[…]The roots of the tree are things like setting up your brand, your image, the foundation of who you are as a musician or band. The trunk is the gathering of fans and music contacts which is what supports all the branches. This is where networking and nurturing your fans is very important. The obvious money making branches are CD and download sales, merch sales and gigs. If you aren’t already doing those things - start there first. From there you can have as many branches as your tree can hold, and believe me the sky’s the limit. The Future of Music Coalition even did a research study on this topic and found 42 different streams (or branches) to boost your income in music .
[…]New features include updated salary and job information and more detailed salary ranges for many positions, such as TV and film score composer, music supervisor, and songwriter/lyricist. Job titles like video game composer, film score conductor, and concert hall manager that were not included in the previous edition have been added. A flowchart on negotiating a job offer and a resources section that includes professional music organizations and associations are also new, along with artist revenue trends with information from the Future of Music Coalition’s recent survey.[…]
[…]Casey Rae, deputy director of the artists’ advocacy group Future of Music Coalition, said that while he would like to see Pandora survive, the bill getting batted around in Washington at the moment isn’t the solution.
“It doesn’t take into account enough factors,” he said. “There’s no economic backbone to it. There haven’t been any impact studies. We need more data. We need to take the broader market to decide this is good.”
Levine agreed. “People in the music industry always disagree on how to make money,” he said. “This is one of the few things in which there’s almost no disagreement. It’s a pretty big deal.”[…]
A lack of economic data hampers the debate over fair royalty rates, said Casey Rae, deputy director of the artist-centered Future of Music Coalition. “There’s a need for more fact-based study of the economic impact of royalty rates” for different broadcast technologies, he said. “The rates should be reasonably platform neutral.” Different technologies will likely require different royalty rates, and a “one-size fits all’ solution isn’t ideal, he said. Rae and Kalo said changes should include a performance royalty for terrestrial radio, though Rae also said royalties assessed to over-the-air broadcasters might need to be structured differently.
[…]According to a rather dreary report on musician jobs released by the school this week, most musicians are struggling with moderate salaries (at best), are underemployed in their chosen craft, and are working multiple gigs to get by. And, session gigs, recording gigs, and salaried positions are all on the decline. Here’s a quick summary of Berklee’s report on the state of musical employment in 2012. The findings were based on a sample of 5,371 musicians and composers, conducted by the Future of Music Coalition (and released this year).[…]
“Who the [heck] is this guy and why is he trying to sell me a warm sack of [poo]?”
This question lit up my mind last week, as I sat in the audience for the Future of Music Coalition Policy [sic] Summit in Washington, DC. The guy in question was, in fact, a US Senator — Sen. Ron Wyden (D-OR) — while said warm-sack-of-[poo] was the Internet Radio Fairness Act (IRFA), which Sen. Wyden is sponsoring in the Senate. read more
[…]This disconnect between old media companies and new is hilariously illustrated by comments that one of the bill’s sponsors, Senator Ron Wyden, a Democrat from Oregon, made recently at the Future of Music Coalition Summit. After some harsh words for the major labels, Wyden said the following, as quoted by Digital Music News: “Now, if it weren’t for the disruptive independent record labels — I’m talking about people like I.R.S. and Sub Pop and Tim/Kerr — we might never have known much about bands like R.E.M., and Nirvana and the Replacements … I sure want us to remember their enduring influence on not just rock music, but on their contributions to our culture and an entire generation.” read more
[…]When it comes to an issues as complex and contentious as copyright, artist compensation, and fair business, maybe real clarity was simply too tall an order. A panel with four intelligent and strongly-opinionated players whose top goal is to advocate their position (and not necessarily educate an audience) arguing for 40 minutes was doomed to (as they say) generate more heat than light.
Truly the Future of Music Coalition put together a great panel of speakers (as well as a truly terrific day of content). Unfortunately, as it goes with issues like this, it’s arguable whether any audience member was able to come away with a cooler or clearer head.[…]
WASHINGTON, D.C.— There were moments Tuesday during the annual Future of Music Summit where the conversation about revenue in the digital music industry sounded like a scrum over crumbs, a desperate fight over an increasingly shrinking pie.
“There is so much competition for so much music, and it’s all so devalued,” said one exasperated music entrepreneur, Rodney Whittenberg. He was one of hundreds of musicians, executives, attorneys, policy makers and journalists who attended the conference, presented by the advocacy group the Future of Music Coalition. […]
[…] Casey Rae, deputy director of the musicians advocacy group The Future of Music Coalition, said he’s all for new approaches that pay artists directly rather than funneling money into the “black hole” of major-record-label accounting. But he was still skeptical of Rdio’s offer, which he saw as mainly a public relations effort.
He argued that there’s a finite number of fans an artist can deliver to Rdio, so there’s only so much an artist can hope to make from the new system. But those customers can deliver far more in value to the service than Rdio will ever pay to the artist who recruited them, Rae-Hunter said. read more