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Entries in Music Business Models (77)

Wednesday
Dec082010

What’s The Best Music Business Model? You Might Be Playing It Every Day

Have you bought a video game recently? Have you ever made an in-game purchase? Do you consider pre-roll, banner or in-game advertising acceptable? Do you think buying video games online or on a mobile device is normal? Has the video game industry turned social networking into a revenue generator through multiplayer gaming?

Every day, I’m meeting people who could answer “yes” to all these questions - which raised a very important question in my own mind: if we replace the word “game” with “music,” why aren’t these answers still “yes?”

The music industry has a lot to learn from the video game industry. We’ve finally gotten past the “save the CD” era, but the music industry is still lagging when it comes to proactively developing new business models. Just as the video game industry has continually adapted and reinvented itself in the last few decades – arcades to consoles to mobile to online to apps to ad-supported and so on – the music industry must learn to quickly spot new consumer trends and behaviors, and then adapt the technology and business models to turn those trends into new revenue streams.

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Tuesday
Nov022010

An Argument Against Fan Funding

Anyone can make a record for next to nothing these days. Almost any other hobby is more expensive: photography, mountain biking, even video gaming. When a teenager singing into a webcam gets exponentially more views on YouTube than your latest “professional” video, the answer isn’t more money.

You’re just not there yet.

(hey, don’t feel bad - I’m not either)

Tracking at Abbey Road Studios won’t get you there. Hiring T-Bone Burnett to mix your album won’t get you there. A full-day mastering session with Bob Ludwig won’t get you there. 10,000 pressed CDs with 18-page inserts won’t get you there. A $5,000 promotion budget won’t get you there either.

No matter how much money you throw at your project, we’re all limited by a stubborn principle called free market pricing. People are only willing to pay what a product is worth to them, not what it costs to produce. The intrinsic value of music is in free fall, and people won’t pay for it if they’re just not that into you.

So why are musicians flocking to fan funding (also known as “crowdfunding”) sites like Kickstarter, Sellaband, Slicethepie, PledgeMusic, and artistShare in droves?

My guess is that they figure “why not give it a shot”? Well, I’ll tell you why not, and offer a better option.

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Tuesday
Aug242010

If I were a record label and you were an artist, would you marry me anyways, would you have my baby?

It’s been said that over a million songs a year are being uploaded to the Internet, and that number is growing.  In addition, the number of new “artists” entering an already crowded marketplace is exploding.  And as you all know, it’s not only hard to generate a return on investment when promoting artists and music, it’s becoming increasingly difficult to fight through the noise.  The last thing music fans need right now is another PUMP; what fans do need and want…are FILTERS they can trust. 

From this day forward, this label will cease to PUMP out anything and everything you create.  Moreover this label will no longer support or promote artist websites and brands.  This label is going to have one management team, one fundraising initiative, one website, one set of widgets, a unified scheduling page, one mobile app, one social stream, one streaming radio service and one voice.

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Wednesday
Jan132010

Dear Rock Stars...

2010 is - rather tragically - shaping up to be the year when Rock Stars (and old-industry millionaires) complain about the state of music on behalf of ‘the little people’.

Here are three examples: Peter Waterman, in an interview with The Times, said that Spotify was a terrible thing. It, he says

“devalue[s] our artists, they damage this country economically, culturally and morally”

Why’s that then, Pete?

“The big stars are a tiny percentage; the rest are broke, including a lot of well-known faces. Who is developing new talent? Without money, new acts are strangled before they mature. We all suffer.”

This, from the man who made a multi-million pound career of writing and producing ‘hits’ for soap stars

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Wednesday
Jan062010

High margin digital music products that won't be stolen...

It’s easy for me to imagine high margin digital music products that can’t be stolen (as they will be infinitely attached to some server somewhere).  If you have not seen this already, take a look at the Sports Illustrated’s tablet edition (concept video below).  Start planning your digital music industry future now.  Like all things internet, this stuff will eventually be accessible to everyone.  And, here are eight things I would put into one of these products…

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Wednesday
Jan062010

Reconsider promotion. The faders are coming. The faders are coming.

If you have not tried MOG’s new streaming music service, then take a few minutes and watch the demonstration video.  MOG’s streaming music service features a fader that enables music fans to simply adjust the flow of new (relatively unknown) music that’s inserted into any MOG music stream.  I believe Echonest powers this feature.  Enabling music fans to completely control their music experiences is no longer a pipe dream, it’s now a must-have feature that will appear everywhere over the next twenty-four months.

Quality faders will change the promotion game.
I think it’s relatively easy to enable consumers to control just about any part of their musical journey, but what about quality?  Quality is subjective (or maybe it’s not?), however with artists creating over a million songs a year, the absence of a quality fader (filter) reduces the flow of new music to a trickle (the new music fader stays pinned to the left), as no music consumer wants to be burdened with the need to sift through a truckload of poorly written or poorly produced songs.  (Note: I believe Echonest is already (somewhat) filtering for quality (hotness)?)

In my opinion, a quality filter-fader that everyone can trust - changes (ends) the promotion game for everyone.  When we get to a point where quality, combined with other attributes, can be faded in and out, the entire industry will terminate the marketing department and hire a gaggle of people that can improve quality (subjective or not, it will me measurable).  Promotion will become something you (possibly) do after you measure “quality”, not before.

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Tuesday
Dec292009

No One Has the Answer, But Sivers Told Us That

If there’s any doubt about the disarray and desperation afoot in the music business, just check out the Internet’s affect on the media business – music, print and broadcast – overall over the past decade. A recent article in the New York Times covers the waterfront on this issue quite well.

While the devastation of digital democracy vis-à-vis the Web made its first blitz through the belly of the music biz, the print media was next in line, and the battlefield there rivals Antietam.

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Wednesday
Dec092009

Business idea: Put buskers online

Here’s a business idea, inspired by an email from Stephen Brown today.

Put the street musician / busking process online. (“Busker” = “a person who entertains people for money in public places, while asking for money.”)

A website where videos of street musicians are collected all in one place, each with a PayPal link so anyone watching can give some money directly to that musician.

See a great musician playing on the street in Cuba, Argentina, Egypt, India, or anywhere else? Make the best recording you can with a video camera.

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Tuesday
Dec012009

The unprecedented shift from multiplication to division. 

If you are contemplating the future of music sales revenue, the most alarming thing about inexpensive (they actually call it “premium”) all-you-can-eat streaming models (Spotify, MOG) where music fans pay roughly $72.00 a year (for example) for endless access to all the music in the world (anytime, anywhere, anyplace), is that the $72.00 is divided by (all songs consumed times each song’s play-frequency). 

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Saturday
Nov142009

Transformative Vs Incremental Change

OK, I’m going to try and explain why Big Music genuinely doesn’t get what’s happening with the online stuff. It’s easy to dismiss the thoughts coming out about ‘3 Strikes Laws’, and Bit Torrent being to blame for the death of musicians’ livelihoods etc. as being a bunch of really rich people want to keep their massive piece of the pie - and there is some of that, for sure. But there’s also an entire way of thinking that explains why they feel the way they do. 

The problem is to do with the difference in response required between transformative change, and incremental change. 

Sticking with the music industry, let’s have a look at some examples of both, starting with incremental change:

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Saturday
Oct242009

Happy 'Quit MySpace' Day

Everyone uses MySpace - because everyone else uses MySpace.

But the site fails to recognise or make use of the fact that they have what could well be the greatest asset on the internet: EVERY FRICKIN’ BAND ON THE PLANET.

We all have our complaints and issues with MySpace. It isn’t all it could be - and while it’s improving in increments, it’s not good enough. This article is a call to arms. It’s time for a revolution. Either they start doing independent music right - or we ALL walk.

Let’s give them one year - then we’re gone. Here’s why.

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Wednesday
Oct142009

The Lottery Model, The Free Culture Model, The Click Control Model

Q: What happens when you put a lawyer, an economist, a business executive, a government bureaucrat and an artist into a locked room?  A: The business executive assaults the economists, the lawyer sues the executive, the bureaucrat falls asleep, and the artist writes a song about it.  This is the copyright debate.

Over the last couple of years, and as a background task, I have tried to make sense of the copyright / copy restriction debate.  Is more or less copy restriction better or worse for rightsholders?

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Tuesday
Oct132009

In Defense Of 1,000 True Fans - Part I - The Mountain Goatsl

Since I started my career in this business. I’ve always been working within the 1,000 True Fans model.

Here’s my story: In 1996, I was living in Boulder, CO and I had just started Ariel Publicity, my boutique PR firm.

Acoustic Junction and Zuba two local bands became my first clients. Both had been staples in Boulder for a couple of years, and both made fantastic livings touring and selling their independent releases from coast to coast. They did this with no label, no distribution, and no major marketing budgets: just a manager, a tour manager, and me.

I also represented The Toasters, Bim Skala Bim, The Slackers, and Skinnerbox, (and practically everyone touring during the third wave of Ska).

These artists and dozens like them all made full time livings from playing and touring.  They had a core group of fans that supported them by seeing several shows a year, buying merch and buying albums.

Today, it feels revolutionary when we hear about bands that make a living based on their music.

What happened? What changed?

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