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How Radio Promotion Works

The following videos on radio promotion were sent to me via a reader.  They each contain some good information, but also a lot of misconceptions.

The main takeaway I feel is most important for the majority of indie musicians is that radio costs money and if you're not making that money back, which probably won't happen unless you have several other aspects of your business in place (distribution, touring, etc), it's "bad business." You need to have money coming in if you want to stay in business and simply having a record played on the radio, assuming your promotion makes that happen, isn't usually enough to do that.  Radio play is a single part of the more complex, multi-part promotion it takes to sell music.

Something else I feel is important to keep in mind is that you need to be aware where the advice you're receiving is coming from.  Obviously, people are going to have different opinions on radio promotion and other aspects of the music business, and there is nothing wrong with that, but the nature of the Internet is that it's very easy to mistake opinion for fact, especially when things can be passed around and accessed so easily.  We all need to remember that just because it's on YouTube, a mailing list, or a discussion forum, doesn't mean it really exists.

If you want more information on radio promotion, I have done several interviews with radio promotion people over the past few years.  These guys have been in the business for several years and can tell you how it works.

Behind the Scenes at Music Business Radio

Recorded an episode of Music Business Radio with Brent Maher earlier this week... You may not recognize the name, but you've heard his work.  He's one of music's most successful and critically acclaimed producers as well as a hit songwriter with songs on over 20 #1 records.  He's won six Grammy Awards and has worked with dozens of top acts over the years including Ike and Tina Turner, Elvis Presley, Olivia Newton-John, Duke Ellington, Kenny Rogers, Nickle Creek, and more.

This one is currently being edited and will be available soon.  To make sure you don't miss it, subscribe to our podcast...

I get a lot of emails from people asking about how the show is created and also asking how to get booked as a guest, so I decided to put up a few details for you, using the episode with Brent as an example.  Not every episode goes exactly like this, but they're usually similar, unless we're doing something on at a location other than our home studio at Tuned In Broadcasting, such as a music festival, television taping, or concert.

Step 1 - Booking

All of the booking is handled by the show's producer, Gary.  He is looking for one of two things-- you've either got to be well-known, with some success in the industry, or you've got to have an interesting "hook" that we haven't covered before.

An example of a good hook is an indie group that is selling 10,000+ downloads via MySpace or licensing its music in big ways and is willing to share the secrets of how these things are happening.  We're looking for a story that will entertain, but also information that will educate our audience.

Another example... We've had several attorneys on and have covered the basics of copyright a few times, so that is something we don't need to cover again (right now), but we have an upcoming episode with an attorney who is coming in to talk about the legalities of sampling, mashups, and some other music trends people are getting involved with.  We had an attorney come in to talk specifically about copyright reversion, since this is something that affects our audience.

We have a lot of producers come though.  Stories are great, but it's a plus if they can bring in alternative versions of songs people know.  Here is an example of a track list (with my notes) from a CD Brent Maher brought in...

Step 2 - Pre-Interview

Once the episode has been booked, the next step in the process is a short phone call where I talk to the guest and try to come up with a basic outline for the episode.  This usually happens a few days before the episode is taped and is pretty loose, more or less just going over things like what the guest can expect while in the studio, since some people (even those who record things for a living, believe it or not) can get nervous when the red light comes on and I want people to be as relaxed as possible.

Step 3 - Record the Episode

Everybody meets up at Tuned In Broadcasting, usually about 30 minutes before we start recording. The guest is introduced to the Music Business Radio staff, Gary the producer and Dan the engineer, that will also be in the studio.

We go over last minute details, such as how the guest will be introduced.  This changes, depending on what the guest feels comfortable with.  Below is my original typed "fact sheet" for Brent Maher, with some additional notes, based on suggestions from Brent and Gary the producer. 

I use this for segment IDs, intros, and outros, so some of the "non-Brent" stuff I've written here is to remind me to mention what is coming up in the episode.

At this point, we go into the studio (pictured above) and start the tape rolling.  I have a basic idea for how the show will go, but beyond the "how did you get started in the music business" question I usually as at first, it can go anywhere.

Brent had just gotten in from Los Angeles when we recorded his episode, so there was no pre-interview to go over specific questions.  Sometime we have guests that talk a lot and sometimes we have guests that don't say much.  Not knowing what I was getting, I came up with about 30 general questions for this episode.

Fortunately for me, and for our listeners, Brent was a great communicator and had some amazing stories of working with acts like Ike and Tina Turner, Elvis Presley, The Judds, Carl Perkins, Duke Ellington, and others, so I let him run with it.

Here is the first page of my list of questions, with notes based on where our conversation went...

Step 4 - Record Promos and Liners

After we get enough content for an episode, which usually takes about 90 minutes, we go over highlights of the show and record a promo.  I intro the guest and ask, "What are we going to talk about?"  The guest gives some of the highlights and that is turned into a promo, which runs on stations the week before the episode airs.

We also have the guest record a liner, which is something like, "Hi, I'm (insert name here) and you're listening to Music Business Radio."

Step 5 - Editing

The raw content goes to an editor and gets smashed down into a 54-minute episode.  This is usually the most time-consuming part of the process, as there is often a lot to edit, with episodes often going long, depending on the amount of content, mistakes, etc.

Step 6 - Broadcast

Episode is aired on broadcast stations.  If you want to be the very first to hear the new episodes, listen to the stream of our flagship station, Lightning 100, on Sundays at 7pm Central.  In Nashville, you can listen on 100.1 FM.

Step 7 - Podcast

Episode goes up via the Music Business Radio web site and podcast.

How You Can Get Involved...

Syndication Info:

Have a broadcast station that should be running Music Business Radio?  Call Gary at 615-242-5600 for syndication details.

Demo Submission Info:

Have music you want reviewed on the air?  Send a CD and press kit to:

Tuned In Broadcasting, Inc.
ATTN: Music Business Radio
1310 Clinton St. Suite 200
Nashville, TN 37203

Guaranteed Radio Airplay (and a Great Way to Test Songs)

Yes, I said guaranteed.  You'll reach up to 7,000,000 listeners.

I'm talking about this offer from Jango.  $10 gets you 250 spins.  $30 gets you 1000.  If you've got $100, you can get 4000 spins.

According to the site, 1000 plays will typically get you between 40 and 80 new fans, whom you'll then be able to contact.

Let's do the math... You get 1000 plays for $30, which is $.03/play.  Let's average the "between 40 and 80 new fans," which the site says is "typical" for this amount of play, and make it 60.

60 new fans for every $30 you spend means you're "buying" a new fan for only $.50.  Not bad.  At that rate, "1000 True Fans" would only run you $500 and you could scale things to get as big as you want...at least until you hit the total number of users who use Jango's service.

Obviously, this is wishful thinking... It's unlikely that you'd have a "true fan" from a single exposure to your music.

Still, this may be a great investment for you.  If nothing else, it's a great way to test your songs and get valuable feedback on how to improve them.  Most musicians never do this and very few have more than 1000 people listen to a song before they spend money, time, effort, and resources releasing it.  If you've got a song that sucks, better to find out now than later...

So, what happens if people hate your music?

One of the things I like about Jango is that you're connected with a "top act" which they're already playing.  For example, if you think you sound similar to U2 and that U2 fans would love what you're doing, you have them play your music for fans of U2. 

But what if fans of the act you associate yourself with think you suck?  In this example, maybe they think you sound a little too much like U2?

All is not lost...yet.  It could be that you've got the wrong people listening to it.  Not everybody likes everything, right?

So I suggest you try again, just to be sure the results you're getting are worthwhile.  And this time, associate your music with another act that sounds "similar but different."  The U2-style sound works, right?  But maybe not for fans of U2...  Those guys don't want the U2-style, they want U2.

That's good feedback to have!

Will Jango get you singed?  Doubt it...but it's possible.

Will Jango make you famous?  Doubt that too.

It will certainly get you some good feedback though and that is worth a lot more than you'll spend here.  If you listen to what people tell you, you'll be helped with both of the things mentioned above and more.

If you've used this service, please post comments below with more information about your experience and the results you had...

How to Get Your Song on the Radio

I get a ton of emails asking about how to get music played on the radio. The answer, in short, is to convince people at radio stations, one at a time.

Below is video from a "radio meeting" with Meiko, who dropped by WRLT in Nashville in hope of getting airplay for her song, "Boys With Girlfriends."

As you'll see, it's far from glamorous, even though Meiko is on a major label. It can also be very intimidating as you're playing for people who can play you (or not) based on your performance. This day there were about 15 people in the room, all staring at her and judging.

I interviewed Meiko on Music Business Radio and we talked about the experience of radio tours and getting people on board with her music. Listen to the episode here.

Of course, this isn't the only way to get airplay... How are you getting your music on the radio? Join the discussion below...

Josh Freese and Online Record Promotion

Josh Freese of Nine Inch Nails is doing an interesting promotion for his new album...

JoshFreese.com for full details...

Thoughts? Post 'em below!

How to Get Music on the Radio

Here's an interview I did with Jhani Kaye of KRTH in Los Angeles. Jhani is one of radio's preeminent programmers.  Since taking the helm as the Program Director at KRTH in 2006, his unique approach has brought the station to the Top 2 in the Los Angeles market among general market adult listeners.

We talked about the business of radio, how musicians can get the attention of radio, the importance of relationships in the music business, and more.

To get more interviews like this, get the Music Business Radio podcast.

Getting Your Music Played in Strip Clubs

I've been working this strategy for over a decade and I can tell you that it definitely breaks records...especially if you're got something that is sexually charged.

Remember-- people buy music because of how it makes them feel.  If they were having a good time when they first heard your music, they'll likely buy it in hope of reliving that moment in their minds.

Even if you're not interested in getting your music played in strip clubs, the story linked above is still worth reading.

Here's the problem Don Yute made...

1. Pay the cover and get in the club.  Do what it takes to get you access to the DJ.

2. Dancers pick their own music.  If you can't get in with the DJ, get in with the dancers.  This is EASY...if you're willing to pay.

Assuming you have a song that works for this type of venue, this is the easiest way to break music. 

Why?  Here's the bottom line... A strip club is based on the exchange of money.  You have it, the staff wants it. 

Pay up. It's as simple as that.

Seriously, how much is it worth for you to get rotation?  If you have something really hot and the crowd responds well, it's going to get played again.  Pay up, get it on the first time, and move on to the next club.

"Strip Club Anthems" are just like wedding songs...they're played for years.  Get one and you'll have recurring income for a long time.

Is Music Radio Dead?

This is going to sound a bit strange, but I have had a lot of music business executives come on my radio show and tell me that radio is dying...at least when it comes to music.

Found an interesting video clip from 1982, which talks about the subject...

Of course, the focus above is the switch from AM radio to FM.  However, I'd argue that we're seeing the exact same thing happen right now, with a switch from broadcast to other radio distribution methods, such as satellite, cable, and Internet.

Options are always a good thing when they're yours, and it's great to have various distribution methods for a medium such as radio.  The problem is that there are only so many people who actually like radio and, when you have thousands of choices to listen to, the audience is split thousands of ways.  That wasn't the case when broadcast radio was all we had, and our choices were limited to whatever was on an AM or FM dial.

Check out the video at 3:40, where WABC's Ron Lundy says, "I don't think there will ever be another radio station that will ever come close to being as big as we were."

True.  And the issue isn't just the new options on broadcast radio.  Those 6,000,000 listeners are split between online stations, satellite, mp3 players, and who knows what else...  

That's not saying that broadcast radio is totally gone.  It's the only format that is in the hands of almost everybody.  Even the poorest of people in this country can afford a $10 radio.  And even somebody who is afraid of new technology can figure out how to turn it on.  You plug it in, you get music...or talk, or sports, or whatever.  There is something to be said for the simplicity.

Because of how little it costs to receive and its ease of use, until something can compete on these issues, broadcast radio is here to stay and has the largest audience of any radio delivery system right now.

Here's the problem...

As was mentioned in the video, many broadcast stations are going to a talk format, or sports, or "syndicated formats" which broadcast the same "station" in multiple markets and don't play any new music.  And most of the stations which do play music have a small playlist, often times based on programming consultants who are concerned with how they can increase ad revenue more than being a benefit to local community or upcoming musicians.

And even if you can get on a broadcast station, the number of listeners are down.  If it worth all the trouble you have to go through?

The good news...

You have more options for your music than ever.  Radio isn't the only way to get the word out about what you're doing.  In fact, there are options available to you, the independent musician, songwriter, or band, that actually give you more publicity (and royalties) than broadcast radio.

Yes, I'm talking about licensing your music to:

• Film
• Television Shows
• Video Games

While the audience for broadcast radio has been shrinking, the audience for these things has been growing.  In fact, by 2011, the video game industry will be larger than the music industry.

I can help you to get your music licensed in film, television, and video games.  In fact, I can help you make a lot of money doing it.

I just released a video course which explains the opportunity you have right now and how you can cash in big time.  If you want it, input your name and primary email address below and I'll send it to you free, as my thanks for reading this blog.

Also, please take a moment to subscribe to my feed. It's free and this will make sure you're instantly updated when I post a new video or other information on licensing music here.

Sign up for my free course on music licensing below.  Not only will you get my free videos that explain how you can make big money licensing your music, you'll also get bonus information, such as the direct contact information for music supervisors that I can't post here. 

Input your name and primary email address below.  That way you'll be sure to stay on top of everything.

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No, You Can't Email Me a Song...

As many of you know, I host a talk radio show about the music business called Music Business Radio.

And, as many of you know, we take demo submissions from musicians who want their music played on the radio and feedback from our guests.

Here is the address to send a CD to:

Tuned In Broadcasting, Inc.
ATTN: Music Business Radio
1310 Clinton St. Suite 200
Nashville, TN 37203

Notice that it's a physical address.  And notice that I asked for a CD.

Still, I get messages every week asking if people can send music via an email attachment...

No, you can't.  If I were taking email attachments, I would have let you know.

"But you can burn a CD from the file I send..."

Yes, I could, but that's really your job.  My job is to play your music on the air and get it in front of music industry people who will critique it for you, not get it in a format which they're able to play.

This is a radio station, folks.  We play music on CD.  That means you need to get us a CD, if you want your music played.

Yes, I realize that's a bit more work than sending me an email with a file attachment.  Yes, I know there are more environmentally-friendly ways of distributing music.  But right now, we play music on CD.

I write all of this because I think it's the sign of a much bigger problem...one that may very well be keeping you from being where you want to be in the music business.

IF YOU WANT TO SELL MUSIC, YOU MUST THINK LIKE YOUR CONSUMER AND GIVE THEM WHAT THEY WANT IN THE WAY THEY WANT IT.

Write it down.

This isn't about you, it's about them.  People aren't going to jump through hoops to consume your music. They're lazy.  Make it easy on them.

I could go on and on about how to do this, but to keep this short, here's one example...

"Making it easy" is especially important when it comes to selling your music.  This means you need to do so via the currency your customers have in their pockets...which is usually a credit card.  If you're "cash only" and they don't have cash, you might as well be asking them to pay in gold doubloons.

And if you're "no checks" and they only have checks, you're in the same spot.

Make it easy on people.  Take checks, take credit cards, take cash.  And if people start approaching you with gold doubloons, find a way to take those too.

And when folks in the industry tell you they want your music submitted in a certain way, give it to them in that way.  There is usually a reason for it.

Send Me Your Music!

Send me your demo or album so I can play it on Music Business Radio and have it reviewed by guys like this...

Send CD to:

Tuned In Broadcasting, Inc.
ATTN: Music Business Radio
1310 Clinton St. Suite 200
Nashville, TN 37203