The Bandzoogle Blog

10 years of advice, inspiration and resources for musicians navigating the new music industry.

Your Home Recording Studio: How to set effective goals for sessions

Your Home Recording Studio: How to set effective goals for sessions

In my previous post ‘How to set up your recording studio environment for creativity’, I went over some really simple techniques to getting great sounds from your home recordings. While the technical side is always the most exciting, it can also be the most frustrating if you haven’t established really clear goals for what you’re looking to achieve in the studio.  

So in this post, I’ll outline a few really basic things to consider that can help keep your home recording sessions on track.

Clearly define your session goals

Every session is different - it’s not always about putting down tracks. It’s about making the sounds work together, and serving the song you’re recording.  

Whatever they are, don’t keep these goals to yourself - write them down, email them to the musicians you’re working with, and be sure that these goals are clear to everyone involved. Setting realistic goals for your session can go a long way to providing a sense of achievement, and keeping things positive.

A good exercise to start is to create a playlist of albums or tracks from other artists as ‘reference’ tracks. A reference track is a recorded song from another artist that you would use to compare style and mix against what you’re recording. They’re a great way to ‘pre-visualize’ ideas on how your tracks and record will sound, and get you thinking about how to achieve a similar sound before you press record.


Use song charts

Use song charts

A song chart is basically a graph with your ‘songs’ along the top, and all the elements in the song that need to be completed down the side (like vocals, drums etc.).  

You can have a lot of fun with these! They’re something everyone can participate in as a quick restful distraction. Plus, they provide a sense of accomplishment, and set clear objectives for the band or artist.

Just get a piece of bristol board, large markers and tape (hello dollar store!). For every recording, draw your graph and hang it right where you do most of your work.  

You can use stickers to mark each completed item for songs, or use humorous printouts of each band member from Facebook, internet memes, or even craft beer labels - keep it light and creative, and you can save it for nostalgia when it’s completed, or even offer them as rewards for fans if you’re crowdfunding your album.


Plan for everything in advance as much as possible. Put everything you’d like to achieve for each session in iCalendar, Google Calendar, or a good old fashioned day planner. A lot of digital calendars can sync to devices and be shared, so it’s a good way to keep everyone on the same page (and eliminate excuses the lead singer may have for being late!).

Be realistic about time - lots of little things often come up that can’t be anticipated, so always plan in some extra time, even an hour, just in case.  It’s often hard to project an exact time for everything in your session - so planning more time is always better than coming up short.

If you’re not a good judge of time, a solid formula to try is: take the time you think it’s going to take to complete a session, double it, then add 10%. So if you think it’ll take 3 hours, schedule for about 6 hours and 15 minutes.

The ultimate time saver: practice

At the risk of sounding like a stale smelling band teacher in high school, the number one time saving secret for any recording, either at a home or professional recording studio is: PRACTICE.

Session time is not practice time. In fact the two should never, ever meet. A recording - no matter where you track it - is putting your best foot forward to your fans or clients, and it doesn’t just ‘magically’ record itself from a wellspring of creativity bursting out from your inner unicorn (if only it were so easy).  

The more you make a habit out of good practice, the more pro you’ll sound, and the better equipped you’ll be to get a session completed efficiently. And if available, don’t forget to make quick recordings on your phone, laptop or portable pocket recorder so you can listen back, and help plan for sessions later.

If you’re just the home studio owner, go to a few practices with the artist or group you’re working with and get the lay of the band - it will help you to define where they’re strongest (maybe with songwriting), where they’ll need some work (like in performance), and ultimately, if they should practice more. Be honest with them, its their time as well as yours.

Time saving tools

If you have it, keep an ipad or laptop on hand to make album and track notes. No funds for the digital joy? Just go analog and get a $2 notebook and some pens, highlighters, etc. so you can jot down notes, amp settings, mics and guitars used, changes to lyrics, arrangements etc.  

Every recording and track should have it’s own little scrapbook or folder on your device with note files. You never know if you may need to go back to it some day. Being reasonably organized with notes will save you piles of time looking for things later on.

Keep a pocket metronome and tuner on hand (hint, there are also free Apps out there for your smart phones that do this too) so you can get the tempo right and make sure everything is in tune before you track. Think of these as your swiss army kit for your sessions.

If you’ve got the bass tone ‘just right’, and want to remember what you did to get it that way for later, use your smartphone or a digital camera to photograph amp settings, synth patches, or even positioning in the room. It doesn’t need to be a photographic masterpiece, you just need to be able to see the settings for easy recall later.  

When in session, painters tape and sharpies to write on tape strips are good for marking position in a room, settings on a mix board, or notes on different settings for amps, keys, etc. Green painters tape doesn’t have a lot of ‘stick’, so it won’t leave a nasty glue gum on your gear.

Breaks and session length

Exhaustion is the enemy of a good session, so arrange pre-agreed times on when to take a couple 15-30 minute breaks. With a break, don’t lounge by the water cooler, go outside! Stretch your legs, go for a walk, get some fresh air in a reasonably calm and quiet place.  

For session length, try to keep these under 10 hours - 12 at the most. We’ve heard the war stories about marathon 3 day recording sessions, but most of the time, these yield really poor results. Sessions, even home recording sessions, can be hard (albeit fun) work, so keep reasonable working hours.

Don’t forget to eat at regular times, and stay hydrated often with water - get everyone their own water bottle (with lids to avoid accidental spills on pricey gear!), and put your names on it so the engineer won’t steal it ;)

Try to avoid alcohol - it will change your perspective when recording, and contribute to exhaustion later on, so save the imbibing for after studio in a local bar to talk recording progress with your group, or the celebratory bash when the album you’re making is complete.

Ear Fatigue

This does actually happen, and when it does, you can quickly lose perspective on your tracking and mixing. Many musicians have left the studio at night joyous about their new creation only to come back in the morning, listen to playback...  and hate everything.  This is almost always because of:

  1. Loss of perspective because of ear fatigue the night before.

  2. Listening back to tracks with rested ears, minds, and bodies the next day.

A good way to check if your ears are getting tired is to use your ‘reference’ tracks that I mentioned before.  If you think you’re getting fatigue, throw on one of the reference tracks and listen - if it sounds totally different than how you remember, then you may need to step away from the desk for 10-15 minutes.


When to tell the drummer he's fired

When to tell the drummer he's fired

A guy walks into a shop and says, "Hi there; I'd like to know how much studio time is per hour, what kind of backline gear you offer, and what other bands have recorded here."

The shopkeeper says, "Hey! you must be a drummer!"

The guy says, "Yes! Yes I am! How did you know?"

The shopkeeper says, "Because this is a butcher shop."

My friend (and professional session drummer) Tim van de Ven told me that one. Jokes aside, sometimes there’s no getting around the fact that one person in session just isn’t cutting it. This can be a tricky and sensitive thing to deal with in a session, so ideally this should be dealt with before recording.

Remember that usually someone not cutting it in a session isn’t for want of them trying - they could very likely sit and play for days and still not get the recording right. While the intentions are good, it’s still a time waster, and to keep with your schedule, sometimes the line needs to be changed.  

When this happens, it doesn’t always mean totally firing the band member, it could simply mean bringing a different player in, or letting another band member put down their version of a take for just that part of the recording.  

If it ever comes to this it should be a consensus with everyone involved - including the player having trouble.  Keep the conversation to the point (no pointing fingers), acknowledge all the effort of the player, be 100% honest about why the change needs to happen, and stay professional.  

Recording is collaborative, and ultimately all about the songs, so everyone should be committed to that, even if one member won’t be contributing in the end. No one ever wants to be in that position, but the sooner the right people for the song are recording, the smoother the session will go in the long run.

If you have any tips and tricks on how you keep your home studio sessions running smoothly, we’d love to hear them, so feel free to comment below!


Musician Website Inspiration: Simple, organized navigation

Who: Jeff Smith

What: Musician, producer, arranger, and teacher

Where: Los Angeles

Why his website rocks: Jeff is multi-talented but keeps his website simple and focused with a clear menu of just 5 options. With all of his projects on the go, he's added a great bio to his Homepage so that his fans or new website visitors will know right away who he is, what he's done, and what he's doing now.

He also clearly lists his services, from beatboxing to bassoonist, on a Services page, and has an Audio/ Video page full of goodies for the ears, to further showcase what he can do. He rounds out the simple menu with an Events page, and a Contact page. Having a clear menu gives his website a super-organized appearance, and also directs visitors with just a few options to make sure they reach all of his content.

Check out his site at:

SXSW Band Website Extreme Makeover: Before & After Results!

At this year’s SXSW, we hosted the world premiere of a 2-part panel called “Band Website Extreme Makeover”. It was a huge success and we wanted to share the results with you guys.

Our panel included Ari Herstand (Musician, Blogger at Ari's Take/Digital Music News), Brian Felsen (President, AdRev), our Director of Artist Relations Dave Cool, Chandler Coyle (Co-Founder, Music Geek Services), and Bandzoogle CEO David Dufresne.

Part 1 was the “Website Demolition Derby”, which featured live critiques of band websites. Musicians in the audience submitted their websites and our panel reviewed each site's design, organization, content and functionality.

We reviewed about a half dozen sites in the 1-hour session, then chose one winner who would have their website redesigned and used for Part 2 on how to build an effective band website. And that lucky musician was D. Edward!

Choosing D. Edward’s website (see his old site here: made our job somewhat easy, because he had a lot of great content and nice images (and he has fantastic music!). But his website badly needed a nicer presentation, some design love, and better organization/decluttering.

D. Edward Website: Before & After


We met with D. Edward the day after the panel to discuss themes, images, and fonts. After that initial meeting, we went ahead and built him a brand new website: (note: D. Edward will be able to easily point his current domain to the new site on Bandzoogle)

It took all of *3 hours* time, and only a couple of coffees (and Chandler’s giant iced tea). No coding, no fancy design work.

We chose the Manhattan theme which matched really well with the images he had. We used his original header image for the Homepage image, then a different photo for the interior pages.

We also uploaded his logo (which is his signature) to the header area. For social icons, we added them site-wide, running along the top of each page, and they now match the website’s look perfectly.

And maybe best of all? Since all of Bandzoogle’s themes are responsive on mobile, his site now looks and works great on mobile devices, which wasn’t the case before.


D. Edward already had a lot of good content, so we worked with his current images and logo, imported his music through our SoundCloud integration, and made use of our Instagram and Twitter integrations to add some fresh content to his site.

For the rest, we simply made use of the content already found on his site, and here’s what we did:


On D. Edward’s old site, his Homepage was 1 wide column and had a mishmash of logos, several videos, poorly formatted social icons, share buttons and a donate button scattered below the fold.

For his new site (, we reorganized things, and added some content to show his latest activity.

First, we made the page a 2-column layout with a right sidebar. We then added a short bio at the top of the page along with a great press quote. We also added a site-wide music player so that visitors could listen continually to his music while browsing other parts of his site (no auto-start!).

For his mailing list signup, we placed it right at the top of the page, and added a call-to-action that lets fans know they’ll get a free download of his first album when signing up (which is automated using our mailing list feature).  

To add some fresh content to the page, we added his Twitter feed to the page and a list of upcoming shows.


On his old site, D. Edward had a “Listen” page, which we changed to “Music”. Rather than just embedding a SoundCloud player, we imported his music from SoundCloud into our music players so he could not only stream his music, but also sell downloads directly to his fans and keep 100% of the revenue.

Another change we made was removing the “Lyrics” page from his site. Instead, we added the lyrics to each song within the music player, which can be found by clicking on “Info”.

So now D. Edward is setup to sell music directly to his fans, the songs and albums are all easily shareable on social media, and include the lyrics all in one place!


On his old Photos page, D. Edward simply had a gallery of random photos. We kept that photo gallery on his new Photos page, then added high-resolutions promo photos to the top of the page. This allowed us to eliminate his “Publicity” page from the navigation, which only had his promo photos and an old press release.
To help keep content fresh on the Photos page, we also added D. Edward’s Instagram feed using our Instagram integration.


For the his Shows page, D. Edwards had been simply adding text to the page each time he had a gig. We copied the info for his upcoming shows into our Events feature where we were able to:

  • Include a custom image for each event

  • Add address info that links directly to Google Maps

  • Add links to buy tickets

  • Add age restrictions

Plus, each event is now easily shareable through social media, so fans can help D. Edward spread the word about his upcoming shows.

How did D. Edward react?

Maybe the most fun part of all of this was being able to present the new website to D. Edward live in front of an audience for Part 2 of the Band Website Extreme Makeover!

After a quick review of D. Edward’s old site and why we chose it, we put his new website up on the screen for everyone to see, including D. Edward for the first time. Needless to say, he was blown away and loved the site we built for him!

So a big thanks to D. Edward for playing along, to our panelists for being part of it, to everyone who attended the two panels, and of course a huge thanks to SXSW for letting us premiere Band Website Extreme Makeover this year.

Considering how much of a success this was, we have a feeling there will be more Website Makeover panels at future conferences. Oh, and if anyone wants to turn the concept into a reality TV series, we’re listening!

If you’re building a new site for your music and need some help, be sure to download our free eBook: Building Your Website: A Step-By-Step Guide for Bands and Musicians

Copyright Essentials: 5 things every musician should know

This is a guest post by music attorney Beau Stapleton

1) So where should we start?

There are two distinct copyrightable elements to every recorded piece of music i) the musical work - the written arrangements of notes and lyrics and ii) the sound recording - the physical recording of a performance of that song.  

So if you record a cover version of a Prince song, you are the creator and owner of the sound recording. Prince is the owner of the underlying musical work. It is a simple enough distinction but something that is essential for understanding the ins and outs of music copyright and the music business in general.

For example, performing rights organizations (ASCAP, BMI, SESAC) and the Harry Fox Agency will collect and distribute royalties for your musical works. In contrast, the non-profit organization SoundExchange will collect and distribute digital performance royalties for your sound recordings (think plays of your track on Pandora and satellite radio). When you register your works with the Copyright Office, your musical works will be listed on a PA copyright form. Your sound recordings will be registered with a SR copyright form. You will use a © symbol to announce to the world your ownership in a musical work. Your sound recording copyrights get their own symbol: ℗

2) Do I need to do anything to have a copyright in my sound recording or musical work?


In legal speak an original work is ‘copyrighted’ when it is ‘fixed in a tangible medium of expression.’

What does this mean in real speak? Your original material is copyrighted the moment you write it down, record it into your iPhone, transcribe it, etc. You don’t have to register your work with the copyright office, put a © next to the song title on your lyric sheet, or mail yourself a copy of your record to have a valid copyright.  

3) Should I even register my songs with the Copyright Office?


Filing your musical work or sound recording with the US Copyright Office will still provide you, the copyright owner, with significant benefits.

Here are some incentives - if you file a completed copyright form within three months from the release of your work or prior to an infringement, you can recover attorneys’ fees and up to $150,000 in statutory damages per violation.  Filing will also provide a clear record that you are the true owner.

Think of registration as an insurance policy against possible future unauthorized uses of your work. Timely registration can make or break the financial feasibility of an infringement lawsuit. Registration is relatively cheap ($55), and can be done online.  In many instances one registration form can cover numerous works.

4) Is there anything I should think about when writing music with someone else?

Copyright law has some special rules for co-writers. When two people sit down with the intention of writing a song they are usually both owners of the resulting musical work. Copyright law refers to this as a joint work.  

As joint owners, both writers can exploit the musical work in certain ways (for example place the song in a film or advertisement) provided they pay their co-writer a share of the fees.  Get that. Each writer can individually license the song without obtaining the permission of the other! You should also know that in a situation where one writer contributes a definable section – for example the lyrics – the lyricist remains a joint owner of the musical work even if his/her lyrics are later removed.  

Although these are some of Copyright’s default rules for joint works, it is always a good idea for co-writers to enter into written collaboration agreement.  This is especially true if you want different fee splits or rights to apply.  

5) Anything to consider when recording and releasing a cover song?

Once an artist releases their musical work, anyone can create and distribute their own sound recording of the work (i.e. release a ‘cover’) as long they secure a mechanical license and pay the owner of the musical work a ‘mechanical royalty’ (currently 9.1 ¢ per copy of the song).  

Although this might sound complicated, it’s a fairly painless process that can be done online via Harry Fox Agency or others. As long as you secure that license you do not need the permission of the songwriter or publisher.  

And don’t forget, when you cover a song, you are the owner of the sound recording. You can register with the Copyright office. You can stop unauthorized duplications.  You can collect the SoundExchange royalties we discussed in question 1.  

But that mechanical license does not cover synchronizing the musical work to video.... Meaning? If you want to make a music video or if someone wants to license your sound recording for a film or commercial you are going to need permission and a sync license from the songwriter or publisher.  

Music copyright law can be an intimidating world, even for the well versed.

If you would like to dig deeper, I recommend starting with some of the resources at the US Copyright Office.

Beau Stapleton is a music attorney in Los Angeles California representing a diverse collection of clients including producers, managers, artists, publishers, composers, writers, supervisors, music libraries, and digital content creators.  Prior to becoming an attorney Beau was a major label recording artist and the owner of a music publishing company.

Band Website Inspiration: Solid logo + branding


What: Country Rock

Where: Nashville, TN

Why their website rocks: Right off the bat their header logo commands attention with the nice bold letters of the band name. The font style and design works nicely for this band since their music is both country and rock. They keep it consistent by adding the same text logo to other images and pages, and the black and white colors keep it simple and easy on the eyes.

Even though GAGE isn't using the traditional band image in the header, they still have their professional band photo near the top for visual interest. They've also set up the perfect at-a-glance homepage to keep their fans interested and engaged. They offer a way for fans to link up to their social media pages, sign up to their mailing list, display their current shows, give 'em a taste of their music with one track and a video, and keep them up-to-date with their latest tweets. This is a smart move because busy fans may only have time to peruse one page and this homepage does the job

Check out their website at:

Musicians: How to Thrive in a Post-Download Era with Superfans

This is a guest post by Berklee Online music business instructor Chandler Coyle. Chandler is one-half of the fan experience agency Music Geek Services and is also the publisher of the The Coyle Report, a free weekly music marketing newsletter.

Using eye-opening data from PledgeMusic (see details of our PledgeMusic integration here!), Chandler urges musicians to think differently about their next release, and to tap into the desire for their superfans to support them.

"Superfans. These are some of the most interesting men and women in the music industry right now and they’re particularly important to artists."
– Benji Rogers, Founder and President of PledgeMusic

You are a recording artist. You are planning your next album project. For your previous album in 2012 you pre-sold it solely via iTunes. It did pretty well. You pre-sold 1,594 albums via iTunes. In gross revenue terms that’s $9.99 x 1,594 = $15,924.06. Not bad for selling a 1’s and 0’s digital representation of your album. (Yes, iTunes takes a ~30% cut of that, but let’s talk gross revenue in this article to keep things really simple.)

Have you read the news recently? Download sales are declining. Think about it, when was the last time you bought a download from iTunes? You have a feeling that you may not sell as many pre-orders for this upcoming album as a portion of your fanbase would just prefer to stream your new album via Spotify or their favorite streaming service.

But, you knew that, so in the time since your last release in 2012, you have been working really hard at fan engagement. You feel that you have developed a solid relationship with your core fans, your superfans. You are forecasting that 1,500 fans would support you in the next album’s pre-order.

If you went the iTunes route again: $9.99 x 1,500 = $14,985.00. Again, not bad for a bunch of digital copies. Wait! Wouldn’t your superfans be willing to support you above and beyond $9.99/album? Yes. Yes they would.

PledgeMusic frequently touts that artists who run pre-order campaigns through their platform see an average per pledge amount of $61.00/pledge. Some fans will opt for the $10 download just like iTunes, but when given the opportunity to support the artist in a bigger way some fans will opt for the $150 VIP Meet n’ Greet which includes the download and Vinyl LP.

Let’s re-do our forecast using PledgeMusic’s $61/pledge:
$61.00 x 1,500 = $91,500

Holy crap! That’s nearly $100,000.00! That’s over 6x greater than a digital only pre-order via iTunes. Why did this happen? Well, you tapped into the desire for your superfans to support you. Your core fans have always wanted to support you in a big way, but you had not been letting them.

Remember that Nielsen study that came out in 2013 about there being billions of dollars left on the table by the music industry? Your direct-to-fan album pre-orders are included in that. It is up to you to decide whether you want to leave the money on the table or if you want to serve your superfans with the experience they desire.

Yes, you can finally earn the money you deserve from developing such a strong bond with your superfans.

What? Could you repeat your question? “What if I only have 150 superfans that would pledge during a PledgeMusic pre-order?”. Ah, yes, you wonder if this scales up and down. My experience is that it does. I worked with an artist who had ~150 orders during a PledgeMusic campaign. They actually saw a average per pledge amount of > $100.00. So, in their case, it was $100.00 x 150 = $15,000. Even at the system average — $61 x 150 = $9,150.00 — you are still doing much better than an iTunes pre-order.

Using the stated PledgeMusic system average of $61/pledge, here’s a chart that shows how a digital-only iTunes pre-order would compare with a PledgeMusic pre-order campaign:

Music Biz Networking: Four Easy Ways to Strengthen Your People Connections

This is an excerpt from Bob Baker's new book, The Five-Minute Music Marketer: 151 Easy Music Promotion Activities That Take 5 Minutes or Less.

There’s one thing I know for sure: As much as I embrace the DIY (do it yourself) lifestyle, I also know the power of relationships. You can’t build a music career, or anything else, without support and help from lots of other people.

Therefore, take time every week to nurture your people skills and relationships. A great place to start would be this handy list of five-minute action steps.

1) Touch base with someone

This is really quick and potentially powerful. Send a short “how are you doing?” or “thinking of you” email or text to someone you haven’t connected with in a while. Don’t ask them for anything. Just touch base, ask how they or a family member are doing, or share some useful information. Who could you send such a message to?
If you have a few extra minutes, make a short phone call to that person instead. You’d be surprised how well this works!

2) Make a networking hit list

If you don’t have time to reach out to someone right now, at least do this: Take a few minutes to brainstorm a list of people you could do a cross-promotion with. Who would be the ideal people to connect with for a future project? Perhaps a producer, engineer, songwriter, talent buyer, blogger, or retail store manager? Take five minutes to compile that list. Then make time to act on it later.

3) Come up with a collaboration plan

Other musicians are not your competition. They are potential partners in your mutual growth. Now would be a great time to create a list of other artists you could collaborate with, along with a list of ways you could help each other. Who could you collaborate with on a benefit show, compilation album, multi-band concert, or other cross-promotion?

4) Go old school with your gratitude

If you really want to stand out, here’s one quick and easy way to do it. Write a handwritten note on a post card or thank-you card. Yes, I’m talking about good old-fashion snail mail. In a world of email and text overload, I guarantee you will get noticed when you take a few minutes to send a physical message by mail.
How much would you and your music career benefit from taking these simple steps? What would happen if you connected with at least one new person, or reconnected with someone you haven't seen in a while, every day?
That would be five connections a week, 20 a month, and 120 in six months. What if you touched base with two or three people per day instead of just one? That would equate to hundreds of touch points throughout the year.
I guarantee, if you made this a regular part of your career development plan, you'd soon see massive results.
To learn more about the The Five-Minute Music Marketer, visit

Bob Baker is the author of three books in the “Guerrilla Music Marketing” series, along with many other books and promotion resources for DIY artists, managers and music biz pros.

You’ll find Bob’s free blog, podcast, video clips and articles at

Musician Website Inspiration: Learn from JUNO Nominees!

After featuring Grammy nominated Bandzoogle members on our blog (see that post here), it’s only fair that we also highlight JUNO nominated members as well. For our friends outside of Canada, the JUNOs are the Canadian version of the Grammys.

The JUNO Awards are happening this weekend, and we’re excited that a couple of Bandzoogle members have been nominated! So we wanted to congratulate them, and also highlight their sites so you guys can be inspired by the websites of a few of the very best Canadian artists.

Who: James Hill   
What: Folk/Roots Singer-songwriter
Where: Brookfield, Nova Scotia, Canada
Why his website rocks: James Hill is nominated for Folk/Roots Recording of the Year, and there is so much that we love about his website!

He’s using our Dusted theme, and takes advantage of the full background area with amazing professional photos. We especially like that he added his award nominations to the background image on his Homepage, putting his best foot forward as soon as you land on his site.   

We also love his Press Kit page, which highlights perfectly the 8 things that should be in every band’s digital press kit! And on his Contact page, he makes it easy to get in touch with the right people by including contact info for his booking agent, label, and a mail form for fans to send him a message directly. Really nicely done James and good luck this weekend!

Check out James Hill’s awesome website at:  

Who: Steve Strongman
What: Blues/Acoustic/Rock Singer-songwriter
Where: Hamilton, Ontario, Canada
Why his website rocks: Longtime Bandzoogle member Steve Strongman is up for Blues Album of the Year at the JUNOs this year. Much like James Hill, Steve does a great job at using professional photos and putting his best foot forward.

Every header image on his site features a great photo, and on his Homepage he added his award nominations (and wins!). This immediately adds context to his music when you land on his site, as you know right away that the industry has deemed him to be one of the best blues artists in the country. Well done Steve and good luck this weekend!

Check out Steve Strongman’s site at:

Band Website Quick Tip: With Social Media Links, Less is More

With our My Sites feature, you can add nicely formatted icons with links to 38 (and counting!) social media and ecommerce sites. But just because you have profiles on every social media site ever created, doesn’t mean you should link to all of them on your website.

Each icon is essentially an exit door from your site, and the goal isn’t to send people away to 10 different places other than your website. Your goal should be to keep visitors busy on your own site (and gently nudge them towards the store!). So focus on the links that are strategic for your goals (build a Twitter following, get more Facebook fans, etc.).

How many social media links?

Try to limit it to just the platforms that you are most active on, and where your fans are the most active as well (so you can go ahead and remove that MySpace link!). So three to five icons should be enough to cover the most important social media sites. Having more will just make it harder for people to find the one they’re looking for, and create a visual mess on your site.

Here are a few nice examples from Bandzoogle members. Ray Banman just displays his Twitter, YouTube, and Instagram icons on his Homepage:

Aramide is using our theme Primer, which has a site-wide My Sites feature, so it displays social media icons on each page of her site. She chose to display her Facebook, Twitter, Google+, and Instagram links:

Social sharing + permalinks for events

New addition to the Events feature - now with two clicks, you can share events to Facebook, Twitter, or get an event link to post on other websites.

No matter how you share your event, we use a permanent link (permalink) to the event details page. This link will never change. So your event link will continue to work even if you rename your pages in the future.  

When you share an event to Facebook, your fans will see the event details, the event image you uploaded, and the event description:

Here’s how it works:

  • In your control panel, click on an Event feature

  • Click on the Share button next to any Event

  • Then, select from the following options:

    • Post to Facebook

    • Post to Twitter

    • Share link

For Facebook and Twitter, you'll have to make a one-time connection. After that, you’ll be able to instantly share your events on those social networks.

With the direct link, you can use it in a blog post, send it out through your newsletter (reminder: all Bandzoogle plans include a mailing list!), and post it to any website forums where promoting events is encouraged.

This is the first in a series of updates that will make the control panel more integrated with your social networks. Stay tuned for more!