Transcription

• Alma

  You will find more information on our website. We don't have one. You will be able to discover a concert excerpt. Was that excerpt? Alright, my dad filmed it. Not sure if anyone wants to see a close-up of his thumb, right? Right. You will find the ensemble's visuals. I should really say the stuff I cobbled up together at 2am on Canva. You will find absolutely nothing. But lovers, talk about us, book us please.

• Speaker

  hEEElp! We're starting an ensemble. An audio guide for emerging early music artists.

• Alma

  My name is Alma. I'm 25 years old. I play violin in an early music ensemble. And right now, we're really questioning our visibility. What do we put out there? What do we say to whom? And when do we even find the time to do all that? So I never actually sent that email. But I panicked. And every time I panic, I reach out to someone who can shed some light on things and help us move forward.

• Speaker

  Episode 3. Becoming visible.

• Alma

  So I got in touch with Camille Chabanon. She's the director of a concert venue, La Trinité, in Lyon, in France. And before that, she worked for the ensemble Le Concert de l'Hôtel Dieu. She agreed to let me come and see her, so I could ask her, well, what does good communication actually look like? And what do I actually put in the first email to a promoter?

• Camille Chabanon

  Well, as you can imagine, we receive lots of solicitations. I would say video or audio files is very important because there's lots of competition in the early music sector lots of ensemble new ensemble on a european scale and yeah how to differentiate yourself would be something that you can straight away perceive so of course the musical program is essential but you have to also think about the context Tsk And annex information is very, very important for bookers and programmers. That would mean, for example, linking to your YouTube channels or social media outlets, all these kinds of things.

• Alma

  Okay. So, in your opinion, what are the biggest mistakes that young ensembles like mine make?

• Camille Chabanon

  I would say if you link your YouTube channel or social networks, it has to be up to date. because if you go somewhere and the information is like three years old or your website is a 404 error because it's not updated don't put it in i mean it's better to put maybe if you're more on instagram just put your instagram we are the intermediation with the public with the audience and we need uh you know to make the connection between your world your artistic universe or atmosphere and the audience and to make the audience want to come and listen to you. So if you have bad pictures or bad sounding audio files, it's difficult for us to help promote the concert in the end.

• Alma

  Please stand clear of the doors. It's me, just a quick voice note to say that I've just ended my meeting with Camille Chabanin, and now I know exactly what we need to do, although I have no idea how to do it. But someone gave me the number of my list match, who works in communications and manages social media for the Cultural Encounter Centre in Embrunet in France. I'm going to call her and I'll keep you posted. Bye It's me again. I recorded a little bit of my conversation with Maïlys. I'm sending it over and we can talk about it.

• Maïlys Mathieu

  I would say that the priority is to understand what is your strategy as an ensemble on social media. So it's just sitting down and having a conversation with your ensemble. And you might be very surprised of what comes of it because you need to ask yourself, why are you on social media? Why do you want to build an audience? Do you want to have visibility there? Or do you use it to attract an audience in your country? Use it to attract programmers, build a network? There are many answers. And the most important one, in my opinion, is what do you want people to understand about you and how do you want to be perceived? There's still this idea that strategies is something for companies that need to sell a product. But actually, it's essential for any artist who wants to exist and be visible today. And in a way, it's even more complex for ensembles because you're building a shared... identity with maybe four, six, eight people sometimes, and you might have slightly different visions. You could be completely aligned on your artistic vision, but one of you in the ensemble thinks you should be seen on social media as exclusive or very high-end, while others might think you should be very accessible and open to do a lot of easygoing reels on Instagram, etc., where you talk to the camera. And if you don't talk about it in advance with the other artists in the ensemble, you're going to feel very overwhelmed by social media and probably have a lot of content that you're not posting because you don't know how to or even have trouble recording the content because you don't know what you want it to look like at the end.

• Alma

  We have everything we need now, so shall we go for it? Shall we start looking for an... invitation to our very first concert ?? Who says yes?

• Speaker

  hEEElp We're starting an ensemble! An audio guide for emerging early music artists A podcast produced by the collective Reset as part of the European project Sustainable Emerging co-founded by the European Union and coordinated by the Cultural Encounter Centre and Brunei you