4/3/2023 0 Comments My checklist mp3I craft a short and sweet email with the same description I used for SoundCloud, YouTube, and Bandcamp, plus a too-big-to-miss “LISTEN NOW” button, followed by a special thanks to my producer-tier patrons. With any luck, the video will have a solid chunk of likes and comments before I turn it loose on the public. I’ll usually say something like, “I’ll be hanging out in the comments all day, so let me know what you think!” Share YouTube with Mailing ListĪs a perk for my mailing list subscribers, I like to share the song on YouTube a day early. My only consistent acceptances come from a handful of genre-specific radio shows. My approval percentage through direct pitches is roughly on par with SubmitHub. The spreadsheet is separated into three main sections:Įarly Pitches, Release Day Pitches, Retired Not every column applies to every outlet, depending on what type it is (blog, radio/podcast, YouTube, Spotify) Outlet Name, Type, Followers, Listeners, Contact Name, Contact Email or Link, Date of Last Contact, Approvals, Notes I maintain a song pitching spreadsheet with the following columns: To my admittedly picky ears, it’s so bad that when I’m curating I’ll often just look up the song on Spotify. The audio quality through SoundCloud is poor and YouTube is even worse. One important piece of advice: upload your song as a high-quality mp3. If your track gets universally shot down, at least you know not to waste your money on ads. I’d argue that this is the single most important step on the checklist. My best performing song got a 22% acceptance rate: So many emotions! Discomfort, embarrassment, anger, humiliation, and every once in a while, jubilation. I’ve written twice about SubmitHub, most recently here. Recently I read a deep dive on the topic by RootNote that finally convinced me it’s not worth it. I already get thousands of pre-saves through Rise, and I can’t tell if it makes any difference.Įven before Rise, I felt uncomfortable asking fans to grant control of their Spotify accounts to a company they’d never heard of. Most artists spend a lot of time and effort on this step, but these days, I rarely bother. Once my testing is complete, I create a new campaign with a single ad, ready to turn on when the release goes live.įor more on the subject, check out my Facebook Ads for Spotify Best Practices. They provide an SRT file that needs to be renamed to a Facebook-friendly format, like so: thelimitverse1.en_US.srt In my limited testing, lyrics captions performed slightly better than without, so I use Rev to create them for a couple of bucks. Sometimes I get a few pre-saves, but mostly I’m just trying to piece together a winning ad from multiple headlines, descriptions, and video assets using different parts of the song. To keep costs low, I only target India, Indonesia, and The Philippines. To make that happen, I test out my ad copy and creative with a traffic campaign directing to my DistroKid Hyperfollow page. I like to have a fully-optimized ad campaign ready to launch on release day. I set YouTube to unlisted and SoundCloud and Bandcamp to private, then copy the SoundCloud share URL for pitching. I generally use the same track description across platforms, so it’s convenient to just upload to all three of them in one fell swoop.įor SoundCloud and YouTube, I use a Mac text expansion app called aText to quickly append my social media links after the lyrics. They forgot to execute pre-saves for one of my singles, yet it performed about the same as the rest. The last single before my album release went through that pre-save cycle twice, for 9.2K pre-saves in total! Rise executes pre-saves for each of my new tracks if I provide the Spotify URI ahead of the release date. Some of the numbers refer to a single track while others reflect my entire eight months on the platform. That one screenshot ambiguously captures the entirety of their current reporting.
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