Casey Rae is the deputy director of the Future of Music Coalition, and an independent musician/producer. I asked him about whether indie musicians have the ability to build an audience that matched their ability to distribute digitally.
“We have tremendous access to audiences, but as musicians we might not have leverage in the new marketplace that’s comparable to the folks who always had leverage in the marketplace,” Rae said.
In 2007, I was invited to McGill University to guest lecture at a cross-disciplinary class taught by producer Sandy Pearlman. Since the graduate students had been tasked with designing a workable new music-related business model for their final project, I decided to put together a presentation that focused on the back end of the music business model: if and how performers, songwriters and labels were each compensated when their music was either streamed or downloaded. read more
Here at FMC, we’re all about helping artists get a leg up on their careers. But with so many aspects of the music biz in flux, it’s tough to know where to start. Our friends at SoundExchange — the nonprofit that collects and distributes digital performance royalties to artists and labels — have come up with a handy checklist will help you on your way.
A very inspiring organization, the Future of Music Coalition, have released a series of videos that explore new music industry models. The significance of these models is that they take into account how artists need to be compensated, but recognize the need to be relevant in culture. Of all of them, the subscription-based models stick out the most to me. Music consumers are no longer in the mindset of paying for music on a ?per unit? basis. Instead, we have come to expect to get our music for free, immediately, and involve little effort. A subscription service could possibly function within a culture like ours because it mostly matches this criteria. Subscription services, like Rhapsody, ?feel free? because it is an all you can eat buffet ? a once per month, small fee. In turn, a subscription offers the same flexibility and feel of free downloading.
Here at FMC, we tend to think a lot about changing business models for musicians. Certainly, many artists are still making the majority of their money from selling CDs, merch or playing gigs. Yet we’ve come to realize that musicians’ access to potential revenue — especially in today’s digital landscape — expands far beyond that.
Recently, FMC started ponder all this in a more organized fashion: just how many different ways are there for musicians to earn money? We’ve come up with 29 so far, which we list below.
Well, we hope everyone had a nice long weekend (if you got one, that is). We at FMC took a couple of days to unwind from the 2009 Future of Music Policy Summit, which took place from Oct. 4-6 at Georgetown University in Washington, DC. If you were there, you know how awesome it was. Hopefully the rest of you were able to catch the live webcast.
But we haven't exactly been slacking since this year's Summit wound down. Our Education Director, Kristin Thomson has been hard at work putting together slides and documents related to the musician-oriented programming from Sunday, Oct. 4. read more
At the Future of Music Coalition Policy Summit earlier this week in Washington, D.C., where Spotify co-founder Daniel Ek gave a talk, hallway chatter centered around licensing ISPs the way the music industry does radio, and Spotify was often mentioned as a services that could potentially make that happen. And it has already proven capable of inking deals at the ISP/telco level.
If ISPs in the United States offer the same, opt-in model that Telia will offer in Sweden, consumers will likely relish that freedom. However, it remains to be seen whether labels in the United States will be willing to abandon their dream of licensing 100 percent of an ISP?s subscribers in a single stroke. read more
If you follow new technologies for the digital distribution and access of music, you've undoubtedly come across the name Spotify. In recent months, the Sweden-based service — which offers a deep catalog of high quality streaming audio via a rock-solid and intuitive desktop client — has racked up the press mentions on both sides of the Atlantic. Spotify's Daniel Ek will be presenting at the Future of Music Policy Summit 2009 (Georgetown University, Washington, DC, Oct. 4-6). Reserve your spot now! read more