As a music label manager I am constantly thinking of new ways to develop my company and increase the spreading of the music we’re engaging in. As a small label that is existing because of the internet we’ve always been good at using all the powerful tools that has been made available to us at zero cost.
We have always believed that the music is our best marketing tool. Therefore, we are keen to spread free music around us, and urge others to send it to their friends. Ctrl-C + Ctrl-V applied to Aroomwithoutyou.mp3 equals huge numbers and thus increased awareness of how great the new Moto Boy song is.
Mp3 is a wonderful sound carrier but its best quality is also its Achilles heel – it can be a little too much everyday and volatile. So I figured we had to add something to the “free music is the best way to spread knowledge about our artist” model we’ve always been using as our marketing tool.
Before Christmas, we published a mini-album with Moto Boy, which has a very atmospheric and genuine aura about it and we thought that now is the time to do something more. This is where the musical box arrive. It’s a nineteenth century invention - indeed one of the first devices with which to play music whenever you wanted without a musician present. A musical box produces sounds by the use of a set of pins placed on a revolving cylinder so as to strike the tuned teeth of a steel com. It has an amazing sound and attraction.
In true Songs I Wish spirit we give away the music digitally and charge for the manufactured gadget. We test Seth Godins interesting Seinfeld curve theory that there is no room for the middle price range – no one pay $4 for a Seinfeld episode on TV, but to pay $200 to see Jerry in Las Vegas is not a problem. Applied to music, it’s even more true. $1 per song is a construction made up by record labels that is/was doomed to fail. In Godins words: “because if you’re not scarce I’m not going to pay for it because I can get if for free.”
So $0 for Mp3 and $25 for a totally unique musical box!
The biggest challenge for us as a music label in 2009 is to build credibility and exclusivity around the music we work with. To convey that what we are doing actually is unique, worth waiting for and producing butterflies in one’s stomach when enjoying. This is just one of all the manners a music-focused label like us can use to tighten the relationship with our fans, spread the music we love and earn money in the new era of recorded music. Free + expensive = large numbers x 2.