Aims of the Workshop: Become familiar with the latest developments in interactive music Explore how they can affect the way you work in your respective field Look at interactive music as a possible alternative revenue stream Understand how can interactive music can be relevant to others in different ways
<ul>Media Business - in the last 150 years it was an Industrial model </ul><ul>In order for it to work it had to be based on scarcity Scarcity was artificial since the industry controlled the output and -> Scarcity gave the product value. </ul><ul>Today there is no more scarcity = the model has to shift – need to provide the users with added value and with an active & engaging experience. Music & Media companies based on the industrial model, how can they cope with this shift? Is an interactive music experience a way to draw music fans back In? </ul>
<ul>The new MP3? </ul><ul>The contenders to the throne.... </ul>
<ul>Music DNA </ul><ul>Applies to individual tracks </ul><ul>Can Already be ready by many players as it's an extension of MPEG7 </ul><ul>Additional multimedia content can be embedded in the file </ul><ul>Integration with social media – the file upgrades itself </ul><ul>ENHANCED METADATA </ul>
<ul>CMX or “Connected Media Experience” </ul><ul><li>Announced August 2009 </li></ul><ul><li>One bundled album file includes everything (artwork, extras, lyrics, videos etc...) </li></ul><ul><li>All 4 majors involved </li></ul><ul><li>Open format – any label can use it </li></ul><ul>Problems: </ul><ul><li>Still in development </li></ul><ul><li>Release was meant to be in Q2 of 2010 but no word as to what's happening as of yet </li></ul><ul><li>As it stands no participatory element it's basically an MP3 with additional content </li></ul><ul><li>Desktop only at launch? </li></ul>
<ul>iTunes LP </ul><ul><li>Launched November 2009 </li></ul><ul><li>Proprietary Apple format </li></ul><ul><li>Aim is to re-create the LP experience digitally </li></ul><ul><li>Few releases have truly exploited the format – most notable recently is “Plastic Beach” by the Gorillaz. </li></ul><ul>Problems: </ul><ul><li>No iPhone or iPad integration as of yet </li></ul><ul><li>Closed & Proprietary system - will only work with Apple technology </li></ul><ul><li>After the death of DRM in music can the introduction of the iTunes LP re-create the same sorts of restrictions? A new walled garden replaces the old one. </li></ul>
<ul>Re-mixing music applications Can they satisfy the demand for interactivity even if not as immediately available as MP3s? </ul>
Possible Revenue Streams Brands Advertising Agencies Labels Online Ad networks Licensing opportunities <ul>MXP4 - Play with it </ul><ul>Developing this technology since 2006 creating a format (MXP4) and a number of apps Sing it, Mix it, Remix it, Max it. All ways to interact with the music. </ul><ul>.MXP4 is a format but does not want to be a new standard </ul><ul>Technology can be integrated into other platforms </ul>
● Fans get the opportunity to interact with the music ● It does not want to become a brand ● Employs session musicians -> completely different mixes from the original ● At the moment provides labels with tools for remix contests ● Major revenue stream would be in allowing fans to download and share their creations or to export them as ringtones <ul>Example – Keane “Stop For a Minute” </ul>
● Usually works with major labels ● Focuses on bringing artists + brands together on campaigns ● Great integration with social networks -> This helps the applications spread virally ● Aim for 2010 is to allow fans to purchase the remixes made on the platform <ul>Example - Placebo “Running up that Hill” </ul>
<ul><li>● Mobile app that exploits sensors in modern smart-phones (ex. Accellerometer)
● Focus is on Music Re-Creation = buying a track you already know but personalize it
● Users can virtually collaborate on a remix </li></ul><ul>Just received 150,000 small business innovation research grant from the National Science Foundation science foundation </ul><ul>At the moment free on the iTunes store until the end of June so grab it and try it out in the meantime! </ul><ul>High Profile Jackson 5 Application </ul><ul>Example – Jackson 5 app </ul>
Pushing its own format called .IVS 3 levels of interaction IVS1 – fully interactive IVS2 – partially interactive and provided by the label IVS3 – partially interactive can be built from a normal MP3 file ● Video integration – encourages users to make their own music videos ● Sharing facilities ● Both as desktop software and iPhone app BUT : OWN file format + OWN software = maybe asking too much from the user?
<ul>Taking interaction one step beyond – into your everyday life </ul>
A completely new music experience ● Based on scenes ● Every single sensor on the iPhone can be assigned to the creation/modification of the sounds including: - Accellerometer - Touch screen - Microphone - location/GPS ● The music integrates elements of your environment = an endless Soundscape ● Through scenes like Cosmic Booty by Fabrice Lig RjDj is becoming more and more like an instrument ● Platform now on the iPad with the RJ Voyager A new approach to music creation and consumption?
<ul>And finally let's not forget games – didn't they start this whole interactive wave after all? </ul>
● Huge success stories between 2005 and 2008 ● In 2009 Guitar hero saw a significant drop in sales ● Critics blamed it on market saturation -> too much content and not enough innovation ● Both Guitar Hero and RockBand are struggling but RockBand has fared better thanks to a wider offer of downloadable content Never stop innovating and give the users what they want! <ul>In the beginning: </ul>
<ul><li>● One of the most successful apps for the iPhone
● Lucrative artist-specific apps (Nine Inch Nails, Lady Gaga, Coldplay etc...)
● Great opportunities for expansion with the iPad and tablet market in general </li></ul><ul>Tapulous and Tap Tap Revenge </ul>
Will the sales of these games recover or is the future of interactive music gaming in the hands of......
● Anyone can play, no skills needed ● Select the number of keys you want to use ● Connect with other users with a Duet mode <ul>New devices and new frontiers </ul><ul>Music Pets </ul>● Facebok-based game ● Farmville-like concept ● Keep pet happy + share content with friends ● Content Partnership with Universal <ul>Magic Piano for the iPad </ul>
<ul>Augmented reality and 42 Entertainment </ul><ul>Is it Branded Entertainment, Marketing or Art? </ul><ul>Creating Meaningful Engagement + Emotional Connection </ul><ul>This cannot be done without great content & Experience </ul><ul>Content is Queen </ul><ul>Experience is King </ul>
<ul>Can I still produce an interactive experience without big budgets or a label supporting me? </ul><ul>ABSOLUTELY YES </ul><ul>A pressing question from artists: </ul>
<ul>MXP4 Editor to create interactive tracks </ul>
● Myna: Web-based audio editing tool ● The aim is to make creative tools available for everyone ● Basic and easy multi-track sequencer, easy to learn! ● Soundcloud integration Can Music Production Software Move onto the cloud? Can this popularize the multi-track and allow for more users to create – for example – RjDj scenes or MXP4 files?
Many issues to confront Artists/Labels uncomfortable with having users mess with their music How to split up the revenue?? A real headache.... Licensing problems Different Mobile operating systems = a lot of work for developers, how to choose? Quality of content: no content = no sales You can reach a huge public quickly but will it stick around after the novelty wears off?
Brands </li></ul><ul>Workshop – 4 Groups </ul>
<ul>The aim is to look at the opportunities, issues, problems and solutions that interactive music can bring to the groups outlined below. </ul><ul>Artists : </ul><ul><li>Many interactive music applications allow the fans to take control of the music and change it/customize it – are you OK with that? What degree of control do you want over your recordings? </li></ul><ul><li>Some of these applications allow the fans to export what they have created and share it with their friends/post it online – how do you feel about that? </li></ul><ul><li>What type of platform amongst the ones mentioned above would you prefer to have your music remixed on and why? </li></ul><ul><li>How do you think would be the most effective way to be paid for the content? Which would you prefer and why? Pros/Cons (advertising, brand sponsorship, in-app purchase of content etc...) </li></ul><ul><li>Would you be willing to think about the interactive element at the creative stage to allow for a better experience? </li></ul>
Labels ● How do you think interactive music may impact the usual sales channels both physical and digital? ● What do you think are the most interesting and possibly profitable business model amongst the ones outlined in the presentation? (In-App purchase, Ringtone purchase, Remix Purchase, Streaming fees, Advertising revenue, Brand partnership and in-game purchases like in Music Pets?) ● After all the monetization problems experienced by digital distributors are you still willing to experiment with services that may end up not taking off or do you hold off and prefer working with an established organization? ● How in your experience are artists reacting to these new developments? Are they happy to embrace them or are they worried about their impact? Outline if you see a difference between older artists and young "digital generation ones" ● Can tools like the MXP4 Editor and RjDj's RJC1000 be a way in which unsigned bands can grab the attention of a label's A&R and create buzz? ● How would you react if the remix made by a fan through one of the programs mentioned above became more popular than the original version by going viral? How would/could you exploit and monetize that?
<ul>Developers/Entrepreneurs: </ul><ul><li>Of all the formats and the options that I have illustrated in the presentation and that you may be aware of, what are in your opinion the pitfalls and the opportunities in creating for example an interactive format like MXPS versus the creation of a remixing platform like MusicMyne? </li></ul><ul><li>Have you had previous experience with interactive music platforms and if so what have your results been so far? </li></ul><ul><li>How do you feel about the challenge dposed by the need to create software for multiple mobile operating systems, how do you choose?
Which piece of hardware is most likely to convey the best experience in interactive music?
The app store wants a piece of the revenues as do the labels and the publishers. Will there be enough money left for the program's developers?
How do you think Apple's refusal to allow Flash will impact developers who would like to port – for example – a really cool Facebook game onto the iPad? </li></ul>
<ul>Brands : </ul>● What do you look for when trying to find a company or service to work with in order engage consumers/deliver a campaign? ● Which one of these points a) artist repertoire b) technology c) social features Is at the top of your list in terms of priorities when choosing a partner and why? <ul>● How do you think music interactivity can help your business reach and engage consumers in a more effective way? </ul><ul><li>● How much of a brand sponsorship as described below needs to be tailored to a relationship with the artist? </li></ul><ul>● Are you prepared to invest in this field over, for example, a more passive product placement for a music festival? </ul>