Survey on music downloads : free or fee?

Let us know what you think.


If music downloads were priced ridiculously cheap, would you opt to pay for it in support of the musicians/artists or would you still insist on freebies?

If you say you'd pay for the music, do you mean:

- supporting your favorite band? (yes or no)
- supporting the musicians and artists in general? (yes or no)

If you say you'd pay for the music, how 'cheap' would you want it to be?

If you say you'd still go for free music downloads, why do you prefer it this way?


We need your valuable and honest opinion. Copy paste the questions and post it in the comment boxes with your replies. There are no right or wrong answers.

What To Name Your Band

Naming a band, as simple as it may seem, can sometimes become a huge pain in the ass. In marketing, naming your band is synonymous to branding.

The name of your band can either make or break your career. It's supposed to lead you to opportunities and endless possibilities. So it's important to note that it should be thought out well.

I hope to share three basic pointers...

1) Coin a band name that delivers insignificant meaning to you or to anyone.

Great band names like U2, The Police, Weezer, The Beatles, Coldplay, Pearl Jam, Nirvana, The Cure worked because the names didn't convey anything related to music.

What does U2 stand for? It's a German submarine used in World War I. The Police? Cops don't sing. Weezer? What's that? The Beatles? What's that? Pearl Jam? Nirvana? Yeah I know what this word means but it's not about music. The Cure? Weird name but it worked.

As a result, instead of the band contriving to brand their music by its name to build their career, it worked the other way around. The music that emanated from these giants instead effortlessly shaped the band.

The effect of this subliminal branding strategy now allows a prospected fan to identify a Coldplay track by simply listening to their music. How brilliant is that?

2) The alliteration approach.

Your band may have a better chance of recall with this method. Alliteration is when using two words sharing the same first letters of each.

This approach has proven to be very effective in cartoon characters - Mickey Mouse, Donald Duck and Woody Woodpecker. Alliteration works because it makes memorization easier especially when there are only few syllables used.

3) Check the internet.

Just recently, three local bands are on sabbatical simply because they discovered in the internet that another band shares the same name as they do gigging and selling their albums (yes they released more than one) somewhere in this planet.

A name is very important. Period.

Therefore it is very important not to take for granted such opportunities as googling just to check if your band's name is already taken or not. Uniqueness can be an advantage - or if not, at least a name that's a little different from what is popular sounding at the time.

One important suggestion is that if you think you incidentally coined a good band name, that no other band is sharing it with you, and most importantly, the domain name is available - buy it. Period.

Some Things To Understand About CDs

Will CDs go extinct? I suppose not. Not any time soon that is.

While the music industry is slowly realigning and reinventing itself for the internet being a new income stream anchored on virtually unlimited possibilities, bands still prefer CDs. Many still ask about CD replication - cost, contact information, copyright concerns - as opposed to a more direct profit source from digital distribution.

It may still be a fact that CDs are magnets to music collectors.

Even with the dramatic decline of CD sales over the years, owning a piece of a band's latest masterpiece may still be a treat to a significant few.

This media format could probably stay in the market for the next 10 years or so. The advantages and disadvantages are now diversified depending on which side of the fence you are standing.

If you are running an indie label, you would probably opt for digital distribution as a preliminary strategy. After which CDs can be replicated at a limited number of copies for your artist's tour. Recent surveys revealed that CD sales are faster in gigs.

On the other hand, if you are an unsigned band, online distribution is a lot cheaper. Think about it. For an investment of P 1,390 ($ 29) a year, your album can be in 4 major digital music storefronts - iTunes and Rhapsody being 2 of these front liners.

At the end of the day, it's not really the sales that matter. At the beginning of a band's career exposure is more important. The more popular a band gets, the better chance for CD sales - yet there is still no guarantee.

Because whether the CDs stay or not, be it in any format, music will always be there.

In my opinion, the best option for now is to release advanced copies of an album in digital format. From here, there is already copyright ownership and one does not have to worry about too much paperwork.

CDs are now just a second option and are decided on a case-to-case basis.

Sell Songs Not Albums

Recently in the past weeks, I had been approached by bands asking about where, how, and the what-to-do-next questions on CD replication and distribution.

My presumption is that these questions were asked not because these bands don’t believe that the CD industry is dying but perhaps because they lack faith in online distribution. Or at least, they don’t understand the commercial and economic advantages of it completely.

I don’t blame them. This is Cebu and we are in the Philippines.

From what I have observed, it appears to be a bit more difficult to just digest the concept overnight of considering online distribution more than pressing CDs if one’s perspective and intention to sell music is limited only to a national audience.

But let me try and display in words the new basic platform in today’s behavior in music buying.

It is a fact that today’s fans do not buy albums in the same way as they did in the past decades. This is because today’s technology allows bands and fans to share or sell singles first before ever bringing the entire album out.

This not-so-new trade becomes an easy deal between the artist and fans.

While it is important in any endeavor to set goals (and foresight is king), it is also important to acknowledge that things change all the time. Because of the internet and media players like iPods and mobile phones, the buying habits of people changed with it.

The constant here however, is adhering to the idea of bringing forth one song at a time. Yes – one song at a time just as how the singles in the 60s and 70s were done in vinyl records.

Unless if you have a huge fanbase, music buyers generally remember songs not albums. Sometimes, they don’t even care about the artist at all.

So why spend money on pressing CDs if you can launch the entire album online? This way, you are making multiple ends meet – (1) you have an album, (2) you don’t spend that much, (3) it removes the trouble of shipping costs and labor, (4) and most importantly, you are allowing your fans the option to buy on a per song basis – a huge plus.

Another advantage with singles is that if you’re an unsigned band, you can now freely move around for gigs without having to carry CDs with you. Just play and tell the audience your songs – I repeat SONGS, not album – can be found online.

Or how about bringing a laptop in your gigs and have someone take charge. Tell the people who may be interested in your songs that they can have a free MP3 transfer to their media players.

Another option is by giving out CDs with say 3 of your songs for free in your gigs. Put the URLs in the CD jacket so people could check out the rest of your music online. Of course this involves cost.

There could be more innovative ideas. Be bold. Be brave. Be creative. Be always open to options. If one idea fails, move on to the next. If it succeeds, embrace it. I think this should be the indie mantra.

The consumer’s general priority today is to know first the value of what they hope to buy.

Globalization is about retail. Singles are retail goods from the album. Sell them piece by piece. Heck you can give these singles for free if you want to. Your fans will love it and you'll get the biggest smile at the end of the day.

Some may think that perhaps giving out your songs for free may seem like you are stealing your own music. Perhaps your fans will do the same. But just because people can steal music doesn’t mean you cannot sell them anymore.

Preparing A Good Set List

Performing live is an experience that can be totally unique each time. But I think the most challenging part for almost every band is keeping the audience interested.

I’d like to share one aspect I learned in delivering a good show in the years that I’ve played in a band - and that is how to prepare a good set list. For the sake of this article, I’ll present it in three chronological parts.

1) Launch your set with a song that allows the audience to forget about the artist that played before you.

The first song in your set list must create that first impression. Wearing fancy wardrobes and cool shirts may not be enough. Your vocalist’s good enunciation and grammar may not be enough.

Play a kick off number that breathes a powerful intro – something that should catch everyone’s attention. When you get there, keep it that way.

Some pros do this with a fast groove as a start up number. Others do the soundcheck approach – playing a chord progression over and over until all members are musically in place (volume, tone, balance, etc.).

Don’t rely too much on gimmicks. They can be superficial.

If your band plans to stage one, it's better to do it in the middle of your set. An audience’s attention span is short so always remember to start with a catchy intro.

Believe me, you don’t want to waste that moment.

2) In the middle of a set, never fail to communicate with the crowd.

Let’s assume your band has agreed to perform a 30 minute set (that’s about 6 songs). After the first two to three songs, the momentum usually starts to decline.

At this point, it should be the vocalist’s job to bring your fans’ attention back up to a perky level by talking to them. In other words, don’t be a snob.

The “celebrity” attitude and the rock-and-roll-image may help you get somewhere (superficially perhaps) but it is important to remember that the very reason songs are written is because we try to satiate our need to communicate.

It is also important to remember to never think that you’re smarter than the audience. To communicate means to "speak the language" that your listener speaks.

Be extra friendly to your fans.

Try not to be too much of an artist when you’re in between songs (and not playing). Be a person to them. Just because you’re on stage doesn’t make you any better than anyone. Your fans are people and should be your friends too.

3) Your finale song should be something that leaves a mark for your band and your music.

While the first song is the scene stealer, the last should be the memory maker. Your last song must be distinct enough to qualify for the LSS (last song syndrome) contest.

Play something that you think people can dance to, sing with, or talk about on their way home. I know this is not easy but it’s not impossible either. If your band has a well received single that's currently enjoying airplay, you may use this as your finale piece.

So there… the three basics to consider when drafting your set list for the gig. Play as if it’s your last gig (but don’t overdo it). Don’t get too drunk when you play (and if it helps, don’t get drunk at all).

The goal is to keep your band stuck in your audience’s minds (hopefully in their hearts too). But most importantly - never leave your audience wanting less, a mantra I borrowed from the Foo Fighters’ David Grohl.

Ang ‘PAYO’ ni lo‘LA’ (My Grandmother's Advice)

Imagine this – a record label representative would go to a radio station, hands over the CD sampler of a new record to the DJ and says, “Maybe you can get me some airtime for this new talent.”

The CD in the plastic jewel box, is wrapped in a thin cardboard sheet with the name of the artist and the title of the soon-to-be-a-hit track. Mr. DJ would bring it close to his ear, shakes it a bit and hears that rattling sound of what it seems like sheets of paper – money.

“This is going to be a good hit this year,” the jock replies, without even bothering to listen to the song. Minutes later, the song made it on air. A week after, it’s on the station’s chart list.

The label rep moves on station after station doing practically the same thing. Maybe a few different creative approaches but the mission hasn’t changed. Two weeks after that, the song’s a big hit nationwide. But the song sucks.

This is a modern version using a CD sampler instead of the vinyl. But this was how it was in the 1960's.

Have you ever wondered why there are songs that are really annoying yet still made it to the charts? Guess what? There are some transactions in the music business that doesn’t require documentation such as receipts. All it takes is a healthy business relationship and an exchange of confident and assuring words.

If you still don’t get what I’m driving at here, let me spill it for you. While you, a songwriter, are writing an intellectual song believing that it can change the face of the music industry as we know it, there are those who are doing things to disprove your faith. These things they do are what is termed as payola.

Wikipedia defines payola as the illegal practice of payment or other inducement by record companies for the broadcast of recordings on music radio, in which the song is presented as being part of the normal day's broadcast.

It’s a crime. Everybody knows that. It’s like bribing your child’s grade school teacher some favors – financial or otherwise – so your kid can pass in class. That’s sick.

If a song was believed to be a hit, why do labels need to bribe for it? Oh yes of course… they have competitors and they are doing the same thing. If you can’t beat them, join them.

There are other means of exercising payola dealings. At some point in the music business history, labels hired third party entities – someone that has a good relationship with media and can set up a promotional program for them. These are called independent record promoters. They are, for a time referred to as “indies” (not to be confused with indie labels).

The presence of these people allows them to exercise payola without having any trace of the crime. There will be no documents and receipts. Every transaction is now slid off into the hands of the indie.

Payolas don’t have to be monetary. It could also come in the form of exchange deals. A radio station would give airtime in exchange of concert tickets, funding for a concert of the artist, etc.

Allow me to share accounts from people whom I’ve met in the music industry that had worked with and for the industry:

Case#1:

A friend of mine once worked for a major record label as sales executive for Visayas and Mindanao. One time, when I had the opportunity to visit him in his studio, we had a long and interesting exchange of stories.

He confided that giving each radio station P15,000 a month just to get a new track on regular airplay was part of his job (of course this job scope isn’t printed in his deliverables).

This was in the late 90’s. How many stations were in the VisMin region? These “money grease” are bound to be reflected against the artists’ royalty paychecks later.

Case#2:

There’s one band manager I know in Manila who said she was paying P35,000 to each radio station to get a track spinning on air. She also claimed that other managers managing indie bands are doing the same. This was between 2004 and 2005.

Case#3:

A friend of mine who used to be in a popular band confessed that these facts I mentioned above are true. He was with a band signed under a major record company. The band was very successful. The good thing was that he didn’t favor the business practices behind it. He was a witness to these crimes. It's just unfortunate that these crimes have no proof of billing.

Case#4:

The Big Four (Sony BMG, Warner, Universal, and EMI) are, ironically, the primary culprits. Why not? They practically own 60% of the entire broadcast network in the U.S. Below are some links about these cases:

EMI Settle Payola Allegations
EMI Agrees to Fine to Resolve Payola Case
Universal Music Settles Payola Probe

The good news is that there are moves to resolve these issues. But will it really end?

It’s ironic that the giants in the entertainment industry is going after other opportunists such as vendors of pirated CDs, Napster (the old-Napster case), iTunes, etc. Isn't it that they want to bring a song to the peak of its success?

It’s ironic that labels turn out unhappy with the effects of their success, isn't it?

It's like they want to rape the system but they don't want to be raped. As I said, there are no evidences - a rape case is brought to court without papers, only witnesses.

And let’s face it, when an attractive lady gets out of her house, she may not be in control of her fate anymore.

I personally don’t like this system. But it exists. You can’t see and feel it but you know that it’s happening. It’s sickening. I’m posting this not to discourage artists but to bring awareness to one of the greedy pursuits that are breathing through the system.

Ang ‘PAYO’ ni lo‘LA’? Just hope that the emergence of indie labels, self-music-publishing, and the internet will change all that. I’m sure there are better options in our hands just waiting to be uncovered. Perhaps, it is already happening as we speak.