Category Archives: Get Educated

Get Free Airplay on Internet Radio

Get Free Airplay on Internet Radio

Look, fact is your music has to leave the studio sometime. In an effort to get it out there to the widest possible listener base, we’ve set up a great arrangement with Jango that allows Nimbit members to get 100 free plays.

First, a bit about Jango. Jango is an Internet radio station that makes it easy to find music similar to the music you already like. Enter an artist name, and a song by that artist will begin to play, followed by similar music from other artists, as recommended by listeners with palettes similar to yours. You can rate music and artists to adjust how frequently they are played. Over time, your custom radio stations will hone in on your very specific, and highly laudable sense of taste.

Next, Jango allows you to tune in to other people’s stations (and of course, share your own) as well as show you what songs your friends are listening to. This allows you to publicly make fun of them when they listen to “White Christmas” in August.

Oh, and you know the Nimbit Facebook store? You can also get your store up and running on Jango. Last but not least, Jango also supplies you with detailed, daily reports and insights on your plays. So, when the time comes for you to release a “Greatest Hits” record, you will have the numbers to prove which tracks should make it onto your compilation.

So, the real question here is: “Why wouldn’t you want to be on Jango?” Fact is, I can’t think of an answer for you there. So let’s get your tracks up and playing on Jango, where they will undoubtedly have a large part in making the world a better place to listen to.

First, log in to your Nimbit account. If you don’t already have one, sign up now—it’s free!

Open another browser tab, and head over to http://www.radioairplay.com/music+promotion/guaranteed_airplay, and click on the inviting “Sign Up, it’s Free!” button. Fill out the customary account setup information; it’s all pretty straightforward stuff.

Select your tracks and image, and click the “Upload” button. Alternatively, you can connect your account to SoundCloud. All you need to do is log into your SoundCloud account in another tab, press the “Connect with SoundsCloud” button, and then press “Connect” in the pop-up window to confirm.  Note that your SoundCloud tracks will need to be set to “Downloadable.”

Click Next, because this is the part where Jango crosses the line from “pretty cool, bro” to “game-changing,” via targeting my listener taste. 

One of the best things about Jango is that you can define what station you get played on. There are likely certain acts out there that have had a pronounced influence on your creative process—so start with those. If you think folks who listen to Enya will also like your project, choose Enya. You will need to choose at least five. I happen to think that fans of The Melvins would dig my band, so that’s what I’ve chosen here. You can choose from many artists. You can also deselect suggested artists.

These choices can be edited at any time, so if listeners tell you that your music reminds them of another act that you overlooked in the previous step, you can add those connections as suggestions roll in.  When a Fan finds you this way, you can be ready to capture them by having a free track available on your Jango store for them to download. You get the fan’s info, the fan gets your music—everyone wins!

Once done, you can choose where you would like to geo-target your airplay. This doesn’t mean that the tracks will only be played here, just that there will be a regional emphasis. This is important if you don’t tour much, as people in your neighborhood who hear your tracks are the ones who are able to attend your shows.

Now you’re invited to enter your social media links and quick bio info, so folks can contact you and tell you how great you are.

That’s it! Jango will need a little time to process and approve your tracks, but you can expect them to start showing up in a day or two. Check back in and click on “Reports” in the middle of the taskbar to get info on your airplay. In the meantime, you can click “View Profile” on the very top right of the interface to see your Jango profile.

Head over to Jango.com and enter your band name into the search field. Hey, it works!

 

Now let’s get your Nimbit store installed in Jango, 

From your Radio Airplay dashboard, click Artist Content > Info & Links. Then, in the bottom lefthand corner of the following screen, click the button to ‘Connect’ to your Nimbit Store.

Input your username and password, along with the specific artist. That’s it! Jango listeners who visit your profile will now be presented with your Nimbit store, where they can buy your tracks!

We hope you find this helpful and useful. Let us know if we can answer any questions, we’re here for you!

 

 

 

 

 

 

 

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How to Legally Sell Recordings of a Cover Song

How to Legally Sell Recordings of a Cover Song

Hendrix is dead but “Purple Haze” is not in the public domain. (Creative Commons: Licentie afbeeldingen Beeld en Geluidwiki archive)

Your new speed metal version of “Purple Haze” is about to be released. Of course, it will be available on your Nimbit® store, and it’s going to make you rich and famous. You suspect you should get the rights to use the song. But you’re not rich yet, and Jimi Hendrix is dead, so why do you need a license?

True, Hendrix is history, but that doesn’t mean his music is in the public domain. (“Public domain” means the work is not copyrighted, so it can be freely used without a license.) Copyright law has changed several times in the past 40 years, but the bottom line is, some person or company still owns the rights to “Purple Haze.” In fact, there could be more than one copyright owner.

Even though your derivative version is very different from the original, it’s still “Purple Haze,” and you still need to pay for the license to distribute it. If you used samples from the original, you need to license those separately.

If you don’t, you could be in a heap of trouble.

The good news is, doing the right thing does not have to be difficult or expensive—at least, not in the U.S. and most Western countries. We’ll explain the basics that you need to know to get the U.S. copyright licenses in order to sell recordings of cover tunes that are not in the public domain.

Note that we’re not getting into all the gory details of copyright law here; entire books have been written on that subject. Nor will we discuss the moral issues involved. We won’t get into international licensing here; that varies widely depending on the country and would require a separate article. However, we provide links for this information and much more in the section “Where to learn more about copyright.”

What is Copyright?

In a nutshell, copyright is a set of exclusive rights that the law gives to owners of creative works. Copyright owners may have the rights to distribute, reproduce, adapt, publicly perform, and publicly display the work, and these can involve separate licenses.

A composition is separate from the recording of the composition; to distribute your own recording of “Purple Haze,” via download or physical media, you need a mechanical license.

Note that this license doesn’t let you use samples from “Purple Haze”; for that, you need to license a separate Master Use Right from whoever owns the copyright of the sound recording. Using lyrics from a composition is also a separate issue. (Live performance of a work requires yet another license but usually venues get a blanket license to cover that, so it’s not the artist’s problem.) All of those are beyond the scope of this article. We’re just talking about mechanical rights required to sell recordings of a composition to which someone else owns the rights.

Note that copyright law varies in different countries, and some countries recognize other countries’ copyrights while others don’t. Owning a license to use a song in the U.S. does not necessarily give you rights in other countries; you have to find out where your U.S. copyright is recognized and purchase rights separately for other countries.

Fox Hunting: The DIY Approach

There are two main ways to obtain song licenses: working directly with the rights owners (the do-it-yourself method) or paying a service to handle the whole thing.

Many U.S. publishers use the Harry Fox Agency (HFA) to manage their mechanical licenses and payments. This simplifies matters for the copyright holders, and it also simplifies matters for you because you can buy all the U.S. licenses you need from one agency, assuming the copyright holders use HFA’s services. Most do. HFA also contracts with a number of foreign agencies for collecting foreign mechanical royalties.

Note that Harry Fox Agency only handles licenses for records manufactured and distributed in the USA. Also, licenses for reprinting lyrics (on liner notes, for instance) are a separate issue and are not handled by HFA.

For International rights, you have to contact the mechanical rights society in each country, or contact the song’s publisher directly.

The HFA Songfile online service enables you to search for the HFA Song Code identifier and pay for up to 2,500 U.S. download licenses of songs controlled by Harry Fox Agency. If you need more licenses, you can download the appropriate form from Songfile.

Simple searches for HFA Song Codes are free and don’t require a login. Search by the songwriter last name, not the artist; in the case of “Purple Haze,” of course, Jimi Hendrix is both the songwriter and artist. A search for “Purple Haze” returns HFA Song Code P84800.

A demo of the licensing tool is available at www.harryfox.com/public/Songfile_Demo_v4.html.

Harry Fox Agency’s Songfile® demo

When buying a license for a cover song, you first choose the type of license: physical product (CD, DVD, cassette, Vinyl LP), permanent digital download (PDD), ringtone (no more than 60 seconds), or interactive streaming. To order multiple types of licenses, place a separate order for each type of product you want to distribute.

Once in Songfile, you enter the release info: release date, play time for your version, and name of band/artist. If you do two versions of “Purple Haze” (say, the speed metal version and a punk version), you have to add the song twice and differentiate between them in the version comments. Then you enter your (licensee) info and the credit-card payment info.

The royalty rate and processing fees vary but a tool in Songfile tells you how they’re calculated.

With that done, you get a sample license with the terms of use, which you have to accept. Then you approve payment, and you’ll see a confirmation page (be sure to save it) and also will get a confirmation email stating you have purchased the licenses.

You can then log into your Songfile account and click on “View My Licenses” to save or print your licenses.

You’re legal in the USA—at least, as far as Harry Fox Agency and its copyright holders are concerned!

In the Limelight: Let Someone Else Do It

Another way to get the licenses you need is to pay a service that handles everything for you. The best known such service is Limelight.

Limelight is an online tool that offers the simplest way to obtain the mechanical licenses required for selling and distributing music legally, including physical media (CDs, DVDs, etc.), permanent digital downloads (PDDs), interactive streaming, and ringtones.

Using Limelight, artists can clear any cover song and ensure that 100% of royalties due are paid to publishers and songwriters. Limelight obtains the licenses with all copyright holders and handles royalty reporting and payment.

Five Reasons to Use Limelight:

  • Allows you to be copyright compliant in a few simple steps
  • Licenses never expire
  • Volume discounts are available
  • Customer support via chat, email, social networks, and phone
  • Musicians and bands from over 79 countries and all 50 U.S. states are using Limelight.

Using Limelight is simple. You fill in the basic fields about the songs you want to license; choose the format, or “configuration”: physical, PDD, interactive streaming, and ringtone; specify the number of copies you anticipate in each format; and pay via PayPal. Unlike licensing through Harry Fox Agency, you can get the licenses for all configurations in one form. (Each requires a separate license but you only fill out the form once.)

Limelight also will research the songwriter and publisher information for you; you just need to know the original or prior recording artist.

Limelight verifies the proper U.S. copyright owners, takes care of the licensing, handles royalty accounting and payment, and sends you an electronic Notification of License. Your fee covers all royalties to U.S. copyright owners, plus Limelight’s service fee.

Limelight adds a maximum $15/license service fee (for one to three licenses); the fee is discounted if you buy a greater number of licenses. If you have sold the quantity of licenses you initially purchased, you can rebuy configurations (distribution formats) at a 50% discount.

https://www.songclearance.com/pricing/

Detailed information about royalty rates and fees is supplied on Limelight’s Web site.

Forget it. What Can They Do, Sue Me?

You bet; if you distribute that cover song without obtaining the licenses, the copyright owners can sue—and some of them will do it in a heartbeat.

Let’s assume you aren’t part of some piracy conspiracy, you just “forgot” to obtain licenses for the songs you covered and distributed. We’re not talking about a criminal case but you can still get in more legal trouble than you may imagine.

If you distribute via a service like Nimbit®, the service will receive a Take Down notice. With Nimbit, you are notified and given seven days to respond with proof that you have the proper license. If you don’t respond within seven days, your song is taken offline. Nimbit and similar services have no way to know that you didn’t buy the licenses when you uploaded, and as long as they act promptly when notified, they’re off the hook.

However, you might not be so lucky. The copyright owners could come after you in court. It’s not common—but it happens.

If you are sued for copyright infringement, a lot of things could happen, all of them bad. Note we said “could happen”; we’re not saying any or all of this will happen.

For starters, the plaintiffs (the people who are suing you) might be able to get a court injunction, which is an order (temporary or permanent) that forces you to do or stop doing something—in this case, stop distributing the song that violates their copyright. If you keep distributing the work in violation of the injunction, you could be fined or even, potentially, imprisoned. Of course, you’re not stupid enough to ignore a court order.

The court could issue an impoundment order, which means all copies (if the music is on physical media) could be seized by federal marshals. Worse, you could also lose your recording equipment, including computers, blank media, packaging materials, and so on. Ouch!

So even if you distribute downloads only, you could still lose big time. If you’re found guilty, the infringing goods could be ordered destroyed, sold, or surrendered to the copyright holder.

You could very well end up paying the copyright holder all of your profits from your infringement—plus actual damages, if the copyright owner can prove how much money they’ve lost because of your infringement. Alternatively, you could be hit for “statutory” damages; this is intended to compensate the copyright holder if, for instance, the amount of actual damages cannot be proven or is so small that if that were the only compensation, the plaintiff would not receive enough to be worth protecting their rights. The amount varies depending on a number of factors but if you continue to infringe after being warned or don’t cooperate with the legal process or are a repeat offender, you could get hit hard.

On top of all that, you might have to pay the plaintiff’s attorney fees and court costs, which can be quite expensive. So you might get hit for a few hundred bucks for statutory damages and still end up paying thousands.

So even if you only sold ten unlicensed copies of “Purple Haze,” it could cost you a bundle. Scared straight yet? You should be.

Just Do It

Even if you don’t care about respecting other musicians’ copyrights and don’t care if someone rips off your compositions, the practical consequences of getting caught ought to be incentive enough to license the songs you want to use. Besides, if you plan to stick around awhile in the music business, it’s more than worth your time and money to handle your business the right way from the start. It’s not hard to get the proper licenses to sell a cover song, and it’s not prohibitively expensive. Virtually any self-respecting professional musician will tell you to just do it.

By the way, when you do publish that killer (licensed) speed metal version of “Purple Haze” on your Nimbit store, please let us know!

U.S. Copyright Information on the Web

Here are some links where you can get more information about copyright laws in general and more specifically as they apply to music.

The Harry Fox Agency’s Web site has quite a bit of good information about copyrights, as does the Limelight site.

New Hampshire-based law firm Gallagher, Callahan & Gartrell offers an article on “Copyright Basics for Musicians.”

The Web site Public Knowledge offers a Copyright Tutorial for Musicians, funded by The New York State Music Fund.

Legal Language Services, which provides law firms and other legal professionals with translation and assorted legal support services, offers the article 7 Things Musicians Should Know About Copyright Law.

A Web search will find many more such articles.

If you need the songwriter/publisher information to set up your release, check the following sites:

All Music Guide www.allmusic.com
ASCAP www.ascap.com/
BMI www.bmi.com
Google www.google.com (search for songwriter)
PD Info www.pdinfo.com (determine if a song is in the public domain)
SESAC www.sesac.com

Books on Music Copyright

Several good books about copyright, protecting your own music, and other legal issues for musicians are available at Amazon.com and elsewhere. This is just a short list to get you started; there are many more.

TITLE AUTHOR PUBLICATION DATE PUBLISHER
Moser on Music Copyright David Moser 2006 Cengage Learning
Hey, That’s My Music! Brooke Wentz 2007 Hal Leonard Books
Musician’s Legal Companion Michael Aczon 2008 Hal Leonard Books
The Musician’s Guide to Licensing Music Darren Wilsey and Daylle Deanna Schwartz 2010 Billboard Books
By the Book Rob Monath 2006 Hinshaw Music

International Copyright

The books we’ve found on international copyright at Amazon.com are very (+) expensive, and we haven’t reviewed them. You can find search results here.

You can, however, get a good bit of information on the Web.

The University of Washington has a Web site called UW©opyrightConnection, which offers the article International Copyright Law.

RightsDirect is an Amsterdam-based company that’s mostly focused on print copyright, such as newspapers, magazines, and books but you can get a good overview of international copyright law from its free article International Copyright Basics

Are you ready to start selling? Sign up for Nimbit today, it’s FREE!

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Social Media for Musicians Vol. 3: Google+

While Google + was clearly launched as a direct Johnny-come-lately to the post-Facebook world, it offers a number of features that can’t be found on the comparable platforms, and a 500 Million-strong user base is no joke. It’s an ideal place to share promotions generated via Nimbit’s Promo Tool! Let’s look at some of the benefits of Google+ that aren’t available on other platforms.

A quick note:  Check out Vol. 1 and 2 of this series regarding Facebook and Twitter if you haven’t already! They’re here and here. Some of the best practices mentioned in those articles will carry over to Google+ as well. If you haven’t read those articles, I recommend you do—but I’ve included a summary of the Dos and Don’ts at the end of this article.

Integration with existing Google services and Android phones
For me, this is the feather in G+’s cap. If you already have a Gmail account, you already have a Google + account—as well as a YouTube account, but that’s a topic for another post. Your Google calendar info integrates closely with Google+ , so Android users will find scheduling and sharing of concert events a total breeze. Shared Google documents are a great way for you to share new lyrics you’ve been working on with your bandmates.

Futhermore, Google is the King of Search, so it stands to reason that the big G would prioritize their own content over that of others when returning search queries. In other words, just because you already have a presence on Facebook doesn’t mean you shouldn’t also be on Google+, as being active here can really only help increase the visibility of your art.

+1:
The +1 button=Facebook’s Like button. ‘nuff said.

Circles:
Circles are akin to Facebook privacy settings with a much more intuitive interface. Rather than digging through menus to set up your share settings, Circles makes choosing groups of audiences much more search-and-drag-and-drop simple. This allows you to arrange your fans by region and selectively target concert reminders to the relevant audience. In doing so, you’re sticking it to redundancy, as fans in Peoria probably aren’t that interested about your show at the White Eagle in Portland.

Furthermore, you can create Circles for all of the different people and resources that you need to follow or connect with for your business:  music industry resources,  news, venues, and fans. I recommend grouping fan Circles by region, and a “Top Fans” Circle of the folks who really go the extra mile in hyping your band—before long, you may consider re-naming this Circle to “Street Team.”

Communities
Analogous to Facebook Groups, Communities are collective feeds of users with common interests. While I recommend setting up a Page for your band as opposed to a Community, the Communities are still worth checking out. A nice enhancement over the Facebook version is that Community content can be broken down by sub-categories for more efficient browsing. Some that I recommend:

Hangouts:

Hangouts present a golden opportunity for musicians. Google Hangouts are live group video chats that are limited to ten people. This could be fun to host a sort of virtual house concert, and is particularly ideal for teaching private lessons.  But the real gem here is the similarly named Hangouts on Air, which allows you to stream your broadcast directly to YouTube. And for those about to shout “foul” regarding YouTube’s notoriously compressed audio, rest easy. There’s a high-definition audio mode just for concerts. Webcasting a concert live is an ideal reward for a promotion, or a suitable alternative for folks who couldn’t make it to your show.

Setting up a Google+ page
Like Facebook, Profiles are distinct from Pages in that Profiles are for people, and Pages are for entities—and that means bands.

Google+ makes this process real easy, but here’s the best process for setting up a page for your music project:

First, go to plus.google.com and click on your e-mail address in the top right. A drop-down menu appears. Click “All your Google+ Pages.” You’ll find a blue button offering to  ”Create a Page.”  Click it!

When choosing your category. select “Arts, Entertainment, or Sports,” and then choose the admittedly clunky-sounding “Music Band.”

Choose your band name and enter it at the next screen. You’ll then be presented with your shiny, new Google+ page.

You’re probably an expert at filling in online forms at this point, so I’ll gloss over things like contact info and website links. Worth noting here is that you will want to click that “Change Cover” button ASAP and upload a photo. Google+ supports great big monster cover photos, so if you have high-res photos from a pro photographer, this is where you want to apply them. Recommend against cell phone shots for the cover photo.

Next step: let the world know you exist!

Be sure to let friends know via E-mail, other social networks, and Google+ itself that you have set up a presence here. Once you’ve got a community going, you can start taking advantage of the unique features (again, particularly hangouts) that Google+ has to offer.

Sharing your Nimbit Promotions on Google + 

Having a social media presence means nothing without fans, and you can’t get fans without a message. One of the best messages you can send: FREE STUFF! So, why not give away some music? One of the best way to reward your existing fans and find new ones is via Nimbit’s Promo Tool. Nimbit’s Promo Tool allows you to:

  • Share a free download, automatically followed up with a discount on your full album at a specified time
  • Offer a discount on an item, then reward fans who purchase with a thank you message and a free bonus
  • Set start and end times for limited-time-only promos (A window of opportunity is a great motivator)

For lengthier exploration of Nimbit’s Promo Tool, click here.  Meanwhile, here’s a video on how to create a promo code in Nimbit, which you can then share to your Google+ fans (and why not a Community or two?) to give away a free track, or another offer of your choice.


Dos ‘n’ Don’ts

Do:

  • Create Events for your shows, usually. Before doing so, watch for redundant events set up by the venue holding the shows. Having multiple events on online set up for the same show dilutes the messaging and increases the chance that fewer people will be aware of your upcoming performance.
  • Invite friends to like/share your page, but be judicious about it. Don’t spam everyone on your whole friend list.
  • Give away some music! You don’t have to give it all away, of course, but who doesn’t love a freebie? One of the best way to reward your fans and show your appreciation is via Nimbit’s Promo Tool. Getting your fans to download a freebie is a great foot-in-the-door to an album sale. Among other things, Nimbit’s Promo Tool allows for:
  1. Share a free download, automatically followed up with a discount on your full album at a specified time
  2. Offer a discount on an item, then reward fans who purchase with a thank you message and a free bonus
  3. Set start and end times for limited-time-only promos (A window of opportunity is a great motivator)
  • Ask questions. People LOOOOVE A soapbox. Ask fans who else they liked at the last show, what cover song they want to hear next time, or something similar.
  • Respond promptly. Check in to answer fan inquiries once per day, and make sure everyone gets at least one “Like,” or better yet – a response.
  • Make everyone in the band a page admin. This allows you to divide and conquer, so the bulk of the online marketing efforts don’t just fall on one person.
  • Post photos from the road/practice space/backstage. Fans LOVE this stuff. They love access, even digital, to spaces and places they are not ordinarily allowed into.

Don’t:

  • Over-do it. A band that’s too noisy and posts a lot of non-news is more likely to get un-followed.
  • Argue. If someone tells you your band sucks on Facebook, you can take it. Trust me, if you’ve ever been booed or heckled, you can take it—and your fans may well come to your defense. Don’t feed the trolls, it only gets worse. Consider a policy of not deleting inflammatory posts (unless they’re REALLY bad) as this can just egg jerks on to post negative stuff more frequently, turning your great Facebook presence into a moderation nightmare.
  • Set up a personal profile for your band, like first name: “Jack”, Middle Name, “and”, last name “the Badgers”. This is a common mistake. Set up your band with a Page as described above. In setting up your brand as a person, there’s always the chance that Google will find out your profile is not for a person and remove the account entirely! Profiles, distinct from Pages, are for people only.
  • Set up a Community as your main Google + presence. Fan groups are OK, but setting up a group for your main band presence on Facebook is less than ideal, as you’ll lose out on advertising opportunities and app functionality like the Nimbit store.
  • Say anything stupid. Seriously. There are a million cases out there of social media posts gone awry, and even if you delete the offending post, savvy, users are quick to screencap embarrassing online moments. Consider posts permanent.
  • Feed the trolls: If someone talks trash about you, big deal. Responding will only beget more trash talk, and probably more haters. Never forget that the Internet is bigger than you are.

 

 

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Nimbit Dashboard in PreSonus Studio One 2.6

One of the most exciting features included in the admittedly sizeable package of updates in PreSonus Studio One 2.6 is the addition of the Nimbit Dashboard. It lives smack in the middle of Studio One’s Start Page, giving you right ‘n’ ready access to your Nimbit statistics immediately upon loading Studio One—which you’re already doing all the time. Right? 

Hold on, I’m getting ahead of myself here. For the uninitiated, Studio One is the ground-breaking DAW from PreSonus that a lot of folks are giving up on their old DAWs for. It’s available in four flavors: Professional, Producer, Artist, and FREE. If you’re not already a Studio One convert, Click here to get the 30-day unrestricted demo of the Professional version.

The Nimbit Dashboard provides a real-time, up-to-the-second quick view of your Nimbit vitals, including how many fans you’ve captured, how many promotions you have running, and how many sales you have made. It also provides intelligent, context-aware reminders of what you can/should be doing next with Nimbit to further your sonic message.

 

 

 


For example, let’s look at how Debbie is doing. Debbie is new to Nimbit and is just in the process of wrapping up production on her first single. She has set up her account on Nimbit.com (click here for more info on that) and provided her Nimbit.Com site credentials to Studio One to link the Dashboard and get her info loading in there. Since she doesn’t have any products set up yet, the Nimbit Dashboard prompts her to get a product uploaded and start preachin’ that Debbie gospel.

Antone’s one step ahead of Debbie, he has set up his account, and uploaded some tracks. His songs are now available in his Nimbit store. But, without publicity, a terrible thing happens… and Antone’s fan count reflects this. As such, Antone is advised to get a promo rolling to get the word out that he has some incredible new music that’s worth a listen. Or purchase. Or a tip!

Case #3: Delta Moon Records. Delta Moon has some tracks uploaded, they’ve got a growing fan base… but there’s really no such thing as too many fans, right? Delta Moon is advised to set up a Facebook and Twitter campaign using Nimbit’s Promo Tool to not only grow the fan base, but also keep them invested. One of the best ways to get the word out is by giving away a free track to new fans. Click here to learn more about that.


Alternatively, a Nimbit veteran like Barbara has over 1,000 fans and has sold some tracks. She is advised to log in to Nimbit.com to get more detailed insights on her following. Nimbit’s fan stats dig deep—deeper than can fit in the Dashboard, really—so it’s wise to take a look at these and see how your promotional efforts are doing. With these insights you can further hone your promotional efforts over time. Use what works, trim what doesn’t.

We hope you find Nimbit’s integration into Studio One 2.6 convenient for quick, at-a-glance access to your fan statistics. Please let us know what we can do to improve this feature and rest assured that it’s only going to get better from here.

 

 

 

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Nimbit How To: Promote an album by giving away a free track

In this official Nimbit tutorial, you will learn how to use the Nimbit Marketing tools to create a promotional offer that gives away a track and delivers a follow-up offer to fans who act, with a discounted album offer. This video also outlines the several channels through which you can promote your offer including Facebook, Twitter, email and even print options. Nimbit Free, Nimbit Plus and Nimbit Premium users all have these features.

More info in your Nimbit Dashboard or at www.nimbit.com
Bed music by Nimibt User: Scott Tarulli

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Nimbit How To: Album Setup & Store/Marketing Overview

So, now that you’ve got a pile of songs ready to sell as an entire package, it’s time to set up an album via the Nimbit Dashboard. We’ve created a handy video that will take you step-by-step through the entire process.

You will learn how to setup an album or single in your Nimbit dashboard, the basics of your Nimbit Store placement and Nimbit Marketing tools. Nimbit Free, Nimbit Plus and Nimbit Premium users all have these features.

For questions regarding any Nimbit functions, email support@nimbit.com or click HELP inside your Nimbit dashboard to use live chat, browse the knowledgebase, or submit a Support Ticket.

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How to save money on music sales with PayPal Micropayments

Singles SmallerThese days, opinions vary wildly when it comes to the album format. Some may think it’s a vestigial throwback to the original vinyl era, and that online distribution has rendered the album format obsolete. Others find artistic merit in releasing a batch of songs arranged in a carefully-chosen track order that stand as a cohesive body of work.

Both of these mindsets are legitimate, and the world is big enough for both. We’re neutral on the matter—we just want you to get your music out there the way YOU want it to get out there! So, for those of you who are more interested in releasing singles, we thought you should know about the option of PayPal Micropayment accounts.

Leveraging a PayPal Micropayment account will allow singles-focused artists to enjoy a lower commission from PayPal—meaning more money for you! If the majority of your transactions are under $10, you should consider opening a PayPal Micropayment account. Here’s why:

A normal PayPal business account charges 2.9% + .30¢ per transaction.

  • On a $10 charge, typical of an album sale, the PayPal service fee is .30¢ + .29 = $0.59 
  • On a .99 charge, typical of a single sale, the PayPal service fee is .30¢ + .03  = $0.33

A PayPal Micropayment account charges 5% + .05¢ per transaction.

  • On a .99 charge, typical of a single sale, the PayPal service fee is .05¢ + .0.5¢  = $0.10

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If your average sale is less $10 or less, you will keep more money and pay lower service charges with a PayPal Micropayments account. If you’re interested in switching to PayPal Micropayments, You will need to open a new PayPal account at the following link: https://www.paypal.com/us/webapps/mpp/digital-goods

Once you have the account, change your payee address in your Nimbit profile to this new account. That’s all it takes to start making 2/3 more money on your singles!

For more PayPal payment info, see: http://nimbit.zendesk.com/entries/22183640-All-about-PayPal

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Nimbit and Studio One Primer Video from PreSonus’ Rick Naqvi

Here’s Rick Naqvi, VP of Sales from PreSonus, extolling the virtues of Nimbit’s integration with Studio One Artist. He discusses how easily Nimbit allows any musician (that’s YOU) to spread your sonic signature across the world! He also looks at how Nimbit can be leveraged to distribute sermons, and increase church revenue via the donation function.

Thanks to CCI Solutions for the great vid! CCI Solutions is one of the nation’s leading audio/visual firms offering acoustical consulting, equipment sales, recording media, and design-build/installation services to churches, schools, and government agencies.

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Nimbit’s localized currency functions discussed on Marketing Musician Podcast

The Marketing Musician Podcast is aimed to help musicians get more gigs, more fans, and more music sales by harnessing the power of the Internet through relentless marketing, efficient use of music promotion tools, and a driving desire to spread their music to the world.  In their latest installment Keeping Things Simple, they have  some great things to say about us, including but not limited to our latest, news on multi-currency support. Click the “Listen Now” icon to do exactly that. You can skip to 2:50 to hear the Nimbit news, but you’re welcome and encouraged to check out the entire Podcast. Heck, subscribe!

 

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Patrick Faucher on Direct To Fan Panel at Sync Up Music conferece

Check out this video of the Direct to Fan panel from The New Orleans Jazz & Heritage Foundation‘s Sync Up conference, which was held on April 27, 2013. It runs for a full hour, so you may want to make a sandwich first. Patrick Faucher, Co-founder and CTO of Nimbit, has the opportunity to share some insights on the Direct-to-Fan paradigm alongside other forward-thinking music luminaries including Benji RogersDavid DufresneMichael Schneider, and Greg Lucas. And you didn’t even have to drive to New Orleans!

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