While many people start their career in the music business by forming a band or record label, and learning the industry’s norms and quirks largely through trial and error, others choose to enroll in various university programs to learn about the industry. This week we’re exploring what those university programs look like for both undergraduate and graduate students, and what the key takeaways from those programs are. Join us as we speak with Serona Elton (University of Miami), Joe Rapolla (Monmouth University), and Larry Miller (NYU Steinhardt) about the different kinds of programs that they help facilitate for students at their respective academic institutions.
Music production has become increasingly fragmented thanks to the advent of affordable studio technology and high speed internet connections, which comes with both benefits and drawbacks. The main benefit is that band members and songwriting teams can now collaborate from anywhere in the world at any time of day, and they can arrange for special guest features with little more than a simple email exchange. The drawback to this evolution is that proper attribution for these collaborations are often messy, overlooked, or forgotten altogether, as the musicians involved are wearing too many hats in the studio. Thankfully, new online systems like Jaxsta and VEVA Sound have entered the market to help consolidate credits and session files into one simple place, so that everyone involved gets their due credit. Join us this week as we speak with Jaxsta CEO Jacqui Louez Schoorl, VEVA Sound president Deborah Fairchild, and Grammy award winning engineer/producer Reid Shippen about how these systems are being used in today’s top studios.
Matt Black and Jonathan Fine first joined forces in the late 1980’s, after a chance encounter at a local record shop. Now, some thirty-odd years later, the two are still working together in multiple capacities, and show no signs of stopping. They’ve released multiple albums as the electronic duo Coldcut, and helped produce several others, in addition to founding the highly regarded UK electronic label Ninja Tune, which is now in its thirtieth year of existence. In the recent past, they’ve also turned their attention to making musical software, like the Ninja Jamm app, that allows both novice and pros alike to remix and create music on the go with their smart device. Join us this week as we speak with both Matt and Jon about their history as a band and their philosophy as label owners and app developers.
Touring has quickly become one of the most effective ways for bands and artists to earn money in the streaming era, despite the fact that getting around is more expensive than it’s ever been. Thankfully, some new technologies have made planning and booking a tour easier than ever, so that bands and artists can push into new markets, without the same level of financial risk that was associated with doing so in the past. Join us this week as we speak with Fabrice Sergent (BandsInTown), Steve Marks (RoadNation), Matt Walters (Parlour Gigs) and Mary Ivanova (Show4Me) about how their services are supporting bands and artists to get on the road and be seen!
While music consumption has pivoted away from piracy and downloads, the spectre of the past is once again looming over the industry, as podcasts become an even more dominant medium. Generally unregulated, most podcasts contain at least one musical work, that is likely unlicensed, which means that those episodes you’re downloading are really no different than the unauthorized downloads of the past. So, will the industry coalesce around a standard blanket license to solve this issue? Or, will podcast hosts develop a YouTube-like Content ID system to identify these unlicensed works and prevent them from being distributed? We get answers to those questions and more this week from Jim Griffin (OneHouse), Gabe Fleet (Attorney), and Tom Mullen (Atlantic Records, Washed Up Emo).
When you hear people within the industry referring to “The Black Box,” they’re most likely referring to the growing sum of undistributed and/or undistributable royalties that have been collected on an artist’s behalf by organizations like SoundExchange. What happens with this “Black Box” is a hotly debated topic within the industry, as every collection society that has one deals with these unclaimed royalties differently. Join us as we discuss the problem and its potential solutions with John Simson (American University), Wayne Milligan (TriStar Sports & Entertainment Group) and Steve Ambers (SOCAN).