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About Studio UES

Studio UES is a New York-based music industry and marketing blog covering a broad range of issues relevant to unsigned, indie, and major label artists and execs. Creative and emerging platforms for music discovery, distribution, and marketing and promotion are particularly emphasized.



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Best of the Studio

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  • Previous Posts

  • Thank you Blogger!
  • Editorial music recommendation in the long tail
  • Spiral Frog = baby steps
  • On the anniversary of Katrina...
  • Pre-release promises of extras – expected, but eno...
  • Mobile Bluetooth marketing and advertising on the ...
  • My bad
  • SellaBand employs crowd-funding...
  • Spinning page views into profit
  • Savvy marketers benefiting by experimenting with b...
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    Thursday, August 31, 2006

    Thank you Blogger!

    So, one of Studio UES's readers just alerted me (I had no idea) that my blog was just named as one of Blogger's "Blogs of Note" (a review of my web traffic stats confirms it is so!!).

    Just wanted to say Thanks, Blogger! This definitely makes up for the times you have accidentally mistaken my blog as spam and locked me out ;-)

    For those just visiting for the first time, welcome to the studio, and I hope you'll join us.

    To everyone, I hope to continue to provide you with noteworthy content!



    Photo via Mag3737

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    Wednesday, August 30, 2006

    Editorial music recommendation in the long tail

    Wired features an interesting article about the development of Pitchfork from a small-scale website into the latest indie rock tastemaker. Citing evidence for a “Pitchfork effect”, the article notes the devastating impact of an extremely negative review of Travis Morrison’s solo debut, including the refusal of an indie record store to carry his album and radio stations backing out of giving him airplay. The review aggregating site MetaCritic even found that a review from Pitchfork carries as much weight as a review from Rolling Stone – but how much weight is that, exactly?

    The article acknowledges that some remain skeptical. A musician from
    Arcade Fire (whose album happened to receive a fantastic review from Pitchfork) commented that "Putting too much weight in somebody else's opinion of a piece of art, that is a dangerous thing…It's just a reaction. It's the last piece of the cultural puzzle, not the most important part."

    The article got me thinking about the utility of editorial reviews – both expert and user-generated – in music discovery and reminded me of portions of the recent Fireside Chat among Chris Anderson (editor-in-chief of
    Wired Magazine; author of The Long Tail), Tim Quirk (VP of Music Content and Programming at Rhapsody), Bradley Horowitz (VP of Product Strategy at Yahoo), and Dave Goldberg (GM of Yahoo Music), in which they discussed, among many other things, the role of editorial recommendations. Below is a small excerpt of the conversation relevant to this topic (edited slightly for length and relevant content), but I urge you to check out the entire conversation at Signal vs. Noise for additional context and some great insights.

    Chris: Tim, are you going to allow user-generated reviews on Rhapsody?
    Tim: Eventually, sure. But probably off in their own area, so anyone who wants to read ’em can, and others can avoid. It’s really tough to prevent things like that from degenerating into “eminem sux!”, “no, you suck!@!!!”
    Dave: We think user tags are good for music but we find written music reviews, whether from our editors or from fans, to have little value add
    Tim: That’s interesting to me, Dave. In the downsizing days, I saved a lot of my editors’ jobs by demonstrating how much more they did than just write, and actually deprioritized writing for awhile. But users (and even execs) found that they missed the blurbs and wanted more. So we’ve actually wound up *increasing* the amount of typing we do. In a subscription environment, context is supremely important.
    Chris: Do you guys think that Amazon’s reviews are also of little value? Or, if not, what are they doing right?
    Dave: I think reviews are great for narrative, books, movies, TV. Just doesn’t work for music.
    Chris: My concern is that professional reviews don’t scale down to the long tail. There’s just too much music out there to keep up with. Only peer-production can get to all of it.
    Dave: Chris, I think even user reviews would become just noise
    Chris: “One man’s noise is another man’s signal”
    Dave: The only user reviews that are useful to me in music are from people who like exactly the same music I do.
    Tim: It’s maybe important to note that we don’t exactly “review” music in Rhapsody – we provide context. Hopefully witty and engaging context, but it’s not a thumbs up/thumbs down approach.

    So, all of this begs the question – In a web space where we have access to community/collaborative filtering tools (like Last.fm), content-based analytical recommendation tools (like Pandora), playlists, podcasts, and customizable, shareable radio streams (like Live365), what is the additive value of the professional, editorial reviewer in our discovery of music in the long tail?

    Subscription-based service
    eMusic hosts expert music reviews from more than 150 well-known writers, and Jason Dietz, music editor at Metacritic.com said in the Wired article, "The only way we would be in trouble is if there's so many people posting their opinions on the Web that people totally stopped caring about what professional critics have to say. Which may have already happened." Has it?

    …which brings me to the other relevant question, based on the skepticism of some on the panel – To what extent are user-generated editorial reviews important in the context of digital music ecosystems. Do we care how users rate a band, or would we give the band a listen regardless if it was on a relevant playlist, streamed on our internet radio, or recommended to us by last.fm based on listeners with similar taste?

    I’m curious what you think. Do you pay attention to “expert” reviews? If so, what impact do they have on your willingness to give an artist a chance? Do you think user-generated editorial reviews are an important part of a music community, or do you rely more on collaborative and content-based tools and use your own judgment?

    Feel free to leave your thoughts in the comments and also answer these two poll questions. I’ll follow up on this post next week with my personal opinions, as well as your comments and poll results.
    Do expert editorial reviews influence your decisions about music?
    Absolutely – I give them the most credence
    Yes – they’re a big influence
    Sometimes – not exclusively, but I do care about them
    Rarely – not usually, though I might read them sometimes
    No way – I couldn’t care less what an “expert” has to say
    Make Free Polls


    Should user-generated reviews be included in online music services like Rhapsody?
    Absolutely – they are critical
    Yes – I think it’s important to give people a voice
    Somewhat – Not needed, but if there, I take them into account
    Not so much – I don’t think they add much to the experience
    No way – didn’t you hear Tim? “eminem sux” – nuf said
    Make Free Polls


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    Tuesday, August 29, 2006

    Spiral Frog = baby steps

    There has been a LOAD of discussion today about Universal’s backing of SpiralFrog, and, over the course of the day as more details have emerged, the reviews have become increasingly contemptuous. Why? In particular because of details such as this (thanks to TechCrunch):

    “Spiral Frog will offer a desktop downloader for Windows Media Files (no iPods!) that can be listened to on one PC and two portable devices. Here’s the kicker - you must log in to the Spiral Frog service at least once per month, and see their ads, or your files will stop playing! The details aren’t fully set in stone, but it will be something like that. There will be links to third party sites of the record labels’ choosing if you’d like to buy your freedom to at least skip the ads.”

    According to Digital Music News, the service is “a retrofitted version of an earlier company called Musicloads, which has apparently ‘been around for years.’” Who knew?

    I’ll admit that I was initially at least going to give Universal praise for its willingness to experiment; however, after reading the above passage, I lost respect for the initiative for its apparent coerciveness. In all fairness, there are still many details that have yet to emerge publicly and directly from the horse’s mouth, so I will hold permanent judgment until that day arrives, but right now it smells bad. (Lurkers: if you have any information to suggest otherwise, I’d love to report it here)

    What is particularly interesting to me about this story is the manner in which the blogosphere BLEW UP today. To me, what this illustrates is how hungry people are for an innovative idea and how eager they are to embrace it – IF indeed it is for the good of the people. The first label(s) to adopt a creative model that attempts to monetize digital music in the space where consumers already live and on terms that allow them own and flexibly use what they download will surely reap the benefits – certainly in terms of reputation among consumers and ultimately in revenue.

    But, back to Spiral Frog for a minute. I say this initiative is the equivalent of baby steps because the notion of an ad-supported model is an intriguing step in the right direction (maybe it’s not the golden ticket, but it’s an experiment, and I can respect that at least); however, they kill its potential by continuing to cling to DRM (even if it is WMA which has been
    cracked). Consumers want music they can own, not music that expires without a timely login or that does not play on all of their devices.

    And, as to the suggestion that the service could be a rival to iTunes, Simon Dyson, senior analyst at Informa Telecoms and Media, sums it up best (Times Online):

    "Apple has an established brand and I would think that people who use iTunes are happy to pay for the service," he said. "Microsoft might be more worried. They’re launching their rival digital music player and store and the last thing they want is someone saying ‘come here and get it free’."

    Looking past the DRM, here are some remaining questions –

    ●Will Spiral Frog be able to get the support of all the major labels?
    ●Where will the ads be placed so as not to drive off impatient downloaders who can get it quickly and free (if not legal) elsewhere?
    ●Will the service attract the key demographic it’s aiming for?
    ●Is there enough ad revenue to be generated to support the model?
    ●Will there be a paid-for-premium service?

    It will be interesting to see what happens between now and December, when the service is expected to launch. In the meantime, here’s hoping the blogosphere has more excuses to go crazy over a story about a new, experimental business model…


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    On the anniversary of Katrina...


    Courtesy of
    Rolling Stone...

    In honor of the people of New Orleans and the Gulf States displaced by Hurricane Katrina one year ago, please take some time to enjoy this music tribute and be reminded of the rich cultural history of the Big Easy...


    My Rhapsody Playlist

    Photo via NewOrleansLady

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    Monday, August 28, 2006

    Pre-release promises of extras – expected, but enough?

    Earlier this spring, Trustkill Records started offering artist-branded trading cards along with albums in an effort to spur sales and break some of its artists (Yahoo News). Said the label’s founder, Josh Grabelle: "It's getting harder and harder to break a band and develop an artist, and kids are getting spoiled…They expect something extra if they buy a CD."

    Whether “spoiled” is an appropriate choice of words is certainly arguable; however, with so much media and entertainment competing for consumers’ attention, not to mention ubiquitous access to free music and video content, consumers are certainly in a position of power as the holders of limited attention and money.

    With music sales in a slump, the battle over copyright and P2P as hot as ever, and the true value of an album – digital or physical – unclear, indies and majors alike have been forced to provide all kinds of extras in the hopes of selling records to music fans. While such add-ons aren’t a new concept, they are increasingly becoming a requisite component of all purchased music.

    In particular, artists are hoping to entice fans into committing their money to purchase an album prior to its release date. A recent article in the
    Pittsburgh Post-Gazette points out some recent examples of pre-order incentives offered up among Indies:

    Comets on Fire (Sub Pop Records) offered pre-ordering fans a free concert DVD in addition to the CD;

    ●Portland-based band
    The Thermals offered a free copy of the “Burn to Shine” DVD with live performances from other Oregon bands like the Shins and Decemberists with a pre-order of their CD;

    Merge Records offers relevant band-themed gifts with all pre-orders – for example, pilot wings from Camera Obscura and a beer-bottle opener from well-known "consumer" Robert Pollard;

    ●Yo La Tengo is offering a
    season pass to those who pre-order their album. Pre-ordering fans will get to listen to a stream of the full album prior to the release date, and will receive an interactive booklet with album art, photos, liner notes and other interactive features, along with some bonus mp3s.

    ●And, in a particularly personalized example,
    Eugene Mirman rewarded 25 fans who pre-ordered his comedy CD by giving them a personal phone call.


    And major label acts are experimenting with various extras and pre-release promotional strategies, as well.

    Christina Aguilera just released a double disc,
    Back to Basics, offering fans what seemed to be a large number of tracks at a price far below what a 2-disc set usually goes for. In addition to the built-in “2 discs for the price of 1” strategy, Christina’s label offered up another pre-order incentive through Music Today, the company that handles her fan club. The company offered members a 5% discount on pre-orders and allowed club members to pass along this discount to others, encouraging viral promotion by rewarding the fan with the most pre-sales with an iPod (Blog Business Summit). As it turned out, what seemed like a fair deal for all of the extra tracks turned out to be less of a good deal than if fans had waited and bought the CD at local retailers. While the CD from Music Today sells for $16.98, fans could buy it at Walmart, Amazon, Best Buy, etc. for under 12 bucks. (Check out Lefsetz for an interesting commentary on her CD sales). In this case, what seemed like a good deal may not have been for some consumers due to discrepant pricing across some online and brick-and-mortar stores.

    And, most recently, even Bob Dylan has joined in the pre-order marketing push as a pre-order of
    Modern Times at iTunes comes with five videos and the chance to pre-order concert tickets for his summer tour. Fans pre-ordering the CD through Sony get a sample CD of his satellite radio show on XM. But, understanding that extras alone may not fully drive sales in the absence of sufficient promotion, Dylan’s label (Columbia) has tried to entice consumers to take advantage of the offer by releasing many rare and never-before-seen Bob Dylan videos exclusively on Google video leading up to the album’s release (PR News).

    Given the NPDs recent findings that consumers are interested in video extras along with CDs, as well as other multimedia, interactive content, the general strategy of providing extras as incentive to buy has merit; however, not all extras are created equal. Here are three things to keep in mind.

    Make it meaningful. Extras should foster a closer relationship between fans, the artist, and their music. Static tchotchkes are mere candy – give them sustenance. Though what is meaningful will vary across artists and will depend upon the interests of their fans, a few possibilities might include:
    ●providing a documentary of the artist – let fans follow them on tour or watch them tell their story about how they are making it as a band;

    ●providing behind-the-scenes, exclusive footage from concerts, video from rehearsals, or even low-budget, fun videos developed for promotional purposes for certain tracks on the album;

    ●making the album a collectible by offering special packaging, photos, artwork, etc. (Here’s a creative example)

    Make it interactive. What can fans DO with the extra material you provide them? Can they put it on their mobile phones? Share it with friends? Play with it, remix it, upload it, or otherwise turn it into something of their own? Offer them tools to make a video for one of the singles and submit it to a contest. Give them exclusive access to an online community in which you as an artist are an active member and where they can reach out and network with other fans.

    Lower the Price. Consumers expect additional content beyond standard CD tracks – but they are not necessarily willing to pay more for it. Many consumers feel that standard albums are inappropriately priced as it is, and that is unlikely to change. Additionally, as mentioned previously, music is competing with a variety of other media (particularly DVDs) for consumer dollars, and prices must likely go down in order for fans to justify more album purchases.

    Anyway, for you Dylan fans, feel free to enjoy the clip below,
    check out Google video for many more, and pre-order the album if you so desire…




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