[…]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.[…]
[…]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 .
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. […]
On Tuesday, November 13, 2012, FMC will host its 11th Future of Music Summit in Washington, DC. Our ELEVENTH! As always, the event will tackle the emerging issues at the intersection of music, technology, law and policy. Our goal is to bring together stakeholders with different – even opposing – views, so we can dissect and discuss complicated topics, giving musicians a clearer sense of the issues, the players, and how decisions made by policymakers in Washington, DC might affect their livelihood. read more
Meteoric transformations in the creation and distribution of music over the past ten years have drastically changed this landscape. New technologies like digital music stores, streaming services and webcasting stations have greatly reduced the cost barriers to the distribution and sale of music, and a vast array of new platforms and technologies — from blogs to Bandcamp to Twitter — now help musicians connect directly with fans. Subsequently, it’s easier than ever for musicians to retain control of their creative output and to benefit more directly when their music is performed, licensed or purchased. […]
Has technology leveled the playing field to a point that musicians can do it all themselves? And an even more critical question, should they try to do it themselves? What are the net effects of teammates and partnerships on musicians’ earning capacity? This article examines data collected through the Artist Revenue Streams project to better understand the impact – and tradeoffs – associated with musicians, income and teammates. […]
[Post authored by FMC communications intern Caroline Fox]
The New York Times recently published a short op-ed that explored one musician’s unsuccessful attempt at crowd fundraising for her album. Veteran recording artist Terre Roche signed up for Kickstarter and Indiegogo, popular crowdfunding platforms for creative projects. Roche and her new band were aiming to secure $21,000 in funding to produce their next album. Unlike some other success stories, however, this already established creator fell flat when it came to raising cash from fans for her project.
A recent series of blog posts about musicians, music, and income have found various writers claiming – each with a level of certainty – that musicians are making more money/less money today than in years past. These posts prompted us to write about the challenges in making assertions about changes in musicians’ income, based on what we’ve learned through the Artist Revenue Streams project.
About once a month, we get an email from a researcher, journalist, policymaker, or student asking us a simple question: how many musicians are there in the United States? Given FMC’s work with musicians, it makes sense that they ask us, but our answer is the same for everyone:
there is no reliable way to measure the real size of the US musician population.
In a post last week on the Artist Revenue Streams site, we outlined the particular challanges associated with estimating the size of the musician population in the United States. read more