Music Clout. Seriously?

Wow. Same junk, new name: Taxi. Sonicbids. Reverb Nation. G2.fm. Music Clout. Companies preying on gullible artists, asking them to pay for exposure or concerts or song placement or whatever. Will Music Clout succeed? My guess is yes. Why? Because most artists are looking for a pipe dream: the easy way to musical success. Don't get me wrong: I'm tempted by the same things.

This Music Clout-sort of a business model works on numbers: get enough artists to sign up (IE: "buy in") and, for every submission from every artist, the company makes bank. The only cost to the company is the up-front cost in convincing songwriters and bands of the illusion that *their* organization can *truly* "make" a band - make them lots of money - with one of their "opportunities".

Songwriters and bands, listen up:

NEVER PAY SOMEBODY UP FRONT FOR A CHANCE TO GET HEARD BY A PARTICULAR PERSON, AGENCY, VENUE, OR LABEL.

It's been said that anything worth having takes work to get. It's true. 99.99% of the time, these companies will steal your money and leave you in the same place you started: nowhere. You can't build a music career simply by submitting innumerable entries to virtual businesses. You need to be *there*, in person, pounding the *pavement*. Physical. Work. Sweat.

Wow. Venting. Seriously.

Thoughts on Reason 6 - Upgrades and Pricing

Just two days ago, Propellerhead Software released a new version of my *favorite* music creation software: Reason. The new version, 6, combines all of the features from two, different programs of theirs. Basically, all I'd like you to know is that this new version kicks serious butt, adds some new features, and is still my program of choice when it comes to generating ideas for new songs in a computer recording "environment" (as they say).  I've been running Reason v.4 since around Christmas time of 2009, and my last upgrade before that was version 2.5 - way back in 2004. The software has certainly come a long way, and, dare I say it, if the company can "fix" some of their lack of keyboard shortcuts, Reason just might replace Logic Pro as my multi-tracking (IE: recording) program of choice.

So, a few thoughts on Propellerhead's Reason 6 pay what you want deal (oh wait. you didn't hear about that?!?!):

1. It saves Propheads money. They won't have to manufacture as many DVD's/Boxes for Reason 6.
2. You do have to own either Reason 4 or 5 in order to do it, so they are expecting users to upgrade - to something - and make it all the way up to Reason version 6, making up for some of the money from consumers "underpaying".
3. It's only for one month. This builds buzz and hopefully generates a ton of sales in the first month, helping the companies balance sheet (a business term basically meaning that they'll have cash on hand to carry on business).
4. Most people aren't going to pay what they want - they'll most likely pay what they can afford. I wish I could afford the "regular" upgrade price, but I just can't right now. Consider: starving artist.

This last factor was really the big motivator for me. A regular Reason upgrade - in a box - is $129. Of that, you've got to figure that $20-30 of it goes in to production and shipping to local music stores. The company then has $100 left with which to develop the product, pay their people, etc. When you think about it, that's not much for a world-class leader in recording software. Apple's Logic Studio is $500. Logic upgrades are usually $300.

A secondary motivator for me was considering how much money the music I have created using Reason has generated for me. I'm a professional performing songwriter, after all, and I looked at this picture considering Propellerhead a partner in the music I create and sell. If I made a lot, I think I'd be willing - and able - to pay a lot. Considering where I'm at right now, I hope to be able to pay Propellerhead back for taking a bit of a hit this time around, and when I'm generating a little more cash from my music, I can make up the difference - between what I paid and what I think the software is really worth - when the next version comes out.

This does beg the question: what about hobbyists or people using Reason for fun? First, there probably aren't many of you out there. And for those of you who are, I think you should consider a different model for determining how much Reason 6 is worth: consider what upgrades have been in the past, consider what upgrades of similar products (IE: other DAW's) cost, and consider how many songs you write using the software. Maybe something like, "For an upgrade, I'd be willing to pay $5 for every song I expect to write/compose using Reason 6", using your past usage as an indicator.

Thoughts on Google Music Beta: Magnifier

I've only spent a few minutes on Music Beta - and only about 10 minutes listening to music from Magnifier. If you're unfamiliar with either or both services, check 'em out here:

Music Beta: http://music.google.com/about
Magnifier: http://magnifier.blogspot.com

Basically, my thoughts are simple:

First of all, Music Beta successfully ruined my first listen of Rachael Yamagata's song River by blipping the crap out of it. I have 24 mbps download-streaming internet service, so I'm guessing the real streaming problem of this very delicate tune was on the content delivery side - not on mine. Seriously. Ouch.

But here's what I find to be the real problem:

Google says, "Add new and exclusive tracks to Music Beta for free" and in their promotional literature, they repeatedly say Music Beta is "your music library" and "your personal music library"....  I find that hard to believe - and as far as I can see, I'm right.  Here's why:

Yes, only *you* have access to the songs. Yes *you* can organize them into playlists - just like in iTunes. BUT - and here's the kicker: your songs are stuck in cyberspace and you can't download them on to your computer - even if they are in *your personal music library* that is called Music Beta.

Maybe I'm missing something here, but it looks like even when you make content available offline on your Android device (is it available for iPhone?) you CAN'T play songs OUTSIDE of the Music Beta app - meaning: they aren't YOUR songs - they're stuck in MB. Unless I'm missing something, there definitely is NOT a feature to download songs to your computer or make content available offline on your computer.

So I argue here that the feature to "add free songs to your library with Magnifier" is totally and completely dumb. They in no way become MY songs.

At least Spotify doesn't try to tell users they OWN songs that they merely from within their program.

Now Serving BMI Artists...

I just received an email today from my performing rights organization (PRO), BMI Inc., that they just signed a deal with Spotify that pays BMI artists for music streamed from the Spotify application. Awesome. So feel free to stream away those Jay Mathes tunes in Spotify, knowing that I'm actually getting paid when you do!

A Song is Not a Cookie

I distinctly remember reading a book for a marketing class in college that referenced the start-up of some, well-known cookie manufacturer of today. That cookie company was started by one dude giving away cookies on public transit buses in whichever city he lived at that time. I could have sworn he did it in the city of Chicago. I've searched, but alas, cannot identify the company. Maybe it was all a dream... I'll try to remember to dig out a couple of books and search for the company the old-fashioned way - by browsing my book collection.

But here's the deal: a song is not a cookie.

When a dude wants to start a cookie company, he just might become successful by giving away his cookies for a month straight, and, assuming his cookies are fantastic, he might gather a long line of customers who seek to eat another one of those fantastic cookies - and pay for it - after that time.

With artists, songwriters, record labels, and anybody else who relies on *recordings* for their income, you can't, ultimately, just give them away for free. Why? Because once someone "tastes" (IE: downloads) your sound recording, the person never has to come back to you to get that same flavor - he already has it in his iTunes library. You've just given away your number one commodity, and users can re-create that listening experience without you now.

I haven't decided exactly what this epiphany means for me, my music, and the music Swiftly Running Records represents, but you bet I'm thinking about it - alot.

If you think you've got a few good ideas to explain what I'm talking about, or if you've got other ideas about how to make sound recordings work for artists, please let me know. Or maybe I'm way off base...

Anti-Social-Media Trends

“@jaymathesmusic: Is it possible? I think it is: the successful, anti-social-media band. Only time will tell. Consider this a prediction.”

So, I know this is probably going to come as a complete surprise to many of you... I have a very strong feeling about this, though, and because I have been accused at times of saying "I knew that was going to happen" well after the fact, I'll say it here, right now.

A day is coming when the cool thing is nowhere found online. It only exists in a secret, old-fashioned, *actual* word-of-mouth world. I predict that one day in the not-so-distant future bands will "emerge" and become popular, not as a result of social networking websites, but as a result of anti-media. Does any band or artist dare to test the waters? I don't think so. Not yet. But the one who figures out how to do this first will be the one who benefits the most (or at least gets the credit for implementing this "cutting edge" "marketing" strategy.

So how far in the future do I see this happening? We're probably a ways off yet. I'd say you won't hear about the first, best-kept-secret, off-media band/artist until 2024.