Selling Your CDs Online

By David Barber
Commotion Music Promotion, Inc.

For musical artists there are 3 basic ways to sell your CDs online.

(Note: this article does not directly address selling downloads)

1. Get your own credit card merchant account and sell directly. This is expensive and requires an online shopping cart, usually custom. You'll have to fulfill the orders yourself, too (shipping, packing, etc.). Credit card companies and banks charge a monthly fee and various per transaction fees, as well as substantial set up fees, all of which are negotiable and vary all over the place. If you aren't selling hundreds of CDs each month, it's probably not worth the cost and effort.
Some hidden advantages to this, are that you can also get the equipment to handle credit card transactions at your gigs and you can use that to sell your other merchandise as well.

2. Go through a distributor who will distribute to online sales outlets like CDNow.com and many others. They will also offer your CDs for sale on their own website. You can link directly to the distributor's online store to sell CDs from your website.
This is cheap to get going, and low hassle, as they handle the fulfillment and the tricky website stuff. A real distributor is also going to make sure your CDs are available in record stores in the regions where you are playing and probably promote your music as well.
However, most distributors will take a big cut, generally around 50%, so the CDs have to be marked way up or you will just get less.
Companies like CDBaby.com and CD Street.com fall into this category except that they don't do retail distribution. For that reason they may be cheaper than a retail distributor (But then you need that kind of distribution, too. Don't you?) Some of them will only allow you to sell your CDs. They don't want to deal with your other Merch. (You do have other merch don't you?)

3. You can sell directly through your website using a 3rd party company like PayPal.com to process the credit cards. This one gives you the biggest cut per sale. It's basically free to set up and they charge a very low per-transaction fee (2.9% plus 30 cents pre transaction as of the time this was written). You have to handle the fulfillment. But you can sell whatever you want online, to anyone with a credit card.

No matter which option(s) you choose, make sure you shop around and compare prices. Go with the approach/company that you feel the most comfortable with. There are always new companies and websites out there that may be offering some combination or hybrid of the above options. (Beware: Sometimes low prices also mean low service levels and constant problems, and online companies are notorious for suddenly going out of business - taking your stock with them into oblivion) As your band grows you may need to reevaluate your approach and make changes.

You're Nobody Until Somebody Hates You!

By David Barber
Commotion Music Promotion, Inc.

We've seen it over and over again. A band works hard and climbs up to the top of their regional ladder. They're getting the corporate gigs and all the best club gigs and lots of people are showing up everywhere they play. They've been pretty nice to most of the people around them, helping compatible bands by bringing them on as openers, offering up advice, even phone numbers, when it comes to booking and then BAM! The tide turns and everyone starts bad-mouthing them on a message board or behind their backs at gigs.

"Why do they get all the good weekend gigs and we only get these crappy Wednesday nights?" or "They aren't that good, our guitar player can play rings around that guy." or the dreaded "I heard she's sleeping with that booking guy and that's the only reason she got this gig."

All that kind of shit sucks! Right?

But what an excellent barometer to judge how well the act is doing. The act is so successful that others in the scene think it's newsworthy to discuss who they're sleeping with. They are analyzing the guitar playing and trying to figure out why it's so popular. They may even figure out why the successful act gets the better gigs. (Usually, it's because the band is simply better than the bands those haters are in.)

It's human nature at it's worst, but it's nothing to get worried about, it's nothing to argue about and can actually be a sign of success. Most people who perceive an inequity will leap at any opportunity to lay the blame anywhere except on themselves. Nobody really likes to admit the truth, that their own act just isn't as good as those guys that seem to get all the breaks, or simply hasn't been working as hard for as long to get where they are today. The truth is that most of them started out right at the bottom, too and built their way to the top with a lot of hard work. Dissing them ain't gonna make your act any better. Playing better, writing better songs and promoting the hell out of yourself will all help much more.

In business it's generally a bad thing when people bad-mouth you, but like the saying goes, any publicity is good publicity. At least they are talking about you. The opposite would be much worse. Nobody will hire a band or business they haven't heard of. If a talent buyer or prospective client asks about the controversy, there's your chance to set the record straight to one of the few people who even need to know.

You can't please everyone, so some people will always dislike you for some reason. Usually, something completely outside of your control. so don't worry about them. Put your time and energy into the people/projects who know you better than that and who won't hesitate to put in a good word for you. Stay off those hate filled message boards and away from the people who trash talk you behind your back. They'll soon find someone else to pick on (probably, one of their own). There's a reason why the most successful people in the region don't show up on those boards. They're busy working. They don't have time to waste on gossip, bad-mouthing and that kind of bullshit.

Bottom Line: If you're getting dissed, calm down, don't lower yourself to their level by replying back in a hateful fashion and congratulate yourself for achieving a level of success that makes others jealous.

Be Professional

By David Barber

Commotion Music Promotion, Inc.

Being Professional is as important in the music business as in any other. And, yes, just to remind you, it is a business. If you're just in if for the fun of making music, don't bother reading these articles. It's not gonna help. Actually, being professional in the music business is easier than in most. The music biz is littered with flakes, drop-outs, and as long time tour manager/booking agent/radio goofball, Matt Need, likes to put it "D students." ("I'm no good at math or science and my grades suck, but I like music, so I'll get into the music business!") Therefore, all it really takes is showing up on time, playing as well as you can and being polite to the people around you.

Yeah, we know that sometimes you'll have to deal with people higher up the food chain than you who aren't nice, polite or sensible and it's easy to treat them as badly as they treat you. Sometimes that may even be the best approach, but not very often. Usually, when a booking manger screws you over, it's much better to just walk away and silently vow never to play his venue again, if possible, than it is to yell and scream and bad-mouth the guy all over town. Now, if someone is really ripping you off, it might be a good idea to discreetly let your friends in other bands know what happened, but try not to get a reputation as a trash talker. Why? This guy is scum, why should you care what he thinks? Because even if he is scum and you never play for him again, he likely has ties to other booking managers, club owners and industry professionals, and those people do talk. Nothing travels quicker though a tight knit music community than stories of how that guy from that band made an idiot out of himself because he thought he should be paid more than he's worth. Yes, that's the way they are likely to look at it. And from that perspective, why would any other club in town want to hire you?

The same goes for when you're talking to them up front about booking the gig. If you say you can bring in 250 people on a Tuesday night (and he actually believes you) you can be certain that you won't be asked back when only 25 people show up. Clubs hate to lose money and, from their perspective, your job is to bring people in to drink. (More on that in another article)

Along the same lines, if you work in an office or a factory or store, it's not acceptable to get drunk or high at work. The same goes for the music business. Show up for your gig on time, perform your set like a pro and then, after the gig, if you must, you can relax and enjoy the time honored tradions that go along with your rock & roll lifestyle. Nobody wants to pay see a bunch of drunks playing sloppy. Also, bear in mind that most venues would rather piss you off than risk losing their liquor license, so don't put them in that position. It doesn't matter what level of success you are at. It's just common sense. Work first, then party on your own time.

Flyering / Postering Etiquette

By David Barber
Commotion Music Promotion, Inc.

Your band has a gig coming up, you've printed up stacks of flyers and posters and now you need to get them out there where people will see them. Seems fairly easy, right? You just staple or tape up posters hand out a bunch of flyers and sit back and wait for the crowds to roll in. Right? Sure. Just be careful and avoid a few simple mistakes.

First off, never put up posters for your show at venue A inside venue B. Postering space is limited inside any venue, even the ones that let you tape it up anywhere you want. They aren't going to be excited to see posters advertising a show at another venue. Same goes for flyering. Don't put out free tickets for your upcoming Herman's show on all the tables at your Dove show. Likewise, don't plaster the restroom at the Cricket with posters for your show at the Toad. This kind of behavior is simply discourteous to the venue you do it in and likely will result in them being less inclined to book you there again.

Is there a way around that? Yes. It's usually acceptable to mention your upcoming gigs while you are on stage. It's also acceptable to walk around the room and personally hand your flyers to people you know or have just met, as long as they don't immediately drop them on the floor and walk away. "Put this in your pocket." is a good way to handle it. Also a poster that has been printed up with a month's worth of shows can be safely hung in most venues without fear of pissing anyone off. It's not gonna stay on the wall past your gig in that venue, but if you post it a couple weeks beforehand, it might be helpful.

Along the same lines, it's not cool to flyer outside of most local music venues. Don't put them on all the cars in the parking lot, unless it's for a gig at that venue. Don't hand them out to patrons leaving a venue unless it's for an upcoming gig at that venue. A major exception to this rule is to hand them out as people are leaving a large concert venue. Hang on the sidewalk out in front of the Fillmore or the Pepsi center when a compatible national act is playing and hand out your flyers. It's an excellent way to build your fan base.

Don't run afoul of the law. In many cities it is against the law to put up posters on telephone poles, etc. A few cities even enforce these laws. You can be certain that they will know exactly what band is responsible, by simply reading the poster or coming to the show.

Always bear in mind that your promotional activities can also reflect upon the venue. If you plaster all the cars in front of Herbs with flyers for your show at the Skylark, the management of one place may well call the other to complain. Remember, venue owners and booking people do talk to each other, even while competing. Word can spread quickly, so try not to piss these people off.

What Makes A Good Poster?

By David Barber
Commotion Music Promotion, Inc.

Every band that promotes itself (and if yours doesn't, you're already wasting your time by reading this), has dealt with the problem of posters. Some bands get lucky and discover an artist who is also a band member, friend or relative who will design cool posters for free or cheap. Many bands, though, struggle with this. Even the one's who have a professional graphic artist in their midst sometimes lose perspective and put out posters that, while they are cool or like works of art, are completely worthless when it comes to promoting the gig.

That's the bottom line: The poster's sole purpose is to promote the gig(s). Don't forget that. It doesn't matter how cool the artwork is, if people can't see it or can't read the important details, it's not doing the job.

We have a friend who collects old psychedelic era concert posters. They are expensive, the art is terrific and some are very rare. You know, the ones from The Grateful Dead and Janis Joplin from the late 1960s and early 1970s. Did you ever try to read one of them? Even at full size and up close in good lighting, it's sometimes nearly impossible to read the names of the bands, the venue, and the date. While it's cool to have those as collectors items now, they were nearly worthless at getting the word out about the gig.

Here's our rule of thumb: All the information should be easy to read from at least six feet away in a dark smoky bar. If you can't see the name of the band (or an easily recognized logo), the date and location, what's point?

Now, sometimes you have to decide where the posters will hang before you can make the call. If they are on telephone poles and you're hoping drivers will see them, then there's no point in using any fine print. If they will hang in coffee shops, which are usually well lighted, then maybe you can expect curious patrons to step in closer and read a little more. A short description of the music is a great idea. That way, someone who isn't already familiar with the band could become interested. Potential new fans want to know what kind of music you play, so even if you have to make something up, put it down. Even something as simple as "Rock" will work most of the time and it's way better than nothing. If you can't describe your music, you've got bigger problems. (We'll write an article on that one later) A website address is helpful, too.

When designing a poster, you also need to think about printing. Making full color 11" x 17" copies at Kinkos gets expensive pretty fast. So think about what that same poster would look like at 8.5" x 11" in black & white or black ink on colored paper. Make sure the design will not be ruined by B&W printing. If you're gonna send your posters out in electronic format to venues or street teams out of town, you better expect them to be printed in B&W.

Make A Generic Poster: This will save you lots of time and cash in the long run. Make one cool poster design with a big blank white space at the bottom (about 1/4 to 1/3 of the poster) and have 1,000 of them printed up in full color at a professional print shop You can use them for any gig for years. Just don't put a photo of the band on there unless you're certain nobody will leave the band before you can use them all up. CD cover artwork is perfect for this.

Don't be afraid to experiment. Have fun with your poster design and play around with things. Just remember what it's for and it'll be that much more effective.

Turn Up The Vocals!

By David Barber
Commotion Music Promotion, Inc.

We've seen this one a million times and so have you. A local band puts out a CD where the bass, drums or guitar overpower the vocals to the point where one can barely hear them, much less understand the lyrics. A glance at the liner notes shows that someone spent a lot of time writing very deep meaningful poetry that nobody will ever hear. Many bands do this live as well. In a few genres that's the way it's "supposed" to sound.

Bah! Humbug!

People love vocals. We're not just talking about musicians here, we're talking about the general public. One thing that mainstream radio has taught us is that one catchy lyric can make a band (at least a one-hit wonder). And vocal harmonies are even better. Here's our theory as to why this is:

Anyone who can speak has tried to sing, even drummers. Most of us aren't that good at it, but we've all tried it and therefore, we all know how hard it is to sing well. But, not everyone has tried to play guitar, bass, drums, keyboards or horns. Even if they have and they appreciate the skills of a jazz sax player, they still like a catchy lyric. It's so obvious that everyone should already know this.

Therefore, when mixing down the tracks on your CD, don't let the guitar player or the drummer make the decisions. Their input is appreciated, but everyone naturally wants their own playing to be heard loud and clear above the rest. It's just human nature. Commonly we've heard stories from the mix-down where, after hours of going around and around and trying different mixes, the vocalist just gets tired and says "Whatever you want, let's just get it done." But, please, don't be bullied. Don't quit. Instead, tell them "My ears are tired, we'll have to finish this later." Then put the tracks away for a week or a month and come back with fresh ears. Or hire a skilled producer with a proven track record and let him make the decisions.

The same goes for live shows. When the sound guy says "Turn it down," believe him and do as you're told. He can't mix your band well if your amp is so loud that he's taken it out of the PA mix. Trust us, you don't know better than him and you probably don't know how it really sounds out in the room. Just because your monitor mix sucks, doesn't mean the house mix does. It doesn't matter if you are a punk or heavy metal act, let the sound guy crank it up. He knows how. The old blues and jazz guys who tour constantly around the country know this. They don't bring their own sound guy on the road, either, they use the house guy and trust him to mix it as good as the system will allow. They keep their amps turned low and sound really good, most of the time, because of that. Learn from the examples set by the elder generation of players. If it works for them, it'll work for you.

Common CD Release Mistakes

We've seen countless local bands release hundreds of CDs. Sometimes everything goes as planned and the event is a success. Often times the release gets re-scheduled. Most of the time there's little or no press coverage. Most of the time the whole process is done on the fly with little or no planning. By the time the CD release happens the band has been through months of studio work, mixing, mastering, etc. and they just want it to be done. While we don't blame them for this, we would like to help them to avoid the most common mistakes we see over and over again that local bands make when releasing a new CD.

• Don't set a CD Release date until after the manufacturing is completed and you have the finished product in your hands. Then, set the release date two months out, so you have adequate time to promote it. We laugh every time we see a CD release date published in the weekly rag and then find out the band is just finishing up with the mixing. Don't be stupid! Even if you have been through the process a dozen times, you don't know for sure how long it's going to take to get it mastered, get the artwork together and get the CDs manufactured. There are countless things that can go wrong or cause delays. If you must publicize something say "New CD coming out in a few months" or "...in the Spring." The mastering could take a long time. Nina Storey sent one of her CDs back to California for mastering four times before it came out right. (That one came out really really good, by the way).
  Many bands have had problems with the artwork. Matthew Moon spent two years putting together material for an album, but the first batch back from the manufacturer had several of the insert panels arranged in the wrong sequence. He discovered it the day they came back from the manufacturer, the day before his big release party. Too late to get it fixed in time.
  These kinds of issues sometimes happen in any manufacturing process, but they are much more likely to happen when that process is rushed.
  Years before they were signed, Love.45 scheduled a CD release party but the CDs were still at the manufacturer. They managed to get a couple hundred of the discs rush shipped in time for the show, but there were no jewel cases or inserts ready. They made do by signing each one and selling them as collector's items.
  By making sure everything is finished completely, you can avoid anyone having to know about these kinds of problems. Get them all taken care of then schedule the CD release party. If you have gigs before that, then you can sell them as "Special Pre-Release" copies.
  Having your CD ready ahead of time allows you to:
  • Mail out your CD to the press in time for them to actually listen to it and have something in print BEFORE your CD release party. Remember, as far as the press is concerned, you are competing with signed major label acts who are also releasing new CDs. They don't wait until after the CD is released to send out copies, they do it 4-8 weeks ahead of time. Your local music editor only has so much space and he can't cover everything, so he prioritizes. If your CD release date has passed by the time he sees it, he'll probably just throw it in the stack with the rest of the local CDs he may or may not ever listen to.
  • Get your CD into the local record stores in time for the official release.. Why promote it if you don't have product to sell? Some fans may not be able to get to the release party, but they might be able to get to the record store.
  • Send it to radio stations and pray for airplay. If you get some, you're whole release will be that much more successful. Here again the major labels drop a single to radio before the CD hits the streets. Why should you do it any differently?
  • Have posters, flyers, T-shirts, etc. printed up with the same artwork as on the CD.
  • Plan a big party without having to worry that the guest of honor might not show up.
  • Get samples up on your website and be ready to sell CDs online on the official release date.
  • Additionally, you can avoid pissing off the booking manager at the venue where you want to have your release by not canceling it at the last minute. You can go ahead and schedule a date early, in hopes that you might be ready to do the CD release, but if, as the date approaches, the release gets delayed, then you can just treat it as a regular gig and schedule another one.

• Don't underestimate the effort, time and money it will take to get the thing manufactured. Once it's mastered you've got to have artwork, a barcode, inserts designed and know where you want to have it duplicated. There are tons of competitive companies out there. Shop around. Many manufacturers will give you a barcode for free, and you need a barcode so that record stores can easily ring up the sale, but educate yourself. Those barcodes will show up as if you are on that manufacturer's label. It might be worth investing in your own block of barcodes. After the party, don't forget to fill out the soundscan form and fax it in, so your sales will be documented. The major labels watch that stuff.
• Write and distribute a press release, consider hiring a professional. Press releases are not rocket science, they are actually fairly easy and there are lots of resources on the Internet to help you out, but a professional will have relationships with the music editors and writers. He/she will be in regular contact with them and is more likely to have success getting some press for your release party and CD. There are lots of other companies out there. Find one that fits you.
• Update your website to reflect the new CD artwork. Use the same colors, fonts, and artwork on your website that you use on the CD. This provides a uniform new look and helps support your CD sales.
• Promote. Many bands feel like the work is all done once the CD is released only to discover that they now have 897 more copies in the garage that haven't sold yet. While the CD Release party signals the end of the long production process, it also signals the start of your new promotion campaign. You'll need to devote some time and money to making sure those CDs sell. Don't stop now, or they'll sit in your basement forever.