Musicinfo: a Music Distribution Platform That Can Help You Reach Music Fans in China

Musicinfo: a Music Distribution Platform That Can Help You Reach Music Fans in China

It’s time for another The Music Entrepreneur HQ exclusive.

You may already know how easy and affordable it is to distribute your music.

But did you know your music may not be reaching people in China? Considering the size of the country, wouldn’t it make sense to get your music out to as many people as possible?

Juri Kobayashi of Musicinfo shares about Musicinfo, a music distribution platform that can help you reach a new audience in China. Read on.

1. Tell us about who you are and what you do.

I am part of the marketing team at Musicinfo where we brainstorm and devise our plan to get the word out about Musicinfo. We are a diverse group from around the world who are flexible in sharing work and supporting each other with our own expertise. We are all motivated in our work and passionate about music.

2. What is Musicinfo? How does it benefit musicians?

Musicinfo is a Finnish based digital music and social media distributor to China for global independent musicians. Musicinfo opens an enormous market for musicians from around the globe to share their music to a massive new audience in China.

Musicinfo opens an enormous market for musicians from around the globe to share their music to a massive new audience in China. Share on X

With the majority 82% of the global market revenue going to the top players, Universal, Sony and Warner (Buzzangle, 2017), independent musicians need an advocate so their music gets heard. Not only can our customers distribute their music and music videos to China and for those who already have their music in China; They can promote their music by using our promotion services and gain access to Chinese social media channels.

You will be part of the privileged to acquire entrance into the palms of Chinese social media users, a place where Facebook, Twitter and Instagram are forbidden.

3. What’s unique about your music distribution and promotion service?

Musicinfo digital distribution service

Musicians can distribute their music to more than 20 of China’s largest streaming services such as QQ music, Kugou, Kuwo, NetEase, Baidu music and more, with a combined audience of over 720 million listeners. This is a virtually untapped market as western music and video services such as Spotify, Deezer, SoundCloud and YouTube are outlawed. For a reasonable service fee based on the quantity of music you would like to share, Musicinfo’s customers will collect 100% of the net accumulated royalties; Musicinfo’s services are covered by the subscription fees.

Musicinfo brings an exceptional opportunity for musicians to gain the adoration of a massive new fan base. When an artist’s music or music video is available to the Chinese audience our clients can promote themselves and their music with our Social Media & Video Promotion services. This is essential in a market where western social media services such as Facebook, Twitter, and Instagram are forbidden. Musicinfo’s promotion channels include the microblogging site Weibo, which will post the equivalent of Twitter and Tencent media promotion service, which will post your long post (500 words) with images to all the Tencent media channels, including the most popular social media services, Wechat, Tencent News, QQ Kandian and Kuai Bao, which covers 800 million monthly active users.

Our promotion services also include video promotion. This is an exceptional way to promote your music and yourself as an artist; One of our client’s videos has already gotten over 2.7 million views! Your video will be uploaded to two of China’s most prominent video platforms: Tencent QQ Video with 280 million monthly users and Yinyuetai music video platform with five million daily users.

4. How important is it for musicians to distribute their music in China? What opportunities exist for non-Chinese artists?

We all know as musicians it is hard to make a buck. It takes hard work to pour our soul into our music and then to squeeze blood from a stone, even more work to get our music heard enough to make it live for us. It is important to utilize all opportunities available and to collaborate with honest partners to acquire successful opportunity.

China exults a massive 977 million music user audience. Each listener listens to an average of 16 hours of music a week, 66% of which comes from streaming services. As various music becomes available, listeners’ tastes become more distinct and diverse, gone are the days where pop ruled the scene, Three out of five artists from digital sales are independent.

Gone are the days where pop ruled the scene, Three out of five artists from digital sales are independent. Share on X

5. Is there anything else I should have asked?

What comes next?

The core of any musician is to make music. The dream to make music grows in its evolution to expand and be heard and in its survival to maintain a constant creative flow must support its host. It thrives on acclaim and no better place to attain approval is from live performance. Musicinfo thrives to support independent musicians and their music and is standing by with gig operator contacts to help bring artists to their audience, because applause at your performance is our greatest success.

Final Thoughts

I don’t know about you, but I’m convinced. Distributing your music to China could be a great way to diversify your income!

If you enjoyed this interview, please take a moment to thank Musicinfo on Twitter: @musicinfoGlobal

If you have any questions or comments, please share them below.

How to Use Your Skills to Create a Successful Online Business

Hey, music entrepreneur!

This post comes to us via Lawrence Mager.

Though it does not speak directly to music entrepreneurship, it does talk about leveraging your skills to launch an online business, something you can do whether you’re a musician or budding music entrepreneur. It’s also my basic thesis for creative alchemy.

I’ve also shared about how a musician could have a side business that supports their creative endeavors, sort of like having a job, except you would own your job, which would make it more flexible, and would also give you the opportunity to earn on performance. You can learn more about this in The Essential Guide to Musicpreneurship: 2017 Edition.

Fundamentally, we can always learn from the successes and mistakes of others, so that’s what I’d like to encourage you to do as you read through this post.

By the way, if you think you’ve got what it takes to become a Music Entrepreneur HQ contributor, you can read our submission guidelines here. The faint of heart need not apply, because we’re not just looking for content. We’re looking for great quality content!

I’ve rambled on enough. Here’s Lawrence to tell us how to create a successful online business.

If you’ve recently been laid off or left your job because you wanted a change, you might be looking for ways to use the skills you learned through years of work to branch off and be your own boss.

The good news is that the proliferation of the internet has made starting your own online business easier than ever. You can use your skills to teach, consult, and market yourself online.

Here are several ways to leverage what you’ve learned to launch your online business.

Online Instructing

One way you can put your skills to work is to become an online coach or instructor.

“If you have a marketable skill that others want to possess or get better at, then there’s a market for being paid to coach people, one-on-one, into an accelerated learning experience,” says TheBalance. “The most exciting thing about starting an online coaching business … is that once you’ve perfected your teaching experience, you’ll be able to easily package it into a more scalable version – an online course.”

Before you get ahead of yourself, ask yourself some simple questions like what am I an expert in? And what unique skills do I have to offer? The good thing about the internet is that it connects you with people from all over the world, so there is going to be demand for whatever your skill is.

There’s no reason to limit yourself to the skills you developed at your previous job/career. You can also be an online instructor for skills you’ve developed in your free time. This way, you can turn your hobbies into a profitable business model.

Online Consulting

“To become an online consultant, you typically sign up with a third-party service (although you could just do it yourself) and create your expert profile on its site. Niche and specialty skills like SEO, app development, grant writing, web design, law, content creation, project management and quality control are heavily represented,” says

If you are experienced in web design, you can set up your own site for your online consulting business. Of course, if you do that, 100% of the marketing and networking is on you. Use previous business contacts and social networks to help build your potential client base. If you do opt for joining a third-party service, it will likely draw a fee for linking you to prospective clients, but much of the networking will be handled by the service. There’s no reason you can’t tackle it from both angles.

As mentioned above, some skills are already well-represented in the online consulting marketplace. This puts a premium on more unique skills and qualifications. If you are an expert in an under-represented field, you may want to try consulting in that arena as your competition will be more sparse.

Using the Sharing Economy to Your Advantage

The sharing economy has exploded over the past few years, as people who need certain services can be easily linked to people who can provide said services through the internet and apps. If you want to target individuals as opposed to larger companies with your business, this is the way to go.

The sharing economy approach is similar to freelancing, as you advertise your expertise and offer it to individuals for a price that you establish. This is great for those with skills in tutoring, housekeeping, caregiving, and other fields with individual clients who have specific needs.

The most important thing to remember when starting any online business is that you need to promote your skills in a smart and effective manner. You need to brand yourself as an expert, which will separate you from those with less knowledge in your specific field.

092 – The Importance of Metadata & Getting Credit for Your Work in the Studio – with Deborah Fairchild of VEVA Sound

092 – The Importance of Metadata & Getting Credit for Your Work in the Studio – with Deborah Fairchild of VEVA Sound

These days, recording project related data doesn’t get captured the way it used to. This leads to incomplete metadata and a loss of opportunity for those involved in the recording process.

In this episode of The New Music Industry Podcast, Deborah Fairchild of VEVA Sound shares about how easy it can be to collect the right data with their Studio Collect plugin.

Podcast Highlights:

  • 00:14 – Introductions
  • 00:24 – What is VEVA Sound?
  • 01:52 – Why is metadata so important?
  • 03:51 – Why aren’t studios collecting recording data anymore?
  • 09:33 – What are some common mistakes engineers make in recording data
  • 11:14 – What have you seen people do with collecting data that surprised you?
  • 13:20 – How does the Studio Collect Suite plugin work?
  • 15:43 – Do you need a plugin like SCP to begin collecting recording data?
  • 16:37 – How can metadata help with monetization?
  • 18:18 – Where do you see things going next with metadata?
  • 19:44 – What advice do you have for audio engineers?
  • 20:50 – Conclusion


David Andrew Wiebe: Today I’m chatting with VEVA’s executive vice president Deborah Fairchild. How are you today, Deborah?

Deborah Fairchild: I’m doing well. Thank you. How are you?

David: I’m great, thanks. Thank you for asking. So tell us a little bit about VEVA Sound and what you do.

Deborah: So, VEVA Sound is an asset management company that we started 16 years ago in Nashville. And we’re the bridge between recording studios and the creatives and content owners. So we work with a lot of the major labels in the US and Europe, and Universal, Sony… Companies like that, as well as people like Bruce Springsteen, Garth Brooks, that own their masters, we can handle the catalog transfer, legacy equipment. So we have a collaboration with Blackbird Studios in Nashville where we pretty much have every piece of machinery available from every format that music was created in. But through the years, the past 10 years, especially we’ve focused in on everything is already digital. So there’s a lot that goes on in the back end. You know, all the files, being on servers and recorded in studios and different houses and things like that. We facilitate the collection of the metadata and the audio files, and then provide it in platforms where companies and entities can utilize it and re-monetize it and repurpose it. Sorry, that was a little long winded?

David: No, that’s very helpful. Why is metadata so important? And why should credits be collected during recording sessions?

Deborah: So, it’s interesting… I’ve always been fascinated, I’ve been doing this now for 15 years, and everyone at VEVA has an engineering background. And we’ve all went to audio school and have worked in studios and part of the creative process. And what we found in our work that we do for the record labels and things like that, but for whatever reason, the concept of collecting your credits, while you create your your music is something that’s been lost in the digital age. So previously, like when we’ve done transfer work, we were literally scanning track sheets that have all of the instruments and who played on it, and what studio they were in and the date and all kinds of information descriptive, and technical metadata about the recording. And when things have gone digital, it’s really something that has been left behind. So what ends up happening is because of the way the fragmented recording process occurs, which is also really cool, you know, I can be in London and send files over to LA. And depending on the file size, they can have it in 20 minutes and download it and start working in LA on the same project. So everything is so fast paced, and people are forgetting that they need to, you know, write down who is there. So then eventually upon release, it can be discoverable and available to consumers. And so we’re really hoping with the plugin we’ve created, it’ll the ease of access to actually gather this data can start happening within the Pro Tools session, Logic session, things like that, and then travel with the session, and then ultimately reside in a better user consumer experience.

David: Why is it that many studios aren’t collecting recording data anymore?

Deborah: Well, it’s not the role of the actual studio, which I think a lot of people kind of get confused on that part too. So the role of the studio is to provide, the gear and the acoustics and different things like that in terms of a lot of people will go to a certain studio because they have a specific microphone that’s really rare. And it sounds amazing and stuff like that. But from a business perspective, it’s up to the actual engineers and producers to collect the data because then as soon as you leave the studio, you take your files with you. And the knowledge of who was there goes with you as well. So it’s more up to the individuals creating the music to actually document it because they’re the ones there. So the studios aren’t very reliable, sometimes for files, but even then, you know, once the session is paid for and done. It’s up to the person who paid for the session to keep track of the files and things like that.

David: I’m sort of imagining engineers or producers being too shy to ask for everyone’s name, or maybe just so caught up in the recording session that they even forget to ask.

Deborah: Yeah, I think it’s, it’s really fascinating to me why all of the reasons why it’s not happening. I think it is a time thing. I think people think it impedes on the creative process at times to kind of stop a session or even start a session to ask. So there could definitely be some of that embarrassment or not wanting to rock the boat or things like that. But we feel that as things continue to progress with, you know, Spotify has announced that they’re going to start doing enhanced credits, there’s a company called Jaksta, that is launching this year out of Sydney, to be a global database at this sort of thing. And open doors doing some work in… different companies are starting to display more metadata, and I think that shift is going to cause a stir within the creative community because they’ll want their names, at the point of stream or sale, or I think it lacking on that area is kind of causing an adverse effect in the studio, because, you know, the engineer’s name isn’t readily available anyway. So they’re thinking why waste time doing it,

David: So, they don’t feel like they’re being credited to begin with. So then they’re kind of going like, well, I shouldn’t have to do this.

Deborah: Yeah, it’s kind of like the chicken and the egg issue. But it’s also a bigger issue within the Grammys and getting nominated and things like that, you have to have actual credited information in order to get nominated. And a lot of people sometimes get left out of hit records, because their names didn’t get collected along the way, which is really sad, you know, it’s a big issue within the music industry as a whole. But I think there are lots of companies that are working to make it better. And so we our company is just part of the process to try to raise awareness of the issues, of course, but also show that there is a light at the end of the tunnel. And there will be companies that come along. So like the Jaksta company, it’s in beta right now. But you can click on a guitar player, for example, and then see every recording that that guitar player played on, which is really cool. Or mix engineer, click on a mix engineer’s name and see every album they ever mixed. So that’s something that’s really exciting and cool. That’s on the horizon.

David: That’s huge, because it’s not the same as like a ghostwriter who isn’t credited on the recording, but still collects royalties, versus somebody who doesn’t have their name on it and can’t collect anything that’s owed them.

Deborah: Yeah, so it’s really cool as far as, and also just getting work. So, you know, back when people were buying CDs, you could open up the liner notes and see the guitar player and different producers and people like that and they would maybe hear hear a sound and then contact the player because they want that that person involved or right now that’s also lost.

David: Yeah. And that kind of goes to a deeper issue as well, where so many things sound alike, and a lot of producers are copying each other or trying to emulate one another. And there’s not as many unique sounds, but in an instance where there are I think you’re right on that there’s people that would love to contact and work with you if you have a trademark sound.

Deborah: Yeah, it’s definitely… I think as more of the companies start displaying this metadata, which is definitely in the works with a lot of entities, I think our our help in it, of providing, you know, this plugin, really we’re trying to be non-intrusive, and something that engineers will want to use. So, in the grand scheme of collecting metadata around a whole project, that may seem like a lot of information, but if it’s gathered along the way and collected as they’re creating, it really isn’t that much time or effort to add the little bits of metadata as you go along. That’s what we’re hoping happens, you know, like that, it isn’t some cumbersome, big deal, a big drag, you know, like, “oh, I don’t want to do this.” It’s something that it happens in the session, it gets saved, you know, the next engineer opens the session, they can add their bit of data, and then it travels that way.

David: So, let’s say an engineer is diligent about collecting data. What are some common mistakes engineers make and recording data when this responsibility falls to them?

Deborah: Well, something we haven’t touched on yet, but this is a good segue into that is, there’s an entity called DDEX that is all of the company’s digital data exchange standardizing how data is sent around and our plugin exports a RIN file which is the recording information notifier that has all of the fields, the Recording Academy actually did a minimum field set that they would think is the minimum amount of data, the engineer should collect. And so when you export it, because of a plugin that has all of the necessary fields, and so it’s something that because visually, it’s there, then they won’t forget, because you can actually see, “oh, I need to put this in there and I need to put that there.” And then when you export the RIN file, it can flow into the, into the supply chain. So it’s giving an engineer a leg up in the sense of not having to remember or forget things, because it’s right there. You know, like when they open the plugin, and they see the song titles, and “oh, I need to add this and add myself” and it’s tracking data it adds a level of organization. So I think it’ll really help people, even the most organized ones, just do it in an easier fashion. Because right now, it’s kind of like spreadsheets or Word docs or a Google Doc or, you know, it’s just kind of all over the place. There isn’t really a structured method for it.

David: And this is a related question, but what sort of things have you seen people do when collecting or not collecting data that surprised you?

Deborah: Well, that’s part of what’s interesting about our company is we do that we do a credit, that’s part of what we do when we are working on verifying and archiving digital albums every day, is we reconcile the credits and go back and forth with producers and labels to make sure things are there. And when we’re trying to get the credits, it’s literally, we will get text messages or phone calls or an email, it’s just so scattered in terms of how it’s collected, currently. And I think the worst part is when you kind of notice, as things are going down, when you’re trying to get answers on credit that people really don’t remember, you know, because they’re collecting it maybe eight months later, and it was a session, and then everyone’s busy, and they’re working on a different song. So I think just being forgetting about people that are involved can happen and does happen, which is really sad.

David: Yeah, it is a challenge when you have so many different responsibilities, something that I’m wanting to do more of is collecting live performance royalties from the shows that I perform and, you know, submitting those songs and everything. And, you know, just like you say, it can end up being months later, when you don’t even have all the information anymore. Or when you don’t have the relevant tickets or date or whatever of the show. And you can’t get those… Or when you finally get around to it. You’re not sure all the details are there.

Deborah: Yeah, definitely. I think it’s something that it’s never, I don’t think the creative people are intentionally ever forgotten. I think it’s just like you said, they’re busy. And it’s just not in the forefront. That’s why we’re hoping the plug in and the adoption of it. And that the plugin is free. That’s also helpful. You know, it’s not something that we’re charging engineers, it’s something that we’re hoping can be a tool that they can use and integrate into their workflow. And then it becomes second nature, hopefully.

David: Well, you’ve mentioned it several times already. So how does your studio collect suite plugin work?

Deborah: So it’s a diagnostic plugin that can be downloaded and used on Macs or PCs on any sort of Logic, Pro Tools, Nuendo, any sort of digital audio workstation, and we recommend just putting it the plug in on the master fader, it doesn’t affect the audio, it’s strictly metadata. So you can download the plugin, insert it into the master fader, and then you start adding the data as you metadata as you go along. So when you start out, you know, it may just be you, if you’re an engineer, and you’re creating a beat, you would credit yourself as this is my beat, this is what I’m doing. And then you save it within the session. And the idea is if someone has your session, and they’re modifying the data that they have some sort of right to have the session, if that makes sense. So it’s locked within the recording process. And then once it’s finished, and the song is finished, you can export a PDF that can be sent around, you know, to whoever you’d like to sign off on credits, but then it also exports, the DDEX RIN file, which is an XML data file that can flow into other databases. So like you mentioned CD Baby earlier, you know, we’re hoping that we can integrate this into different companies like that where they can then import a run file and I already have all of the data and credits surrounding the song in one place.

David: Yeah, I think a lot of artists specifically would find this beneficial. Some distributors are very easy to send your music through and get it onto all the popular stream streaming platforms and online stores, while others require information that an artist would sort of be scratching their head going, “What exactly are they asking for here? What do I need to put in?” So I feel like in some ways, this is one of those things that if it was sort of taken care of artists wouldn’t have to think about it as much.

Deborah: Right. Yeah, absolutely. Like the need of who recorded what and where, really does fall on the engineer, because they’re the ones recording it and doing it. So giving them a method to gather it in a tool to keep it going along the way, is what we’re hoping the plugin does.

David: The benefits are pretty obvious. But do you need something like SCP before you begin collecting recording data?

Deborah: I mean, we feel like having it on the front end is it really is that ease of access, we were releasing a platform that’s going to coincide with it. And that will gather along the way. So the plugin right now is strictly the metadata. And then we’re releasing the platform later this year where it can replace, you know, Dropbox, Hightail, any of the file sharing services, so you can basically have all of your metadata, as you’re collecting sessions sync up with the platform, and then all of the audio and have everything in one place. So yeah, I think introducing the plugin first is our attempt to just make people aware of that it’s available that it’s something isn’t easy to use. And yeah, kind of like best practices of how to gather it.

David: You’ve alluded to this as well. But I think it’s the part that a lot of people will be excited about, in what ways can proper metadata help with monetization?

Deborah: So I think all of the issues that we’ve I feel like are been talked about a lot is the fact that the metadata isn’t getting collected, while it’s being recorded, leads to a lot of miscrediting or not crediting at all. And so that the proper crediting will with the discovery, so being in something like Jaksta, and getting more work, and actually the royalty stream if you are involved in a hit song that you may not… That’s the other thing that’s funny we haven’t really talked about, but it’s kind of like, no one really knows what’s going to be a hit, even though people try to think, Oh, I’m going to market this on this label, it’s like we were talking about before the podcast started, but for independent artists and things like that. As you’re recording techonolgy and sync licensing and everything going on, you really don’t know what can take off and explode with consumers. So gathering it at the point and knowing that it can flow with the RIN file into wherever it needs to go, will lead to proper crediting and more payments to everyone involved.

David: Yeah, that’s where a lot of assumptions can be made, right? Because I’ve even read online, there’s no discernible advantage to being like a signed artist, if you’re looking for sync, you know, or licensing and placement opportunities. Even independents do tend to get a lot of those and make pretty good money at it. So exactly. You just never know what’s going to hit. And where do you see things going next with metadata? What is your next step?

Deborah: Well, our focus is to really build things, like I said, at the beginning, we are all audio engineers, we’re all working in studios. Prior to working at VEVA and a lot of us still do work on different things. So our goal is to really provide tools and accessibility to the creative people in the industry that then they don’t have to worry about where it goes, or the changes that happen. Because there are a lot of changes going on with the DSPs and things like that to give the user experience a better experience with  a higher level of metadata. And then with that will, will bring more, I think enthusiasm back to music. So it’s kind of like people have said, you know, consumers don’t care who did what or why. And it’s kind of like, I feel like we’re in an age where there’s overload of information everywhere. So it’s kind of like why Why wouldn’t a music lover care to know more about stuff? So that’s, I’m just excited. I’m excited about, you know, the Jaksta platform launching and how that goes. And from VEVA’s perspective. We’re excited to provide things for engineers and creative people to kind of focus in on helping them stay creative and not have to be as bogged down with the details.

David: I’m sure audio engineering is something you’re passionate about. And it’s something… it’s a world I’ve dipped my toes into here and there. I know I’m not that great at it. But what are two or three things you would recommend to any audio engineer what what advice would you have for them?

Deborah: I think, for whatever reason, what’s the issue of engineers not wanting to collect the data, I think it’s stepping up in that area and being, you know, really, there are a lot of people that do that. But I think being more aware of who’s in the room and crediting them, and getting that level of detail going on every single project is just only going to make things better, because as it flows down the chain, and as it becomes a hit eight months later, a year later, then it’s something that you are involved in and every single person there is credited, and can get more work, which provides, you know, a better industry overall, like you were saying, even if it’s someone that’s not getting a royalty, but they did play on it, you know, letting that person get credited, as well.

David: Absolutely. This has been a great conversation. Is there anything else I should have asked?

Deborah: No, I’m excited to talk to you about it. And I’m excited, you know that more engineers are going to learn about the plugin and hopefully give us feedback. It’s the first iteration so they can always reach out to us and tell us how to make it better. And we’ll continue to iterate on it.

David: Perfect. Well thank you for your time and for your generosity. Deborah.

Deborah: Thank you so much.

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Finding Validation in Social Media: the Good, the Bad & the Ugly

Hey music entrepreneur! What up?This guest post comes to us via Avery T. Phillips.

If you think you’ve got what it takes to be a Music Entrepreneur HQ author, check out our submission guidelines.

Alright, it’s time to learn about attention-seeking behavior on social media: the good, the bad, and the ugly.

Everyone likes to feel validated. Today, that need for validation has quickly carried over onto social media. Unfortunately, this is where the comparison game can also play out and cause people to feel inferior or jealous.

It’s no different in the music world. You can be a wildly successful musician, constantly validated on social media and showered with positive attention; or you can be an up-and-comer who critiques and compares your music to others to the point of exhaustion, maybe even mental illness.

In fact, The Recovery Village states: “In any given year, nearly 1 in 5 U.S. adults experience some form of mental illness,” and you have to wonder if social media plays a role in that statistic.

I mean, something has to be driving people to feel the need to take just one more selfie to gain some attention.

However, before you start thinking this is a melancholy post, it’s good to know that social media —  when utilized correctly — can be used for good.

Below are some ways a musician can get caught up in the dangers of social media, or conversely, utilize social media for their personal good.

Dangers of Seeking Validation on Social Media

Constantly seeking validation is a form of mental illness. Here are some of the potential dangers of this practice.

Seeking Validation

Constantly seeking approval from others, especially on social media, can only bring negativity into your life. There are instances where you do receive authentic approval and praise, but validation can become an insatiable monster that only makes you want more and more. And the more you seek validation, the worse places and people you start seeking it from.

You start doing things you wouldn’t normally do just for likes on Facebook. For instance, you might end up getting a tattoo done by someone in the music community who is an amateur; now your tattoo is infected, leaving you with a medical condition for life. This is just a mild illustration of what can happen when you seek approval from the wrong people.

This vicious cycle can also be seen in celebrities, including musicians. How many times have we seen musicians do stupid things just to stay relevant in the media? Too many musicians have suffered from addictions, injuries, and even death because they could never satiate their desire for validation.

For a beginning musician, newly found accolades can become a standard you set for yourself. It’s best to remember that you don’t have to live up to some idealistic image. It will only add stress to your life.


Comparing yourself to others could be considered another form of validation, but it also affects you negatively, just in a different way.

We have seen eating disorders in young men and women who are constantly comparing themselves to the impossible standards that the media portrays as “beautiful” or “thin”.

Some people even end up fearing failure or standing out from the crowd because they believe in the facade of social media and airbrushed beauty kings and queens. What they don’t realize, however, is that the people they see as perfect have problems of their own.

From a musician’s standpoint, a little friendly competition is fine, but you’ll lose the personality of your music if you constantly strive to be like other musicians. One of the most important parts of being a musician is expressing yourself and standing behind your creations with confidence.

The media applies the same aesthetic standards mentioned above to the musicians of today. It leads many to believe that if they aren’t skinny, or tan, or fit, or drop-dead gorgeous, etc., then they can’t make it big — which is a total lie, and just another way for you to lose your personality in your music. There are other more constructive ways to keep and expand your personality.

How To Use Social Media in an Entrepreneurial Way

Using social media in an entrepreneurial way isn’t as hard as it sounds. Here are two practical ways to get started.

Connect with (Good) People

Social media is a great way to network, especially for musicians. It’s a way to keep in contact with venues as well as fellow musicians and is one of the best ways to set up shows because of its ease of use and convenience.

Want to set up a tour? You can check out most any venue with just a few searches and make sure you’re playing at a reputable place of business.

Promoting Your Music

Social media is great for promoting your image, as well as your music. Let the masses know when you are coming out with new music, and share your music videos. Create a Facebook Event to invite people so you have a rough estimate as to who will come.

As an artist, you know how important promotion is to your work. So, make sure when artists you like come out with new music to promote them too! The law of reciprocity states that whatever you give to others will come back to you multiplied, right?


See? Social media can be a valuable tool if you use it correctly. But if you don’t, social media can lead to feelings of insecurity, depression and anxiety.

So, tap into your entrepreneurial spirit to network and promote your music. Use social media for good, and you will shy away from negative, insecure feelings and replace them with feelings of accomplishment and self-gratification.

091 – How to Find Awesome Session Musicians Fast & Easily – with Andrew Galucki of Nashville For Hire

Do you wish you could work with Nashville session musicians on your next release? Are you having a hard time finding the right kind of players for your recording project?

In this episode of The New Music Industry Podcast, I talk to Andrew Galucki of Nashville For Hire, who shares about working with session musicians and the ups and downs of the entrepreneurial life.

Podcast Highlights:

  • 00:14 – Introductions
  • 00:32 – What is Nashville For Hire?
  • 02:48 – Country music
  • 04:28 – Visiting Nashville
  • 05:07 – Networking
  • 07:11 – How do you determine your focus?
  • 11:02 – Self-inflicted pressure
  • 13:01 – Finding quality session players
  • 14:59 – Second guessing your purchases
  • 16:00 – Isn’t it expensive to hire quality session players for your project?
  • 18:04 – What is the biggest advantage of working with Nashville session musicians?
  • 19:11 – Delegating and trusting others with work
  • 21:43 – How do you market your business, and what channel has worked best for you?
  • 30:21 – What is the biggest challenge of selling to musicians, producers, and engineers?
  • 33:45 – Adding value vs. fly by night
  • 35:05 – What are some of the biggest struggles you’ve encountered as an entrepreneur?
  • 38:57 – Focus and adapting your approach
  • 41:16 – What are some of the biggest victories you’ve experienced as an entrepreneur?
  • 44:09 – Comparison and entrepreneurial insecurity
  • 44:57 – Which books have inspired and helped you on your journey?
  • 50:15 – Donald Miller, Blue Like Jazz and Steve Taylor
  • 51:24 – What tools and apps are you using to run your business?


Coming soon.

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