online presence optimization

 

If something has changed over the past few years, it’s how we understand of being independent, or more of the value of being independent. Being an independent artist is no longer combined to the second-class amateur business. No, today independence seems to be the main objective of artists. A state of being in which the artistic freedom and economic independence do well.

A few years ago, most of the contacts I had focused on how to get a recording agreement and hence, get to the groove. It’s a huge difference if we compare it what happens today. An independent artist can gather seven or even eight digit numbers of streams – by do it yourself and that’s not even rare. They may not even need others to make it happen. Also, managers are no longer sought for the needs the intercession know-how mainly. No, it’s about strategic guidance how to tell your own story and plant it for the OPO (online presence optimization). Or how to monetize things. It is also to establish the best possible organization for your business prospects.

Managers are likely to approached because of their field knowledge – to get an access to the knowledge that is otherwise out of reach. In addition, especially at the beginning of the career, in its construction phase, the modern artist avoids long-term attachments. Manager is acquired to handle some particular task – that next sensible step. This happens to me more than frequently – a new assignment takes place on an on demand basis.

The modern artist knows their value and knows more often what needs to do next. The purpose is to go as far as you can with your own resources and only when your own resources are not enough, in accordance with the goal – approaching the future industrial partners. I like the current trend – the artist retain the copyrights themselves and organize their releases through distributors and administrations in a way it won’t involve any transfer of rights. Of course, this is not so black and white. The record companies are still an important institution in the music business. As are the music publishers. But it is the artist that has a choice.

In the past, the record companies were the gateway to the market. Today it’s more about at which stage the record companies become topical – if they ever will. In addition, the artist’s own management is often able to organize the releases so that around them is possible to build a meaningful business. All this is dependent on the objectives of the artist. The larger the international distribution is to be achieved, the greater the probability that the record companies will be needed. Instead, if the artist wants to advance organically, depending on how popularity so permits, it should probably be done on an independent basis.

Anyway, this picture tells you a lot about where the things are going. Here’s Chronoform. We go through their copyright issues and how to arrange their OPO so that it best supports their story. The management’s task will take as long as the job is completed – on an on demand basis and for the independent artist.