Peter: Twin Vision

Twin Vision FAQ : Interview with Peter Hay by Pete Harris for IndieSoundNY
1. What is Twin Vision and what does it do?
Twin Vision is an independent radio promotion service, sometimes referred to as an "indie promoter" in industry parlance. We are hired by artists, managers, labels, publishers, or anyone who wants radio exposure for music they have an interest in. Our specialty is triple-a and college radio, what I consider artist development radio. We have been in this business since 1988.
We developed a specialty working independent artists and independent labels. There are specific approaches to acquiring radio air play for such projects, and many promotion companies geared to major labels, or established artists, do not effectively mold their approach and priorities to the aspiring artist with minimal label clout.
The core of the service is making the radio programmers aware of the release and artist, but we also always provide consultation. While we are working a promotion campaign I am available to answer any industry-related questions or provide resources and contacts which I draw from over thirty years in the business.
I try to help clients not only reach their pre-concieved goals, but inspire new ones. I provide ideas as to how a radio promotion campaign relates to attracting labels, increasing sales, and getting gigs. Whatever the goals are for this effort, I want to make sure the results are viable.
2. What’s your background in music? How did you come to form Twin Vision?
In 1970, I graduated from Seton Hall with a degree in Communication Arts and immediately got a job as an A&R staffer and publicity copy writer at London Records, where I worked for eight years. I was responsible for the emergence and initial success of ZZ Top, Dave Edmunds and Thin Lizzy. I also worked with the Moody Blues, Savoy Brown, John Mayall, Tom Jones and Al Green. I learned every aspect of the business during this time and professionally associated with some of the music businesses’ most legendary luminaries: Characters with storied pasts from the 30’s, 40’s, 50’s, and 60’s.
Twin Vision emerged from my experiences running independent labels (including my own, called NEO Records) from 1980 to about 1988. These indy label adventures included working for Genya Raven’s Polish Records, a punk/new wave imprint where I dealt with Ronnie Spector and Cheetah Chrome of the Dead Boys, then on to sundry other labels whose tortured histories included promotion and marketing of reissues, imports, all kinds of dance music, adult contemporary artists, Christian, jazz and blues. I took all my acquired indy label wisdom and bulging database and began to farm out my services as a consultant.
One of my clients had a roots rock band that lead me to stations around the country that played such groups (e. g. Los Lobos, Robert Cray). A year or so after I started working these stations, I suggested to a major radio tipsheet (the Hard Report) that they should classify them differently than all the AOR Rock stations that were playing the likes of Bon Jovi at that time. Hard eventually ran with the idea and created the first triple-a (Adult Album Alternative) chart. Soon all the radio trades were tracking these stations and more sprouted up all over the country; a format was born and Twin Vision was born right along side it as I boiled down my consultancy to just working this radio area, along with college radio, which I had always done.
3. Is there a particular genre of music, or segment of the radio industry, that you concentrate on? How does your approach differ by genre, etc.?
We work with the only radio formats open to developing independent artists, i.e. triple-a, Americana, and college radio. (You can find out more about triple a radio at www.triplearadio.com)
With triple-a, I target about 180 stations nationally that I have found will play such artists. Most are non-commercial (aka public) stations but there are many commercial ones as well. I key off of the major trade publication reporters. That would be FMQB and Radio & Records and CMJ.
The genres I work fall into what they play. Looking at the charts today you will find artists like Moby, Solomon Burke, Tori Amos, Ani DiFranco, Nanci Griffin, Brazilian Girls, Bright Eyes, Jet (soul, electronic, alternative, trad country, folk, blues, world)...By the way, triple-a is the launchpad for the success of Norah Jones, John Mayer, Dave Matthews, David Gray among others. They all crossed over to mass market exposure only after strong support from triple-a.
Americana stations include many that are also triple-a. They have a country orientation and are just as open to new artists. Their core performers are Kasey Chambers, Nanci Griffin, Lucinda Williams, and Steve Earle.
College genres, (which to me is characterized by dissonance and a yearning to display idiosyncrasy in a manner not in typical triple-a artists) punk, post punk, neo-new wave, electronica, exemplified by the White Stripe, Chemical Brothers, Rilo Kiley, Mars Volta, Interpol. We key off of the 300 most important CMJ reporting stations. Triple-a stalwarts who are big with college include Tom Waits and Nellie McKay, proving that dissonance and idiosyncrasy has no age barriers.
Our approach to any of release formats is governed by what we know about what the stations generally play, knowing what the programmers respond to, and our idea on how it fits.
4. What does a radio campaign consist of? What do you do? How long does it take?
I recommend a minimum of eight weeks for any radio campaign. A college campaign can more or less be covered in that time, and a triple-a campaign, if it is going well, will probably need another two to four weeks. Tour support can exptend any campaign beyond these time frames.
We provide a mailing list to the label who sends the CDs plus a one-sheet/bio (no press kits anymore). We then call all the stations each week. The first few weeks involve describing the project and having the music or program director track down and listen to their copy. We then start to accumulate feedback: The reactions will range from enthusiastic acceptance to dismissal; often these early rejections are based upon cursory attention, and the response is to the sound or style being too far away from the stations approach style. We generally get all those that pass to reconsider at some point later in the campaign.
The stations interested will start to experiment with air play for it. We monitor that play while continuing to get other programmers to consider it in a positive light. We get many of those early rejections to reconsider once they see others playing it. Any project I choose to work with stands a chance to get effective air play. I cannot remember ever being wrong about this.
Every week we provide detailed reports to the clients which include air play status (usually rotations such as Light, Medium, Heavy), specific comments from the programmers, tracks being played and short facts about the demeanor of the staff and the impact of the station on it’s market.
5. Typically, what might you charge to conduct a radio campaign? What factors affect what you charge?
Our fees are based on the going rate for these services and are low compared to most companies. To work nationally, put aside at least $2,500.00. (note: this is for a college radio campaign, check with us for a quote for triple-a), Regionally, or with a limited numbers of stations, think of $1,250.00. The particulars we suggest in specific proposals that we put together for each project will include additional costs based on the numbers and types of stations, and length of the projected campaign. I will provide for anyone who needs it a full consultation on the whole process and how it should fit into an artists career plan.
Many bands and artists who make great CDs spend no money exposing it. They will move .. about a year to the next release, spending to record and package it, what it would cost to do a good promotion. Now they have two great CDs that virtually no one hears. If they had put the money for the next release into promotion for the last one, they could be heard by a few hundred thousand people. A percentage of those people will be moved to manifest their attraction to it, either through sales or through response to the radio stations. This can lead to attention from labels and distributors world-wide (remember most of these stations are streaming and have international audiences) and open gigging opportunities. If you make music, why would you not want as many people as is possible within your power, to hear it.
Also artists spend there budgets on publicity before promotion: big mistake. Ask yourself, what creates a more profound impression for new music by an unknown artist: hearing it or reading about it? Press creates ephemeral interest, radio play creates fans. Press is like advertising, to be effective it needs to accompany the music’s exposure. Many artists and managers who express satisfaction with a publicist are usually responding to the non-publicist services some provide like acting as booking agent or as a industry consultant. They are also overly enthralled with seeing their name in print, no matter the significance to the scheme of things.
6. What does an act need to provide you in order for you to be effcetive? How important is packaging? The look of the CD itself? What kind of press kit should they provide?
One needs only a CD and a one sheet/bio. I advise on the look and content of the latter. The CD and all materials should look as good as anything on a major label. Presentation is a first and lasting impression. It is also good that the packaging is compatible with the music. A good website replaces the press kit. It also is the point at which consumers will purchase the release, so make that process easily accessible.
7. Do you include satellite, cable, internet radio stations in your campaigns?
There are a few Internet outlets that we go to that have been targeted by some of the trade mags as effective. Many Internet stations are the equivalent of Fanzines, an exersize in self-stimulation. Remember when people were saying "Fanzines will change everything". Unfortunately, most Internet listeners are also the most likely to be those illegally downloading. They have lots of love for the music, but no respect for the artist.
Remember that most of the triple-a and many major college stations are streaming so they are also Internet stations.
Cable outlets like Music Choice and DMX1 have been on my radar for ten years or so. They tend to follow major label product like sheep.
I get my projects on the main progressive channels on XM and Sirius (the satellite companies) all the time. They are truely adventurous and a boon to new artists since their audiences are pro-active music consumers with cash to spend. And their numbers are large.
The best thing about all these outlets is they display on the screen the name of the artist and the song title. The listener can go right to the artist’s website for more info or to purchase the music.
8.In the current world of Clearchannel and Infinity, etc., what’s the good news for independent acts wanting radio exposure?
I have no association with any other part of the radio landscape than the one I work, because the others are all part of a system controlled by the major labels and all have their hand out in one way or another. The stations we work with are very committed to the purity of their mixes and their goals are to surprise and delight their audiences. They will play releases based on the music presented to them. You can't beat that.
9.Can you mention any recent campaigns where there’s been some success in gaining exposure?
Nell Bryden, an New York singer-songwriter you may know, had a self-released EP that I worked to triple-a recently. I know an R&R reporting commercial station in Sante Fe, and its program director there, for ten years; I had him listen to a certain Nell track. He liked it very much, Added, and reported it. The phones lit up with listener responses. The station moved the song up their charts. It is a Clear Channel station. This programmer has always been successful in the market, and they are smart enough not to mess with his methods. In the meantime, this airplay has helped Nell’s manager open the door to major label interest.
I am having wonderful response to Brooklyn’s own Alexis P.Suter, on Hipbone Records. She’s being compared to Macy Gray by many stations, she went to # 1 on the charts of two important triple-a’s, and is charting on 30 more.
How did we get this for her? We asked them to listen.
    QUOTES From Some Of Our Clients:
"I'm used to handling all of my own promotion, so I was extremely jittery at the idea of putting it in someone else's hands. However, working with Peter Hay has turned out to be one of the most worthwhile investments I've made since diving into this crazy career. It just goes to show that honesty, professionalism, and even a sense of humor can still be found in the music business. Thank you so much."
- Tori Sparks, Independent International Recording Artist,
number 1 Record on WDPS
"Peter Hay is that rare breed of hype artist, who actually exudes integrity, depth of knowledge and a finely honed instinct for understanding and communicating an artist's vision. Peter is a champion of good music; he has no other agenda."
- Hank Kim, NYC-Based Singer/Musician
As a 'complete unknown' I really didn't know what to expect from a radio promotion. Peter got people to listen to 'To Whom it May Behoove.' Some liked it and played it. Some played it a lot. Even after the promotion campaign ended I continued to get new stations playing it, and I'm tickled to no end.
- Joel Arant, Singer/Songwriter/Producer
"We have worked with several media outlets in promoting our album and categorically Peter Hay at Twin Vision Radio Promotions has been the best! We heard from him almost daily with updates and each Friday he sent us a detailed report of which radio stations had added us and how well it was doing at the station. We would look forward to this report each week; there is a great feeling seeing your record being spun all over the country! We highly recommend his services!"
- Brazz Tree
"When you're doing everything yourself, a seasoned player in the rough waters of radio promotion is a godsend. I'd say that if you're an indie artist trying to get something happening, radio promotion is a key factor. It can't make bad music sound good, but it can take good music to the next level. Peter Hay is competent, experienced, well-connected, and he has great ears -- which sets him apart from many. What also distinguishes him is his friendly, gentle, easygoing manner. In a sea of sharks, he's refreshingly honest, insightful, and easy to work with. Highly recommended."
- Chris Orbach, singer/songwriter
"Working the Compulsions to college radio must not have been easy.
First off, we're a bluesy, punky rock 'n' roll band-- so we're not what you'd describe as 'college rock.'
Secondly, we wanted to start our campaign in the Fall, which meant we'd be competing with new releases from more established artists.
Thirdly, our EP came in a thin, black cardboard sleeve (instead of an easy-to-find, flashily-designed jewel case) -- with our name and title running along the bottom in tiny, 'hard-to-read' type.
And as if that wasn't enough: we had impossibly high-expectations, based on the rave reviews we'd been receiving in the press.
But despite all this: Twin Vision delivered, and then some.
During the course of our 10-week campaign, over 100 radio stations across North America added our Laughter From Below EP to their playlists.
We also charted at CMJ/Core stations such as KCSS (Turlock, CA), KOTO (Telluride, CO), KSJS (San Jose, CA), KSLU (Hammond, LA), KSYM (San Antonio, TX), KXUL (Monroe, LA), WBLD (W. Bloomfield, MI), WDOM (Providence, RI), WDTS (Georgetown, DE), WNTE (Mansfield, PA) and WTCC (Springfield, MA).
Needless to say, it was a pleasure getting our weekly reports from Amy, SaLi and Peter and we highly recommend TwinVision.
- Thanks for everything, The Compulsions
Thanks so much Peter, The more I look at the world of radio promotion, the more obvious a choice you become to work with. The presentation on the web,and phone, were strikingly different in their honesty,integrity, and geniune ability. The commercial radio game seems to be a landscape of corruption, your corner of it seems more realistic for an indie as well as merit based. I think I can do somthing with that, and hopefully get across to like minded people. I look forward to speaking with you. Arthur Nasson