Turnover in live music increases, that of recorded music decreases - what's wrong? Just a trend?
Can event industry actually help music business, or recorded music specifically? The diversification of event business towards one-stop-service points for artists mixes up roles once more.
Is it of advantage to the artist? What about the labels? Where can they still find their niche?
More importantly – the large cultural basis in creative business: How can non-established artists benefit from these changes in business?
Theme track BUSINESS MODELS is presented by MUSIKWOCHE.
An important issue to discuss is sustainability for artists.
How can we as a business create a sustainable ecosystem where artists can grow and make a living on a stable basis? How to make use of the unique opportunity to create new structures, goals and values based on the way that the reality we live in looks like? These are just some of the issues to be discussed - between label and artist, as well as from an analytical point of view.
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
The topic of Digital Distribution in music is a massive one. Meanwhile, it's rather a situation or state of time, not that much of a simple "topic". A separate conference on this would have been perfect. This session, however, goes about 90min.
When focusing Digital Distribution in terms of out-of-the-box solutions following a more commercial approach vs. DIY and Direct-to-Fan: What's important with services like BandCamp, Audiomagnet, Topspin, TuneCore, Nimbit? Which services can and must artists be provided with?
Also, can a DIY/D2F approach be the right one for everyone? Does it provide suitable tools for everyone? Is there anything special about DIY, D2F that commercial channels like iTunes, Napster, labels do not offer at all? In particular, it's worthwhile discussion what pros & cons there are compared to common distribution.
Yet another aspect in analysing distribution channels is the discussion that has arisen between Tom Silverman (Tommyboy Entertainment) and Jeff Price (TuneCore). No charts, no breaking – what does it take to become a „breaking artist“?
Do we need other scales than some charts measuring questionable figures of sales? Any artist selling his songs or maybe even giving them away for free on his site - where are these numbers? Why should he or she with several 10.000 downloads for free not be considered a "breaking" artist? And why are they preferring an independent presentation compared to a commercial platform?
Returning to digital distribution services themselves - are artists satisfied with how their work is presented and sold? Regarding browsing & searching - do current solutions support the customer?
Concluding it all, where is digital distribution heading to? Is there a tendency towards independent artists, acting on their own, taking over the market as entrepreneurs themselves?
What's the fall-out - and is there a life after digital distribution?
This session is hosted by .MUSIC.
Die GEMA präsentiert sich als moderne, transparente, für das digitale Zeitalter gerüstete Solidargemeinschaft der Musikschaffenden. Doch vermehrt wird die Kritik laut, sie habe sich zu einer untransparenten, undemokratischen, uneffizienten Zweiklassengesellschaft entwickelt. Genau das wird ihr in drei Petitionen vorgeworfen, über die mittlerweile der Petitionsausschuss des Deutschen Bundestages berät. Die Petenten Monika Bestle (Sonthofer Kulturwerkstatt), Wieland Harms (Komponist, Gitarrist) und Ole Seelenmeyer (DRMV) diskutieren mit GEMA-Repräsentanten über ihre Petitionen.
Session and theme track hosted by "MUSIKMARKT".
Music industries in Africa are morphing at a very fast pace. Although facing the same woes as the western music industry, less inertia leaves African music markets open to drastic change.
The rapid explosion of home studios throughout Africa has entirely changed the music landscape: access to music production is more democratic, but standards are still very uneven.
In most African countries, CD distribution has collapsed entirely, and is not compensated by any other form of distribution. Instead, piracy is not only rampant, but often encouraged, even by artists and producers themselves.
Corporate sponsorship is often the only way for an artist to realistically etch a living. In particular mobile carriers and beverage companies are playing an increasing role in music promotion, events and now actual music production.
Theme track ROLES & IDENTITIES presented by "MUSIKMARKT".
Rupert’s career spans more than 30 years and 120 albums, including 11 of his own as both writer and singer, and was asked to write the Foreword for Billboard’s 'The Encyclopedia Of Record Producers'.
His own entry states: "Few producers have worked with as wide a stylistic range of platinum-selling artists as Hine including Tina Turner, The Fixx, Howard Jones, Chris de Burgh, Rush, Bob Geldof, Stevie Nicks, Thomson Twins, The Waterboys, Kate Bush, Suzanne Vega, Teitur and Duncan Sheik.”
Rupert’s unique musical and artistic diversity has made him an authority on musical creativity and his forthcoming symposiums and workshops examine the totality of communication through song.
At all2gethernow, he speaks about his upcoming book dealing with the art of songwriting. The ability of being a songwriter and shaping an overwhelming and brilliant song from a good one - this ability might help a songwriter to become an excelllent producer.
And it's even more than that. Being a great songwriter is about what you tell and how you do it. It's about authenticity.
But, in 2010 - is there room for a perfect song? For the perfect song? What is music's value in 2010 anyway?
It's no secret. Germany is universally known as a 'tough nut to crack' for legal digital music services. But there is hope, with recently launched streaming sites like Simfy now surpassing one million users and beginning to expand into other markets like Switzerland. The question on most people's lips is will Simfy sink or swim? In this cross border exclusive for Popkomm and All Together Now, the CEO and founder of Simfy Steffen Wicker will explain the business model, milestones and how it approaches the tricky issue of licensing. In contrast to Germany, the UK has a more matured and diversified digital market which is almost twice the size of Germany, despite having a smaller population. PRS for Music has been licensing online services since 2002, long before iTunes and the Pirate Bay, and their chief economist Will Page will bring exclusive insights on Simfy, the economics of streaming music and trends in the digital music market from the UK and around the world, to help rights holders and users understand each other better.
Links: www.prsformusic.com/economics and www.simfy.com
Musik in anderen Medien zu verwerten wird angesichts der Vertriebsprobleme über Alben immer wichtiger. Neben Hörspiel, Film und Werbung wird eine Verwertung ihrer Arbeit im Computerspiel für viele Musiker zum immer wichtigeren Verdienstweg. Welche Herausforderungen hierbei auf die kreativen Prozesse zukommen, wie die Produktionsbedingungen aussehen und wie der Weg aus dem Computerspiel wieder zurück in die klassische Musikvermarktung über Alben aussehen kann, präsentieren und diskutieren renommierte Medienmusiker aus unterschiedlichen Feldern. Ein Vollzeit-Komponist, ein Projektmanager, ein Techniker (tbc) und ein Geschäftsführer sind eingeladen, ihre Erfahrungen zu teilen und einen Blick in die Zukunft zu wagen.
This session is hosted by MEDIENBOARD BERLIN-BRANDENBURG.
Theme track MEDIA & TECHNOLOGY presented by AMIANDO.
Langfristig relevante und somit wirtschaftlich erfolgreiche Künstler benötigen Zeit um ihre Karriere und ihre Werke zu etablieren. Ein Ansatz hierfür ist die langfristige Planung auch auf der Seite derer die diese Rechte erwerben. Das verlegerisch handelnde Prinzip lässt sich ausdehnen auf die Masterrechte wenn es darum geht Werthaltigkeit zu schaffen und ist durchaus im Einklang mit einer sich verändernden Landschaft in der Nutzung der gebündelten Rechte sowie deren Vergabe. Künstler und Managements werden immer unabhängiger und treiben ihre Karrieren in einem weitaus höheren Masse voran als noch vor wenigen Jahren. Ein partnerschaftlicher Ansatz zeichnet sich durch wirtschaftlich sinnvolle Investitionen auch langfristig aus.
Theme track ROLES & IDENTITIES presented by "MUSIKMARKT".
This session is hosted by .MUSIC.
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
The risks and opportunities that technological change has brought to the music industry are also being faced by software manufacturers. Both industries have made their experiments and experiences with changing distribution channels, Digital Rights Management, new licensing models, piracy and other aspects of the online revolution. What are the similarities, and the differences, in bringing music and software to the masses in 2010 and beyond? Can both industries learn from each other, and which integrative business models lead the way?
Theme track BUSINESS MODELS is presented by MUSIKWOCHE.
One of the most basic questions in business: Do artists need a label any more? And if so, what is the labels' role? In times of ticketing services, TV networks and even Starbucks (albeit unsuccessfully) starting their own distribution – can labels compete with outsourcing and diversification?
This session is hosted by BELIEVE DIGITAL.
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
Muss sich die Musikindustrie nach Piraterie und Umsatzrückgang jetzt auch noch ein grünes Gewissen leisten? Welche Herausforderungen, Risiken und Chancen ergeben sich in der Auseinandersetzung mit dem Klimawandel? Wie Grün kann und soll die Branche werden?
The theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
In Zeiten der 360-Grad-Modelle ist es eine Binsenweisheit: Künstler werden heute nicht nur über ihre Musik vermarktet, sondern sind längst zu Markenartiklern geworden. Aber was sind die rechtlichen Grundlagen, um sich hier als Künstler oder Label optimal aufzustellen? Muss der Bandname geschützt werden? Was ist der Unterschied zwischen Firmenname und Marke? Muss ich als Label Marken anmelden, und wo? Welche Formen von Merchandising gibt es, und was ist bei der Vertragsgestaltung zu beachten? All diesen Fragen soll auf dem Panel nachgegangen werden. Im ersten Abschnitt geht es um Kennzeichen, also Namen, Firmen, Marken und deren Schutz. Der zweite Abschnitt ist dem Thema Merchandising gewidmet.
This session is hosted by BOEHMERT & BOEHMERT und MEDIA.NET BERLINBRANDENBURG e.V.
Music and brand cooperation is widely spread and applies for a wide basis.
But what's Brand Entertainment? Just some nice package or serious - and fruitful - business? How do brands and composers benefit? Is it just some new tag for sponsoring, or do we find a whole new concept developed for today's needs?
If we find Brand Entertainment to be a successful new form of business... what's the next step in evolution?
This session is hosted by TRACKS & FIELDS.
If we move on, the next step in technology is obvious: real-time web (aka Web 3.0).
Which trends in music will there be due to real-time web? Is Web 3.0 going to be a source of all new concepts in music? Which extensions will we see in music software
What is going to change? Creating, performing, distributing, marketing, consuming?
This session is hosted by TAPE.TV.
Theme track MEDIA & TECHNOLOGY is presented by AMIANDO.
What is the challenge in artist management today? Imagine you're Amanda Palmer's manager – what's left to do? What comforts a DIY artist best? What do you recommend to young striving artists? Is hitting the charts the right motivation to make music? Most of all – now, that being signed can't be the one and only aim... what to go for today?
Theme track ROLES & IDENTITIES presented by "MUSIKMARKT".
In this conversation, YouTube's Patrick Walker and Techdirt's Mike Masnick will discuss the state of music videos online today, with a look at some of the important questions being raised about collective licensing around the world vs. new business model opportunities, along with a look at communities, connecting with fans through video and some of current events in the news about online music.
This session is hosted by .MUSIC.
The US remains biggest entertainment market in the world - yet, that's not reflected by presence of EU labels. But what is required to be successful for European rights holders? How to enter by physical & digital distribution? Most of all - how do I make it to the live market, let alone manage to reign?
This session is hosted by !K7 RECORDS.
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
Was brauchen Musiker um kreativ arbeiten zu können? Welche Strukturen
unterstützen die verschiedenen Akteure der Musikwirtschaft? Angefangen
von Arbeitsverhältnissen und Einkommen, über Plattformen und Netzwerke,
bis zu Gentrifizierung und Stadtentwicklung ist das aufgesteckte Feld
ein Breites. Mehr Geld kann jeder brauchen, aber welche Fragen tun sich
jenseits der direkten Förderung und Finanzierung auf? Welche
Rahmenbedingungen können eine nachhaltige Musikwirtschaft fördern?
Welche Rolle spielt die Politik? Was funktioniert und was nicht? Was
möchten wir ändern?
In die Diskussion werden Berichte aus dem all2gethernow Camp einfließen.
Session hosted by KOMPETENZZENTRUM KULTUR- UND KREATIVWIRTSCHAFT DES BUNDES.
Theme track POLITICS & CULTURE is presented by ZEIT ONLINE.
A music startup's hardest test includes two closely tied tasks: licensing and (anyway) generating profit. What do costs and business model of online platforms look like? Realistically, how high can stakes of labels and artists be? Where's the limit for startups? Which winnings are best for labels – marketing at zero cost or licensing? What can the user bear? Might/can/must use of services be paid for? If so, how much?
Die wohl härteste Prüfung jedes Musik-Startups besteht aus zwei verknüpften Aufgaben: Lizenzierung und (trotzdem) Gewinne generieren. Wie gestalten sich Kosten und Geschäftsmodell eines Internetportals? Was kann realistisch als Beteiligung für Labels und Künstler angesetzt werden? Wo liegt die Schmerzgrenze der Startups? Wo liegt der beste Gewinn Labels – Marketing zum Nulltarif oder Lizenzierung? Was akzeptiert der User? Darf/kann/muss die Benutzung einen - und wenn ja, welchen - Beitrag kosten?
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
Just Temptation will support a panel discussion with international speakers about the business side of soundtracks at the all2gethernow congress in Berlin. What makes an artistically and commercially successful soundtrack? What are the differences in the American and European soundtrack production? What is there to know about soundtrack financing, copyrights and marketing of scores and soundtracks? What are the possibilities of cross-media exploitation?
Confirmed speakers include composer team Johnny Klimek and Reinhold Heil and Thierry Baujard (Just Temptation), moderation by Michael P. Aust (Soundtrack_Cologne)
The panel aims at music industry audience and attending film and content producers, directors and composers.
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
