Thursday, August 22, 2019

How To Get More Fans On Instagram | hypebot

4As with most social media platforms, bands and musicians operating on Instagram often struggle with getting their posts to stand out on amidst a crowded field, even as the platform's nuances become increasingly inscrutable. Here, we offer a helping hand in growing your follower base on the platform, and getting your content seen by more people.


Guest post by Nick Carr of RazrMusic

Artists complain all the time about how hard it can be to get keep posts from
drowning in the crowded clamor of modern social media, something which
can be highly frustrating for musicians with major announcements like an
upcoming tour or new album. Here we look at how Instagram pods can be
used to combat the relentless tide of an ever-changing feed.

These days Instagram can become more daunting than ever trying to figure
out its algorithm. It’s quite scary, to say the least. The good news is, it doesn't
have to be. All you need is the right tools and a plan to set in place to gather a
more healthy and engaging following. Lucky for you, we’re sharing some of
our most amazing secrets.


A musician’s #1 downfall will be the authenticity of their music or persona. If
you are putting out a fake personality or false reality, people won't connect
with you. Even worse, you’ll be attracting the wrong type of followers. As an
artist, people will crave a dose of reality from you. Show your personality and
true parts of your life and the right followers will come, and most importantly,


Most importantly, the quality of your photos matter. People are more likely to
respond to sharp, bright, and professional photos that are not heavily filtered.
Also, the content in itself is extremely important. If you are apart of a band,
people should land on your page and immediately see the promotion of your
band including photos, videos, interviews, etc.


When someone visits your profile it should become apparent to who and what
your brand is. Having a consistent feed is key with colors, content, and writing


3It's super important to know your audience and when they’re most likely to be online. For example, If your audience is based in the U.S then you wouldn't post at 3 am when everyone is most likely sleeping. Think about when you pick up your phone and log into Instagram, what time of day is that usually? That’s a good indication that like-minded people will be doing the same.


Grow your Instagram organically by using our Premium Instagram Services.
We offer 300% faster growth and engagement will be relevant to your target
market. It is the most popular program for all musicians looking to gain new


Audiomack inks first major label licensing deal with Warner Music Group | Music Business Worldwide

Warner Music Group (WMG) has entered into a partnership with music streaming and discovery service, Audiomack, marking the platform’s first licensing deal with a major label.

The two will work together on content concepts and explore ways to break emerging artists.

Launched in 2012 by Dave Macli and David Ponte, Audiomack has achieved 210% year-over-year growth in daily active users over the last 12 months, and exists as a service that is completely free to independent artists, including the ability to upload an unlimited amount of music.

Audiomack also creates original content through its Trap Symphony series, which pairs an orchestral ensemble with hip-hop stars to create reimagined versions of their top songs; the Fine Tuned series, where artists pair up with live instrumentalists to create renditions of their latest releases or biggest hits; and a number of other video and editorial offerings.

In 2015, the platform rolled out its Audiomack Monetization Platform (AMP), which combines ad revenues and distributes to artists by stream count, and later added a premium subscription tier for listeners, which costs $4.99 per month and offers added functionality in addition to removing ads.

Audiomack quickly became known as a breeding ground for rising talent when it launched in 2012.

Originally focusing on the mixtape community, it was the first platform to feature music from some of today’s most popular hip-hop artists, including A Boogie wit da Hoodie, Migos, Fetty Wap, Kevin Gates, and Chance The Rapper.

The service has grown to encompass exclusive releases across a variety of genres, including hip-hop/rap, R&B, Latin, electronic, Afrobeats, dancehall/reggae, and more.

“The service is a terrific addition to our ecosystem, opening up exciting avenues for our emerging artists to directly engage an active audience thirsting for new music.”

Allan Coye,  Warner Music Group

Allan Coye, Vice President of Digital Strategy & Business Development, Warner Music Group said: “It’s important that we take a principled but adventurous approach to empowering entrepreneurialism.

“We’re pleased to have found an innovative way to structure a commercial partnership with a discovery platform like Audiomack.

“The service is a terrific addition to our ecosystem, opening up exciting avenues for our emerging artists to directly engage an active audience thirsting for new music.

“We’re very much looking forward to working with David, Dave, and the entire Audiomack team.”

“We’re extremely excited to embark on this revolutionary deal with WMG.”

Dave Macli, Audiomack

Dave Macli, CEO, Audiomack added: “We’re extremely excited to embark on this revolutionary deal with WMG.

“Warner has helped to break thousands of artists to a broad audience and our partnership with them will only foster the growth of their burgeoning talent by connecting them to Audiomack’s eight million monthly users.”Music Business Worldwide


4 Ways Artists, Labels Manipulate Spotify, Apple Streams and How It Hurts Everyone | hypebot

image from cdn.pixabay.comMusic streaming manipulation - artificially boosting stream counts to improve chart positioning, increase market share and royalty payments, or for other non-legitimate purposes - is a real problem.

Not only does streaming manipulation devalue or shut out legitimate artists, but since streaming payments are calculated as a percentage of total plays, any inflated streaming counts reduces the per-stream payouts for everyone.

Earlier this summer I participated in a great panel at A2IM's Indie Week on Streaming Manipulation: The Ethics of Streaming. While doing research for the panel, I identified four distinct forms of streaming manipulation that range from smart marketing to almost-illegal.

Album Stuffing - This first tactic, used by dozens of artists, exploits streaming chart rules which say that 1,500 song streams from an album are equivalent to one album purchase by stuffing an album with many, often short, tracks. While far less nefarious than other forms of streaming manipulation, it is manipulation none the less.


  • Drakes 2018 album ‘Scorpions’ had 25 tracks. 
  • In 2017  Chris Brown released a 45 song albums. “Heartbreak On A Full Moon” was certified Gold in less than 10 days even though none of the songs from it made it to the top 40.

image from cdn.pixabay.comPlaylist Stuffing -  Again well within the rules, this tactic takes full advantage of the rule that streames songs receive payment after 1 minute is played by stuffing a playlist with short tracks. 


  • Thunderstorms: Sleep & Mindfulness, produced by Filtr Sony’s playlist brand, has 16,000 followers. This playlist is made up of 330 tracks, all just over a minute long. The songs were produced by a production house presumably paid by Sony and at 1 minute each calibrated to earn maximum revenue.

Fake Streams - This practice uses bots and other methods to rack up large stream counts. When Spotify, Apple Music and others catch this kind of manipulation they throw the offender  - and sometimes the artist - off the platform. How diligently the streamers look for these offenders remains an issue for rightsholders.


  • MyMusicViral is one of many sites that offer 100,000 Spotify plays for under $200.  The same number of Soundcloud plays are just $115. Another service offer 100,000 YouTube views for $500.
  • For $100 or less you can purchase your own Spotify bot and there more than a dozen free videos on YouTube that teach you how to use it.
    • Unscrupulous playlist promotion companies promise to boost streams for a fee. Some claim not to use bots.

image from www.hypebot.comStreaming Data Inflation - Reporting inflated streaming numbers. So far the only streamer credibly accused of this is “artist owned” streamer Tidal. 


  • To paraphrase the incredible investigative work of fellow panelist Markus Tobiassen: Beyoncé’s and Kanye West’s streams on TIDAL were manipulated to the tune of several hundred million false plays… which has generated massive royalty payouts at the expense of other artists. Earlier this year there were reports that Norwegian criminal justice unit Økokrim had opened an investigation to learn more. 

Who Suffers?

The entire music industry is affected by these practices, but it may be indie artists and labels that are hurt the most.  One executive at a streamer told me off the record that, “the playlist promotion companies do tend to focus their efforts on scamming the Indies and ultimately we are all paying the price for that.”


Tarek Al-Hamdouni promoted to Senior Vice President, Digital Marketing at RCA Records | Music Business Worldwide

Tarek Al-Hamdouni has been promoted to Senior Vice President, Digital Marketing, RCA Records.

Al-Hamdouni began his career at RCA a decade ago and recently held the title of Vice President, Digital Marketing, RCA Records and will remain in the company’s New York headquarters.

He will continue to oversee the digital marketing staff and spearhead the online creative strategy and campaigns across the RCA Records roster.

Al-Hamdouni and his 11 member team have been instrumental in the online campaigns for the likes of H.E.R., Becky G and Calboy as well as for Justin Timberlake, Miley Cyrus, Foo Fighters and more.

Tarek and his team amplified the launch of Childish Gambino’s viral video for This Is America, which debuted atop Billboard’s Hot 100 and became 2018’s biggest video debut.

Most recently, the team executed digital campaigns for Khalid’s Free Spirit and P!NK’s Hurts 2B Human album launches, both of which debuted at No.1 on the Billboard 200 Chart.

In addition to the No.1 debut, the team’s Free Spirit campaign also contributed to Khalid becoming Spotify’s most streamed artist in the world.

“It has been an absolute dream come true to play a role in the success of our stellar roster of artists and collaborate with our amazing staff over the past 10 years.”

Tarek Al-Hamdouni

Al-Hamdouni said: “I’m incredibly grateful for this opportunity and the continued trust and support of the entire RCA Family.

“It has been an absolute dream come true to play a role in the success of our stellar roster of artists and collaborate with our amazing staff over the past 10 years.

“I look forward to continuing the growth of our digital marketing team during this exciting time for the rapidly evolving music industry.”

“Tarek’s deep understanding of this landscape combined with a strong passion for music sets him apart. He never forgets that it always starts with a song, an artist; and after that, it’s just about finding the perfect audience for our artists.”

John Fleckenstein, RCA Records

John Fleckenstein, Co-President, RCA Records added: “Tarek has proven himself an innovative leader in the digital space. He leads an all-star team that provides creative, dynamic and best-in-class digital campaigns for our roster. We operate in an ever-changing digital landscape of partners and platforms.

“Tarek’s deep understanding of this landscape combined with a strong passion for music sets him apart. He never forgets that it always starts with a song, an artist; and after that, it’s just about finding the perfect audience for our artists.

“I couldn’t be happier to see him rise at RCA. We’re proud to have him part of our executive team.”Music Business Worldwide


3 Ways The Lines Between Songwriter, Music Producer Are Blurring | hypebot

1With technology advancements running rampant in the industry, it has become incredibly easy for any artist with a laptop to create and release their own music. In this piece, we look at three major ways in which songwriters are edging in on territory traditional held by producers.


Guest post by Patrick McGuire of the ReverbNation Blog

One of the more fascinating transformations happening in music today is how insanely easy it’s become for anyone with a laptop and microphone to create, record, and release music. A big impact of this trend we’re beginning to see is the widespread blurring of lines between songwriter and producer. Cheap DIY recording gear and easy access to digitally driven sound effects and synthesized instruments are putting production power into the hands of millions of musicians who wouldn’t have had it in the past. Here’s three ways songwriters are taking on music production roles:

Affordable and powerful music software now makes it easy to blend composition and production roles

3Today, a computer, small MIDI keyboard, and the right music software program grants musicians access to thousands of digital instruments, soundscapes, and sound effects like delays, compressors, EQs, reverbs, and distortions. For the most part, musicians used to hand off their music to be produced by someone else after recording in studios. But today, laptops sitting on desks in bedrooms, basements, and dorm rooms are giving musicians the power to compose, record, and produce music on their own terms. Artists producing their own work isn’t anything new, but it’s happening more and more thanks to cheap and powerful DIY recording technology and software programs.

Self-produced music fits the bedroom pop narrative

The world likes the idea of a musician being creatively resourceful, uninhibited, and independent. Through recent music technology advancements, bands and solo artists are taking on the bedroom pop persona by weaving music production into their job titles more and more. This persona is built on the idea that musicians now have the resources and tools to take creative ownership of a musical idea from a demo recorded on a smartphone to a fully produced and mastered song. However, what makes for engaging press release fodder doesn’t always translate to solid music, and lots of artists still get a lot of benefit from having outside production help.

DAWs give musicians the power to produce music as they compose

More artists are taking advantage of the virtually limitless amount of stock digital instruments that are built-in to their DAWs. Instruments like synths, drum sets, and orchestral brass, string and woodwind options are not only customizable, but can also be easily manipulated through effects like reverb and delay. Rather than writing music without these effects and letting someone else add them in later, artists are adopting a produce-as-they-go approach in their songwriting.

There’s no wrong or right way to create music. Many artists see a massive creative benefit in using technology that lets them easily produce their own work, but others take a completely different perspective that firmly places their songwriting duties in one camp and production roles in another. Experimentation, whether in the form of taking on production yourself for the first time or seeing how things turn out by letting someone other than you take a crack at producing your music, will give you the best chance at breathing new energy and life into your work.

Patrick McGuire is a writer, musician, and human man. He lives nowhere in particular, creates music under the name Straight White Teeth, and has a great affinity for dogs and putting his hands in his pockets.


Taylor Swift Shares More Album Record Details, Dates | hypebot

image from www.hypebot.comDuring an interview and performance on ABC’s “Good Morning America” Thursday, Taylor Swift offered new details about her plan to re-record songs from her past six albums.

“Something that’s very special to me about this album is it’s the first one that I will own,” she said about her Friday release “Lover.”

Asked about plans to re-record her Big Machine hit albums Swift said, “Yeah that’s true and it’s something I’m very excited about. My contract says starting from November 2020 I can start re-recording albums 1-5. I think artists deserve to own their own work. It’s next year, I’m gonna be busy.”

Adding, "I think it’s important for artists to own their work.” 

Confirmation that Swift "absolutely" will rerecord her first 6 albums came in an interview for CBS Sunday morning set to air this weekend. Her statements are part of a very public feud with her former label Big Machine, which controls her original masters.



Daily News Highlights: Thursday, August 22, 2019 | The Daily Rind

The Orchard Expands to Japan With New Tokyo Office El Puma, Joan Baez, Omara Portuondo & Others to Receive Latin Recording Academy Lifetime Achievement Awards There’s a feature buried in Spotify’s settings that will make your music sound a lot better Big Hit Entertainment, Home to BTS, Posts Blockbuster Results for First Half of 2019

The post Daily News Highlights: Thursday, August 22, 2019 appeared first on The Daily Rind.