Make it easy for your existing audience and your potential fans to find your live video by hosting it where they gather, and linking the video to as many other locations as possible.
When Adam Schumaker jumped into live streaming in 2013, he had no idea what he was doing. He’s since gained experience managing small professional teams of videographers and audio engineers, but he’s also found ways to live stream his own events without breaking the bank.
It’s important to lean in—not step back—when you have a marketing team promoting a concert (or CD release, creative project, etc.) with your work on it. When you equip people with the right information, you empower them to use their resources to push your music out broadly to new audiences.
Music is an art form and defies boxes and labels, but leveling music makes it easier to sell.
To finish out this month of posts about live sound processing, I will talk about a few more effects, and some strategies for using them. I hope this information will be useful to live sound processors, as well as instrumentalists processing their own sound (particularly in real time) and composers who are considering writing for live processing, or creating improvisational setting for live electroacoustics.
The moment you start thinking about making a recording is when you should also begin thinking about how you’re going to promote it. Andrew Ousley concludes his series by walking you through the process step-by-step.
There are tools you need before you can do any sort of publicity or marketing around yourself and your music. The primary materials are photos, videos, audio recordings, a bio, and a website to tie them all together.