The Free Music Archive provides a curatorial approach to promoting and discovering music, and allows for the free, legal streaming and downloading of its library’s tracks. Much like an opinion blog, the Free Music Archive acts as a tastemaker with the aid of user generated and suggested content which must first be approved by the site’s curators. Every track on the site is handpicked and pre-cleared for personal use. Users with uploading or editing privileges must be invited. Initial funding for the Free Music Archive came from the New York State Music Fund, a program of the Rockefeller Philanthrophy Advisors.
Digg founder, Kevin Rose, interviews Trent Reznor for his Dialogg interview series during which Reznor addresses pertinent questions “digged up” by the Digg community.
Presumably in response to EMI’s recent formal complaint and Warner’s lawsuit last year, SeeqPod filed for Chapter 11 with the U.S. Bankruptcy Court of the Northern District of California two days ago. The music search engine which rolled out an attractive pay-for-play advertising programme for artists is liquidating its assets by selling its source code to developers for $5000, perhaps encouraging many services just like SeeqPod to emerge in the future. Yet another sorry day for the music industry…
SoundCloud is an online music collaboration and large music file management platform. The company positioned itself as a digital music exchange offering but it’s so much more than that. The SoundCloud audio player displays the waveform of the track, allowing listeners to view and intercept specific segments of the music and comment on it. As an artist collaboration solution, artists can share, mix, and remix their music under the Creative Commons licensing designations, enabling the creative process to continue long after the master is ‘complete’. I particularly like the fact that SoundCloud is a music-oriented digital distribution solution, making it super easy to send and receive music files within a community of producers, engineers, DJs, labels etc. who deal with hefty music files on a daily basis.
Music search engine, SeeqPod, that has already indexed (but not stored) 12 million songs, has been handed a formal complaint from EMI following a lawsuit from Warner last year. Unlike Pandora and Imeem, the company has not pursued licenses to provide “playable search results” maintaining that they are not responsible for content sources and, therefore, free from any obligation to the copyright holder. Legally questionable, Seeqpod has become very successful and the two major labels are probably going after it to settle on a mutual business model rather than to shut it down. The news prompted me to play with the system a little and I enjoyed learning about their artist-centric advertising progamme that’s highly targeted and cost competitive. Providing 5000 “exposures” (i.e. impressions) a month for $19.95, SeeqPod Echo is a nicely put together search-oriented advertising interface which may very well generate some relevant traffic for artists and music promoters who wish to tap into SeeqPod’s massive music listening community. I’m curious to learn how the conversion rates stack up.
Trent Reznor, a music pioneer on more than one level, has paved the way for a new music business attitude through forward-thinking marketing concepts to communicate with fans directly and provide them with a reason to consume his music and come to his shows. In 2007, Reznor under the famed band alias, Nine Inch Nails, prior to the release of the album, “Year Zero”, launched an online reality-themed scavenger hunt, intended to engage fans and deliver a unique user experience. In conjunction with this gaming initiative, Reznor dropped USB keys loaded with NIN music at his concert venue’s toilets for fans to pick-up and enjoy for free – and share. At the time, it was not clear whether the music was leaked by fans or by Reznor himself which spurred the RIAA to put up takedown notices, fueling the campaign even further. To make the album’s physical CD release distinctive, Reznor printed CDs that changed colour – a gimmick CD copies would not benefit from – to encourage fans to buy the originals to supplement whatever free digital content they may or may not have already had access to. After this episode, Reznor left his label and went on his own, beginning with the independent release of “Ghosts I – IV”. In this case, the 36-track album was offered to fans in a variety of attractive models, all under a Creative Commons license: first 9 tracks for free, $5 for all tracks plus a 40-page pdf booklet; $10 for 2 CD set plus a 16 page booklet; $75 Deluxe Edition Package (i.e. box set); $300 Ultra Deluxe Limited Edition Package, capped at 2500 units all signed by Reznor himself, which sold out in 30 hours. Collectively, Reznor grossed $1.6 million in the first week from this independent initiative. The album later became a number one seller on Amazon in spite of its attribution license which made the digital sharing of it legal. Reznor’s following album, “The Slip”, was offered entirely for free two months later along with sample tracks from NIN’s opening acts. All you needed to do is punch in your email address. Again, Reznor provided a unique fan experience, along with a visual depiction of the volume of downloads by location on Google Maps and a full tour venue listing and ticketing options. The tour was a huge success.
Subscribe via email
Subscribe via RSS
Follow on Twitter