I saw an interesting chain of conversation on Michelle Galas’s MUSIC BUSINESS GROOVS. There was talk about electronic press kit and its meaning. The electronic press kit is often abbreviated as EPK. This article is not so much about an electronic press kit is built and what a good EPK is like. No, now we are talking about its operating environment and what all needs to be considered when approaching the media and other infrastructures in the industry. Basically, these are two things.
First, the media is busy – they get a lot of these press kits everyday. If the artist you represent or artist him- or herself is new to the market, this thing is important to note. On a scale of values when you are already on the feet of the most famous. Many things go unpublished because the electronic press kit is delivered in a format where its text cannot be edited. Not all the media wants to publish EPK as it is, but make their own comments on it. It requires an extra effort from the journalist to rewrite the whole text sent by artist or artist’s management. In the midst of all that workload, it is easier to publish bulletins of new artists who have taken this need into account. If a certain text version is submitted alongside with EPK, the probability that the bulletin will be published will increase.
Secondly, when approaching radios or other forums where the recording can be aired, copyright implications must be taken into account. Regional differences must now be taken into account. In all countries, music cannot be played on the radio without a label copy. Label copy is an instrument that a record company makes for each release. It shows all the rights-holders of the recording. This way the radio is able to report every play correctly to the relevant copyright organisation. If you do not have a record company for this need, such a label copy can be built by your distributor. Once again, it requires an extra effort from the radios to go looking for the necessary permission. Almost without exception, this goes unnoticed, no matter how good the song.
With these things, artist management works every day. Here’s an image from an online session with our promotion executive, Michela Prescott, for the upcoming release of Delta Enigma. The content and the form of an electronic press kit is usually the spot where to start. It is then created an occasional division of labor, what the artist do, what management and what the label.
For more information