Kernthemen:
- Die Rahmenbedingungen für Geschäftsmodelle für digitale Güter aller Art waren nie besser.
- Ökonomischer Hintergrund.
- Strategische Konzeptionierung von Geschäftsmodellen.
- Aufmerksamkeitsökonomie.
- Ausblick.
Theme track BUSINESS MODELS presented by MUSIKWOCHE.
Veranstalter und Veranstaltungsorte sind zentrale Akteure im
Musikgeschäft, zumal bei zunehmender Bedeutung des Live Geschäfts, sowie
eine Stadt und Szenen prägende Kultureinrichtungen. Gleichzeitig sind
sie oftmals von ihrer Rolle her das letzte Glied in der Kette, und den
Bedingungen von Agenturen einerseits und Stadtverwaltung andererseits
untergeordnet. Wie kann man die Rolle der Veranstalter besser gestalten?
Welche Verbesserung von Rahmenbedingungen und Kooperationen sind nötig?
Theme track ROLES & IDENTITIES is presented by "MUSIKMARKT".
On music production and the proliferation of music tools in Africa.
Theme track BUSINESS MODELS is 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.
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".
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
This session is hosted by .MUSIC.
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.
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.
