Spotify could add an extra charge if users wanted to make their local files available to their friends via shared playlists. They could do so for an extra charge, to cover the added bandwidth costs and royalties.
Music Think Tank Open
Anybody (no really anybody) can contribute anything relevant to this page…All mp3s should be posted on the MTT radio page. If you cannot find your post here, your article may have been moved to the MTT homepage.
Ticketometer Launch Allows Music Artists to Create Shows That Only Happen If a Minimum Number of Tickets Are Sold
Ticketometer (www.ticketometer.com), an online service that allows artists to create shows that only happen if a minimum number of tickets are sold, has been released in beta version. The site is fully functional and is targeted toward up-and-coming artists who would like to expand their touring presence into new cities without the risk of playing to empty venues. Local and touring artists can also take advantage of ticketometer by preselling tickets to shows and using guaranteed attendance to increase their clout with venues.
Author David Meerman Scott made a honest and realistic quote, “if you want 20,000 fans you must do 2000 different things that each generate 10 fans.” This was my favorite quote from 2010 and I am going to take this on as a challenge for 2011 for an ambitious project to give you 2000 different things you can do to generate 20,000 fans.
Dynamic Producer Commemorates 10 Year Anniversary with the 10th Annual Dynamic Producer Music Conference, Launches Industry Insider Interview Series
The 2011 Dynamic Producer Conference, held in Los Angeles on August 26 – 28, marks the tenth annual convening of some of music’s most influential executives along with the hottest up & coming producers and musicians from across the world. This three day event, created to help educate and provide opportunities for aspiring music producers, will host an array of sessions to assist aspiring producers navigate through the ever changing and selective music industry. From discussions on music publishing, copyrights, digital rights and downloads, to drum workshops, this years’ conference theme - “This Is My Drum Beat,” is sure to inspire producers to march to the beat of their own drum.
As read in CALL TO INDIE ARTISTS: STOP GIVING AWAY YOUR MUSIC FOR FREE PART 1, I will explain some of the benefits in creating niche products and/or services for sale. I will list the benefits below with added explanations to each one.
Here at Music Without Labels we do our best at providing you with some of the top independent music worldwide, which is why I’ve decide to show some love and promote the main industry that helps manage these artists’ insanely busy music schedules; Independent Record Labels! Now this list is in no particular order so their is no hierarchy of which label is better than the next. This is an independent community so it’s our job as indie people to promote quality independent music equally together. We will continue to promote the Independent Record Labels in this new series. Hope this comes as a great reference, and please stay tuned for more:
Ladies and gentlemen, it’s time to reward internet awesome! We all know you belt those notes in front of the mirror, so why not show the world and go for the crown? King of the Web (http://kingofweb.com) - a new website where the web decides who and what is awesome - is looking to crown a Music King. In return for getting the most votes and singing, beat boxing or playing your heart out, you could win a $450 gift card for musiciansfriend.com. Not to mention, if you get the most votes across all the competitions you grab the title “King of the Web” and $4,500 cash!
Competition ends July 28 so register now and show off your skills. Then tell your friends, family, and fans to vote for you! Anybody can compete with text, photos or videos and anybody can vote for the Music King. Earn the most votes and win!
Who doesn’t want to be able to tell their friends, dates, or loved ones that they’ve just been crowned Music King!
Sara Waltemire is a Marketing and Business Operation intern for King of the Web, an entertainment startup that allows people to vote on who and what is awesome online. Our hope is to democratize celebrity and reward Internet awesome.
Find out more: http://kingofweb.com
Welcome to episode 15 of The Music Biz Weekly, a weekly podcast co-hosted by Michael Brandvold and Brian Thompson. Each week Michael and Brian will discuss the latest events in the music business and music marketing events and techniques. This week’s episode, July 8, 2011 – Thomas McAlevey CEO of Radical.FM
Due to numerous comments, I realize some readers are missing the point of the post. Sure the title grabs your attention, but it is the substance of the article that further explains the thought process behind Call To Indie Artists: Stop Giving Your Music Away For Free. “Firstly, limit the amount of music you offer for free.”
In case you haven’t heard, there was huge news in the world of binaural audio this spring. Edgar Choueiri, head of Princeton University’s “3D Audio and Applied Acoustics” lab, announced breakthrough audio processing that solves crosstalk cancellation for binaural audio playback through two speakers.
“Great!” you’re probably thinking. “But what the heck is crosstalk cancellation?”
Ever feel that something is missing when you’re tracking vocals, guitar, or piano? Maybe the vocals sound dull on your mic-preamp or the high end of the acoustic guitar sounds brittle? While a mic preamp itself may give you a great representation of the actual sound of a vocalist or an instrumentalist, it isn’t always exactly what you want. It’s time to learn about channel strips.
An interesting proposition here, by Edward James Bass on thenextweb.com that tech companies might buy up bits of the music biz or even set up as labels themselves.
In a way, it’s already happening, but without the investment in artists. Perhaps they’re waiting for a successful model to appear which can then be sucked into their amoeba structure, (XL beware!) or perhaps the grand and evil plan is that, eventually, when all the artists have given up trying to make money from their recordings they will be able treat music in the same way they treat funny baby videos… a bit like they’re doing right now.
Of course, the music won’t stop. There will be a million copycat hobbyists for them to choose from (some of them adding music to the meals they prepare in the kitchens of their restaurants, along with pepper and cumen), plus a few thousand doomed and starving True Artists, still trying to push the boundaries in between searching the gutters for a crust.
Perhaps, if they are as wise as they seem to be, the tech companies might find a way to invest in the artists who provide the soundtracks to a billion web visits. Could they fund academies? Trust funds that provide bursaries (you need two references from a cool teacher)? Buy up Mean Fiddler? Or just become Apple Records - ‘bringing together the artists of today with the methods and media of tomorrow…’
As a musician it is highly recommended that you use 24 bit resolution in your digital audio workstation. This affords a number of real advantages and not just when processing the audio with plug in software. When you set your DAW to 24 bit you have allowed yourself to record at a much lower level without any technical detriment. The theoretical noise floor at 24 bit is significantly lower than that of a 16bit recording. This means that you can now record signals that peak at around -18dBFS. Thats sounds low but in fact this is equivalent to the electrical level that would have been understood as nominal in a large NEVE or SSL console i.e. 0Vu. In a digital system -18dBFS is referenced to +4dBu (1.23 volts), the same can be said of 0Vu. So there is no need to record at high recording levels when using 24 resolution. I think the confusion may have crept in for 2 reasons, we we recommended that hot signals were good at 16 bit and also the saying “hit zero” may have worked it’s way into the minds of musicians as a hang over from the days of large consoles and Vu metering.
The Music Virus isn’t some code out to destroy computers with James Blunt on their iTunes. The Music Virus is a moment / happening that every so often occurs in the music world. Irrespective of genre, decade, race, sex or rhythm or whether itʼs a group, a band or a solo artist; they are at the centre of a storm of words - the buzz of the industry.