Blog

  • Effective Use of Exceptions

    Throw Lots of Exceptions

    It seems like a good idea, when writing new code, to use liberal amounts of thrown exceptions to signal erroneous situations. The more the better. Any time you can detect a situation where your data is completely wrong, throw an error. In Ruby just using a simple raise with a message (or no message) can go a long way to saving your sanity.

    if something_is_fishy
      raise "something is fishy"
    end

    # or the single-line version

    raise "something is fishy" if something_is_fishy

    In this case your program will crash and your environment will inform you about the file and line number where the error occurred. However I have been using custom error classes (subclasses of StandardError) to more clearly describe what is wrong.

    class UnexpectedlyInvalidInput < StandardError; end
    class UnexpectedResponseType < StandardError; end
    class ThisIsImpossible < StandardError; end

    Some sources advise you to only throw exceptions which you intend to catch. I disagree. In fact most of the error throws you write should not be caught, because most of those should not be thrown at runtime anyway! Strive to use exceptions to detect situations when you, the programmer, have screwed up because something impossible has nonetheless happened. What counts as “impossible” may depend on your business requirements, documented behavior of APIs, common sense, or subjective judgement.

    Obviously it will get tedious or impossible to throw errors at every stage of the code where someone may have messed up (especially in a dynamic language like Ruby). Below I will list situations where it is convenient and natural to throw.

    When using a case or a series of if, else if, else if, ... to interpret the several possible variants of your data (such as “ok” and “error”), put a final else, which throws an error indicating you got an unexpected variant. If you do not put the else and you get an unexpected variant, you will spend valuable time sifting through the aftermath to determine that that was actually the cause of the error. Skip that step and you’ll be able to go fix the actual problem.

    case arg['status']
      when 'ok' then show_user_the_money
      when 'error' then show_alert_dialog
      else raise InvalidStatus
    end

    In an API client module you can throw an error if the raw data you get from the API is not the correct type. You expect the API to adhere to its documented behavior. If it does not, you can’t seriously expect to do anything except change your code. Throw an error.

    If you are expecting a data value to be not nil, by all means, throw an error if it is nil before you use it. The behavior of nils in many programming languages, including Ruby, allows for the program to continue on willy-nilly until you get lucky enough for a crash somewhere else, maybe in another module.

    def procedure_which_expects_non_nil arg
      raise ArgumentError, "arg cannot be nil!" if arg.nil?

      # rest of the code
    end

    In all of the above cases, you now have a clear directive of how to proceed if the program throws any of the errors. You need to fix your bug, alter your usage of an API, or fix a bug that produces a nil erroneously.

    Don’t Worry About Catching

    Don’t try to catch very much. The above errors, for example, have no valid reason to be caught. Try to stick to throwing errors, which indicate bugs to fix rather than normal conditions that will happen as a matter of course. You may need to catch at the top level sometimes to deal with low level unpredictable IO situations like a broken pipe.

    It’s a Bad Idea™ to catch all errors (without re-throwing). The reason for this is that you will be painfully unaware of problems with your code that you did not expect. In Ruby, this includes syntax errors, which are not detected until late runtime and manifest themselves as exceptions!

    # NO! BAD! VERY BAD!
    begin
      results = do_lots_of_complex_things
    rescue #recover from ANY kind of exception
      results = []
    end

    If you do rescue from all errors, make sure to re-throw simply by using raise by itself (shown below).

    # not bad
    begin
      results = do_lots_of_complex_things
    rescue => e
      send_an_error_email(e)
      raise #re-throws the error e
    end

    # also not bad
    begin
      results = do_lots_of_complex_things
    rescue SpecificProblem
      results = []
    end

    The normal way to catch without re-throwing is to make sure it is only for a specific error class (shown above). Finding out which class you want to catch is tricky but worth it.

  • 3 Easy Steps to Launch a Successful PPC Campaign

    I’ve been in online advertising for about 8 years now. In that time, I’ve launched hundreds of accounts and thousands of search campaigns. Not all of them have gone as smoothly as I would like to believe. Instead of relying on my years of knowledge, I have a blueprint that I follow to ensure there is a successful launch.

    Here’s an easy 3-step beginner guide to to launching a successful campaign that your clients (and boss) will be proud of.

    Step 1. Check You Campaigns Settings

    One of the most important parts of setting up a paid search account is checking all of your campaign settings. This is especially important when using something like the Bing Ads’ import feature or creating new campaigns in AdWords Editor.

    • Location
      • Make sure your location is targeting where you or the client have specified. While you could use geo-modified keywords for a state or region, you are likely to see a lower CTR due to poor ad relevancy and low conversion rates.
    • Language
      • Make sure the language you are targeting matches your location targeting and your ad content. If you are targeting a bilingual region such as Quebec, it is best practice to create a French and an English campaign with ad content in the appropriate language. Serve French ads to French speakers and English ads to…you get the point. 🙂
    • Ad Networks
      • This is a big mistake for a lot of new advertisers — your campaigns should never target more than one network at a time. While it is perfectly fine to advertise text ads on the display network, you do not want your low CTR from the display network negatively impacting your search text ads.
    • Device Targeting
      • On July 22nd, this setting will be non-existent, but you must be sure to check you bid adjustments for mobile devices. Not all businesses or websites lend themselves to mobile devices, and despite Google’s certainty that mobile is the future, there is no reason to overbid on a low-performing segment.

    enhanced-campaign-mobile-bidding

     

    Step 2. Assembled the Ad Groups

    good keyword themes

    • Keyword Themes
      • How your keywords relate to your ad content, the search query, and the landing page really matter. While it isn’t the biggest factor in quality score (CTR is still 70% of the a good QS), keyword theming it majorly important to relate your service/product/whatever to the searcher. Over- and under-simplifying themes is a common mistake that even a lot of veteran PPC advertisers make, so don’t be discourage if you aren’t sure where to start.  The best way to determine how keywords should be grouped is by figuring out what they mean to the searcher and what the searcher is expecting to see.
    • Keywords Match Types
      • Like keyword theming, this has a lot to do with anticipating what question a user is going to ask a search engine and how. I am a huge fan of exact and phrase match because if gives you the best CTR and limits the amount of negative keyword research you’ll have to do. However, for the PPC noob I would recommend using modified broad match with a hefty list of negatives to eliminate search noise. If you follow this advice your quality score and wallet will thank you.
    • Ad Content
      • One of the most important elements of a good launch is good ad content. When writing ad content, the most important things is answering the search query’s question. It is equally important to show why you answer the question better than your competition. Including value props, calls-to-action, and relevant ad extensions will help you get the click.

     

    Step 3. Set Up Conversion Tracking and Analytics Integration 

    • Conversion Trackers
      • This is probably the most overlooked and financially dangerous thing to forget when setting up a PPC campaign. Whether you consider a conversion a click-to-call, a form submission, or even view of keypage, you have to set up conversion tracking. With both AdWords and Bing Ads this is a simple process — you just insert a snippet of code onto your determined conversion page. This is typically the last action you want a visitor to do on your site before leaving your site.
    • Google Analytics
      • Undeniably the most powerful free analytics tool available. Google Analytics allows you to see what your PPC visitors are doing on your site. Having this knowledge will allow you make data driven decision about on-page factors such as images, content, or layout. One of my personal favorite reports is Visitor Flow. This report shows the path a visitor takes on your site and what information you should include on your landing pages.

    That’s it!

    Setting up a new PPC campaign can become daunting and confusing. Using these three steps will help you stay on track and not waste time or money. A properly set up campaign will ensure you can make better ROI decisions without backtracking and guesswork.

    Pro-Tip: If you have a hard monthly cost and want to effectively manage your spend use the shared library’s Budget feature. It will allow you to assign a set daily spend to multiple campaigns. It will alleviate the stress of manually adjusting each campaigns’ daily spend. Be sure to check your performance though. If you start seeing more opportunity in a particular account you may want to separate it from the others and assign an individual budget.

    Share Budgets for PPC Campaigns

  • Influencer Spotlight: Annette Golemi

    Annette Golemi

    What do running, LSU tigers, and New Orleans cuisine have in common? They are all beloved by SI’s PR/Marketing Associate, Annette Golemi! Born in the Chicago suburb of Park Ridge, Annette moved to Mandeville, LA when she was only 6 months old. From then on, New Orleans and Southeast Louisiana held a special place in her heart. With much love for the area and its food, people, and sports, it was no surprise to Annette’s family when she moved to Baton Rouge to attend LSU. “I bleed purple and gold,” said Annette of her beloved alma mater.

    After graduating from LSU with a bachelors degree in public relations, Annette moved to Austin, TX, where she began an internship with a local PR firm. Shortly after, she was offered a position at a different local PR agency where she worked for over a year. It was at this point family, food, and fantastic job opportunities called her back to New Orleans, where she then began work at SI.

    As a PR/Marketing Associate, Annette’s day to day activities revolve around building the Search Influence brand as a nationally recognized and premiere Internet marketing company. Annette truly excels at her job with her fantastic ability to connect and engage with those around her. When asked about her favorite part about working at SI, Annette replied, “I absolutely love our company culture. I feel so privileged to work with such intelligent, well-versed, and hard working colleagues that truly work as a team. I am always so pleased to know that if I ever need help with a project, I can reach out to any of my team members and receive a positive attitude along with helpful results.”

    Influencer Spotlight

    When she’s not building up the Search Influence brand, Annette loves trying new local restaurants. “I keep a running list on my cell phone of restaurants I hear people talking about or places I learn about from Eater NOLA.” Also an avid runner, Annette enjoys the outdoors, especially the running paths in Audubon Park.

    We are thrilled to have such a wonderful team member in Annette and look forward growing as a company with her and through her hard work!

  • Switching to Trello from Pivotal Tracker

    We started using Pivotal Tracker over 2 years ago to track the status and progress of our first big software development project. As the lead developer, it fit perfectly into the workflow that I had envisioned for my fledgling department. I added user stories, gave them points and watched my velocity rise and rise as my two week iterations rolled by. I was showing value, being agile and I was generally happy with the progress of the project.

    That project launched a few months later and it has been in use ever since. Then bug fixes and feature requests started to trickle in. And the development department grew. And after the success of the first, second, third, and fourth projects were added to the queue. It was obvious that Pivotal Tracker was going to need some additional tools to manage multiple projects and multiple developers across those projects. We looked into several add-ons, third party tools and even used a Google doc for a while, but nothing seemed to work quite how we wanted.

    As we focused on one project, the iterations would still roll by on our inactive projects. It’s possible to change the “team strength” to 0% when you aren’t working on a project, but it is reset back to 100% every iteration, and an empty iteration is still recorded. This doesn’t look good and ruins the velocity estimates that Pivotal Tracker is so good for.

    I first found Trello while looking for alternatives to Pivotal Tracker. My first reaction was that it’s too simple. Where do you put in points? Why do I have to manually move stories from the backlog to the current iteration? I ruled it out along with other more beautiful apps such as Asana and Trajectory.

    The search was put on hold until I found a blog post by User Voice that describes exactly how they use Trello. I was blown away. First and foremost by the fact that a company would share this much information about it’s process. It has inspired me to be more open about how we develop software. Secondly, I was surprised to see them using it outside of the “one project is one board” paradigm. They use six boards to document, vet and prioritize new features and bugs. This really changed my view of how we could use Trello.

    We don’t have one single software product called Search Influence. We have a conglomeration of many tools to help each department be as efficient as possible and still give our customers the individual attention they need. We needed a way to track each of these projects individually. Having a “Next Up” list like User Voice would be infeasible because we would have to prioritize cards across multiple projects. I would rather prioritize the projects themselves and give developers freedom to choose which they want to work on. This has worked well for us in the past and Trello is making it even easier.

    We have one board with a card for each of our projects. It has lists for “Ideas,” “Research and preparation,” “Ready to begin,” “In Progress” and “Done”. Cards generally move left to right and “Done” really means “Done for now.” In the description of each card there is a link to a Google doc and its own Trello board. Developers assign cards to themselves from any list except “Ideas” and “Done.” I believe we will need a separate board for “Ideas” and “Research and preparation” in the near future from which the “Ready to begin” list will be populated, but for now all of our projects have been pretty well researched and we are working on some great features.

    This is how we are currently doing things, but it’s a work in progress. All of our current projects are researched and ready to be worked on, but the next change will be to create a board strictly for planning. This will make it easier for other parts of the company to be involved in our roadmap. If you have any questions or use Trello in different way, make sure to comment. We’re excited about the changes going on at Search Influence.

  • 5 Ways to Use Instagram for Business and Build Your Social Media Presence

    Many businesses, small and large, have started using Instagram as a way to build their brands and online presence. Not only is Instagram an effective and useful way for businesses to promote themselves, but it is also a way to create connections with customers through engaging content. Also, photo sharing through Instagram allows a business to reach customers without an overload of clutter and superfluous content.

    1. Employ Hashtags to Increase Discoverability

    According to the press page on Instagram, they currently have 130 million active users. In order to captivate this large audience, the use of keywords is essential. It’s been said by many Instagram gurus that using less than three hashtags in a post drastically limits your discoverability. Sites like top-hashtags.com tell you what hashtags are trending and most used at the time, but anything relevant to your content is good to use. For example, a local non-profit organization for music can often use the hashtags #NOLAmusic #NOLAevents #NOLAnonprofits. If you’re a local business in a city with a well known abbreviation, you should always attach this abbreviation to keywords in hashtags in order to target your ideal audience. It is important for all businesses to understand what audience they are targeting on a social media platform like Instagram.

    2. Sponsor Contests

    Many businesses use Instagram for contests and giveaways. A great example of this is the cruelty-free, handmade cosmetics brand Lush and their giveaway using the hashtag #LUSHtravels. They encouraged users to post a picture of their favorite products for traveling using the hashtag. The contestants with the best photos would win a new set of their favorite products. This not only promoted participation with the brand but also created free publicity and positive reviews for their products.

    3. Create Hype for New Products

    Another way businesses can use Instagram to their advantage is to excite their audience about upcoming products. A company that does this effectively at the moment is the vegan cosmetics brand, Lime Crime. They are constantly creating new products for their customers, and the last set of new lipsticks they released were so anticipated that their site was crashed by too many orders on the release date. Lately they’ve been posting sneak peeks of a new lipstick color and locations of cosmetics expos where you can try it out before anyone else. Product promotion and sneak peeks are a great way to keep people feeling like they’re in the loop and not missing out on anything.

    4. Utilize Cross-Promotion with Facebook

    cross-promotional

    According to Ragan’s PR Daily, 60 percent of major brands, including Starbucks and Nike, are using Instagram. Many of these brands also share their pictures from Instagram on other social media platforms like Facebook and Twitter. Although Instagram dropped Twitter support in December, they have gracefully regained popularity since then. ZOG Digital provided a chart that shows the effectiveness of cross-promotional engagement with other social media platforms. See above.

    5. Humanize Your Brand via Engaging Content

    Instagram is a great way for businesses to create a personality for their brand. It allows a business to mold the way it is perceived by their customers. A great way to create positive brand recognition is through engaging content like behind the scenes photos and interactive and unique hashtag involvement. The online eyeglasses brand Warby Parker has effectively done the former by showing pictures of their employees enjoying a recent “Field Day” where they show a philanthropic side to the company with relay races for charity. Screen Shot 2013-07-11 at 11.13.58 PMAlso, Instagram itself has an exciting hashtag event called Weekend Hashtag Project where every weekend a theme is chosen and the best user photos taken over that weekend are posted the following Monday on the company’s blog. This kind of content makes users feel connected and shows how the product itself can be used to its fullest.

     

    Whether you choose to engage customers or simply promote your content, Instagram is an effective tool to improve your brand and is quickly becoming a necessity for any well known brand.

     

  • Influencer Spotlight: Joe Romito

    Joe Romito

    With both a B.A. and an M.A. concentrating in English, 24-year-old Joe Romito may first appear like one of many students with the same popular degree, if it was not for one distinguishing feature: comic books.

    A Philadelphia native, Romito attended the University of Pennsylvania, deciding to combine a minor in classic Greek and Roman literature with a focus in graphic novels.

    Although the combination was unique, Romito was not deterred when programs were scarce as he got ready to pursue a graduate degree. “Nobody really picked me up for a Master’s degree,” he said. “Initially, I was going to get my Ph.D, but I highly specialized in graphic literature, which is kind of a hard sell for universities right now.”

    However, after graduation, Romito decided to move to New Orleans instead. His girlfriend was attending law school at Tulane at the time, so it made sense for the couple to move closer together. “I had no job,” he said, “and I said, ‘Screw it,’ and packed up all my stuff and got in my car and drove down here.”

    Thankfully, Romito found a professor at the University of Chicago that specialized in comic book literature named Hillary Chute. “I thought, if she could do it, this might be a viable option,” he said. “In the end I wanted to teach about graphic novels, comic strips, graphic comic books, the whole medium.”

    After receiving his Master’s, Romito ended up moving back to New Orleans and after a brief employment at a local restaurant, Romito decided to pursue a career that better suited his academic goals. “I was tired of being a dishwasher,” he said. “I was a dishwasher at Delachaise, and one day I thought, ‘Maybe a master’s degree student should not be here washing dishes.’ It was a little ridiculous, if thats all I was going to do.”

    At the time, Romito was also freelance writing for Search Influence, and I decided to apply for an in-house position. He has now been a full-time IMA with the company for nearly 6 months and seems to much enjoy his new career choice.

    “It’s just weirdly comfortable,” he said. “I don’t feel stressed out. I feel like if I was in one of those TV offices with the cubicles I would just feel bad. I like the open air feel. I think it really makes you feel like a team, opposed to if everyone was stuck in cubicles and had to pop over the top like meerkats every time they needed to talk to someone.”

    IMG_0118

    Romito has certainly taken advantage of the sense of community at the company, organizing  game nights with his fellow employees. “When I first got here, I played my favorite game, which is “Find the Nerd,” he said. “Whenever I’m in a new social situation, I don’t tone myself down at all. I just max out on how nerdy I am around other people, and I’ve found in like 99% of situations, someone responds with the nerdiest thing that they do back at me. And I’m like, ‘Ok, I found a nerd.’”

    Romito found that the majority of the web developers in the office were interested in role playing games, so he decided to begin an inter-office game of “Dungeons and Dragons.”

    About 7 people are involved in the game, including Romito’s girlfriend, who is also a freelance writer for Search Influence. “Every Sunday we meet up at my place and play “Dungeons and Dragons,” and drink beer, and hang out,” he said.

    As far as pursuing his interest in comic books, Romito has not given up on the dream, he said.

    In his free time, Romito plays around with ideas for sci-fi fantasy novels, novellas, and short stories. He also has a number of “art friends,” he said, so would have no trouble enlisting the help of an illustrator if he ever decided to seriously move forward with a project.

    “I’m terrible at drawing,” he said. “I took drawing courses in college, and got good enough to know how bad I am. It was like, ‘Now I know enough to know this sucks.’ However, if I could ever get words on paper enough to actually say, ‘Hey, I got an actual, solid idea, do you want to get in on this project?’ I know I would be able to write it, and I would be able to get someone to do the illustrations.”

    As for now, Romito remains a humble IMA for Search Influence. But look for him to accomplish great things in the world of science fiction in the near future.

  • Confusion Is Next Part 4

    Confusion Is Next: A 4-part Look at Music SEO In A New Era Of The Music Industry

    Part 4 – Same As It Ever Was?

    There is much already written about how and why we use schema and microformats for SEO purposes, but most discussions of this practice tend to revolve primarily around address/contact information and compilation of online reviews. Schema, in essence, just more clearly isolates exactly what a search engine should extract from a site, page or – most importantly for this particular discussion – media item. Our own Doug Thomas offered a fascinating look at the basics of how schema can be used for many different purposes in a post last year. I want to make it clear that I can only speculate as to the actual direct contribution of schema to Internet radio. It feels pretty safe to assume that as this market becomes increasingly competitive, however, the more descriptive information there is associating an artist’s material with other more firmly established artists and genres across the internet, the more likely a musician is to reach a wider audience.

    The important distinction to make is for microdata’s use in the presentation of music is in regard to the desired function of the information being processed. When listing a business address or embedding a video testimonial or compiling reviews for a company’s online ranking, the most important content that needs to be targeted for extraction from the formatting is basic information about the business, its location and its purported quality according to consumers. The goal is to get a search engine to pull a relatively simple assessment of an item or page of content that points as directly as possible to the business or source website. As we discussed in Part 2, this is not necessarily the focus for musical work.

    As you can see, between the schema properties available for the CreativeWork classification and the MusicRecording classification, there is a great deal of information that can be provided to a search engine for any function. Obviously, the data provided through schema should include standard title, album and technical information. What I think could be of increasingly great importance to aspiring new artists, however, are the more relative and subjective microformatting properties available within the CreativeWork schema. A handy way to think about this is as a contemporary substitute for the “Recommended If You Like…” stickers that came on CD’s for radio and promotional performances back when CD’s were still actually real things people used.

    “Genre” is obviously a key component that should probably be used with as much specificity as possible without descending into comically pompous territory. “Pop” is probably not specific enough to help anyone, but some exceedingly overwrought and ultimately marginalizing mega-description like  “Neo Nerdcore Post-Synth-Wave” wouldn’t really tell anyone anything either (unless that’s an actual thing, in which case, sorry. I’m getting old).

    More intriguing, though, are CreativeWork schema parameters like “audience,” “discussionURL,” “isBasedOnURL,” “reviews” or “typicalAgeRange.” These all seem to provide great opportunities to associate a band or musician’s work with something a listener might actively search for, either on a standard search engine or on an internet radio provider. Again, I can provide no certain evidence that any of this will lead to any direct boost in profile on any music-centric site at this moment. I can say, however, that using schema is a really simple and effective way for descriptive information about a work or its creator(s) to be transmitted and received. Simple and effective is generally considered good for business, so it shouldn’t seem outlandish for schema or some similar style of microdata-driven assessment of material to be used in the development of new music dispersal services.

    Furthermore, if there’s one thing we DO know, it’s that schema is utilized very effectively already within standard organic search results. If Daisy is indeed about to usher in a new era of Internet radio that incorporates a more hands-on human element, then organic search results may suddenly become much more important for artists than they had been to this point. In short, forming clearer connections and associations for musical material through the inclusion of a few simple schema properties whenever a media item is linked or embedded by an artist just seems like a solid practice all around for artists (as well as marketers) looking for rewarding careers.

    Click here for Part 1

    Click here for Part 2

    Click here for Part 3

  • Confusion Is Next Part 3

    Confusion Is Next: A 4-part Look at Music SEO In A New Era Of The Music Industry

    Part 3 – Into The Blue Again

    Entities like Youtube, Spotify, Pandora, Soundcloud and Last.fm, alongside the usual social dispersal mechanics of Facebook and Twitter, have certainly made it easier for people to get the music they want legally at minimal (if any) cost. These sites aren’t really doing a ton for artists yet, beyond making music from performers with already existing publishing deals more easily accessible to a wider audience. A great deal of ire has been directed toward Spotify in particular for the ridiculously low royalty rates it pays out to artists. It seems silly to cast Spotify as The Problem, since distributing music without fairly compensating its creators is already what most people are going to do one way or another. It’s important to remember, however, that Spotify probably shouldn’t be viewed as a likely solution to the music industry’s current crop of problems either. Regardless, Internet radio and subscription listening services have to be viewed as, at the very least, a step in the right direction for an “industry” with basically no viable mass financial structure in place at the moment. If there is an available outlet for an artist to target, this is it. It is a market pretty clearly on the rise.

    There had long been rumblings about hip-hop legend Dr. Dre’s development of a new music streaming-focused branch of his Beats Electronics audio equipment company. The revelation last December that Nine Inch Nails creator Trent Reznor had been brought on board the project as Chief Creative Officer made the enterprise even more intriguing. Certainly, celebrity musicians attaching their names to commercial projects is not particularly novel, but the combined reputation and industry experience of these particular celebrity musicians adds a fascinating angle to the in-progress streaming service, which is (unofficially) being referred to as Daisy.

    Both Dre and Reznor have been directly and successfully involved with pretty much every angle of the music industry. Both have been wildly popular performing and recording musicians in their own right. Both are viewed as recording and production visionaries within their particular genres. Both have operated legitimately successful and well respected record labels, wherein both were known to have taken a very hands-on approach to discovering and developing their artists. Both — particularly Reznor — have been extremely candid and open-minded about the issues facing musicians in the brave new Internet-driven world of music promotion and distribution. Basically, in neither case does this feel like a pop star allowing his or her name and face to be associated with caviar-infused vodka or some such thing; it feels a bit more like something that could actually turn into a serious market force.

    Well, the March announcement that Len Blavatnik, owner of the Warner Music Group, had invested $60 million in the project means it better turn into some kind of force now. Details of the specific function and implementation of the streaming service have been kept decidedly on the down-low, but the plan has already at least won the ear of Apple CEO Tim Cook. The pitch appears to involve a more financially viable model for musicians themselves, which isn’t particularly surprising given the personnel involved. But the really intriguing part of all this is the heightened attention the Daisy platform appears to be granting to the search and recommendation features.

    Most of what we know about what Daisy is trying to do comes from a Reznor profile in The New Yorker, which is blocked by a pay wall, so I’m going to shamelessly blockquote Pitchfork, against all better judgment:

    The service “uses mathematics to offer suggestions to the listener… [but also] would present choices based partly on suggestions made by connoisseurs, making it a platform in which the machine and the human would collide more intimately.”

    Comparing Daisy to Spotify, he told The New Yorker, “Here’s sixteen million licensed pieces of music,’ they’ve said, but you’re not stumbling into anything. What’s missing is a service that adds a layer of intelligent curation.”

    “That first wave of music presentation which felt magical, the one where the songs are chosen by algorithms that know who you listened to… has begun to feel synthetic.”

    He described Daisy as being “like having your own guy when you go into the record store, who knows what you like but can also point you down some paths you wouldn’t necessarily have encountered.”

    Now, “intelligent curation” is a really intriguing but delightfully vague expression of how the team is actually going to make this work. There are no details about the procedure and regulations with regard to artist submissions or access yet, so I’m jumping a few steps ahead here. But if Daisy is gearing up for a legitimate run against Spotify and Pandora and stays true to Reznor’s word, it’s going to very quickly make some form of SEO for musicians extraordinarily important. Even if Daisy underperforms relative to its recent investment, it will likely come on the market with enough clout to make other more established Internet radio sources at least think about altering or updating their approaches.

    In the interest of keeping this a series of (hopefully) easily digestible blog posts, and not an entire book, I’m going to keep the discussion of how the current main players in Internet radio actually DO approach things a bit limited. Know that there is much to be read on the subject, however, and it’s all pretty fascinating for music and Internet buffs alike. Pandora, in particular, makes heavy use of the Music Genome Project, which I could happily read about for weeks on end. For my purposes, let’s just establish that Pandora takes into account a whole lot of really detailed technical elements of how music sounds and how it is created when generating playlist connections. Spotify Radio (and many other Internet radio platforms) work more like they are pulling from a huge encyclopedia of genre and era-specific historical reference points, as if their databases are full of every NME Top 100 list and VH1 countdown ever made.

    Both the Pandora and the Spotify approach have their strengths and weaknesses, but where both run into issues is with brand new music that hasn’t been passed through the classification funnel yet. As Internet radio continues to grow and become a greater force in exposing new music to new listeners, it stands to reason that aspiring artists will want to provide as much information as possible about their musical material in order to make it easier to include alongside other more established artists’ material.

    What really intrigues me about all of this, though, is the idea of using SEO techniques to somehow link a band’s online “associations” in such a way that it might be reflected by Daisy or Spotify playlists. No matter how many hordes of ex-college radio DJs Trent Reznor and Dr. Dre are going to hire to add the supposed human element to Daisy, there is still going to be a lot left up to automated algorithms. What this means is…oh, hello there, schema, I didn’t even see you standing over there. Perhaps we should sit down and chat a minute in Part 4.

    Click here for Part 1

    Click here for Part 2

    Click here for Part 4

  • Confusion Is Next Part 2

    Confusion Is Next: A 4-part Look at Music SEO In A New Era Of The Music Industry

    Part 2 – How Do I Work This?

    What is interesting about music SEO as a concept is that the focus isn’t really on steering traffic to a musician’s website in the same way that it would be for, say, a lawyer or dentist. With more traditional businesses, media like videos or sound files are frequently treated as neat bells and whistles that can help attract more attention to the actual service or product that business provides, as detailed on that company’s website. For a musician, these media ARE the service or product. A YouTube video for a lawyer can be strategically utilized to drive traffic back to a home destination. More and more for musicians, YouTube videos ARE the destination.

    When it comes down to it, how do you even approach optimizing a band’s website? I’ve looked for online resources, and the results have been alarmingly banal and obvious. If you have to be told by “SEO experts” to include your band name in your band’s website title and domain name, I’m just not sure what else to even tell you. Have you heard of this thing called MySpace? It’s supposed to be pretty sweet. Anyway, some sources provide theoretically legitimate guidance like implementing meta data on all of your site’s pages and maximizing external link opportunities, but think about it: who are you optimizing for?

    I signed up for a mailing list that granted me access to a 20-minute video on SEO’s importance to musicians in researching this post. In the video, the key example was a wedding band in Oakland targeting the keywords “wedding band Oakland.” That’s fine, and from there, plenty of SEO professionals will know what to do to help a local wedding band get some additional online presence. But this doesn’t do much for a new indie-electronic/neo-shoegaze/whatever-core three-piece doing all original material and who would, in different times, have viewed a modest advance from Touch And Go as a massive coup. Although I really enjoy the mental image of a lovesick college student Googling “new neo-math rock quartet Indianapolis that girl with the glasses in intro world lit would probably like,” people just don’t really use Google that way.

    Moreover, there’s the question of what it is you’re actually trying to optimize. It feels somehow already out of date to optimize an actual website for a band or musician. Facebook, Soundcloud and Bandcamp pages are all probably afforded much greater significance by active musicians and their fans than individual websites. Facebook is likely to be more current on listings and news and allows more direct contact (for better or worse) between musicians and fans, Soundcloud makes it easier to hear music and Bandcamp allows a musician to get something resembling a paycheck with relative ease. Getting a traditional website to do all of those things sounds like an awful lot of unnecessary trouble for an amateur garage-punk quartet.

    Basically, the focus with a musician needs to be on the music they are actually making, which – if found and digested by listeners – may or may not eventually lead to the band’s actual website. Establishing domain authority matters dramatically less than establishing connections between the artist being promoted and musical works or musicians that are already better known to most audiences. Ranking for targeted keywords is essentially meaningless; reaching listeners searching for other materials is crucial.

    In Part 3, we’ll look at how musicians are actually reaching listeners (legally) in 2013.

    Click here for Part 1

    Click here for Part 3

    Click here for Part 4

  • Confusion Is Next Part 1

    Confusion Is Next: A 4-part Look at Music SEO In A New Era of The Music Industry

    Part 1 – Well, How Did We Get Here?

    It’s hard to even discuss the impact of the Internet on the music industry in 2013 without feeling like that annoying guy in a faded Pearl Jam t-shirt still whining about the good old days when MTV actually played MUSIC, maaaaaan. It seems like all conversations about the Internet and music tend to pretty quickly veer toward creative property and ethics and the death of the record industry and piracy, which are all completely valid and occasionally  interesting ways of thinking.

    They’re also all completely moot points. The game has changed, the record industry is largely irrelevant to anyone not dead-set on Lady Gaga-level superstardom, and people are going to continue to get music for free, legally or not.

    We are where we are. There’s very little out there to encourage anyone to pursue a career in music from a financial perspective. Music listeners will increasingly start to feel the effects of this if no one is able to effectively fill the sizable void left by that same record industry we all spent the late 90’s and early 00’s actively and systematically trying to obliterate. I’m not defending the record industry here. Still, we can thank the recording industry for one-time revolutionary, now pleasantly nostalgic institutions like flexi-discs, maxi-singles, huge cardboard boxes for compact discs and the concept that musicians should be paid something – anything, no matter how shamefully miniscule – for their recorded work. It all seems so delightfully quaint now, doesn’t it?

    The problem is that the whole process of starting a band or being a musician had been predicated on the idea of being discovered and getting signed by a record label for so long that no one knows what to do now that “getting signed” is kind of an obsolete concept.  As approximately everyone with a writing job for a music or music industry magazine has written that around every 4 seconds for the last 5-15 years, the Internet has made it easier than ever before to make and share music. The problem is getting those billions of potential listeners, to whom any musician has access at any given time, to care.

    So wait, we have a crowded, Internet-centric market with more options available to Internet users than anyone knows what to do with? This sounds like exactly the kind of problem that SEO is designed to handle, right?

    Yes, it does. But thinking about how to make that actually work very quickly veers away from the beaten path of optimization and promotion techniques that might typically be applied to more traditional businesses.

    In Part 2, we’ll take a closer look at how promoting music online differs from standard SEO practices.

    Click here for Part 2

    Click here for Part 3

    Click here for Part 4