Music Publishing Podcast

I haven’t written a word in the Composer’s Guide to Doing Business in quite a while, and that was kind of bumming me out last Fall. I like writing and talking about business-y and practical things in music, and I find it really fulfilling to put that information and those opinions out into the world in a semi-organized way.

After feeling guilty about not putting out new posts here, and continuing to dive deep into the world of book publishing and the people who talk about self-publishing, I realized that I could continue the work of the Guide in a different format – a podcast!

Enter the Music Publishing Podcast, a weekly, (roughly) hour-long show on the business and practical aspects of having a career as a concert musician in the 21st Century.

Every week, I put out a new episode where I meet up with a composer or performer or someone who works with musicians and artists for a (very) loosely structured conversation around a particular topic or two. One of my early listeners very accurately and insightfully described the show as “good-natured shop talk”.

It’s been a lot of fun, and right now I’m in the process of banking about two months’-worth of episodes, so there’ll be a lot of listening to do!

The show definitely takes up part of the mantle of the Composer’s Guide, and is intended to help concert music composers and performers to navigate their careers, and to learn from their colleagues’ successes, failures, and experience.

As of this week, I’ve released a dozen episodes with:
Alex Shapiro, composer
Jenn Jolley, composer
Chris Cresswell, composer
Marc Ostrow, entertainment & copyright lawyer
Erin Rogers, composer
Noah Luna, composer & engraver
Dale Trumbore, composer
Rob Deemer, composer & educator
Alexandra Gardner, composer
Dominick DiOrio, composer & choral conductor
Kurt Knecht & Jennifer Rosenblatt, co-founders of MusicSpoke
Thomas Deneuville, digital marketing professional, founder of ICareIfYouListen.com

So check out the website, subscribe on iTunes, PlayerFM or Stitcher (or wherever else you consume your podcasts), and I hope you enjoy!


New distributors

This past year, I’ve been working toward upping my publishing game. (I’ve got a rant about publishing coming up in another post, so be prepared for that.)

One of the steps I’ve taken toward putting on my Big Boy publishing pants was to get an EIN and a bank account specifically for the Tobenski Music Press. (For those of you following along at home, an EIN is free, and you can get one online; and Spark Business has a great small-business-centric set of online-only accounts that don’t have balance minimums or monthly fees, which is great when your cash flow isn’t huge.)

Another step was to sign on with two distributors: SheetMusicPlus and MusicSpoke. Having my works available in more places means more visibility, and the possibility for more sales (and consequent performances). I have my eye on a few more. J.W. Pepper and Subito both have distribution programs for self-published composers, but both charge a yearly fee to participate (although the fee is waived if the composer meets a certain yearly threshold of sales). I’ve got to weigh the possible benefits against the cost, and for the moment, the cost isn’t very attractive. I’ve also yet to reach out to a few more possibilities who don’t publicly advertise that they distribute self-pubbed works, but with whom I have connections.

The biggest, most time-consuming thing I’ve been doing is to revisit all of my scores with an eye on the engraving. Every score is getting a complete makeover: respelling rhythms, cleaning up compositional artifacts that didn’t get caught in the first editions, simplifying the ways that I notate certain passages, making sure that tempi and dynamics are clear and consistent.

“John Anderson, my jo” original edition
 
“John Anderson, my jo” 2015 edition
 
Every score gets a new cover, front matter (title page, title verso, texts, program notes, and premiere and recording information), and back matter (specifically: a call to action listing similar scores in my catalog).

I’ve also registered as a publisher with the U.S. ISMN Agency at the Library of Congress (h/t to Juliana Hall and her article in IAWM for the info on that). Each new score gets registered there, and the ISMN goes onto the title verso.

Title verso info for And He’ll Be Mine
 
At the moment, I have five pieces out with the distributors – one song cycle, three standalone songs, and a piano piece – and another ten that I’m in the process of proofreading. For composers interested in learning more about the process, you can follow along here as I post more about it, or feel free to email me if you have specific questions. And for composers who are familiar with distributors, etc, I’m interested in learning about your experiences, and am always happy to hear from you via email.


Co-opetition

Co-opetition.

I came across this term recently, and it’s a concept that I really like. A portmanteau of cooperation and competition, it rather perfectly sums up my philosophy on working with other composers: yes, we’re in competition to a certain degree (there are only so many pieces that can be performed on this or that concert, only so many projects get funded through NMUSA, etc), but the nature of our field is such that by working together and pooling our resources, we can create more opportunities for all of us.

It’s for this reason that I love the idea of composer collectives. Ideally, everyone in the collective has something to offer to the group – connections, a special skill set, etc – and each member is responsible to some degree for promoting the group’s interests. By pooling their intellectual, artistic, and financial resources, the collective can put on concerts featuring the music of its members, or they can use those resources to make commercial-quality recordings of their works, amongst other possibilities. An individual might have a difficult time organizing such endeavors on their own – and may find it impossible to come up with the funds -, but a collective can spread the responsibilities and financial burden across its entire membership.

Similarly, I’ve been thinking lately about the idea of composer-run small presses.

A collective of composers could easily found a small publishing company for its members. Each composer could be held responsible for different tasks within the company – tracking sales, marketing, bookkeeping, outreach to performers, proofreading and editing the scores, etc. Whereas a single self-published composer would be responsible for all of these things, and may have a difficult time keeping up, this scenario would allow each member to be more focused on one or two tasks to which they’re well-suited, which ultimately leaves more time for composing.

Off the top of my head, I can see this working in a handful of ways:

1) The composers could pool all of their works in the publishing company, and allow the company to create (essentially) imprints. The imprints could be by composer, where each member has a brand that is a part of the whole, but slightly distinct; or it could be by instrumentation, where vocal music, choral music, chamber music, and large ensemble music are separated out, which could make marketing much easier, since each imprint would be focused on a particular segment of the performing world.

Mock-up for similarly branded imprints in a publisher’s catalog

2) The composers could pool only particular types of their works in the publishing company, retaining publication and distribution rights to the remainder of their catalogs. This allows the publishing company to narrow its focus to a particular market, and would probably be most ideally-suited to choral or band works.

Although I don’t know the inner workings of the group, the Independent Music Publishers Cooperative (imp.coop) seems to operate in a manner similar to the latter form. (Although I think that each composer publishes their own works, and the group acts as more of an umbrella for the sake of publicity and resource-sharing.) The composers in the group all write a significant amount of music for choirs, and they’ve found a way to increase the visibility of their individual members by pooling resources. The group is a fixture at choral conferences – they always have a booth with racks of music, which is much more affordable to manage when everyone pitches in. I saw them in action in 2013 at the national ACDA conference, in Dallas. Everyone took shifts manning the table to handle sales, and at least one of them would be hanging out by the racks, ready to answer questions and offer suggestions based on a director’s needs. Invariably, the composer-on-dutyr would reach for a piece by one of the other members of the group, saying, “You’ll love this one,” or “I think this would be perfect for your group.” The composers look out for one another. As a consequence, they strengthen their bonds to one another, and they add to the stability of their company, which benefits everyone, financially, personally, and artistically.

A small press, of course, would require that the company license the works from the composers, as well as set up royalty rates. While I wouldn’t recommend that the company own the rights to the works that it publishes (as traditional publishers do), it should probably have an exclusive license to publish them for a finite period of time. (Limiting the length of time that the company has exclusive rights allows the composers and the company to re-evaluate royalty rates on a regular basis, as well as whether or not the composer wants to continue to participate in the company and/or collective, amongst other considerations.) Granting the company exclusive rights creates an incentive for the composer to promote the company/collective. A percentage of the profits would stay within the company, and what the individuals “lose” by not receiving the full profit from their score sales, they gain in the ability to present concerts or produce recordings or go to conferences with the collective, which they otherwise might have difficulty doing on their own.

However, co-opetition doesn’t require any formal agreements or formation of a permanent or semi-permanent group to be useful.

Two of my friends, Clint Borzoni and Philip Wharton, recently paired up to put on a concert of their vocal music. Together, they hired musicians, booked a recording engineer, rented a performance space, and promoted the concert. If each had put on a concert of his own music individually, the individual costs would have been much higher, and the risk of not making back the investment would have been a much more significant consideration. But by banding together, Clint and Philip were able to mitigate the risk because each brought their own set of ticket-buying audience members to help offset the costs. Their goal wasn’t to break even, but to put on a concert that they could be proud of, and to have some solid recordings of their vocal works to use. It was a great concert, and a complete success.

I recently started a new feature in my newsletter where I link to a piece by a composer I like: I spend a few sentences telling the people on my list why I like that particular piece or composer, and why I think that they’ll like it, too. The composer may write in a style similar to mine, and we may be “competing” for performances by the same performers, but it doesn’t hurt me to promote their works. Also, since I know my subscribers, I know that they appreciate learning about a new composer or a new piece. It costs me nothing but a few minutes to type up the handful of sentences and link to the audio, but it’s positive for everyone involved.

StoryBundle is a great example of co-opetition in the world of fiction. Each bundle centers around a particular genre, and every author that signs on to be a part of a bundle encourages their mailing list and followers on social media to check it out. The author hopes for sales on the bundle because each sale is earned income for them. Driving their readership to the bundle is partly an act of generosity – readers who buy a bundle get at least five books by other authors, as well, which is a huge win for readers, and it also helps the other authors -, but when all twelve writers drive their lists to the bundle, each writer is seen by the lists of the other eleven, which greatly increases their own visibility. Everyone wins.

Co-opetition is predicated on the idea that “a rising tide lifts all boats”, but with the added benefit of that tide having been generated by the collective efforts of the boats themselves.


Art First

The Composer’s Guide has fallen a bit by the wayside over the past year, but it’s been very much in my thoughts of late. I’ve been doing a lot of research into various business and marketing topics as they relate to publishing fiction and nonfiction, and I’ve come across a lot of ideas that are applicable to the field of concert music. While I may not have many/any full-on Guide posts in the coming weeks and months, I may try to put out little postlets like this one, if only to continue putting some of my thoughts out into the world.

Be warned: I use the words “product” and “market” a lot in this post.

Since starting the Guide several years ago, one argument that keeps popping up in certain quarters is that the introduction of business techniques into the arts will inevitably cheapen the art: composers will start writing “to the market”, and concert music will be increasingly dumbed-down.

What the Guide advocates (and which every other writer on entrepreneurship in the arts that I’ve read advocates) – which I may not have made sufficiently clear – is an Art First approach: Art first, Business second.

In other words, composers should write the works that they feel compelled to write on an artistic/emotional/intellectual level regardless of what they think will “sell.” It’s only after the work is completed that they should attempt to find performers and an audience (a market) for that work.

The writers who I follow most closely on the topics of business and marketing in the world of fiction/nonfiction advocate this same approach. Johnny B. Truant and Seth Platt, in their excellent book Write. Publish. Repeat., relate their philosophy on this very topic. During the writing process, their job is to write the best novel they can so that they can be proud of the work that they are putting out into the world. Their art comes first. However: “Your written product stops being about you, your needs, desires, and emotions as soon as the writing is finished. Then it becomes a product, and you must treat it as such. Products must sell, and in order to sell, they must be positioned in the best possible way —even if that way doesn’t totally jibe with your own personal artistic feelings. That’s not always easy when those words feel like your babies —things you slaved over, loved, and gave birth to. But you need to take a step back, and if it won’t work for readers, you must be able to see that and act accordingly.”

More simply: “Write for you, then act in the best interests of the market and your reader.”

Put into terms of concert music: If I’m commissioned to write a choral piece, I’m going to write the best damned choral piece that I can. I’ll take into consideration the technical limitations of the ensemble that has commissioned me, I’ll consult with the director on the text that I’ll use, and I’ll do my best to adhere to requests for a particular duration for the piece. And then, within those constraints, I’ll write what I feel the need to write – for myself. A work that I will be proud of. Then, after the piece is finished, and it’s engraved and publication-ready, the work of art that I’ve created will also become a product in my catalog of works, and I’ll treat it as such. At this point, my job – as my own publisher – is to market this finished piece so that it comes into the awareness of as many appropriate ensembles as possible. How I’ll go about doing that is a topic for another day: Ethical Marketing.

Outside of commissioned works, I may make calculated decisions as to what type of instrumentation to use in order to position myself within an underserved market or a market with significant opportunities – concert bands, in particular, spring to mind – but these are works that I want to write for myself. The quality of my work will not change, nor will my musical language, only the instruments that I’m working with.

A number of the comments that I’ve received on my writings, and that I’ve seen on the writings of others who advocate for more entrepreneurial thought in the concert music world, are along the lines of, “This works fine for composers who write accessible music, but what about those of us who don’t?”

This is a legitimate question, and the answer is: this approach will still work for you, but you can’t expect as large of an audience. Absolutely do not change what you’re doing to suit what you think “the market” wants – that’s artistic suicide. Yes, your audience will be smaller, but they’ll be just as enthusiastic, provided that your work is of high quality.

And I should add: writing at a high level of quality, with a solid grasp of your craft…that’s the one assumption that I make throughout my writings on these topics. You must write well – anything less is unacceptable.

Back in fiction-land, a novelist who writes legal thrillers will, by the nature of the genre that he writes in, have a larger target market than, say, someone who writes Westerns. The writer of Westerns may not have as big of a readership, but they will be loyal to him so long as he continues to write to the best of his abilities. He shouldn’t start putting wizard vampires who are into BSDM in his books because he thinks it will sell more copies.

Although this is more a part of the Ethical Marketing discussion: for composers whose works are less “accessible”, I think it’s a safe assumption that you’re also a consumer of similar works by other composers. You’ll pay to go to concerts featuring music in a style similar to yours, and you’ll pay to buy recordings of music in a style similar to yours. While you’re a part of the larger concert music community, you’re also a part of a smaller community who values and actively searches out this style of music….Find these people. They are your audience. They are your market.

You may have a harder time convincing consumers of more “accessible” styles to listen to your works. Similarly, I’ll have a harder time convincing consumers of less “accessible” styles to listen to mine. I’m not going to change my style to “pander” to an audience that doesn’t enjoy what I feel artistically compelled to write, and neither should you. And similarly, a larger or a smaller potential audience doesn’t make one style more or less valid – merely more or less popular or more or less rarefied.

And to briefly address the idea of “cheapening” concert music…. Because concert music is predicated on a high level and quality of musical thought, the field would have to undergo a massive transformation in order for poorly-composed works written “for the market” to gain any sort of significant foothold. Although there are fads and passing fancies that may portend doom to some, I place my faith in composers, performers, schools, organizations, and genuine lovers of concert music to continue to value quality of musical expression, and to pass on to each new generation of musicians an appreciation for high musical standards.

To sum up: Every piece you write should be the best that you’re capable of. It should be a work of art that you’re proud of, and that represents your truest voice. And once it’s finished and ready to go out into the world, it becomes a product (and no less a work of art) for you to market to performers and listeners who will value what you do. Wear your composer hat while you’re writing, and then your publisher hat when you’re trying to sell your finished works. Keep your marketing hat away from your writing chair: that way lies madness.

Art first, Business second.


Audio: 50% funded!

The other day, the Kickstarter campaign reached 50%, so here are several more clips, as promised!

“At Any Given Moment” from Modern Love Songs by Chester Biscardi

“Under the Silver Moon” from Three Lullabies by Zachary Wadsworth

Outtake 1: “An Argument”

Outtake 2: “An Argument”

And no recording session is complete without a 30 Rock reference that no one in the studio catches. (This is in reference to “At Any Given Moment” – the take that immediate precedes the one I’ve provided above!)

With 4 days left, we have $1,400 left to raise! Marc and I need your help in this last push to make sure that these beautiful songs get the best possible presentation! Please pledge and share with your friends!


Audio: 33% Funded

Since the Kickstarter campaign reached the 33% milestone, I’m releasing two new snippets of audio from the upcoming album:

“An Argument” from Three Poems of Thomas Moore by Darien Shulman

“Rockaby, lullaby” from Three Lullabies by Zachary Wadsworth

I’ll release the next set of audio (including my 30 Rock tribute) when we hit the 50% mark – so get funding, there’s only 15 days left! 😀


My first album is in the can!

Over the past few months, Marc Peloquin and I have been preparing to go into the studio with our first album together: 60 minutes of art songs by gay American composers. We unwittingly started the project in February when we put together a recital for the Composers Now Festival. For a plethora of reasons, the program was sparsely attended, but aside from the first few songs (in my opinion) it was a real success musically. Those first three songs would have been infinitely better if the house manager hadn’t pulled me aside literally seconds before we were set to go on stage to tell me that the poor attendance would add an additional $200 to our rental fee. But that’s a rant for another day.

The audience, despite being small, was mighty, and I was happy to have shared that special evening with many of the people who matter most in my life. And afterward, the prevailing opinion (besides, “Where the hell was everybody?!”) was that it would be a crime not to record those songs. Twist my arm…

After a bit of research into recording studios and the ins and outs of recording an album, Marc and I sat down over drinks, and decided to actually do it. We’d record that program, and we’d do it right. But we never dream without dreaming big. So in the course of that evening, we decided to form our own record label, and we planned our first five releases, starting with these 19 songs, which have never been recorded before.

Shortly after that, I had studio dates booked, and Chet Biscardi, one of the composers on the disc (and a good friend), set us up with a pre-recording concert at Sarah Lawrence College where he chairs the music program.

Over the past two months, Marc and I worked the songs – most of which we’ve been performing on and off since 2007 – and continued to find new and exciting facets and interpretive twists for all of them.

Finally, our recording dates came, and we trekked up to Oktaven Audio in Yonkers, NY on a series of increasingly cold November days to get the songs in the can. It was an absolute joy to be in the studio – it was my first time to record more than demos, other than my silent participation in several AME and Naxos releases as a page turner. We had three three-hour sessions, and each was exhilarating and exhausting.

We still have two major jobs ahead of us: listening to all 176 takes to speed up the editing process, and raising funds to pay for the editing, mixing, and mastering!

Every few days, I’ll be posting a rough clip or two from the recording sessions, so check here, on Facebook, or on Twitter to hear those little nuggets.

And please consider helping to fund our Kickstarter campaign, which runs through Dec 17. And if we reach our goals early, we’ll put up some extra rewards.


The Composer’s Guide to Doing Business: Web Series: Part 1. Hubs & Outposts

In the current landscape of the arts in general and concert music in particular, Internet savvy has become something of a requisite for having a viable career. However, it can be confusing, with all of the different platforms for on-line interaction, to know how to proceed.

Twitter, Facebook, Tumblr, YouTube, Soundcloud, Google+, LinkedIn, and of course your personal website — all seem vaguely promising for letting people know what you’re up to, drumming up interest in an upcoming performance or a new recording, and general audience-building. But the thought of using more than one or two services – and devoting the time that it seems like you should to each one – can be a daunting task, especially for those who aren’t as Internet-savvy as they’d like to be.

A friend of mine would frequently lament that it seemed like he should join Twitter, but, “How does one have the time?!”

So how do you prioritize your on-line activities as they pertain to your career?

A few considerations

While there’s no tried-and-true, one-size-fits-all approach to how an artist can make her Internetting as effective as possible, I would say that a personal website is de rigueur for anyone with aspirations of having a career that involves people finding your work and doing something with it, be that purchasing copies of the work, performing it, commissioning new work, or just listening.

Beyond that, you have to start asking yourself a few questions.

Question One is quite simple: Do you have the inclination to do the whole social networking thing? If your answer is “no”, then you probably shouldn’t bother. If you think it’s not worth your time, then it really isn’t. Unless you’re willing to put in the effort, you’ll only be wasting your time. However, if you think that you’re inclined but “don’t have the time,” then you need to figure out if your lack of time is real or imagined – and if it’s imagined, it may be that some part of you knows that you’re not actually inclined, but that you think you should be.

If you’re actually inclined, and expect that you’ll find some enjoyment in engaging with performers and listeners who you’ve not met in meatspace, then you need to figure out to what degree you’re comfortable intermingling your personal and professional lives in a public forum, as well as some other considerations, which I’ll tackle in the coming weeks. A lot of this won’t be new information to the more web-savvy among you, but it can bear repeating.

But regardless of your general social networking strategy, it’s important to be aware of the concepts of Hubs and Outposts, and how the hub-and-outposts method of on-line activity can help you to cut through some of the anxiety.

Hubs

With very few exceptions, your website will be the Hub of all of your on-line activities. The core of your efforts will be centered here, although you may put more day-to-day time into other outlets.

Your website should be kept up-to-date with all new works, performances, recordings, press, bits of news, etc. But most importantly of all, you should have full control over your site: you own the domain name, and you have the ability to add content and change the design at will (although this may involve having someone on call who can do the updates/changes for you). Your website is not bobcomposer.wordpress.com or billwritesmusic.tumblr.com or musicbykatie.wix.com. By all means, use WordPress or Tumblr or Wix to build your site, but get your own damn domain name – they’re not expensive.

If you’re overwhelmed by the options you have for domain name purchasing or web hosting, start by asking people who have websites what they’ve done, and what they like/don’t like about their hosting. I currently own five separate domain names and operate another two for clients from my central hosting account, and have worked with over a half dozen hosting companies in my experience as a web designer — I’m always happy to answer questions, too.

Keep your website the center of your on-line activities. If you blog regularly, make sure that the blog is a part of your site, and not hosted elsewhere, so that the blog readers can easily navigate to the rest of your site.

Outposts

Outposts are sites where you’re likely to find listeners or performers who may be interested in your music. The big ones, of course, are Facebook, Twitter, Google+, etc.

You won’t have as much control over your Outposts as you will over your Hub – you won’t own the domain, you’ll have limited control over design, and in some ways you’ll be competing for attention with all other users of the platform. However, discoverability becomes easier, and you can rely (to a degree) on sharing/retweeting/reblogging features to help spread the word about you and your work.

Your website doesn’t naturally have any reliable traffic, but your Facebook and Twitter profiles, once you start to connect with other users and make regular use of the platform, will. You can and should make use of that traffic to draw visitors to your website.

Driving Traffic

The primary purpose of your Outposts is to drive traffic to your Hub. Each of your outposts should link to your website — in the About section of your Facebook page or profile, in the Bio section of your Twitter account, in the description of your Tumblr blog, in the contact info for your LinkedIn profile — so that anyone who finds you sufficiently intriguing can learn more about you.

Every time I publish a Composer’s Guide post, I link to it from Facebook and Twitter, and the majority of my traffic for the next few days is from these two sources. I do the heavy lifting on the website — writing the post — then let my friends and other followers help to spread the word after I let them know that the new post exists.

Similarly, when you add a new work, or a significant blog post, or a new recording to your site — anything that your site visitors would be interested in — you should mention it on social media to drive traffic to your Hub.

The visitors may be returning ones who are just catching up on the new content; or they may be entirely new to your site, and will hopefully spend time poking around and learning more about your work. (More on how to track this and improve on it in the next few posts.)

This small effort on your part has the effects of 1) making your site more easily discoverable to new visitors who may have seen one of your posts or some else’s repost of it, and 2) minimizing your existing listeners’/fans’ efforts to keep up with your works and career.

Where it’s easy to lose hours of your time is in duplicating your efforts across multiple platforms — posting an important bit of information in full on Facebook and Google+ and your website — rather than having a centralized location for your core activities. Links with minimal commentary are easier to share than full-fledged posts and rants that belong on your website.

Of course — and more on this later — exhortations to visit your site aren’t (and shouldn’t be) the be-all and end-all of your Outpost activities. Establishing yourself as a human being is just as important, and posts with broader applicability and interest should outnumber your posts evangelizing about your latest project.

Platform Death

Another reason to make your website your Hub is in case of Platform Death.

Back in the day, when personal websites weren’t the norm, it was common for composers to use MySpace as their hub. Uploading music and video was relatively easy, and users had some control over the look of their page (though we all remember how terrible most pages looked). It was a way for musicians to have an on-line presence without having to dish out hosting fees or navigate the domain registration process, which wasn’t as streamlined as it is today.

You could put your MySpace URL on a business card, and people were impressed with your initiative and tech savvy. You had an on-line presence, and you didn’t have to pay for it, or work very hard at it.

Then came Facebook, and the average MySpace user fled to greener pastures with less eye-wrenching, animated backgrounds and no auto-playing audio. Suddenly, musicians with a MySpace page were behind the times, and many scrambled to adopt the new platform, which wasn’t as well-suited to promotional efforts — especially not to posting static media.

All of these musicians were victims of Platform Death. They put their eggs in the MySpace basket, and the basket broke. The site is still in operation, but few musicians use it, and even fewer listeners take it (or the musicians that rely on it) seriously.

By owning your domain and hosting your files through a reliable web host, you insure yourself against Platform Death. A self-hosted WordPress site will be viable for years to come, even if new versions stop being developed. A custom-coded site is even more secure so long as you know how to update it, or your web person is willing and able to continue working on it. But even if you own your domain, a site hosted by Tumblr or Wix could experience Platform Death if the companies shut down or the platform becomes unpopular or the developers let the platform languish.

Now, that’s not to say that if you currently use one of the latter or similar platforms to host your site that you should run screaming from them. But be aware that you’re more at the mercy of the companies that own the services than those who go through a regular web host. I have a friend with a very elegant website that’s hosted on Tumblr, and one of my own side projects has a Tumblr-hosted site. I keep my ear to the ground about the viability of the platform, and I’m sure he does, too. I also know that if Tumblr suddenly became as uncool as MySpace, or their ToS changed to be less friendly to copyright holders, I could migrate to another service or build a site from scratch, and only lose a day or two in the process thanks to my nine years of experience in building websites. Others may not be so lucky.

Friendly Reminder

Just as your administrative and promotional efforts are on behalf of your music, your outpost activities promote your website as the central repository for knowledge about you and your work (which is, in turn, in service of your music).

I write the Composer’s Guide here, taking time away from my composing to do so. One of the things that has kept me going in the past is feedback from readers – in the comments, on Facebook or Twitter, or via email.

And since I provide these posts for free, I always appreciate a tip in the tip jar below if you feel like you’ve learned something from the posts. Or, if you can’t manage that, sharing the post on social media is always much appreciated.

Thanks!