Tag / artists
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New Blockchain Based Streaming Service — and It’s Owned By Its Artists
Resonate is a highly interesting and upcoming streaming service based on a blockchain architecture. It might have the potential for a revolution in streaming on multiple levels because it is not just based on a scalable and performant blockchain database. It is a co-operative, co-owned by artists, labels and fans alike. Plus, it is pay-as-you-go. No subscriptions. No ads.
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Songpier Apps’ New Release Featuring Analytics, Label Accounts and Video Streaming
Press release: At music conference all2gethernow 2011, pierlane announced a major update to the company’s app service Songpier. It enables all artists to get backend access to the statistics of their apps, including analytics of views, device types and platforms. Songpier opens up for video streaming now. It’s going to offer label accounts matching the demand in managing a roster of multiple artists.
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Songpier – free apps for every artist to share with fans
Songpier is the first and only online service specifically suited for artists. It is capable of building, managing and distributing mobile apps affordable for any musician. Songpier apps run on smartphones, iPad and other tablet devices out of the box. WebApps by Songpier are the most efficient way for artists to share music, latest news, tour dates, pictures, merchandise and other content with fans in real-time, everywhere.
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Upcoming topics in music, copyright & marketing at ContentSphere
Having conceptualised a good part of Berlin music conference all2gethernow’s discussion topics, I suddenly find myself with heaps of thoughts and content not published on ContentSphere. It just would be a shame to not make use of it. These topics are dealing with issues and they are raising questions. I contributed them to a2n because of their relevance in today’s music business.
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Why Jay Frank (FutureHit.DNA/CMT) Fails: It’s Longevity That Artists Need, Not Chart Success
Today I stumbled into Kyle Bylin’s interview with Jay Frank of Futurehit.DNA and CMT (a division of MTV Networks) at hypebot. You can download Jay’s new book “FutureHit.DNA – How The Digital Revolution Is Changing Top 10 Songs” for free on his site. There are some claims of his that I do not necessarily agree to in the way Jay puts it. It’s a bit of context that’s missing.
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Music Business: Lessons In Free Strategies From Other Industries (Pt. 2)
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.
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Music Business: Lessons In Free Strategies From Other Industries (Pt. 1)
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.
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The GEMA Presumption as an Entry Barrier (Pt. 3/3)
No matter what an expert’s study on the case might look like, the proof of availability for a sufficient number of free licensed content to counter GEMA’s presumption has to be brought forward to court. The “GEMA assumption” is part of German jurisdiction, therefore it’s much likely the ruling has to be found at Germany’s highest court, the Federal Court (BGH). But the true challenge is its verifiability.
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The GEMA Presumption as an Entry Barrier (Pt. 2/3)
The licence market is protected by the GEMA presumption. The income of composers, authors and providers (labels) of GEMA licences is protected. Where’s the threat? They are “threatened” by new providers, say authors of works under Creative Commons licence. Those are constrained in selling their licenses. Free licensed songs would represent a product substantially expanded by valuable properties. It is no substitute product but nevertheless a competitive one.
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The GEMA Presumption as an Entry Barrier (Pt. 1/3)
The line between private use and commercial use is not that clear, and it is not explicitly defined by Creative Commons. The definition rather relies on the author being the licenser. But in case you are about to license a work – just ask the author if the purpose you are intending is considered private or commercial use. The metadata of any work licensed under Creative Commons should allow for a contact option.
