• Their lyrics consist almost exclusively of swearwords, there is a lot of sexism in the text and they seem to make a lot of fun of a certain part of our society. Until now I hope that this is satire and a way of expressing disappointment about the existence of problems like sexism in our socity. (Otherwise I would reconsider my positive feelings towards the band)
• They sing in a very local dialect which only few Germans would understand right away (I would guess about 1-2 Mio.)
• The musical style itself is also not something for everybody and rather speaking to young people.

Yet The band has quite some success in this very small target group.

• Their Facebook profile has about 5k fans (I assume most of them living closer than 50 km around Mainz)
• Fans start to take own videos in the same style but with other songs
• Concerts are sold old. 4 month ago they had a concert in red cat and had to send home people because the venue was completely sold out. 
• Fans are dressing up in the same “trashy” style and when I did the same and walked through Mainz people on the street would associate me with this band. 

All this together I conclude that this band (which obviously is not casted by some label) has a strong fan base in a very small region and also has not really a commercial interest but just wants to continue to create music for their fans. Now the mock unit wants to create a second record and decided to go for a crowd founding campaign on startnext (basically the german kickstarter). They provided a good nice advertising video in their style and also the rewards are fitting the style. Everything is really authentic.
Also the Mock Unit only asks for 6000 Euro. Which according to the number of Facebook fans is an average of only 1.2 Euro per fan. Apparently this seems impossible to achieve. Currently the band has not even collected 2k euro which I really do not understand. I don’t ask you to support this band or become a fan of. I just think it is incredible that a band that has delivered music and videos, that  has a solid fan base, that is able to sell out venues is not able to collect 1.2 Euro per Facebookfan for the sake of creating a new record and video.
I think it is really a shame in our society that culture became apparently so worthless. By the way I would have much more faith in a musicians crowdfounding campaign if he would promise to release the record under creative commons share alike by licence. In this way I would know that in return of my support I would not only be able to expect some entertainment but I would also obtain the legal right to use the material which I directly founded.
For those who know the band and like the band I created a video using their style in order to animate other fans to think about if they really do not want to support the band:

What do you expect from a social networking site and for what reasons would you use it?

We have already created a small list at:
https://github.com/renepickhardt/metalcon/wiki/requirementsBand
which I am sharing here and asking musicians to contribute to. Eather here in the comment section or via the github wiki. Thanks a lot

Self promotion

Bands want to advertise their music and get a lot of attation.

Music hosting

Bands often lack technical knowledge to host their music. Metalcon can provide them with the functionality to host promotional songs and also share the player on other websites and with other services.

Control

The worst that could happen to a band is that they spend a lot of effort building up their fan base on a social networking site like they did in the early 2000s and then the site becomes irrelevant. Similar problems hold with facebook where page owners nowadays have to pay money to get their message spread to everybody who liked the fan page.

Therefore a requirement for musicians is to keep control of their fan base that they have grown so far.

Contact with fans and Streetteam

Bands want contact to their most important fans and to people who can organize stuff for them. Heaving a streetteam is essential to the sucess of many bands. Using a social networking service can help the band to fulfill their goal

Privacy

Famous musicians want to use the band profil of a social networking site without revealing their private account.

Staying in contact with other industry players

Musicians might want to stay in contact with partners from

• labels
• booking agencies
• promoters
• photographers
• video producers
• music producers
• venue owners
• …

Sell products

Bands want the possibility to sell

• Tickets
• Merchandise
• Music (MP3 and CD)

Booking

Bands want to get the opportunity to book gigs. Giving them the opportunity to get in contact with bookers will help them.

release Management

Bands often have a complete produced record. This should be shared with some players from the industry. In this process the music should be

• hosted in the web
• watermarked (to prevent leaking)
• shared privately with selected partners
• only be streamed from the web

Max report on semantifying

• DBPedia resources are to be linked with “resources” in the URI not with “page”
• SMW requires the pre-fix “foaf:” or “mo:” or something else for EACH imported property
• Check the Special:ExportRDF early to see if your properties work
• Properties / Predicates , no difference with SMW
• How to get data to freebase depends on the backlinks and sameas to other ontologies as well as entering data in semantic search engines
• Forms for user data entry are very important!
• As a non-scientific person without feedback I would not have been able to implement that.
• DBPedia and music ontology ARE not interlinked with SAMEAS (as checked on sameas.org).
• Factbox only works with the standard skin (monoskin). For other skins one has to include it in the PHP code oneself.

Main article

The online wiki Rock in China has been online for a number of years and focusses on Chinese underground music. Prior to starting implementing Semantic Mediawikia our wiki had roughly 4000 content pages with over 1800 artists and 900 records. We used a number of templates for bands, CDs, venues and labels, but apart from using numerous categories and the DynamicPageList extension for a few joints, we were not able to tangibly use the available data.
DPL example for JOINT between two Wikipedia Categories:

<DynamicPageList>
category = Metal Artists
category = Beijing Artists
mode     = ricstyle
order  = ascending
</DynamicPageList>

{{SemanticVenue
|Image=
|ImageDescription=
|City=
|Address=
|Phone=
|Opened=
|Closed=
|GeoLocation=
}}

As can be seen from the above template both predicates (City) and properties (Opened) are being proposed for the semantic class VENUE. Semantic Mediawiki is implementing this decisive difference in a very user-friendly way by setting the TYPE of each SMW property to either PAGE or something else. As good as this is, it somehow confuses if one is talking with someone else about the semantic concept in principle.
A major problem had been the implementation of external ontologies which was not sufficiently documented on the semantic mediawiki page, most probably due to a change in versioning. Especially the cross-referencing to the URI was a major problem. As per Semantic Mediawiki documentation, aliases would be allowed, however with trial and error, it was revealed that only a property with a domain prefix, e.g. foaf:phone or owl:sameas would be correctly recognized. We used the Special:RDFExport function to find most of these errors, everytime our URI referencing was wrong, we would get a parser function error.
First, the wrong way for the following two wiki pages:

• Mediawiki:smw_import_mo
• Property:genre

Mediawiki:smw_import_mo:

http://purl.org/ontology/mo/ |[http://musicontology.com/ Music Ontology Specification]
activity_end|Type:Date
activity_start|Type:Date
MusicArtist|Category
genre|Type:Page
Genre|Category
track|Type:String
media_type|Type:String
publisher|Type:Page
origin|Type:Page
lyrics|Type:Text
free_download|Type:URL

Property:genre:

[[Has type::Page]][[Imported from::mo:genre]]

And now the correct way how it should be actually implemented to work:
Mediawiki:smw_import_mo:

http://purl.org/ontology/mo/|[http://musicontology.com/ Music Ontology Specification]
activity_end|Type:Date
activity_start|Type:Date
MusicArtist|Category
genre|Type:Page
Genre|Category
track|Type:String
media_type|Type:String
publisher|Type:Page
origin|Type:Page
lyrics|Type:Text
free_download|Type:URL

Property:mo:genre:

[[Has type::Page]][[Imported from::mo:genre]]

The ontology with most problems was the dbpedia, which documentation did not tell us what the correct URI was. Luckily the mailing list provided support and we got to know which the correct URI was:

http://www.dbpedia.org/ontology/

Being provided that, we were able to implement a number of semantic properties for a number of classes and start updating our wiki pages to get the data on our semantic database.
To utilize semantic properties within a wiki, there is a number of extensions available, such as Semantic Forms, Semantic Result Formats and Semantic Maps. The benefits we were able to gain were tremendous. For example the original JOINT query that we had been running at the beginning of the blog post with DPL was now able to be utilized with the following ASK query:

{{#ask: [[Category:Artists]] [[mo:origin:Beijing]]
|format=list
}}

However with the major benefit that the <references/> extension would NOT be broken after setting the inline query within a page. Dynamic Page List breaks the <references/>, rendering a lot of information lost. Other examples of how we benefitted from semantics is that previously we were only able to use Categories and read information of joining one or two categories, e.g. Artist pages that were both categorized as BEIJING artists and METAL artists. However now, with semantic properties, we had a lot of more data to play around with and could create mashup pages such as ROCK or Category:Records on which we were able to implement random videos from any ROCK artists or on which we were able to include a TIMELINE view of released records.

Owl:sameas (or sameas)

On various of our pages directly to Wikipedia pages.
However we learnt that the property

foaf:primaryTopic

is a much better and accurate property for this. The sameas property should be used for semantic RDF pages, i.e. the respective DBPedia RESOURCE page (not the PAGE page). Luckily we already implemented the sameas property mostly in templates, so it was easy enough to exchange the properties.
Having figured out this issue, we checked out both the freebase page as well as other pages, such as DBpedia or musicbrainz, but there seems to be no “submit RDF” form. Hence we decided that the best way for getting recognized in the Semantic Web is to include more links to other RDF resources, e.g. for our Category:Artists we set sameas links to dbpedia and music ontology. For dbpedia we linked to the class and for music ontology to the URI for the class.
Note on the side here, when checking on sameas.org, it seems that music ontology is NOT cross-linked to dbpedia so far.
Following the recommendations set forth at Sindice, we changed our robots.txt to include our semantic sitemap(s):

Sitemap: http://www.music-china.org/wiki/index.php?title=Special:RecentChanges&feed=atom
Sitemap: http://www.rockinchina.com/wiki/index.php?title=Special:RecentChanges&feed=atom

Going the next step we analyzed how we can include external data on our SMW, e.g. from musicbrainz or from youtube. Being a music-oriented page especially Youtube was of particular interest for us. We found the SMW extension External Data that we could use to connect with the Google API:

{{#get_web_data:
url=https://www.googleapis.com/youtube/v3/search?part=snippet&q=carsick+cars&topicId=%2Fm%2F03cmgbv&type=video&key=Googlev3API&maxResults=50
|format=JSON
|data= videoId=videoId,title=title
}}

And

{{#for_external_table:
{{Youtube|ID={{{videoId}}}|title={{{title}}} }}<br/>
{{{videoId}}} and {{{title}}}<br/>
}}

See our internal TESTPAGE for the live example.
Youtube is using its in-house Freebase ID system to generate auto-channels filled with official music videos of bands and singers. The Freebase ID can be found on the individual freebase RESOURCE page after pressing the EDIT button. Alternatively one could use the Google API to receive the ID, but would need a Youtube internal HC ID prior to that. Easy implementation for our wiki: Include the FreebaseID as semantic property on artist pages within our definitions template:

{{Definitions
|wikipedia=
|dbpedia=
|freebase=
|freebaseID=
|musicbrainz=
|youtubeautochannel=
}}

Voila, with the additional SQL-based caching of request queries (e.g. JSON) our API load on Google is extremely low as well as increasing speed for loading a page at our wiki. Using this method we were able to increase our saved YOUTUBE id tags from the original 500 to way over 1000 within half a day.

During Q&A I also gave a litte background on the actuall question but I want to be a bit more detailed in my blog:

• So yes I wish the “open web” to be a human right.
• And I also think it is really important to protect the copyrights of artists, musicians and other people creating stuff. Working together with In Legend I really know how hard it is for a musician to survive and it is really important that he gets paid for what he does and shares.
• BUT: the discussion is always an “eather – or” discussion and goes in the wrong direction! Bastian Emig from In Legend is very open minded about new ways to use the web working for the musician. Already in the plenary session Tim pointed out that he did not invent the Web to harm the record industry. But it is rather the record industry that refuses to think about new business models and just wishes everything to stay in the old ways which used to work quite well for them. 
• I made the experience that a band still needs to have a record label. You don’t get booked without the label. You don’t get articles in big print mags. The label gives you trust within the industrie and without that you are not seen by many people. And so on…
• But just in my experience I see that the record label does big harm to a musician. As a member of this musicband I want to share our music on the web. Since there is piracy – which I cant change – I just have to think about a way how I could profit from it. Obviously by sharing the music myself I can increase my reach. This could significantly increase my chances for direct marketing (making the record label kind of obsolate) and this is what the labels seem to be afraid of. The web offers several huge opportunities for musicians to become recognized and an established act. But Labels own the licences and block musicians in doing smart and wise moves on the web.
• I realize this problem exists due to the fact that labels have a monopoly on the product and too much power but pretending to protect the interests of the artists. Thereby hiding the fact that they are just fighting for their very own interests which do not neccessarily correlate  whitch those from artists.

Here my question / point

It is not about copyright vs free / open internet. It is much more about a new model of copyright that can coexist with a free internet. In This new model licence owners (e.g. the labels) wouldn’t build those exclusive monopolies giving them such a high power. I asked what can be done to establish a new way of thinking about copyright. Since it really does not make sense that itunes gets 50% royalties for a digital distribution that is almost free of cost which I could easily run myself!
First of all – to my surprise – this won me a big applause from the audience which happened very rarely during the conference.

The full panel and discussion can be found at: http://www2012.wwwconference.org/media/videos/keynote-neelie-kroes/
Gille – to whom the question was originally directed – who is very friendly to the record industry answered some stuff I don’t even remember but he was basically stumbling around.
But then two really great answers came along:
Neelie:
“We are working on this and we see that the biggest issue is the record industrie. They pretend to protect the artists and they are not! We need legislation but maybe we need new forms of legislation. Models that worked well in the past may not serve our needs in todays world. I agree with you that you are pointing to the most cruicial point in this discussion.”
Me being totally satisfied with her answer sat down but Tim Berners Lee wanted to say something:
“You know it! Think of a world that you want. Just imagine it!

• What would be the distribution? 
• what would be the user interface? 
• What would be the processes? 
• What third parties would be involved.

Go out and build it! Talk to the people here. Install an apache server and just go geek and make it happen!”

what a great statement!

It is always nice to have ideas and see solutions to problems. And yes you can always wine around and do nothing. But as a matter of the fact right now the web is still open an free! The technology is there. It really is just a matter of going out an building it. This is what I always said: This is why big traditional media companies didn’t built the youtube, google, facebooks, twitters, flickr,… applications in this world. 
This statement gave me a lot of confidence to stronger believe in my ideas and even one day later I am really feeling that this statement will change my future life. It is really interesting that a man – who I value a lot – tells me something I always felt, hardly did and hits right a way to one of my weekest points! 
After the sesion I got my copy of Tim Berners Lee’s book signed and he asked me to send him an email once my site is up. It is really amazing to receive this kind of feedback by such a great person.
That was one of the most inspiring moments in my life! So anyone who wants to join me going geek on the next generation music web app is very welcome to contact me or leave a comment! There really is a lot of stuff in my mind and I have already dreamt a lot and seen what is possible…

1. You should send a press release to all music related websites
2. You should show the videos to your  friends and ask them to reshare it with their friends
3. You should make a riffle regarding the video

Before I start with my thoughts. In this blog article I will explain some fundamental concepts of online marketing. This is not only interesting for musicians but for any brand! The concepts of branding will be questioned hard.

The aked question is very fundamental for online (music) marketing

The oberservation of this musician is quite right and holds true for many musicians but also for other products. Actually it is a nice application of the Pareto Principle (8.9% of bands make up 91.1% of plays on Last.fm). And the problem exists not only on the web. Once you start a new thing with a lot of enthusiasm you will most certainly get to realize that no one really cares despite the fact that your product / music is good and your receive some nice feedback. I looked at some of the social media response for this particular artist and found out that he really is in the lucky position to receive a lot of great feedback and see that quite a lot people cared. Still it is  hard for him to increase his reach and inform people about this very product id est introducing the music to them.

Problem of overcoming the boarders of one’s own social circle

The entire problem breaks down to overcoming one’s own social circle. If you understand that the entire world is a network (it is really hard to fully understand all the implications of this) you understand that the big problem in (online) marketing is the following:
You have your ego network – or let’s call it social circle of people – that you can reach with an idea. You will realize within your  social circle some ties are better and some are worse. Some ties are so great that they might even help you out (for example because they are your record label or promoter or booker or die hard fans). But in the end they can be all combined as one person in the network that has a (somewhat bigger) social circle. And the social circle will look like the following pictures which I took from Marc Smith Blogpost about social networks in the news (A tutor of mine at Webscie summer school 2011)

In this series of pictures you can actually see how weak your social circle is (and again for a music band the circle might be bigger at all but the entire picture will look similar:

Even though you can reach anyone in our worldwide friendship network with only 6 people in between your social circle will only reach a view ten thousand people! So the question is: “how to get the other 7 billion?”
To make this even more clear: As a b(r)and you might “know” an amazing number of let us say 3500 fans (mabe you reach even more) and become a “rather” central node in the social graph of people and brands. But let uns see why this is not of any help!

1. you know 3500 fans
2. Those fans already have 410’000 (almost half a million) people in their ego networks which probably makes the use of Facebook so tempting. 
3. Your fans friends altogether know 51 mio people. 
4. Finally these people that you already know over three hops will know the entire rest of the world e.g. the other 7 bn people 

Do you really think your music / product / message / idea is so great that your friends will tell their friends who will tell their friends who will tell the others? That is really all it takes! 4 hops. Sorry to disappoint you. This is almost impossible to achieve!

The classic answer before the viral web was born: Advertising

Well the problem existed a long time before the web was born. People already have figured out the solution: You ask someone who has a huge reach to tell his audience about your new idea! Less sophisticated we can summerize this idea in one word: “advertising” you go to any media pay them some money and they will talk about you. This worked amazingly well in earlier days. There wasn’t that much media and if you had your product in some media you could be certain that you had at least a brand awareness. But there is a limitation of advertising…

A Problem of advertising and some advantages and disadvantages of online advertising

Of course once you run advertising campaigns your will receive some attention. No matter how good or bad your product is. That was the principle during the Dot com Bubble  where many start ups spent way too much advertising dollars and money to built reach instead of focusing on a great product. This is the reason why every ad campaign should carefully measure several things (fortunately in online marketing this is easier than anything else!):

• Conversionrate – as the percentage of people that convert to (fans, custormers, emailadresses,… basically whatever goal you have for the campaign)
• Bounce rate – as the amount of people that clicked your ad but left your page / product right away
• The price you pay per click (or per 1 thousand impressions)
• The value to you for a new fan (customer).

Once you know these numbers you can easily calculate weather an ad campaign is usefull for you or not! And you can calculate those numbers easily. The first three are given or measured during the ad campaign. If you don’t know how to do this. Contact me. The last one has its own paragraph.

What is the value of one new fan?

For the value of a new fan you could do the following. Count the number of fans you have (e.g. size of news letter / facebook fans …) and then look at your last year revenue (sum up: merch + concerts + sold music) devide this number by the number of fans and you see how much revenue one fan produces in one year. I know it is only a rough estimation but I wonder how many bands have calculated this number! Look at other products and markets.Everyone who is in the business of direct marketing maintains a customer data base which is a solid asset to the business. Groupon for example gives away 6 Euro for every new Customer someone finds. (This means that Groupon thinks a new Contact is worth at least 6 Euro.) 
As a musician you should know this number. Assume a new Fan is worth 6 Euro to you this would mean that knowing 5 thousand fans is worth as much as the production of an entire record. Could this be true? Actually I will try to start some calculations together with my Collegues from In Legend soon and try to calculate how much we should spend to gain a new fan!

Problem of aggressive marketing vs spreading of new information

On the web the problem is that people have so much choice that advertisting only helps to some degree. With Google adwords for example you only pay for clicks. So you definately obtain the attention. On the other side people drift away very quickly and their span of attention is very small. Another drawback is that many things on the web are free. Even though advertisting for music on the web is so much cheaper than offline advertising it is not standard to make use of advertisting on the web. Recordlabels and promoters so far refuse to invest money for it. That is sad because there is a lot of potential in online advertising (especially once you measure your conversion and bounce rates as well as the click through rates.)
Luckily those rates can be measured before you run an ad campaign. Investing money to increase reach should therefore never be done to a complete new product. A complete new product should be tested first. You meassure the feedback. Once you realize that people are happy you are save paying money to increasing your reach. For example in in legends case the youtube pandemonium video received much better feedback than vortex video and so far the soul apart video seems to receive the best feedback overall. By user ratings / average daily views as well as user comments. So you better go out an make advertising with your best performing content. Will you care that this is not your newest piece of work or even the first video? Hell no! Advertising is always targeted to people that don’t know you. You can even show them a 10 year old video and they might not realize its age! Once they like you they can still discover your newer stuff. 
Attention the above suggestion drastically changes if you are a mature b(r)and. In that case of course your star products are already well known and you should use promotional power and your brand recognition to get out the new product. This leads to the next paragraph.

Do all these calculations depend on the maturity of the band?

The answer is clearly yes! A band that is mature will still need promotion and advertising but also a lot of messages spread from almost alone. Some other things are easier achieved (mag title stories and so on…) But the obvious message is the following. The cost of advertising and your conversion rate will most probably stay constant and remain independent of the bands maturity. Metallica has to pay the same price for youtube ads as In Legend has to. But the fan is worth more if a band is not mature yet. A fan from the first record might go to many tours and buy a lot of products and also help spreading the word in a viral manner. For a mature band chances are pretty high that people who see the ad already know the brand but already decided not to like the band. So even though a young band has not much money and can not be sure that the product is already sufficiently good (which will lead to a drop in conversionrate i.e. more expensive ads or higher acquisition cost per new fan) ads make much more sense if the band is totally unknown. Be couragous invest some money and bootstrap your product! You are also courageous by going on the stage. So please also enter the web stage and built your reach! I know it’s less fun than rocking the audience in a life concert but the effect should be pretty much the same.

Other non advertising impact factors to overcome the boarders of one’s social circle

Since advertising is very expensive and probably not sustainable one can wonder if there are other ways to overcome the boarders of your social circle. I would say there are. The best way to do so in my pure empirical experience is transparicy, openess, the trust in other people and the interactive communication with them. Take me as an example. When I went to china I had basically no one to talk to about my interests. Now I started blogging sharing my ideas and – some people already called me crazy – parts of my intellectual propertie. Guess what! By doing so I was able to find more and more people with similar interests from all around the globe that I would never have met in my own social circle giving my valuable feedback to my ideas. My Reading club on distributed graph data bases is just a recent example of this added value from transparency.
So as a band here are some things you could and should do besides advertising your star products (and yes it is not the mainstream and might take some courage to do so!):

1. Interact with your fans. Treat them with respect. Not just by telling them but by really showing them. Don’t be so “kind” to share only news about you. That’s not interacting that’s publishing! Join the discussion on current topics (in music, news, …) or respond to what your fans say! Find out if it is relevant and stay in a conversation. I know it is hard since fans can become annoying and as a person it is already hard where a band has much more fame and more people and ideas to take care of. 
2. And please don’t be fake interactive by asking questions like “Heya Legends..
   A new week has begun, what is your sound for depressing mondays and what gets your through the week???” Asking questions especially if they don’t really carry a meaning is not interactive. That is just embarissing. That’s the reason why this kind of questions don’t take your marketing anywhere.
3. Integrate your fans! That is the by far most promesing strategy. As a band with already 3’500 fans there is so much diversity, creativity and so on that you will be able to achieve extra ordinary things. I am sure fans of you will have access to recording studios will have access to cheap videos maybe there are webdesigner and photographers. If you interact with your fans in a very smart way you don’t even have to ask them if there is a REPLACE BY WHATEVER YOU NEED. You will just know who is it. This leads me to 4th
4. Use the upcoming social network google+. First of all it is very obvious that it will kill Facebook on the long term (probably even on the short term) but more important it supports you to follow your fans since you can put them into circles. So all photographs go in one circle. All reviews go in another circle, all bloggers in the next circle, all technicians, all bookers, all concert organizers and so on. Streetteamer go in one circle. Follow those people they like your music and could be valuable for you.   
5. Speaking of streetteam: I once talked to a record label coworker. She told me in her experience the single best promotion tool for a band is a streetteam. Unfortunately I have seen many streetteams also did not receive the respect they deserved from band mambers. A band’s streetteam has an incredible impact. I once wondered how a poster of my favourite band came to be placed on a train station of a minor German city. It was much later that I realized that this must have been streetteam members… On the web by being interactive you can build your own global streetteam with almost no cost – besides time! Treat your streetteam. Have a streetteam meeting at least once a year and have all bandmembers come and have a great party with them. You can also make virtual meetings.
6. last but not least: Do all the things your promoter suggested at the very top of my post. Those are the core homework choires. 

For the last lines. Have fun making music and enjoy the most recent video of my band

final thoughts

I have to admit that the song is great (though I usually listen to heavy metal) and that the video is really well recorded and produced. I wish they had just officially helped to spread the good idea of the jubilee project. Anyway I hope the user discussion on youtube will last and maybe in this way the jubilee project will receive even more attention.
I can understand that musicians are frustrated and feel betrayed but I can only remind you to act with moral and good ethics on the web. There are so many great opportunities on the web also for musicians. Noone would have objected if DJ Sammy had used the video and worked together with the jubilee project!
If you know more about this topic please tell me in the comments. I’d love to be updated how the story continues!

Motivation: Compare theoretical reach and cost of youtube ads vs print media

• The current situation in youtube is the following. Right now you pay 1 Cent per person watching your video / listening to your piece of music after he by himself has choosen to click on it by seeing an interesting title and description.
• In print media on the other side you pay 500 Euro for a quater page of advertising. At least that is the number that I know from Metal Hammer which is read by 40’000 people. This means you pay 1.25 Cent per Impression! 

You think this sonds like a similar price to you? WRONG! That is much more expensive! Let me tell you why:
Not only 1.25 Cent is more than 1 Cent. But recall that an impression in a magazine full of advertising is not seen by many people. Also we know that even the people who see it don’t take an action and buy your CD or search for you on the web. On youtube again every Click means that a person spends at least 4 minutes with your music and you have the chance to score some points. Think of your self! Do you become fan of a band just because of a silly ad in a magazine or after watching a cool video and listening to a great song?
I have to admidt thogh that there is the positive fact that ads in magazines give rise to stories in mags which have a huge conversionrate and a reach that probably goes far beyond the audience of the mag. Well on the other hand sharing a Youtube video with you friends also has a huge reach that goes beyond the  audience you payed for.
So we conlude Youtube Promoted videos is the much more superior, efficiant and much cheaper way to reach new fans!

what is going on on youtube and what do you have to watch out for?

Let me first explain the difference between Conversion rate and Clickthrough Rate (which is called viewthrough rate = VTR in the context of youtube):
View through rate:  In the dashboard of your youtube ad campaign google tells you about your VTR and says the higher the VTR the better. Well that is technically true but there is one little thing missing. A high VTR is helpfull for Google/Youtube. You don’t have to care. VTR means how many times does Google have to show your video as a promoted video untill someone sees it and you have to pay. so if your VTR is 1% it means that after 100 display ads you have one person watching the video and you have payed youtube once. Let’s assume the rate is 2%. Well then with the same amount of impressions youtube has earned the double amount of money. You should not care about this rate. As long as you get the viewers you payed for everything is cool
Conversion Rate: A metric that should be of your interest though is the Conversion rate. Unfortunately this is hard to track and google does not really help you on this. It tells you how many of the people your reached turn into fans / recommend the video / sign up to your newsletter / buy an album to make it short take any action. You are interested in a high conversion rate since it gets you the maximum out of the viewers you payed for.
This rate is probably increased by choosing good keywords and being really honest in the ad text about what to expect. Despite what youtube is saying you’d rather have a lower VTR and increase your Conversionrate!
Ads within the video. As soon as you have your video in a promoted campain you can controll the ads that are displayed within your video. This enables you to display something in the video with a link to an external website which is impossible otherwise! The funny thing is if the campaign is paused due to the fact that your google adsense account is runnin out of cash those display ads are still visible. I will write an entire article about this nice little trick!

My personal Experience

I have the feeling that on my first test on youtube I did not get a high conversion rate. Only 0.8% clicked on the download this video for free link! (but most of them actually registered to the site an downloaded it)
I was lazy and made a campaign with 150 different keywords (which I choose as popular metal related words from metalcon (mostly band names)). all ad’s had the same ad with the same title and text. For example I bought the keyword: “hard rock” well our music is not really hard rock. Since we also used this word in the ad text I guess a lot of people have been disapointed and did not convert.
Since youtube seems to favor ads with a high VTR (this happens if add text and the keyword you pitch for) are similar (because users think the video is of interest to them) we recieved 40% of our views on hard rock which is as I said not even a good keyword at all.
Next time I will group keywords together in smaller groups and make ads particularly for these groups in this way I push VTR which is good for youtube but I also find fans on keywords that will convert better and I can drop off the campaigns for keywords like hardrock…
Overall I have to say that I bougth 1000 clicks per day for 10 Euro a day for a German audiance. Which was nice overall. I spend 80 Euro for 8 thousand views which gave our video a nice little push. 

Summary of my Experiences

• I think Youtube ads are very cost efficiant and are a great tool for musicians. It is a product where advertising really makes sense / not like a tv commercial for diappers or some other FMCG…) It is especially good for small musicians that need to introduce their music to many people.
• Right now ads on youtube are totally undervalued (which will most certainly change over time). I cannot imagine that in 5 years from now youtube ads will still be that cheap.
• However youtube has the problem that high quality advertising material is rare. so maybe the price might stay low for a pretty long time.
• Youtube ads can probably be even more efficiant if good keywords are selected!
• If it was my decission for a band as small as in legend I would buy advertising on youtube for thousand till two thousand euros.
• I would not need to depend on any label or promo company or any other person to reach a very large audience at a rather cheap price! I would have real people who spend time getting to know my music!

in other words we again see a situation in which the web can help people to solve a problem. A new comer can reach out to hundres of thousands of people at very low cost and independent of other people!
So tell me what is your experience with youtube ads?
 

• the dvd enables us to advertise our products (concerts, merchandise, records, online activities…)
• the lyrics of the songs can be displayed
• the dvd will help us to keep the user with OUR videos and not keep on surfing to some other related content
• Pleased by our good experiences with the free Pandemonium Download In Legend agreed to make the videos available for free download on their website which will contribute to In Legends viral marketing!

I am really excited to see how the idea with the Youtube DVD will develop. How the videos will spread and if the users like and understand the menu! It’ll be also interesting to see if other bands will adopt to the idea. If people are interested I will post some instructions how to create such a Youtube DVD. If you guys have any suggestions comments and thoughts I’ll be happy to hear about them!

Answer all Questions in your Fan mail on a regularly basis (maybe weekly) on your website!

Answering fanmail one by one is really taking a lot of power. You could rather answer them publicly on your website. So if someone sends you an mail and puts some questions inside you will extract the question and post it in some section of your homepage. you order the questions and answers by date to show that you are actually answering questions regularly and thereby show that you are happy about more questions. you write something like

2011 August 30 – Bob asks: Hey band, I was always wondering could you do a show in ….
Musician from Band: Dear Bob thanks for your question. We would love to do a show in …

If there are more and more questions you can later on think about grouping them by topic and make it easier for your fans to navigate through them!
And by the way you can also extract questions from social media. Whenever you answer a question you should sent a quick reply to the person that asked the question notifying him or her that you answered it at the following link…

There are several reasons for this process:

1. For your fans it is really great and interesting content and they will visit your homepage more frequently. Especially because you also have several updates.
2. You don’t have to answer same questions several times. Which saves you time!
3. It shows that you actually answer to questions (especially if you post the date of the question!)
4. it is better than answering on facebook! because you controll the content and people are on your homepage (where one can also find your shop!)
5. it is content around your band name that will make your page also relevant for longtail queries for search queries. Which will in turn bring more natural traffic to your page.
6. Since you answer the question as a response it it still a pretty personal way to communicate.
7. you can later on refere to what you wrote!

I have seen an author of a book doing something similar 3 years ago and it worked perfect. She just answered 5 or 6 questions a month. I am excited to see what my bandmates from In Legend think about this idea!
By the way I am doing nothing else here in this blog. Earlier days if I had an idea I sent an mail to In Legend and later we discussed the idea and eather followed it or threw it away. That is time consuming. By blogging my ideas they are available for the future. If in Legend can’t follow the idea hopefully other people and bands find it useful! This is is a philosophy! The internet has shown in many great examples that open source and openess in general works amazingly fine!
The whole topic is by the way part of Customer relation management! I have never learned that in theory. So if you have some great resources on CRM (especially in music) I’ll be happy to get your reading recommendations.