An Introduction to the Self-Released Album
This article is part 1 of a 4 part series by guitarist Cameron Mizell. For more information about self-releasing your album, visit the other articles in the series.
Part I: An Introduction to the Self-Released Album (this article)
Part II: The Self-Released Album 101: The Basics
Part III: The Self-Released Album 201: The Details
Part IV: The Self-Released Album Reference Guide for Musicians
In what seems like a past life, the only way to release an album was through a record label. The label had the money to pay for your recording, the ability to distribute it around the world, and the marketing resources to make sure people knew your album was hitting the stores. Today, any resourceful individual with a little bit of money and a lot of creativity can make an album commercially available to the same number of people as the major label.
I have been involved with coordinating the release of about 200 albums, ranging from my own self-released album to Herbie Hancock’s Grammy winning River: The Joni Letters (2008′s Album of The Year). My previous job at a record label taught me a great deal about this process, and it’s definitely helped me when I released my own albums. This is knowledge that I’ve taken for granted, but after several of my musician friends have asked me things like, “How do I sell my music on iTunes?” or “How can I sell my CD from my website?” I realized I ought to put it all in words and post it on MusicianWages.com for everyone else out there that wants to release their own album.
This article is the first of at least three that will discuss the ins-and-outs of releasing your own album. We’re just covering an introduction today, flushing out the generalities that will help you navigate this end of the business. The articles are for everyone that has never done this before, or those that want to do it better on their next release. Let’s start with a little background.
Ten years ago, even the largest record stores were limited by their shelf space to the number of titles they could carry. It was in their best interest to fill their shelves with albums that would sell and make space for more product. Every album had to pay it’s own rent, or else it got evicted. This gave power to major labels and their distributors, who could offer large volume discounts and promise widespread marketing campaigns to send people into the store to buy their albums. This was simply a matter of economics, not a deliberate plot to keep the little guy out of the picture.
However, as more and more music is consumed digitally and the sale of space-consuming CDs continue to decline, albums released exclusively in digital formats are becoming increasingly common. Digital products have an unlimited inventory and require virtually no storage space. This allows major digital retailers, such as iTunes or Amazon, to sell an endless number of titles. iTunes has become the biggest music retailer in the U.S. without selling a single physical product.
Of course, the physical product is not completely obsolete. CDs still sell, and vinyl records have even seen an increase in sales over the last several years. But the overall decline in sales has shrunk the amount of floor space dedicated to music. Independent retailers like Tower Records have been shuttered while stores that sell music among many other products, such as Borders, Walmart, or Best Buy, dedicate less shelf space for music. This essentially creates a downward spiral–music sells less, retailers carry less music, music continues to sell less.
Yet again, the internet provides a life boat for physical formats. Even the most obscure, out of print albums can be found online. When it comes to shelf space, online retailers can store their inventory in a wharehouse in the desert, from which it ships straight to the customer. Who care’s about foot traffic, we’re just talking about clicks now!
This new economic model, or the growth of niche markets for obscure products has been called the Long Tail, as discussed in a 2004 Wired article by Chris Anderson. If you’d like a more in depth, nerdy explanation of long tail economics, check out the Wikipedia article. If you want to skip the details about statistical distributions (can’t blame you), just think of it this way:
The shifting trends in music retail, from brick-and-mortar to online stores, means independently released music has access to many of the same retail outlets previously available exclusively to major label releases.
And keep in mind that, even if your band sounds just like the most popular music on the charts today, you may still be consider yourself in a niche market because you are independent. There’s a market out there for unknown, obscure music. People love to think they’re the first person on their block that discovered you.
What’s to come?
There are many factors I consider when releasing my own albums. They may not apply to everyone, but it always helps to know your options. Here are some of the topics I’ll cover in the ensuing articles:
Digital Retailers – You’re probably familiar with iTunes by now, but there are many other online stores that will sell independent artists’ music. At which sites should you sell your music? What is the difference between download, streaming, and subscription services? How much will I make from these stores? These are all the most basic questions that I’ll address immediately in the next article covering the basics.
Distribution – This is the perhaps most important piece of the puzzle. A distributor takes your music and delivers it to various stores at wholesale price. They also collect the all the money from those stores and allocate payments to you and everyone else they distribute. In return for their services, they charge a fee or keep a percentage. For independent artists, companies like CD Baby and TuneCore have become popular digital distributors. I’ll also discuss some various ways of selling your music directly from your own website.
Metadata – It sounds like an intimidating word, but metadata is simply the basic information for your album. Along with the title, artist name, songs, composers and publishers, you’ll need to get a Universal Product Code (UPC) for your album and International Standard Recording Codes (ISRC) for each track. These are unique codes that help track your sales so you’re sure to get paid. Don’t fret, they’re easy to procure and I’ll explain a few ways of doing it.
The Production Schedule – Behind every album release is a production schedule. Independent artists are able to be more flexible when it comes to their release timeline, but it helps to know how long each step can take so you have your CDs in your hand in time for your release party. The worst thing that can happen is you rush a crucial step of the process and end up with a typo in a song title on iTunes. I’ll put together a sample production schedule and checklist to help keep you organized.
Manufacturing – What goes on at the plant when my CD is made? What’s the difference between replication and duplication? What are the basic packaging opitons? I’ll explain some of the basics and define some of the terminology you will likely encounter when talking to printers and manufacturers.
Legalities – Do you need to copyright your music? What about that legal line on the back of CDs, do I need one of those? How do I pay royalties on cover songs? I’ve dealt with these issues and more many times and will give you some guidance on doing it right.
Click here to read the next article covering the basics of the self-released album. Subscribe by email or RSS and have these articles automatically delivered to you.
About the author
This is fantastic information and I look forward to reading the following articles!
3/16/2009
awesome stuff man, can’t wait to read the rest!
3/16/2009
I’m working on an indie album right now – this series of articles could not have come at a better time! Looking forward to more.
3/16/2009
Thanks for the article, Cameron! You have great credentials.
One thin I wanted to clarify: far as physical CD sales statistics for independent musicians, independent CD sales are actually up a bit even in this economic climate: CD Baby released CD sales for 2008 and in spite of the economic free fall that started in the summer, independent CD sales were up 2% for the year.
I’ve set up a link if any of your readers would like a free catalog and a sample of our work: http://oasisCD.com/request . Included is a sample of our eco packaging and of our latest radio sampler as well as our catalog.
3/16/2009
Fantastic Cameron, looking forward to the series!
3/16/2009
Hi Micah,
You’re right, CD sales by independent artists have gone up OVERALL, but that could very easily be because there are more independent artists making more CDs. If you spread the CD Baby sales across the number of titles available for sale in their store, it averages out to less than 4 sales per CD for the YEAR.
I understand why you would want to champion those stats while running a business based on physical product, but I think it’s misleading to suggest the average independent artist is going to sell more CDs than ever before.
Of course the whole purpose of this website is to help musicians weigh their options and learn ways to increase their revenue so they can afford to make a good looking CD and get the most out of that asset. There’s no doubt that your company has had a big role in allowing indie musicians to release their own albums, and the more you can do to keep us in business, the more we can do the same for you!
-Cameron
3/16/2009
Gotta wait?! LOL Talk about a cliff-hanger!
Looking forward to reading this.
Also… as far as “Manufacturing”. Yes… DiscMakers is “huge”, (as are their inflated pricing… to fund their unnecessary/unsolicited promo mailings, and their “finders-fee”). But, I hope you mention other less prominent ones such as
CopyCats Media, Inc.
http://www.copycatsmedia.com/
DiscMasters
http://www.discmasters.com/
New England CD
http://www.newenglandcd.com/
CD Pressing
http://cdpressing.com/
I’ve personally had good relations with New England CD. Can’t beat their packages. Great communicators. I can’t say that for DiscMakers.
Regarding copyright… I hope you go over Creative Commons licensing.
And lastly…ASCAP & BMI. :)
3/16/2009
Your articles are always great, and this one is no exception. Can’t wait for the rest!
3/16/2009
Oh, I would agree with you, that’s a very good point… but the idea that the majority of an independent musician’s sales $ would be digital isn’t correct at this point either, based on what we’ve seen. And we offer many digital products as well…
Thanks again for a great site.
3/16/2009
Actually, Micah, I’m going to politely disagree with you again.
According to the same CD Baby report, of the $34 million they paid to musicians, more than 70% was through digital sales.
Now, it’s true that musicians sell CDs via outlets other than CD Baby, but if you ask around I’m sure you’ll find that the majority of independent musicians’ sales revenue is from iTunes. In my own experience, my most recent album is has brought in twice as much money via digital sales than CD sales, and my overall monthly income, when I add my digital only albums into the mix, is closer to 90% digital / 10% CD.
3/16/2009
With services like CD Baby, getting your music “out there” is easier than ever. Finding a way to make it stand out and gain traction is the much harder task.
Agree with the previous comments about digital being more important than the CD – most of our online sales are digital. We can continue to sell CDs at gigs but the reality is it’s a declining medium.
3/18/2009
Thanks for the mention. Interesting article! I know the digital distribution part more than any other, not unexpectedly, and my advice is always for people to investigate carefully, not just in terms of value, but in terms of success.
What is success to you, to your band, as an artist? Are you trying to sell sell sell? Do you want to get signed by a major label like Universal or Sony? Do you want to fill a huge arena or a local bar? Do you want to build a vast fan base or reach “quality listeners,” and what does that mean to you? Success means different things to different people. A distributor will help you achieve the kind of success you want, so pick the one that matches your goals.
Thanks again.
–Peter
peter@tunecore.com
3/20/2009
Cameron,
I am wondering what your opinion is of the traditional “cd release party”. The CD is purportedly becoming extinct but we still talk about “CDs” and “cd release parties”. Because we’re literally living online and self-producing/selling/marketing “tracks”, where does the “cd release party” fit in now?
These days, I’m more concerned about getting my tracks (and the physical “album” as a whole) online for sale and doing the relevant “release” promotion in that realm than I am about having a “cd release party” which, in my world (major urban center) only costs me money (the room, the musicians, the promotion), further depleting my pocketbook and “making a living” is that much further away. As a “self-everything” indie artist, I’m really trying to look at the time/money relationship and tip it further towards the money part.
As gigs diminish, my local “physical” fanbase (such as it is..there’s a million of us!) doesn’t seem all that important. I actually have a new release coming shortly and “party” is almost at the bottom of my priority list. Rightfully or wrongfully, I feel like I have “better things to do”.
I’m curious to know what you think about this, and about new ways to release a cd in the digital age.
Thanks, Marg
(I’ve just discovered this website by the way, great articles!!)
5/23/2009
The CD release party has never been about generating money, it’s been about generating attention. Sure, there are fans in attendance, but when a label hosts a CD release party they’re buying tickets for people in the press, radio, retail, and other ends of the business.
“Self-everything” artists like you and me have to approach releasing our music much differently. It’s really about the long haul. You want people to know your album is available, so just mention it from the stage and talk to people about it after the show. There doesn’t have to be a party. I’ve noticed that my digital sales get a bump after I play a show, so it’s either from people that took note of our performance, or the people that keep getting that monthly email about my gigs finally decided to download the album.
I don’t know if you follow Seth Godin’s blog, but I recently found one of his posts particularly inspiring. Read it here and then I recommend you subscribe to his blog for some insightful observations about connecting with people through marketing.
5/23/2009
Epic even before I read it.
You the man, Cam.
10/28/2009
“In what seems like a past life, the only way to release an album was through a record label.”
When was that? Musicians have been going the DIY route for as long as there’s been music. When I was a teenager I was buying piles of self-released vinyl from punk and hardcore bands. Mail-order was huge, and we had our own network of magazines and basement clubs to get the word out. Still do, actually. Jazz and folk musicians have been doing the same thing for ages.
DIY is cool, but it’s not new. It’s digital now, but that’s just another phase of a long tradition.
6/11/2010
Of course you’re right Marcello, record labels themselves started out as DIY ventures. I was being hyperbolic, but the fact is that today’s DIY landscape has lower overhead and wider distribution, so you no longer need the kind of initiative and capital to press your own vinyl and set up a mail-order. Anybody could record some music and get it on iTunes for less than $50. I’m not suggesting DIY is better or hipper today than when we were younger, it’s just different.
More to the point, there’s a lot of information to understand, and I’m just trying to share what I know. Hopefully the information on this site gives those with the initiative an upper hand.
6/11/2010
Great read Cam!
7/26/2010
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