15 posts categorized "Musician 2.0"
October 31, 2012
October 11, 2012
Join me November 28 2012 for an important public debate on the future of digital music in Switzerland, and the proposed music flat-rate (in German)
Cross-posted von Rote Fabrik Zürich
Vorstellung eines Modells einer öffentlichen digitalen Musiklizenz, Stellungsnahmen und Diskussion
Präsentiert vom Konzeptbüro Rote Fabrik gemeinsam mit Dock18 - Institut für Medienkulturen der Welt.
Unterstützt von Digitale Allmend
Der Eintritt zur Veranstaltung ist frei.
BITTE UNTER FOLGENDER ADRESSE ANMELDEN:
Musik fliesst heute überall, jederzeit und auf allen Geräten, egal ob wir einen Download oder einen sog. Stream wollen. Der Unterschied zwischen Anhören und Besitzen ist bereits fast vollkommen verschwunden - und genau das ist die Herausforderung für die gesamte Musikwirtschaft. Wir brauchen dringend neue Geschäfts- und Kulturmodelle die diesem unwiderlegbaren Trend Rechnung tragen.
Eröffnungsrede / Begrüssung
Präsentation: Eine neue Internet Musiklizenz und die Musik-Flatrate: was, wie, wer und warum?
Gerd Leonhard, Autor, Musiker, Futurist und CEO TheFuturesAgency (Basel)
Stellungsnahmen zum Thema:
Acht eingeladene Gäste, u.a. Tim Renner / MotorMusic Berlin, Poto Wegener / Swissperform.
Zusätzlich werden eingeladen: Vertreter der SUISA, IFPI, Musikschaffenden, Parteien, IGE.... etc.
Teilnehmer werden nach Zusage umgehend bekanntgegeben
Öffentliche Diskussion und Debatte
Update: ein kurzes Video von Gerd
Resourcen zum Thema
Diskutiert wird auf dieser Facebook Page
Twitter Hashtag ab sofort:
Vorschlag zum Thema Musik Flatrate, Gerd Leonhard 1. Juni 2012
Das PDF mit dem Vorschlag
Replik der SUISA, IFPI, SwissPerform, Musikschaffende CH et al 'Untaugliche Schnapsdee' vom 6. Juli 2012
Gerd Leonhard's Antwort auf die Replik der SUISA IFPI et al
Tageswoche: Billag für Musik aus dem Netz
Musikmarkt Magazin Deutschland Bericht über die Schweizer Flatrate Diskussion
May 31, 2012
My proposal to the Swiss government and the Swiss music industry: Die Musik Flatrate - das Schweizer Modell (in German!)
I just finished this open letter to the Swiss government and the music industry, proposing a new, standardized digital music license, and a digital music flat rate of 1 Swiss Franc per week per user, paid by the retailers or telcos or the users.
Note: The PDF is in GERMAN until I get around to translating it: http://db.tt/IfIYAS3U
The blog post on my German site is here: http://www.gleonhard.com/2012/05/die-musik-flatrate-ein-schweizer-modell.html
More very soon!
PS: This video says it all, really, and in English:))
May 04, 2012
Wired UK's Duncan Geere has just published a really astute summary of my keynote at the annual SPOT music conference in Arhus, Denmark, see below. It's not that I haven't been saying this for the past 10 years but I think I may have phrased it all a bit bitter:) See the slides below; and feel free to download my Music 2.0 book, here.
"At the Spot music conference in Århus, Denmark, musician and futurist Gerd Leonard discussed a series of possible futures for the music business. Leonhard isn't a fan of how the record industry has been run over the last decade or so. "The whole economy of music is based on big companies owning the rights. It's unsustainable," he said, comparing the major record labels to big oil companies.
"Do big oil companies represent nature?" he asked. "Of course not. Do the big record labels represent music? Probably not." Leonhard sketched out the reasons why people pirate music, blaming high costs and a lack of legal alternatives, and he also argued that cracking down on filesharing doesn't benefit artists. "We had 52,000 people sued in Europe over copyright infringement," he said. "That earned nothing for the artists. Only the lawyers."
But Leonhard is optimistic, arguing that music is simply migrating into something larger. "The business model of merely selling 'copies' of music is over," he said. "Let's redefine the meaning of selling. No-one knows what it means." Leonhard is a firm believer in the power of access models over ownership ones. Models where you pay a small recurring subscription fee to gain access to an enormous jukebox in the sky, just like Spotify (which he says he's a big fan of).
Leonhard claims that it would only require each person in Europe to pay two euros each month to generate revenues larger than the global music industry. That's not necessarily a practical thing to demand individuals to do, but companies have begun to roll subscriptions of this nature into other products, making this music tax more palatable. Telecoms providers have begun to bundle music subscriptions into their contracts, which is a way of making music "feel like free" to the consumer.
But that's not quite enough, he said, projecting a list of hundreds of legal music services from across the world onto a screen, compiled by the International Federation of the Phonographic Industry (IFPI). He claimed that most of them are dead or dying: "90 percent of the legal music services are bankrupt, or there but sorta not doing anything," he said.
To fix this, compulsory licenses, like radio licenses, are needed. "The free markets won't fix this problem. They won't work. We need must-license provisions, public oversight, regulation for the common good," Leonhard said."In 2017, we'll have five billion connected devices," says Leonhard. "75 percent of that will be mobile, accessing 50 or so platforms of content, sharing a €250 billion ad market."
To capitalise on that potential, Leonhard says, music companies are already diversifying beyond simply selling records. Labels have begun taking a chunk of all sorts of revenues -- merchandise, touring, premium content, sync licensing (getting music on television, and in adverts and movies) and other sources. "We're going to make money in 50 different ways. The first music business was a grand illusion."
Ok... so far so good. There are 2 things you may want to look at in this context:
My slideshow from today:
My 2020 video on Music Like Water (via Ericsson)
Check it out. Thanks to Ericsson for the nice production work.
See more videos at http://www.ericsson.com/campaign/20about2020/.
"Music used to be a product that we bought piece by piece. Now it is becoming a public utility, says media futurist Gerd Leonhard, who argues that we will soon be constantly connected to an infinite library of songs. And when music is like water or electricity, our friends become the new music critics..."
April 12, 2012
From a new eMarketer post (and related report), here are some interesting snippets:
"In a sign of how important online streaming and subscription music services have become to the recording industry, trade publication Billboard recently updated its weekly Hot 100 song chart to include data from Spotify, Slacker, Rhapsody, Cricket/Muve, Rdio and MOG. The revamped methodology went live in March 2012, after several months of testing that showed a rising curve for audio streams, from 320.5 million in the first week of 2012 to 494 million during the week of March 4, 2012. By comparison, digital track sales during that period decreased from 46.4 million to 27.1 million, according to Nielsen..."
This is, of course, totally obvious: as good as it is, iTunes is essentially an inadvertent punishment for being interested in more music, since every desire to listen to aka 'consume' new music results in having to spend another dollar on downloading the track. Cloud-based services don't have that problem - and clearly I won't pay $ 20.000 to fill up my iPod with Apple's music, while I have no problem saving 2000 Spotify tracks on my iPhone anytime I want to (and for $10 / month). I have been talking about this for the past 10 years, but here it is again: access is replacing ownership, like it or not (and I don't see a reason not to like it, as user or as creator). We can wish for this to be different, but it's not. End of story. Participate or become insignificant.
"Another indicator of the popularity of cloud-based streaming was a 50.5% increase in online music listening hours in 2011. According to a February 2012 report from AccuStream Research, US consumers spent 1.3 billion hours listening to music through internet radio and other streaming services in 2011, up from 865 million hours in 2010. The media spend associated with US internet radio and on-demand streaming services amounted to $293.7 million in 2011, according to AccuStream Research. This compares with $171.7 million spent on subscriptions to those services. AccuStream forecast that the total market would grow by 78% in 2012... Ad monetization is expected to grow at a healthy clip on the mobile side as well. eMarketer expects US mobile music advertising revenues to hit $591.5 million in 2015, more than doubling 2012’s total of $264.5 million. According to eMarketer estimates, the advertising component of mobile revenue is much higher with music than with gaming or video, largely because of the popularity of Pandora and Spotify on mobile devices..."
Yes, of course, streaming music currently makes much less money for the content owners and rights holders than downloading does - but the key to making this work is to get EVERYONE involved in streaming legally via one of the existing or future services and platforms, just like radio, i.e. starting with a more or less free / feels-like-free or freemium offering. The math is simple: if 200 Million people use Spotify or Simfy or Rdio - whether they pay 'with attention' aka advertising, via telco bundles, or with their own cash - then the rightsholders will see some serious money coming their way. If they can't allow this market to grow, then it won't be created (at least not in a legal way)
The bottom line is: the music industry has to monetize AROUND the music, not just WITH the music. Think advertising, bundling, added values... new generatives. There is no sense whatsoever in fighting the obvious trend of access replacing ownership.
February 24, 2012
"We now live in a digital society, networked, mobile, social and always-on. In this super-noisy, decentralised world of constant self-broadcasting, liking, sharing and networking, how will an artist, a manager, a label or publisher, or any other business get attention, and reach their audiences? If interaction comes before transaction, what does marketing look like in the next few years? How does one build a strong brand in this world..."
January 11, 2012
Attention is the new currency is one of my favorite memes. So: simply tweet about my 2009 book Music 2.0 (even if you already have it, in print or as PDF) and receive the link to the free download. Use this link to PAY WITH A TWEET and spread the word. If you really must get a dead-tree edition, the print version can be ordered via my bookstore at Lulu.com
About Music 2.0 (from the free mobile site): "This book was self-published in 2009 and is an edited collection of my best essays on the future of the music industry, and continues the work I presented in my first book, The Future of Music, co-written with Dave Kusek. It further describes what I think the next generation of music companies will actually look like – hence the term Music 2.0, a description derived from the now increasingly popular “Web 2.0.” I have been writing and blogging about digital music and the next generation of the music industry for almost four years now – in airplanes, taxis, trains, busses, hotel lobbies, conference halls, and at home. In Internet time (and it certainly feels that way to me), this is almost forever! In many ways my message and my opinions may have evolved a bit but the bottom lines and visions have not changed a whole lot.
Looking back at some 1,000 blog posts and over 20 essays it is evident that by far the most often covered subject is indeed what I (and many other people – I make no claim to having invented this moniker!) have come to call Music 2.0, the new principles that define the next iteration of the music business. All of this is also closely connected with a few other terms that I have co-coined and have come to be associated with: Music Like Water (MLW), the Flat Rate for Music, Feels Like Free (FLF), the Usator, Friction is Fiction, and the People Formerly Known As Consumers. In this book, I aim to just fine-tune the best of my writings from the past four years, while not altering the content too much, in order to preserve the timeliness and context of when it was actually written..."
You can also read the book on pretty much any mobile device just by going to MusicFutures.com.
Also, be sure to follow my music-business specific tweets via @music2dot0. To see all my blog posts on the Music 2.0 book (and the topics covered in the book) please go here. For the music-business specific videos, visit my Youtube channel. Slideshows are here.
September 19, 2011
MUST WATCH: PressPausePlay Movie, related 9-minute excerpt of interview with me (future of music ++)!
I am delighted to be involved with PressPausePlay, a movie about digital creativity, funded and promoted by Ericsson, featuring people such as Hank Shocklee, Seth Godin, ZeFrank, Sean Parker, Larry Lessig and Mike Mesnick. And it's finally out and available! Here is what it's all about:
"The digital revolution of the last decade has unleashed creativity and talent in an unprecedented way, with unlimited opportunities. But does democratized culture mean better art or is true talent instead drowned out? This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world's most influential creators of the digital era"
From the blog: "we have had so many people ask "Where can we see your film?" and this week we are very happy to say our digital distribution has begun! PressPausePlay is now available online in many countries around the world, with more coming soon. You can now find PressPausePlay on iTunes US, iTunes Canada and iTunes UK. You can also purchase PressPausePlay on Amazon.com, Walmart.com, Vudu.com, CinemaNow.com, Xbox, and Playstation. Or put us on your Netflix cue where we will be coming soon..."
Please RT and spread the word!!
According to leading music futurist Gerd Leonhard, such diverse approaches are just the start of the “complete fragmentation of the music format”. With the convergence of audio, video, graphics and gaming via the net, he predicts the album will soon be eclipsed by the music ‘experience’, embodied in any combination of apps, interactive videos, augmented reality apps or a 3D television concert using interactive controllers like Microsoft’s Kinect. “We’re going back to the understanding that playing music is about an experience, not about a download for the cheapest possible price,” he explains. ”With apps and websites and 3D, I’m given an interface which makes it easier to immerse myself in the experience… You can’t copy that. If you can get immersion from your fans, you have their wallet.”
July 27, 2011
March 02, 2011
It was a pleasure to give a talk for my alma mater, Berklee College of Music, in Nashville (TN) yesterday, on the topic of monetizing music in a networked society (see the Facebook page). You can now browse the entire thing via Slideshare, below, or download the low-res PDF directly from here. Provided under creative commons attribution non-commercial license, as usual. Feel free to share and re-use.
January 13, 2011
Check out this short video on the topic of "Music Like Water".
August 16, 2010
16 August 2010
The main shift is going to be away from the downloading of content and owning of CDs and more towards music in the cloud. That is going to happen with most media, starting first with music and then going into films and books. This is not just a music business issue. We are moving away from the copy to access. This is a very good model for the artist. In the past, most of the money was spent on the physical product – so the reproduction, packaging, shipping and retail store.
The artist basically got nothing in most cases. Skipping that whole process now means that the brand of the musician becomes the most important thing. This is very good news for the artist, the producer and the creator but less so for the industry as it’s much easier to sell a copy than it is to sell access. The idea that the artist just gets, say, 10% of the sold product is now out the window. Now the artist will give his agent or service agency some kind of fee – say 25% just as Nettwerk Records and other companies are already doing.
The issue is to get attention and clicks from consumers. If that attention is converted into a revenue share based on advertising, a subscription fee or an upselling process, then as soon as you have attention, you participate. We are still in the old system of counting on revenue per use. That won’t work in the future. The bigger your brand, the bigger the attention you will get and the more clicks you get, the more money you’ll make. I believe that consumers will ask for the access models to be free initially but then after they use it for a while they’ll be quite happy to pay so they can remove the ads or increase the quality of the stream for example. Music online will feel like free. There is plenty of money to be made from ads, but it’s just not there yet. It’s coming, though. We have seen that advertising just doesn’t work on the Internet.
It’s so easy to click away the ads or avoid them altogether. Advertising was essentially useless until now as today we are starting to see social advertising, such as on Facebook. Plus we have mobile advertising. Finally advertising is becoming more useful. The brands are no longer looking to spend 1% of their budget on social or mobile; they’ll be spending 10% or more. There is a total disconnect between the way a new business can be grown and how a lot of rightsholders perceive how the business will be paid for by Google or ISPs, for example.
That’s a very bad approach because it makes it impossible to legally grow a new model. You will be much more successful – like YouTube and Last.fm – if you don’t have the right licence and you just do it. That’s a real irony. I don’t think we’ll be able to support new services without a compulsory licence.
We need a compulsory licence for music use on the Internet so that companies like Spotify, MOG and we7 can use a licence rather than just bang their heads against a wall like they have in Germany and the US. A cloud-based model has to win out in the end, as the costs are so much lower, the sharing is so much easier. You can put all sorts of ads into cloudbased systems because you always know what the user is doing. There are lots of great benefits there. But the industry hates the cloud-based model as they lose control over distribution.
March 25, 2010
Peter Spellman is a friend and long-time colleague who works at my Alma Mater, Berklee College if Music, in Boston, and also runs his own company, Music Business Solution. He has written a couple of really powerful and highly recommended books geared towards musicians that want to use the web to propel their career (see below). Peter just send me a PDF with his latest work, a 'psycho-spiritual-musical manifesto' (see image on the left) and I really liked it so I figured I should pass it on to everyone, via this blog: Download Musician 2.0, 3.0, 4.0...Spellman (PDF, 2MB)
Peter Spellman, M.A. M.Ed., helps musicians apply their entrepreneurial instincts to create success. He is Director of the Career Development Center at Berklee College of Music, and founder of Music Business Solutions (mbsolutions.com), a training resource for music entrepreneurs. He has worked as a booking agent, label director, music editor, artist manager and producer, and performs as percussionist with the ambient-jazz ensemble, Underwater Airport. His newest book, INDIE BUSINESS POWER: A Step-By-Step Guide for 21st Century Music Entrepreneurs, and his other business-building books, are used in over a dozen colleges and universities across the U.S and Canada. More at www.mbsolutions.com/books
PS: another great source of "Music / Musician 2.0" information is the blog of my co-writer David Kusek, here, as well as the BerkleeShares.com site, and the amazing online education platform, BerkleeMusic.com. And then there is my own book, Music 2.0, of course - read the free mobile version here.