Musicalias aims to help artists and labels monetize their work by building tailored offerings for fans on its online marketplace. It allows creators to set own prices and manage store pages independently while Musicalias takes a 15% commission on sales. The site also provides forums, blogs and galleries for artists to engage directly with fans and offer special access like behind-the-scenes content or advance releases in exchange for fan funding of projects. As the music industry struggles with piracy and declining physical sales, Musicalias sees an opportunity for new service-based models that emphasize artist autonomy and high-value interactions between creators and fans.
Context: The Future of Music (Presentation at Euroslagt Groningen NL Jan 2010)Gerd Leonhard
My presentation at the annual Noorderslagt / Euroslagt event in Groningen, NL, on music futures, copyright versus usage right, the public digital music license, and much more see http://gerd.fm/gNM2hG
1) The document discusses how the rise of user-generated content and digital networks has distributed creative authorship powers widely, challenging traditional copyright industry business models.
2) It analyzes different approaches copyright law and online platforms have taken in response, such as expanding rights and enforcement, regulating technology, or contracting away user copyright interests.
3) The document argues that in a world of widespread distributed authorship, copyright law should focus on attribution, clear notice requirements, shorter terms, and funding creative works as a commons.
This document proposes a social media platform that allows users to overlay professional photo designs and filters on their photos. The platform has three revenue streams: users pay $0.99 to use designs, designers are paid for their work, and brands pay for positive social posts from prequalified brand advocates. The startup has already tested the minimum viable product with 600,000 users and is seeking $1.25 million in seed funding. It believes it can scale to over 1 billion users by leveraging the billions of photos shared daily on social media platforms.
The document discusses how new technologies have changed the music industry and how audiences consume music, moving from physical to digital formats. It outlines how major and independent record labels operate in targeting audiences and how file sharing and social media have impacted the industry. Students will be assessed on their knowledge and analysis of examples, evidence, and industry terminology related to the music industry and audiences.
The document summarizes the evolution of technology and digital initiatives at the Canadian Music Centre from 1999 to the present. It discusses the Centre's transition to digitizing its archival collections and developing an interactive website to promote access to scores, recordings and information about Canadian composers. It also outlines various digital projects and strategies to further online distribution, user access, internal infrastructure and communications.
Context: The Future of Music (Presentation at Euroslagt Groningen NL Jan 2010)Gerd Leonhard
My presentation at the annual Noorderslagt / Euroslagt event in Groningen, NL, on music futures, copyright versus usage right, the public digital music license, and much more see http://gerd.fm/gNM2hG
1) The document discusses how the rise of user-generated content and digital networks has distributed creative authorship powers widely, challenging traditional copyright industry business models.
2) It analyzes different approaches copyright law and online platforms have taken in response, such as expanding rights and enforcement, regulating technology, or contracting away user copyright interests.
3) The document argues that in a world of widespread distributed authorship, copyright law should focus on attribution, clear notice requirements, shorter terms, and funding creative works as a commons.
This document proposes a social media platform that allows users to overlay professional photo designs and filters on their photos. The platform has three revenue streams: users pay $0.99 to use designs, designers are paid for their work, and brands pay for positive social posts from prequalified brand advocates. The startup has already tested the minimum viable product with 600,000 users and is seeking $1.25 million in seed funding. It believes it can scale to over 1 billion users by leveraging the billions of photos shared daily on social media platforms.
The document discusses how new technologies have changed the music industry and how audiences consume music, moving from physical to digital formats. It outlines how major and independent record labels operate in targeting audiences and how file sharing and social media have impacted the industry. Students will be assessed on their knowledge and analysis of examples, evidence, and industry terminology related to the music industry and audiences.
The document summarizes the evolution of technology and digital initiatives at the Canadian Music Centre from 1999 to the present. It discusses the Centre's transition to digitizing its archival collections and developing an interactive website to promote access to scores, recordings and information about Canadian composers. It also outlines various digital projects and strategies to further online distribution, user access, internal infrastructure and communications.
This document is a presentation about Creative Commons given by John Buckman, CEO of Magnatune Records and director of Creative Commons. It discusses what Creative Commons is, how it provides a middle ground between "all rights reserved" and "no rights reserved" copyright, and which specific rights CC addresses like crediting the artist, allowing copying, and restricting commercial use or reuse. It also gives examples of how much CC content is available and which license types are most popular, and argues that CC can be a business model for cultural works by lowering marketing costs and enabling wide distribution and experimentation.
Presentacion sobre los Nuevos Medios y el Marketing.
Realizada en la Universidad Di Tella en Abril 08.
Recopilacion de ideas, informacion y arte para ayudar pensar mejor a los estudiantes sobre los nuevos desafios.
Basado en la fragmentacion de los medios y la nueva economia de la atencion.
Blockchain and Music platform Zimrii aims to empower independent artists by allowing them to control and maximize revenue from their music. The platform addresses issues like lack of control over business terms and value chain in the existing music industry. Zimrii leverages blockchain technology to enable copyright attribution, new business models for ticketing and streaming, and innovative ways for artists to engage with fans. The challenges include scaling blockchain, complex copyright laws, educating musicians, and industry hesitation towards new technologies. Zimrii's solution is a distributed music platform that uses blockchain to facilitate music contracts, copyright registration, fan engagement through tokens, and efficient live music booking.
This lecture aims to define the concepts of web 1.0, web 2.0, web 3.0 and analyze how the music industry has changed with each stage. It discusses how music was consumed and shared in web 1.0 versus web 2.0, noting that web 2.0 empowered consumers through user-generated content and functionalities. The lecture then contrasts the experiences of an established artist like Beyonce versus an aspiring artist in taking advantage of web 2.0 platforms to create and share their music. Legal issues around copyright and intellectual property in the new online environment are also addressed.
The document discusses how music audiences have become more fragmented and targeted due to new technologies. It considers key terms related to audiences like niche audiences and fragmentation. It also discusses how technologies have given audiences more choice, control, and access over music through options like streaming and the ability to create playlists. The industry must now directly target audiences using digital technologies.
Presentations from the final seminar in our digital training programme for the arts sector, developed in partnership with BBC Academy.
Includes:
- Ben Green, BBC: "Finding the right approach: working your way through the Rights maze…"
Case studies: Contracts and collaboration
- Roxanne Peters, Project Manager and Vicky Panter, Documentation Manager, V&A - V&A online collections
- Jo Higgins, Young People’s Web Content Manager, South London Gallery - RE:creative
Case studies: Innovative approaches to rights clearances
- Carolyn Royston, Head of Digital Media, Imperial War Museums - "Digital collections and cultural change"
- Charlie Gauvain, Managing Director, Eye Film and Television- John Peel archive
This document discusses tools and terms related to copyright and licensing. It provides an overview of key concepts like copyright, public domain, fair use, copyleft, and Creative Commons licenses. It also presents case studies on how different licenses have been applied, including Flickr (CC Attribution license), Project Gutenberg (CC0 public domain equivalent), and allowing derivatives or non-commercial use. The overall document serves as an introduction to copyright and licensing models for creative works.
Coomposer is a website for musicians seeking to improve its platform and monetize new features. It currently functions as a social network for musicians but will introduce an online marketplace for buying and selling high-quality music samples and patches. This will provide a unique source of original content to meet growing demand from bedroom producers and DJs. Market research shows competitors focus on consumption while Coomposer will enable production by connecting talented musicians globally to collaborate, share and sell their work. Funding is sought to upgrade the website and launch an accompanying promotional campaign.
This document discusses how blockchain technology could impact the music industry by helping artists monetize their work better and reach new audiences. It outlines several potential benefits for artists, such as self-publishing their music and setting rules for how it can be used, as well as instantly collecting data and payments for transactions. However, it also notes challenges like getting all relevant industry players on board with a single database format and concerns about how blockchain may impact user-generated content and not solve piracy issues.
Blockchain Casestudy in Media industry Deval Bhapkar
This document discusses the applications of blockchain technology in the media and entertainment industry. It identifies several challenges in the industry like IP infringement, difficulties with micropayments, and combating misinformation. It then describes some companies that are using blockchain like Binded for copyrighting photos on the blockchain and Audius for a music streaming platform. Finally, it outlines the benefits of adopting blockchain such as transparency and improved royalty payments for creators, but also challenges to adoption like scalability and regulatory issues.
Creative commons, an alternative solution to copyright restrictionsalbamunyoz
This report provides an analysis and exhaustive explanation of Copyright restrictions in order to encourage creators to choose Creative Commons licenses. The purpose is not only to give a clear understanding of why authors should chose Creative Commons licenses, but also to raise awareness of the harmful consequences of Copyright for the whole society or the public domain.
Creative commons, an alternative solution to copyright restrictionsalbamunyoz
This report provides an analysis and exhaustive explanation of Copyright restrictions in order to encourage creators to choose Creative Commons licenses. The purpose is not only to give a clear understanding of why authors should chose Creative Commons licenses, but also to raise awareness of the harmful consequences of Copyright for the whole society or the public domain.
The document discusses Creative Commons licenses and their usage in business. It explains that Creative Commons provides alternative copyright licenses to the traditional "all rights reserved" model. The licenses allow creators to retain copyright while letting others share, use, and build upon their work under certain conditions like requiring attribution. The document outlines the different types of Creative Commons licenses and provides examples of popular projects that use them, as well as limitations and how businesses can better utilize Creative Commons licensing.
Joseph Sobocan has experience creating experiential and integrated marketing campaigns for nightlife brands, clubs, DJs, and products. His portfolio includes managing media relations for the International Turntablist Federation, video production and brand management for HipHop-Network, and event strategy for Vision Entertainment and Mazda. He has also led branded social media for Toyota Scion Art Gallery and branded media production for Empty Kingdom Media. Sobocan has experience with brand positioning and sponsorship marketing for vodka brands Silk Vodka and energy drink Jetset Energy Drink.
The document proposes building an online music store called Busker that aims to be more innovative than iTunes. It will treat all music equally, from major artists to bedroom recordings. Busker will give artists tools to promote their music and reach new fans. It will also let any musician sell their music directly to fans like Radiohead did. Busker will use crowd-sourced ratings and direct sales with no revenue share to help artists. It proposes using advertising and subscriptions like Pandora to generate revenue at lower costs. Marketing will focus on bootstrapping through artists, social media, and media outreach.
This document summarizes recent activities and future priorities of Creative Commons Japan. It discusses Creative Commons Japan's organizational structure, notable adoptions of Creative Commons licenses in museums, academics, music, and universities. It also discusses areas where adoption has been missed, such as public broadcasting. The document outlines Creative Commons Japan's awareness activities, monthly meetings, projects, organizational growth, and accomplishments facilitating photo sharing in art museums and live music events. It concludes by identifying priorities around license translation, FAQ renewal, meeting reform, and fundraising, as well as challenges around reporting and open government opportunities.
Creative Commons is a non-profit organization dedicated to expanding the range of creative works available for others to legally build upon and share. It has offices in San Francisco, Berlin, and Johannesburg. Creative Commons develops standardized copyright licenses that creators can choose to apply to their works, labeling them for certain uses like non-commercial sharing and adaptation. Their goals are to promote a balanced copyright system and address issues around copyright and the Internet.
InSites Consulting is a research firm that specializes in "Connected Research", which uses online tools to facilitate social interactions between research participants. This allows researchers to gain insights from organic consumer discussions and interactions. Connected Research aims to establish a more equal and participatory relationship between researchers and participants compared to traditional online research methods. The document provides examples of various online qualitative research techniques used in Connected Research, such as online discussion boards, communities, and groups that enable asynchronous or synchronous discussions. It also describes tools like user-coded open ends and user-created brainstorms that engage participants in analyzing and categorizing insights.
Understanding User Needs and Satisfying ThemAggregage
https://www.productmanagementtoday.com/frs/26903918/understanding-user-needs-and-satisfying-them
We know we want to create products which our customers find to be valuable. Whether we label it as customer-centric or product-led depends on how long we've been doing product management. There are three challenges we face when doing this. The obvious challenge is figuring out what our users need; the non-obvious challenges are in creating a shared understanding of those needs and in sensing if what we're doing is meeting those needs.
In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
• Introduce a taxonomy for user goals with real world examples
• Present the Onion Diagram, a tool for contextualizing task-level goals
• Illustrate how customer journey maps capture activity-level and task-level goals
• Demonstrate the best approach to selection and prioritization of user-goals to address
• Highlight the crucial benchmarks, observable changes, in ensuring fulfillment of customer needs
Structural Design Process: Step-by-Step Guide for BuildingsChandresh Chudasama
The structural design process is explained: Follow our step-by-step guide to understand building design intricacies and ensure structural integrity. Learn how to build wonderful buildings with the help of our detailed information. Learn how to create structures with durability and reliability and also gain insights on ways of managing structures.
This document is a presentation about Creative Commons given by John Buckman, CEO of Magnatune Records and director of Creative Commons. It discusses what Creative Commons is, how it provides a middle ground between "all rights reserved" and "no rights reserved" copyright, and which specific rights CC addresses like crediting the artist, allowing copying, and restricting commercial use or reuse. It also gives examples of how much CC content is available and which license types are most popular, and argues that CC can be a business model for cultural works by lowering marketing costs and enabling wide distribution and experimentation.
Presentacion sobre los Nuevos Medios y el Marketing.
Realizada en la Universidad Di Tella en Abril 08.
Recopilacion de ideas, informacion y arte para ayudar pensar mejor a los estudiantes sobre los nuevos desafios.
Basado en la fragmentacion de los medios y la nueva economia de la atencion.
Blockchain and Music platform Zimrii aims to empower independent artists by allowing them to control and maximize revenue from their music. The platform addresses issues like lack of control over business terms and value chain in the existing music industry. Zimrii leverages blockchain technology to enable copyright attribution, new business models for ticketing and streaming, and innovative ways for artists to engage with fans. The challenges include scaling blockchain, complex copyright laws, educating musicians, and industry hesitation towards new technologies. Zimrii's solution is a distributed music platform that uses blockchain to facilitate music contracts, copyright registration, fan engagement through tokens, and efficient live music booking.
This lecture aims to define the concepts of web 1.0, web 2.0, web 3.0 and analyze how the music industry has changed with each stage. It discusses how music was consumed and shared in web 1.0 versus web 2.0, noting that web 2.0 empowered consumers through user-generated content and functionalities. The lecture then contrasts the experiences of an established artist like Beyonce versus an aspiring artist in taking advantage of web 2.0 platforms to create and share their music. Legal issues around copyright and intellectual property in the new online environment are also addressed.
The document discusses how music audiences have become more fragmented and targeted due to new technologies. It considers key terms related to audiences like niche audiences and fragmentation. It also discusses how technologies have given audiences more choice, control, and access over music through options like streaming and the ability to create playlists. The industry must now directly target audiences using digital technologies.
Presentations from the final seminar in our digital training programme for the arts sector, developed in partnership with BBC Academy.
Includes:
- Ben Green, BBC: "Finding the right approach: working your way through the Rights maze…"
Case studies: Contracts and collaboration
- Roxanne Peters, Project Manager and Vicky Panter, Documentation Manager, V&A - V&A online collections
- Jo Higgins, Young People’s Web Content Manager, South London Gallery - RE:creative
Case studies: Innovative approaches to rights clearances
- Carolyn Royston, Head of Digital Media, Imperial War Museums - "Digital collections and cultural change"
- Charlie Gauvain, Managing Director, Eye Film and Television- John Peel archive
This document discusses tools and terms related to copyright and licensing. It provides an overview of key concepts like copyright, public domain, fair use, copyleft, and Creative Commons licenses. It also presents case studies on how different licenses have been applied, including Flickr (CC Attribution license), Project Gutenberg (CC0 public domain equivalent), and allowing derivatives or non-commercial use. The overall document serves as an introduction to copyright and licensing models for creative works.
Coomposer is a website for musicians seeking to improve its platform and monetize new features. It currently functions as a social network for musicians but will introduce an online marketplace for buying and selling high-quality music samples and patches. This will provide a unique source of original content to meet growing demand from bedroom producers and DJs. Market research shows competitors focus on consumption while Coomposer will enable production by connecting talented musicians globally to collaborate, share and sell their work. Funding is sought to upgrade the website and launch an accompanying promotional campaign.
This document discusses how blockchain technology could impact the music industry by helping artists monetize their work better and reach new audiences. It outlines several potential benefits for artists, such as self-publishing their music and setting rules for how it can be used, as well as instantly collecting data and payments for transactions. However, it also notes challenges like getting all relevant industry players on board with a single database format and concerns about how blockchain may impact user-generated content and not solve piracy issues.
Blockchain Casestudy in Media industry Deval Bhapkar
This document discusses the applications of blockchain technology in the media and entertainment industry. It identifies several challenges in the industry like IP infringement, difficulties with micropayments, and combating misinformation. It then describes some companies that are using blockchain like Binded for copyrighting photos on the blockchain and Audius for a music streaming platform. Finally, it outlines the benefits of adopting blockchain such as transparency and improved royalty payments for creators, but also challenges to adoption like scalability and regulatory issues.
Creative commons, an alternative solution to copyright restrictionsalbamunyoz
This report provides an analysis and exhaustive explanation of Copyright restrictions in order to encourage creators to choose Creative Commons licenses. The purpose is not only to give a clear understanding of why authors should chose Creative Commons licenses, but also to raise awareness of the harmful consequences of Copyright for the whole society or the public domain.
Creative commons, an alternative solution to copyright restrictionsalbamunyoz
This report provides an analysis and exhaustive explanation of Copyright restrictions in order to encourage creators to choose Creative Commons licenses. The purpose is not only to give a clear understanding of why authors should chose Creative Commons licenses, but also to raise awareness of the harmful consequences of Copyright for the whole society or the public domain.
The document discusses Creative Commons licenses and their usage in business. It explains that Creative Commons provides alternative copyright licenses to the traditional "all rights reserved" model. The licenses allow creators to retain copyright while letting others share, use, and build upon their work under certain conditions like requiring attribution. The document outlines the different types of Creative Commons licenses and provides examples of popular projects that use them, as well as limitations and how businesses can better utilize Creative Commons licensing.
Joseph Sobocan has experience creating experiential and integrated marketing campaigns for nightlife brands, clubs, DJs, and products. His portfolio includes managing media relations for the International Turntablist Federation, video production and brand management for HipHop-Network, and event strategy for Vision Entertainment and Mazda. He has also led branded social media for Toyota Scion Art Gallery and branded media production for Empty Kingdom Media. Sobocan has experience with brand positioning and sponsorship marketing for vodka brands Silk Vodka and energy drink Jetset Energy Drink.
The document proposes building an online music store called Busker that aims to be more innovative than iTunes. It will treat all music equally, from major artists to bedroom recordings. Busker will give artists tools to promote their music and reach new fans. It will also let any musician sell their music directly to fans like Radiohead did. Busker will use crowd-sourced ratings and direct sales with no revenue share to help artists. It proposes using advertising and subscriptions like Pandora to generate revenue at lower costs. Marketing will focus on bootstrapping through artists, social media, and media outreach.
This document summarizes recent activities and future priorities of Creative Commons Japan. It discusses Creative Commons Japan's organizational structure, notable adoptions of Creative Commons licenses in museums, academics, music, and universities. It also discusses areas where adoption has been missed, such as public broadcasting. The document outlines Creative Commons Japan's awareness activities, monthly meetings, projects, organizational growth, and accomplishments facilitating photo sharing in art museums and live music events. It concludes by identifying priorities around license translation, FAQ renewal, meeting reform, and fundraising, as well as challenges around reporting and open government opportunities.
Creative Commons is a non-profit organization dedicated to expanding the range of creative works available for others to legally build upon and share. It has offices in San Francisco, Berlin, and Johannesburg. Creative Commons develops standardized copyright licenses that creators can choose to apply to their works, labeling them for certain uses like non-commercial sharing and adaptation. Their goals are to promote a balanced copyright system and address issues around copyright and the Internet.
InSites Consulting is a research firm that specializes in "Connected Research", which uses online tools to facilitate social interactions between research participants. This allows researchers to gain insights from organic consumer discussions and interactions. Connected Research aims to establish a more equal and participatory relationship between researchers and participants compared to traditional online research methods. The document provides examples of various online qualitative research techniques used in Connected Research, such as online discussion boards, communities, and groups that enable asynchronous or synchronous discussions. It also describes tools like user-coded open ends and user-created brainstorms that engage participants in analyzing and categorizing insights.
Understanding User Needs and Satisfying ThemAggregage
https://www.productmanagementtoday.com/frs/26903918/understanding-user-needs-and-satisfying-them
We know we want to create products which our customers find to be valuable. Whether we label it as customer-centric or product-led depends on how long we've been doing product management. There are three challenges we face when doing this. The obvious challenge is figuring out what our users need; the non-obvious challenges are in creating a shared understanding of those needs and in sensing if what we're doing is meeting those needs.
In this webinar, we won't focus on the research methods for discovering user-needs. We will focus on synthesis of the needs we discover, communication and alignment tools, and how we operationalize addressing those needs.
Industry expert Scott Sehlhorst will:
• Introduce a taxonomy for user goals with real world examples
• Present the Onion Diagram, a tool for contextualizing task-level goals
• Illustrate how customer journey maps capture activity-level and task-level goals
• Demonstrate the best approach to selection and prioritization of user-goals to address
• Highlight the crucial benchmarks, observable changes, in ensuring fulfillment of customer needs
Structural Design Process: Step-by-Step Guide for BuildingsChandresh Chudasama
The structural design process is explained: Follow our step-by-step guide to understand building design intricacies and ensure structural integrity. Learn how to build wonderful buildings with the help of our detailed information. Learn how to create structures with durability and reliability and also gain insights on ways of managing structures.
The Genesis of BriansClub.cm Famous Dark WEb PlatformSabaaSudozai
BriansClub.cm, a famous platform on the dark web, has become one of the most infamous carding marketplaces, specializing in the sale of stolen credit card data.
Taurus Zodiac Sign: Unveiling the Traits, Dates, and Horoscope Insights of th...my Pandit
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B2B payments are rapidly changing. Find out the 5 key questions you need to be asking yourself to be sure you are mastering B2B payments today. Learn more at www.BlueSnap.com.
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United States as of 2022. The stylish puppy has ascended the
rankings in rapid time despite having health concerns and limited
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IMPACT Silver is a pure silver zinc producer with over $260 million in revenue since 2008 and a large 100% owned 210km Mexico land package - 2024 catalysts includes new 14% grade zinc Plomosas mine and 20,000m of fully funded exploration drilling.
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Introduction
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The APCO Geopolitical Radar - Q3 2024 The Global Operating Environment for Bu...APCO
The Radar reflects input from APCO’s teams located around the world. It distils a host of interconnected events and trends into insights to inform operational and strategic decisions. Issues covered in this edition include:
2. Contents
Part I: Musicalias in a few words
What 3
Purpose 4
How it works 7
Part II: “raison-d’être”
Market overview 11
Focus: fan-funded music 18
Part III: more details on the project
Our positioning 24
Examples of participant offers 27
Project status and next steps 28
Appendix 29
Creative commons license
2
3. What
Artists and labels, Musicalias has for vocation to help you value and
monetize creative projects towards music-lovers, audiophiles, fans …
This website was conceived so as
to enable you to:
1- emphasize your specificities
2- let ‘autonomy’ be the rule of
thumb
3- build tailor made offers
Creative commons license
3
4. Purpose
1- emphasize your specificities
The shop provides you with a
dedicated page for each label,
artist and work that contain
detailed information and is
accessible by various criteria
beyond the musical labeling
On the forum along with special
categories for labels and artists,
you can announce gigs in your own
calendar (RSS enabled) and easily
create full-featured blogs and
picture galleries
We can also create a special extension with:
only your products
URL such as http://mylabel.musicalias.com
custom brand design also applied to your sections on the forum.
Creative commons license
4
5. Purpose
2- let ‘autonomy’ be the rule of thumb
You can manage your shop
pages* as well as your
community (animation,
moderation, polls...) on the forum
You freely set up the retail
prices, send orders and invoices
for which we receive payments
from the Buyers.
*subject to verification by Musicalias.
Creative commons license
5
6. Purpose
3- build tailor made offers
Based on access to private
forums and downloadable
material, these offers can be
presented as:
− Exclusive complements to a CD,
DVD, mp3 album
− Advance orders for new recording
or live event projects
− Access to online fan clubs
− …
In an environment where standard
musical products have a decreasing
perceived value, tailor made offers
are a key element of our
positioning: more details in the
following slides
Creative commons license
6
7. How it works (1 of 3)
A marketplace with a high-end positioning
Participation is free, easy and without a tie
Musicalias keeps a 15% commission on each product sold*
Creative works are listed upon artistic criteria not upon their selling
potential - turnover, quantity...
If artists and labels lack time, they may let ‘Editors’ such as writers, critics
and bloggers manage their contents on their behalf. Editors receive either
fixed amounts or commissions.
*maximum commissions, to be determined on an individual basis for advance orders, according to the
characteristics of each project.
Creative commons license
7
8. How it works (2 of 3)
How to receive monies
Through your personal account you
can consult on-going orders in
real time and sales history
Within the first five business days
of each month Musicalias pays the
sales of the previous month (minus
our commissions) via bank transfer
or Paypal (your choice)
A minimum amount is required for
monthly payments
− 50 euros with a bank account
− 30 euros with a Paypal account
− a semi-annual regularisation is done
whatever the amount.
Creative commons license
8
9. How it works (3 of 3)
Participants scheme
Propose,
make
Artists available
Physical & digital products
Labels
Buy, pre-
Digital & ‘real world’ services order
Distributors (tailor-made offers)
Fans, music-lovers,
audiophiles…
Writers Create Editorial content
Read,
comment
Bloggers
Webzines Sends
payments & Order
commissions
Selects Suggests,
controls
Musicalias
Creative commons license
9
10. Contents
Part I: Musicalias in a few words
What 3
Purpose 4
How it works 7
Part II: “raison-d’être”
Market overview 11
Focus: fan-funded music 18
Part III: more details on the project
Our positioning 24
Examples of participant offers 27
Project status and next steps 28
Appendix 29
Creative commons license
10
11. The market (1 of 7)
Recorded music market worldwide:
From $41bn (1999) to $30bn (2007, IFPI)
− CD sales: uninterrupted downfall since 2000 (music DVD down since 2005)
− Digital sales: $3bn in 2007, a consistent growth which does not compensate
physical sales losses
Blockbusters have been suffering the most
− US #1 weekly best sellers are frequently below 100,000 units, against several
hundred thousand a few years ago
− French “Disque d'Or” (golden disc) threshold was lowered to 75,000 unit
against 100,000
Creative commons license
11
12. The market (2 of 7)
The market is back to 1996 level
Sales in brick and mortar outlets have been shrinking but CD sales via
websites are mostly stable (slight increase in the US, slight decrease in
France in 2006, Nielsen Soundscan)
More choice & lower inventory costs become a key advantage.
Evolution en valeur US$ sales evolution (USD)
Recorded music des musiques enregistrées
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14
12
10 Etats-Unis
United States
8 Japan
Japon
United
Royaume-Uni
6 Kingdom
Allemagne
Germany
4 France
France
2
0
1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006
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13. The market (3 of 7)
An uncertain future
Piracy remains massive
More than a billion files freely swapped over p2p networks each month
(Big Champagne, 2007), with so many other means available (audioblogs,
pirate sites, file transfer tools...).
The ratio of unlicensed tracks downloaded to legal tracks sold is about 20
to 1.
Its real impact is still discussed, but is most likely consistent (free being a
tough competitor for paid content).
Despite all efforts, the very nature of the Internet (decentralized
architecture) and the constant growth of bandwidth will make it hard to
reduce piracy consistently.
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14. The market (4 of 7)
Physical goods
An overcrowded market where competition focuses almost exclusively
on price.
This is especially true on marketplaces with an overwhelming number of
price propositions for the same product.
Main question is: how low will this segment fall?
A few specialists have developed successful businesses thanks to
well-conceived interfaces and rich editorial information.
Both of the following have also entered the digital game (distribution +
retail)
− CD Baby, first independent music retailer in the
US with more than $70 million paid directly to
220,000+ artists
− Abeille Musique, one of the most (if not the
most) innovative distributors in France, recently
launched qobuz.com “music & lifestyle” website
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15. The market (5 of 7)
Digital goods and services
Several models, hundreds of websites, most of them struggling for critical
mass.
A la carte downloads (online + mobile channels)
− Estimated $2.9 billion in 2007 (IFPI), a low-margin (5 to 10%) business
which has not proved its viability yet for retailers besides the ultra-dominator
iTunes
− An unrealistic monetization of all songs swapped over p2p networks (about 12
bn/year) at $0.99/track would barely compensate the market losses so far
Paid subscriptions (downloads or streams on-demand) show a slow
growth curve
− Rhapsody + Napster = less than 3 M US subscribers
− Even with an optimistic total of 10 M subscribers worldwide, the global revenue
would not exceed $2 bn/year.
“Just recently, MTV merged its Urge offering with RealNetworks' Rhapsody. And Yahoo Music
announced that it would farm its Unlimited offering to RealNetworks in February.”
(Digital Music News, 04 2008)
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16. The market (6 of 7)
Digital for free, sponsored by advertising
A possibly smart way to compete with piracy, surrounded by questions on
how to reach an audience large enough to cover high licensing costs.
This is either
− The radio model extended to on-demand streaming (Deezer, Jiwamusic…)
− Free downloads with or without “Digital Rights Management” (We7, Qtrax,
Spiralfrog…)
For which revenue prospect?
− Social networks advertising revenues = $1 bn in 2007 (e-Marketer)
>> even with a dramatic increase of those revenues and a consistent part
for music, this will not be enough
− Total Internet advertising revenues = $21 bn in 2007 (IAB estimate)
>> a 10% fraction for music would still be too small.
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17. The market (7 of 7)
A simple equation
An addition of all those sources of revenue is unlikely to bring the market
back to its former level.
− Recorded music market: a $11bn fall between 1999 and 2007
− Physical goods: bottom unknown in spite of stable online sales until now
− Digital goods & services: total market size of $3bn in 2007, $6bn in 2011?
− Ad-sponsored digital: $2 to 3bn in 2011?
Two outcomes:
− Revenge of the small vs. the industry
− A place for real new paradigms.
Notes:
− Although we had this market overview in mind for quite a long time, we would like to thank Scott Cohen (The
Orchard), Philippe Astor (journalist), Sylvie Krstulovic and Borey Sok (consultants and bloggers) for this helpful
article
http://www.zdnet.fr/blogs/2008/02/06/mes-carnets-du-midem-2008-5-hommage-a-deux-catalyseurs-franc-tireurs
− We disagree with the article’s conclusion but consider the following slides would apply even if a global license was
set as suggested…
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18. Fan-funded music (1 of 5)
The newest trend
Be a producer: sellaband.com,
slicethepie.com, mymajorcompany.com…
− Invest real money on an artist
− Once a certain threshold is reached, the
artist can record an album
− Producers benefit from various bonuses and
will then receive part of the sales revenues
Take part in a project: artistshare.com, Marillion, Jill Sobule...
− Between patronage & advance orders
− Fans get access to the creative process: VIP access to recording sessions, credit
listing on the CD, limited editions...
For which potential?
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19. Fan-funded music (2 of 5)
As of today this trend cannot be easily quantified
Be a producer
− A few websites enjoyed nice media coverage. The potential return on
investment is a good incentive for fans combined with the excitation of
making the right bet. 21 projects produced by Sellaband so far.
− However the ROI remains uncertain for most of the projects. This may lead
to fans weariness. As of today artists have little perspective beyond the first
production. Most websites lack editorial content. The fiscal context for
producers is unclear.
Take part in a project
− As far as we know, apart from individual artists only one website truly explores
this way: Artistshare, “allowing fans to finance artist projects in exchange for
access to the artist’s creative process”. A few dozen projects appeared to be
successfully launched.
− Many artists & labels try and involve fans directly, however reaching a
break even point to cover more than production and printing costs remains
tricky
− Among others, two recent examples to be noticed: Marillion & Jill Sobule.
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20. Fan-funded music (3 of 5)
Marillion
According to the band’s management, about 12,000 fans have pre-ordered
Marillion’s next album
The deluxe 2 CD edition could be reserved for £29,99 since October 2007.
An order placed before March 1st ensured fans to have their name added
to the album’s credits.
They also became eligible for various prize
draws such as « Perform on the album,
appear in the artwork, watch a gig from the
stage, a phone call from the band »…
More than 470,000 euros were
collected, thanks to an active online fan
base of about 90,000.
(details available on marillion.com)
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21. Fan-funded music (4 of 5)
Jill Sobule
In mid-January of 2008, Sobule launched a website, jillsnextrecord.com,
which sought to raise $75,000 through fan donations in order to
produce, manufacture, distribute and promote an upcoming studio album.
In exchange for their donations, Sobule offered her patrons an assortment
of gifts with values commensurate with the amount of the donation. These
gifts range from a free download of the album when it's released ($10) to
the opportunity to attend a recording session and sing on the record
($10,000).
On March 8, 2008, 53 days after the public launch of the site, Sobule
reached her target through donations from over 500 people in 44 U.S.
States and eleven foreign countries.
(text by Wikipedia, details available on jillsnextrecord.com)
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22. Fan-funded music (5 of 5)
A transition from retail to service?
Those few examples remind us that in the entertainment sector, demand
is driven by the offer. When a sensible offer is built and reaches the
appropriate target, a brand new demand can be created.
The Internet should enable most artists and labels to build a new kind of
offer with a high perceived value.
This is a shift from a retail model to a service model, where ‘easy
access’ ‘personalization’ and ‘qualified information’ are key (as part of the
‘knowledge economy’).
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23. Contents
Part I: Musicalias in a few words
What 3
Purpose 4
How it works 7
Part II: “raison-d’être”
Market overview 11
Focus: fan-funded music 18
Part III: more details on the project
Our positioning 24
Examples of participant offers 27
Project status and next steps 28
Appendix 29
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24. Our positioning (1 of 3)
Musicalias principles
Help the “fan-funded” trend to be of benefit to those without a large
fan base or not likely to reap $30-50k on Sellaband-like websites.
>> the investment goal is freely set by the project's owner
Fans are not invited to buy parts of a project but their contributions are
praised and rewarded
>> thanks to a privileged insight into the artists work and/or rare/pre-
release stuff
Provide artists/labels with a structured environment
>> easily build a multi-level offer to be sold to an audience beyond their
best fans.
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25. Our positioning (2 of 3)
We also think that
Like ad-funded websites, this new model will work as a complement to
‘traditional’ retail (physical & digital), at least for the next few years
Labels and distributors have an important role to play in setting up
the right offers (a highly fragmented market needs intermediaries)
This is not only about recording projects, funds may also be raised for live
events
The concept may also work well with corporate sponsorships (e.g. a
company buys brand display on a project and/or a bulk of
products/services for its customers).
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27. Examples of participant offers
A first example is available on: http://www.musicalias.com/album/al-dente_80.htm
More offers will be created as soon as possible.
Let’s notice that they should
− Be adapted to the artist’s reach and audience typology in terms of content
and price point
− Find the right balance between the value for money (business) and
participants’ willingness to help the artist / label (cultural interest,
affection).
Obviously they will also vary according to the music genre, typically:
− Jazz: unreleased material, audio commentaries, access to mastering session
− Metal: tablatures, backstage passes, limited edition merchandise
− Songwriting: exclusive e-book with lyrics and liner notes, theme songs written
for fans, home concerts
− Classical: access to rehearsals, VIP concert passes, artist / conductor
interviews.
Best experiences may be shared by artists and labels.
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28. Project status and next steps
Version 1 was launched end of April 2008.
Next steps for the coming months:
− Extend the catalogue with as many advance orders & exclusive offers as
possible (in specific music genres)
− Execute first step of communication plan (promotion towards targeted
music communities + press releases)
− Launch v2 by September 2008 with new community features and improved
back-office for Editors & Merchants (especially stats and sales reports).
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29. Appendix
Jill Sobule’s “Tote Board”
Level # Total
Friend ($5) 8 $42
Unpolished Rock ($10) 65 $671
Polished Rock ($25) 144 $3,668
Pewter ($50) 175 $8,938
Copper ($100) 90 $9,038
Bronze ($200) 17 $3,400
Silver ($250) 23 $5,750
Gold ($500) 24 $12,050
Platinum ($1,000) 9 $9,000
Emerald ($2,500) 2 $5,000
Diamond ($5,000) 3 $15,000
Plutonium ($10,000) 1 $10,000
TOTAL 561 $82,557
The number of levels, their value and total amount sought shall
be adapted to each project.
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