Major and indie artists are leveraging new technologies and smart marketing to re-define success in today’s music industry. These artists are not only reaching their goals, they are profiting from their success BIGGER & FASTER than ever before; this panel will show you how to do the same. Since new technology start-ups are a dime a dozen, its critical to know which strategies and companies will drive success while making you the most money online, offline and on the road. This panel features representatives of innovative, tech-savvy artists and best-in-class technology providers to discuss recent developments and relevant success stories from tour-centric to online marketing strategies that employ both innovation and technology to improve the bottom line. After this panel, you will walk away knowing how to take immediate action and make career defining decisions.
Since the web began we've been talking about artists having a career without a label and going to fans direct. We finally have examples of it working. So what does it look like? SXSW Veteran Heather Gold sits down with collaborating songwriters Allee Willis (September, Boogie Wonderland, over 50 million albums sold) and Pomplamoose (over 28 million YouTube views) and you to find out.
Allee and Pomplamoose met online after Pomplamoose covered Allee's September and decided to collaborate together. By SXSW 2011 they will have released 3-10 songs, videosongs, a podcast and an online game together as part of a single project. This is a kind of collaboration, art and business that would not be possible without the web.
Allee has sold 50,000,000 records and yet cannot read or write music. Pomplamoose make all their songs in a tiny room crammed with a piano and instruments. Both are exceptionally accessible and conversational.
In this case study we’ll find out how "limitations" and openness serve them in an era of "personal brands." We’ll also dig into their collaborative process in making music and visuals together and find out how they've succeeded creatively and in every other way.
by Bill Wilson
Who cares about metadata? You should. In a world where millions of digital music transactions take place on a daily basis, it's more important than ever that music, video, and application content appears correctly in digital storefronts, customers can find them, and that the right songwriter, artist and/or content owner gets paid.
This panel will review the current landscape and make sense of the various identifiers such as ISRC, ISWC, GRID, ISNI as well as XML communications standards such as DDEX ERN and DSR messages. We'll also cover why these common systems are critical as the backbone of digital music commerce from the smallest indie artist to the biggest corporate commerce partners.
Mobile is by far the fastest growing sector of the game industry. The growth of the app market is buoyed by an explosion in hardware. New mobile devices appear almost weekly, each promising heightened user experience. It’s no surprise that consumers are expecting better audio in their mobile games. This has created infinite revenue possibilities for composers, bands and sound artists. Join Ben Long as he reveals the technical, creative and business aspects of audio in mobile games. Also, Shane Vitarana and Adam Randall will shed light on the present and future of drum apps and how they relate to mobile games.
Classical musicians have always enjoyed a close relationship with their audience, one that is well understood in the traditional context of performance. However, with the growth of social media and an ever-increasing number of people listening to music online, that relationship is changing. How will this transformation affect classical music artists and their audience?
In a blog post earlier this year, New Yorker music critic Alex Ross wrote of the continuing downward trend in the consumption of classical music by Generation X. While classical music listening in other generations has tended to increase as people approach middle age, Gen Xers are showing a precipitous decline in interest. He writes, “Every classical organization in America should print out this graph, pin it on the bulletin board, and ponder what is to be done.”
Could attracting wider participation in classical music from a broader and younger audience online be the key to preserving the genre? The panel discusses this question in the context of several projects, including The YouTube Symphony, The Royal Opera House’s “Twitterdammerung,” The Greene Space’s Battle of the Boroughs and the Orpheus Chamber Orchestra’s Project 440, with an eye not only to what works and what doesn’t, but to how these projects can be adapted to support music and the creative process.
Discovering and listening to music today is a fragmented experience. Most consumers discover in one place, purchase in another, and listen somewhere else. While iTunes remains the dominant way people buy and organize their digital music collections, on-demand music services like Rdio, MOG and Spotify are creating new ways to discover, play, organize, and share music.
The wide-spread adoption of smartphones and connected devices, along with the growing ubiquity of wireless networks, has increased the promise of music-in-the-cloud, but are consumers ready to give up their iTunes and owning their music outright? While, early adopters and music enthusiasts are latching on, what will it take for the mainstream to shift their thinking? This session will explore how connected devices and cloud services will affect the way consumers find and buy music going forward.
by Troy Campbell, Stephen Averill and Gunnar Madsen
The House of Songs is an Austin, TX based project focusing on musical creativity through international collaboration. The House has been operating since September 2009 and has provided the foundation for creative collaboration between some of the strongest Austin and Scandinavian songwriters. Through these experiences, the participating songwriters have created numerous potential relationships and have attained unique experiences benefiting their musical careers. This panel will discuss how digital media influences these collaboration efforts in the present and in the future. The conversation will also cover current trends in this area, challenges artists face in developing and expanding their audience, how artists today can succeed in procuring worldwide digital revenue, and ultimately emphasize the need of having this conversation.
by Noah Dinkin
Many web companies target the musician community for their first (and sometimes only) segment of users. Sometimes this works and the company is a success within the music space. Sometimes early traction with musicians is elusive and the company is forced to pivot to target a different customer base. This panel looks at why targeting musicians might be a good or bad idea, and how to be effective if you decide to do it. Panelists will include companies who have started and stayed within the music space as well as companies who have switched from music to another vertical. Some other important questions to consider: Should you think of selling to musicians more as consumers, prosumers, or small businesses? Is a one-time purchase, subscription, or advertising revenue model better when targeting musicians?
11th–15th March 2011