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Great is overplaying it, but it was certainly a Good Escape. Not only did this year’s event appear to be more of a takeover than Brighton than ever, with local cabbies even getting into the spirit of recommending bands, but the festival finally overtook the Steve McQueen film in the Google rankings…
This think tank debate will compare traditional and evolving commissioning models for composers and producers of music for advertising and television. From production music libraries to media content producers and publishers, this session will examine what’s changing (and why), and consider the impact on music creators in this highly competitive sector.
This month’s editorial takes a long-overdue look at the live business. No surprises that one of the themes of this year’s ILMC conference was the recession, and this was borne out by headlines in Music Week a fortnight ago revealing a 15% drop in attendances at the National Arenas Association venues during 2008.
Launching at MusicTank's think tank debate on sustainability, environmental coalition Julie's Bicycle will unveil a unique initiative providing grants to help music companies with carbon audits, training and tools for sustainable energy management. Many music organisations have made great strides in cleaning up their acts but, as we lumber through this recession, how many green initiatives will be sidelined by cost cutting measures? Many will argue that we can’t afford to go green, not just yet at any rate. This evening’s debate will sort fact from fiction and examine what sustainability measures are financially sustainable at this point in time.
Whether using YouTube, Spotify, MySpace or any number of other sites that offer free streaming, that initial wonder at being able to instantly listen to nearly any track you might want to has already begun to fade as streaming music becomes just an accepted part of our cultural lives.
Since we finished our file sharing series back in December, it seems barely a day goes by without a new development in the digital music business. As ever, each silver lining comes with its own cloud attached so the news isn't all entirely positive; still it wouldn't be the music industry if it wasn't always heading off in completely different, often contradictory directions.
"It shouldn't be the job of government to prop up industries that are unwilling to evolve" said Simon Persoff, Director, Legal and Regulatory, Orange UK, speaking at our final event in our "Let's Sell Recorded Music!" series. In the light of the past week's events with Pinnacle and EUK in administration, HMV posting more losses and the vultures circling the stricken Zavvi chain you could argue that it is not evolution but revolution that is on its way.
The grand finale of the series cuts to the main issue to surface throughout this discussion strand: does the future of digital music sales lie in licensing proprietary music services or with open systems that somehow utilise P2P?
The fourth and last of the series, this think tank will draw together conclusions from the series and scope possible areas for consultation, research and development. It will also pose the following pressing question: Does the future of digital music sales lie in licensing proprietary music services or with open systems that somehow utilise P2P?
This 3rd session of the series considers what might be the best way to license new digital services and whether or not a collective approach is indeed desirable or plausible?
It was round two of MusicTank’s series of file sharing debates last week and yet again we saw that, where digital music is concerned at least, take any two people from the music business and you’ll end up with three opinions. Kicking off proceedings and soon to become the focus of much of the evening was Jim Gelcer, CEO and Co-Founder of Harvard start-up Noank Media. Flying in from Toronto, Jim made full use of his air miles with a considered sales pitch for his new service; one he believes could solve many of the music industry’s woes.
The second in a four-part series, this panel will look at what is becoming technically feasible and what might be the best blue-sky model for the UK, while considering the needs and perspective of ISPs and mobile platforms.
The second of a four-part series, this session considers technology's limitations and capabilities to filter, deliver and monitor digital traffic as well as consider the potential of current, legitimate P2P platforms.
What do music consumers actually want from legal digital distribution and how does this tally with the status quo and raft of new services in various stages of development or launch?
Years before the internet broke the system, the big distributors, Total, TEN and the like, which offered the main routes into retail, were owned by the majors, with a handful of others such as Vital and 3MV while it lasted, maintaining their independent status. The early noughties, characterised by denial and the failed big business initiatives PressPlay and MusicNet, led to the keys to the van falling in the hands to iTunes, who did a great job kicking-starting the download market.
The map is changing again and this time the terrain is an ad-funded, socially networked wild west whose development is altering the course of the business. Deals are coming ten to the dozen, with lawyers at the big four and Merlin working all hours to close them. But there are causes for concern.
If you needed any more proof that for consumers the music-buying horse had long bolted, Anna Goss’ bald statement of fact "Get over it (filesharing), it’s getting boring now" at July’s MusicTank Millenials event should have nailed the point home. Here we had a bright, articulate girl with enough interest in the music business to attend a discussion on its future, seeing little reason to pay for a majority of the music she listens to. You can imagine the opinion of your average rat-faced hoodie listening to tinny dubstep on the back of the bus.
The big news last week was the signing of a government brokered Memo of Understanding between the BPI, the UK’s six largest ISPs – representing some 90% of UK internet connections – and the government and film industry. While most of the headlines focused on whether the letters being sent would curtail filesharing, that seems to be missing the point a little - most stakeholders agree the real solution is not the stick but the carrot of decent legal alternatives, and beyond the ISPs’ acknowledgement of their responsibilities, and indeed the letters themselves, the real hope is that this Memo will help to create and environment in which new digital services can flourish.
...so we've assembled our industry team that's gonna scope the next twelve months for our chosen artist (who'll be revealed on the day) AND provide all those present with cutting-edge, practical help and advice for individulas' future music business strategies - from widgets to games, mobile to merchandising and social media to retail and more, we like to think we've got it covered...
Joining Nettwerk Music Group CEO Terry McBride in creating an experimental roadmap to tomorrow’s business for an up and coming British act are representatives from all sectors of the music and advertising industries including Martin Stiksel - Last.fm; Steven Hill - Warp Records; Ian Bell – 7Digital; Kim Machray - KLP; Stephen Godfroy – Rough Trade Stores; Howard Monk - The Local; Daniel Cross - Record-Play; Rachel Wood - Woodwork Music; Suw Charman-Anderson - Fruitful; Alfie Dennen - MoBlog; James North – Rechord; Sean Adams – Drowned In Sound; with still more to be announced.
If you've been paying attention you'll be well aware that this month sees MusicTank launch a unique music business experiment at The Imagination Gallery in Bloomsbury, headed up by Nettwerk Music Group CEO and 'Meet The Millennials' author Terry McBride. But you know all about that, right? So instead of going on about it we thought that in the spirit of experimentation that Terry has fostered we'd cast our eye over some of the other innovative people and projects that are doing things differently and little by little changing the way the music industry works.
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