So you are an artist. Writing brilliant songs. Yet, nobody buys physical media anymore. Actually, there's so much brilliant music out there for free - which means, no money from listeners the easy way around.
That's why you are told to go DIY. To get your revenues from other sources. Meaning to license with commercial partners. In commercials, games, TV and movies. Sounds good.
But how to identify whom to contact? How do I present my music? Where? What's the best way - writing commissioned works or licensing original songs?
What exactly is the newcomers starter package in commercial licensing? Any guidelines to follow? Apart from that, is it better license my songs with a collecting society first or does Creative Commons maybe work better? Is there any consistent workflow?
Finally, what differences are there for artists vs. composers approaching licensed music?
"Ownership is not as important as it once was. Very likely, in the near future, I won’t “own” any music, or books, or movies. Instead I will have immediate access to all music, all books, all movies using an always-on service, via a subscription fee or tax. I won’t buy – as in make a decision to own — any individual music or books because I can simply request to see or hear them on demand from the stream of ALL. I may pay for them in bulk but I won’t own them. The request to enjoy a work is thus separated from the more complicated choice of whether I want to “own” it. I can consume a movie, music or book without having to decide or follow up on ownership"[Quote: Kevin Kelly]
Is this really where we are heading to? And when? The reality right now is, when we leave our wifi zone, we need to go back to listen to the stuff we own, we bought or just simple: we have stored on our harddrives / CD's. How long will it take until we could get anything from the cloud? What is the state of the art? In this session its not about ranting about GEMA or majors. Of course, it's important to show the current status. But we would like to give a more wider future perspective and to show the effect of streaming possibilities to overall sales (360° models).The discussion should also include the "utopia" of selling products with other models like micropayment and pay where you want and how you want on every platform. Thesis: We would spend much more money if we just had the possibility.
The idea behind this presentation/panel is to present tools which are helping artists and labels to create a digital strategy and buzz for their releases. In times where pure availability is not enough anymore this presentation with an additional panel will help to get ideas on certain tools which are helping to get yourself heard in the digital jungle. The panel will feature experts who are going to cover the perspectives of artists, labels, bloggers and users.
This session is hosted by FINETUNES.
Der Workshop richtet sich an Einsteiger_innen, die bereits Interesse an Twitter haben und einen Einstieg in die Charakteristika des Microbloggings suchen. Anhand von anschaulichen Beispielen aus der Musikbranche werden hilfereiche Tricks und Tipps vorgestellt um Twitter mit
nützlichen Werkzeugen geschickt zu nutzen und typische Fehler zu vermeiden. Ferner sollen mögliche Regeln im Workshop erörtert werden und die diversen Verknüpfungsmöglichkeiten von Twitter mit anderen digitalen Kommunikationswegen andiskutiert werden.
Wir alle assoziieren Marken mit bestimmten Melodien, Jingles oder Audiologos. Doch was so einfach klingt, ist zumeist das Ergebnis eines langen Prozesses. Komponist Christian Wilckens ist Gründer und Mitinhaber der erfolgreichen Produktionsgesellschaft krueger-wilckens und betreut so namhafte Kunden wie u.a. Deutsche Telekom, Targobank, Tchibo und Merci. Zudem ist er Vorstandsmitglied des Composers Club und sitzt im Aufsichtsrat der GEMA.
John Groves ist Inhaber von Groves Sound Communications und ein „alter Hase“ der Branche. Er ist seit den 90er Jahren einer der führenden Experten für Audio-Branding und Markenklang und hat – genau wie Christian Wilckens – bereits unzähligen Marken eine unverwechselbare akustische Identität gegeben. Beide geben Einblicke in ihre Arbeitsweise, Kundenerwartungen, Trends und die „geheime Verführung des Konsumenten“.
This session is hosted by THE GAP BETWEEN.
Die Deutsche Telekom verfügt nicht nur über das bekannteste deutsche Soundlogo, sondern nutzt den Kommunikationskanal Musik seit mehreren Jahren sehr erfolgreich, z.B. im Rahmen der eigenen Musikprogramme wie „Telekom Streetgigs“ oder „Electronic Beats by Telekom“ mit einem 360° Ansatz und eigenen Branded Content wie das „Electronic Beats Magazine“ und der DVD-Reihe „Slices“.
MySpace ist die weltweit führende Social Media Plattform für Musik und entwickelt zahlreiche musikbasierte Kampagnen für verschiedene Marken, so z.B. jüngst die sehr erfolgreiche Kooperation mit Samsung „DJ YOUR LIFE“ oder das „Uni Band Battle“ in Zusammenarbeit mit O2.
Ralf Lülsdorf, Leitung International Sponsoring der Deutschen Telekom, und Joel Berger, Geschäftsführer MySpace Deutschland, diskutieren über die Bedeutung von „Musik als Erfolgsfaktor für Marken“. Welche Zielgruppen erreicht man mit Musik, wie sehen die Erfolgsrezepte aus und was können Marken für Musikschaffende leisten (und umgekehrt)?
This session is hosted by THE GAP BETWEEN.
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 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.
Sector mechanisms to reward investment in talent and try and reduce the competition imbalance between the big and the small are almost common practice in many sports such as football. Experts from sport and music discuss the possibilities of adapting these solidarity mechanisms and talent development 'transfer fees' to the music sector.
This session is hosted by IMPALA.
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.
