Soundcloud, Twitter, Facebook

[Krisztian Vass]

Hi All,

Is anyone using twitmusic for promo?

Best,

Krisztian

[MuscoSound]

Hey Art,

Would it be ok to use this forum so that we can post our twitter names and follow each other?

[ChuckMott]

I guess I wanted to revive this question, specifically for Linked In. I was wondering if anyone found this site helpful for composers to make professional connections, whether it be music libraries, music supervisors, ad agencies, what have you. Has anyone really worked this site and had much success here building connections in the music world (one reason I ask is that I have an account there, but I am going to focus on making that my page more related to my day job, but only if other composers have not really found it helpful. Either way I want to start “working ” it. Thanks for responding.

[cmillar]

Does anyone use, or know much about, the validity of using ‘Orfium’ as a platform for putting up music tracks for previewing by prospective libraries or clients?

[Advice]

I think the problem was LinkedIn is it’s a vast wasteland of everyone and his brother (so to speak) making connections with everyone. For me personally, I find the site worthless. Others may disagree. My guess is you’d still probably have a better chance of getting a conversation going with a library exec or sup through direct email. For libraries, as you know, you can email through their websites. For sups, there are plenty of directories and lists out there.

My understanding (limited experience!) is success as far as contacting sups is not having a way to contact them but having done tons of homework on what they may need NOW and knowing what to say to and show them. They have thousands and thousands of people just like us up their butts all the time.

[Per Boysen]

I use to put up some of my tracks, made for NE libraries, on Soundcloud, just to take in opinions from all kind of people on the music. Sometimes someone types in a comment that may give you a fresh phrasing for your “pitching text”, that has to go with submitting the track to libraries. Different people do experience music differently and I’m finding Soundcloud a good way to grab a little “third-party’s perspective”.

Tracks for exclusive libraries never goes out anywhere public before I deliver. I might put up a temporary Bandcamp page just for discussing the “album” with the agency.

[Mc_GTR]

I haven’t found social media very useful, except for a few things. I use Facebook and LinkedIn to occasionally touch base with family, friends, collaborators, aquaintances and colleagues. No business ever comes from those channels, its rather business first, then save the contact on social media after the fact. So I try to minimize the time I spend on it, its non-productive but ok as relationship maintenance. But I am mostly B2B, and do not sell directly to private consumers.

On Soundcloud I have a few old tracks up, but now mostly use the private function and occasionally for pitching and submitting to libraries. My experience has been that if you dont protect your tracks, they end up on dubious sites in eastern europe and asia, and shortly after you get tons of spam. Critical voices claim that Soundcloud is the free music library for the third world, but I have found nothing to substantiate that. I have found my tracks hijacked on dubious sites, though. So hiding my tracks have worked the best for me.

Twitter i sometimes use as a trash channel to participate in competitions. Thats about the best use of it, I know of as is.

[Dannyc]

any exclusive tracks i’ve wrote so far for libraries i’ve asked them do they have a problem with me uploading them to my soundcloud page and they haven’t. i guess alot of libraries feel different about this issue. i like my tracks to reach people and hidden away in a library somewhere is not an ideal way.

does anyone have any good tips for driving more people to your soundcloud page? i get some emails through soundcloud from companies claiming they help drive listeners to your page, are these things scams? i have my stuff up about 2 years now with have about 30 tracks up with nearly 7,000 plays in that time but i see other composers with 100,000 plays, how did they manage that?

[Author]

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