marketing Radio Promotion PR retail marketing gig support video promotion and tv advertising Sponsorships (money that is given

to you which does not have to be paid back. In return, you display and/or announce the sponsor's name to your fans.) Investments (the preferred angle is to convince the investors that they are investing in building your awareness (and charting), and that they will benefit by being attached to you. Music sponsors tend to be individual people, as opposed to companies.)

30% Independent Promotion Firm 30% Radio Publication Ads 40% Station Promotions -------------------------------100% This would cover one song for up to six months, but for at least three months. Radio Campaign Below are several example levels of the costs of taking a project to radio. Real costs vary greatly depending on genre (one genre can be 10 times more than another,) and these costs assume you already have manufactured at least 1000 CDs. If you require vinyl, costs will be more. (Note: These are not our costs; these are typical costs that you can use to show investors.)

Level 1 (grass roots) Independent promoter for non-commercial radio: $3000 Postage: $500 Mailers: $100 -----------------------------------------------------Total: $3600

Level 2 (grass roots) Independent promoter for non-commercial radio: $4000 Independent promoter for specialty/mixshow: $4000 Single (or promo-only EP) just for radio: $2000 Postage: $1000 Mailers: $100 ----------------------------------------------------Total: $11,100

Level 3 (small label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $4000 Ads in radio trade papers: $2000 Single (or promo-only EP) just for radio: $2000 Postage: $1000 Mailers: $100

----------------------------------------------------Total: $17,100

Level 4 (small-medium label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $4000 Independent promoter for small-market commercial regular rotation: $10000 Ads in radio trade papers: $5000 Single (or promo-only EP) just for radio: $2500 Postage: $1200 Mailers: $150 ----------------------------------------------------Total: $31,200

Level 5 (small-medium label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $15000 Two independent promoters for small-market commercial regular rotation: $20000 Ads in radio trade papers: $10000 Single (or promo-only EP) just for radio: $2500 Postage: $1200 Mailers: $150 -----------------------------------------------------

Total: $57,200

Level 6 (medium label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $30000 Five independent promoters for small and medium-market commercial regular rotation: $70000 Ads in radio trade papers: $20000 Single (or promo-only EP) just for radio: $2500 Postage: $1200 Mailers: $150 Quarterback to run campaign: $10000 Consultants: $5000 ----------------------------------------------------Total: $147,200

Level 7 (medium and major label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $30000 Eight independent promoters for small and medium-market commercial regular rotation: $150000 Ads in radio trade papers: $40000 Promo item: $10000 Single (or promo-only EP) just for radio: $2500 CD Postage: $1200

Promo Item Postage: $2500 Mailers: $150 Quarterback to run campaign: $10000 On-air ads: $20000 Consultants: $10000 ----------------------------------------------------Total: $284,700

Level 8 (major label) Independent promoter for non-commercial radio: $8000 Independent promoter for specialty/mixshow: $30000 Fifteen independent promoters for small, medium, and major-market commercial regular rotation: $250000 Ads in radio trade papers: $50000 Promo item: $10000 Single (or promo-only EP) just for radio: $2500 CD Postage: $1200 Promo Item Postage: $2500 Mailers: $150 Quarterback to run campaign: $20000 On-air ads: $50000 Consultants: $50000 ----------------------------------------------------Total: $474,350

Now let's talk about "campaigns". A radio campaign is when you work a large group of similar stations at the same time,

so as to create a "hit". A hit is simply a particular artist that is being played on a large number of stations AT THE SAME TIME. If half the stations play it now, and the other half play it a year from now, you do not have a hit. Hits have to be on all pertinent stations at the same time. there is the regional option. Many times, people will want to go after just a few stations in their own city or state, and this "regional" effort does have some merit... mainly lower cost... but it is not referred to so much as a "campaign", as it is just a "push". Regional is useful since all the stations are selected to be close to the artist, but the push is not very impressive to other stations because (1) most of the stations will be small, (2) there will be no chart action, (3) there will be no trade reviews, (4) there will be no stations near other stations in the rest of the country, and (5) you will have very few stationsuccess stories to tell. But considering the cost, many smaller projects will have no choice but to opt for a regional effort.

MEDIABASE: This system is similar in concept to BDS, but instead of using computers to listen, it uses people. Also, since a human is actually doing the listening, that person can make notes of special things, like if the music was heard in a advertisement, or if the artist was talked about by DJs, or other things that a computer would miss. MediaBase and BDS monitor about 80% of the same stations; therefore you may need to get both in order to get proper coverage. A note about who owns whom: Soundscan and Billboard and BDS are all owned by the same company. MediaBase, on the other hand, is owned by Clear Channel, the largest owner of radio stations (1200) in the world. For new artists, we recommend forgetting stores entirely, and focusing instead on tour distribution. A problem arises when brand new under-funded bands try to get commercial regular rotation airplay: They cannot afford to do all the above things at once. So they have to choose what to attempt, and the proper choice (for most situations) should be: Gigs. Gigs are something that the average band can handle; bands can still invite the press, and bands can still sell CDs there (i.e., tour distribution.) If any of this seems un-doable, then it is time to look at non-commercial radio, and/or, commercial specialty/mixshow

radio, since these can be worked without any gigs, retail or press whatsoever. What you don't hear are the endless phone calls, faxes, trade ads, personal meetings, consultant recommendations, callout research, and other things which went into getting the station to add the record.All you heard was the record itself. And station owners make it a requirement that the DJs make it sound like they picked the music themselves. Not really. They won't hurt, but your time is better spent doing other things, like inviting people to your gigs. Stations know which calls are real, and which are bands and their friends. Stations have consultants and seminars which cover only this one topic. get the airplay first, and use it to get gigs. Not being able to gig is a serious handicap for any artist, but you can overcome it with intense radio promo, press, and other marketing. Non-monitored stations are of no use only on the Billboard and R&R charts. But FMQB, CMJ, and all specialty/mixshow charts found in magazines are compiled manually; since you need to start off on these smaller charts first, this works out just fine. SPECIALTY/MIXSHOW: For these, you want to give items that are of interest to the listeners... not the station people (the more and better the items are that the station can give away, the more listeners the station will get.) And there are far fewer stations to deal with compared to college, so we can now start looking at meatier items. Shirts still apply, but now you can now consider antenna balls (in quantity), bandannas (for rock, rap), coolies, coasters, dog tags (for rap), foam guitars (for rock), pens, gum (printed wrappers), key chains, rubber stampers, and even rockpaperweights. With specialty/mixshow, you can send one of your items with the CD, but the real value of the items is in quantity (10, 20, or 30 pieces per station) for stations that are playing you.