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.
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.
This session is hosted by .MUSIC.
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.
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.
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.
