Where The Money Went In Recorded Music (And How To Get It Back)
The perceived value of recorded music is free, and always has been! When we pay for music in any format, what are we actually buying?
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The perceived value of recorded music is free, and always has been! When we pay for music in any format, what are we actually buying?
By Zach Rickers
In February of 2014, Warner Music Group and Shazam announced that they would enter into a “strategic collaboration” in which Warner would have access to Shazam’s user data and Shazam would have access to exclusive Warner content.1 Currently, when a user hears a song that they like, whether it is at a restaurant or on the radio, they can open up the Shazam application on their smartphone and hold the phones microphone to the speaker which will then analyze and identify the song title and artist that the user is listening to.2 Once a song is identified, the app logs data such as the time of day the song was “tagged”, the song being identified, and even where the song was tagged (if the user has location services enabled).3 This is the sort of data that Warner plans to use not only for A&R, but also for marketing and promotion purposes.
I have always been a creative entrepreneur, and not allowed the world to get the better of me, but instead, let the world fuel me. Throughout 13 years in the music industry I’ve worked with some of the best in the business: Anita Baker, KC Porter, Jim Henson Studios, Never Land, OK GO, George Duke, Lauren Mayhew, Pomplamoose, and as far as I can remember, I’ve heard of “it,” this elusive thing setting apart the extraordinary from the ordinary. These people encapsulate: auras, energy, and empower all that are near; you’re drawn to them.
This is the first blog I wrote for my band’s website, www.thegibsonblock.com
Hello ladies and gentlemen. I am El Denito Frigoni, also known as Denis Frigon: drummer, dreamer, world destruction schemer. And today, I wish to discuss one such world ending scheme. As I enter into the foray of continued post-secondary education, many thoughts cross my mind. Education of any type is something I personally find enriching though it may be a tad dry and taxing at times. But lately, when I think of the outcomes of my efforts at school, I think about the outcomes of the efforts in other aspects of my life. Mainly, music. I love my band and my band mates. And I love the Edmonton scene. And today, I would like to share a short dystopian future scenario with all you kindly readers:
As a fan, I’ve been excited for the rise of digital distribution and for the direct interaction of artists and listeners because it means I’m more likely to hear great music that I like. It means that I get to decide what I want to listen to, rather than having a slew of A&R folks and radio programmers make the decisions for me.
But lately, I’ve been thinking about how record labels are not only gatekeepers for the music itself, but also for the visual image of artists.
I get it. Artists are performers, and looks matter.
But it’s pretty clear when you look at Top 40 artists that the standards for successful female artists and successful male artists are not the same. Music industry executives are predominantly male, and their professional tastes are, frankly, boring. So female artists have to be conventionally attractive, but male artists can look like Nickelback—middling-attractive guys (whose videos are then stuffed full of women in bikinis).
Echo Republic, the worlds first joint music stock market and sales company, opened to the public on June 20th. Part music sharing, part e-commerce, Echo Republic strives to return the power of the music industry to its two most important members: the artists and their fans. “We’re not a company. We’re a movement.” says founder Patrick McConlogue of the California start-up.
A movement that will quickly attract attention for its legal music downloads at a price point even the most penny-pinching college student can handle: 10 cents a song. What’s more, Echo Republic’s firm belief that purchased music belongs to the buyer means every download is iPod™ compatible and accessible through the company’s cloud based music library, Echo Encore.
With the low prices of recording equipment and software, it is no surprise that the number of musicians trying to make it big on a DIY budget is on the rise. Seasoned industry veterans will testify that not only does an artist need to possess the talent and determination to succeed in the music business but their success depends on the team of dedicated industry professionals surrounding the artist. As more and more layoffs take place within major labels, these professionals become more accessible to the little man.
Finally all our chapters of Rock The Biz - the documentary about the new musicbusiness in Europe - are online. Feel free to watch here 4 further chapters for free:
Tips & Tricks:
Professional musicians, labels and player in the musicbusiness give hints, on what to focus, go’s and no go’s and many more
In this chapter the interviewed artists, labels and player in the music business talk about advantages and disadvantages of independent- and major labels. You can watch the all 11 chapters for free at www.rockthe.biz
I want to be completely upfront before you continue reading. This is my first post, and i do want to share a new technology that we launched today of which i am a co-founder. I do promise one thing, if you continue reading you will form your own opinion (whether you agree with me or disagree). However, i believe i have a radical alternative to piracy which we have been developing for the last 2 years. I believe being transparent comes first & foremost, that’s why right now, or forever hold your peace, i offer anyone not interested in reading about our new website, Webceleb.com- the opportunity to stop reading. If you’ve decided to continue reading, great. Let’s begin… I want to make it very clear, this blog post does not touch on everything, otherwise it would be a thesis. This is a quick deconstruction and reconstruction of how the RIAA brought down the self-inflicting hammer upon itself!
Mixtapes hold limitless potential for artists and entrepreneurs who recognize the opportunity and are willing to develop forward-thinking business models around the distribution of free music. Because the commercial exploitation of mixtapes is a fairly new area of business, everything is experimental at this point.
The documemtary about the new music business in Europe is now online. 105 minutes with 11 chapters. Watch them for free, download them, share them
Today we want to buy into an experience, not just a physical product. We look at different options and think about aspects such as
Amongst other things, these aspects of how a company presents itself and its products to its sector are indicative of the change of focus. A brief history of how marketing has come about can help to put into context how some companies work, and more importantly can showus where to place our marketing focus in future projects:
First, I would like to let you know the music industries are the largest they have ever been. Contrary to the doom and gloom predicted by the press, it is only the plastic jewel cases for CDs that are declining in numbers and some very public copyright lawsuits that reflect some archaic business structures in the industries.
Secondly, it might be good news to you that now is the easiest time to enter the music industries as an artist as due to new technologies introduced at exponential rates over the last decade, we have a plethora of mediums through which to present our art.