Music Conferences provide numerous possibilities to make business, network and discuss with your colleagues, share knowledge with your peers and discover new talents and industry trends – so they say. But do Music Conferences really provide added value and do they fulfill what they promise? What are the reasons for the increasing amount of conferences all over Europe?
Finally. Editing of videos, compiling all material and statements took more time than expected. But it's - almost - done. Unfortunately, most statements are available in German only. Yet some of the sessions were held in English. One video I'm sure you will enjoy: Amanda Palmer live at Münze Berlin (almost 80 minutes).
First of all, don’t moan how much you have to pay. Others share your problem as you can see. It’s only the dimensions which are different. Btw, any software company is working on several projects simultaneously. Otherwise the risk of failed sales negotiations is too high. Secondly, clever companies selling high quality can find people willing to invest.
If talking to independent musicians about the benefits of distributing content for free you most certainly will come across four arguments in monolithic defense: (1) I paid too much in creating this to give it away for free. (2) Free distribution is beyond control. (3) How am I supposed to pay my rent? (4) Free doesn’t work. This article deals with all of them.
Is this provocative to ask? Well, yes. No. Depends on. Nobody has the skills to be creative in every field. Or is there a sculptor in your band who is perfect in weaving tapestries, writing scripts for plays at the Old Vic, and at the same time artfully handling his stock shares himself and piling up his riches at the Caimans?
I intended to start out with suggestions in DIY marketing for artists today. Then Amanda Palmer posted her response to the feedback her posting on donations generated. Read her response. It is essential and the basics to everything I can tell you. Some of it she already mentioned at Berlin's all2gethernow. For all those who don't have the time I'm going to highlight some parts.
It's been some time now but the most striking thing I remember about The Bony King of Nowhere is… sounds. It captured me right from the beginning… and Bram's voice is deeply emotional and haunting at the same time. Love it. Sometimes, there's a reminiscence of Radiohead minus electronics. So it's even no wonder he took his project's name from a subtitle of a Radiohead song.
I think it's worthwhile mentioning again that there are at least two significant differences etween GEMA and US collection societies: GEMA is the only collection society in Germany. Its factual monopoly is acknowledged. Members of GEMA strictly are not allowed to license some works with GEMA while others are licensed under Creative Commons for instance. All works you are creating during your membership solely are managed by GEMA.
I decided to change the content design of ContentSphere quite a bit. Previously, articles have been long. Some very long. Others… well, think of the Chinese Wall. The disadvantage is, the longer the articles are the less frequent there's a new posting.
The concept was to create an event for the creative people. For consumers. For social media geeks. For IT people. For anyone whose interested in discussing the changes in music and culture. It was intended to be a convention for anyone to collectively work on the current situation - all2gethernow. It's great to get people from different sides talking to each other.