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my I only have a half a dozen
and
so welcome by everybody I'm very excited to be unusually on the other side of the stage is an event producer and I'm not here alone but anyhow West 60 minutes now to every cat music staying and ends the program here at the laboratory which is such a
brilliant plan on but kind and here at Republic and and just before we get started so some the the
this is alive conversation on stage with my wonderful guests and the audience and so who refuse familiar with what a fishbowl is anyone can have a quick bases hands again 1 man
and also maybe the exactly all come forward I'm I'm just
gonna quickly explain um basically what we're doing is a panel but uh we have it's SETS which is our free and is for you DO audience and to join so um at any given point in the discussion way if
you have something to contribute or are they something we're leaving out
and we have a question to throw in please feel free to stand up to get on stage and take a seat and join us and then obviously go back to the the leave it up to the next 1 because the idea is to have rotate people in and out and hopefully have a more involved and inclusive discussion with all of you and by the way I am also and speaking English I know we we're partly German here right and it's like 4 4 and a half the list of it when you see it in
so all a and that is having this baby the English English problem exactly the genus panel great um but if you do have questions please Avro them as at
us in either English or German and where ends of both the so you with my full great yes and the idea is to really reflects out on today's program what's where the key in size the key learnings what can we take away from that we have heard so much about virtual reality today about and start ups in music taxpayers and about acts as new marketing platform have for musicians hands and we really here to condense and it
all and extract some of the insights that have we have learned today and so I this to a quick round of introductions and and maybe you can start with you and and you can say that when you come from what your background is and and this is what brought you here as hello everybody I'm eric area work with
musical woodland and now we want to consultations for musicians in Berlin and the side this role of also also involved in the curation of events and balloon focusing on on music and Tech yeah yeah a and bastion of a singer-songwriter from London
and that's maybe what I do with it I was a part of an artist's
organization called the FAC that's featured artist coalition so that's a group from an for uh from a artists that that to lobby work name to give artists united voice and they'll situated like educational grass-roots events yeah a
lump of Pavel and a musician songwriter and and he was suntrap which is the recording
studio online and to 182 presentation about some troubles recently and know what we marketing and communications for Central and just to speak so I am forced by the
time the founder of the 7 records and found that 85 so we went through everything which happened to music in the last years
and urine and have the I we also we run 3 labels which is called the which is K 7 strut and I was run labor service department where we take care about 25 labels to run a management company and we work with 30 people out of officers Berlin London New York and personality of founder of the Global Rights Association organization Marilyn I'm also on the board of the European Union and the dissociation Impala and another view so thank you
also have been a diverse group of music acts that are from different fields so um I was wondering because we have heard so much about um news age have being influenced by these new technologies today especially virtual reality of what is said and what have you taken away from this what's and what are the new technologies that you foresee defining the future for the music industry will be distorted I know
that 1 of 1 of the important take-aways for medium something and that I had a feeling for beforehand but when I heard it today on on on 1 count of that OK and of stem right that it's better to set the feeling that on the solar virtual reality and I think that and which totally reminded me of like to so the 2nd Life hype but back in the nineties I might here might be a problem and my feeling is that and this is an Augmented reality and what brought to rather than get some more context them into you of music I'm feeling and seems to be much more element from from my point of view and I think this was like definitely something that love to stress and push forward is like was much more
relevant Community and and the augmented reality an aspect of this feeding them the and this could be some very important part of this
whole story costs and I know
your hand label K 7 has been a meal and serve as a cultural reference in terms of and taking out and as the visual science and in combining that with audio very early on so and I do know if anyone here is familiar with uh the makes series and that K 7 digit in Y thing the early nineties and maybe you can tell a bit about what that was the ends and how he started it and how you're taking it we had a quick chat early on about how you're taking that fair there and looking into fashion vanity also so in this case 7 was was founded as the music video label and we recorded life recordings of bands like the Nikkei
finite stood still annoy about and suddenly this new type of musical techno bubbled up in Berlin and to me it was like as a video labor that's what I want to produce a video for and the music was done on computers so the idea was that these rules need to come out of computers as well and you can imagine technology by the days of by the late eighties there were just 8 bits Amiga computers and the rendering of 1 frame was about 2 days sometimes and and but what interestingly developed with the X makes was that we say OK there is a DJ and this DJ makes a mix of 12 songs and and and this 12 songs come from the ground they come for what is really happening in the clubs and we give that music to computer artists in all over the world to visualize and and and that was mainly the start of of computer animation connected to techno music and I can probably proteins say that we did created the impression of what a techno units look like but more interestingly what did happen so that is that x mix was the only platform for computer all these days because we've been told produced 10 videos we started in the early nineties and ended in the late nineties and we had from Laurent need to reach you your to to to Dave Clark all the big big techno producers and MTV was really soaking up this video was because by that time there were no there were no due to their words just all this eurotrash videos and they made all this special shows about the x makes of the real and and I think the other 1 hand it was just played on not on all that loud parties but on the other hand it was a form for computer art and I think that made ex makes quite special in a way and we then ended X mixed by the late nineties because we had the feeling we need to move on and there a much newer and better concept coming into the market and we wanted to move on with DJ cakes in our observations we have we left visuals completely behind and for me it's of course interesting suddenly now would offer that many years to be in touch with virtual reality again because that would be always a reference to and and new remains there was a Bible we all had to read you know and and and it's interesting it's interesting that we know all coming back and and and and and this type of art form becoming so present again deceived back
to reality as something that's active replace life performances and have observed Adam I'm sitting in my living room putting on my as bubbles or whatever you know had to I have ended have experience pain concierge life without actually being there and is that something where you see the potential or is it more in the same music nations phase which have we have also heard at the panel earlier on estimating interesting what's being done in that I think that I
think the add-on experience I don't think that and the experience of life course which are filled with various other DR 360 cameras are going to replace the life experience but I think it's going to be a very strong at all and I've been at that concert I've been at that festival and now I wanna be the stage camera and I want see from the stage into the
audience that certainly is strong experience and I think it it will come it will it will be mainly an additional and products I think there
is the risk of of of creating more fan products that it's soaking up diversity because if when you know if for instance if all goes into the are and all the major actor going into the are they taking the money away for people experimenting with new music and all those could be concentration which could be unhealthy for the market but in general I feel that the artist adding a new element to it which is a good omen canceling very unsexy to that
and I I I'm really excited by by that Iran and I've been at multiple Connie concept from the view of his piano which which was the main thing and but especially if the new music if we really wanna take advantage of that I think the licensing really have to be made simpler it has to be a
1 click thing and it's too complicated at the moment and so it's almost like come on music industry get your act together now because this thing is about to explode and it's a massive opportunity that we gonna lose out again and if we don't just make it simpler to to monetize that really and to have you know have a 1 thing license and to have the payment actually filtered through to the people that have I will not present with you and I think it's it's
always difficult when you stated speak about uh in support of innovation giving away controlled embracing innovation by giving right
away I think it's always difficult if you speak was about the music industry I think you have to separate the music industry and those who have a business model which is driven by market share and you know so if you come into a market and you have you control 40 % market share like a company like universal and you and you give that license to roam venture capital company you can get a kick back of the capitalization you do which is multi million dollars but these around 3 companies to do that and I think if you go back and see the other companies which are all there which are very much Kroll give license away if embrace innovation and everything is in there there needs to be the separation and wanna person with you we have to make license very simpler but luckily saying so licensing nowadays doesn't see the problem anymore because we have so many new business ventures music branches coming into the market which all that a global license so I think the days 5 years ago we could make a license when you came into the market are pretty much over you just need the capital of nowadays these people as
much in Maryland yeah anyway and in Canada you are you OK 7 is definitely and straightforward them with regards to new business
models of I figure so here I am at the feeling that you you you you might be the the experts to tell us a bit more about like this kind of new business models that that might be 1 possible in this whole sphere and also what you just said like differences universal has its term and start up unit as far as I know so they they already have their platform to to come up with a new business models and ideas that would be cool to hear more from you and and what what you guys are currently I'm planning and with regards to that kind of new business models a mean of France it
is more that I think this is the way nothing has changed in music and the music is creating an immunization
of a fan which then starts to spend money soul and back in the days it was vinyls and and know that then they can see he's in no different type of stuff comes and perhaps it's of your experience and I think for us this case 7 we just want to create these these notions and and this is the most important part that we want to be part of how these how people spend money and bring it back to us you know but just emotions or is it also like what we heard today like and there's a big market
marketing firm aspect in this old technology
of some aspect of the moment of here but at but at the end of the point at the end of the
selling them as not know you have of course the big marketing machine but I think what is still happening is music is touching you by the touch of music is not spend
money because you will be closer connected to the news and then there comes a marketing on top of and and I think I don't know what is what we see is coming into the market is probably more the kind of combination where consumers can become producers I mean for instance if you see messaging I think there is something where more more businesses coming into it goes into the direction where people 1 attached music to messaging and there's a blurring line between getting in trouble barbatus which is pre produce sounds which are subject to a license and created by yourself that's for instance something we see more more coming Snapchat's coming with music and everything and they just used to think of it in the future in the new future be able to buy that's a special type of constituted edges was a whole concert being at home on a couch and this yes just use what you think you thought in the near future will be able to buy concert tickets and just which we call the whole concept of Excellency been at home without going to the to the geek with this type of application of the army which I'm sure you can I think that is definitely what we experience is the consumer choice and how you consume music is completely fragmented and new business model coming in every day whereby you know in the former days you only had 1 linear our 1 record 1 constant and and hopefully does so because it's more choices you half and more choices you can get to the consumer as more he finds its own consumption model you would have them to a degree not that's reality
but people are already deciding on shows and there are a myriad of platforms that offer that kind so there's no way you can either have a
set ticket prices or you can have a pay what you want and it's either you can have the whole thing as an online consonant to sit in the living room playing sounds all right it's not a very much I think they were exciting in that sense or it's an actual cake they'll streaming lines and you can monetize the light streaming of it says so that's already been a really great at all in additional form of form of income images enhance it will be analyzed it is if you have a head set thing in there just would make any difference adventure at the Q-Q qualitative what I know about that but if you want 1 of the
critiques points about and the our rights that as painting is being tried and private
spaces and music as we know it has always been a pain collective have experienced music is that I mean you know you can look at of its history its I K Z is a collective and form of like as sharing experience together and what you think about that an ongoing work with
my augmented reality think of it as I always have the the feeling of that
and if you if you could implement them some some music sound stuff in your environment this would be fantastic and also a wonderful thing to share music with other people like system put some some some use some more you tuned somewhere in your neighborhood and just make other people to explore what would what would you just left there as as little statement for instance so that I I really don't see this this from the walled garden in virtual reality thing had said on and you were all alone with the music or whatever I just see a rather than you explore stuff in your environment so that I really like this idea also with regards to this something that I really love to have more context and I'm coming with the music I like anime and and again I I see this rather in in a mix of reality and informational context them to but it also for me to consume would rather help me to maybe by a somewhat things from a band or from a producer rather than being in this work to reality bubble all by myself it's almost like going back to the days of having like a
record sleeve and being totally methods that and it's really it's really cool in no way because it's all I think you and hit on a trends that we have today fission but wealth and heritage to wait for the added value in like having and it's like added information on them and and yeah how cool is that so even if you do have the isolated experience of your headset and in your room alone experience that that's almost like people always say people don't have the attention span anymore to this into an album but if you've got your headset set on and your in a virtual reality world of Pink Floyd's Dark Side of the Moon and I can I can see people spending that coffin alone in the room exploring the enjoying it at least it is a really some exciting and a new
way of experiencing music as well like we heard earlier it's and like especially electronic music and something that has always been about forming the soundscapes in way and that's and I'm already has some sort of slides and even if it's if that happens and in your mind there is like it in a visual attached to it and so I think it's a it's a very very exciting technology and that's however has also we had today is like still in this and you know early stages and basically the heart with them and not so much content and and from what I've seen so far as we are in the music space and it's been videos that you know you can now also with who will call for whatever and dataset as our crossing the line to virtual reality and as I said I think it's important
because if if I could say what I'm really looking for this music which makes you listen to music and perhaps we are answer because
what we would be experience is that music is more or less an emotional wallpaper reported on because we like the emotions but we immediately started talking and we even have the feeling the listen to the music while we talk and and coming back to what we heard before it's about the record sleeve and the experience of going to a record store being at home earlier review listening to the lyrics is actually what is missing to be the way the experience they 120 % of your attention to that music for that moment and perhaps we are can create in new experience where people give full attention which I think it would be great because that's a little bit missing of music is the full attention also let's face it is like
and see that escapist and funds from everything i've seen today if have a lot of fun and exploiting virtual reality at least for the 1st 10 minutes until they get very seasick thought and spins up you click that the it's been like if there is a phonics be
it new way of experiencing music but I am how about the creation side of things and you will start out as basically a ballot and bringing musicians together in a collaborative and environments produce C applying the are at some points add to that meaning you meet and your call crater actually in read the our hands and praising together
definitely it's the new features sorry possible distance from roads of what you working with its chemicals on and a we have a
recording studio in the browser and it's a cooperative recording studio which means is pretty much like a generative and sky and text chapter in your browser in the same industry you do you can play together a core together and you chat chat as you do so it's always the same in the and of course in some years if you play the odds are that they'll be amazing you know you that you see somebody in the you know and each of you will be able to basically just like you'll be in the same recording studio together so I don't know how much it would take to get to that point but is definitely the the future of the project that I see it and currently we have we have quite a few virtual bounds on the platform which means our let's say that i records and Atari and I need to add bass and drums and maybe booklet at some point and I would find musicians all over the world connected with them and went
into my project and we would basically designed this virtual them together so it might at some point will wear like the are devices and play together they would be mind-blowing so I think that's a this was all going to be a and the last thing on me I know where this whole guys said and we have an empty chair here so please add
feel free to join as a especially on that subject of the hour I know that's been dominating the become a widely used and the music they hands and I mean is it just a high you have any opinions about that company wasn't and some of
you know how much of that time and the Lord a and and and it the good afternoon ladies and gentlemen of strange to state this had a lot of talk today about a often theologies overexciting
very stimulating but we had a lot of buzz about 3 D in this animal was about 10 years ago where is that now the add-on on is always interesting at the moment I want to come back to something that this gentleman said because we're missing a point music is essentially to be consumed by hearing not necessarily by seeing the cost of voice heard that I perform well we've had the street musician we've had the classical concept 600 years and we are in a position where we can still go to see rock musicians of musicians played live on stages thank goodness we may
will explore the opportunity of seeing a virtual reality performance and enjoying the sight sound and even possibly the smell of being that to someone that hasn't washed will receive a half hour technology will bring us but I've been working in music and with young people for the last 40 years and I have noticed 1 trend which is quite said in the last 40 years people have stopped listening to music and all-consuming music visually and that for me is a problem in many ways that want to expand on that problem but I'd like to come back to the point the basic point is that music
is an audio appears to or during motions of course we can enhance that and whatever technology will come along that will be used and would be exploited unfortunate use that word deliberately but I just want to make a point that let's be thankful that we have wonderful equipment here still to be supported to be supplied hasn't don't to being surpassed by technology and maybe 1 small PS at the end of my delivery making music and the way that we make music over the last 50 years has changed very little the way that we consume the way that we market and we appreciate and listen to music has changed from automatically in the way that we make music I tried reversing with someone using Skype it's not perfect it can be that you can send files across the world is not instantaneous so we've a long way to go about moving into a world where music-making is totally digital and doesn't need the human interface maybe that's a good thing but I'm going to stop now thank you very much for this thing I just want to remind people that we have here is for listening to music with long may would continue to do so I have a friend who's got here and
that also the other other maintenance of recurring theme and that's how
we've taken from today I think it's an the going back to how technology can empower artists and and there's been a lot of talk about shifting hierarchies and maybe I'll what are your key ideas here what's and what
have you it's taking away from how technologies i she can empower start ups and then especially if you look
at you know the streaming
market is it is technology really empowering artists who you know is
such there and I know there's the VAD put question but I think because we haven't and discuss streaming at all well with regards to streaming I think a lot of artists that have spoken out without rates and against the concepts
just don't know very much about it happened rainfall indentation of being formed you get scared and I'm just going to go ahead and speak on behalf of the artist community if it's an innovation is is great and tech startups and streaming is great and there's no way of going back you know we can only go forward I think the problem with streaming is that a participant excluded in the conversation how would you define a stream we still actually don't have a definition of what it should be legally in summer because it somewhere between a radio play and the sales and it might really it something else that that those contacts have been drawn up and we've got an NDA non-disclosure agreements between the stream of the companies in the streaming services and a whole other revenues generated and Spotify pays out 70 % of their income on royalties but that doesn't trickle down so yes the streaming but no so excluding artists in the conversation so so that's really where the disconnect is has the same with you to you right now in the States we've got all these high-profile dare I
say quite old school artists saying do you to you know not payouts a universal suing sound clouds but I don't think yet yes we need to look at the safe harbor thing and yes
we need to go away from the tech companies going was going to do with me was not my responsibility what's on my talk on but the innovation is is good it's what I'm I'm aware that I'm rambling because it's the entire middle but that that was the 1 thing that gets me is that all these new things a great but a they're just more middlemen between the artist and the audience and it feels like the person needs to pay out fast is always the artist get this service and you can do that like this new service will answer your questions beyond this new platform units intermediate and I just think as fantastic and positive is all these developments are it needs to be it needs to be streamlined and simplified this new digital age it mean a simpler music consumption for everyone and that should results that should result in generating money that will ensure that people can continue to make music
I mean isn't also that you know the music business is defined by the technology companies who are not necessarily they don't come from a music
have point of view they come and what they want to do is to attract more consumers into buying the hardware and so
that everybody uses music like that unit and i'm gonna steal a quote from finally he was like music like I'm not gonna try do this
contracts and there's a music like handing that people layout to attract people like come to my shop to come to my restaurant by my thing and that's that's the problem that that is that that is what it does because it connects some people such a deep emotional level up but we need to get to recognize and Romina rate the people actually creating it fairly we need to update the whole system we had a roundtable discussion albeit a private woman and in research that's taking place now about streaming and where we're at an artist community with it and if you look at the rough splits this says that's the record label should have roughly 50 % of the have outdated figure coming from like note number but that outdated figure that comes from a time when major label still spend a lot of money and time on nurturing and developing acts and they don't do that anymore but I think it really I
think it really depends on the extent I think I think what you always can say these days is will hold the race is holding the
rights and that works on both sides if you're an artist who says I can take the risk of my career you in a position to help get 90 per cent of all your income you're talking financial risk financially here and if you on the other hand you are a young artist to say I could do it on my own but I would perhaps like to have a proper video and I would like you to support you probably end up at the other side of all the getting 20 of 15 % and I think what he's saying is very easy to attack especially but I think it's always about the risk and the right rights and I agree with you but when the financial risk if the person you're investing in get nothing until your entire investment recouped I think I think I think that's I mean that's always going to individual doing contracts and and and I luckily we have no
15 or 20 2000 independent labels and we probably have 400 self releasing chart office all all the world and you no longer dependent on the gatekeepers
and I think people who assigned stupid field should not complain that they signed a stupid deal I entirely agree with the 1 that even the
standard in DDO is 50 15 and the 50 50
is the did still in which you have no other industry please correct me if I'm wrong that even the best in is a 50 50 % play on the profits after we've repeat our entire investment that is the standard indeed deal and I don't necessarily think
it's a standard in I mean I have to use the chair 1910 to my disadvantage and
I'm happy with that but I I have often I have fields which are 90 % of my favorite I think it's the worst the elaborate on I think you can't makes 1 fits all it's very individual will of the artist and where the risk then what is the investment and the that's very individual and I think there many artists out there who have a 50 50 deal while they're in love for the amount of money they make and there are other ones that picture should do more I think it's it's I what I take out today is that the music industry's accused for many things which don't happen and I think that's wrong I think that's fundamentally wrong because nowadays the access to market is extremely flat everybody can self everybody can produce very inexpensively everybody can release the music very inexpensively and you can be marketed using very inexpensive use social media know so you have an access to markets and all artists we're assigning myself releasing artists who created their own fan base created this evaluates different everything we created the heat level which we say 0 come on we want work was so I think it's all possible and I think we have to be careful of not generalization and especially if I see people saying that it be creating a business model whereby the majors of squeezing all artists I signatures these days the world these days over an Ising and also to criticize Europe it's like 1 thing you said that the guys that I'm a company and I would love to have more women in my decision making processes within the company if I advertise for a job I get 90 % male application 10 % human application and I struggled to find well skilled women for my positions and this problem is not that I don't want to employ them the problem is it starts with socialization the child it starts is what they studied it starts is what they heck is agree
more you I have really a music would say the same thing to me about race saying we would love to have more black musicians on the board but I can't find any and it as a yes of course is an education thing it's the fact that from a server kind of going back to this gender conversational
right but it's the fact that from a really early age both boys and girls are done a title injustice by being targeted this is the you and this is being in right it's the fact that yeah that girls don't go out with those role models and they don't grow up with cancer sets on the waterways and the and the robot and the guitars advertise that then they have the cooking stoves advertising and the pretend body dream so yeah absolutely it's 1st and foremost a matter of education and where our society is that and reinforcing positive role model we gotta stop tending children what they can and can't do depending on their gender or their race so that I can agree with the more like can that because then I misunderstood
your presentation because that's all the little bit like establishment doesn't give access for women to come into music and I could say I can always I would love to have more women and it's very difficult to find good skilled
educated women in the music industry well but I died says that you know shortages very well educated skilled women in the music industry they perhaps well now and doubt but then we see our applications which are coming in its we always because we prioritize of female of our positions so we always struggle to find them and it's like you have ties of interest so we are we doing we do we do about it no CMU music week yeah yeah OK just as a quick aside because I know I feel like a monopolizing the conversation um I was just in the big in the main hall on a talk about an hour it data imprint that leaves and the future that and it was so interesting and it was saying that how I was talking about artificial intelligence and if you typed into Google search for C 0 1 of the top 2 pictures that come up in the white men in suits and he said that information to an algorithm it would it would conclude from that is this is what is the evidence like and then if you have targeted advertisement for a job in a certain income bracket they found that for instance those up but also to women and so you're actually not even seeing that job so it's certainly not saying that that's happening with your habits but I thought that was really interesting assign it but yes I I totally I totally agree with you except for the fact that yes there are there are a plus Thora of highly skilled so women out there in the music
business hopefully more yeah I think to some point 0 you're right it is the socialization thing where you only see it women like especially in
me I like in dance music breaking through now or in the past few years and uh millions of appearing on the surface where am I you know I like we can talk from personal experience but it's not as something girls and not given had to decks and it makes up from when there 2 years old it like when that was like 20 years ago you know like when a when guys get into and making music or deejaying lights they did have 10 20 years ago and it was not as accessible to women at it is much more now I think and it's definitely changing diets and I think you do have a point the what I would like to come back to really concerned but I think what I because this book was screaming before and of what I think is very interesting in streaming he's that we see there are that that every consumer is looking for their own Streaming Service partner and I think that has a big potential for the market to grow and I think it started would amazed me most is that the apple music advertisement was mainly driving spotify subscription which means which clearly show that the real music lovers and all the music nerds go to Spotify and soundly now Apple music is close to 20 to 30 million they're going they have a completely different kind of audience that's more goes into fashionable they going to China because people have I found so we never expect that Apple music would be able to grow such as land-based outside that quantify thank without cannibalizing them and and I think it's going to be more more interesting what comes
next before it's it's if Netflix goes into streaming that's going to be again completely different audience to what happened music and and Spotify house and that 1 of the question was what comes next in or is there still a market for streaming and I think it's there is because I streaming is is really going to use social environment and you are and where you want to new music with the grant you trust and I think there's loads of space for new music
streaming services and all you guys there are going to program to bring them into the market protest at this discussion recently here possible on on the twitter timeline and I was just about to ask you we review seem like this and this is the problem of unique content from a industry mean business and we see all these 3 you release marketing ideas like part of the of the scientists and releasing their new album on the title and
so you get all these these these these walled gardens again each so so my feeling as a consumers like each of the high profile needs its own come at war Streaming Service nowadays so what's your your perspective on on this on phenomena phenomenon I I see the expressivity is driven by market share I think the reason why happened music and other going into excuses is mainly to drive the market share up because they you have everything on Spotify and Spotify's
very much against the exclusive because they have a lot of consumers and personality also against exclusive even I'm always tempted to do this marketing deals because excuses are tribal people again back into to piracy because it's like if you have you 999 sup spotify subscription and you want to have the exclusive and it's not on Spotify going to piracy again and again you driving people of the business model of using music but not sharing the the the income and that's not good for all of us so I think it's it's it's a it's a difficult 1 in a way because it's a great marketing tool to be in a position of sand giving something exclusive to Apple music I'm going to have whole paper all over my cities I have access to the marketing budget I cannot afford by myself but on the flip side of that is you enhancing piracy agree and we could do that if you
are like beyond fairytale and and also as he was sane people go with the prime that they trust and you can't change sigh difficult to change people's listening behavior like I have fun fun facts that that's rainbow is that in rainbows radiance images out that they put out for free or pay what you once was the most illegally pirated it's album enactment of the release which only get that just wherever you get
your music from that's where you're going to get it from yeah and so incoming skeleton ends agonists official so have someone has
had something to say and please stand up and join in and do you really
think and there's an room for start ups to enter this training on how to go and I think helps so talking about screaming and then I have different hats actually
and I put on my user to get had excuse since actually and so I talked a
lot of his friends so some of them in that they have Amazon Prime from all
these but they also have netflix so I think that the users are more they want to pay more for movies and for music streaming they really do not care if that's really subscription models for movies but for streaming streaming is music is just the thing it's like a candy is before which is really great and uh I think thing so it with explosives and you don't drive anything you can do as in any artist you can do an exclusive if you want to make a promotion for your new band camp an account of something that is at the moment Europe Inc artist like the answer that last week I pirated immediately and usually when I still music I buy it as soon as it's it's available on my service of whatever of yours you maybe not know but I think it's very important that the it in the future that the that that that that that that that the young people they get wherever they can get it that they that they are not lawyers to companies they really don't care is in Amazon is it despite define they don't care they want to hear this beyond item because it's the sheet and 1 in the heading to you and commenting on your your that has gone all this is still used today about them and like this focus on on audio um content on music is audio and I have always have this come from
18 year old daughter of my girlfriends in mind and she doesn't give a shit if it's like audio video whatsoever it's all the same for her it's just like a music in some form and if you have like the capacity to watch the video but this you don't care you just grab what you get and another thing I wanted to you if you're in the acoustic is really bad here this this that so I really like what you said but I would
like to add 1 more thing because with all this new possibilities and the music is coming also to people who are not looking for its so I think we are getting in you and your audience on top of everything and the audio feed people you know that the people were really like this line and or the you know the quality they are still there and they can and they don't have to drive that then don't have to fly to press the to get online and you know you can have it at home so I think it's in the audience is growing what we have to take care now as test to share the money somehow more equally basis and to give more transparency to all that behind all of these things but we are in the beginning and so we have a lot of time that them somehow
interviews also mean pop music Top 10 charts music is a totally different thing that we don't have to talk about it but any music and think there is way more people out there now who willing to pay and have a lot of friends and I am really religious like you spend you spend him since he is already and that talking to me that any is really call Barbara that people are actually buying my music I think on the on the sharing side I think you know it's like there's been also this initiative about the World Wide independent network of signing this code of conduct Hall actually music labels of paying their artists and I think that's the right step into
the right direction you know that we as independent labels we can agree that we share all incomes was or alters them we can agree of fair treatment rising becomes izations like pollen we speaking also to your organization to actually develop but at a stamp of actually saying we want to prove something we want to prove music but this music is released under the trade enough and I think that's really
where we need to come to you know to actually also be vocal about that there are different types of industries because I'm getting a little bit nervous when I see this industries about the bad music industry if I could if I could imagine three-year would say they have the bit different business model would would necessarily look call them that enough and I think that's that's that's important part about contain thank you and other any more
questions arrow from the audience yeah yes yeah yeah and do you have anything to add and the only that I was wondering whether we're gonna mention
lock chamber for the running time there could have I think we need to make this work for everybody you know I think there's a place of so think there's a place for labels I even think there's still a place for major labels I just think there's no place for in transparency anymore so and I do think we've got all the tools known to make it work for everybody is just going to take a bit of shaking you know what I always wondered why has Google or Facebook never bought a major label what keeps them away from that why that have a board and maintenance why would they do that because because because their business model is based on the evaluation of music because it's
cheaper music is more people are going going using Google and will has cheaper music is more traffic there is a small advertisement who was going to sell so there's a conflict of interest between people are using the emotions of music to drive the value of music down in order to enhance their traffic in order to sell more advertisement and that's a conflict people like Google and the condom have Google page copyright because they no copyright nature music expensive whatever is expensive has less traffic and as this advertisement which just in just 1 1 1 1 1 announcement before we
we we we stop here because there's another talk coming up from right after words on blockchain technology and the music business I think you were just about to start but if you're interested in um like the new technological aspects and transparency you also from an artist perspective you should definitely stay here and I see the talk of coming up now called thank you
so much everyone things for an inspiring talk and at which you wonderful rest of the evening and thank you clock on the
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Metadaten

Formale Metadaten

Titel Fish Bowl: Musicday
Serientitel re:publica 2016
Teil 54
Anzahl der Teile 188
Autor Steinholtz, Vanja
Eitel, Eric
Weidenmueller, Horst
Bornholdt, Inken
Bastion, Roxanne de
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Deutschland:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/20612
Herausgeber re:publica
Erscheinungsjahr 2016
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract Berlin ist eine Stadt der Kreativen: Musik ist seit jeher eine der wichtigsten Kulturadern, die durch Berlin fließen, mit Strahlkraft und Anziehung für Musikfans, MusikerInnen und Musikwirtschaftende aus aller Welt. Komm zu Fishbowl und sei Teil der Diskussion? Was sind deine Ideen und Meinungen zur Verknüpfung von Musik und Tech? Nutze die Chance mit SpeakerInnen und AkteurInnen aus der Musikbranche zu sprechen.

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