April 29, 2025 • 31 mins
How do you market yourself effectively as an independent music producer, especially when working across multiple genres? In this episode, Marc Matthews and Tim Benson (Aisle9) unpack this challenge with real-world advice and music promotion tips for independent producers looking to stand out.
They break down “The Three C’s” framework—Collaboration, Community, and Consistency—as the cornerstone of how music producers can build a fanbase without burning out or blending in. Instead of trying to dominate every genre or every platform, they emphasise niche focus, strategic partnerships, and audience-first content.
Want to know how building an audience for your music production can be easier with less content? Marc shares how narrowing his social presence helped grow his podcast faster by creating more meaningful work. This episode also explores effective branding for music producers through personal storytelling, local flavour (yes, there’s a West Country cider and ice cream tale), and actionable marketing moves you can implement today.
Whether you're an emerging talent or refining your game, this is a must-listen for independent producers ready to grow without losing creative identity.
Links mentioned in this episode:
Got a question? We'd love to hear from you! Submit a question, share your social media handles or website, and get featured in a future episode. Plus, one lucky person will win a Starbucks voucher each month!
Listen to Lost and Found
Listen to Liquid Blue
Listen to Half-Life
Book your FREE 20 Minute Discovery Call
Follow Marc Matthews' Socials:
Instagram | YouTube | Synth Music Mastering
Thanks for listening!!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Marc Matthews (00:18):
Collaboration, community and consistency the
three C's refining your mixingskills.
Join me each week for expertinterviews, practical tutorials
and insights to help you levelup your music and smash it in
the music industry.
Let's dive in.
Hello, folks, and welcome toInside the Mix.
Welcome back if you are areturning listener.
(00:38):
So this is another episodewhere myself and Tim aka9 are
answering your questions.
Before we dig into this, if youdo have a question you would
like to throw our way, click onthat speak pipe link and you can
record up to 30 seconds.
Hey, mark and Tim, my questionis xyz.
(01:01):
You can find me out.
Give yourself a shout out.
Maybe you've got a releasecoming up, something along those
lines, and you don't need anaccount or a specific setup.
You can just use your mobilephone.
It's like sending me a whatsappmessage.
Alternatively, reach out to meon instagram at inside the mix
podcast and you can send it viatext if audio isn't your thing.
(01:22):
Tim, welcome back.
How are you today?
Tim Benson (Aisle9) (01:25):
I'm good man and yourself.
Marc Matthews (01:28):
Yes, I'm very well.
Thank you, I'm very well.
My fiance just messaged mesaying that she is making pasta
de natas, which is a Portuguesesweet delicacy.
Now, I may have pronounced itincorrectly there, but either
way, I think people will knowwhat they are.
But yes, she is moving intothat realm.
So I'm gonna get home andthere'll be loads ready to go
and coconut macaroons as well.
(01:50):
Yeah, I'm looking forward tothose.
What are you drinking there?
Is that x more gold?
Tim Benson (Aisle9) (01:53):
x more gold .
Yeah, yeah, the drink ofsomerset.
Marc Matthews (01:57):
Well, when they're not drinking cider, you
know yeah, I don't kind ofremember how long you've been in
somerset now, but do you have afavourite cider yet?
Tim Benson (Aisle9) (02:07):
I like Sheppies, sheppies is quite nice
.
But yeah, I'm not really acider drinker.
I mean past.
I like cider but it doesn'tlike me.
It's just if I drink too muchof it I pay for it.
But you know Thatcher's andshepys and like oh, there's
another one, oh, some sort ofnun thing, I can't remember what
(02:29):
it is like.
Marc Matthews (02:30):
You know some, oh , orchard, oh there's a few,
aren't there, there's many,there are some some coffin thing
as well thing.
Tim Benson (Aisle9) (02:38):
Yeah, there's a whole load.
There are just so many down atum uh which you've got to come
drinking at Pebbles sometime.
Pebbles is such a fantasticplace and they just have guest
ciders all the time, so I neverknow.
And I do get a cider in thereonce in a while and they're
(03:00):
great, but more than one cider,yeah, it's not the best idea for
me, absolutely yeah, Iabsolutely love cider and
sheppies is delicious uh it isbrilliant stuff.
Marc Matthews (03:14):
I remember, um, I've been from somerset myself
and I remember my dad wouldoften go to the local cider farm
and come back with these sortof two, three liter bottles.
Yeah, the scrumpy sediment inthe bottom.
I have to give it a shake andthat was like make your eyes,
make you squint when you drinkit.
Tim Benson (Aisle9) (03:34):
It can be evil on your tummy that stuff if
you're not used to it though,but it tastes great, doesn't it?
Marc Matthews (03:39):
I do love it.
Tim Benson (Aisle9) (03:40):
Yeah, we, that was.
My mum came from the westcountry and I remember like used
to sort of cruise around onholiday or whatever, come down
and see my nan or whatever, andum, and I remember like for one
point they they just bought thissort of thing of like cider
from like some you know sort ofum farm or whatever local, and
and you know I seem to rememberthey let me drink some so I
(04:02):
don't know what age I was atthat point Obviously just to
taste some.
I'd never tasted anything likethat before, but I seem to
remember it made everyone ill.
Marc Matthews (04:15):
Also another thing, mentioning that, then,
going back to my childhood, Iremember we used to have the ice
cream van, as we called it.
We'd drive around A gentlemanby the name of Giovanni RAP.
Nice bloke but cider lollies.
I remember buying those.
Tim Benson (Aisle9) (04:31):
I don't know if you've got those
anywhere else cider lolliesabsolutely delicious.
I have the mission here.
I won't go into too much of oneof my tales here, but I was
actually an ice cream man forsix weeks I was mr softy well,
(04:54):
I'm sure mr soft wasn't.
Marc Matthews (04:57):
He didn't he like , wasn't that a sweet?
Tim Benson (Aisle9) (04:59):
I'm sure that was, yeah, mr softy, yeah,
yeah, I was yeah, yeah, mr softy, the ice cream man there, Mr
Softee the ice cream man.
Yeah, that was the name of theice cream thing the company that
.
I worked for and it was the mostdodgy outfit you've ever seen.
It was like behind someone'slittle bungalow in this sort of
suburban kind of place in Ash,and you went behind there and
(05:23):
there was just a whole likefleet of ice cream vans and it
was all run by some bloke,antonio somebody, or rather who
was I don't know.
All right, it sounds ridiculousthis, but there were cars,
black cars that used to drive upand various italian folk and
(05:44):
people got out of it and talkedabout things and disappeared
again.
It was all very hush hush andeveryone and you got paid
everything in cash.
It was the most dodgy setup, isall I'll say.
I have no idea what was goingon there, but there were ice
cream wars and someone gotstabbed with the top of a
plastic cone from a van.
Marc Matthews (06:03):
Wow, I can imagine.
I can see that, though I canimagine it's very territorial
very territorial it was.
Yeah, yeah, do you ever have achip van?
We used to have chip fans comearound and it was one of those
where you could buy uh tobaccoas well, like um, they would do
it like a tobacco run across thechannel come back and sell them
via the chip, but I'm not goingto name names for this chip van
(06:24):
.
Tim Benson (Aisle9) (06:25):
But yeah, did you ever experience a chip
van Tobacco?
No, excellent.
No, I don't actually remember achip van no.
No, no, I mean, I lived acrossthe road from a chippy, but I
never had a chip van no.
Marc Matthews (06:41):
Yeah, yeah, the chip van.
I remember it turning up andthen the kids sort of shouting
Mum, dad, the chip van's here,do you want any backy?
Tim Benson (Aisle9) (06:48):
They bought it from the chip van.
Oh, dear, those were the days.
Eh yeah, that is the WestCountry.
I was Mr Softy, but no more,you know what I cannot wait for
inside a joke here.
Marc Matthews (07:05):
I cannot wait for Carl to listen to this and then
respond to that.
Uh, right so let's, let's, diginto this question today.
So this is submitted by uh,anonymous, um, and the question
is how do you market yourself asan indie producer, independent
producer rather so independentproducer artist and writer, uh,
especially when you createacross multiple genres?
Tim Benson (Aisle9) (07:27):
so this is going to be an interesting one,
right, okay?
Marc Matthews (07:28):
uh.
So this is a challenge manyindependent producers face.
So in this episode we're goingto break down some strategies
that might help, some stuffwe've done along the way, maybe
some also some pitfalls to beaware of as well.
So it's going to be aninteresting one.
Now just a uh disclaimer onthis so no means sort of
marketing experts is more goingto be along the lines of what
(07:50):
we've experienced and what hasworked well, what maybe hasn't
worked well.
So I think, with regards tobeing a producer, there's
multiple genres is aninteresting one because
immediately in my head I'mthinking focus on one genre
before multiple genres beforemoving out to others.
That's my important, well, my,my thought process to begin with
(08:10):
, but I suppose that comes downto artistic identity, yeah,
really, and finding that uniqueselling point.
So my head and I say this and Iprobably contradict it in that
I I've released music inmultiple genres.
I come from the heavy metalbackground and I've done R&B and
then I've done the synth pop,synth wave.
(08:31):
Now I'm moving into sort ofhouse, old school house,
progressive house, all thesedifferent genres.
So I'm probably in a glasshouse throwing stones, saying
focus on one genre.
But in my head I think whenyou're starting out, that's
probably a good thing to do isget known in a particular genre
or known for a particular soundand working within that sound
(08:55):
before they're moving out intoother genres, and I think that
also works.
I guess yourself coming from arecording studio background as
well.
Um, what are your thoughtstonight?
I mean, in particular, when youwere in the recording studio as
well?
Were you doing multiple genres,or did you eventually find that
you were attracting similarartists as time?
Tim Benson (Aisle9) (09:15):
progressed.
I mean, when I was in thestudio it was a lot, a lot of
the time it was literallywhoever turned up and whatever
they wanted to do would walkthrough the door.
But I did find that I felt Idid, from a producer's point of
view, as a producer to hire me,I was going to be better at
doing certain genres, genresthat I understood that I
(09:37):
connected with.
So I would say, from a producerstandpoint, you want to, you
know, try and promote yourselfto the things that you're best
at doing.
So I found I was good at doingsinger-songwriters and working
with singer-songwriters.
Um, that was a genre that I, Ithink, particularly because I
play guitar, bass, keys to adegree, drums, you know, sort of
(10:02):
I could, I, I I could getsomeone who sort of say, was a
songwriter with guitar andvocals and I was a good person
to come to because I could kindof construct the whole track
around them very quickly and, um, also, I understood the genre.
I think I, I liked a lot ofsinger-songwriters and still do
um, but like, so I got that andI could do it well.
(10:25):
Um, I also found like the kindof more pop rock, um, you know,
sort of uh, yeah, you know Iliked rock music and I mean my
rock music goes to sort offairly heavy stuff but like I
got that definitely classic sortof rock and blues and that sort
of stuff I got.
I didn't really get sort ofextreme genres like metal,
(10:49):
because I didn't listen to itenough.
I like some metal, but I justwasn't enough inside of that.
So I think, yeah, marketyourself to the stuff you know
you can make.
Well, I mean, these daysobviously I do something quite
different with synth and synthpop and synth way but like.
But I wasn't doing that so muchthen or wasn't concentrating on
(11:09):
that so much.
Plus, I wasn't getting so manypeople coming into the studio
that were really into doing that.
I did get some dance musicgenres again.
I found those quite difficultwhen people would come in and
they were really into two-stepgarage or they're really into
that sort of thing, because itwasn't really my thing at the
time and I found it a bit likeoh right, I remember doing some
(11:30):
goes really into Hard House andI would work with him.
But eventually I think he movedover to somebody else and it was
because he wanted a realparticular sound and I was not
the man to do that, because Ididn't really know the hardhouse
sort of genre that well and Istill don't, and I'm happy yes,
(11:50):
don't blame me, it's just yeahit was not my genre, I couldn't
listen to it mercilessly for awhole day, so yeah, it was a bit
.
Marc Matthews (11:58):
Yeah, neither could I, and I think it's.
It's interesting that I thinkyou do need to sort of play to
your strengths and know whereyour strengths are before
branching out into other genres,become known for a particular
sound or genre or working with aparticular group of artists and
whatnot.
I think it's quite difficult tonot fall into the trap of FOMO
(12:20):
and fear of missing out thinkingthat, if I don't offer my
services as a producer, or ifI'm yeah, basically, or whatever
service you provide, you thinkyou're missing out, but I think,
ultimately you not that you'reharming yourself by any stretch
well, maybe I suppose you couldbe in a way, because you might
be wasting time um, whereas youcould be working in or working
(12:42):
with artists that you really dogel with and you know that
particular sound really well.
So I think, going back to theoriginal question, which was
marketing yourself as anindependent producer, especially
when you create across multiplegenres, I would I mean again,
not an expert by any means Iwould probably focus on one,
(13:03):
maybe one genre to begin with,or a particular sound, and
really dial that in before them,sort of sidestepping to others
again, it depends, I suppose aswell, if you're talking about a
producer, where you're, you'retrying to get people coming to
you and you're going to helpthem get their sound and, uh,
get their record sounding greatand and that that side of things
(13:26):
that might be different thanthe sort of artist producer
which I mean I find myself doing.
Tim Benson (Aisle9) (13:33):
That's what I do with r9 is I am the artist
producer.
I am the artist and produce myown stuff, but people sometimes
call that, you know, um, artistand producer become the same
thing, don't they?
And there I would say very muchthat it can be really difficult
if you just chop and changegenres and nobody knows what,
(13:56):
what you, that particular artistis.
So if they don't know whataisle nine is, I think you know
it's going to be hard to marketthat to people and say, look,
come and listen to my music.
Oh, it's a bit of this, it's abit of that, oh, I don't really,
you know.
I mean, again, it can be like Ithink you can have different
influences within your music,but it's got to.
Maybe sit within a genre.
(14:16):
I mean, it's like there's thesynth wave that's kind of really
heavily sort of rock and metalinfluenced, and the synthwave
that's very dance musicinfluence and hip-hop influence,
but it's synthwave, it sits ina genre, it sits within there
enough and you identify enoughwithin that with the aesthetic
and everything else that you fitin with it.
(14:36):
But like, yeah, I think theother thing is you can always
diversify and create separateartists, identities, can't.
You can, yeah, release underdifferent artist names.
It's so easy to do that.
Now, that might dilute yourtime, though, as you were saying
, time that's the key, isn't it?
Marc Matthews (14:55):
yeah, I, I think, um what you said, that's really
interesting because it'ssomething that I fall foul of
myself, and this goes back towhat I said earlier about being
in a glass house throwing stones.
In that I've produced, so I'mnow that producer, artist and
I've released in variousdifferent genres and you sort of
I've noticed that in doing thatI kind of then have to
establish myself with thatparticular group of people every
(15:19):
time that I do it.
And I'm on this run now ofdoing more electronic dance,
sort of edm house stuff, and nowI'm having to re-establish
myself and find that sort ofwatering hole in air quotes of
people, um, although it doescross into, because because my
it goes back to what you saidthere about, um, your influences
(15:41):
.
So my influences in are stillin there with regards to like
synth wave, synth pop, and thenthere's the darker side of sort
of like rock and metal, not asobvious but I think, in terms of
like the, the aesthetics andthe and, in particular,
breakdowns and stuff.
But I find it more difficult Ithink like it goes back to what
you said there if someone wereto say, oh, kind of um, what do
(16:04):
you, what do you produce, whatmusic you release?
And then I generally probablyhave said what you said.
I was a bit of bit of this anda bit of that and everything in
between which doesn't in anelevator pitch.
That's going to leave someonescratching their head and
thinking, well, what is whatdoes this guy actually do?
So I find that I'm sort ofhaving to take.
I'm taking two steps forward,one step back in terms of then
(16:25):
getting my music out there andthe name out there again and
building that again.
Tim Benson (Aisle9) (16:29):
so, yeah, something I'm going through
myself at the moment which isquite interesting yeah, I mean,
I think it's good idea to um tryand build community with
whatever you're doing and andthat's I don't know if that
comes into a more points thatyou might raise on this question
further but, like, I think thatthat's the biggest thing that I
(16:52):
found has really helped me, andit's actually from way back
even, like whether, when I wasdoing the studio there, there I
was more connecting with a localcommunity and a local musicians
going to open mic nights, goingto gigs and that kind of it was
a grassroots type of thing andthey were the people who would
(17:13):
turn up at the studio and wantto record with me because they'd
met me at a gig I'd, I'd seenthem performing an open mic,
whatever.
They knew who I was and, um,there was a connection there.
But, like um, nowadays I'veI've got kind of a quite strong
sort of online community thatI've connected with within
(17:33):
synthwave and synthpop sort ofthing and that helps sort of
produce some work from thatcommunity.
Really, you know, but yeah, Ithink it's important to both as
an artist and maybe as aproducer.
You've got to find communitywith other people and that
(17:54):
doesn't mean you're just toutingwhat you do all the time and
going on about what you do.
In fact, it probably means theopposite.
It actually means that you'remore into promoting other people
and trying to sort of take partin the community, and then that
will have good effect on you, Ithink.
(18:14):
I think if you do a good jobwith your own music, it comes
back because people sort of areinterested in what you do and
interested in promoting you.
Marc Matthews (18:25):
so it's I, I agree, I think community's huge
in particular, and I noticedthis, uh, with the podcast and
building a community around thepodcast and uh, and it continues
to grow through that communityand that, that word of mouth and
and finding new listeners andwhatnot, which is amazing.
And we were discussing off airand I was saying to Tim how the
(18:46):
podcast, in terms of growth, atno point has it plateaued, which
is amazing.
I say that now, touch wood forthe rest of 2025, it will
plateau, but hopefully itdoesn't, but it just continues
to grow, which is amazing, justcontinues to to grow, uh, which
is amazing, um, and it kind ofleans on to the next part,
really, which is about, uh,focusing marketing efforts and I
(19:07):
think what you mentioned thereis really important about the
community aspect of it andfinding that community, and I
mentioned just now aboutwatering hole, which is kind of
a similar thing and just beingan active participant in that
community and like echoing whatyou said there as well is you
don't want to go straight inthere and be like hey, I'm a
producer, I do this, this andthis, um, let me produce your
(19:29):
music, um, I think that's theworst thing you could possibly
possibly do definitely in acommunity, but social media is
an interesting one.
Again, not an expert on socialmedia, but one thing I have
found that has helped me withthe podcast in particular is I I
don't know about you, but Iused to be uh omnipresent.
(19:50):
I was on instagram, tiktok,youtube x it was twitter at the
time.
Uh, facebook as well.
I had facebook community group,and then it got to the point
where one day I was just likethis cross-platform posting too
much, and now it is Instagramand YouTube and then by default
it goes out to Facebook becauseit is automatically
(20:10):
cross-posting, and ever sincedoing that, that has, I think,
been one of the contributingfactors to the podcast growth,
in that it has freed up my timeto invest in the quality of the
podcast and just the developmentof it, because I'm not
spreading myself so thin acrossthese different platforms.
Others might say this goes againwhat I said earlier about FOMO
(20:31):
fear of missing out.
If I'm not on that platform, amI missing out on a potential
audience?
And from my experience with thepodcast in particular, I would
say no.
So I think, like you can, Isuppose you could spend like 30
days or so trialing differentplatforms, see which one you get
the most engagement on and thenjust lean into that and then
run with it, because I know, forexample, yourself, because I'm
(20:53):
part of the synth family, and wemet up recently with some other
Southwest synth enthusiasts inBristol, which was fantastic,
fantastic day.
Yeah, indeed, south west synthenthusiasts in bristol, which
was uh, which was fantastic,fantastic.
Yeah, indeed, and that is uh,and that's your instagram and
the most, most engagement.
I get quite a bit on youtube aswell and it's mixed, uh, but
that that's quite an interestingone.
(21:13):
But I mean yourself, right, howhas are you still?
Do you still have the sameapproach to social media
marketing that you had when youfirst started R9, or has it
changed as time's gone on?
Tim Benson (Aisle9) (21:26):
I think I've recognised that the
algorithm changes which is aslightly difficult thing with
social media marketing that assoon as you think, oh, this is
working well, the algorithm islikely to change and you're
going to find that it doesn'twork quite as well as you
thought, and you mustn't give upat that point, I think.
(21:46):
But I found something reallygood with Instagram, for
instance.
I mean, it all comes back tocommunity for me, actually,
which is a word I tend to buzzaround on a few things.
I even put hashtag community attimes.
Buzz around on a few things, Ieven put hashtag community at
times, because I I find like um,that something like um, doing
(22:07):
collaborative posts is reallygood.
um, I'll do collaborative postswith myself sometimes if I
haven't got anyone else, becauseI've got my, I've got a few
different accounts and so I'llput them all on, but like it
doesn't really matter, but likeit's great to do it with other
artists, it's great to do itwith other people, and like sort
of say, right, I've got youknow, we're all sort of you know
on.
I mean, it was great when wedid outrun the sun, which was
(22:30):
this charitable album which wasreally fantastic, raised a load
of money for an artist in realproblems, real trouble, and yet
we got sort of 50-plus artistsinvolved in this and it was a
lot of work but it was great foreveryone.
I don't think there were anylosers.
(22:50):
It produced a really greatalbum with loads of great music
on, but it got all of theartists a bit of publicity and
it raised money for the umartist who was, uh, in trouble.
So like, um, you know I, I justsort of think something like
that, where it can be so goodfor everyone involved.
(23:12):
And, um, yeah, I sort of tookit on myself a bit to organize
that and you know, but I didn'tdo it for the marketing, but it
has a knock-on good effect thesethings and I think sometimes
just getting involved can have areally positive effect with
(23:32):
your own music and your ownproducing production.
Marc Matthews (23:36):
I think, collaboration, what you
mentioned there is something Iwant to do more of.
Collaboration.
What you mentioned there isyeah, it's incredible, it's
something I want to do more ofuh, in particular with uh
releases, uh, and actuallyreducing releasing music in
terms of collaboration do a lotof collaborations ourselves.
Yeah, we have indeed uh lost andfound, uh, one of my most
popular tracks still my ads.
Um, I do a lot ofcollaborations with the podcast
(23:59):
and I do see the benefits of it,like with cross-posting, like
you mentioned.
Then an artist guest comes onon Instagram um, invites a
collaborator.
Works really well and it'ssomething I want to do more of
with regards to releases,because I can see the benefits
there as well you have to watchit sometimes because you can get
sucked into collaborations thatjust you can't.
(24:22):
You know they're going to take alot of time out.
Tim Benson (Aisle9) (24:25):
Yeah, and just do it, for don't just say
yes to everything and everyone.
I know that sounds a bit harsh,but sometimes you have to go.
Is this right for me?
Is this collaboration going tobe good for me and good for the
other artists?
Maybe I'm just getting tied upinto spending a lot of time
doing this?
You've got to be a little bitcautious, I think you know I
(24:46):
agree.
Marc Matthews (24:46):
I was going to say then, uh, collaboration,
community, and I was trying tothink of another c?
Tim Benson (Aisle9) (24:51):
um, but I yeah, I can think of one uh
collaboration, community, um,but I can't if audience
listening.
Marc Matthews (25:04):
If you can think of another C that is relative to
the conversation at hand, withregards to being an independent
producer, artist across multiplegenres, do let us know.
I'd like to complete that threeC's somehow, but I see we're
approaching the end here, sohopefully there's some useful
stuff in there, I think.
To summarise, really, it's sortof like finding your niche,
(25:26):
finding what you're good at,focusing in on that, leaning
into that, becoming known for it, building that community.
Tim Benson (Aisle9) (25:33):
I've got this, I've got the c.
Oh yeah, go for it.
Marc Matthews (25:36):
Consistency oh, I love it.
Yes, yes, yes.
Tim Benson (Aisle9) (25:40):
Community collaboration collaboration and
consistency.
It's been a long day.
Yeah, yeah, I like itcommunication it wasn't
communication.
Was it communication?
Marc Matthews (25:56):
it wasn't community collaboration and
consistency.
Consistency, communication'sgood.
You can add a fourth in thereas well make sure you're able to
communicate, which I can't doright now because I can't come
up with three C's.
But consistency is one that wedidn't actually talk about,
which I think is reallyimportant, and I'm doing this
(26:18):
myself now with this releasecadence.
I'm trying, I know I say trying, I am going to maintain and I'm
trying, I know I say trying, Iam going to maintain and I'm
posting online as well.
And it's it's tricky because,in particular with this release
I'm doing at the moment, I'mtrying to post daily for about
30 days and it's you swing andyou miss sort of thing to see
(26:38):
how it's, how it goes.
But I think with anything likethe podcast is a prime example,
just this is a prime examplethis is episode 192, and it's
weekly and that consistency anddoing that and showing up every
week means that it continues togrow.
So I like that consistency.
Tim Benson (Aisle9) (26:56):
And I think it's consistency in your
marketing and all that kind ofstrategy and getting your
aesthetic and keeping to thatand that sort of thing, but also
the quality that you put out.
If you're putting music out,kind of strategy and getting
your aesthetic and keeping tothat and that sort of thing, but
also the quality that you putout if you're putting music out
is is keeping consistency acrossyour marketing but also your
the quality of what you do.
(27:18):
Um is really important um, butlike I know, like people I've
seen really really grow likelike Synth Principal and Dan I
mean you know, he's grown hugelythrough working constantly on
his music and his music's greatand the consistency of that and,
you know, the quality he putsout is fantastic.
But also he's beenfantastically consistent with
(27:40):
his social media, like contentand the way he puts it together.
And, you know, and that hasmade his I mean his social media
like yeah, yeah, content andthe way he puts it together and,
uh, you know, and that has madehis, so I mean his social media
has gone crazy.
But, like you know, over timeand and then he's he's followed
as an artist as well, like withconstantly putting out and
releasing, as we're trying to do, um, like keep to a release
(28:02):
schedule.
You know, yeah yeah, that'sconsistency again.
Marc Matthews (28:06):
So yeah, there we go folks collaboration,
community and consistency threec's maybe I'll get a t-shirt.
Sounds like a really shit band,doesn't?
Tim Benson (Aisle9) (28:19):
it.
Yeah, yeah, definitely the case.
Marc Matthews (28:22):
So audience listening if you have a question
that you would like Tim and usto hash out on an episode again,
click that speak pipe link.
Leave us an audio message.
Hey, mark and Tim, my questionis blah blah, blah.
You can find me at whatever itis, or just inside the mix
(28:44):
podcast on instagram.
Send me a dm with your text and, as with this episode, you can
be anonymous if you want.
You don't have to have yourname read out if you'd rather
not, just let me know.
More than happy to do that.
Uh, tim, it has been a pleasure.
I didn't do this on theprevious episode, but have you
got anything you would like toshare with the audience?
I should probably do this atthe end of every episode.
(29:05):
To be honest, any releases thatmight be out at this point,
what point will this be out?
Yeah, it's a good question.
Let's have a look.
192.
This is the 29th of April.
Tim Benson (Aisle9) (29:19):
Oh, it will just no no.
Marc Matthews (29:22):
It will have come out before then.
Tim Benson (Aisle9) (29:24):
But I should have.
If I stick to my releaseschedule, we're looking at the
end of april I will have asingle coming out, no doubt.
But, um, yeah, you will have.
You will have already gone pastthis, but at the end of you
know, um, I've got a singlegoing to be coming out in a week
or so from from now, butthat'll be out.
So, yeah, you know, um, yeah,yeah, I'm trying to stick to my
(29:47):
consistent release schedulesomething coming out at the end
of each one.
So infinite ocean is uh next,or, but that will already be out
by the time you hear thisepisode great, great song as
well.
Marc Matthews (29:58):
Uh, folks listening, do do go check that
out.
Um, I will put a link to thatin this episode description and,
in theory, if I carry on theway I am, I'll have a song
released as well yeah, no ideaI've started it.
I've no idea what it's going tobe called and, uh, the one I
sent you the other day I've nowyeah, yeah, something else cold
(30:19):
war related bolshevism orsomething I don don't know.
And then, yeah, I'll haveanother one released and, yeah,
hold me to that as well.
Anyway, folks, I'm waffling now.
It has been a pleasure, tim.
Until the next time, enjoy yourX more gold.
Collaboration, community and consistency the
three C's refining your mixingskills.
Join me each week for expertinterviews, practical tutorials
and insights to help you levelup your music and smash it in
the music industry.
Let's dive in.
Hello, folks, and welcome toInside the Mix.
Welcome back if you are areturning listener.
(00:38):
So this is another episodewhere myself and Tim aka9 are
answering your questions.
Before we dig into this, if youdo have a question you would
like to throw our way, click onthat speak pipe link and you can
record up to 30 seconds.
Hey, mark and Tim, my questionis xyz.
(01:01):
You can find me out.
Give yourself a shout out.
Maybe you've got a releasecoming up, something along those
lines, and you don't need anaccount or a specific setup.
You can just use your mobilephone.
It's like sending me a whatsappmessage.
Alternatively, reach out to meon instagram at inside the mix
podcast and you can send it viatext if audio isn't your thing.
(01:22):
Tim, welcome back.
How are you today?
Tim Benson (Aisle9) (01:25):
I'm good man and yourself.
Marc Matthews (01:28):
Yes, I'm very well.
Thank you, I'm very well.
My fiance just messaged mesaying that she is making pasta
de natas, which is a Portuguesesweet delicacy.
Now, I may have pronounced itincorrectly there, but either
way, I think people will knowwhat they are.
But yes, she is moving intothat realm.
So I'm gonna get home andthere'll be loads ready to go
and coconut macaroons as well.
(01:50):
Yeah, I'm looking forward tothose.
What are you drinking there?
Is that x more gold?
Tim Benson (Aisle9) (01:53):
x more gold .
Yeah, yeah, the drink ofsomerset.
Marc Matthews (01:57):
Well, when they're not drinking cider, you
know yeah, I don't kind ofremember how long you've been in
somerset now, but do you have afavourite cider yet?
Tim Benson (Aisle9) (02:07):
I like Sheppies, sheppies is quite nice
.
But yeah, I'm not really acider drinker.
I mean past.
I like cider but it doesn'tlike me.
It's just if I drink too muchof it I pay for it.
But you know Thatcher's andshepys and like oh, there's
another one, oh, some sort ofnun thing, I can't remember what
(02:29):
it is like.
Marc Matthews (02:30):
You know some, oh , orchard, oh there's a few,
aren't there, there's many,there are some some coffin thing
as well thing.
Tim Benson (Aisle9) (02:38):
Yeah, there's a whole load.
There are just so many down atum uh which you've got to come
drinking at Pebbles sometime.
Pebbles is such a fantasticplace and they just have guest
ciders all the time, so I neverknow.
And I do get a cider in thereonce in a while and they're
(03:00):
great, but more than one cider,yeah, it's not the best idea for
me, absolutely yeah, Iabsolutely love cider and
sheppies is delicious uh it isbrilliant stuff.
Marc Matthews (03:14):
I remember, um, I've been from somerset myself
and I remember my dad wouldoften go to the local cider farm
and come back with these sortof two, three liter bottles.
Yeah, the scrumpy sediment inthe bottom.
I have to give it a shake andthat was like make your eyes,
make you squint when you drinkit.
Tim Benson (Aisle9) (03:34):
It can be evil on your tummy that stuff if
you're not used to it though,but it tastes great, doesn't it?
Marc Matthews (03:39):
I do love it.
Tim Benson (Aisle9) (03:40):
Yeah, we, that was.
My mum came from the westcountry and I remember like used
to sort of cruise around onholiday or whatever, come down
and see my nan or whatever, andum, and I remember like for one
point they they just bought thissort of thing of like cider
from like some you know sort ofum farm or whatever local, and
and you know I seem to rememberthey let me drink some so I
(04:02):
don't know what age I was atthat point Obviously just to
taste some.
I'd never tasted anything likethat before, but I seem to
remember it made everyone ill.
Marc Matthews (04:15):
Also another thing, mentioning that, then,
going back to my childhood, Iremember we used to have the ice
cream van, as we called it.
We'd drive around A gentlemanby the name of Giovanni RAP.
Nice bloke but cider lollies.
I remember buying those.
Tim Benson (Aisle9) (04:31):
I don't know if you've got those
anywhere else cider lolliesabsolutely delicious.
I have the mission here.
I won't go into too much of oneof my tales here, but I was
actually an ice cream man forsix weeks I was mr softy well,
(04:54):
I'm sure mr soft wasn't.
Marc Matthews (04:57):
He didn't he like , wasn't that a sweet?
Tim Benson (Aisle9) (04:59):
I'm sure that was, yeah, mr softy, yeah,
yeah, I was yeah, yeah, mr softy, the ice cream man there, Mr
Softee the ice cream man.
Yeah, that was the name of theice cream thing the company that
.
I worked for and it was the mostdodgy outfit you've ever seen.
It was like behind someone'slittle bungalow in this sort of
suburban kind of place in Ash,and you went behind there and
(05:23):
there was just a whole likefleet of ice cream vans and it
was all run by some bloke,antonio somebody, or rather who
was I don't know.
All right, it sounds ridiculousthis, but there were cars,
black cars that used to drive upand various italian folk and
(05:44):
people got out of it and talkedabout things and disappeared
again.
It was all very hush hush andeveryone and you got paid
everything in cash.
It was the most dodgy setup, isall I'll say.
I have no idea what was goingon there, but there were ice
cream wars and someone gotstabbed with the top of a
plastic cone from a van.
Marc Matthews (06:03):
Wow, I can imagine.
I can see that, though I canimagine it's very territorial
very territorial it was.
Yeah, yeah, do you ever have achip van?
We used to have chip fans comearound and it was one of those
where you could buy uh tobaccoas well, like um, they would do
it like a tobacco run across thechannel come back and sell them
via the chip, but I'm not goingto name names for this chip van
(06:24):
.
Tim Benson (Aisle9) (06:25):
But yeah, did you ever experience a chip
van Tobacco?
No, excellent.
No, I don't actually remember achip van no.
No, no, I mean, I lived acrossthe road from a chippy, but I
never had a chip van no.
Marc Matthews (06:41):
Yeah, yeah, the chip van.
I remember it turning up andthen the kids sort of shouting
Mum, dad, the chip van's here,do you want any backy?
Tim Benson (Aisle9) (06:48):
They bought it from the chip van.
Oh, dear, those were the days.
Eh yeah, that is the WestCountry.
I was Mr Softy, but no more,you know what I cannot wait for
inside a joke here.
Marc Matthews (07:05):
I cannot wait for Carl to listen to this and then
respond to that.
Uh, right so let's, let's, diginto this question today.
So this is submitted by uh,anonymous, um, and the question
is how do you market yourself asan indie producer, independent
producer rather so independentproducer artist and writer, uh,
especially when you createacross multiple genres?
Tim Benson (Aisle9) (07:27):
so this is going to be an interesting one,
right, okay?
Marc Matthews (07:28):
uh.
So this is a challenge manyindependent producers face.
So in this episode we're goingto break down some strategies
that might help, some stuffwe've done along the way, maybe
some also some pitfalls to beaware of as well.
So it's going to be aninteresting one.
Now just a uh disclaimer onthis so no means sort of
marketing experts is more goingto be along the lines of what
(07:50):
we've experienced and what hasworked well, what maybe hasn't
worked well.
So I think, with regards tobeing a producer, there's
multiple genres is aninteresting one because
immediately in my head I'mthinking focus on one genre
before multiple genres beforemoving out to others.
That's my important, well, my,my thought process to begin with
(08:10):
, but I suppose that comes downto artistic identity, yeah,
really, and finding that uniqueselling point.
So my head and I say this and Iprobably contradict it in that
I I've released music inmultiple genres.
I come from the heavy metalbackground and I've done R&B and
then I've done the synth pop,synth wave.
(08:31):
Now I'm moving into sort ofhouse, old school house,
progressive house, all thesedifferent genres.
So I'm probably in a glasshouse throwing stones, saying
focus on one genre.
But in my head I think whenyou're starting out, that's
probably a good thing to do isget known in a particular genre
or known for a particular soundand working within that sound
(08:55):
before they're moving out intoother genres, and I think that
also works.
I guess yourself coming from arecording studio background as
well.
Um, what are your thoughtstonight?
I mean, in particular, when youwere in the recording studio as
well?
Were you doing multiple genres,or did you eventually find that
you were attracting similarartists as time?
Tim Benson (Aisle9) (09:15):
progressed.
I mean, when I was in thestudio it was a lot, a lot of
the time it was literallywhoever turned up and whatever
they wanted to do would walkthrough the door.
But I did find that I felt Idid, from a producer's point of
view, as a producer to hire me,I was going to be better at
doing certain genres, genresthat I understood that I
(09:37):
connected with.
So I would say, from a producerstandpoint, you want to, you
know, try and promote yourselfto the things that you're best
at doing.
So I found I was good at doingsinger-songwriters and working
with singer-songwriters.
Um, that was a genre that I, Ithink, particularly because I
play guitar, bass, keys to adegree, drums, you know, sort of
(10:02):
I could, I, I I could getsomeone who sort of say, was a
songwriter with guitar andvocals and I was a good person
to come to because I could kindof construct the whole track
around them very quickly and, um, also, I understood the genre.
I think I, I liked a lot ofsinger-songwriters and still do
um, but like, so I got that andI could do it well.
(10:25):
Um, I also found like the kindof more pop rock, um, you know,
sort of uh, yeah, you know Iliked rock music and I mean my
rock music goes to sort offairly heavy stuff but like I
got that definitely classic sortof rock and blues and that sort
of stuff I got.
I didn't really get sort ofextreme genres like metal,
(10:49):
because I didn't listen to itenough.
I like some metal, but I justwasn't enough inside of that.
So I think, yeah, marketyourself to the stuff you know
you can make.
Well, I mean, these daysobviously I do something quite
different with synth and synthpop and synth way but like.
But I wasn't doing that so muchthen or wasn't concentrating on
(11:09):
that so much.
Plus, I wasn't getting so manypeople coming into the studio
that were really into doing that.
I did get some dance musicgenres again.
I found those quite difficultwhen people would come in and
they were really into two-stepgarage or they're really into
that sort of thing, because itwasn't really my thing at the
time and I found it a bit likeoh right, I remember doing some
(11:30):
goes really into Hard House andI would work with him.
But eventually I think he movedover to somebody else and it was
because he wanted a realparticular sound and I was not
the man to do that, because Ididn't really know the hardhouse
sort of genre that well and Istill don't, and I'm happy yes,
(11:50):
don't blame me, it's just yeahit was not my genre, I couldn't
listen to it mercilessly for awhole day, so yeah, it was a bit
.
Marc Matthews (11:58):
Yeah, neither could I, and I think it's.
It's interesting that I thinkyou do need to sort of play to
your strengths and know whereyour strengths are before
branching out into other genres,become known for a particular
sound or genre or working with aparticular group of artists and
whatnot.
I think it's quite difficult tonot fall into the trap of FOMO
(12:20):
and fear of missing out thinkingthat, if I don't offer my
services as a producer, or ifI'm yeah, basically, or whatever
service you provide, you thinkyou're missing out, but I think,
ultimately you not that you'reharming yourself by any stretch
well, maybe I suppose you couldbe in a way, because you might
be wasting time um, whereas youcould be working in or working
(12:42):
with artists that you really dogel with and you know that
particular sound really well.
So I think, going back to theoriginal question, which was
marketing yourself as anindependent producer, especially
when you create across multiplegenres, I would I mean again,
not an expert by any means Iwould probably focus on one,
(13:03):
maybe one genre to begin with,or a particular sound, and
really dial that in before them,sort of sidestepping to others
again, it depends, I suppose aswell, if you're talking about a
producer, where you're, you'retrying to get people coming to
you and you're going to helpthem get their sound and, uh,
get their record sounding greatand and that that side of things
(13:26):
that might be different thanthe sort of artist producer
which I mean I find myself doing.
Tim Benson (Aisle9) (13:33):
That's what I do with r9 is I am the artist
producer.
I am the artist and produce myown stuff, but people sometimes
call that, you know, um, artistand producer become the same
thing, don't they?
And there I would say very muchthat it can be really difficult
if you just chop and changegenres and nobody knows what,
(13:56):
what you, that particular artistis.
So if they don't know whataisle nine is, I think you know
it's going to be hard to marketthat to people and say, look,
come and listen to my music.
Oh, it's a bit of this, it's abit of that, oh, I don't really,
you know.
I mean, again, it can be like Ithink you can have different
influences within your music,but it's got to.
Maybe sit within a genre.
(14:16):
I mean, it's like there's thesynth wave that's kind of really
heavily sort of rock and metalinfluenced, and the synthwave
that's very dance musicinfluence and hip-hop influence,
but it's synthwave, it sits ina genre, it sits within there
enough and you identify enoughwithin that with the aesthetic
and everything else that you fitin with it.
(14:36):
But like, yeah, I think theother thing is you can always
diversify and create separateartists, identities, can't.
You can, yeah, release underdifferent artist names.
It's so easy to do that.
Now, that might dilute yourtime, though, as you were saying
, time that's the key, isn't it?
Marc Matthews (14:55):
yeah, I, I think, um what you said, that's really
interesting because it'ssomething that I fall foul of
myself, and this goes back towhat I said earlier about being
in a glass house throwing stones.
In that I've produced, so I'mnow that producer, artist and
I've released in variousdifferent genres and you sort of
I've noticed that in doing thatI kind of then have to
establish myself with thatparticular group of people every
(15:19):
time that I do it.
And I'm on this run now ofdoing more electronic dance,
sort of edm house stuff, and nowI'm having to re-establish
myself and find that sort ofwatering hole in air quotes of
people, um, although it doescross into, because because my
it goes back to what you saidthere about, um, your influences
(15:41):
.
So my influences in are stillin there with regards to like
synth wave, synth pop, and thenthere's the darker side of sort
of like rock and metal, not asobvious but I think, in terms of
like the, the aesthetics andthe and, in particular,
breakdowns and stuff.
But I find it more difficult Ithink like it goes back to what
you said there if someone wereto say, oh, kind of um, what do
(16:04):
you, what do you produce, whatmusic you release?
And then I generally probablyhave said what you said.
I was a bit of bit of this anda bit of that and everything in
between which doesn't in anelevator pitch.
That's going to leave someonescratching their head and
thinking, well, what is whatdoes this guy actually do?
So I find that I'm sort ofhaving to take.
I'm taking two steps forward,one step back in terms of then
(16:25):
getting my music out there andthe name out there again and
building that again.
Tim Benson (Aisle9) (16:29):
so, yeah, something I'm going through
myself at the moment which isquite interesting yeah, I mean,
I think it's good idea to um tryand build community with
whatever you're doing and andthat's I don't know if that
comes into a more points thatyou might raise on this question
further but, like, I think thatthat's the biggest thing that I
(16:52):
found has really helped me, andit's actually from way back
even, like whether, when I wasdoing the studio there, there I
was more connecting with a localcommunity and a local musicians
going to open mic nights, goingto gigs and that kind of it was
a grassroots type of thing andthey were the people who would
(17:13):
turn up at the studio and wantto record with me because they'd
met me at a gig I'd, I'd seenthem performing an open mic,
whatever.
They knew who I was and, um,there was a connection there.
But, like um, nowadays I'veI've got kind of a quite strong
sort of online community thatI've connected with within
(17:33):
synthwave and synthpop sort ofthing and that helps sort of
produce some work from thatcommunity.
Really, you know, but yeah, Ithink it's important to both as
an artist and maybe as aproducer.
You've got to find communitywith other people and that
(17:54):
doesn't mean you're just toutingwhat you do all the time and
going on about what you do.
In fact, it probably means theopposite.
It actually means that you'remore into promoting other people
and trying to sort of take partin the community, and then that
will have good effect on you, Ithink.
(18:14):
I think if you do a good jobwith your own music, it comes
back because people sort of areinterested in what you do and
interested in promoting you.
Marc Matthews (18:25):
so it's I, I agree, I think community's huge
in particular, and I noticedthis, uh, with the podcast and
building a community around thepodcast and uh, and it continues
to grow through that communityand that, that word of mouth and
and finding new listeners andwhatnot, which is amazing.
And we were discussing off airand I was saying to Tim how the
(18:46):
podcast, in terms of growth, atno point has it plateaued, which
is amazing.
I say that now, touch wood forthe rest of 2025, it will
plateau, but hopefully itdoesn't, but it just continues
to grow, which is amazing, justcontinues to to grow, uh, which
is amazing, um, and it kind ofleans on to the next part,
really, which is about, uh,focusing marketing efforts and I
(19:07):
think what you mentioned thereis really important about the
community aspect of it andfinding that community, and I
mentioned just now aboutwatering hole, which is kind of
a similar thing and just beingan active participant in that
community and like echoing whatyou said there as well is you
don't want to go straight inthere and be like hey, I'm a
producer, I do this, this andthis, um, let me produce your
(19:29):
music, um, I think that's theworst thing you could possibly
possibly do definitely in acommunity, but social media is
an interesting one.
Again, not an expert on socialmedia, but one thing I have
found that has helped me withthe podcast in particular is I I
don't know about you, but Iused to be uh omnipresent.
(19:50):
I was on instagram, tiktok,youtube x it was twitter at the
time.
Uh, facebook as well.
I had facebook community group,and then it got to the point
where one day I was just likethis cross-platform posting too
much, and now it is Instagramand YouTube and then by default
it goes out to Facebook becauseit is automatically
(20:10):
cross-posting, and ever sincedoing that, that has, I think,
been one of the contributingfactors to the podcast growth,
in that it has freed up my timeto invest in the quality of the
podcast and just the developmentof it, because I'm not
spreading myself so thin acrossthese different platforms.
Others might say this goes againwhat I said earlier about FOMO
(20:31):
fear of missing out.
If I'm not on that platform, amI missing out on a potential
audience?
And from my experience with thepodcast in particular, I would
say no.
So I think, like you can, Isuppose you could spend like 30
days or so trialing differentplatforms, see which one you get
the most engagement on and thenjust lean into that and then
run with it, because I know, forexample, yourself, because I'm
(20:53):
part of the synth family, and wemet up recently with some other
Southwest synth enthusiasts inBristol, which was fantastic,
fantastic day.
Yeah, indeed, south west synthenthusiasts in bristol, which
was uh, which was fantastic,fantastic.
Yeah, indeed, and that is uh,and that's your instagram and
the most, most engagement.
I get quite a bit on youtube aswell and it's mixed, uh, but
that that's quite an interestingone.
(21:13):
But I mean yourself, right, howhas are you still?
Do you still have the sameapproach to social media
marketing that you had when youfirst started R9, or has it
changed as time's gone on?
Tim Benson (Aisle9) (21:26):
I think I've recognised that the
algorithm changes which is aslightly difficult thing with
social media marketing that assoon as you think, oh, this is
working well, the algorithm islikely to change and you're
going to find that it doesn'twork quite as well as you
thought, and you mustn't give upat that point, I think.
(21:46):
But I found something reallygood with Instagram, for
instance.
I mean, it all comes back tocommunity for me, actually,
which is a word I tend to buzzaround on a few things.
I even put hashtag community attimes.
Buzz around on a few things, Ieven put hashtag community at
times, because I I find like um,that something like um, doing
(22:07):
collaborative posts is reallygood.
um, I'll do collaborative postswith myself sometimes if I
haven't got anyone else, becauseI've got my, I've got a few
different accounts and so I'llput them all on, but like it
doesn't really matter, but likeit's great to do it with other
artists, it's great to do itwith other people, and like sort
of say, right, I've got youknow, we're all sort of you know
on.
I mean, it was great when wedid outrun the sun, which was
(22:30):
this charitable album which wasreally fantastic, raised a load
of money for an artist in realproblems, real trouble, and yet
we got sort of 50-plus artistsinvolved in this and it was a
lot of work but it was great foreveryone.
I don't think there were anylosers.
(22:50):
It produced a really greatalbum with loads of great music
on, but it got all of theartists a bit of publicity and
it raised money for the umartist who was, uh, in trouble.
So like, um, you know I, I justsort of think something like
that, where it can be so goodfor everyone involved.
(23:12):
And, um, yeah, I sort of tookit on myself a bit to organize
that and you know, but I didn'tdo it for the marketing, but it
has a knock-on good effect thesethings and I think sometimes
just getting involved can have areally positive effect with
(23:32):
your own music and your ownproducing production.
Marc Matthews (23:36):
I think, collaboration, what you
mentioned there is something Iwant to do more of.
Collaboration.
What you mentioned there isyeah, it's incredible, it's
something I want to do more ofuh, in particular with uh
releases, uh, and actuallyreducing releasing music in
terms of collaboration do a lotof collaborations ourselves.
Yeah, we have indeed uh lost andfound, uh, one of my most
popular tracks still my ads.
Um, I do a lot ofcollaborations with the podcast
(23:59):
and I do see the benefits of it,like with cross-posting, like
you mentioned.
Then an artist guest comes onon Instagram um, invites a
collaborator.
Works really well and it'ssomething I want to do more of
with regards to releases,because I can see the benefits
there as well you have to watchit sometimes because you can get
sucked into collaborations thatjust you can't.
(24:22):
You know they're going to take alot of time out.
Tim Benson (Aisle9) (24:25):
Yeah, and just do it, for don't just say
yes to everything and everyone.
I know that sounds a bit harsh,but sometimes you have to go.
Is this right for me?
Is this collaboration going tobe good for me and good for the
other artists?
Maybe I'm just getting tied upinto spending a lot of time
doing this?
You've got to be a little bitcautious, I think you know I
(24:46):
agree.
Marc Matthews (24:46):
I was going to say then, uh, collaboration,
community, and I was trying tothink of another c?
Tim Benson (Aisle9) (24:51):
um, but I yeah, I can think of one uh
collaboration, community, um,but I can't if audience
listening.
Marc Matthews (25:04):
If you can think of another C that is relative to
the conversation at hand, withregards to being an independent
producer, artist across multiplegenres, do let us know.
I'd like to complete that threeC's somehow, but I see we're
approaching the end here, sohopefully there's some useful
stuff in there, I think.
To summarise, really, it's sortof like finding your niche,
(25:26):
finding what you're good at,focusing in on that, leaning
into that, becoming known for it, building that community.
Tim Benson (Aisle9) (25:33):
I've got this, I've got the c.
Oh yeah, go for it.
Marc Matthews (25:36):
Consistency oh, I love it.
Yes, yes, yes.
Tim Benson (Aisle9) (25:40):
Community collaboration collaboration and
consistency.
It's been a long day.
Yeah, yeah, I like itcommunication it wasn't
communication.
Was it communication?
Marc Matthews (25:56):
it wasn't community collaboration and
consistency.
Consistency, communication'sgood.
You can add a fourth in thereas well make sure you're able to
communicate, which I can't doright now because I can't come
up with three C's.
But consistency is one that wedidn't actually talk about,
which I think is reallyimportant, and I'm doing this
(26:18):
myself now with this releasecadence.
I'm trying, I know I say trying, I am going to maintain and I'm
trying, I know I say trying, Iam going to maintain and I'm
posting online as well.
And it's it's tricky because,in particular with this release
I'm doing at the moment, I'mtrying to post daily for about
30 days and it's you swing andyou miss sort of thing to see
(26:38):
how it's, how it goes.
But I think with anything likethe podcast is a prime example,
just this is a prime examplethis is episode 192, and it's
weekly and that consistency anddoing that and showing up every
week means that it continues togrow.
So I like that consistency.
Tim Benson (Aisle9) (26:56):
And I think it's consistency in your
marketing and all that kind ofstrategy and getting your
aesthetic and keeping to thatand that sort of thing, but also
the quality that you put out.
If you're putting music out,kind of strategy and getting
your aesthetic and keeping tothat and that sort of thing, but
also the quality that you putout if you're putting music out
is is keeping consistency acrossyour marketing but also your
the quality of what you do.
(27:18):
Um is really important um, butlike I know, like people I've
seen really really grow likelike Synth Principal and Dan I
mean you know, he's grown hugelythrough working constantly on
his music and his music's greatand the consistency of that and,
you know, the quality he putsout is fantastic.
But also he's beenfantastically consistent with
(27:40):
his social media, like contentand the way he puts it together.
And, you know, and that hasmade his I mean his social media
like yeah, yeah, content andthe way he puts it together and,
uh, you know, and that has madehis, so I mean his social media
has gone crazy.
But, like you know, over timeand and then he's he's followed
as an artist as well, like withconstantly putting out and
releasing, as we're trying to do, um, like keep to a release
(28:02):
schedule.
You know, yeah yeah, that'sconsistency again.
Marc Matthews (28:06):
So yeah, there we go folks collaboration,
community and consistency threec's maybe I'll get a t-shirt.
Sounds like a really shit band,doesn't?
Tim Benson (Aisle9) (28:19):
it.
Yeah, yeah, definitely the case.
Marc Matthews (28:22):
So audience listening if you have a question
that you would like Tim and usto hash out on an episode again,
click that speak pipe link.
Leave us an audio message.
Hey, mark and Tim, my questionis blah blah, blah.
You can find me at whatever itis, or just inside the mix
(28:44):
podcast on instagram.
Send me a dm with your text and, as with this episode, you can
be anonymous if you want.
You don't have to have yourname read out if you'd rather
not, just let me know.
More than happy to do that.
Uh, tim, it has been a pleasure.
I didn't do this on theprevious episode, but have you
got anything you would like toshare with the audience?
I should probably do this atthe end of every episode.
(29:05):
To be honest, any releases thatmight be out at this point,
what point will this be out?
Yeah, it's a good question.
Let's have a look.
192.
This is the 29th of April.
Tim Benson (Aisle9) (29:19):
Oh, it will just no no.
Marc Matthews (29:22):
It will have come out before then.
Tim Benson (Aisle9) (29:24):
But I should have.
If I stick to my releaseschedule, we're looking at the
end of april I will have asingle coming out, no doubt.
But, um, yeah, you will have.
You will have already gone pastthis, but at the end of you
know, um, I've got a singlegoing to be coming out in a week
or so from from now, butthat'll be out.
So, yeah, you know, um, yeah,yeah, I'm trying to stick to my
(29:47):
consistent release schedulesomething coming out at the end
of each one.
So infinite ocean is uh next,or, but that will already be out
by the time you hear thisepisode great, great song as
well.
Marc Matthews (29:58):
Uh, folks listening, do do go check that
out.
Um, I will put a link to thatin this episode description and,
in theory, if I carry on theway I am, I'll have a song
released as well yeah, no ideaI've started it.
I've no idea what it's going tobe called and, uh, the one I
sent you the other day I've nowyeah, yeah, something else cold
(30:19):
war related bolshevism orsomething I don don't know.
And then, yeah, I'll haveanother one released and, yeah,
hold me to that as well.
Anyway, folks, I'm waffling now.
It has been a pleasure, tim.
Until the next time, enjoy yourX more gold.
Popular Podcasts
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Crime Junkie
Does hearing about a true crime case always leave you scouring the internet for the truth behind the story? Dive into your next mystery with Crime Junkie. Every Monday, join your host Ashley Flowers as she unravels all the details of infamous and underreported true crime cases with her best friend Brit Prawat. From cold cases to missing persons and heroes in our community who seek justice, Crime Junkie is your destination for theories and stories you won’t hear anywhere else. Whether you're a seasoned true crime enthusiast or new to the genre, you'll find yourself on the edge of your seat awaiting a new episode every Monday. If you can never get enough true crime... Congratulations, you’ve found your people. Follow to join a community of Crime Junkies! Crime Junkie is presented by audiochuck Media Company.