Online Marketing Steps: Step One EXPOSURE

Exposure marketing steps image

By Johnny Dwinell

Step one is EXPOSURE

exposure SI image

Major labels use radio (or used to use radio for pop and rock music) to EXPOSE you to the good stuffum.erokthe stuff (some of its good, most of it is bad); once you hear it enough (enough is defined as the magic marketing number for a hit song, like 7 times I believe?) then you are influenced to purchase the music; the song is stuck in your head. This makes sense why getting heavy rotation on radio stations is so important, right? Bottom line is that radio spins, especially in heavy rotation are used to influence your buying decision; whether you like it or not. Ever have a song you HATE stuck in your head because you heard it on the radio?? This is the exact agenda for any exposure to a single. As simple as it sounds, the more people are exposed to a song, the more people are going to like it. I would be willing to bet that almost none of you fellow artists have really put any thought into EXACTLY how you are going to expose your product once you are done recording the record.

I have a plan. Im not the first by far to think of it. But lately, I think Im definitely one of the few that are taking ACTION to utilize these amazing online/social media weapons; literally. The major labels dont know what the hell they are doing in this arena; its called a paradigm shift. Paradigm Shift is defined HERE.

Its happened time and time again throughout history in EVERY industry. Ive got good news for you Indies out Exposure Paradigm shift coffee cupthere; the real big corporations in ANY paradigm shift (i.e., the major labels and such in the music industry) are far too entrenched in making profits and saving their dying business model to pay any real necessary attention to the new paradigm. Its a sure bet! I mean think about it, if you were the CEO of the biggest buggy whip company on Earth when the Ford Model T came out, what are your choices? You have kids in college, a lifestyle, an MO that is tried and true, a track record and reputation to protect; you dont have time to utterly change everything you know to prepare for the future. This holds true for the big record labels and their respective management; these companies are publicly traded and have to answer to their investors. BTW, its illegal NOT to make a profit when you publicly traded, so you just cant go around willy-nilly, abandoning your old, reliable, business model to prepare for the future. Youre investors who bet on your current business model wont have it. So, you manage the sinking ship as best you can until you are fired. You stay on the ride until the wheels fall off. Hey, who can blame them?? They OWN terrestrial radio; they own them so much that Terrestrial Radio forces crap on the air, and everyone knows crap when they hear it (just ask a real radio promo person whos worked for any label), so they can maintain the money relationship. After all, whos paying for the ad space required for the survival of the terrestrial radio stations with dying (or significantly shrinking) listening audience? When you still wield that heavy sword, you just dont need to be responsible for the change when its still far more profitable and far more comfortable to manage the decline.

Are you starting to pick up what I am putting down?

They are all going down with the ship. Want proof? Want real social proof? What was the reaction of EVERY major record label to iTunes when it first came out? Talk about denial!! But, its really not denial as much as it is pragmatism; they truly have no other choice. This is the utter definition of the adage, When there is blood in the streets, there is money to be made.

I have seen a paradigm shift like this before with the distribution business model in the electronics industry after Michael Dell decided to sell directly to the customer. Think about it, did you ever buy a brand new Dell computer from anyone other than Dell? You have seen this with outlet malls. If youre Levis or Coach, why sell only to distribution for HALF the revenue knowing the distributors have no real allegiance to your product, when you can set up a storefront yourself and get 100% of the pie selling ONLY your brand name? Once Dell started this new paradigm, most electronics distributors would be out of business within the next decade. The biggies sank like a stone and still made more money than the Indies in that time period; but the Indies survived, man. The biggies died; remember Comp USA?

This is what goes on today in the music industry. Most of yall are still dreaming of getting your song on the radio; still focusing on a business model that is not only dead or rapidly dying, but in its heyday was a 90% LOSING proposition!


Dont get me wrong, as I mentioned before the biggies still make the most money, so if I could get my song on the radio TODAY, I would definitely do it. Truth is, at Daredevil Production, we are considering some business Exposure 10 percent imageinitiatives that are geared towards songwriters and radio play, but it is nowhere near our main business plan because its not the future and its a long shot. Unfortunately, back in the day (or fortunately today) even after you got your coveted record deal you still only had a 10% chance of making money; and this WAS the only way to be a recording artist. However, right now, more independent musicians are MAKING A LIVING playing music than ever before. Check out this article that just came out in Digital Music News HERE; in fact, I would go out on a limb and say that if you REALLY, REALLY, REALLY want it, you can absolutely make a living in music today. We personally know more than a few indie artists that you have probably never heard of who tour 200-250 dates per year, have homes, car payments, families, etcall financed through independent touring, recording, merchandising, etc. In short, I see it happen all the time.

So if we agree that your music is stellar, or at least can find an audience, then the biggest missing piece of the puzzle is


The same principles the major labels used with radio exposure will go for online marketing only the game is significantly different. The game is different in that there is no limit to the pipeline whatsoever, like there was in terrestrial radio. There is a lack of filters and a definite lack of any supremely popular or even ubiquitous delivery method to bank on; its truly the wild, wild, west. The principles are the same in that on radio you had to create a buzz by exposing your music to everyone that would spin it; you needed to make some serious NOISE!! With online marketing we still need to make a bunch of noise first to get people EXPOSED to the music and ultimately LIKE it; so we use social media and press; mostly social media. The game is different in that you need to begin to create and foster real relationships with your fans on these social media sights. They are out there and they are starving for GOOD music and they want access; access to you, the artist.

The rock stars of the social media music world can be found on crowd funding sites like

Check out Amanda Palmer HERE. Her relationship building skills are so kick-ass she got 25,000 people to back her record project and tour. She asked for $100,000 and they gave her $1.2 Million.

Check out the most funded music projects at HERE

Theres your social proof that it can be done. Now how did they do it?

Social Media

Exposure Twitter logo imageHeres whats great about social media; its totally surgical. You can literally find immense amounts of like-minded buyers in perfect little clubs all over the internet. If you feel your music speaks mostly to pale-Asian-boys-under-the-age-of-15-with-medium-acne then you can seriously find these little honeycomb hideouts. You can find Twitter followers, Facebook Clubs, Specialty Websites, etc. specifically created to support unique groups with just such a criteria.

See my point??


What an opportunity to get your music exposed to the very people YOU KNOW will have the highest chance of loving it! They are already demographically defined for you and ready to listen!

Heres a real life example: Daredevil Production has started a Twitter campaign for our artist Craig Gerdes debut single Haggard Fan; you can check it out for free at If you listen to the song you will first see Exposure Craig Gerdesthat is quite clever and a GOOD song; maybe even a hit song. If this song finds the financial backing it needs to get on the radio (at LEAST $500,000) I believe it would literally be a marketing sensation, almost in a novelty song kind of way in the sense that once it got on Country Music Radio it would be blasphemy NOT to play it. The lyrics skillfully weave a bunch of Merle Haggard hit song titles into a story line about a blind date; a definite homage to Hag. If I dare say, the best homage to Hag I have heard.

So, we have Haggard Fan which is a GREAT song; this is mission critical if you have any dreams of success with the exposure step.

If youre song is average, your screwed.

Haggard Fan is recorded AMAZINGLY (if I dont say so myself, LOL) which is also mission critical these days.

Once you have a GREAT RECORDING of a KILLER, UNDENIABLE song, we need to expose it to people who will really enjoy it. So if you were marketing Haggard Fan through Twitter, where would you go? THINK ABOUT ITthats rightMerle Haggards Twitter followers. Of COURSE they are going to be the group of people who are most likely to love it! There are over 74,000 of them (when I wrote this blog).

So far we have over 1,300 followers for Craig Gerdes. These are 1,300 people who followed back after we followed them. As a thank you for following we offered a free download of Haggard Fan to expose these people to the song. A decent percentage of them convert and download the song for free. They tweet about the song (see for yourself @craiggerdes and @craiggerdes2), we are creating relationships. These people cannot wait to see Craig play live, to hear his next song, to buy his CD which we havent even recorded yet; some of them have even invited Craig to stay with them when he comes through on tour!

SIDENOTE: Listen, even if you are marketing online, you are competing with the music on the radio. You are competing with artists whom you should consider your peers. SO COMPETE! Quit freakin recording cheap-ass demos and getting frustrated because you cant make any money. I mean, would you really expect to win a Exposure Don't Be Cheap imageNASCAR race in a rusted out baby-blue 1967 Dodge Dart, just because you can drive as well as the other NASCAR drivers? I mean think about the business and your current thought process, well, I know I have the talent, but I can save some money with this rusted out beauty right here, so well just see how it goes. Can you imagine? Theres no way youre going to win. Similarly, there is absolutely no excuse for a track that doesnt sound radio ready. I mean, it used to take $250,000 to make a record back in the day, so YOU HAD to get the money from somewhere else; it was hard to get in the door and when you did, you had a 90% of failing. Nowadays, you can get a decent record cut for a little more than 10% of that cost. And you dont need to record a whole record either. So if its worth doing, its worth doing RIGHT. So quit screwing around already.

We had another artist that came to us who GETS it. Shes a Canadian artist; her name is Tanya Marie Harris. I remember her telling me on the phone she wanted greatness. I remember her saying, For what you and Kelly are charging for 2 songs, I can record a whole CD up here in Torontoof mediocrity. So we went to work to create something amazing; and that we did.

Check out her first single for free HEREExposure Tanya Marie Harris image

Check out her first Press Release HERE

There are TONS of producers who can do what we do. My intention is not to promote us but to promote the idea that you need to be great, so find your creative team to record the greatness, and then be smart about EXPOSURE.

So the only thing standing in the way of your success is you.

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Squeeze Pages and Marketing Music Online

Squeeze Page Music Marketing image

Johnny Dwinell

Squeeze pages are an absolute necessity if you plan to sell any of your music online. Wait, they are a necessity if you plan MAKE A LIVING selling your music online.

At 30,000 feet, heres the breakdown. A squeeze page is a one page web address where you and the consumer get tit for tat. They give you their information IN RETURN for something, you give them something in return for their email address and name. For instance, the most common use of this in the music industry is where a consumer is driven to the squeeze page and they enter their name and email address in return for a free download of the artists music track. Check out some of the Daredevil Production artists squeeze pages below, and feel free to get your free tracks if you want. J

Squeeze Pages Artist: Craig GerdesSqueeze Pages Gerdes image Artist: J.C. Bridwell Artist: Tanya Marie Harris

As you can see these are not the artists website, they are squeeze pages with one purpose; to gather contact information so the artists can market to the consumers directly. When a consumer converts on the site, they immediately get their free download and automatically jump right to the respective artists website (or at least they should). So the idea here is that you will use all the exposure/marketing tools you have (Facebook, Twitter, Pinterest, Tumblr, YouTube, Indie Radio, Magazine Interviews, Live Shows, Press Releases, etc.) to DRIVE traffic to the squeeze page. They input the contact data and now you are building a customer list.


  • Exposure = traffic.
  • Traffic + squeeze page (aka lead capture) = Potential customers (aka prospects aka prospect conversions as they converted through the squeeze page)
  • Potential Customers (Prospect conversions) + effective sales funneling = SALES$$$$.

Thats the broad strokes at 30,000 feet.

John Oszajca has an incredibly comprehensive course on this. It costs money but its quite effective and for an artist who hates computer bullshit like me, the videos walked me through every step of music marketing processhe actually shows you how to do everything. I bring it up not because I am trying to push it on you or sell it to you, but because I am going to quote a predictable math equation directly from this course that will blow your mind and I want to give credit where credit is due; John Oszajca. I will leave a link below if you are interested in exploring it further.

Lets say you make $40,000 a year at your crappy job that you work to pay the bills until you make it with your music career. If you could make $40,000 per year with your music it would be much easier to leave that job, yes?

So watch me turn the above equation into real $$$.

Once you have your customer list, the goal is to get your average-revenue-per-email-address up as high as you can. My previous business experience has shown me that with an effective sales funnel, these numbers are pretty solid, and once again, mathematically predictable in any business, in any industry.

Lets say you have 1,000 email addresses from your squeeze page (we will talk about how to accomplish that in a bit). Essentially these 1,000 email addresses are potential customers or prospects as we call them in the business world; you could also call them sales leads (if it doesnt make you want to throw up in your mouth a little bit LOL) because thats exactly what they are. Talk to any 100 successful sales professionals in any business and they will tell you that sales leads usually convert around an average of 5% (give or take depending on the salesman). So, out of these 1,000 email addresses, only 50 will probably purchase your CD for $10; thats gross revenue of $500 or an average-revenue-per-email-address of .50 cents.

  • 1,000 (email addys) x .05 (5%) = 50 (buyers) (no longer prospects)
  • 50 x $10 = $500 (gross revenue)
  • $500 (gross revenue) 1,000 (email addresses) = .50 cents (average-revenue-per-email-address)

Are you with me so far?

Now, out of the 50 buyers, any savvy sales associate will tell you that 30% of the buyers are willing to be up-sold for a better deal, a package of some sort (like merch, or an old CD, some demo recordings, or autographs, access to you at live shows, private performances, or whatever you can dream up.) So, that means that 15 of the 50 buyers are predictably inclined to spend more money for a better deal. So if you create a package that includes the $10 CD plus another $40 worth of stuff, you have 15 people spending an extra $40 dollars right?

  • 50 (buyers) x .30 (30%) = 15
  • 15 x $40 = $600 (additional revenue)
  • $600 (up-sell pkg revenue) + $500 (CD sales revenue) = $1,100 (gross revenue)
  • $1,100 (gross revenue) 1,000 (email addys) = $1.10 (average-revenue-per-email-address)

Hang in therethis is where it gets FUN!

Any experience sales person in any business will also agree that roughly 5% of the buyers are willing to REALLY be up-sold. This equates to roughly 2.5 people out of the 50 buyers who will buy a BIG package. For example, the $10 CD, plus the $40 package, PLUS.I dont know, lets say you offer a 1 hr acoustic private performance in their living room (or at a frat party, or a BBQ or whatever) for $400 discounted down from the normal $800 you get when purchased by itselfyou pickin up what Im putting down?? This would mean that 2.5 people would be willing to spend an additional $400 to get the best package you have to offer.

  • 50 (buyers) x .05 (5%) = 2.5
  • 2.5 x $400 = $1,000 (additional best pkg. revenue)
  • $1,000 (additional best pkg. revenue) + $1,100 (up-sell pkg. revenue) + $500 (CD revenue) = $2,100 (GROSS REVENUE)
  • $2,100 (Gross Revenue) 1,000 (email addys) = $2.10 (average-revenue-per-email-address)

In other words, you can build your business to $2,100 per 1,000 email addresses.

Remember our original goal was to replace the $40,000 per year you are making at your crappy job, right? Well, the question now is how many email addresses do I need to make $40,000 this way?? Im gonna say that againnow the question is how many email addresses do I need to make $40,000 per year. Awesome!

  • $40,000 $2,100 = 19.05 ($2,100 goes into $40,000 19.05 times)
  • 19.05 x 1,000 (email addys) = 19,047 (email addys)
  • You would need around 19,047 email addresses per year to make $40,000 per year.

19,047 (email addys) 365 days per year = 52.1 (email addys) that you would need per day. WOW!!! That looks a lot easier, huh?

Squeeze Page Traffic

Now, the next question is how much traffic do you have to drive to your squeeze page per year to generate 19,047 conversions??? Well, if you set up your squeeze page correctly, you should be able to generate around a 25% conversion rate, I have seen higher conversion rates with some really hot products in the past but I believe that 25% is TOTALLY doable. To be transparent, I have also seen lower conversion rates as well. I have seen them on my own squeeze pages!! This just means your squeeze page requires tweaking, but it can always be improved.

So heres the equation:

  • 19,047 .25 (25%) = 76,188 visitors to the squeeze page.
  • 76,188 visitors 365 days = 208 people per day.

Get it? 208 people per day to a squeeze page is EASY.

208 visitors per day with a 25% conversion rate = 52 email addresses per day. With a $2.10 average-revenue-per-email-address = $40,000 per year!!!

416 visitors per day with a 25% conversion rate = 104 email addresses per day. With $1.05 average-revenue-per-email-address = $40,000 per year!!!




You can make a living doing what you love to do, but you have to be a bit of a business person.

If you would like step by step instructions from John Osazjacas Music Marketing Manifesto on how to set all this up and seriously make a living with your own music online, you can check it out HERE

Listen get it dont get it, I dont give a shit. The business model is sound. I just wanna help more of yall make money so I can produce your next record!

Stay tuned next week for some tips on driving traffic to your squeeze page and general online marketing.

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So You Finished Your Recording Project…Now What?

Recording Project empty studio image

By Johnny Dwinell

Don’t Let Your Recording Project Die In The Closet

So you finished your recording project…Now What are you going to do? Ahh, thats the rub. How do you avoid the typical 950-CD-in-the-closet syndrome? Recording Project CDs in the closet imageYou know what Im talking about; you get all excited that you are finished, because you want to share your music with the world. You print up 1000 CDs and give away 50 or so to your friends and family and the remaining 950 end up in storage somewherenever to be heard. Bah! This all-to-factual-dynamic is the very problem that Kelly and I are so passionate about solving. We are sick of watching GREAT projects from artists who DESERVE to be heard, no wait, who NEED to be heard, leave our studio and die in the marketplace from lack of exposure and marketing.


Thats the key. Youve heard the old adage, if a tree falls in the forest and no one hears it, did it happen? You see my point?

Music Marketing

The bigwig suits at the major labels already (unfortunately) proved to the world that exposure and marketing are more important than the music. I know, I know, calm down!! Thats the way THEY think; but, they were also right. They sold copious amounts of crap for years and consumers bought it because the labels force fed it to them through terrestrial radio and MTV and they were told it was awesome; consumers didnt have choices. Listen, WE dont have to think like that. I mean they Recording Project  Back in Black imagemarketed all the best records the same way they marketed all the crap, right? We are capable of marrying GREAT music with great marketing; just look at Back in Black, Rumors, Thriller, Hotel California, etc.!! So whats the lesson??


If youre a true artist and you write hit songs, or make amazing, inspiring music that will touch the masses and you have 950 units of your last project sitting in your closet, then you are clearly doing something wrong; you arent marketing. So either you need to learn the business side or hook up with someone who does; know your strengths and weaknesses and then adjust your business models accordingly. If you only make music (or any art) for your own private pleasure, you need not read the rest of this blog entry. However, if youre goals are to make a living in the music industry, then you better admit that you MUST have a business side; a sales side. If youre goal is to become a mega superstar, than you REALLY need to either learn everything you can about marketing and selling your product in todays marketplace OR partner up with someone who gets it.


First of all, you need to change the way youre looking at the issue. A little positivity wouldnt hurt either. Remember, all the greats FORGED NEW FRONTIERS!!! They didnt have a tried & true roadmap because nobody had ever done it before. This outlook alone requires a certain set of stones to endure. You gotta be willing to go all the way. Recording Project Brooklyn Bridge imageRemember, 2 guys sat on the banks of the Hudson River in New York City, and said, We should build a bridge from here to Brooklyn, it would make life easier. They did just that and the Brooklyn bridge was so long, for the first time in history, the engineers had to ACCOUNT FOR THE CURVATURE OF THE EARTH to make the ends meet the ground; talk about forging a new frontier.

You can do the same if you want to.

Are you basing your business model on what everyone else has done?

The first error most artists will make is they mistakenly identify the internet as a sales funnel. Its not; the internet is your tool for exposure. Social media is your tool for exposure; NOT SALES. Think of it like this, back in my day, I would walk into a huge music store like Musicland, Tower Records, or even a local mom & pop record store to buy a CD. I KNEW WHAT I WANTED already!! I went straight to the A section and picked up the new AC/DC record. Boom.

How did I know??

I was already exposed to it! I was exposed to the new music in 1 of 3 ways; either a friend turned me on to it, I heard it on the radio, or I saw it on Mtv. I think artists feel like if they make their music available on iTunes, Spotify, Rhapsody, etc. and give a shout out on Facebook and Twitter like Hey buy my new CD! that will be sufficient; said artists are subsequently disenfranchised when they sell zero copies. The reality is its quite the opposite. While in todays music market, its a blessing that you have instant distribution (meaning your product is available to whoever wants to purchase it, when they want to purchase it), you still need to expose consumers to the music in such a way that you influence their true buying decision.

Solution #1

So there is a couple ways to accomplish this. #1 is to use a method called branding. Branding is expensive and the results are hit or miss unfortunately. This is radio. Essentially you spend $500,000-$1,000,000 for a shot at heavy rotation. Remember, mathematically there are only a few slots available at any radio station for you to get your shot. If you succeed in a 35-week campaign to get your single into heavy rotation on the P1 stations (major markets/top 40) then the song is on the air so much that people cant help but be influenced by it; thus creating the urge to purchasethe song. You see, consumers are so savvy these days. They know the labels will pad a record with filler songs around 2 singles. Consequently, now that consumers have OPTIONS, they will opt to buy the download, not the CD.

Solution #2

is to expose people online to the music. This is where YouTube, Twitter, Facebook, and the others come into play. My opinion these days is that online sales techniques will bring the sale of a bundle of some sort back and eventually phase out single downloads; whether its a bundle of songs in the form of a CD or a bundle consisting of music, merch, artist access, etc. Ill tell you why I believe this. Online music marketing is based on a solid foundation of CREATING RELATIONSHIPS. Think about it, when you hear a single on the radio, your relationship is essentially with the song and maybe the artist if you are able to catch them on a TV awards show or a radio interview; but more about the song, less about the artist. When an online marketing campaign exposes you to new music that you like, they will, by design, follow up with creating a relationship between the artist and the consumer. They will do this with bios, content (like acoustic vocal videos, videos, pictures, tweets, Facebook quips, etc) and more music. Once you have emotionally bought in to the artist, whatever marketing effort that requires, you are more likely to purchase something for your own pleasure but ALSO to support an artist that you now believe in and are aware of on several different levels.

Go Viral

For the REAL talented musicians/singer/songwriters, this kind of content can go viral. Look at the raw footage from any Karmin or Noah video on YouTube where they were artistically putting their personal mark on a well known covers song. They were just SO GOOD that one of their videos went mega viralthen all their videos went mega viraland Im talking 10s of millions of viewsnow they are in. Boom. Just like that they are DRIVING TRAFFIC; they are exposed, but they still have to monetize this momentum. For Macklemore and PSY, the songs were just so damn hooky and put to some compelling video footageand Boom. They are driving traffic. FYI, both Karmin and Noah, who chose the revamping-popular covers-route they put up TONS of content. I think (dont quote me on this) that Noah put up 1 video a week for 77 weeks before the LMFAO song broke and he ended up with 16 million hits. Can you last that long? I promise this kid was able to hang for 77 weeks because he simply loved what he was doing. Every video was an artistic challenge for him as well as a marketing opportunity.

Monetize Your Traffic

So how does one MONETIZE the traffic after you get the music exposed?? This is where the sales Recording Project Sales Funnel Imagefunnel comes into play. Here is where you have to be smarter than the average bear and be a student of the game. Know the differences between radio and social media and their respective roles. Once you landed in heavy rotation on the radio back in the day, you were in because WHERE ELSE COULD CONSUMERS GO? Consumers had no choice but to be influenced by your music if they were listening to the radio constantly; they only had so many CDs in the car, so the radio was a necessary option in the interest of variety. Thus, it was SO EASY to influence their buying decisions once you got heavy rotation. Now, consumers have choices, they can listen to their local radio stations, or XM/Sirius Satellite Radio, or stream music from Pandora or Spotify or the like, they can Tweet, they can listen to their mp3 collection on their smart phone, they can, they can, they can, they can, etc So if you expose the music to them once, and the masses respond, you need to get them into a sales funnel.

You are constantly exposed to sales funnels without ever realizing it. Take a grocery store for example. They market the loss leaders (as they are called) like 30 cent apples, or killer deals on chicken etc. This gets you into the store, where they know you will do the rest of your shopping. Or how about, your grocery store frequent flyer card?? With this card you hold the promise of a DEAL. The sales are scarce, thus creating urgency because the deal will run out soon. You get it? Even the way the store is set uphave you EVER been to a grocery store where the common items like Milk, Butter, Cheese, etc are conveniently placed in the front so you can quickly run in and run out? HELL NO!!! These items are ALWAYS in the back so you have to pass through tons of other items that will likely remind you of other things you need to purchase on your way to get the milk; all by design. How about an infomercial?? Yeah, we all hate them, but why are they still on all the time on so many channels?? BECAUSE THEY ARE EFFECTIVE. Take an hour or two one evening and watch all the different infomercialsthey all have the same structure with different widgets. Buy now! Deal is expiring! Get 2 for the price of 1!! Compelling video / social proof, etc. These are great examples of sales funnels.

To get an effective sales funnel for your music, you need to have access to these people somewhere different than FB or Twitter. Both of these amazing tools are fleeting. Your tweet is literally gone in 10 seconds, same at FB. So you need their email addresses to market to them.

So how do you get people to give you their email addresses?

Several ways are effective. A few of our artists are quite good at getting email addresses during their live shows. We set up squeeze pages for them and they direct traffic to the squeeze pages with a free exchange of some sort; tit for tat, quid pro quo, etc. Go to my squeeze page and get a free download of my new single. Couple the download with a chance to win a $25 bar tab, or a chance to get in the music video and voila!! You have mass amounts of people giving their email addresses.

Whats a squeeze page? Ill tell ya about that next week

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Want The Good News?

Good News feature image

Where There Is Blood In The Streets There Is Money To Be Made!

by Johnny Dwinell

Good News Blood in the streets image

There is truly more good news than bad news in todays music business for both artists and songwriters. I will get to that in a second, but first lets address a few things with regard to some of the feedback I have already received about my last blog post.

Ok, so some of the provocative responses to said blog post were based from fear, but most people (and I report this next part enthusiastically) were undeterred; motivated even!


I should clarify a few things for yall though. The last blog entry entitled TERRESTRIAL RADIO IS DEAD was aimed at new artists; not songwriters looking to get cuts. Look, this was not meant to scare anyone, but to LOUDLY emphasize that if your business model as an artist is to get a record deal and break (i.e. get your initial exposure) on the radio, youre too late; its over for the most part. I chose to be this aggressive with the language content because Kelly and I constantly run into people who still think of a record deal and the promise of subsequent radio play as the measurement of making it; and anything outside that box or dream, as it were, is some kind of failure. The reality here is that MOST artists with a Record Deal end up in debt to the label and do not make it; around 90% or so at most labels over the last 40 years. ANY ARTIST who wants to truly make a living playing their music can now do so and guess dont need a deal; you just need to be a business person too.

Terrestrial Radio

In this new market the Record Deal and Radio Promotion are rapidly becoming irrelevant; but as humans I guess we tend to hold onto the past as change is always uncomfortable. With the exception of Country music artists, the rest of you will have to break online (like YouTube think Karmin, PSY, or Macklemore) or on TV (either via song placement or popular talent shows like The Voice and American Idol) and THEN terrestrial radio will pick you up AFTER you are already popular, but terrestrial radio wont break you in the rock or pop genres. Moving on to Country music and the old music business model, once again, all the major labels are still running at the industry standard 90% failure rate. Just go to Curb Records artist page HERE and look at every artist

How many of them do you know?Good News Curb Records Image

How many of them have put out a record in the last 5 years?

See what I mean? This isnt just Curb, it has been industry standard on all major labels for decades90% of major label artists fail; their money losers, and in debt. In the old (now dying business model) 10% of the artists were SO LUCRATIVE, that the revenue created would pay for all the other losses.

This phenomenon is commonly referred to as The Artist Protection Program LOL.

So why is this still the dream when the numbers are decidedly horrific AND there is a better, more mathematically predictable way to make a living as an artist??

As of May 1st, Warner Bros Records is utilizing to fund record projects; WTF?? You heard me Good News Warner Bros imagecorrectly. Warner Bros is so broke it seems they will no longer be spending their own money on their artists recording projectsthey will spend the artists money for them. In fact, if you are able to start a campaign and get 1000 people to back you, you automatically qualify for a Warner Bros Records deal. If you can manage to get $100,000 in backing on a campaign you automatically qualify for a Warner Bros Record Deal. Crazy! So for some, this is good news. For the artists or bands that can get $100,000 worth of backing from a crowdfunding source, why get a record deal? You will probably make more money selling 70,000 copies of your own CD (which is SO DOABLE with a little budget) than selling 700,000 under a label. Do the math.and include the numbers you dont know about yet.


Well, for songwriters looking to get current artists to cut their songs, YOU will most likely get on the radio before any new artists do. If Tim McGraw wants to cut your song and the label makes it a single, youre getting paid and youre getting on the radio. Congrats! That will open many doors and launch your career to be sure.

The good news for artists is that while you may or may not become famous like the rock stars of 20 years ago, but you can absolutely make a living at itright now. We (at Daredevil Production) have a couple artists who just 2 or 3 years ago were writing in town, with day jobs, broke, trying to make itsound familiar?? Now, WITHOUT a major Good News DDP imagerecord deal, they are making a living. Touring over 250 dates a year, with a band, selling 6,000-10,000 CDs per year from the stage (Thats enough to afford to make another record, people) making money and living the dream. Just without a jet, and stadiums for now. Once these artists get their heads around how to match their live CD sales with online CD sales, they will make even more money; thats the rub. Btw, these kinds of artists, the ones who have profitable, successful small businesses are the artists most likely to get signed by a major label these days, or most likely to get a big money backer. Its about the business not about the music to them. I get it, I get it, I was an artist too back in the day, it about the music NOT the business to you!

Artistic Communication

Let me give you some food for thoughtMusic is about communication, right?

Communication is defined by the information RECEIVED, not the intent behind the information. Think about read that line.say it out loud and listen to the words.

If you are a true artist and write KILLER songs but your lack of business skills keeps the world from RECEIVING the information are you communicating?

You may be lost in the delusion that back in the day it was just about the music and not business; thats BS. All the artists read from the same talking points to make you believe that OR while they were busy believing its all about the music, someone who was doing the necessary business was ripping them off. It is about the music, but without business no one hears the music. So its about the business. And if you truly have music that will profoundly touch consumers, then your business is now about EXPOSURE.

Big money investors like to see and invest in profitable small businesses. They like to see artists that can take care Good News Big Money imageof themselves; not artists who are detached, inaccessible, and a mess. Big money will come to back your project in 1 of 2 forms: Private investors or Major Record Labels. Both would like to add financial fuel to a fire that is already stoked. Get it? You gotta make waves, man, you gotta have a BIG buzz about you first. YOU HAVE TO BE DEVELOPED because they wont develop you; they cant afford it and even if they could, theyve lost touch with what that even means anymore or how to do it. Which means if you can develop yourself, you have a far greater chance of getting a deal, and you can actually make a living.

So the #1 headline of GOOD NEWS for artists is that if you are smart enough to know that you HAVE TO BE AWESOME in this market, if you are willing to hit the road and outwork everyone else, if you can surround yourself with a team of people who believe you, if you can run a small businessyou are going to make wavescertainly a living. Period.


I managed to do it when I was an artist 20 years ago, but it is SO much easier now!

If you just want to be famous, that space is now relegated to reality show stars; Warhol was right. So common sense says if you need to be famous go for the reality show. If you live to play write music, then go for making a living; common sense again!

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Johnny Dwinell

What’s your plan to expose your music to the world? I mean EXPOSE people to your music NOT “make it available for people to find”. You really need answer this question honestly and then get on board with the business of learning how to make that happen if you ever plan on making a living in the music industry because terrestrial radio is dead.

If your plan is to get a record deal and get your music on the radio, you might as well work at McDonald’s; because Radio old timey radio imageyou’ll make more money. Radio, that is terrestrial radio is dead. It is dead to any new artists to be sure. There are virtually no new artists that are “breaking” on the rock and pop formats of terrestrial radio; in fact it might be ABSOLUTELY no new artists!! Country music radio is actually still breaking new artists with the format but that will die soon as well.

Want proof? Do you truly understand these statements?

Name any NEW Rock or Pop artist that truly “Broke” on terrestrial radio in the last five years (from 2008 for the mathematically challenged). I’m not trying to be condescending here, but sometime I feel like the meat and potatoes of this matter is lost in the sound bites and headlines…this means any new Rock or Pop artist who’s FIRST record came out on or after 2008. Yes I know, I know, you all a couple artists who started their careers (in the public eye) after 2008 but where did they break?? Where did you FIRST hear about this artist? It was either from a friend OR TV.

Was it The Voice?Radio The voice image

American Idol?

David Letterman?

Jay Leno?

Jimmy Fallon?

Jimmy Kimmel?

Craig Furgeson?

Was the band like the Script where their song was featured on a hit TV show “Grey’s Anatomy” and that broke the band THEN radio had to follow??

Yes, of course, some of you are most likely going to come up with a couple exceptions to the rule, but you are missing the point…15 years ago, EVERY rock band broke on radio….there were a few bands that didn’t but they were the exceptions to the rule.

So WHY is this happening? How is it that we can predict Country music radio will follow suit?

The answer is choices

When people have choices, they take advantage. Let’s look at the history of broadcasting to really see the social proof you need to change your business model if it’s dependent on radio. Some of you, or maybe a good portion of you are too young to remember when there were only 3 TV networks; ABC, NBC, CBS. Network news was TRUSTED and the respective network news shows represented a HUGE portion of network revenue and profits. Why, because Americans only had 3 places to go to get their TV network news. Think about it, 250-300 million people had only 3 choices.

Then the cable TV format came out in the 80’s. EVERYBODY in network TV LAUGHED at the idiots who really believed that the American consumer would actually PAY for something they already get for free. Pay they did, in mass droves!



Now network news is a joke and since the 330 million Americans have umteen choices to choose from when it comes to TV news, the viewership has SIGNIFICANTLY shrunk at NBC, ABC, and CBS. If the viewership shrinks, they cannot command the advertising dollars they used to, so the revenue has also significantly shrunk. I mean, you didn’t ever really believe that TV news was about the news did you??

So with terrestrial radio, we see the same thing happening. 15 years ago, if you wanted to listen to any new music (music you didn’t already own a CD for) you listened to the RADIO….that was your only choice. With terrestrial radio playing roughly 12 songs per hour (to make room for advertising…you didn’t really believe that radio was about music did you?!?!?!) and many songs in “heavy” or “Moderate” rotation (meaning they are played several times per day) the listener was forced to listen to the same crap AND forced to WAIT to hear their favorite song.

Now there is no waiting. Now you have the entire history of music at your fingertips. Now all new model Radio Blake Morgan imageautomobiles are coming equipped with WiFi of some sort…Pandora, etc. choices. We don’t have to listen to crap anymore. Country radio will die too.

What you should be focusing on is internet streaming. Focus your energy on that.

Read this Huffington Post article here on Blake Morgan who is an artist who had 27,900 + streams (spins) on Pandora and received a royalty check for $1.92. This is your future. The free market will prevail, but not without your help.

So screw the record deal and the radio, at least at the early part of your career.

If you do your job right, and create a profitable small business based around your music, believe me, the record labels will come to you, my friend; and the deal will be far better than any you would have received as an unknown artist in “the glory days”.

To quote the great Bob Lefsetz (love him) musicians are like the circus side show that are kissing the asses of the elephants that are shitting on them.

P.S. if you/re smart you will subscribe to the Lefsetz Letter. You can subscribe here:

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Studio Shopping

Studio Shopping List Feature image

By Johnny Dwinell

Studio Shopping

Every singer/songwriter/artist comes to a point where its time to record your songs and you are relegated with the task of finding the right place to record or studio shopping. This can be very daunting, especially if you have little or no experience at it.

What should you be shopping for?

What Studio is a good studio?

Do they have the necessary gear?

Will they work within my budget?

Should I go online studio shopping or should I use a tangible brick and mortar studio?

How can I get the best recording for the cheapest price?

Should I be overdubbing track-by-track or should I record a live band?

The short answer to all these is that there is no right or wrong answer per se; it depends on what you are recording and whether or not you have a band or need a band, etc. Although, if you are engaging a studio in the possibility of spending money with them, they will make an argument that will focus on the advantages of the type of recording THEY can deliverwhich makes sense, they want your business.

I thought maybe we could address some of these questions with regards to a full band or a track by track approach, and the type of recording you are trying to get.

So lets dig in.


Studio Shopping http image

Some of you may or may not be aware that there are Online Studios that offer virtual recording services for Studio Shopping studio pros imagesongwriters and artists. Some of the bigger players are,,, and I am sure there are many more. Pricing for these online studios typically ranges from about $1,000-$2400 per song depending on the site, how many musicians are required, and any ala carte services like producing, mastering, and consulting, etc.


  1. You Can Choose The Musicians This is cool as you can actually shop for the players you are looking for. This is particularly beneficial when it comes to matching singers and their styles to a particular song you have written.
  2. Convenient to Use You can access these sites from anywhere in the world.
  3. Service Typically all these sites offer quick turnaround times
  4. Talent All the musician and engineering talent will be stellar on these sites. Again, You know exactly what you are getting.
  5. Interactive Experiences some of these studios offer live video interactivity so you can watch your song come to life (with a live band) from anywhere in the world. This allows you to feel present and still avoid the costly trip to another city where the studio location is, like Nashville.
  6. Live Band Online Recording There are some services that offer live band sessions where all the players are in the same studio at the same time. Many of these companies offer real time interactive access allowing the writer to participate in the session without actually being in the studio.


  1. No Live Tracks Typically (almost always) these online studios will have great players track your songs, but they are not in the same room at the same time. Some online companies boast live tracks that utilizes some pretty incredible technology (that amazingly avoids mission critical latency issues during the recording process) which allows musicians to cut a track simultaneously from remote locations. Personally, I feel the musicians all have to be in the room for the magic to happen. The remote thing I find fascinating and creepy at the same time.
  2. No Studio Magic this is virtually impossible for an online studio to create. There are countless times where, as a producer, I have a very specific arrangement and vibe in mind for a song before we record it. Then, while the musicians are messing around with the arrangements (as they always do before a take) they stumble on some other vibe, beat, feel, or arrangement that is just undeniable; everyones face lights up…you know the look….it’s like “WOW, THAT WAS COOL”. When this happens, its always amazing.
  3. Disconnect there often is a certain disconnect that occurs with regards to the energy of the track. It sounds more sterile, more contrived for some reason.
  4. Elevator Music I often hear writers complain that the tracks have low energy and sound like elevator music to them. To a degree, this is somewhat predictable if you take the time to logically dissect the process. Typically drums will get tracked first, then bass. The pro drummer and bass player will almost HAVE TO deliver somewhat sterile/bland arrangements to ensure they are not stepping on any guitar arrangements or any color instruments that will be tracked after their respective takes. Essentially, without everyone in the room together, you definitely are opting for more sterile arrangements, vibe, and energy on the track. Keep in mind this may not be an issue if you are just recording the song for posterity.
  5. Communication Log Jams Most of these companies (understandably) prefer to keep the musicians, engineers and producers away from the clients, so there is only 1 contact for you to use. Typically this contact is called a producer but they are an office person at the company. They then are telling the producer and/or musicians what you want so the proverbial telephone game can ensue; thus, diluting the message and lines of communication. Quite simply, it can sometimes be a drag telling someone to tell someone to tell someone what you want or what you are “hearing”
  6. Not as much fun Whats more exciting than hanging in a studio with the players and watching it all go down LIVE, man???
  7. Pricing I think there are better prices out there for someone who is willing to shop.
  8. Band Recording How exactly does this work if you want your band on the tracks? It doesnt.


I think the online recording studios can be pretty effective with regards to song demos that a writer plans to pitch or songs a writer wants recorded for posterity or vanity reasons. I dont think they are very effective for an artist trying to cut a custom record or artist track. Artist tracks in today’s music market need to be AMAZING. Amazing really requires a producer and in my opinion, a real relationship between the producer and the artist; this really fosters the necessary creativity from both that is required to elevate the track to a competitive and iconic level. Since music has become essentially free, it is disposable; therefore, the song and track have to kick mortal ass to garner any attention. Period.


Studio Shopping Live Band image

Lets break down the pros and cons of finding a studio that cuts tracks with live musicians in the same room.


  1. No Elevator Music The tracks will naturally have more energy in them as the band is all performing and communicating together at the same timethere is a certain magic that happens here as musicians get instant inspiration from what the other musicians are playing and feeling; they “vibe” off of one another.
  2. FUN!!! There is just no replacing the amazing experience (which still gets me to this day) of watching and hearing a full band transform a song from a work tape reference to an amazing live track right before your eyes. It’s truly an indescribable experience.
  3. Optimal Communication the writer has direct access to musicians and producer. Since you or your producer (or both) are in the room with all the musicians, communication is instantaneous. The writer can insure that he/she is getting exactly what they want; make changes on the fly so-to-speak.
  4. Clever Arrangements It is much easier to facilitate more clever music arrangements when the whole band is tracking at the same time. Happy accidents can happen and you are there to say, I LOVE THAT. When you over dub every single track (like the online studios do) the professional musicians will HAVE TO deliver somewhat bland arrangements as they cant hear what each other is doing (especially the first tracks i.e. drums and bass) to ensure they do not step on any other parts that havent been recorded yet.
  5. Band Punching This is great for a last minute arrangement change. Simply punch the whole band as a unit. Impossible to do with an overdub type recording model; it would require a major editi.e. major surgery. Think about it, if you had a 16 bar musical break or solo on the work tape and at the last minute decided to cut that to 8 bars, this is easy with a “band punch”. If you are in an overdubbing situation, you can do the surgery but the context and flow of the solo will often suffer, making the surgery sound obvious.
  6. Pricing Depending on your negotiating skills and your contact list, there is definitely ways to get your songs cut in the most inexpensive fashion this way. NOTE: the pricing will be better in areas where there is a bigger market for these kinds of sessions (like Nashville), thus, more competition. In smaller towns or areas where there isnt much competition for full band live demos, it actually may end up being more expensive.
  7. Service Live demos definitely facilitate quick turnaround times; the band cuts the tracks all together.
  8. Band Recording If you have your own band, this is the only way to really get it done.


  1. Speed Things tend to go fast in this environment. A writer or the producer needs to be on their A-game to ensure you are getting the vibe that you want. Pre-production is really important here. Especially if you are attempting an inexpensive artist track as opposed to a song demo. NOTE: This isnt really an issue when you are in good hands with a capable producer, but writers who find themselves at the helm with little experience tend to get swallowed up in the chaos.
  2. Producer is Necessary 5 or 6 musicians at the same time is a lot of traffic to direct. Someone has to be at the helm. Also, when you have 5 studio musicians, this will be a tight team so an outside personality offering instructions or direction can often be a challenge; especially if that outside person is less experienced, that band will smell that like a dog smells fear! This challenge ensues because these musicians will undoubtedly have communication scars that come from the many newbies or rookie writers and artists who dont know what they want and dont have experience to articulate their desires. This communication barrier is often difficult to overcome for a writer or artist with no relationship to the band; thus, a producer or engineer that has a working rapport with the band will champion any ideas the writer or artist has ensuring the message is getting received by the players.
  3. Proper Recording Studio This is a necessity. Some studios simply dont have the bandwidth (computing power, I/O infrastructure, or cue system) to handle all those tracks at 1 time in a live session. Additionally, some studios dont have the space or enough isolation rooms to facilitate such a session.
  4. Access To Talent Clearly you need access to a huge talent pool to assure that a complete and capable band can be put together. Lets face it, most people do not have access to the kind of talent that is readily available here in Nashville.
  5. Non Studio Musicians Live recording in a studio with a full band of studio musicians is quick and quite awesome to see. However, if you are a self contained band, this can become costly as everyone in the band needs to play their respective parts perfectly to make this work. If your band doesnt have a ton of studio experience, then this could become problematic.


The live band recording is much more advantageous to any singer/songwriter/artist that is looking to cut artist tracks. This is just the best way to record any music that requires players of some sort. Trying to cut your album with an online studio can be a bit sterile. However, if you are recording POP music, certain kinds of R&B, or Rap music, these genres typically involve programming and a band is simply not necessary; aside from the occasional overdub of a color instrument of some sort. Additionally, for songwriters, there are places where you can get GREAT deals on song demos with a live band.

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