The Music Business Buddy
A podcast that aims to educate and inspire music creators in their quest to achieving their goals by gaining a greater understanding of the business of music. A new episode is released each Wednesday and aims to offer clarity and insight into a range of subjects across the music industry, all through the lens of a music creator for the benefit of other music creators. The series includes soundbites and interviews with guests from all over the world together with commentary and clarity on a range of topics. The podcast is hosted by award winning music industry professional Jonny Amos.
Jonny Amos is a music producer with credits on a range of major and independent labels, a songwriter with chart success in Europe and Asia, a senior lecturer in both music creation and music business at BIMM University UK, director of The SongLab Ltd and the author of The Music Business for Music Creators.
www.jonnyamos.com
The Music Business Buddy
Episode 52: Setting Up Your Own Remote Marketplace
"I just want to make a living as a music creator" is perhaps the most common goal I hear from musicians - and today's podcast explores how the remote marketplace makes that more achievable than ever before.
What if those guitar skills you've developed could earn you income beyond your local band? What if those production techniques you've mastered could serve clients worldwide? What if those songs sitting on your hard drive could be monetised without releasing them yourself?
The golden age of the gig economy has transformed how musicians can earn from their craft. Platforms like SoundBetter, AirGigs, Fiverr and Musiversal have created sophisticated ecosystems where music creators can offer their services to a global clientele without ever leaving their studios. But simply signing up isn't enough - the musicians who thrive in these marketplaces understand the nuances that separate occasional gigs from consistent income.
We dive deep into crafting your offering with precision - explaining why being a specialist rather than a jack-of-all-trades helps you stand out in the crowded marketplace. You'll learn how to structure tiered service options that maximize your earnings while giving clients the flexibility they need. We explore the delicate balance of pricing, rights management, revision policies, and the critical importance of turnaround times in winning repeat business.
Beyond the technical setup, we examine the psychology of successful remote musicians - how controlling your ego when serving others' creative visions, building a compelling profile, and maintaining impeccable professional etiquette can transform occasional gigs into career-defining relationships.
Whether you're looking to supplement your income or build a full-time career, this episode provides the roadmap to monetising your musical skills in the digital marketplace. Subscribe to The Music Business Buddy for more insights that help you navigate the business side of your creative career with confidence.
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The Music Business Buddy. The Music Business Buddy Hello everybody and a very warm welcome to you. You're listening to the Music Business Buddy with me, johnny Amos, podcasting out of Birmingham in England. I'm the author of the book the Music Business for Music Creators, available in hardback, paperback, e-book format. I'm a music creator with a variety of credits I'm a consultant, an artist manager and a senior lecturer in both music business and music creation. Wherever you are, whatever you do, consider yourself welcome to this podcast and to a part of the community.
Speaker 1:I'm here to try and educate and inspire music creators from all over the world in their quest to achieving their goals by gaining a greater understanding of the business of music. Okay, so in today's episode I am talking about setting up your own remote marketplace, or work for hire, as others might call it. We are in the golden age of the gig economy, the creator economy, et cetera, and one of the things that I often hear from people. When I say to people, what do you want to achieve in your music career, the most common answer has got to be I just want to make a living as a music creator, and that's perfectly plausible, and I don't think it's ever been as possible as it is today, and I think there's a lot of reasons for that, but one of them is the subject of today's podcast, the online remote marketplace. Here we go.
Speaker 1:So perhaps there are songwriters who don't know what to do with their songs. Maybe they kind of have more songs than they actually need for their own artist project, or perhaps some of the songs they create just don't sit in that artist project. Perhaps they have, you know, ideas for hooks or choruses that could be used by others in their songs. Or perhaps there are performers you know drummers, guitar players, keyboard players, bass players, horn players who have mastered their instrument of choice and have no idea how useful they could be on other people's records. Perhaps their ability to find the right musicians around them maybe limits their understanding of how they could actually put themselves out there, so to speak. What about people that play in bands? You know you think about the time and the effort that they've gone into kind of mastering their craft and their art and they can always play in that band. But outside of that, it could be that they're driving their income by making those skills available to other people that don't have bands. That would need people like that. Perhaps there are beat makers, producers with a keen interest, you know, in sort of unique sound design, sample manipulation, loop creation, creating tracks, tracks that sat on hard drives that could be used by others. Perhaps those producers could be creating the building blocks for the songs of others, right? For other people, other music creators, other artists that wish to get their music out, that may wish to use your skill set in order to get there.
Speaker 1:Now, there's lots of different ways that music creators can make a living. Of course there are, and that is brilliant. But today I'm just going to try and simplify it onto one subject, which is the remote marketplace how to set that up, how to make it work, how to make money from it and how to work on a kind of semi-seasonal basis or even full-time. I know plenty of music creators and producers these days that work full-time online. That's not for everybody, right. Not everybody likes that. Some people love that kind of thing. I know plenty of other people that do this sort of two or three days a week, or maybe even just make themselves available for certain times of the year where maybe they're a little quieter. Whatever it is, whatever the case might be, it's going to be different for different people, but just knowing that you can kind of put yourself out there to be available for other music creators and for their projects is in itself a giant income stream.
Speaker 1:So let's take a closer look at it. All right, let's start by thinking about the actual suitable platforms, right? So centralised platforms are very much leading the way here. So providing, you know, not only kind of sophisticated e-commerce tools but also the reassurance of actually like a recognised system to regulate, you know, compliance, complaints, customer care, that kind of thing Working directly through external communication, you know, with like total strangers, comes with an element of risk which is somewhat mitigated by platforms you know like the centralised platforms. So let's talk about them.
Speaker 1:Soundbetter soundbettercom, an independent company, used to be part of Spotify and it went independent again. It could be argued it's one of the market leaders. It's a place that I've gone to many, many times to hire different vocalists and musicians. There's also Airgigs, airgigscom. Both of those platforms really allow creators to thrive in this expanding marketplace. Those are probably the two most popular ones.
Speaker 1:There's also Fiverr. Now there's loads of people you can hire on. Fiverr isn't there for all sorts of different things and you know, like with anything that's on the internet. You know you have to be careful, right, because there are some kind of you know there are some scammers out there and that kind of thing. You won't really find anybody like that on soundbettercom or airgigscom. And fiverr have really tightened their regulations these days too. But I think the difference between fiverr and the other two that I mentioned there is that you can really start to sort of tier up your services, which I'll come back to a little bit later actually. But you can really tier your services from kind of just loops into full tracks, into different several takes, and charge a different price point for all of those things.
Speaker 1:There's also Musiversal. Now, back in episode 40, I interviewed the brilliant Rich Watson about his career as a session musician. He's amazing, he does all sorts of different things and he is one of the people that you can hire on Musaversal. There's a different kind of setup for Musaversal. So to be able to make yourself accessible on there, you have to kind of go through like an audition process and you have to have like your technology looked at and that kind of stuff just to kind of be able to comply with their high standards. But it's a really, really, really growing marketplace. It's a very rapid turnaround on there, whereas if SoundBetter AirGigs you're not kind of live with the customer and there is a little bit more flexibility on turnaround. But I'll come back to that in a bit.
Speaker 1:So here are a few things to think about. The first thing to think about is your offer. Now, it might sound kind of simple, but a creator's offer should actually be really really clear from the outset. So, for example, you know saying I sing and write top lines for dance music. You know it's both skill specific and it's also genre specific. Now, if we jump back to something that Rich said in episode 40, he absolutely made a really, really big thing of this Is that you know somebody saying you know, hey, I'm open to any genre and can play lots of instruments. It might seem like you're being flexible, but actually those are the people that don't tend to do as well in the online remote marketplace, don't tend to do as well in the online remote marketplace Because you know you might struggle to kind of make an impact on those kind of platforms as it's a little too broad, however true it might be. You know, even if you can, you know work in loads of different genres and do loads of different things. That's brilliant, but it's just not always specific enough for people to be able to want to take the leap of faith of hiring you. So it's very good to be sure to state the skill and the offer to those that may want to book you.
Speaker 1:The next thing to think about is something I alluded to just a few moments ago, actually, which is a tiered level of options. So you know, those who create a tiered level of options tend to do better in the marketplace. For instance, a vocalist and topliner who could tier their services. You know differently. So it could be that you have one price point for a lead vocal recording, right? So that's where you're re-recording a demo vocal. You could then also do lead vocal recording and topline songwriting. So there's two different price points for that.
Speaker 1:So let's put a number on it, right? Let's imagine that it's 300 pounds to hire a vocalist to sing a song. If you then wanted that songwriter to that vocalist to actually songwrite, so here's track. Can you top line this? Then what they're doing is contributing towards the actual songwriting process. So that might be at a higher cost.
Speaker 1:Let's put a ballpark figure on it. Let's say 400 pounds per the vocal plus also. Maybe let's say 50 of the song writing split. Maybe they could also then add additional, let's say, double track vocals at a further 60 pounds, or additional backing harmony vocals at the same price point. Or maybe maybe the person hiring the vocalist only wants to have just a hook, just a two bar hook. That sounds so short. But people do want that kind of thing, especially for sort of techno and tech, house and various other electronic genres. So let's say, for example, it was an eight bar hook, maybe a hundred pounds and 25% split of the songwriting would be about right. It's all negotiable.
Speaker 1:By the way, you know you can also add additional extras. So, for example, if that vocalist said I will tune my own vocals, I can do that for an extra I don't know, 40 pounds, 50 pounds, uh, per song. So you know, you see all those different tiers there. It's not just a price for here. Here's what it costs to have my vocal. It's, it's. Here are all the options that I can offer you. You know, um, let's contrast that against a guitar player, for example, right? So it could be that a guitar player, say, offers you know, multiple guitar parts, right, acoustic and electric, for an entire track at, I don't know 350 pounds per song, right. But what about if the buyer only wanted to just have electric rhythm guitar parts? Well, maybe that would only cost I don't know 120, 130 per song. What about lead guitar only? That would just be its own price. Or just acoustic guitar might just be its own price, maybe 150 pounds per song or whatever it might be. But you can also have custom options, um, so you could. You could say to people you know, look, send me your requirements and I'll send you. Uh, you know, a custom price for your custom uh request, you know, such as, like you know, fixed eight bar loop with four parts, or whatever it might be.
Speaker 1:Um, producers as well, right, you know, you think about a producer. You think about all the skills that a producer has. You know they could just make a track. For whoever is asking them to make a track, which you know may be usually on a remote marketplace, it would usually be a master rights buyout. It doesn't have to be. There's also other variables to it, such as whether you would want to have your name screen credited or not, and but maybe you just want to offer mix services, you know. So someone sends you the stems and then you just mix it. Well, you know, that would probably be a almost certainly be a cheaper price for most people than having a full production.
Speaker 1:What about just mastering? You know you could just set a fixed fee just for mastering only. Or again, just audio tuning only. I have a friend of mine, in the US actually, who is a full-time audio tuner. I mean, that never used to be a job 20 years ago. Now it is. You know, there's all sorts of different things.
Speaker 1:So when it comes to being a producer, if you actually break down all of the different components of your workflow, there's a price point attached to all of them, or there is a price point attached to them individually. It's very important to kind of set up those different tiers. So I've just given you some kind of examples there. But of course, so creators can break down the type of services they offer rather than just simply setting a single price. You know, the danger that comes with setting a single price is that it might take you, you know, not very much time for one person but then take you lots and lots of hours for somebody else. So you know, some people set an hourly rate. That doesn't work quite as well on the remote marketplace, especially on Soundbetter and Airgigs, because it's kind of open to abuse.
Speaker 1:But you know, a particular price for a particular job is kind of the way to go. It also gives the you know, the purchaser, the flexibility of paying only for what they need to be done, you know. So let's talk about price point. So you know, I've mentioned some prices there, but creators can basically set whatever charges they feel are appropriate for their level of skill and experience and credentials. So, you know, if you've got lots and lots and lots of big credits, then you know, maybe it means that you can charge a little bit more. Maybe you're willing to work for a little bit less because you are trying to build your credits, in which case it might be that you drop your rates a little bit, or it might be that you're somewhere in the middle. Whichever the case is, you can set your prices and you can name your services. It's very, very, very flexible. It's always worth, though, just kind of researching an appropriate price point, just by exploring what others charge for similar services. You know, kind of like how people do on eBay, right, how people have for years on eBay, where you go, right, I'm selling I don't know this jacket over here, right, well, let's see if there's anybody else selling it. What are they selling it for? Oh, okay, right, that's kind of about the right price, you know. So market value is, of course, subjective, but can often be understood by studying the wider marketplace.
Speaker 1:Turnaround time Okay, so how quickly a music creator can turn around a project is of quite clinical importance, right? So it's one of the key facets, in fact, that wins business. So many of the opportunities in the kind of remote marketplace generally need quite fast turnarounds or certainly deadlines that are set in advance. So having a diary and being organised are absolutely crucial when it comes to managing bookings. Also, it's a really good idea to be able to actually figure out how long it takes you to do something. So let's say, for example right, I'm going to put together four parts inside of an eight-bar loop. If that takes you four days to do, then there's going to be other people that might be able to do it a little bit faster than that. So if you can kind of project and you go right, okay, well, that's going to take me three hours. So my hourly rate is this. So therefore, I'm going to charge this for that. It kind of helps you to quantify and build a price point that's realistic. And if you're ever unsure, by the way, as to what you should be charging, as I mentioned, you can look at the people and see what they charge. You can also look at things like the musicians union recommended rates, which I often look at because they're very useful. They're not the law, but they're a really, really useful kind of yardstick in terms of what musicians should be paid for certain things.
Speaker 1:All right, let's talk about rights, because this can be a confusing one. It doesn't need to be, but it definitely needs thinking about and exploring and explaining to people that want to book you. So let's just split the rights into kind of three different things right Compositional share, recorded performance and master rights. So compositional share, recorded performance and master rights. So compositional share, right. So if, if songwriting, you know, has taken place in some form or another, it's important for creators to build this into their offering in the form of an expected percentage in addition to the actual fee that's required. So you know this. This is the case if, like you know, if lyrics, harmony or melody has been incorporated into the performance, so this will affect songwriters, vocalists who contribute towards songwriting, or producers and musicians who contribute, you know, towards any of those three mentioned elements of composition. So that's melody, lyrics and harmony, you know chords right.
Speaker 1:So melodic input, you know, may need to be substantial, right, to warrant any rights, and this is always open to negotiation. But, for instance, where a guitarist or a synth player provides a melodic section, now you know, in some people's eyes this could constitute arrangement, in others it would constitute songwriting. It's a really grey area and no one on this planet can give you a hard and fast answer as to what is right. It's about what you set, you know. So for others, other people would say well, you know, let me just buy you out of that, you know, and that means that you wouldn't get any compositional share and you're just remunerated by the fee that you get. But it can't be woolly. It needs remunerated by the fee that you get, but it can't be woolly. It needs to be very, very clear as to what the offer is, and that's something that you would need to set right.
Speaker 1:There's also the recorded performance. So you know where a musician is paid to create a part of a recording. It's often assumed that because their time has been covered by a fee. Therefore, their rights have been bought out and no other income can be generated by the musician. If the song gains a big success, however, it is possible that a musician could retain a portion of any neighbouring rights, royalties or digital performance royalties that arise in the future, if that is made clear on the agreement from the off. So it's therefore important that you know creators just clarify that issue in their offering, and that is the time to do it, by the way, is to make it clear before you're booked. So it's important that there is clarity on that.
Speaker 1:In many cases, the marketplace does generally tend to lean towards musicians and musical parts being bought out and therefore music creators wavering those rights by agreeing to a fee, but it's not always the case and it's not always clear, but it definitely should be and it's you that sets that. What about the master rights? So if a producer is being hired to create a track, it's important that the producer makes their offer very, very, very clear. If their offer is to, for example, to create an entire track for a buyout fee for a buyout fee, then that's clear. But if the producer charges a fee and also retains, let's say, between 2% and 5% of the master rights on sales. So points, then that needs to be built into their offer so that the purchasers actually understand exactly what it is they're investing in. So that's often points, by the way. So, you know, very often you'll hear a producer talking about points. That means percentage points. So some producers like to add that into their offer so that they can gain a piece of the profits of the recording further down the line if the production goes on to become successful. So it might be fair to say that that is now, I would say, moving slightly out of fashion, particularly in the online marketplace, but nevertheless, it needs to be clear.
Speaker 1:Okay, let's talk revisions, right? So it may be that the purchaser, you know, comes back to the music creator and asks for changes to be made to what they've recorded. These are known as revisions, right, and it's very important that music creators set a limit on the number of revisions that they actually build into their offer. So it might be, for example, you look through somebody's profile and say, right, three revisions. So you know, some people offer unlimited revisions, but I think that's quite risky, honestly, because you don't know much about that customer, you don't know how easy to please. They are. They might be very, very picky, you know, which is fine, right, there are a lot of picky people out there because they really really care about their music, but in any case, that's got to be reflected in the offer that you set for them. So, you know, you get some people that might offer, maybe, say, two or three revisions, while others might offer five or more.
Speaker 1:So the risk comes if you're constantly communicating back and forth with hardly an end in sight to the project, right, that's something that you can kind of try and avoid, and the way that you do that is by setting revisions. So this can be, you know, set from the start on your profile. This is the number of revisions I offer, and it can really help people to kind of be a little bit more succinct with how they feedback their requested changes to you, because they know that they'll be charged extra if they keep coming back and forth continually, whereas if they come back and say, can you change this? And then you do right, here's a revision, can you change this? Bang, right, here's the next thing. Bang, that's still only two revisions, but it could be more tasks. So it's very clear that the number of revisions is set. Trust me, you won't regret it.
Speaker 1:Okay, what about virtual attendance or video assistance? These are these might seem like the same thing, and they're not right. So there's a real growing trend for some creators to offer the purchaser the chance to actually attend a remote session through, like a video call or a chat facility which allows them to actually hear how the project is progressing in real time. 40, where I interviewed Rich Watson, he talked about this right. So where he does a lot of his work with Musa Versa is where he's actually got the client on the screen, you know, with him whilst he's actually working on guitar parts.
Speaker 1:Now, a creator that you know that kind of that intends to provide that type of facility will need to actually have the functionality available to do it, and they should list it in their offer. It's some if it's something that they want to do, you know, while some do, others don't, and there's not really a right or wrong on it. Also, some purchasers don't want, or maybe even need, that option. They prefer to just kind of put the trust in the person that they're hiring. A more popular option, though, is for the creator to be able to offer a video call before the session takes place and perhaps even after the completion of the project to discuss any revisions. So that's not quite the same thing as having somebody there live with you. You know, it may not always be required or even necessary, but more and more often now I'm noticing that creators are now offering video calls to be able to kind of work through something a little bit faster or to be able to get an idea from the off as to what that person expects.
Speaker 1:Ok, what about that sense of uniqueness that I referred to earlier? So the creators that really thrive in this marketplace are those with a sense of consistency, but also a sense of uniqueness. Now, that uniqueness can take the form of just the ability to play a specialist instrument, or having a particular sort of tonal quality or a specific sonic signature. So you know, standing out from the crowd will always be a battle right, we all know that but particularly when you're new to a platform. So it's worth considering what your uniqueness is in the online marketplace.
Speaker 1:Okay, what about a bio? There's quite a few things to think about here, isn't there? A bio is a really, really important component of a creator's profile for any of the platforms that I've mentioned, like sound better, air gigs, f AirGigs, fiverr, etc. But it's particularly significant here, as this is also the key space where you can sell a service. So this is often where a creator's kind of selling pitch is often located underneath their name in their picture. So quite a lot of detail is required, not only about the creator, but also about what their offer actually is.
Speaker 1:Photos are important as well. It's human nature, right, of course, for people to want to see who they're paying. Right, remote marketplace are actually kind of like action shots or photos that portray the creator, as you know, as as as humble, right as as approachable. Um, right, yeah, so it's a bit different from what you might see on a spotify artist profile, for instance, you know, so smiles rather than a sort of moody, artistic headshot, let's say, showreel. Okay, so it's crucial to provide evidence of your capabilities, right, so people can hear, uh, what you can do. So audio clips and and songs are very much expected, and showreels that display both a sense of variety but also cohesion tend to do well, videos are a bonus, but only if they're really relevant, like if you want to see someone's workflow, for example, like a producer.
Speaker 1:But, uh, the cohesion is quite important. It's got a big, it's got to be logical for people, right, you know. So it's got to be that. You know, maybe there's three different things but they all kind of fit within the same genre. That's what I mean by cohesive Genre specialism. Okay, so I mentioned this briefly earlier, but it can be hard right for multi-genre creators to understand the importance of genre specialism in the context of a short pitch. So it's important to balance this against not wanting to kind of necessarily undersell someone's varied capabilities, let's say.
Speaker 1:But it's fair to say that many of those who thrive in the remote session world are usually known for their style as these become, you know, the kind of go-to people in their genre. So it's amazing if you can do loads and loads and loads of things In the practical world, that's brilliant. In the session world, in the live world, that's brilliant. In the session world, in the live world, that's brilliant. But not for this it needs to be so much more honed in. So just have a think about the things that you do best and that'll either be informed through your highest passion point in style or by the thing that you know that you just do the best.
Speaker 1:Okay, now let's just mention ego a little bit here, right, this is. It's very important. By the way, there's nothing wrong with having an ego, right? Everyone you have to have an ego, don't you? To be a musician on some level or another. But this is a map, perhaps, about control of the ego, right? So when assisting the creative vision of another creator, right, it's difficult to refrain from doing what you do in the way that you normally do it, so sometimes it can work well you do what you do and people love it. If it works that way, great. However, it's also important to remember to give people what they want and not what you think they need, and they're two different things. Providing options is often welcome for people, but it can also be difficult and yet an essential part of the gig, right, to suppress one's own thoughts in order to achieve the goals of others. So, yeah, your taste is important, but your opinion might be less important. Try and get your meds around that one opinion might be less important. Try and get your head around that one.
Speaker 1:Seasonality Okay, I mentioned this a little bit earlier, but year-round availability is not something that all creators wish to offer. You know, for example, it could be that many music creators may not actually wish to be booked online during the summer festival season, for example. Or, you know, building in off seasons on most platforms is actually quite an easy and straightforward part of the process. You know, bookings can be, let's say, reactivated when the creator becomes available again. You know, you see that I'm available or I'm not available. There may be certain points in time where a creator wishes to be busier than usual, right? Soundbetter is particularly good for that, because premium membership allows for access to a wide array of projects that can be pitched for by creators.
Speaker 1:Ok, what about encouraging reviews? Ok, this is. You know you can't go anywhere, can you, these days, without somebody wanting a review of what they did. It is what it is right. I sound old saying that, but anyway. So encouraging reviews is actually really, really important, isn't it on an algorithmic level, and it's very important on this, on these kind of platforms, in this kind of marketplace. So, as you know, like any other kind of algorithmic platform, in the digital age, positive reviews feed further visibility and build trust in potential customers.
Speaker 1:So it's always worth trying to softly encourage a good review where possible, although perhaps without being pushy about it. You know, either people are going to leave a review or they're not. That's the reality. Some people can be kind of reminded about it and that can really help, but you know, either people are going to leave a review or they're not. That's the reality. Some people can be kind of reminded about it and that can really help, but you know, I definitely wouldn't be too pushy on it. Ok, the final thing to mention and it might even be the most important thing actually is etiquette, and not to sort of overlook the importance of etiquette, because the way in which people conduct themselves on these platforms is of paramount importance. You know, like much like you know sort of many other aspects of the music industry, trusted relationships and networks can expand right in this type of marketplace and can often lead to further projects outside of the platforms once those connections are made. You know, many vocalists and musicians are now thriving in positions of power thanks to their presence and their profile from the online session remote marketplace.
Speaker 1:So it doesn't just mean being, you know, polite and kind and warm, but it's also about being prompt in response times. So that means, you know, kind of checking your emails and checking in on things. You know that people expect that when they're paying for something and it's kind of, you know, they've kind of got a fair point right. So if you're taking two or three days to reply to something, it doesn't necessarily sit well, it might affect your bad review, you know, so on and so forth. So it's good to be really, really prompt in those response times. Well, there you have it. Okay.
Speaker 1:Actually, my plan, guys, for this episode was for it to be quite concise, quite short and sharp and punchy and useful. I hope it's been useful, but it wasn't quite as short as I thought it would, be purely because there's quite a lot to it, isn't there? You know, it's very easy to just set up a profile and click, click, click, click, click, bang and off you go, and there's nothing stopping anyone from doing that. But it's not always the right way, is it? It's the same thing as releasing music through a digital distributor. As soon as that song's finished, bang, you can get it on distributor, bang, you can get it on Spotify. But is it the same thing, right? So just formulate in that offer how you're going to price your services, how you're going to communicate it. These are all things that will win you work. So it's worth thinking about all those things. I hope that's been useful everybody. I'm going to love you and leave you now. Wish you a great day Until next time. May the force be with you. The music business party.
