How is the Music Industry going to make money?

From the very beginning of the “Record Label” we know that a label made money by SELLING and distributing records. Plain and simple. The very minute the world went digital there has been a devestating collapse in revenue specifically in selling records. Spotify, Pandora and other streaming services are usually considered the bad guys. The industry blames them for the lost of revenue. Times magazine calculated in November 2014 that an artist’s stated payout range is $0.006 to $0.0084 per stream. Before Taylor Swift pulled her music off Spotify her chart breaking hit “Shake it off” streamed 46.3M times with only a pay out between $280k-380k. Sounds ridiculous but consider this, although an artist such as Taylor swift is making peanuts through Spotify services, there is a gain elsewhere. The terabytes of specific data being collected through Spotify is unfathomable. Spotify now knows that Sarah Smith currently lives in San Diego, CA, 25 years of age, in a happy mood and on her afternoon jog is wanting to listen to “Shake it off”. At Taylor Swift’s level of success this information is automatic but for a DIY band out of Boston now can promote, market and shape their tour around this information. If the Boston based band is getting the most streams out of Chicago at the age demographic of 18-20, performing a concert at a university in Chicago could be a very valuable show.

Which leads me to my next point. The industry’s last hope of survival is live performance. The EDM scene seems to be getting it right. Music Times calculated the Calvin Harris will walk away with $400k per gig in his New Hakkasan Deal. EDM festivals such as Tomorrowland, Electric Daisy Carnival, or Sensation bringing in hundreds of thousands of fans have shown huge strides in changing live performance. Selling albums is no longer the main focus but selling tickets at a bare minimum of $100 is top priority. In order to do this, millions of dollars needs to be invested into a production of  a live performance that is so monumental and life changing to an attendee that it could never be reproduced in any other form. On the other hand a website called Sofar is a live performance/streamed based platform shifting live shows into a more exclusive setting. Once you join the free membership, hundreds of exclusive  shows all over the world are now available to purchase tickets. Choose the city you are in and see the next show; the only catch is that you don’t know the location until the day before nor the artist you are seeing until the day of. This platform is a genius way to help people discover new artist in a social setting that can be just as impactful in their lives as a mega show but without the millions of dollars being invested into a production for one night. How amazing would it be to see one of your favorite artist perform in a living room big enough for maybe 20 people?
Until the next best thing, the way I see musicians making money in an industry as loved but taken for granted as this one, is innovating a live experiences so spectacular, big or small, that it will never be forgotten.

Berklee As A Frontrunner

Just two weekends ago, Berklee College of Music hosted the Women’s Empower Symposium at their campus in Valencia, Spain.

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With speakers from all over the spectrum, the event brought the likes of music journalists, producers, composers, PR agents, and everything in between. Featuring some of the top names in the business, the affair drew in sizable crowds for the various lectures, workshops, and presentations by women such as Beyonce’s PR agent.

This puts Berklee in a significant position in relation to other music schools across the globe. Though they’re certainly not the first to host an event like this, this particular event garnered enough attention to make it one of the more significant ones. Upon Googling “women in music symposium”, 7 of the 10 top hits on the first results page link to Berklee’s event.

What does this mean for Berklee, then? They’ve shown that they’re willing to put a foot forward when it comes to matters of diversity in their business- and their business is creating musicians ready to storm the industry, and what good is that if your female students lack equal encouragement? Of course, with a hefty handful of music schools within the US as well as elsewhere, there’s been a slimming disparity between the genders of students. Which is great news- more women are feeling more confident in their abilities and are, therefore, more willing to pursue their dreams in lieu of “more practical” options. Guys don’t have to be the only rock stars.

And so Berklee has set a precedent not only for other music schools but also for themselves. While other institutions will have to up their pace to keep in stride with them, Berklee will have to continue clearing boundaries and making an example of themselves. Perhaps this is contingent on the promise of more events like this in the future, perhaps it’s reliant on their emphasis on their female students. No matter- it’s a huge step in the right direction.

See, the reason an event like this is so monumental for Berklee is in its impact. Looking past the search engine results, there was a resounding physical response at the campus. Not only was turnout an indicator of the event’s success, but the coverage throughout the school it received proved that as well. There wasn’t a hallway you could walk down without passing a poster for the symposium. Professors altered class times to ensure students could attend the event. In maintaining the appearance that Berklee was really passionate about the event, it fostered the same passion in the students. Write this down, Juilliard.

Throughout the day, attendees could sit in on panel discussions regarding various topics in the music industry- particularly how the particular women speaking were involved. Or they could attend various workshops crafted for specific interests, such as music blogging or banishing stage fright. When it came down to it, there was something for everyone, and there was something at almost every hour throughout the event. Never a dull or free moment.

If you’re interested in seeing some of the event, you can watch clips from some of the panels here.

 

Obsessive 音楽 part #1

Japan,the second largest music market in the world, mixing tradition and modernism, different point of views of the music industry, those are some characteristics that Japanese music industry has.

It is ILLEGAL to sell a CD for less than $25, CD market is still the biggest making up over 85% in the market, a country were the illegal download revolution never happen. Steve McClure he was born in the United States, he has been leaving in Japan more than 17 years and this days he is Formerly Billboard magazine’s Asia Bureau Chief. In the next video he talk a fast and very interesting summary of the music Industry in Japan:

As Steve said they have made their own industry. When somebody talks about J-pop (Japanese pop) first name that comes to your head is the name AKB48, is the biggest group of Japan with more than 40 members, all girls, they had record sales of over $226 million. Yasushi Akimoto the chief producer of the group made a big business with this.

“I just want to make super stars from ordinary girls”

here an Interview:

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Technology Changes Everything.

If there is one thing that has become quite obvious is that technology has the power to change everything. It has certainly transformed the music industry throughout the years! From the way we make music to the way we produce it. From the way we source music to the way we listen to it. It can be said that technology has affected the music industry in both positive and negative ways. The short clip above provides an excellent example of this.

If you were to type “technology and the music industry” into the multiple search engines that are available to us, you would soon discover that the majority of the articles out there focus on the negative effects technology has brought to the music industry. It is important to point out that technological advances have not only affected music but also publishing, television, radio, and the news. While it is true that perhaps technology has had a negative impact on the music industry (as well as other industries), there are many other changes that have been positive.

Today, I am choosing to focus on the positive as it is important to recognize favorable disruption. Let’s look at the short clip below.

Positive changes in the music industry (thanks to technological advances) include: consumers having access to music more than ever before, online music education availability, new musical instruments, access to digital tools (by both artists and consumers), artist collaboration increase, artistic control and independence, artist and fan communication/interaction via social media channels, crowd funding platforms, etc. All these changes continue to ultimately shape the music industry today.

Though there are many who feel nostalgic when thinking about the way the music industry used to be, it is important to appreciate the way the music industry is now. It will never be the way it used to be. In other words, it is important to see the good and bad (without specifically focusing on the bad). I am not saying the music industry is perfect. In fact, there are many things that could be improved. I am simply saying that technology should not to be seen as evil. It is important to embrace it and welcome the changes technological advances may continue to bring.

Raw talent first performance

I’ve been representing Nayvia for some months now. She’s a talented girl that never took any sort of voice education but still can do what you can see in the video of this post.

It’s a very special and satisfactory challenge that actually demands more patience than it usually needs. It’s special because you’re building an artist from scratch, you’re trying to let the new talent learn a ton of new things, learn how to communicate with musicians that actually have been in the business for a while. It’s a constant struggle with simple but huge insecurities and interests.

It’s satisfactory, because every step Nayvia takes, don’t matter how big it is, it feels like it’s being a huge one. Jon O’Hara and myself are always having our jaw dropped when we hear her during rehearsal. Every time she sings I can see how she gets more and more convinced that maybe her voice it’s her biggest asset, I can see her dancing while practicing her song and having a dumb smile that she can not contain.

Jon O’Hara, just finished Nayvia’s first song, they have been rehearsing and working on its details. In less than a month they will be recording it in a professional studio with some professional artist and professional sound engineers. I’m not sure if she realizes how big is this recording going to be. Jon and myself are convincing some artists from Berklee to get involved in this project and we are getting good response so this dream is about to come true.

Next step it’s making a photo shoot to Nayvia so hopefully next time you read something from me, you’ll see a beautiful picture of her in the post.

Artist Review: Itzel Salinas (part 2: Deimusaranea – La Cabalgata de la Musaraña)

Hello!

Continuing with Itzel Salinas’ artist review, let me introduce you with her band “Deimusaranea”.

Deimusaranea is:

Antonio Escamilla (Electric Guitar)

Ramsés Guevara (Drums)

Sinuhé Guevara (Electric Bass)

Itzel Salinas (Tenor and Alto Sax)

Deimusaranea's 3 song Demo

Deimusaranea’s 3 song Demo

The band started in 2010 just with guitar and drum experimentation, giving birth to a 5 song EP. At mid 2011’s, bass guitar was added and finally at 2012, Itzel joins the band playing sax.

The band self describes as a mixture of rock, stoner, jazz, progressive, psychedelic and noise, with their intensity and complexity in their sounds as a main characteristic.

This is true as you listen their music. There is a “constant creepy” feel of chaos and mutations through their sound. It’s full of dark musical colors and a “root of absurd”, perfectly described in their conceptual artwork. Beautiful.

See here for more artwork:

https://www.talenthouse.com/deimusaranea

So now I would like to describe briefly their music from my personal prospective and review the 3 songs corresponding to the band’s new Demo that Itzel gave me as a gift.

  1. Cabalgata de la Musaraña (Ride of the Shrew)

The song starts with the feeling that something is becoming bigger. Dark chords surround this “growth” and gives a creepy color atmosphere. The sensation of scary things can be enhanced thanks to the tremolo and the guitar FX.

Slowly, the drum beats starts increasing intensity as the guitar screams with the wha-wha. The song “explodes” and melody changes into a more regular pattern around 3:15. It’s still “perturbing”. Around 4:00 the climax ends, giving intro to the second part of the song.

A powerful guitar riff, giving the sensation that this “something” has life and “can walk, and has its own personality”. The section has time changes and very bluesy riffing.

Around 8:17 the song has its second breakdown. Some screaming echoes (very “Pink Floydian”), perhaps “the beast has devastated the city”, and everything has been turned into shadows and screams.

Chaos and fear surrounds. We can hear a voice saying “una musaraña, y su cabalgata” (a shrew and its ride) and suddenly the fast section begins again, as if the mystery has already been solved.

Around 12:15 there is another breakdown, with a repetitive loop and if like this big thing has gone but the fear is never gone. Around 13:41 the last section of the song begins. We can notice a more reflective and positive melody, but still unstable. It goes back to the beginning… and then its over. Peace?

On next post I will finish reviewing the 2 remaining songs of this fantastic piece of art.

Feel free to share your thoughts and feelings, and if you want me to review any artist or concert, just write it!

Until next time

Felipe

Turning talented people into professional artists

I present to you, one very unique and incredibly talented valencian girl! I’ve been working as her manager and we are committed to make some serious progress.

During my participation in this blog I’ll be updating the steps my artist and I are going to make in the local music industry. We’ll use self produced videos and some other posting formats. My goal through sharing this experience is to make you fall in love with this singer and to generate knowledge on how to build an artistic career from scratch.
I hope you feel as excited as I am and subscribe to my Youtube channel and posts in this blog. Constructive feedback is very important so feel free to give us your opinion and advice.

Thank you for your support!

Disrupción Records – Started from the bottom now we’re here!

Disrupción Records is Berklee College of Music’s (Valencia Campus) first student run record label. 17 immensely talented students are a part of this label and initially, it was really hard to coordinate with everyone about all the details that were necessary for the success of this label.

We have 3 teams – the legal, the A&R and the marketing team.  It started with legal issues on how to get a label started in Spain and whether the label name is available or not. Since, there were 17 people we decided to divide the label in two sides too coordinate better. Each side got the opportunity to work with 2 artists. It was really interesting to hear great music offered by such talented people in the Berklee Valencia Hub.

On 26th March, 2014, we launched Disrupcion records at Berklee, Valencia with some tunes from our very own, DJ kTunes. Ever since, we’ve been working with the artists, marketing them. It’s been great working with them.  The artists on our roster are Tess Ruth Stabb, Avila Santo, Miranda Inzuza and Stephen McHale. You can check out all the artists on our facebook page.

It hasn’t been easy but it has been a wonderful experience and we couldn’t have done it without the help of our  music industry aficionados, Ben Costantini and Ferran Coto.

 Follow us on:

Facebook https://www.facebook.com/disrupcionrecords

Twitter http://twitter.com/disrupcionrecs

Instagram http://instagram.com/disrupcionrecs

 

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“Un Lago de Conciertos” . . . or the final ReAdaptation !

We finally made it! Even though the showcase we had in mind at the beginning of the semester was of a different nature, we managed to have a lovely stage on the water and two great performances by two artists of Disrupción RecordsThe official presentation the Marketing Team discussed some time ago, was definitely gonna take place in a venue far less attractive than the outdoors of the Museo de Ciencias Naturales Príncipe Felipe. Obviously, not everything were advantages, but the overall experience was a big success.

Un lago de conciertos

Berklee College of Music’s Valencia Campus has reached an agreement with the Ciudad de las Artes y las Ciencias to produce Un Lago de Conciertos: a cycle of eight free performances by Berklee students taking place almost every Friday during May and June, closing up on the 4th of July. Jazz, folk, electronic music and many other different styles will make the outdoors of the Museum even more attractive, combining the sites of the pools, good weather and music. Brilliant initiative which had to happen, being Berklee located where it is!

The first concert was to take place on the same day our event was scheduled, so it seamed as a great opportunity to join forces and take advantage of the situation. Obviously, a show being promoted by an entity such as CAC would reach many more people than if we were promoting it. So – even though we were limited in several ways, marketing wise – it was a huge opportunity as everything was planned by locals who actually know the audience’s habits and the best time to program it.

Un Lago de Conciertos

Miranda Inzunza was able to catch everyones attention with her sweet voice during the sunset, and Avila Santo made the beginning of the weekend perfect while everyone enjoyed there first drink on a Friday afternoon.

Avila

I believe we’re all looking forward to continue this experience, as yesterday we began to see the results of the previous weeks.

On the other hand, Instagram gave me a nice surprise the other day! A friend from school posted a photo on Instagram of our artist Stephen McHale performing with Andrea Fraenzel. I think last time I saw Pablo was around 2005… So it’s nice to see lost friends enjoy the amazing creativity of new friends like Stephen or Andrea.

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Biters Beware!!!

Biters Beware!

Man, I can’t STAND a biter! It seems that naturally the business world is FULL of them, and some of them are starting to get on my nerves!

What is a biter? Well since it is a slang term, I’ll refer to Urban Dictionary for a definition:

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Actually, I like these too:

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We all know that guy or girl who just loves to steal an idea! What bothers me is that in person or when working in a group, these people NEVER have an original idea! Could it be that they lack the ability to think critically and solve problems without trying to copy someone else’s work?

Jim Jarmusch, an American film director, has a popular quote that you may be familiar with even if you do not know the man’s resume:

“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination.” photo-15

It seems that Mr. Jarmusch would encourage biter-like behavior. One could make the argument that many of the greatest advances in humanity can be attributed to a biter that took someone else’s idea and made it great.

Allegedly, Galileo Galilee stole the concept of the telescope from Hans Lippershey after the Dutchman failed to obtain a patent for his work.

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Even the ingenious mind of Albert Einstein didn’t fully develop the theory of relativity. That’s right, Mr. E=MC2 actually borrowed most of the concepts in his book from Henri Poincaré, an expert on the subject in the 19th century.

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Face it: this is the nature of the real world, let alone business.

There was a Friendster before Facebook, and a “Message Pad” before an iPad.

Throughout history, many minds have expanded upon good ideas and made them great ones.

But allow me to read further into the Jarmusch quote:

Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent.”

Translation: You can’t just take an idea and call it yours. That’s just being an ass.

While biters are being sellouts and trying to steal an idea to make money, achieve fame, or whatever their motive, the Galilee’s, Einstein’s and Jobs’ of the world are finding a way to be innovative to improve things for all mankind.

Biters are a serious problem in our society. Their lack of a true intellectual capacity is holding back our advances as they fool employers into allowing them a place in the workforce.

Do the right thing: become a part of your neighborhood Biter Watch Program (I plan to start these, don’t bite that name). Let’s fight against the intellectual property thieves of the world!

If that doesn’t work, well… beware, Biters! BEWARE!!! Karma is going to come for you!

You know who you are…

@SammyPisano