else out there that plays with a similar style?

The two players I probably sound most like are Preston Reed and Nick Harper – two very different guitarists but both geniuses. I’m hugely influenced by Michael Hedges, and I’m part of a “new generation” of post-Hedges guitarists – most of us seem to know each other and are friends. Guys like Erik Mongrain, Thomas Leeb, Andy McKee, Pino Forastiere, Amrit Sond...

Q: On your Twitter you mention that you named your guitar “Wilma”, where did that come from and how long has Wilma been in your life?

Wilma came into my life by a bizarre series of coincidences, 10 years ago. She’s named after my first love. When I was about 6. Wilma Deering from Buck Rogers In The 25th Century.

Q: On your site you’re going to have a section for guitarists only. Do you teach guitar? Is educating other aspiring guitarists something that you want to focus on in the future?

I used to teach guitar, these days I don’t often have time but I do give guitar workshops, and I go into The Guitar Institute in London for a few days each year to teach contemporary acoustic techniques. I love teaching, a lot of young guitarists are more interested in acoustic playing at the moment, which is great!/

Q: How do you approach songwriting? Do you come up with the music and percussive elements first, then add lyrics later, or do you build the music around lyrics?

I always write the melody and lyrics first, and I’ll have some idea of harmony and groove in mind, and even genre – I might think “this song would work in a bluesy context” for example. Then all the guitar arrangement comes afterwards, it’s a separate process. I never want technique to rule the song. It’s always the other way around.

Q: In terms of your career, what do you think is the most effective promotional tool at your disposal?

The best method is word of mouth. Social networks are a great way of helping with that. My favourite thing about online promotion is the ideas and influence I can get back from fans and listeners. The website facilitates that too – people can leave comments on my blog, for example. My new videos were all made by people responding to my plea for help in my mailout! People are just great, so keen to help and be involved.

Q: What area of your music career generates the most income for you? Music sales? Live shows? Licensing? Other?

I make most of my income from gigs, then sales comes in second. I love touring, so that’s not a problem for me.

Q: What’s one of your favorite career highlights so far?

Two things. Getting to perform with and become friends with musicians I think are incredible is a huge privilege. For example, recently I took Angelo Palladino (a criminally little known blues singer) over to play a concert on The Isle Of Man. Then secondly, just touring – playing in different countries, making new friends in far flung cities, learning to understand different cultures so I can communicate with them from the stage.

Q: You’re an independent artist that has sold over 10,000 copies of your debut CD, and also tour throughout Europe. How do you manage your career? Do you have a team that helps you?

I have a manager, Natasha, who also happens to be my wife! She books most of my shows and organises a lot of stuff, as well as being a wonderful musician herself. I have booking agents, PR people, all that stuff, but most of them work for me for peanuts! For which I am eternally grateful!

Q: Tell us about the The Domestic Science singles series? And why did you decide to go with a Pay-what-you-want model?

I was gradually persuaded over to the PWYW idea by various friends, mainly Hope And Social, a band from the town where I live. It seems like a great way of bypassing music piracy issues, and giving people the opportunity to hear and share my music without having to pay first – they can pay later if they want to! It’s an experiment for me, but I have high hopes. And anyway, there’s always the chance somebody will pay a million bucks for a song!

I’m going to be selling PWYW downloads at my shows too, using download codes. I think they are a fantastic idea – it’s not a marketing fad, it’s a real way of selling music.

Q: What’s next for Jon Gomm? Any plans for touring North America or other parts of the world?

I would LOVE to come to the U.S. and Canada. I don’t have any definite plans, but I am sure it will happen some day. It’s quite daunting for us Brits you know – that continent of yours is just so darn BIG!

To get a sense of Jon’s guitar playing ability, check out this video for his new single “Passionflower”

Posted by Dave Cool on 09/28/2011 | 3 comments

Musicians and the Art of Polite Persistence

Don't Quit

Musicians and the Art of Polite Persistence

A few weeks ago I went back to a venue that I was the program director at for 3 years. The band playing that night was a jazz trio called “Apartment 5”. I realized that the bass player Paul is the perfect example of polite persistence, because it took almost a year for me to first book his band, but they have been playing regular gigs at the venue ever since.

I first heard from Paul after I had started booking a space called the St-Ambroise Centre here in Montreal, which is owned and operated by local micro-brewery McAuslan Brewing (if you can find their St-Ambroise Oatmeal Stout, it’s considered to be the best stout in the world by many beer geeks). Anyway, his jazz trio had played at a visual arts event at the venue (the artist had hired them), and he called me shortly after to see if we would be interested in hiring his band for other gigs. I explained that it was something we simply didn’t do. We didn’t charge to rent the space, but we also didn’t offer guarantees to bands. But they were a work-for-hire band, so there was nothing I could for them at the time.

A few months later, I got a voice mail from Paul, asking if we had any need for his jazz trio. I didn’t call him back this time because I was swamped with work, and there was still nothing I could do for him. A few months later, he called back and we spoke on the phone once again. I didn’t have anything different to tell him, but he was a nice guy and I honestly didn’t mind talking to him for a few minutes.

Opportunity Knocked

These phone calls and messages continued every once in a while for most of that year, until one day we got a call at the venue to host a private event for a company. It turned out they wanted a jazz trio for entertainment during the evening. Guess who I thought of first? My friend Paul. So I called him up and offered him the gig. It was for less money than they normally charged, but Paul said they’d take the gig to show me what it was like to work with the band and to prove themselves.

As it turned out, they were perfect. Great musicians, totally professional. They came in, set-up on time, played their sets, tore down and got out of the way (and they didn’t get drunk, eat all of the client’s food, etc.). They knew they were there to do a job and that’s what they did. I was really impressed.

I got a thank you phone call from Paul shortly after (remember how much I love those). He of course reminded me they were available to do more gigs, and I reminded him that this was a one-off kind of thing, but that I would keep him in mind if anything else came up.

The Pay Off

Well, the following spring I was given the keys to the much larger outdoor space at the micro-brewery, the St-Ambroise Terrace (250+ capacity versus 50+ capacity). We also made a decision to invest a considerable amount of money into hiring entertainment throughout the summer, a good portion of which would go to weekly music nights. I think you know who got a lot of those gigs, and they’ve been playing regularly at the space for 3 years now, even after I left my job as the program director.

Everyone Needs a Polite Reminder

So when I saw Paul recently after his set at the St-Ambroise Terrace, I reminded him how it had all started with his regular phone calls and messages. We laughed about it, but then he thanked me for reminding him. He admitted it’s not easy to do for an artist, and he had lost sight of the fact that polite persistence can indeed pay off. He realized that there were a bunch of potential clients that he had stopped phoning simply because he had lost confidence after he wasn’t getting calls back, but he said he would pick up the phone and try again.

I figured since the guy who was in my mind the perfect example of polite persistence needed a friendly reminder, then other musicians might need one as well. So take it from someone who was fielding dozens of booking emails/calls every week for 4 years, polite persistence can indeed pay off.

IMPORTANT: Why Paul’s Polite Persistence Paid Off

It’s one thing to say that polite persistence works, but I want to take a closer look at specifically why it worked in this case:

1. He never sounded bitter, angry or frustrated

Whenever Paul called, he never came across as pushy, and never sounded bitter, angry or frustrated that I wasn’t booking him. He was always upbeat, asked me how things at the venue were going, and was just fun to talk to. The reality is that had he given me any attitude along the way about not booking the band, the story probably would’ve ended there.

2. He didn’t take a non-reply as a “No”

There were several times when I didn’t call Paul back, but he didn’t take the non-reply as a “No”, and neither should you. If a booker or media person (or anyone else you’re trying to reach) doesn’t return your phone call or respond to your email, all it means is that they didn’t return your phone call or respond to your email. It doesn’t mean the answer is no.

People are extremely busy, especially any gatekeepers in the industry, and emails and phone calls often get lost in the shuffle. Heck, even when I did tell Paul the answer was “no”, he still persisted, but that’s because I always left the door open to the situation changing in the future, so he kept following up until the answer was a definite “No”, which it never ended up being.

3. He persisted, to a point

Yes, Paul persisted, but he didn’t call every day or even every week. It was more like once every few months. Had he called me every day or every few days, I probably would’ve blocked his number and never booked the band. He struck the right balance.

4. Once opportunity knocked, they exceeded expectations

Once Paul's band got the first gig, they did an amazing job and exceeded my expectations. They even took the gig for less money than they were usually paid, just to get their feet in the door. They made sure that if ever another opportunity came up, I would have no choice but to think to book them, which is exactly what happened.

Have you ever used polite persistence to get a gig? How about to get an interview in the media or song on the radio? Let us know in the comments section below!

Posted by Dave Cool on 09/23/2011 | 11 comments

Bandzooglers are $5,000,000 richer


On this quiet Monday night, while no one was paying much attention, the running counter we have on our features page reached the $5,000,000 mark. This means that Bandzoogle members are 5 million dollars richer than they were before we launched our store feature.

This fills us all with pure joy. Contrary to most online store providers, we have a policy to not take any commission (%) of our members' sales. We are a website and marketing platform provider. We charge a fair fee for our services, but we figure that if you are good enough at what you do and able to engage your fans so much that they are willing to part with some of their hard earned cash to buy a piece of merch, a track, or your latest album, then good on you, we have no business trying to slip our hands in that pocket.

I was excited about this milestone, so I asked Colin to query our database for some interesting tidbits of information:

  • The average sale amount by Bandzoogle members is $28.02. That's an impressive number, and means that usually folks will buy more than one album, or a CD and a t-shirt, etc. Those who think they are now in the business of selling 99¢ downloads can revise their assumptions.

  • A bit less than half our members use our store features. Some don't have a store, or they integrate another store into their site, or outside of it. On average, Bandzoogle members that use the store feature make more revenue from it than they pay us in membership fees. This is wonderful.

  • Digital sales (albums or tracks) amount to about 17% of sales. This means that physical items (CDs or merch) still sell a lot more than digital downloads. At least from a band's website. Maybe iTunes and other digital stores are where fans buy more of the digital goodies.

  • There have been close to 200,000 transactions on Bandzoogle powered stores. Two hundred thousand times, fans have clicked on that "buy" button, and gone through the Paypal checkout. That's a nice number that proves that there are still fans out there that are willing to pay for good music and contribute to their favorite artists' careers.

So there you have it. Keep creating music that engages fans, connect with them, and make something they'll want to pay for. And thanks for flying Bandzoogle.

and the hard working Zooglers.

Posted by David Dufresne on 09/20/2011 | 16 comments

The Keys to Music Career Resilience

Peter SpellmanThis blog post by Peter Spellman originally appeared on his blog "Music Career Juice". Peter is the Director of Career Development at Berklee College of Music, and the author of several books about the music industry including "The Self-Promoting Musician" and "Indie Business Power". In this post Peter gives some great advice for how to handle the long road of a music career. Enjoy!

The Keys to Music Career Resilience

Especially in the early stages, a career musician must wear a number of hats. You might be a Performer-Writer-Teacher, or an Arranger-Mixer-Editor, or, more likely, a Singer-AdminAssistant-Barista or Producer-Babysitter-Sales Associate. That’s appropriate; all of us have done it.

Some have called the current times we’re living in the “Age of Ambiguity,” an era of “boundaryless careers,” where career development manifests through lateral and horizontal as well as vertical movement. Pretty familiar to musicians whose work tends to be of a freelance nature within “flexible work arrangements”.

Creative people don’t feel the need to stamp out uncertainty. They see all kinds of inconsistencies and gaps in life, and they often take delight in exploring those gaps – or in using their imagination to fill them in. Again, there are things to celebrate all along the way, if they are met with a flexibility of mind.

Write your goals in stone and your plans in sand.

When asked about what advice he had for young players, pianist Ahmad Jamal once said: “Prepare yourself to have options. Many of the greats were lost because they didn’t have options. If there is one exit door when a fire breaks out chances are you’re going to get trampled to death. You can conduct, perform, teach, arrange, produce, go to an institute of higher learning and get more options, and avoid the exit door.”

Practice patience/Stay humble. Since success paths today have multiplied, musicians will experiment with more career-building methods and try a variety of relational constellations before the most resonate ones are found. This takes time and time is the new scarcity. Being in the Waiting Room will try your soul. But hurry and strife will just breed the same. A shortcut is often the longest distance between two points. Successful musicians are constantly reviewing their steps to ensure movement towards their goals. It’s a journey and, as the sage once quipped, the journey is the goal.

On this, it doesn’t hurt to remember the former jobs of famous musicians: Ben Gibbard (Death Cab for Cutie) was an environmental inspector for an oil company, Vocalist Chad Kroeger of Nickelback sold phones; Gwen Stefani scrubbed floors for Dairy Queen, Philip Glass was a cab driver and plumber, Jack White an upholsterer. Even P Diddy cleaned toilets. Humility is a big part of the dues-paying phase of music careers. The key is staying humble and not overpaying your dues.

Cast Your Net Wide. It took a coffee company and a computer manufacturer to teach the music industry how to sell music in the digital age. Non-music businesses everywhere are seeking creative ways to add music-related services to their mix. This means that you needn’t be dependent on the traditional music companies for music career success.

Think of companies you already resonate with and try brainstorming ways you can link up. Consider ones with a similar demographic to yours. Start on a local level. It might be a gift shop, skateboard arena or arts organization. It may even evolve into a full-fledged sponsorship for a tour or recording project. Finds ways to add value to what these businesses are doing with what you have to offer.

Forget jobs; look for the work that needs to be done. A colleague shared about a music production student with perfect pitch who found plenty of work in recording studios by providing his skill as the “last mile” on auto-tuned vocal sessions. What special skill do you have that can be used as a door opener?

Project work, outsourcing, contract work, and short-term assignments are becoming the primary way of doing business today. So it no longer makes sense to think only in terms of jobs with fixed “job descriptions.” Instead, as a creative worker, you will have a constantly fluctuating mix of responsibilities – “packages” of “deliverables” for which you will need to continually upgrade your skills.

Some musicians like the variety and make it an asset in their portfolios. “The key to a successful indie career is diversifying your income,” suggests singer/ songwriter Kyler England. “I write country songs; I do session singing, licensing, and I help others on their gigs. That’s the key – diversifying.”

Be Entrepreneurial in Body & Mind. Kyler is the entrepreneurial musician in action, scoping out market opps and providing service solutions wherever they’re found.

French economist, Jean-Baptiste Say, who lived at the time of the French Revolution, invented the term entrepreneur to describe someone who unlocks capital tied up in land and redirects it to ‘change the future’. He was one of the first economists to introduce the idea of change anduncertainty as something normal and even positive. The entrepreneur sees gaps to fill, pain to alleviate, needs to appease, and is often driven by a passion to do so. But it is also often done without a clear path. Indeed, entrepreneurs often blaze their own path.

The one who runs straight bumps harder. – Anonymous

Posted by Dave Cool on 09/19/2011 | 5 comments

Bandzoogle Gives Back to Canadian Indie Musicians


Bandzoogle Gives Back to Canadian Indie Musicians

We're happy to announce that we're sponsoring a new grant program for Canadian independent musicians. Created by the Canadian Independent Recording Artists' Association (CIRAA), the Groundbreaker Grant awards $100 micro-grants each month to musicians that performed live the previous month. The principal funder of the grant program is XM Satellite Radio, and Bandzoogle has now added to the pool of funds that are available to artists.

About the CIRAA Groundbreaker Grant

Each month, CIRAA members are eligible to receive a $100 micro-grant for each gig that they played during the past calendar month, with a maximum of $1,200 in Groundbreaker Grants per artist per year. CIRAA members only have to fill out a simple online application form providing details of each gig, and they are then entered into the group of members from which winners are selected in a lottery draw every month.

The Groundbreaker Grant is a great way for us to give back to the Canadian artist community that has helped make Bandzoogle the most powerful band website platform, and a nice opportunity for us to connect with thousands of active independent artists across Canada.

Are You a Canadian Musician?

If you're a Canadian musician, you can sign up to be a CIRAA member here (it's FREE): www.ciraa.ca/register.php

For more information about the Groundbreaker Grant, visit this link: www.ciraa.ca/grant.php

Posted by David Dufresne on 09/14/2011 | 3 comments

A Crash Course in Custom Designs

This week I'm going to give you all a crash course on how to create a high quality custom design, without any coding or expensive design software using our Custom Style Editor.

The key points highlighted in this post are:

  • High quality header image
  • Easy to read font
  • Cohesive colours

Many sites, like www.Flickr.com, provide images that are available for public use, called Creative Commons licensing. Flickr, in particular, has a huge database of member photos that you can search by entering terms like "crowd" or "turn tables" and save to your computer for personal use. The first step is to find a nice high resolution image. Click this link to search for the style of image you'd like in Creative Commons at Flickr. In my example, I searched for Northern Lights:

When you find an image you like, make sure to download the large size. The larger the image, the higher the quality. Smaller images are low quality and will look "fuzzy" or pixelated when you use them as a header. Since the image you will downloaded is quite large, you can use our live header editor, and the zoom tool to select a detail of the image as your header.

Many images look more visually appealing when the focal point is cropped. There are many free photo editing websites that you can use to do just that, and for this example I'll use Picnik.com because it is free, and no registration required. Just go to www.picnik.com and upload your Flickr image. After your upload is complete, you can crop the image to control the height for your header. I like to add headers that aren't too tall because some visitors may miss content they have to scroll to see. Find the crop tool under Basic edits, and use the constraint boxes to select the part of the picture you'd like to use for your header, and click Apply (as seen here):

A lot of images have varying shades and colours which makes it difficult to find a font colour for your header text that is easy to read. I got around this issue by adding a square to the image with a colour block to put my text over. To do this, click Stickers, and click Basic Shapes. Add a square, and change the colour to match any other part of your design (like the colour you plan to use for text, background, or even draw a colour from the image for a cohesive design) Here, I chose the green from the sky. You can use the Fade toggle under Sticker properties (seen below) to made the square more transparent so the image shows through. Now you have a good background to let your header text show up nicely.

Next, we add text. Click the Text button, enter your band name in the upper left hand box that says Type Here and click Add to place text. Click Add, and use your cursor to place the text over the shape you just added. You can control the text colour in the Text Properties box, I would choose a high contrast colour so it is easier to read, and also a font that is not too busy. A good font can make or break your whole design, but that is a whole other help article! In this example I chose Hockey Life font in White. You can add as many text boxes as you like to your image to add a subtitle, tag line, or even when your band was established. When you are done click the Save & Share tab and click Save Photo. Here is your finished product:

Now, go to your custom style editor (click Design & Options > Change Site Style > Custom Styles), and click the Header control and Choose Header Image, and upload your new header. Use the Edit link to position the header, and control the height.

In the Page control, you can control the width of your page (text area) and you can also select from our preset backgrounds in the Page section. In one of our next posts, Melanie has covered a section on adding custom backgrounds for your website (and creating seamless backgrounds ), but for this article you can select one of our preset backgrounds in the Library tab, or select a colour. You'll notice that text may not show up that well on an image, or your background may be the same colour as your content font. You can change the font colour in the Font menu (again, I would recommend a high contrast option to your background. This is another opportunity to pull from one of the colours found in your header image to make the design more consistent) or you can add a content area background as seen below. Just as in the Picnik editor, you can set the fade (also called opacity) so that the page background image shows through. This is an option in your Content control, just set colour to On from the drop down menu, use the colour picker to select the appropriate shade and change the opacity:

Click Save when you are done editing, and here is the finished product:

Would you like to see more design tips? Please provide your comments or suggestions below, we love to hear from you! We'd also love to see what you have created with the custom style editor.

Posted by Stacey on 09/09/2011 | 28 comments

Bandzooglers: How Do You Make Money From Music?

FMC Survey

Bandzooglers: How Do You Make Money From Music?

The Future of Music Coalition is conducting an online survey from September 6 to October 28 called "How Do You Make Money From Music?" as part of the Artists Revenue Streams project. Their aim is to gather information about the ways that musicians and composers are currently generating income for their career, and how this has changed over the past five years.

The survey is open to US-based musicians of all genres who are 18 years of age or older. Participation is voluntary and anonymous. The results will provide a snapshot of the complex nature of being a musician in the 21st century. FMC will be sharing the data with organizations, advocates and musicians in 2012, and it will help to ensure that policymakers and consumers understand the financial realities of musicians today.

By participating, you also stand the chance of winning prizes, including gift certificates and iPads. Here’s a short video describing the survey:

How Do You Make Money from Music? survey introduction from Future of Music Coalition on Vimeo.

Participate in the Survey:

To participate in the survey, follow this link: www.research.net/s/moneyfrommusic

Help Spread the Word About the Survey:

If you’d like to help the Future of Music Coalition spread the word about the survey, you can visit their Resource Center:


About the Future of Music Coalition:

FMC Logo

Founded in June 2000 by musicians, artist advocates, technologists and legal experts, Future of Music Coalition works to ensure that musicians have a voice in the issues that affect their livelihood. FMC’s activities are rooted in the real-world experiences and ambitions of working musicians, whose perspectives are often overlooked in policy debates. Over the years, FMC has provided an important forum for discussion about issues at the intersection of music, technology, policy and law. Guided by a firm conviction that public policy has real impact on the lives of both musicians and fans, FMC advocates for a balanced approach to music in the digital age — one that reflects the interests of all stakeholders, and not just the powerful few.

For more information about FMC and their activities, visit their website: www.futureofmusic.org

Posted by Dave Cool on 09/07/2011 | 7 comments