FEATURE: Endorsements

 There are probably only a few areas in the music industry where a concentrated load of half-knowledge, admiration, envy and contempt come together like in the area of an endorsement. Every musician has heard of it, everyone has an opinion about it, very few own one and almost everyone wants one. The ideas that have formed in the circles of instrument and accessory manufacturers are sometimes so absurd that you can only smile. This article is intended to shed light on the different variations of said collaborations and clear up moldy ideas.

Endorsement? Why?

A simple question in advance, does anyone believe that e.g. B. Sebastian Vettel has to pay for the tires he uses during a Formula 1 race from his prize money? Of course he doesn't have to, but why not? Well, because the tire manufacturer, whoever is currently working with Mr. Vettel, believes that the fact that Sebastian Vettel uses tire brand X generates more sales for him than if S. B. paid for the tires himself. The trick is pure preschool psychology, S. B. wins the races, is probably a likeable guy and the next time he buys tires, John Doe will remember this and will choose the S. B. product rather than another product.

The practice is much more complex, but the basis is “as simple as that”. An endorsement is ultimately an advertising contract in which both parties are of the opinion that their cooperation is ultimately worthwhile for BOTH (very important!) or to stay with our example, Mr. Vettel does not have to pay for the tires and the Tire manufacturer still makes more sales than without Mr. Vettel. But if Mr. Vettel loses every race and behaves like an open pants towards his fans, the image will suffer and the tire manufacturer will consider whether he wants to continue to be associated with the Vettel name. Why this long introduction? Because its core message basically summarizes everything that constitutes an endorsement. Actually? Well, now we get into the details

Endorsements? Maybe for me too?

I don't know about you, but when the author of this article was just a little slob with big dreams, there were always 3 things I considered my personal success. I wanted:

1.) Take a European tour in one of these great nightliners and make money at the end.

2.) I wanted to have one of those great, big flight cases with the fat ball corners for every instrument, every amplifier, every pedal and every cable.

3.) I wanted a guitar with my name on it.

#3 in particular was effectively the holy grail for me and the joy was almost superhuman when I received my first signature model many years ago. I'm quite sure that many other musicians will feel the same way, but many also find the very thought of it excessive. Why actually? What do you have to lose? Of course you can have an instrument tailor-made for you by any guitar maker, but the appeal lies in the fact that a manufacturer, in the spirit of Mr. Vettel, is of the opinion that his brand benefits from you having his instrument/amplifier etc. in display to the public. So let’s first take a look at what endorsement variations there are.

What forms of endorsement are there?

First, some technical terminology. The endorser is the manufacturer of the product, the musician who uses the product is the endorsee. The popular statement from a musician, “I am a Fender (or similar) endorser” is Kokolores.

Variation 1 - the 50% deal:

Even if you don't believe it, a so-called 50% deal, often referred to as an artist deal, is not as far away as it might seem at first glance, at least if you have a German manufacturer in mind. Very roughly described, in this case the manufacturer grants you a discount on the purchase price of around 50%. Why is this deal comparatively easy to obtain? Well, it is more or less the price at which the manufacturer sells his item to the retailer.

For the manufacturer it makes almost no difference whether he sells the item directly to the artist or to the retailer, the main thing is that the item has been sold. However, anyone who thinks that the manufacturer doesn't care who they offer a 50% deal to has unfortunately miscalculated, because see above, it is still very important what value the artist has in the eyes of the public. An artist who boasts of an endorsement from Company Later more.

Variation 2 - the 75% deal:

This is where it first starts to hurt for the manufacturer, because he invests so much trust in you that he sacrifices parts of his profits because he is of the opinion that your craftsmanship, your number of clicks on YouTube, the number of friends / Followers on Fb / IG or your streaming numbers on the corresponding portals such as Apple Music / Spotify etc. are so good that the presentation of yourself together with their product pays off for the manufacturer. These deals rarely come about because they are usually already in the range of

Variation 3 - the 100% deal:

located. Here you have finally arrived at what you have always dreamed of, as one or more manufacturers make an instrument or something similar available to you to use without any payment. Provide? Yes, there are 2 variants in the 100% deal. There is the variation of the “permanent loan”, where you can use the instrument in any way, but the item still legally belongs to the manufacturer and they can also demand it back, e.g. B. if the series is discontinued, the manufacturer files for bankruptcy and your instrument is part of the bankruptcy estate, the manufacturer is dissatisfied with your commitment to the product, or similar.

The holy grail, on the other hand, is a 100% deal with complete transfer of ownership of the instrument into your hands, but this also entails many moral obligations. Bagging it up and putting it in a corner, or even worse, selling the instrument secretly, rightly annoys every manufacturer and damages your reputation to the bone. You wouldn't believe how many colleagues I know who behaved so disgracefully and completely burned their names in the scene.

You think this is the final stage? No way, because here comes...

Variation 4 - the Rockstar department

What do you do when the artist's name is so big that you not only give him all the instruments he wants, but also give him another treat to stop him from switching to the competition? Well, I don't have the exact figures, but "it is estimated" that e.g. For example, artists like Steve Vai or Joe Satriani not only receive an unlimited number of instruments made by Ibanez, but also receive a six-figure sum annually for the use of their name in connection with the brand. Whoever is angry now, please always remember that these are normal advertising contracts, what do you think people like e.g. B. Jennifer Lopez or Charlize Theron for using a perfume?

How do I get an endorsement?

Before you tackle an endorsement, you should always ask yourself two questions.

1.) Do I really need an endorsement?
2.) Would I give myself an endorsement?

to 1.) Of course it is a dream if you, as a professional musician, cooperate with a “consumables manufacturer” such as: B. has strings or drumsticks, simply because it's easy on your wallet. However, if it goes beyond this area, things can get difficult. Even if you sometimes can't imagine it, colleagues, other musicians and even the manufacturers can feel if you don't stand behind the product 100%. Small subtleties immediately reveal whether you just want to grab something or whether you are really impressed by the product.

2.) Do you consider yourself to be so eye-catching/interesting/professional/outstanding in terms of craftsmanship that you would invest money in yourself? If yes, go for it, if no, why should anyone else do it?

If you can answer yes to both questions, here are a few tips

- Even though international names like Fender, Gibson or whoever may exude the charm, take a look at what your own country or at least Europe offers in terms of manufacturers. Why? It is actually impossible for a German to land a direct deal with an intercontinental company (exceptions prove the rule); you will usually be passed on to the local sales department, who will of course first deal with each major investment manufacturer must agree. With a local company, the distances are shorter, the language barrier is eliminated and the quality is at least the same, sometimes even significantly higher than the competition.

- Most companies have specially employed employees who work in the areas of A&R / Artist Relation Manager / PR Manager / Marketing Manager etc. to make contact. It's best to do good research in advance and get in touch by email. A phone call as the first contact always has a bit of a “coercion” quality to it.

- You have to convince the contact person that cooperation is worthwhile for him. Unfortunately, being a member of a band and working hard no longer convinces anyone these days, especially since these employees receive about the same amount of traffic as the booking agent at a music club. Brief description of who you are, what you do and then the link. Live shows, videos, interviews, workshops, work areas, everything that you have placed online at some point or was placed by you and that is of high acoustic quality, link accordingly. Everything is just like with a normal application.

- Don't be disappointed if it doesn't work out, as it doesn't necessarily have to be a lack of interest. Most of the time, employees have a limited budget to work with. Once this budget is exhausted, you can no longer support new artists.

- Don't be annoyed when laughingstocks like Mötley Crüe "singer" Vince Neil "whine" in interviews about the fact that he is constantly being sent new guitars only to play them unplugged at his backing track shows. In the league it doesn't matter at all whether any instrument is played live, as long as people (maybe again in a few years) pay money for this nonsense.


Conclusion

I hope the article helped you a little and who knows, maybe you can convince more people than you can imagine at the moment. Good luck!

By the way, an endorsement is by no means always just about money. Many artists also maintain endorsements because, for example, For example, on their worldwide tours, the manufacturer always has a sales office in the respective country, so that they can, for example, B. you can play your favorite amplifiers anywhere.

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The Significance of the Relationship between Endorsee and Endorser in the Musical Instrument Industry

Introduction:

The relationship between an endorsee and endorser in the musical instrument industry holds immense importance, as it not only shapes the marketing landscape of musical instruments but also significantly influences the image and perception of the companies involved. This intricate dynamic plays a pivotal role in brand positioning, market penetration, and the overall success of
both the artist and the instrument manufacturer.

Definition and Roles:

To comprehend the essence of the endorsee-endorser relationship, it is crucial to define the roles of each party. The endorser, typically a renowned musician or artist, acts as the public face of a musical instrument brand. Their endorsement lends credibility and prestige to the instruments they use, creating a powerful association between the artist and the brand. On the other hand, the endorsee refers to the musician who receives support from the instrument manufacturer, often in the form of free or discounted instruments, in exchange for promoting and using their products publicly.

Mutual Benefits:

The symbiotic nature of the endorsee-endorser relationship is characterized by mutual benefits. For the endorser, aligning with a reputable instrument brand provides access to high-quality instruments, exposure to a broader audience, and potential financial incentives. Simultaneously, the instrument manufacturer gains valuable visibility, credibility, and increased sales as a result of the artist's association with their products. This mutually beneficial partnership extends beyond a mere transactional arrangement, evolving into a strategic alliance that contributes to the success of both parties.

Brand Image and Perception:

The choice of an endorser significantly impacts the brand image and perception in the eyes of consumers. When a respected musician endorses a particular instrument, it conveys a message of quality, innovation, and reliability. Consumers often view endorsed products as a mark of excellence, leading to increased trust in the brand. The positive image associated with the endorser's success and talent becomes inherently linked with the instruments they endorse, creating a powerful marketing narrative.

Marketing and Promotion:

The relationship between endorsee and endorser is a cornerstone of marketing and promotion strategies in the musical instrument industry. Endorsers act as living testimonials, showcasing the instruments in real-world, professional settings. This experiential promotion enhances the instrument's desirability and performance credibility. Furthermore, the visibility gained through an endorser's concerts, recordings, and social media channels amplifies the reach of the brand, fostering a connection with a diverse audience.

Nurturing Talent and Innovation:

The endorsee-endorser relationship is not solely transactional; it often involves a collaborative effort to foster talent and drive innovation. Instrument manufacturers may work closely with endorsed musicians to develop new products, customize existing ones, or incorporate cutting-edge technologies. This collaboration not only benefits the endorsee by providing them with instruments tailored to their artistic needs but also enhances the instrument brand's reputation for innovation and commitment to musicians' requirements.

Conclusion:

In conclusion, the relationship between endorsee and endorser in the musical instrument industry transcends a simple endorsement agreement. It is a strategic alliance that shapes brand image, influences consumer perception, and drives mutual success. As both parties continue to collaborate, the synergy between artist and instrument manufacturer will undoubtedly play a pivotal role in the ongoing evolution and growth of the musical instrument industry.