At this year's Midem, Mike Masnick from Techdirt gave a presentation focused on how Trent Reznor/NIN is doing music business. It is worthwhile watching the video. Masnick's accompanying article can be found here. You will find additional comments there. Unsurprisingly, there are some issues mentioned which might be familiar if you read my previous articles on here.
Tag / music business
The full programme featuring seven theme tracks can still be found online. We are working on the documentation right now and got some marvellous feedback. Taking place for the second year now, the Berlin music conference has changed its face in many ways. There are some issues to work on, some new concepts to keep, and a few ideas from 2009 which should be revived.
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.
This whole GEMA (Germany's collections society) apparatus of rules, conditions and rates really is complex. If I get anything wrong - be it either to GEMA's advantage or disadvantage - please tell me and I'm going update my article. Email me or simply post a reply below. I gladly will stand corrected. I don't know what it looks like with ASCAP et al. - I can't imagine it to be worse than here.
At SIIA Industry Summit 2009, Pearson CEO Marjorie Scardino described the framework for Financial Times' digital and pricing strategy. Scardino, stressed the difference between generic content such as news and the value Financial Times provides by quality analysis. Apart from the brand value, it is in particular the supplier generated extra content which defines the product's market value.
It was in March 2008 when Warner Music Group hired business veteran Jim Griffin to develop a new business model to build upon. In early December, the result hit the public. Selected universities were approached to prove if the business model would work: Students would pay a small fee, and in return they were allowed to access and download all music available via internet for free - legally.
What remains to be a constant in music business? There’s the product, which includes performance & composition. It’s the artists, or more generally speaking, the creative bunch. On the other side of the story we’ve got the consumer. Then there’s kind of a middleware - let’s call it the platform of distribution, no matter how many third party companies are involved (if any).