indipendent
Ben Folds performs live piano improv for random Chatroulette users during a 2,000-seat concert in NC on 20 March 2010. The unedited and alternate angle clip follows the first part of this video.
[via Ode To Merlin]
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Connect with Fans (CwF) +
Reason to Buy (RtB) =
_____________________
The Business Model
from the a-thorough-look dept [by Mike Masnick] [via techdirt.com]
I’m at the Midem conference this week, and in preparing for it, Steven Masur asked me to write up a chapter for a book he was putting together of thoughts from various thinkers for a gathering of the International Association of Entertainment Lawyers (IAEL) here at Midem. Below is what I submitted. If you’re a regular reader of the blog, there’s little that will surprise you, but even so, it may be a good read, as it’s got a whole bunch of different things I’ve discussed about — things like “CwF+RtB” all summarized in one single place. Later, I’ll do another post on what I discussed this year at Midem, since it builds on what’s written below, and digs in much deeper on how to create compelling reasons to buy.
It’s no secret that there’s a lot of concern these days about what the music industry will look like going forward — especially from those who work on the label side of the business and have been around for a bit. A variety of things have caused rapid change in the market. Competition from other forms of entertainment, such as the internet, movies and video games, have put more pressure on the industry, as consumers have been presented with significantly more options for their entertainment attention and dollars. And, of course, there’s the ever-present specter of unauthorized file sharing — or, as the industry prefers to call it (accurately or not), “piracy.”
But the big new questions are all about licensing. New services are starting to show up on the scene, such as the industry’s new darling, Spotify. Then there are attempts, such as those by Choruss and Warner Music, to set up something that is somewhat akin to a blanket license. For the most part, the industry hasn’t shown much willingness to do these sorts of deals in manners that allow the underlying companies to survive, let alone profit. Numerous innovative startups have suffocated under burdensome licensing terms — and as each one fails, it just gives consumers fewer and fewer reasons to actually use these services, wondering how long each will last until it goes out of business.
However, there is another solution: stop worrying and learn to embrace the business models that are already helping musicians make plenty of money and use file sharing to their advantage, even in the absence of licensing or copyright enforcement.
In simplest terms, the model can be defined as:
Connect with Fans (CwF) + Reason to Buy (RtB) = The Business Model
Sound simple? It is, if you understand the basics — and it can be incredibly lucrative. The problem, of course, is that very few seem to fully understand how this model works. However, let’s go through some examples.
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This is the Arena arts interview with Brian Eno – a great new documentary that takes you into Eno’s studio and offers’ Eno’s own perspective on his work and his life.
via synthtopia.com
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VTech KidiMusic Centre
Not just for Kids!
The V tech Kidi Music Centre makes music making lots of fun! Use the detachable MP3 style recording unit to record your musical creations and play them back for everyone to hear. There are lots of different instrument sounds, music types and special sound effects to choose from, with a scratch disk and tempo slider too!
There’s so much to do with 20 child-friendly tunes in five musical styles and lots of rhythms, sound effects and instruments to try. Follow-me-lights help you play along with the built-in melodies and you can sing along with the microphone!
get it on amazon
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Sonicity by Stanza
Sonicity is a responsive installation, a sonification of the data space. The sounds you hear are the sound of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors.
This project investigates the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from new technologies. The system monitors the space (the building) and the environment (the city) and captures live real time data ( light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.
The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies.
Motes are used to collect the data. The ‘motes’ are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the light, the noise, temperature, sounds of the flows inside the space.
Performance mode.
The motes can be set up in any space or gallery and a live performance can take place. The technology has been tested for a small audience at The Lanternhouse in Ulverston using 30 sensors inside and outside the space.
read more on Stanza.co.uk
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UK company Record-Play Ltd has launched what the company says is the first every fully automated, fixed-rate, online music licensing platform of its kind. With a library of over 3500 indie label tracks, the Music Hub allows users to license, download and use its inventory instantaneously.
The Music Hub aims to take both the time and cost unpredictability out of clearing tracks. With production applications in TV, film, advertising and gaming, the industry has already started to take advantage of this new resource. Hub users include Adidas, Reebok, Skoda and more, with over 50 record labels currently represented and new labels being added all the time.
“The experience we had with Record-Play was brilliant, we needed a very specific piece of music and had a very short space of time to find it,” says Jezz Vernon, Head of Marketing for Metrodome Films UK. “Music Hub generated selection after selection and within 48 hours we’d found the perfect track.”
“We believe this initiative allows businesses to re-assess the ways in which they use music in production,” says Daniel Cross, Managing Director of Record-Play Ltd. “We have negotiated a low cost structure which means companies, even those on tight budgets, don’t need to compromise on quality.”
The full catalog of music in the Hub is available for anyone to browse and stream, no registration is necessary. For users who do choose to register, tracks become immediately downloadable for testing to picture or licensing. To explore the site visit: www.record-play.net/musichub.
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Who is using your service?
Who is using your service?
Answer:
We designed our mixing and mastering service to be useful and affordable to the entire music industry, form high professional to amateurs.
Our clients are record labels, record producers that are using our services to get their music mixed professionally at low cost and with a fast and smooth transaction.
Recording studios often use our mixing service to have an alternative mix of their recording or as final mix so to keep the recording studio and their mixer and sound engineers free to work on other productions.
We also work for Music Publishers, they use our service to promote their catalogue to record label and artists. We also work for a lot of Managers and it is also growing the request from unsigned and independent Artists.
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