New Business Models in the Recording Industry: an Artist's
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Katie Goldberg
K A T I E G O L D B E R G E X P E R I E N C E TICKETING MANAGER FOR GLOBAL TOURING AEG PRESENTS | JAN 2019 - PRESENT Act as liaison between promoter, artist team, and theater/arena box office staff; communicating on-sale timelines, pricing, scaling, and all necessary tour holds, and validating that each show of 50+ date tours are set up correctly based on all guidelines Monitor ticket holds, track sales, and project future sales for all dates of various theater and arena tours in the United States and Canada, including Maggie Rogers, C O N T A C T Morrissey, Nick Cave & The Bad Seeds, and JoJo Siwa (410) 227-0296 Coordinate with all internal and external tour partners for all operational ticketing aspects including fan club [email protected] and VIP packages, presale offers, Platinum, and internal HTTPS://WWW.LINKEDIN.COM/IN/KATIE- sales and guest lists. GOLDBERG/ TICKETING ASSISTANT THE BOWERY PRESENTS | JUN 2018 - JAN 2019 Manage ticketing for Rough Trade NYC and Music Hall of S K I L L S Williamsburg, including building events, coordinating Microsoft Office Suite with booking, marketing, and venue contacts, creating AXS, Ticketmaster, and and processing all holds and buys, and communicating Paciolan ticketing systems guest lists with general managers and record label or Customer service artist management contacts Time management Compile and distribute ticket counts reports for all venues in The Bowery Presents North East division MARKETING AND MANAGEMENT INTERN CRUSH MUSIC | JAN 2018 - MAY 2018 E D U C A T I O N Manage SubmitHub submissions (earning over $1,000 in BACHELOR OF SCIENCE, MAJOR one month) IN BUSINESS ADMINISTRATION, Compile social media statistics on monthly basis for 17 MINOR IN COMMUNICATIONS artists and bands DELAWARE VALLEY UNIVERSITY Compile press reports on new releases by artists, 2012 - 2016 compile reports for artist managers, proof ad-mats and GPA: 3.9 other marketing tools, observe social media for marketing team during new releases. -
The Future of Copyright and the Artist/Record Label Relationship in the Music Industry
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Saskatchewan's Research Archive A Change is Gonna Come: The Future of Copyright and the Artist/Record Label Relationship in the Music Industry A Thesis Submitted to the College of Graduate Studies And Research in Partial Fulfillment of the Requirements for the Degree Of Masters of Laws in the College of Law University of Saskatchewan Saskatoon By Kurt Dahl © Copyright Kurt Dahl, September 2009. All rights reserved Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Dean of the College of Law University of Saskatchewan 15 Campus Drive Saskatoon, Saskatchewan S7N 5A6 i ABSTRACT The purpose of my research is to examine the music industry from both the perspective of a musician and a lawyer, and draw real conclusions regarding where the music industry is heading in the 21st century. -
Top 20 Music Tech Sites and Devices
Top 20 Online Music Websites for 2020 • 6:30pm – 7:30pm log in and participate live online audience Go To: https://kslib.zoom.us/j/561178181 The recording of this presentation will be online after the 18th @ https://kslib.info/1180/Digital-Literacy---Tech-Talks The previous presentations are also available online at that link Presenters: Nathan Carr, IT Supervisor, of the Newton Public Library and Randy Pauls Reasons to start your research at your local Library http://www.districtdispatch.org/wp-content/uploads/2012/03/triple_play_web.png 1. Protect your computer • A computer should always have the most recent updates installed for spam filters, anti-virus and anti-spyware software and a secure firewall. http://cdn.greenprophet.com/wp-content/uploads/2012/04/frying-pan-kolbotek-neoflam-560x475.jpg Types of Music Websites Music Blogs/Magazines/Forums: Talk about music. Formats, Artists, Styles, Instruments, Histories, events etc. Music Databases: Look up information about music related topics Pay Music Download Websites Free Music Download Websites P2P Music Download Websites Music on Demand Sites Online Music Broadcasts Making online music Live Music Event Promotion/Ticket Sales Music Blogs/Magazines/Forums: Talk about music. Formats, Artists, Styles, Instruments, Histories, events etc Blogs Magazines Forums Histories https://www.mi.edu/in-the-know/11-music-blogs-follow-2019/ http://www.tenthousandhoursmusic.com/blog/top-10-music-publications https://www.hypebot.com/hypebot/2019/09/6-great-online-music-forums-to-visit-when-youre-caught-in-a-jam.html -
The Platformization of the Music Industry
The Platformization of the Music Industry A Case Study of Bandcamp Student name | Tobias Nicolaus Student number | 6508766 E-mail address | [email protected] Supervision | dr. Ingrid Hoofd, assisted by dr. Mirko-Tobias Schäfer Word count | 10017 Date | 10.05.2019 Abstract Today’s landscape of music consumption is increasingly dominated by streaming platforms such as Spotify or Apple Music. Their rise to popularity has not only impacted listening habits of individuals, but also the music industry as a whole. As discussed in popular as well as academic discourse, digital music platforms afford artists and listeners a variety of new opportunities, but can also be restrictive in certain aspects. This study focuses on the platform of Bandcamp which occupies a position on the fringes of the music industry. By outlining the political economy of the music industry and utilizing Actor-Network theory, Bandcamp’s claims of being an alternative platform that values artists and listeners above profit will be critically evaluated. The results of the research show that the platform stays true to its promise in some ways while contradicting it in others. Additionally, insights about the application of Actor-Network theory to the study of digital platforms will be drawn from this study as well. Keywords Creative industries, Music consumption, Bandcamp, Actor-Network Theory, Platformization Table of Content Introduction ............................................................................................................................. -
Radio Airplay and the Record Industry: an Economic Analysis
Radio Airplay and the Record Industry: An Economic Analysis By James N. Dertouzos, Ph.D. For the National Association of Broadcasters Released June 2008 Table of Contents About the Author and Acknowledgements ................................................................... 3 Executive Summary....................................................................................................... 4 Introduction and Study Overview ................................................................................ 7 Overview of the Music, Radio and Related Media Industries....................................... 15 Previous Evidence on the Sales Impact of Radio Exposure .......................................... 31 An Econometric Analysis of Radio Airplay and Recording Sales ................................ 38 Summary and Policy Implications................................................................................. 71 Appendix A: Options in Dealing with Measurement Error........................................... 76 Appendix B: Supplemental Regression Results ............................................................ 84 © 2008 National Association of Broadcasters 2 About the Author and Acknowledgements About the Author Dr. James N. Dertouzos has more than 25 years of economic research and consulting experience. Over the course of his career, Dr. Dertouzos has conducted more than 100 major research projects. His Ph.D. is in economics from Stanford University. Dr. Dertouzos has served as a consultant to a wide variety of private and public -
The-DIY-Musician's-Starter-Guide.Pdf
Table of Contents Introduction 1 - 2 Music Copyright Basics 3 Compositions vs. Sound Recordings 4 - 5 Being Your Own Record Label 6 Being Your Own Music Publisher 7 Wearing Multiple Hats: Being Four Income Participants 8 - 12 Asserting Your Rights and Collecting Your Royalties 13 - 18 Conclusion 19 Legal Notice: This guide is solely for general informational purposes and does not constitute legal or other professional advice. © 2017 TuneRegistry, LLC. All Rights Reserved. 0 Introduction A DIY musician is a musician who takes a “Do-It-Yourself” approach to building a music career. That is, a DIY musician must literally do everything themselves. A DIY musician might have a small network of friends, family, collaborators, and acquaintances that assists them with tasks from time to time. However, virtually all decisions, all failures, and all successes are a result of the DIY musician’s capabilities and efforts. Being a DIY musician can be overwhelming. A DIY musician has a lot on their plate including: writing, recording, promoting, releasing, and monetizing new music; planning, marketing, and producing tours; reaching, building, and engaging a fan base; managing social media; securing publicity; and so much more. A DIY musician may hire a manager and/or attorney to assist them with their career, but they are not signed to or backed by a record label or a music publishing company. Just three decades ago it was virtually impossible for the average DIY musician to get their music widely distributed without the help of a record company. While some DIY musicians were successful in releasing music locally and developing local fan bases, widespread distribution and reach was hard to achieve. -
How to Share Your Release with the World
MusicNSW’s Industry Essentials How to share your release with the world Prepared by GYROstream for MusicNSW Did you know more than 22,000 songs are uploaded to streaming services every day? Getting your music online can seem like a complicated task. It doesn’t have to be though. Below are some tips and tricks to help you navigate the best distribution path for you and your new tunes. What are digital music aggregators / distributors? Digital aggregators (also known as digital distributors) are companies that provide a means to distribute your music globally through digital music stores and streaming platforms. You can’t just upload a track directly to Spotify or Apple Music and have it streamed globally, you need to use a digital music aggregator. If you’re signed to a label, it’s more than likely they’ll distribute your music to Spotify, Apple, iTunes, YouTube Music and more for you, but if you’re independent, you can have exactly the same access to these platforms by using a digital aggregator. Aggregators make their money by charging upfront fees and/or charging a percentage of revenue earned from the streaming and download purchases of your music. In some cases, aggregators will also charge an ongoing annual fee to keep your content online. Who do they distribute to? Nearly all distributors will get your music to Apple, Spotify, Deezer, Youtube (ie. the major western platforms), which together cover a large portion of music listeners worldwide. Where things might differ is for the highly localised services that cater to their specific regions - eg. -
Tokenize the Musician
Tokenize the Musician Stanley Sater* I. INTRODUCTION ................................................................................. 107 II. THE MUSIC INDUSTRY ...................................................................... 110 A. Control Concentrated Among the Few ............................. 110 B. A Record Label’s Deal ..................................................... 110 III. FINANCIAL INSTRUMENTS AND ECONOMICS ................................... 113 A. The Music Industry’s First Asset-Backed Security ........... 113 B. Blockchain Tokens: A New Financial Instrument ............ 114 1. The Economics of Blockchain Tokens ........................... 118 2. Initial Coin Offerings ...................................................... 119 IV. TOKENIZING THE MUSICIAN ............................................................. 120 A. Gramatik: The Tokenized Musician ................................. 122 B. Regulating ICOs ............................................................... 123 V. CONCLUSION .................................................................................... 128 I. INTRODUCTION The centralization of the music industry has led to an imbalance of power and misaligned incentives for those involved.1 With technological advancements, the cost of both creating and distributing music is negligible compared to prior decades.2 Musicians can connect directly to fans, yet major record labels retain their domineering status as middlemen, extracting exorbitant fees from this content exchange.3 As record sales -
Record Label Account for Music Video Airplay Streaming Music Television Is the New #1 Name in Music
Record Label Account for Music Video Airplay Streaming Music Television is the New #1 Name In Music. We are media technology combined with the most successful social media powerhouse which allow their music loving users to sign-in with a viewer account and watch Streaming Music Television 24/7 with friends online, or mobile on the go. Viewer accounts can now stream our Music Television Network via • StreamingMusicTV.com • Apps.facebook.com/StreamingMusicTV (on Facebook from computers only) • Android & IOS app during Phase II • On Apple TV, Google TV, PlayStation & Xbox during Phase III Accounts For Music Video Airplay Lifestyle Branding Artist Promotions Music Video Placement Streaming Music Television With your label account, you will have access to the following Unlimited Music Video Your Music Videos Aired Submissions For Airplay On SMTV Shows An ABC Creative Customized Google Ads Consulting Agent Campaign Options via Assigned To Work With TatianaAgency.com Your Account Needs SMTV Video Music Award Customized Editorials & Nominations Eligibility Interviews Coordinated Streaming Music TV's Main Program Each Week Streaming Music Television Streaming Music TV's Signature Countdown Providing Viewers With HOURS Of Features Music Videos As "What's Hot This Program Provides Viewers With The 10 Best Back-To-Back Jams From The Hottest Week". These Music Videos Airing Are Brand Video Releases Each Week. Viewers See Who Artists In Pop, Hip-Hop And R&B. NEW Music Videos, Exclusively Promoted. Makes The Top 10 & The # 1 Spot! What's HOT Worldwide Highlights The Hottest Items or This Unique Show Allow Our Viewers To Vote On Music Videos in rotation. -
Tunecore Partners with Facebook for Launch of Independent Artist Program
TuneCore Partners with Facebook for Launch of Independent Artist Program TuneCore artists will have the option to make their music available across Facebook and Instagram products for free Visit the Facebook Independent Artist Program HERE BROOKLYN, June 16, 2021 – Facebook is now making it easier for independent artists and creators to share their music across Facebook and Instagram by launching the Facebook Independent Artist Program. Leading independent DIY digital music company TuneCore is a distribution partner for the launch of the new program. Through TuneCore, owned by leading global digital music distributor, Believe, independent artists will be able to distribute music on Facebook and Instagram for free. This expanded partnership with Facebook offers artists more opportunities to connect with fans around the world and be the soundtrack to people’s social experiences. TuneCore’s elevated status as a preferred distribution partner with Facebook’s Independent Artist Program makes it easy for independent artists to sign up with TuneCore and distribute their music everywhere Facebook offers a music library, free of charge, including in Stories and Reels. Artists will be able to upload their music to TuneCore via an easy music delivery process and get paid every time their music is used to create content across Facebook and Instagram products. Stated Andreea Gleeson, Co-head and Chief Revenue Officer, TuneCore, “These days we are seeing a leveling of the playing field as discovery is happening via social media and no longer solely dependent on industry executives and DJs handpicking hits. With the popularity of short form videos, Facebook Stories and Instagram Reels are two important platforms on which fans are finding songs and artists, with careers being made when songs go viral. -
Final Copy 2019 01 31 Charl
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Charles, Christopher Title: Psyculture in Bristol Careers, Projects and Strategies in Digital Music-Making General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Psyculture in Bristol: Careers, Projects, and Strategies in Digital Music-Making Christopher Charles A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Ph. D. -
The Audio Commons Initiative and the Technologies for Facilitating the Reuse of Open Audio Content
The Audio Commons initiative and the technologies for facilitating the reuse of open audio content Xavier Serra Music Technology Group Universitat Pompeu Fabra, Barcelona http://audiocommons.org Outline • Introduction • AudioCommons project presentation • The Audio Commons Ecosystem • Relevant state of the art • AudioCommons project tasks • Conclusions 2 3 Introduction: Motivation • Creative Commons audio content has a huge potential for reuse which is not being exploited by the creative industries. – Limited understanding of CC licenses. – Content scattered. – Content not properly labeled, unstructured. – Lack of tools for seamless integration. 4 Project presentation: goals • Promote publication of AC content and foster its reuse. • Develop open technologies to support publication and reuse of AC content. • Develop open technologies for the semantic annotation of AC content. • Bootstrap the Audio Commons Ecosystem (ACE). • Define standard procedures for joining the ACE. 5 Project presentation: consortium • Academic partners: • Industrial partners: 6 The AudioCommons Ecosystem 7 AudioCommons initial content 300k sound samples 470k music pieces 8 Relevant state of the art • Availability and access to CC audio content. • Licensing procedures for CC audio resources. • Semantic representation of sound and music. • Semantic annotation of sound and music. • Production tools supporting CC audio. 9 Availability an access to CC audio content • Few CC audio content sites with APIs (e.g. freesound.org, jamendo.com, …). • Limited access due to lack of high quality and unified metadata. • No unified access mechanism for APIs (APIs have different specifications). • Inadequate content retrieval tools. • CC audio content not frequently used in professional environments. 10 Freesound 11 Freesound API • Browse, search, and retrieve sounds and information about them.