Hey guys welcome to electronic dance money your number one business resource for making money as electronic musicians and producers
All right, what is up everyone welcome back to another episode of electronic dance money this is gonna be a this is gonna be a fucking great one I just whenever I have guests on is it’s always so much better and I’m always looking for new guests and these guys are like the the exact kind of guests that I want to have on the show. These guys are super knowledgeable. We’re gonna be getting out tons of information for all of you listeners. Today I’ve got los padres in the episode. We’ve got Gino and
Carlos. Yeah, we’re Yeah, we’re gonna be talking about some branding stuff, which, actually, Funny enough, this episode is going to be the one year anniversary from when the show started. Yeah, I just realized that one you man. Thank you. I appreciate it. All the things has to go to the listeners though because I mean, this show is just a dude. I, when I first launched the podcast a year ago, I think it was within the first month I had something like 10 to 20 downloads, I think it was Yeah. And then out of nowhere, just around probably four or five months in it just started growing growing. By the time this episode hits, I think we’re gonna be at 3000 downloads within. Yes.
Congratulations. Thank you. I appreciate it. Again, that just it dude, it goes out to all the listeners and supporters of the show. It’s fucking incredible.
How how dedicated people are actually checking out the show and how many times people are actually read listening to episodes and stuff. So I know this, these these podcasts are doing something for someone. Yeah. But anyways, ironically the third episode I did was about branding where I had my buddy Alberto on who runs a mixing and mastering studio for a lot of more like more bands, more rock stuff, but we talked about Instagram branding, and how that looks and how to figure out your brand. And I do think that episodes probably it’s definitely dated by now just because a lot of the things we’re talking about were Instagram algorithms, and I mean, they change their damn every social media site changes their algorithm to Gino is so experienced with it, so it’s your story, sir. It’s ridiculous. It’s so hard to keep up with it. Actually. Do you guys follow Gary Vaynerchuk at all? No. Yeah, Gary Vee, Gary. Oh,
Yeah, yeah for so Yeah, yep, gone. Yeah. No, no, I was gonna say I’m pretty familiar with it. I’m not wildly familiar, but He’s, uh, you know, it pretty looked like he’s like a God when it comes to the Instagram algorithms and stuff, just social media in general. I mean, he content creation is variable across the board. He’s just, I mean, he, he records himself like eight hours a day just has a videographer following him and they chop everything up into content. He’s, I mean, he’s a content machine. It’s insane. But I saw a post by him that said, because there’s an algorithm treat it as there being no algorithm because since they basically which basically means they change the algorithm so much that that means there is no algorithm so this isn’t just fucking post, write posts, whatever hashtags you want and just run with that. And if, if it’s relative content to people, they’ll like it and people will follow you. But anyways, yeah, so we’re gonna be talking a little bit more into the branding aspect. Not just
With social media, but branding in general, as well as supplemental income stuff, because you hear me talk about on the show consistently about how you need to diversify your work within the music industry, but I haven’t gone thoroughly into topic about what supplemental income means and what potentially that could look like even outside of the music industry. And I we were briefly talking about this on Saturday morning before the kind of pre show setup and the things we want to talk about so let’s uh, let’s get into it. First, Carlos, if you want to introduce yourself and get a little bit into your background in the music industry and how you kind of got to where you are and then Gino, you can jump in right after him. Awesome. Well, congratulations again on the one year man that’s like so big. It’s such a great accomplishment and it’s shout out to all your listeners and thank you again for having us. Absolutely. A pleasure to be here. We’ve been looking for an opportunity
Do you need to kind of speak with someone on these things? Because I feel like once you start to learn about Gino and myself, you’ll see how widespread we literally are within our individual campaigns and our duo and then some of the stuff we have on the side. So my name is Carlos, I go by cameo with a K Perez.
I come from music. I’ve been fortunate to have a parent who has grown up from the streets to the Grammy Award winning stage as a percussionist. So I’ve been around that kind of influence from studio sessions to production from a very young age. I started to pursue it heavy about senior year in high school. And then shortly after that, I decided to join the military because and we’ll dive into that but supplemental income, you know, what was I going to do if I wanted to chase the school How was I going to make a steady paycheck
I want to compete early or did I want to, you know, maybe pursue the opportunity of getting my music education paid for by the military, and then flip that into money. So that was one thing about me that happened early on. And then the other thing is, after I got out of the military, I had an opportunity to do some remixes for official labels at Atlantic big beat def jams. And remixes not only teach you how to work with somebody else’s product, but it teaches you how to identify yourself as a producer because you have to take something that’s already pressed on wax and create it again to help it gain momentum, keep momentum or to bring that record back up in the charts. So I went from remixes to ghost production, and then I was fortunate enough to connect with Gino and we have very similar things when it comes to that. And, you know, that’s pretty much the Quick quick look.
Have it without getting too deep into it. But I had the opportunity to work with some pretty amazing people along the way so you know your floor. So first and foremost, congrats on the one year that you got. I know how big of a deal that is for you guys and hats off to you. But my name is Geno Soto. I’ma come from more of a Latino background like Carlos and I’m Cuban. Both of my parents come from a Cuban back background as well. But we the difference I guess between Carlos and me is that I can’t I come from a much more classical background. Since I got about nine years old when I my sister picked up the violin. She’s about three years older than me and elementary and middle school and as a kid, and I saw that as big inspiration to me. But within three months after picking up the violin, I switched to cello in the middle of the summer and pretty much learned how to read music just playing Disney songs man and that’s a nice 3d graphic grasped the concept of music through that as a kid I guess it’s like a child to put in
All my movies that I like together all through that, and it really, you know, I had a connection through through that and I carried that all the way through almost high school all participating in different orchestras outside of school and conservatories. And I got an opportunity to play in Carnegie Hall when I was 16 years old and I really did some amazing things as a kid so I never thought about doing anything else other than music as a kid in it that’s one of the things that I think is it was made it so passionate about is I never thought about being a teacher I’m nothing like that. I just wanted to be a musician first and foremost. So I carry that all the way through college and I remember I had to make a big decision on my parents, you know, sort of asked me to do around 17 you know, got it you got to make that decision and like I said, I went all hands into to being a music musician and with that being said, I did it while the way through college at Valencia College and moved here to Orlando. But along the way as I picked up DJing I started working for just you know, like Carlos did supplemental income through college. I wanted to put some money into my music as well and I started with
Working with Blue Man Group on the audio engineering kind of in the backgrounds and I started learning you know the ins and outs of audio engineering quick and ends and then I picked up DJing through that. And to kind of long story short, if not too late, that gave me an opportunity to I started doing fencing yet as in weddings and I met a lot of people through networking that I eventually landed a really good opportunity working with nappy boys with T pain over here in Tallahassee. And that sort of changed the gear for me from classical to DJ to now hip hop, and I was just kind of all over the spectrum that I had really enjoyed the process of it and then that lasted a little bit and then I jumped into electronic music and then I jumped into trance and had a project with that and that picked up with supports of above and beyond and Armin Van Buren and that really solidified the fact that I wanted to stick with electronic music and there was a passion with that. And then with that being said, you know, that carried on to meeting Carlos said a couple years ago at EDC, and from then and it was just kind of the Yin to my Yang
If you will, when it comes to music production because we speak so many of the we speak so much of the same language when it comes to music that, you know, it’s come to this and you know, we’re real. We’re happy where it’s gone. So, yeah. Damn, I mean, both of you. I love it. I love hearing your guys’s stories, because it’s you both from like, two worlds that are different but kind of set in the same space. Right. And you both have Yeah, I mean, both of you guys have worked with major worked on major production Druids, which is those those opportunities you get are there there’s some of the craziest ones because it when you get those chances to work with like these series, people and series musicians. It’s so exciting. It’s so nerve wracking. Get a lot of the times people get caught up in the moment and they forget to really take in everything that they’re learning and the opportunity that you have from each other.
On a daily basis, man, I mean, one thing that we are really, really good with is thing and communication with each other. It’s not like we live in the same house, right? So we have our individuality. But when it comes to the duo, there’s, in my opinion, there’s no better way to pick a partner than somebody who’s better than you at a completely different thing. Right. So like Gino understands theory and classical, literally composition. So I don’t greenlight anything unless he puts ears on it, because in all reality, we still want to make music right? Sometimes production can get redundant, you’re using the same kind of technique. But when you have somebody who has a classically trained ear, you can get a little bit creative and step out of the box. And I think on Saturday we touch base with that we we want to make sure that we’re still making music, right, whether it’s bass house or pop, or moomba or something for a festival set.
But I can guarantee you, when you hear us play, you’re going to listen to compositions and productions that make sense
that a musician could appreciate. And that 10 years from now, the process of getting to that product is still gonna be relevant. I mean, we still use music theory that was, you know, created hundreds of years ago. And we use that as one of the cores of our production. So when it comes to the duo, I think we’re a great match. I mean, analog, digital, right? So I write stuff digitally. He plays it analog, you know, and then we write that in. So
yeah, it’s, it’s been a fantastic run. And I think you hit on something that’s a key component in this topic that we’re kind of just going off of right now. And it’s the fact that you understand and this is something I’ve talked about in the past.
You both understand that you guys have specific strengths and specific weaknesses, right and instead of trying to double down on your weaknesses to build those up and make those stronger, you guys realize that you’re more efficient, doubling down on your strengths and finding someone who has your weak, who’s strong and your weaknesses. And that complements each other perfectly. That is how you create some sort of successful group or duo like that is finding someone that has your weaknesses that are their strengths. That is the core component to it all if you if you’re any, if anyone’s out there looking for a duo do not just go whimsically posting in Facebook groups or on Reddit looking for someone to be a dual partner with because nine times out of 10 that’s not gonna work. One you might not have the chemistry with that person, which is another very significant opponent of that. But the other thing is, is you don’t know their strengths or their weakness.
This is and if you don’t even know what your your own strengths or weaknesses are, you’re more than likely not going to work, it’s not going to work out because you for duo to work out you. Regardless if one person does all of the production and mixing, and then the other person just does the marketing. The person that does a production more than likely is not good at marketing because they’re in the studio 24 seven, whereas the person who’s great at marketing might be super into the music wants to be musician, it might be good at DJing and they can focus you to both of you guys can focus on your strengths. And you will get so much further that way rather than to two really good producers coming together can make a great track and make maybe a good collaboration but that does not mean that they’re going to make a good duo because a lot of the times you get these alpha mentalities that fight with each other where they both want to be right about their own productions, and it just causes a lot of major issues. Absolutely. Dude, you said it perfect. That’s the Golden Nugget right there, man. I mean, yeah.
think something really important if Sorry, no, go go on really, something really important that you said that I really want to drive home is that, you know, everybody has their weaknesses and Forte’s and I say this to all producers and musicians, nobody’s perfect, by any means nobody’s perfect and the things that you have your weaknesses on, like, it’s okay to, you know, admit those weaknesses and not you know, cover up or sugarcoat that you may know these things and learn those things and take you know, take pride in learning those things I know with Carlos and I like there’s never first of all having a duo D DJ duo is something it’s it’s a work and like it’s not something that it’s not always bright colors these times it absolutely is a relationship and sometimes like you know, there’s conversations that you know you don’t want to have with with that person but you have to have it because you that that means so much to you, whether it be the brand or the music that you guys are making that if you both have an understanding of that there’s no there should be no hiccups and bumps and Carlos and I have have established something like that and so he knows what his weaknesses may be and I know
my weaknesses may have been so we have these role management’s where we know our roles, and this brand, this brand or this, you know, this duo. And we take pride in that. And then we drive that home, we do something that, you know. So we’ve literally looked at each other score in the face and say, I’m not good at this, and I’m not good at that. And people, people feel so vulnerable with that man, they feel vulnerable with their shortcomings or their finances or whether or not they’re good at marketing or whether or not they need to promo. We’ve looked at each other and said, Listen, Bro, I am not good at this, or I don’t have the attention span to maybe focus on getting better at this. Could you handle this? Yes. And then vice versa. You know what I’m saying? Like?
It just it’s become such a healthy relationship. I mean, we’ve done white label remixes for Alicia Keys, 21 pilots brockhampton and those
remixes, we have a client, and then we have our own individual tastes. And then how do we how do we get to a kosher point where we’re like, Okay, this is ready to send up and provide our client with a product. Sometimes there’s hard conversations like no, I don’t like that route, or no, I don’t like this drop. If you can’t take that kind of criticism from your own partner, or be able to see eye to eye on certain things, and compromise.
You know, it’s gonna be a rough time finding a good dual partner, you’ve got to be vulnerable, you’ve got to be available to be broken. It’s a relationship filter. Definitely. 100 I couldn’t agree with you more. I mean, this is something that I I always talk about is I thought I wanted to be a producer and a touring artist and DJ and though that still sounds like wonderful and fantastical to me, and who wouldn’t want that if you’re a producer.
I realized
fairly early on that like, I’m not the best producer like I can write a good track. And especially now now that I’ve been at it for going on eight years now, like, I can write a solid track, I can write it in enough time, and I can go to get a good idea out there. But that’s not my strong suit. my strong suit is the business side of this stuff. It’s the marketing. It’s, that’s what I’m good at. And so what’s on the table with that is exactly what we’re talking about here is if I were to come across another producer who’s fucking great at production, who I mesh well with, who needs a marketer, I could easily run into a demo situation with that, and and what we’re talking about here is, is a business I mean, that’s what you guys are running. And so you you have a business partner, and I mean, this is going to go into the entire topic of today, but I just read a book that is unfuckin real called the E myth revisited. Why most small businesses don’t work out and how to fix it. And Heath
It cuts deep to the core for anyone who runs a small business this is a I’m gonna do a full episode breaking down this book and how producers can utilize it but it You guys are already nailing one of the points of the book that it very vividly emphasizes in its structuring your business or your production duo in such a way that you have roles. So like you’ve got someone that is doing the finances so they’re handling the accounts receivable accounts payable, you’ve got someone who’s like, which you both could be the facilities manager and for me, the facilities manager is like literally cleaning up my workspace making sure the facility is clean, and I’m able to work in it. And then you’ve got like advertising and research so someone’s focusing on that stuff and all these different topics are if you if you do not structure out some your business this way. I mean, this is how you fail because you start there’s so much to do. You don’t know what to do.
At what given time, and you don’t have a system created for that specific thing, and it turns into just complete fucking chaos, things are confusing. You don’t know where things are, you don’t know what you should be doing in the moment. And it just, it can cause so much stressful complications that you just implode at over time. You just you can’t handle it anymore. And that’s when you get to the point where you’re like, I’m done with this, I’m over it, you, you burn out. And it’s just you think it’s not for you, but you really happens you just didn’t structure it in a healthy way that would actually make you successful. You didn’t set up to succeed. Exact setup. Exactly. You have to have a business you have to write fucking plan. And that’s not just goals. That’s like structuring the entire system to be successful. Otherwise, it’s just gonna fail. But anyone who wants to check out the book, it’ll be in the show notes I once heard, if I may before, before we close out on that subject, I once heard a quote that my dad gave to me as a kid and I and I will
I always carry with me and you guys kind of said Is it if you plan to fail, you fail to plan. And so, you know, it works in itself. So, you know, and that’s that’s kind of the mentality that I carry with this and I think Carlos understands that as well. So I think that’s something that everybody should should should hear out. Yeah, have it I mean, having a plan is the very basics way of setting anything up now. How loose you want to be with that plan is totally up to you because I think having too tight of a plan where everything is literally like, to the tee, like in a year, this is where in two months, this is where I’m gonna be, I think that’s a little too structured. Because then you’re, you’re also still setting yourself up for failure because if you don’t meet those, you’re gonna feel like a failure, you’re gonna be disappointed. You’re not gonna be motivated. So setting up realistic goals timewise and what the actual end goal is, is important on top of still being okay with like, it may not get there and that’s okay. So we can adjust some things to accommodate
Never know what comes up what, whether that’s personally or professionally, but anyways, let’s dive into the first topic we’re going to be discussing which is I mean, ultimately branding now, branding is this very vague thing that seems to be tossed around in, in music business in business in general. It’s just you hear branding and a lot of the times people hear logo or name, that’s that’s all they hear, but it’s a little bit more than that. For me personally, when I see what when I think of branding, it is the face. I mean, it’s you’re looking at what the logo is, you’re looking at who is the as producers who the musician is.
And then you’re also I think the biggest thing that people fail to represent in branding is consistency. And this is something that is, I mean, just riddled with with abuse in
producer’s if you look at their social media feeds, specifically Instagram and this is something that I was actually looking at on your guys’s Instagram that I thought was so you guys hit perfectly and that is the consistency so when I go up and when I open up your guys’s Instagram here, what I see is an artist I see musicians I don’t see these personal food photos I don’t see the personal pictures of you I see photos of both of you guys through like photoshoots I see show photos I see a handful of different things but the main point that you guys are throwing in also music related stuff for your your guys personal music, but what I mean by consistency here is that there is a consistent message we are DJs we are producers, this is los padres. This is what we look like this is what we do. This is what we sound like. So many times I find I go on producers pages and it’s just there’s absolutely no consistency. This is what I love.
Does it look like I’m a racecar driver? I’m I’m at the gym. This is I mean, like, it’s like, okay, those are all cool four stories because your fans are following you throughout your day. But when I when you look at someone’s feed like that, if you if you have a potential fan, I mean, first of all, let’s just talk about like a personal photo, or traveling photo when when you put hashtags on that and someone comes and looks at it and goes, Oh, I’m gonna follow this person because they’re traveling. You’re already targeting the wrong market. This could be some someone who hates electronic music, but is in love with country music, but likes your travel photo, they follow you. You’re posting your music on there trying to get people to save your pre release on Spotify, but no one is and you go well, I have 1000 followers. It’s like Yeah, but who, who’s following you what target market is following you? Because if they don’t like electronic, you’re wasting your time here. Yeah, your Instagram feed is definitely a resume to the open market. I mean, yes, it is your Hey, this is who I am.
Would you be so inclined to follow somebody like me and support a product that I made? Right? So it’s like, whether or not you know that you want to be an influencer or your chef, your chef is not going to post himself.
You know, anti food, anything like that, you know what I mean? Whether it’s something deeper in his category, but yeah, I totally agree with that. And believe it or not, it actually took us since we’re on the top of branding. It took us a little bit to really find our look for our vision.
You know, while Yeah, brandings the backbone of any, any product in my opinion, you know what I’m saying? And it represents your energy, and it represents what kind of client you want to commit to your product, whether it’s a stream, or a purchase, or a ticket sale, or, you know what I mean, and I think it’s important
into make sure that you’re not overzealous with your Instagram stuff, but at the same time, you are honest. I mean, we’re honest about what we do. I think branding is for sure the most important thing, but it’s okay if it takes a little bit, or a season or two to figure it out. times or times are, you know, moving so fast that your brand may not fit with the momentum of music or your category of music, or your genre specific and you might have to reconsider your options. 100% I mean, if you a good case to look at this, like taking a while to figure out your brand, simply go to my Instagram page, go to Instagram comm slash Envious Audio, look at my studios Instagram and start from the very bottom, the very beginning which starts in like July of 2018. And I only post once a week ish sometimes a couple times a week. So there’s not a ton of posts on there. But if you look
I have the most Incan inconsistent message possible. It’s a bunch of different means and posting people’s tracks and it doesn’t when you look at it originally, you’re like, None of this makes any fucking sense at all. And then you start scrolling up and then you get to a point where you’re like, Okay, now I see a consistent message, I started doing a bunch of tips and tricks on Instagram, or different producer tips, marketing tips, whatever it was, there’s a consistent brand message and then you see where the brand changed even more where I doubled down on something and I went more into the content creation space of like articles, this podcast
different offering different free products for getting on my mailing list, all these different sections, that really more drop drove people to my website, because that’s where I want people to go rather than on my Instagram page. And then right now, I just had another like very brief brand change where I’m changing the way I’m posting
I’m creating the covers for the podcast episodes, which is a little bit more, which actually learned this from Chris who introduced us, Chris runs the no face, PR team. And after he posted the episode I did with Dennis, I like the way they did the cover art for it. So I was like, I’m gonna just take that, and I’m gonna start using that for my episodes because I really liked that layout. So and you’ll see that I mean, this brand just takes time. I mean, it’s taken me two years now, you can you could say you’ve matured, your brand has matured, your product has matured and you know what, it will report it so you know what I’m saying? So, a lot of people shun, like, shy away from that, like, I think it’s great. We started with this whole black and white idea because the sound we were making was pretty aggressive. And then, um, you know, I don’t want to jump ahead too far. No, you’re good far in the podcast, but
quarantine.
COVID happened, right? And we got on the horn and we’re just like, yo, should we use this opportunity to really consider what we could evolve into post? pandemic? Or do we want to come out of here exactly how we went in? Right? So we started producing records, we started using
vocalists who actually gave us songs, meaningful messages, or songs that people could relate to, instead of just a sample that was trapped in a build, and then you hear it throughout the drop. We wanted to go a different route. So that whole black and white concept, although it was good at the beginning, it might not be that relevant now. So we want to come out with a more colorful package. The other the other thing that people don’t talk about a lot is rebranding right. And I look up to these two I use them a lot in comparison to what we do when you go to the chainsmokers
Page, it’s completely paused out. They have one post when they had thousands for the last five years. And it said, You know what, we’re taking a pause. We’re focusing on a rebrand, when we come back at you, it’s going to be a new sound, a new look, a new environment. And you know what, kudos to them for having the balls to completely archive their social media, maybe take a mental break, but who’s to say they don’t come back with another top 10 You know, every quarter for the next two years again, you know, they went from getting a vocal on hype beast, and having a number one record to selling out arenas worldwide. So
it’s okay to say, let’s pump the brakes reevaluate. Let’s, as long as the next step is forward, it’s all good. And that’s what you’re, you know, touching on with yourself and that’s what we’re doing. Exactly. So the
COVID was a blessing in disguise for producers as long as your family what you weren’t seriously affected by it. But if you if you are in the space of wanting to be a serious Producer COVID was a blessing in disguise because it gave you the opportunity to sit the fuck down. Think about what you’re doing, how you’re going to take this time to improve yourself and grow on something bigger than yourself and move yourself forward. I went through I mean like as we’re talking about with my Instagram, I’ve gone through many phases of quote unquote rebranding or just evolving my brand and my website was just one of them that I did about a month and a half ago, two months ago, I was looking at my website as I was posting stuff I was like, it looks dated, it looks cheesy with my with with my brand, especially for my website. It was this really dark brand. So everything was black with this cyan, blue color and then some white and that was like my color branding for Envious Audio. So when people went
My website I wanted them to get this as producers because I offer mixing mastering services, I wanted them to come to my website and get the feeling of like, like deep energy like club level type stuff like you’re going to get a product that is going to compete with people in clubs. Your tracks are going to be played in clubs, you’re going to be amped because you’re on my end. I wasn’t getting any quote requests or anything so I was like, okay, something’s wrong with this. So I started to do some research into what it means to color brand and What colors do for people and I realized that darkness that really dark color is a bit off putting it brings this somewhat depressive feel. So I was like, Okay, yeah, so I was like, well, and it looks it looks shady, almost a little Yeah, like dark web type stuff. So I was like, Okay, let me completely flip this then and go all white. And so I completely rebranded I made it a much more clean look. Everything’s bright and more calming and it’s I mean,
It’s done fucking wonders for me over the past couple of months ago. It branding is psychology man. Yes, media branding is psychology Are you going to be able to attract somebody to support your product? You know, it’s, it really is if anybody wants to kind of dig deep into that music psychology is a big thing. I mean, you have music minor, you have music and major for a reason. You know, and I mean, and Gino, I’m sure you’re familiar with that. As you know, your classical traits go, you understand how minor music will move somebody. And then you understand how major music can move somebody’s chromatic scales and stuff like that, what what scale of music you’re going to use. So we need to know that if we receive a vocal from a vocalist and it’s written in a certain way, we need to follow suit because
psychology says that it will maybe get yelled at
a better return on that product. You know, I mean, we’re not gonna just go completely opposite end of the scale. There’s a reason why those things are there. You know, right, right. Which one of you guys runs like most of the marketing in social media stuff? That’s Gino. Gino. So yeah, I guess I didn’t. Yeah, I mean, what to you for you what I mean, I’m sure you guys both sit down and really have discussed like, how are we going to move forward with branding? But for you? What is that? What does that entail? What does that look like? And what does that really mean to you when you’re sitting down and kind of looking at how you want to brand yourself and you you guys individually? Well, I guess I do. Oh, it’s been sort of a journey. I remember when we first started the brand we wanted to be first of all, Carlos and I were 90s boys. So we came we come from a very nostalgic, you know, background. So we wanted to carry that into the brand. So we were like, hey, maybe we use a certain type of filter, certain type of you know, color, the keep the profile kind of in unison with one. But as you’ve seen and as you
kind of hit on. Like, we just want to make sure that we keep the consistency and lifestyle that hey, we’re producers. This is what we offer. We’re, you know, we can do live shows we’re in the studio, we can teach you how to make sounds. You know, I’m musicians in the background with the pianos in the cellos. There’s just so much to hit on, when it comes to what los padres really is as a brand. So detail and almost, there’s so much to offer. So every week or every, you know, bi weekly, you want to post something different and keep your crowd and audience in tune with something and keep them on their toes. So for me, that’s something very, very important that you know, Carlos and I was talking on you know, what, you know, you see a lot of these DJs I post some of these like cliche pictures of them like looking down at a sidewalk with some cliche Hallmark quote, and it’s just like, you know that to me, that’s, that’s cool. And it’s nice, but Carlos and I like we don’t we’re not about that. And that’s not what we want to stand for. For los padres, like we want. You know, we’re about the music. We want to tell people in the studio, what we’re doing. This is the lyrics that we’re writing. We’re not hiding anything. We don’t want to
Should we know, you know, we’re, we’re vulnerable, just like everybody else in the studio, you know, you can take our sounds, and go ahead and do what you want with them, you know, will you make the same track as ours, I don’t know. But we’re here we are in there, social media is just showing you what we’re going to do behind the scenes. And that’s something that I want to always carry with those spiders. And I think we’ve done even throughout COVID-19, like we’ve carried now, you know, with with videos of us in the studio, writing songs for the new quarter that we have upcoming, you know, we’ve taken advantage of this COVID-19 in a really, really cool, unique way, in that in that aspect with the unorthodox posts of you know, above, in the studio and stuff like that. So that’s something we like to keep on with the socials and also like your audience might initially think, or come to find like on our social media, man, it feels a little
inconsistent. It’s because we are in that transitional phase. Yeah. And you’re you’re testing things, you’re seeing what works and what doesn’t, right. But come next quarter, we’re launching
distribution deal that we have, we’re launching a label, we’re launching products we’re launching. So, you know, we have to make sure that we are doing these things and throwing these cards out. Consistently Yes, but we need to see what sticks. And I mean, what what do people want? You know, I mean, there’s a there’s a, there’s a fine line, you have to work between the consistency and the doing what is actually going to work testing because there’s always going to be testing regardless of what you do, whether that’s with advertisement or that’s rebranding or evolving your there has to be some level of testing to making sure or to make sure that you’re not leaving any money out on the table because you never know if something’s gonna work unless you test it. And if you just dedicate to one thing, and you you just come up with let’s say, you come up with one idea, you dedicate to that one idea, and you work on that one idea for six months and nothing happens. Well
If you were instead, if you would have gone with a handful of things, maybe three to four things, and played those out over a six month period, you’d have a good amount of test subjects to look at analytics, look, what drove actual conversions and consistent amount of traffic to whatever it is, whatever your call to action is, then you can look at those conversions and go, Okay, this is actually what’s working, this kind of works. And we can play on this and test that a little bit more. But let’s drop these other things because these just aren’t doing anything at all. And the other thing is, during this time, we’ve built our team times five, right? So initially started just you know, and I, during this time, we’ve built up a team, someone to review the analytics, someone to help us with the PR someone to help us with the branding, essentially, someone to make sure that our music sounds consistent when it is out there. Um, so you know, you can’t do this on your own.
Either I mean, there are products out there to help. But Dude, you can’t do this by yourself. And I and I literally wrote this down, I was like to be consistent with your content, you have a team, or you should look into trying to create a theme for yourself. And then you have social media content calendars, you have automation of posts, you have scheduling tools for promotion, and we have not nailed any of that down and that’s okay. But you know what, everything is moving forward for us and progressively getting better and better and better. And when that one thing sticks, you can you better believe we’re gonna have that thing on fucking autopilot? Yeah, I mean, that. I mean, that also just comes down to the systems you have in place, you need to have good systems that you’re doing the same thing. And this is I mean, this goes into the E myth revisited book that was reading is creating a franchise prototype. And what that means is you have a system for every single thing you do, you do the exact same thing every single time.
So it’s ingrained in your brain. So no mistakes are made. But on top of that, you can look at that prop that system that’s put in place properly. And you can figure out how you can automate it, how you can change it make it faster, better. So you’re spending less time doing that, therefore your dollar per hour goes up. And regardless of what that dollar dollar, that dollar so that that dollar per hour can be it. I mean, you can put $1 on it, you could say, how much does it cost you? Or what does it cost to create a Facebook post? How much time does it take you to do that? What’s the dollar amount on that and you could say it costs it takes me 30 minutes to do that and that cost me $5 well then that that right there is $5. To do now, if you come up with a handful of different things that takes you three hours to do and it costs you a total of $15 you can hire someone a virtual assistant or someone who could do that for you who you can charge $8 an hour, you’re now saving seven