Review: Wallifornia MusicTech Convention 2018- Posted by Johannes Ripken
Four days at Wallifornia MusicTech are over - a review.
The MusicTech conference took place for the second time ever within the prestigious and well-known music festival Les Ardentes. While 80,000 people celebrated outside with excellent weather conditions, a business conference for the music industry and the music technology sector was held in the Halle des Foires in Liège. Every day, top speakers held keynotes and panels on innovations and discussion topics related to the music industry and music technologies.
tamanguu at Wallifornia MusicTech Convention 2018- Posted by Friederike Schymura
A new milestone for tamanguu: the Wallifornia MusicTech convention in Liège in Belgium is coming up and tamanguu will be present for the first time at a convention with its own booth! Four days, from 05.07. to 08.07., we inform the visitors about our application and our startup. And the great thing is that there are only a few conventions that fit like this one.
Music Industry Insight: Publishing Deal and Law with Julia Frese, Zimmermann & Decker- Posted by Friederike Schymura
Contracts, paragraphs and clauses are normally not part of the most favourite topics for artists and managers. When an artist decides to contractually commit to a publisher for a certain period of time, questions about questions come to his mind. Both the artist and the artist manager should deal with a submitted contract in peace - after all, it is about the rights to the artist’s creative property.
Creative property is a composition (lyrics and melody of a song) that is protected by the copyright. If a TV station wants to use a song for a commercial, the artist’s publisher is asked in 100% of the cases to conclude a so-called synch deal between TV station and publisher. It doesn’t matter whether it is a cover or the original song - in both cases the intellectual property, i.e. the composition, is used. If the original recording is used, it additionally concerns the neighbouring rights which are administered by the label. But more about this in the second part of our mini contract series.
tamanguu talked to Julia Frese, a lawyer in the music law firm Zimmermann und Decker, and clarified the most important legal questions that an artist manager or an artist should ask himself with regard to a publishing deal.
Future Music Camp 2018 Recap- Posted by Friederike Schymura
Photo Copyright: Sven Tillack
The website of the Popakademie, organizer and location of the event, describes what is and was essential for the Future Music Camp in addition to content topics: “As always, an important part of the Future Music Camp: Networking!”*
On the 26th and 27th April the ninth Future Music Camp took place and tamanguu was present. This year’s theme of the industry meeting was “ Digitalisation in live business “. The ever growing and meanwhile economically strongest sub-market of the music industry was the centre of the keynotes in the morning as well as of the discussions and sessions in the afternoon. How do we deal with the oversupply of events? How are ticketing, analytics or marketing changing as a result of digitalisation?
About the Relevance of Record Labels- Posted by Laura Dahmen
Brave new digital (music) world?
If you had to invest a lot of money in the marketing machinery in the past, you could do it yourself through social media with Facebook, Instagram and co. Whether newcomer, already established music artist or also actors of completely different industries - there seemed to be no limits to self-marketing. Social Media seemed to be THE marketing tool. It revolutionised classic marketing methods - a new era began with the rise of so-called social media stars.
The music industry was also affected by these developments. Music labels no longer had the same meaning as before. Musicians could suddenly be the blacksmiths of their own happiness, interact personally online with large crowds of people, discover the opinions and needs of their fans, and build an emotional connection through personal messages. Planning and executing a release in DIY style seemed simple and therefore attractive - especially for musicians without a label. But…