#its just for getting an audio referral but also so i can actually meet my gp since i havent yet.... just wanna vibe check

[phagodyke]

omg.... my new nearest audiology department actually has an EMAIL TO CONTACT!!!!!!! we're so fucking back baby

[suzanneshannon]

Good, Better, Best - creating the ultimate remote worker webcam setup on a budget

I've been a remote worker and an occasional YouTuber for well over a decade. I'm always looking for a better setup because the goal is clear - how can I interact with you and my co-workers in a way that has high-enough fidelity that I don't need to drive to Seattle every week!

I believe if my camera is clear and my audio is clear than I can really have a remote relationship with my team that is effective and true.

Everyone has a webcam these days and can just get on a video call and have a chat - but is it of sufficient quality that you feel like you're really having a good conversation with folks and truly connecting!

Here's a shot of my setup during a meeting I'm in here at Microsoft:

Here's my thoughts on Good, Better, add Best set-ups for remotes and YouTubers without spending thousands.

Good

The Logitech C270 Webcam can be gotten for as little as $20 or less! It's wholly adequate with enough light.

It only does 720p and it's USB2 so I can't enthusiastically recommend it but it's OK again, if you through light at it. In the dark is just a webcam.

The Logitech USB Headset H570 is decent, as is the lovely Jabra UC Voice corded headset. I prefer the Jabra because it only covers one ear and doesn't give me the "two covered ears" claustrophobic feeling.

To be clear - audio quality matters. Any crappy headset (or quality one as above) will ALWAYS be better than your webcam's default or your laptop's default. Always. Mics need to be closer to your mouth to sound good.

Small webcam Ringlight.

Light light light. Webcams, especially cheap ones NEED LIGHT. It feels weird and I get it but the quality is SO MUCH BETTER with some decent fill light. Get a ring light that's powered by USB and use it on calls. Yes, it looks ridiculous but it WORKS.

Better

How can we improve on the GOOD setup. Clearer videos and better sound/sound feel.

Some folks feel the Logitech Brio is overhyped and I think that's fair. It's a "4k" camera that's not as impressive as it should be. That said, it's a solid camera and arguably the best Logitech has to offer.

If I could suggest a middle of the road solid "BETTER" setup for a remote worker, I'd recommend these

Logitech Brio - solid 1080p 30fps

Logtitech USB Headset

LED Light ring

The lights are the magic.

Now, moving beyond USB headsets, I love adding speakerphones - not for the mic, literally for the speaker. I love the Plantronics Portable USB Speakerphone. Requires no drivers, it just shows up as a mic and speaker automatically. I have it front and center in front of my monitor and I use it every day. It makes me feel like my Home Office is a real Office somehow.

If conversations are private I'll use the headset above for the audio but when I want the sound to "come from the monitor" I'll SPLIT the audio. This is a pro tip. You can set up the Mic input as the headset mic and the Speaker output as a Speakerphone (or your main speakers). I like using the Speakerphone for voice and keeping the computer's output as the main speakers. Having this separate of voice and computer sounds is a small trick I play on myself but it helps to create a sense of location where the remote video person comes out of separate speakers.

Best

Let's spend a little bit of money, but not so much that we break the bank.

I'm going to make my own webcam. Rather than a plastic of the shelf single webcam, let's take an actual mirrorless camera - the kind you'd take to a photography class - and make it a HIGH QUALITY webcam.

We need a great camera and it needs to support HDMI out. The camera also needs to be able to stay on all day long, not overheat, and it needs to run on AC power (not on battery).

Here's a list of cameras that have clean HDMI out and can stay on all day. You might have one of these cameras in your closet! I like the Sony A6000 and here's its characteristics.

Sony A6000 - I found this on Craigslist for $300.

Max resolution: 1080p and a buttery smooth 60fps

Clean HDMI: Yes

Unlimited runtime: Yes

Connection type: Micro HDMI

Power: Dummy Battery

Verified by: Elgato

Notes: Requires dummy battery for power (sold separately) Retains full autofocus with clean HDMI output

I need a "dummy battery" for this camera. Turns out this is a whole class of thing you can buy. Who knew?

This camera has micro-HDMI so I need a micro-HDMI to HDMI cable.

Now this is just a loose camera, so how I will mount it on my monitor?

I like mounting it INSIDE the Ring Light. If you don't want the light you can just get this clamp mount.

Or you can do what I did - get the CLAMP then the LIGHT and then put the CAMERA in that like a sandwic

This camera and cameras like it output HDMI and I need that HDMI to be inputted into my computer and I want the HDMI output of the camera to look like it's a regular Webcam. The magical device that does this for us is the Elgato CamLink 4k. It's literally a little stick with HDMI input on one end and a USB3 on the other side. It took 5 minutes to install.

This device also has the added benefit of being a generic "capture card" if you want to record or broadcast your gaming consoles OR other computers!

Here's a YouTube video I made that shows you these cameras, before and after - Good, Better, and BEST!

What do you think? Thanks to John Miller and Jeff Fritz for their help and guidance!

* I use Amazon referral links and donate the little money to my kids' school. You support charter schools when you use these links.

Sponsor: OzCode is a magical debugging extension for C#/.NET devs working in Visual Studio. Get to the root cause of your bugs faster with heads-up display, advanced search inside objects, LINQ query debugging, side-by-side object comparisons & more. Try for free!

© 2019 Scott Hanselman. All rights reserved.

      Good, Better, Best - creating the ultimate remote worker webcam setup on a budget published first on https://deskbysnafu.tumblr.com/

[philipholt]

Good, Better, Best - creating the ultimate remote worker webcam setup on a budget

I've been a remote worker and an occasional YouTuber for well over a decade. I'm always looking for a better setup because the goal is clear - how can I interact with you and my co-workers in a way that has high-enough fidelity that I don't need to drive to Seattle every week!

I believe if my camera is clear and my audio is clear than I can really have a remote relationship with my team that is effective and true.

Everyone has a webcam these days and can just get on a video call and have a chat - but is it of sufficient quality that you feel like you're really having a good conversation with folks and truly connecting!

Here's a shot of my setup during a meeting I'm in here at Microsoft:

Here's my thoughts on Good, Better, add Best set-ups for remotes and YouTubers without spending thousands.

Good

The Logitech C270 Webcam can be gotten for as little as $20 or less! It's wholly adequate with enough light.

It only does 720p and it's USB2 so I can't enthusiastically recommend it but it's OK again, if you through light at it. In the dark is just a webcam.

The Logitech USB Headset H570 is decent, as is the lovely Jabra UC Voice corded headset. I prefer the Jabra because it only covers one ear and doesn't give me the "two covered ears" claustrophobic feeling.

To be clear - audio quality matters. Any crappy headset (or quality one as above) will ALWAYS be better than your webcam's default or your laptop's default. Always. Mics need to be closer to your mouth to sound good.

Small webcam Ringlight.

Light light light. Webcams, especially cheap ones NEED LIGHT. It feels weird and I get it but the quality is SO MUCH BETTER with some decent fill light. Get a ring light that's powered by USB and use it on calls. Yes, it looks ridiculous but it WORKS.

Better

How can we improve on the GOOD setup. Clearer videos and better sound/sound feel.

Some folks feel the Logitech Brio is overhyped and I think that's fair. It's a "4k" camera that's not as impressive as it should be. That said, it's a solid camera and arguably the best Logitech has to offer.

If I could suggest a middle of the road solid "BETTER" setup for a remote worker, I'd recommend these

Logitech Brio - solid 1080p 30fps

Logtitech USB Headset

LED Light ring

The lights are the magic.

Now, moving beyond USB headsets, I love adding speakerphones - not for the mic, literally for the speaker. I love the Plantronics Portable USB Speakerphone. Requires no drivers, it just shows up as a mic and speaker automatically. I have it front and center in front of my monitor and I use it every day. It makes me feel like my Home Office is a real Office somehow.

If conversations are private I'll use the headset above for the audio but when I want the sound to "come from the monitor" I'll SPLIT the audio. This is a pro tip. You can set up the Mic input as the headset mic and the Speaker output as a Speakerphone (or your main speakers). I like using the Speakerphone for voice and keeping the computer's output as the main speakers. Having this separate of voice and computer sounds is a small trick I play on myself but it helps to create a sense of location where the remote video person comes out of separate speakers.

Best

Let's spend a little bit of money, but not so much that we break the bank.

I'm going to make my own webcam. Rather than a plastic of the shelf single webcam, let's take an actual mirrorless camera - the kind you'd take to a photography class - and make it a HIGH QUALITY webcam.

We need a great camera and it needs to support HDMI out. The camera also needs to be able to stay on all day long, not overheat, and it needs to run on AC power (not on battery).

Here's a list of cameras that have clean HDMI out and can stay on all day. You might have one of these cameras in your closet! I like the Sony A6000 and here's its characteristics.

Sony A6000 - I found this on Craigslist for $300.

Max resolution: 1080p and a buttery smooth 60fps

Clean HDMI: Yes

Unlimited runtime: Yes

Connection type: Micro HDMI

Power: Dummy Battery

Verified by: Elgato

Notes: Requires dummy battery for power (sold separately) Retains full autofocus with clean HDMI output

I need a "dummy battery" for this camera. Turns out this is a whole class of thing you can buy. Who knew?

This camera has micro-HDMI so I need a micro-HDMI to HDMI cable.

Now this is just a loose camera, so how I will mount it on my monitor?

I like mounting it INSIDE the Ring Light. If you don't want the light you can just get this clamp mount.

Or you can do what I did - get the CLAMP then the LIGHT and then put the CAMERA in that like a sandwic

This camera and cameras like it output HDMI and I need that HDMI to be inputted into my computer and I want the HDMI output of the camera to look like it's a regular Webcam. The magical device that does this for us is the Elgato CamLink 4k. It's literally a little stick with HDMI input on one end and a USB3 on the other side. It took 5 minutes to install.

This device also has the added benefit of being a generic "capture card" if you want to record or broadcast your gaming consoles OR other computers!

Here's a YouTube video I made that shows you these cameras, before and after - Good, Better, and BEST!

What do you think? Thanks to John Miller and Jeff Fritz for their help and guidance!

* I use Amazon referral links and donate the little money to my kids' school. You support charter schools when you use these links.

Sponsor: OzCode is a magical debugging extension for C#/.NET devs working in Visual Studio. Get to the root cause of your bugs faster with heads-up display, advanced search inside objects, LINQ query debugging, side-by-side object comparisons & more. Try for free!

© 2019 Scott Hanselman. All rights reserved.

      Good, Better, Best - creating the ultimate remote worker webcam setup on a budget published first on http://7elementswd.tumblr.com/

[sonicmega]

Hm... I'm enthralled now. How did you come to do voice acting? Was it a sort of, spur of the moment? Or was it more so like a passion you wanted to pursue after highschool/college? I've also begun to wonder. What do you specifically do to change the timbre of your voice? I assume its different for every voice actor out there and, given your experience, you've most likely developed a method no? Lastly, how do you land jobs? Do you need a specific talent or is it more so fitting the voice color?

January 2007 

I discover that voice acting is a thing. My time spent on Neopets noticeably dwindles for the moment.

(Also none of these are specific moments that I think made or broke my career, I am just offering all relevant moments in time)

Feb/Mar 2007 

A man by the name of Deven “Mac” notices my frequent postings on Newgrounds - my fervent spamming, more like - and informs me about Voice Acting Club. Kira Buckland, 10 years younger, is finishing up school soon and has begun plans for moving out of Alaska to pursue life in Cali

March 2007 - 2008

Amateur Voice Acting AHOY! I audition for a shitload of projects, mostly fandubs. Mostly Newgrounds. my voice is terrible but my enthusiasm and energy is unyielding. Mac helps me with basic tenets of voiceover techniques and I also exhibit some pretty shitty behaviors (delaying submitting lines for weeks because I’m nervous about ‘doing them wrong’).

September 2008 

I get accepted into Western Michigan on a scholarship. I decide to major in Film/Video/Media studies because it’s 'the most similar to what I want to do’ (Voiceover) and decide to put more personal interests in as minors (Journalism, Japanese, Psychology).

The actual curriculum itself did jack shit for my career but it’s what I did during my time there that matters more.

2008-2012

Four years of college. I make friends within my interest groups but nearly all of my time is spent either in class or in my dorm room on my PC. OMGPOP is king of my time until Maplestory releases the Evan class.

More importantly, it was also the formative years of my freelance career.

I sign up for Voice123 membership. It goes horribly. Low ratings nearly all the time. I take on an audiobook job and deliver over-estimate by 7 goddamn months. Client is PISSED.A site called VoiceBunny also crops up; more suited for quick one-off jobs that don’t need 'the perfect voice’, just a suitable one. Extremely reliant on being at your computer at a moment’s notice.

I have no social life.

This meshes well.

Within college, I am constantly involved in things related to acting/voiceover.

- On-campus Sexual Health Peer Education group (skits and lectures) all 4 years of attendance. This also gave me opportunities to record voiceover for segments needing 'voice of god’- local radioplay group All Ears Theater (2 productions every 2-3 months, included a formal audition process and live performances in front of audiences for later broadcast via radio/web)- Audio Production class (as part of my Major) quick-learns me basic editing techniques, directly translates to my ability to do quickfire editing and turnaround now as a freelancer.- Continuing to do auditions for stuff for Voice Acting club. This is probably the most similar to many ‘Tumblr phase’ performers on here.Over time, constant exposure + guidance from peers/my mentor helps me to hone my skills. I still tend to 'loud-act’ things, IE using an unnecessarily loud/forceful voice for simple business narration,but I’m beginning to understand the intricacies of different styles (Commercial vs. Promo vs. character, etc)

January 2009

During winter break, on a ski trip with family, I learn about Anime Expo’s AX Idol competition. I tell my dad the one thing I want for my birthday present is funding to help go to this convention and compete. He obliges.

Summer 2009

I go to Anime Expo and compete in AX Idol for voiceover.

https://www.youtube.com/watch?v=oUQpkyfVYog

https://www.youtube.com/watch?v=G-PwvyeM1jw

Things go well.

Fall 2009 - sometime 2011

Things DO NOT GO WELL. My victory at AX causes me to feel like I know what I am doing, leads to an almost 2 year stint of godawful delivery choices as I 'phone in’ performances like they��re just going to be good on foundation. My mentor is frustrated with me and at least one peer of mine actively thinks I don’t deserve the kinds of opportunities I’ve had over how hard he himself has worked.

2012

I graduate from college, determine that the only way I’m going to make progress is by forcing myself into the community where the industry exists. If I’m going to get workshops and studio auditions and actual non-online work, I need to be where the work is.

Summer 2012, 2 months after graduation

I move from Michigan to California

I have enough savings to cover about a year of rent if everything goes horribly horribly wrong (including losing every single freelance client I’d slowly built relationships with during college), but it’s obvious I need to find work to continue to stay out here.

I take a Graveyard shift job at Stanley security. It sucks my fucking soul out.

Meanwhile by day, I am still doing my freelance thing. I let BangZoom know I am now local. I work with my mentor on piecing together a demo both from good bits I’d done before and fresh content written for the demo, something I can show off to clients that is good enough to be worth listening to but that I can admit “I am new to the area and aiming to get my foot in the door for more professional work so that I can update my portfolio accordingly”

2012-2014

The Workshop Grind

Workshops with BangZoom, with Crispin Freeman, with VoiceTrax West, etc.

Through character archetype classes, I begin to understand where my inherent strengths lie (I already had an idea from my freelance side, but now I was able to confirm those strengths by having actual professionals go “You made great choices”)

BangZoom, meanwhile, SLOWLY works me up the chain of trust. I get called in for unpaid walla sessions just to see if I can meet appointments on time and follow directions.

Then unnamed 1-time characters in a crowd.

Then unnamed characters you can hear.

Then a recurring unnamed character.

Then at some point I get audition sides for something called Sword Art Online, for Kirito and Diabel. I initially only plan on auditioning for Kirito (dem Protagonist dweams) but have a last-minute Skype Workshop with Crispin about my auditions and get feedback from him.

He recommends I still try out for Diabel because it plays into my strengths and “why the hell not?”

I do.

2013-2014

Pretty much my ONLY studio work is coming from BangZoom, and it’s not frequent. I quit my job at Stanley only because I had some extra savings now and wanted to force myself to 'git gud’ instead of letting a safety net of money keep me from pursuing more.

But slowly, SLOWLY, through BangZoom auditions and the occasional booking, web strings begin to attach.

Out of personal interest, I do a brief stint as a QA tester for NIS America. This also happens around the time BangZoom is casting for DanganRonpa and Fairy Fencer F. My employment didn’t affect my audition chances, but it did solidify NISA’s knowledge of me as a voiceover artist.

I do some work for Ys: Memories of Celceta for a company called XSEED. Nothing comes of it until almost 3 years later, when a new localization lead named Brittany recalls my performance from Ys and says “I think he could be a really good fit for this dude named Rean Schwarzer”.

I land work on Killer Instinct through BangZoom. The director of that LOVES my performance, proceeds to slowly bring me back now and again for recurring roles on stuff like Gundam IBO and other projects.

Back to XSEED.I land my lead role in Trails of Cold Steel. Recording is at PCB Productions, who now knows I exist.

Everyone has a good time, I send my samples/demos to PCB (now updated further), they begin sending me THEIR audition sides as well.

At one point, a director for PCB I know well is collaborating with a studio called Cup of Tea on Akiba’s Beat. Kira has been working with Cup of Tea for YEARS but I had never had an opportunity to get in touch with them before now.

Director puts me in touch with Cup of Tea, who now knows I exist. Session goes decently, I tell them I am very interested in pursuing future work/auditions and would like to share my demos with them. They accept.For sake of time I will leave that thread where it is because I imagine you can understand what the underlying theme is.

Just a sporadic but progressive timeline of preparedness + Opportunity allowing me to expand my options.

Back to Workshop Side:

I continue actively pursuing workshops for other companies, especially VoiceTrax west. I sign up for “meet the pros” evenigns where I have a chance to perform + get feedback.

The workshop actively disclaimers that there is no expectation of getting work + it is intended to be a learning experience, but I go in with the mindset of “I’m going to leave them WANTING to work with me”.

With a much more thorough understanding of my strengths by now, I tend to do a formula of picking 1-2 characters I know I can do well, and one that is within my range but is relatively challenging. Worst case scenario I still leave a good impression, best case I completely surprise myself (and the host) and leave a lasting one.

This works out well. Said method greatly interests a representative from Mattel and one from Disney Parks (not the animation side, just the theme park side). I thank them for their time, ask if I can share demos with them/get their contact email, contact them and express interest in receiving audition opportunities.

Through one of these same workshops, I also meet my future agency, SBV Talent’s lead person Mary Ellen Lord. I do the same thing. Mary proceeds to circumvent SBV’s entire policy of “Referrals Only” representation to ask me to come to their offices to record an official application demo.Note that none of these workshop outcomes, or the workshops themselves, were things pointed to me by studios I was working for. This section was all self-driven/pursued (and also required me to be local).Since then, I’ve been continuing the routine of doing freelance work from home, sending out auditions for studio-hosted projects when the sides are provided to me, and generally working with my mentor when I have questions about approaching a certain character. Either because of personal growth or recent portfolio additions (or both), my success rate with booking new roles has kind of shot up; I’m hoping this trend continues for the foreseeable future.

[ionagarmon56529-blog]

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[ulyssessklein]

A Letter to a Young Marketer

How to formulate an effective music marketing strategy.

[This post was written by songwriter Gavin Castleton, and it originally appeared on his blog.]

Hi Jordanna,

So you’ve got a new band, new album and big record release party coming up—awesome! Rather than give you a marketing prescription for your exact needs (which is probably what you hoped for), I want to lay some high level strategy on you.

Many artists just blast all their networks with whatever content they can muster. If the content is good they may get some traction here and there, but ultimately I think this is a flawed approach. The few successful, completely independent artists I know avoid any sort of magical thinking and embrace the reality that being a musician these days requires a plethora of additional skill sets, business and marketing being two of the most crucial (web development, graphic design, audio engineering, video production, management and concert booking are par for the course).

During my time working for social, email and mobile marketing companies, I noticed a huge disparity between the way businesses approach marketing and the way most musicians do. Successful businesses focus on strategy and ROI (“return on investment”) while musicians focus on creative ideas and fan engagement, with less attention to strategy. Perhaps this is why so many of us are often broke and a large percentage of our promotions fall short of expectations.

The more strategic you can get, the more impactful your campaigns will be. Rid yourself of any notion that content miraculously goes “viral”—nearly all viral content is the result of a calculated launch by a marketing team. It’s not black magic and it’s not luck; it’s strategy, money and data analysis.

Here’s how one of my favorite songwriters, Lex Land put it:

“My personality makes me ill equipped for self-promotion, which is unfortunately so necessary as an independent artist. Of course, this evasion led me to adopt the all-too-prevalent ‘pray and wait’ strategy that so many artists employ. After receiving countless “breaks” but never really “breaking,” and during a years-long stall in the release of my third album, I adopted a new mantra: “What can I do?”

  Diving into a ton of different informational resources about digital and content marketing, and specifically in the music space, I experienced enlightening breakthroughs while taking a hard look at what I had been doing and what hadn’t been working. To adopt any strategy is better than having no strategy at all.”

You can find buckets of marketing guides and philosophies online—often as a downloadable pdf behind some obnoxious email capture form landing page)—each tailored to what is being sold (goods, services, entertainment, etc.) and what channels it’s being sold on (print, TV, social, radio, blogs, etc.). Tasks like calibrating your ads and writing an impactful press release are crucial skills that anyone who can read can learn. Do it. Google. Read.

Below is a 7-step marketing strategy you could apply as an independent musician.

Depending on what level you’re at career-wise, this process may feel overly formal, cumbersome, or even pointless to you because your budget is $0 or your goal/tactics appear obvious, but I encourage you to build a habit of thinking through these steps and articulating your answers to them; training your brain to switch out of imaginative artist mode and into real-world, ROI-focused, pragmatic business mode will focus and optimize your team efforts, increase your income, help you assess the value and productivity of 3rd party publicists and make hard career decisions faster.

1) Define your Goal for this Marketing Campaign.

It should be measurable. Walk through the creation flows of Facebook/Instagram Ads, Google Adsense and Twitter Ads to help hone your objective.

2) Declare your Success Metrics and key Performance Indicators, as well as how you will track them.

How will you know if you achieved your goal? How will you know if you’re on track to meet your goal? Don’t confuse the warm feeling you get from Likes, Comments, Retweets etc. for success—their only marketing significance is how they influence your ranking in the feed algorithm. Don’t be fuzzy about your definition of success for this campaign.

3) Identify your Target Audience.

Who exactly will this campaign resonate with? Who can actually attend your event or purchase your product?

[Note: “customer profile,” “segment,” and “target demographic” all mean basically the same thing in this context]

4) Plan your Marketing Tactics.

This is where your creativity comes in! Each tactic should clearly and effectively help you meet your Marketing Campaign Goal. If your primary goal is to get people to come to your show, then any marketing that is not region-targeted is probably overkill (unless you’re explicitly soliciting referrals). If your primary goal is to make money from a new release, then encouraging your audience to listen to your new release on any and all platforms is not as ideal as directing all traffic to the platform that pays you the best percentage (e.g. not Spotify, Youtube or Pandora). What results can be realistically expected? Be skeptical.

5) Calculate a reasonable, realistic Budget.

Think through all potential costs, even things that seem incidental (like gas, public transportation, staples, tape, etc.). INCLUDE YOUR UNPAID HOURS. Budget will probably be the hardest thing to estimate accurately at first, but you’ll get better at it, and its massively important as your cash flow increases and ROI becomes more calculable/provable. In the future you will use these skills to extract bigger chunks of money from labels and banks.

6) Define a Schedule for your tactics that is optimized to meet your goals.

This is particularly important when relying on social networks for the majority of your promo, and when trying to inspire action on a specific date. Think through when your audience would actually be most receptive to your message. Don’t blast your social networks all at once; there are ideal times to publish on each network. And since many people will follow you on multiple networks, you’re wasting your bullets when you promote to them across all networks at once… better to stagger your posts so that viewers are reminded periodically. Determine the right order for each task (if you have to wait until nextweek before sending your press release, you should have a few drafting/revision sessions and an industry contact list gathering task scheduled for this week). Schedule regular reviews of your Success Metrics and Budget. Use a group calendar and set up alerts in your phone for each task.

7) Do a Postmortem. Learn and iterate on what worked and didn’t work.

This is the most important step, and the most often forgotten. Be frank and honest with yourself—it’s not a blamefest, it’s a crucial learning opportunity.

Here’s how it might look in the context of your life:

Life Objective 1: Secure a family

Family Goal: Find and maintain a partner that can pay my bills

Family Goal: Acquire a child that can pay my bills

Life Objective 2: Sustain a career as a Performing Artist

Career Goal 1: Develop 300+ draw in NYC so that I can headline small venues on a weekend night, trading support slots with out-of-town acts.

Marketing Campaign 1: Secure impactful slots opening for prominent local acts

Marketing Campaign 2: Promote record release show <—we are here 

Goal

Success Metrics and Performance Indicators

Target Audience

Marketing Tactics

Budget

Schedule

Postmortem

[Note: At this point you should have already justified how a proposed Marketing Campaign will help achieve one or more of your Career Goals]

And now here’s how your specific scenario might look:

Marketing Campaign 2: Promote record release show

Goal: I want at least 75 people to attend my record release party. The promoter, who also books a larger venue, will then consider us for national support slots in the future.

Success metric: Ticket sales (night of the show)    

Performance indicators: Ticket presales, Facebook Event RSVPs, Bandsintown RSVPs, Songkick RSVPs

Target Demographic: All genders between the ages of 21 and 38 in the NY/NJ area.

Marketing tactics: 

Tactic 1 (Physical): Hang flyers in high-traffic areas (above urinals, front window, etc.) at or near venue.

Tactic 2 (Physical): Send compelling press release, photo and show details to all local print for inclusion in their Events section and possible feature.

Tactic 3 (Online): Synchronize show announcement and centralize Facebook Event traffic. Get promoter and all bands on the bill driving traffic to one Event page with links to ticket purchase, free music, and photos for all bands. Invite only those in the region. Encourage friends to invite their friends to Event.

Tactic 4 (Online): Pay to Boost Facebook Event page, escalating budget the week of the show. Run Facebook ads on various content starting two weeks from show, always promoting a URL with show info and ticket purchase.

Tactic 5 (Online): Get a local music scene blog to premier the single from my new forthcoming album and announce show; use blog post as new content and increased legitimacy.

Tactic 6 (Online): Coordinate with all performers to schedule the addition of new content to the Event page every week and stagger social posts and profile photo/banner updates from personal and band accounts using photos, short videos, streaming content, etc. initially driving traffic to the Facebook Event, and eventually alternating between FB page, direct streaming content link, direct ticket sale link, etc. so as not to annoy audience. Be sure all parties involved Like, Comment, and Retweet each other’s posts soon after posting to exploit feed algorithms.

Tactic 7 (Online): Offer free download (using Bandcamp promo code) to anyone who posts a photo of their purchased ticket (or similar testimonial content) online.

Budget: $80, 40 hours unpaid labor

$25 for targeted Facebook ads and boosted Event

$15 for color flyers, staples and tape

$40 for band photoshoot to be used for social posts and profiles photos

40 unpaid hours (log hours in online solution or phone app)

Schedule: 

Week 1 (this week):

Mon: Design incredible flyer/promo images. [4 hr]

Tues: Write fascinating press release with show details, ticket purchase info, promo image, and private streaming link. Send to team for feedback and revise. [3 hr]

Tues: Gather local print Events Page editor contact list from online search and industry friends. [1 hr]

Wed: Use Mailchimp to send press release to contact list at 9am. [1 hr]

Thu: Print $10 worth of color fliers at Staples. [1 hr]

Thu: Hang color fliers at the venue and nearby coffeeshops. [1 hr]

Fri: Create potent Facebook event page and give promoter and other performers “admin” status. [1 hr]

Sun: Everyone announce show and invite friends to FB Event at 9pm.  [1 hr]

Week 2:

Mon: Tweet link to FB Event at 1 p.m. or 5 p.m

Tues: Send follow up email to weekly print Events page editors. [1.5 hr]

Wed: Share FB Event to personal FB pages at 3pm.

Thu: Post promo image to Instagram at 8:30am.

Fri: Change profile image of personal page, include link in description.

Sat: Share FB Event to personal FB pages at noon.

Sun: Review success metrics. Adjust budget? [1 hr]

Sun: Boost FB Event page for 7 days by $7.

Week 3

You get the point…

Week 4:

Week 5:

Week 6:

Postmortem: 

I achieved and exceeded my goal with 82 paid concert goers!

I went over budget by $20 due to the fact that I set up the FB ad budget incorrectly.

I worked an extra 1.5 unpaid hours due to traveling to and from printer and venue to hang fliers

I worked an extra 2 unpaid hours on researching and contacting local blogs.

Facebook Event RSVPs (111) were 35% higher than actual attendance (82).

Likes and Comments subsided during weeks 3-5; maybe I got too markety?

So there’s my stab at it. In reality I rarely take the time to draft something with this level of detail, but the important thing is that you start thinking like a business when it’s time to promote your work.

A few other tips:

Learn as much as you can about the various social network algorithms and exploit them. For instance,  to determine if users find your video interesting (and therefore worth showing to others), Facebook tracks user behaviors like turning on sound and switching to HD. So it may be beneficial to include text in your video or description encouraging users to turn their sound on or switch to HD (which should also provide better sound quality). The algorithms of Instagram, Reddit and Twitter each have their own interest-ranking metrics that they track, each playing a huge role in your social marketing success.

More from Lex Land about her current marketing strategy: “The end-goal is to capture emails of fans or potential fans with whom I can build a relationship, and then monetize that email list by running quarterly promotions and alerting them of live performances in their area. I believe that social media should be viewed as a traffic generation and rapport-building tool rather than the sole point-of-contact for fans. Social sites are excellent for ‘blasts’ because of the visibility and daily use by most folks, and the ability to use retargeting on Facebook, especially, is invaluable- but, still, an email list is the only thing we as artists can carry with us through the ever-changing landscape of whatever platform is currently trending, or even from being on a major label to going independent. With a strong email list, we have leverage – to get better guarantees, to get better features, to get noticed by industry if that’s what we’re after. I think it’s crucial that we fortify our bond with the consumer of our music to garner that leverage, rather than waiting for ‘something nice’ to happen to us that might bring the fans our way someday. All of this requires us to be more vulnerable, to open up more of our lives and ourselves to our fans, to be more assertive about that connection we can bridge between us and them through our music. This has perhaps been the best takeaway from what I’ve learned, to cultivate a more honest perspective about what I and my music have to offer other humans.”

Read this book

Good luck with the album and release show! Don’t quit when your campaigns fail; quit when you stop learning from your failures. You don’t get anywhere by having lofty goals—you get there by optimizing the system you use to reach them.

– Gavin

The post A Letter to a Young Marketer appeared first on DIY Musician Blog.

[symbianosgames]

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

The following is a shortened version of an article from the RetroNeo Games blog page.

As I write, it's February 28th, 2017. Last day of the month, second day of GDC and our Greenlight campaign for Sons of Sol is 15 days old, but was born prematurely. The original due date was approximately February 26th.

Author's note: Despite the title and opening paragraph, this blog post isn't a gripe! Valve have every right (and it's been long overdue) to make changes to their submission process. We just happen to be caught out by the situation and are sharing our findings.

Red Light for Greenlight

As I'm sure we all know, on Friday February 10th, Valve announced that it would be shutting down Steam Greenlight forever "this Spring" and replacing it with Steam Direct, a system that does away with the community involvement in favour of a verification process "similar to setting up a bank account" and then a recoupable fee for each game submitted. We all also know that this process involves an as-yet-unknown fee that could be "as high as $5,000".

Given that Greenlight costs only $100 to get on, any small studio who had hoped to get on Greenlight any time soon is now rushing onto the platform - usually underprepared!

Our game

Briefly, Sons of Sol is a 2D space combat sim where you decide how and when to fight. Essentially we're taking the controls of Asteroids, and building a 90s-style space combat sim (think Wing Commander or TIE Fighter) on it. The progression is systems-driven with a light story. Think of the strategy layer of an XCOM game, with story dotted here and there.

You can get the demo for yourself here.

We're a very small team. I'm the lead developer, and Steve Gregan and Fred Mangan are part timers on the art and audio, respectively.

How this all affects RetroNeo Games

Our plan was to launch the game's Greenlight campaign to coincide with our new 'vertical slice' demo that would show off our home carrier, some characters, new sound design and music, and a bit more gameplay. This same demo would be ready for GDC for any publisher or press meetings we might stir up.

But with Valve's announcement that Greenlight would be gone during Spring (when I was in school in Ireland, I was taught that Spring was Feb - Apr, so we were already in it by my count) the team had a quick emergency meeting over Skype on Saturday and decided to shift focus to doing a Greenlight trailer and page, sprucing up the website, and launching by Monday. The trailer would basically now just be the one we'd released just weeks before but with a Greenlight logo at the end. Previously the plan had been to shoot new footage from a playthrough of a newer demo and put that on the trailer.

We chose to move up our timeline because we knew that hundreds of other developers would be thinking the same way as us, and that the Greenlight servers would be absolutely flooded in a matter of days. We were only a few weeks from our intended launch anyway, so we figured we had an advantage in terms of the quality of the submission that we could make.

It's a pity because I've done a lot of research in the past year (one 2016 Gamasutra blog stood out in particular) as to how to maximise your launch on Greenlight, and I was eager to put it all to use. This included having a playable demo ready, having YouTubers play said demo, try to get press to talk about it, translate the page into multiple languages, and hook up Google Analytics.

Now, just two weeks shy of accomplishing all of this, we had to go off half-cocked. Seeing the green light turning red, we basically had to rev the engine to try and make the amber, because the red might be too expensive to... eh.. this metaphor is falling apart, sorry!

So, without translations, a press mailing list, a MailChimp campaign, or a demo, we launched. About the only thing we did get from our list (because it was the quickest thing to set up) was the ability to take some preorders on the site to prove to certain legal bodies that we're "in commerce". They're still available at the time of writing, discounted, but limited in quantity.

How have we done so far?

In the first week we got about 300 votes and made it 18% of the way to the top 100. There's no specific target to meet, but thousands of votes and being in the top 100 is certainly desirable (and normal for games getting through in the past).

The problem is that now, after a second week, we've gotten almost no further!

The reason we wanted all our ducks in a row was to maximise the 'yes' votes while Steam's algorithms were still sending natural traffic to our site. Just by launching, you'll get a certain number of referrals from normal Greenlight users browsing, but after that you're on your own to generate your voting traffic. In normal circumstances, the Steam algorithms send people your way for a few days.

Our natural traffic died off in under 12 hours!! That's a measure of just how many other new Greenlight games were going up just 3 days after Valve's announcement. At that stage we were closer to 200 votes. The next 100 votes we got during the first week were basically from friends and colleagues through Facebook and Twitter shares.

I've heard similar stories from many developers who are struggling with the campaign because they were forced to launch early and are just drowned out by the noise. The Steam algorithms just aren't sending people to your game's site for as long right now, and that's a big deal!

Below are our results from the first 24 hours.

What did we try?

Since the launch I've been working every day for at (the very) least 12 hours, but not so much on the Greenlight campaign. Getting the demo ready for GDC to wow press and publishers was still a better priority - after all, nobody knows how many Greenlight votes you really need anyway, nobody knows when Greenlight is actually shutting down, and we had appointments scheduled with people who wanted to see a new build of the game. So, after launch and until yesterday, a new demo was priority number one!

I suspect that once Valve stops taking new submissions for Greenlight, they'll probably let through a lot of what remains in the following weeks, though they have kept their options open by declaring that anyone who has paid the $100 Greenlight fee and who doesn't get through will be reimbursed. So, who knows?..

That doesn't mean that I've ignored Greenlight either, though. Not at all! Over the coming days I ran a tentative €5 Facebook and €5 Twitter ad campaign (well targeted, with video) to see what happened. We got about a dozen clicks total and about 2 new votes. So, probably not worth investing too heavily there, then. Not for votes, anyway. 

One issue is that you have to log in to Steam (assuming the ad-clicker even has an account) and often have to be emailed a security code for a 'new device' (so sick of doing that!), so anyone clicking a mobile or browser link would not likely be logged into Steam, and probably wouldn't bother doing so.

I got the Greenlight page translated into Russian, Portuguese, Brazilian Portuguese and German. Even though the algorithms had stopped sending us traffic, I hoped that a new language detected might send us users from those territories. It didn't. Absolutely nothing! So I decided not to proceed with French, Spanish and Italian.

I also contacted about two dozen Greenlight Collections groups. I especially targeted groups interested in space games. We did get included in five collections, but I saw no corresponding increase in traffic to us, unfortunately.

What now? 

Well, with the GDC demo complete, I now get to turn my attention to contacting proper press outlets and YouTubers. I'm a big fan of grassroots marketing and using your own networks, but having tapped the social circles and developers that I know already we seem to have reached the limits of what that can offer us - namely, 320 votes. Note: On Feb 28th, a batch of games must have been put through, as for virtually the same amount of votes we have now jumped to 25% of the way towards the top 100.

Contacting press and YouTubers is a fairly low probability activity, but one good bit of coverage can do wonders! That's now the stage that we're at to try and get more votes. You're commercially dead if you aren't doing this anyway.

I have confidence in our game, our trailer, our demo, and our team, but we're fighting in an oversaturated market, most definitely. Add to that that this is the week of GDC and the press (including Gamasutra) have even less column inches than normal to spare for Greenlight and indie demo stories.

To Conclude

This has felt like a bit of a weird blog to write. I often write about the industry somewhat abstractly, but I'm right in the middle of this one, and it's an incomplete story. Greenlight isn't gone yet, we haven't yet been accepted for or refused press coverage, and nobody, including Valve, knows much about Steam Direct yet.

I do hope I can do a positive follow-up to this blog in the near future. Until then, I can just thank you for reading, ask that you vote for us if you haven't yet, and consider sharing our Greenlight campaign with anyone that you think might be interested.

Thank you! Don't forget to try our free demo. You can download it from the Sons of Sol page.

Until next time..

[phagodyke]

damn getting a gp appointment was way easier than I thought.. my last practice made it sooo overcomplicated lmao