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Posts Tagged ‘musica’

La musica gratuita è il nuovo standard (?)

“Free Music is The New Standard” recita il titolo del post apparso l’altro giorno su FreakBits e parla di come ormai sia una pratica sempre più diffusa diffondere sul web la propria musica sperando poi di rifarsi con i concerti, merch, pubblicità ecc.. (che è poi un po’ l’idea dietro al progetto Love degli Angels & Airwaves).

Interessante però anche il commento di Carri Bugbee al post “Free music will NEVER be the model for working musicians. It will only work for youngsters who have nothing to lose, low overheard and cheap/crappy production values”

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Midem 2010: i migliori start-ups di musica digitale

Da Billboard

Awdio: A service that streams music played at clubs live. It’s working on an archive system and an iPhone app as well. Both ad-supported and premium subscription.

BandMetrics: Tracks artists’ online buzz, listener traffic and fan demographics. In public beta now.

GoMix: A music remixing service that has more than 100,000 active users today. Focuses on partnering with brands and artists to make the remix part of an advertising campaign, such as that between Burger King and Flo Rida.

Songkick: Scans users iTunes and issues alerts when artists in the users’ library are touring nearby. Sold $3 million in tickets last year. Also lets fans upload photos, setlists, reviews, etc. after each show.

TuneWiki: Addresses the lack of lyrics being included in digital downloads with an app that displays lyrics in real time for music played on the iPhone. All licensed and legal. Five million downloads to date on all smartphone platforms.

Midem 2010: Applicazioni mobile musicali

Il futuro dei modelli di business del mondo musicale

Da Techdirt, articolo molto lungo,

It’s no secret that there’s a lot of concern these days about what the music industry will look like going forward — especially from those who work on the label side of the business and have been around for a bit. A variety of things have caused rapid change in the market. Competition from other forms of entertainment, such as the internet, movies and video games, have put more pressure on the industry, as consumers have been presented with significantly more options for their entertainment attention and dollars. And, of course, there’s the ever-present specter of unauthorized file sharing — or, as the industry prefers to call it (accurately or not), “piracy.”

While the industry spent many years fighting the rise of the internet as a distribution and promotion method for music, it was eventually forced to recognize it. The labels eventually licensed music to Apple and iTunes (as well as some other stores). It took them way too long to recognize that people wanted DRM-free music, but they’ve finally come around to recognize that as well.

But the big new questions are all about licensing. New services are starting to show up on the scene, such as the industry’s new darling, Spotify. Then there are attempts, such as those by Choruss and Warner Music, to set up something that is somewhat akin to a blanket license. For the most part, the industry hasn’t shown much willingness to do these sorts of deals in manners that allow the underlying companies to survive, let alone profit. Numerous innovative startups have suffocated under burdensome licensing terms — and as each one fails, it just gives consumers fewer and fewer reasons to actually use these services, wondering how long each will last until it goes out of business.

However, there is another solution: stop worrying and learn to embrace the business models that are already helping musicians make plenty of money and use file sharing to their advantage, even in the absence of licensing or copyright enforcement.

In simplest terms, the model can be defined as:

Connect with Fans (CwF) + Reason to Buy (RtB) = The Business Model

Sound simple? It is, if you understand the basics — and it can be incredibly lucrative. The problem, of course, is that very few seem to fully understand how this model works. However, let’s go through some examples.

Trent Reznor, the man behind the band Nine Inch Nails, has done so many experiments that show how this model works that it’s difficult to describe them all. He’s become a true leader in showing how this model works in a way that has earned him millions while making fans happy, rather than turning them into the enemy.

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Midem: Music Consumption Around the World

Presentato questo studio/ricerca/PDF di 42 pagine -> LEGGI/SCARICA

Basato su interviste in vari mercati di tutto il mondo, fra le cose interessanti cito:

“Did in past month”
– Stream music directly from a service such as MySpace, Spotify 21% (UK 24% e USA 18%)
– Paid to download a music track to my computer 14% (UK 26%, USA 19%)
– Paid to download a whole digital album to my computer7% (UK 15%, USA 12%)
– Paid a monthly fee to listen to music on my mobile phone or on my computer 8%
– Paid a monthly fee for music subscription services such as Napster7%

PIRATERIA
19% Used a file-­‐sharing programme to share music with others

– Downloaded a song from the internet without paying for it:
China 68%
South Korea 60%
Spain 46%

MOBILE
8% Paid for mobile music apps
12% Paid to download a full length mobile music track

MUSIC VIDEO
TV 57%
COMPUTER 46%
CELLULARI 16%

Gerd Leonhard: prendere spunto da FarmVille

da MusicAlly

Media futurist Gerd Leonhard did his thing on-stage at MidemNet this afternoon, talking about some of the new business models being used outside the music world. One of the most fascinating was Farmville.

Zynga’s social game is absolutely huge on Facebook, as you’ll know if your friends and family are clogging up your news feed with lost pigs, horses and chickens. It’s got more than 73 million users on Facebook, and is generating millions of revenues from selling virtual items.

Leonhard held it up as an example to the music industry, particularly its free-to-play model. “What can we learn from Farmville? It all starts with free. Farmville gets people hooked, then sells them virtual tractors. People will buy anything once they’re hooked.”

He suggested that the music industry should be looking more deeply into interactivity and virtual items, as well as social media. “Go inside the social networks with music!” he said.

“How come Facebook doesn’t have music? 8.7 billion minutes are spent a day on Facebook, so why can’t we make a deal – hopefully not individually, but collectively.”

That’s something of a simplification, though. There IS music on Facebook, through apps like iLike, and some virtual items. But Leonhard is absolutely right to say that the explosion in social games has by and large passed music by. In 2010, that will hopefully change.

Il modello di Eyeball.fm

Ecco il modello ibrido di Eyeball.fm :
-stazione radio web
-contenitore di musica digitale per upload e download
-social network.

Da Musica&Dischi
“Con un click sul nome di una canzone o di un artista si visualizza automaticamente una playlist personalizzata per lo streaming radio, basato sulle tariffe obbligatorie di webcasting; gli utenti, creando un account, possono inoltre caricare la propria libreria di iTunes rendendo disponibili i propri brani per lo streaming; possono anche visualizzare le librerie degli amici, le foto degli album, i testi delle canzoni, le informazioni sugli artisti”