Today we’re looking at the fourth of five parts of a recent survey of prominent jazz writers and editors from around the industry.
This section, called Professional Listening Habits, sought to address such issues as how much new music these writers and decision makers are really seeing, how much they’re asking for and how much is just showing up unannounced, how they’re listening to it once it arrives, and—the big question on every publicist’s mind—in what format are we going to be sending them promos in the future.
We started by asking each person to tell us how many promo CDs they receive each month. As in the previous section, every respondent answered this and the other questions put to them in this part of the survey, giving us the most accurate sampling we could hope for.
The most popular answer was 25-50, one of the smaller categories, which earned 29.4% of the vote, but 100+ was a close second with 23.5%. 1-25 was third with 17.6% and 50-75 and 75-100 each received 14.7%.
These numbers almost seem low when you’re used to telling your clients about the monumental amount of competition out there as you urge them to create the strongest, most above reproach projects possible.
But then I thought about it another way.
The majority of those surveyed (52.9%) are telling us they receive at least 50 promos CDs in a given month. If they’re estimating correctly, that’s a minimum of 600 CDs in a year, with roughly 1/4 of those surveyed claiming more than 1200 per year.
Imagine how much time it would take to listen carefully to that much music, let alone write about it in a succinct and insightful way.
Plus, if you recall, we found out in the previous section that more than 1/3 of these writers and editors are purchasing at least 100 more CDs per year, just for their own personal use.
Next we asked what percentage of these incoming promos are unsolicited. The majority (55.9%) said that 3/4 of the promos they receive are uninvited guests in their homes and offices, and 1/5 (20.6 %) reported asking for none of the music in their mail box. Mind you were still only taking about CDs and not digital downloads (yet).
Everyone said that at least some of the CDs they receive arrive without an invitation, with 1/4 and 1/2 getting 11.8% of the vote each. I know this isn’t rocket science, but that means 88.3% of those surveyed get at least one potentially unwanted CD for every one they ask for. And, for more than 75% of those people, at least three of every four CDs is unsolicited.
That kinda thing may start out fun, but I bet it gets old quick once you run out of space, both the physical and mental kinds.
When it comes to listening to all this music for work purposes, the traditional stereo system is still the favorite, with 94.1% saying that’s a regular listening method, but we didn’t limit them to just one choice. 64.7% reported regularly accessing CDs and music files through their computer, while 44.1% said they both used a computer to access streaming music files on the Internet and used an MP3 player.
If that’s not enough to make you think writers and editors still favor a CD to pop in their favorite hi-fi, we next asked them directly about their attitude toward digital promos, giving them specifically worded choices.
Here’s how the numbers came out:
I love it! The future is now!: 26.5%
Tried it, but prefer a CD: 41.2%
Open to the idea, but haven’t tried it: 5.9%
It’s not for me: 17.6%
Themz fightin’ words!: 2.9%
5.9% chose the N/A category, and we got 15 write-ins, in which people basically explained the answers they’d given above. Those were harder to summarize, but people brought up ideas like disposability, environmental friendliness, collectibility, lack of artwork, convenience, reduced cost for the musicians and preferences about the different ways digital music is sent.
For those keeping score at home that was 61.7% of the target jazz press audience telling us that despite more recent and instantaneous innovations in technology, they prefer a physical promo CD.
We then asked how many of the respondents had ever received digital promo service from a label or publicist. 85.3% said yes.
The number was exactly the same when we asked, more specifically, if they had been asked to listen to a digital promo by a label or publicist in 2009.
Looks like 85% were offered digital music this year and 62% did NOT care for the experience. That hardly sounds like a digital revolution is brewing in the professional ranks of our industry just yet.
Finally, we swung the pendulum in the opposite direction and asked if these jazz aficionados would like to receive vinyl promos if it once again became an option. Believe it or not, the numbers were pretty even, but the majority (55.9%) said they’d like to see a giant, flat square show up at their door. Long live the LP!
Too bad we didn’t ask how they suggest we fit it, and 600-1200 of its friends, in their mailboxes.
Tune in tomorrow—same blog time, same blog channel—when we talk about the fifth and final section of our survey.
Truth be told, it was mostly about us and what we could be doing better, but we also asked questions about these tastemakers’ interactions with publicists in general, and the answers were very enlightening.