We’ve just uploaded the new edition of The New Media 4Casts. (I actually finished it before I went away but just didn’t have time to get it up here!)
This month’s show focuses on online music. We’re looking at how the internet has changed the way people are buying, selling, distributing and marketing music.
We got hold of some great interviews for this one, including Emusic, the Hype Machine, Andrew Dubber (one of the UK’s leading experts in online music if you haven’t come across him before), and Craig Hamilton from the band Friends of the Stars.
There’s more to life than Myspace!
For more information on the shows and to subscribe to the podcast, please visit the New Media 4Casts Homepage.
Useful links for this show:
- New Music Strategies
- The 20 Things You Must Know About Music Online (Free Ebook)
- Friends of the Stars
- Emusic
- The Hype Machine
- Wordpress
- Blogger
- Last FM
Listen to the Show
As usual, let me know what you think, and please forward to any musicans or record label owners that you know.
7 comments ↓
[…] Local creative industry consultant and digital media producer Antonio Gould makes a podcast for the people at Channel 4’s 4Talent. Very good it is too. […]
This is great stuff my friend!
DK
[…] A month or so ago I had a chat with Antonio Gould who was making a series of Podcasts for Channel 4 about New Meeja. One such episode was about Music on the Interweb, and after being tipped off by Andrew Dubber, he tracked me down and asked me to talk about how we’re using the interweb to promote, hawk and flog our Commercially Inviable brand of Country Folk, and in particular the Lighting and Electrical album. […]
Great to find you on the net mate! Really enjoyed listening to your show. Look forward to revisiting. Nice one
Another great broadcast, Tone.
Without meaning to put a downer on a very thorough, thoughtful and extremely well put together piece, here are my usual two pennies’ worth…
First off, DRM (Digital Rights Management) - something which the lady from eMusic alluded to in passing but which I feel is a central aspect of sharing and buying/selling music on the web and would have been well worth discussing. Consider Vista being rolled out with a built-in DRM system and Steve Jobs’ apparent about-turn on the issue [http://www.apple.com/hotnews/thoughtsonmusic/]. There are huge questions being asked at the moment about what it means to own the music we buy (download or rip).
The other issue which came to mind is that of quality control. It’s something I’ve been debating with myself since the advent of software like Fruity Loops and Reason which make it all so easy for anyone to create fairly derivitive music. I’m all for anyone and everyone expressing the creativity (who am I to become the dictator of good taste?!) But it might have been worth raising the point that one of the crucial roles which record label structures have traditionally played is to help artists focus their creative endeavour (I can’t believe I’m writing this! Having myself been prey to the manipulative ways of A&R men….) I expect it’s not a disimilar debate to what must be going on in the publishing industry where self-publishing on the internet is threatening the role of the editor… i guess I’m just aware that having too much freedom can be just as dangerous to an artist as being creatively stiffled. And that a great editor (or positive record label guidance) can make an artist. Another way of thinking about this relates to your long tail theory. What impression are you making as an artist when you’re making all your demos, live gigs and home recordings available rather than deciding what’s actually worth releasing.
This issue of quality control is something which is especially important for the netlabel scene - my third and final ommission from your podcast. They provide an invaluable non-commercial model of distribution which allows artists to release their music within a context which retains all of the benefits of a record label. Mp3.com put a lot of people off ‘free’ music - as a free-for-all it was very hit and miss. But the usual prejudice of free music being free because it isn’t good enough to be commercial no longer holds true. Those who run netlabels generally hold strong standards in terms of content and quality. And just as with commercial labels, it’s on the basis of these standards that they build their reputations. It’s not unusual for artists to graduate from the netlabel scene (certainly in the electronica/ambient/dubstep genres) and would have been worth mentioning as a hotbed of new talent - for artists who don’t yet equate validity with financial gain.
very impressed with your broadcast. it’s very useful and very interesting. the production of that broadcast is very professional (your voice is brilliant).
i’m going to pass it on to the musicians i know.
i’m still in the states coaching the best game, currently staying with a lovely family in oklahoma for two weeks- then i’ll be going to sacremento, cal for 9 weeks more work - having a ball and learning plenty.
i’m back mid november and will arrange a meeting, if i can afford you- take care
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