Last year I attended the University of Chicago MET Summit, and enjoyed not only the music panels, but all the technology discussions. Learning about other industries fuels your ideas for the music business, and crossover opportunities are everywhere in modern media. Technology has ignited, developed, bombarded and slaughtered the music industry several times over, and the current state is an exciting time to be involved in. You only have to look at the discussions happening at MIDEM to know that mobile device apps and video games are as much a part of the business as record sales and drainpipe jeans.

And so, this year I’m heading to Techvision 2010 at The University of Chicago Booth School of Business in Hyde Park, Chicago. Friday 26th February seeks to “drive home the game changing impact of technology to business minds across the industry and functional focus areas”. With panels such as Cloud Computing and Mobile Technology, not to mention a keynote from Senior VP at Warner Bros. Janet Pucino, appealing most to a music tech / music industry bod, I expect to hear and share ideas expecting to impact our work and passions over the next year. I know that UofC will provide a great forward-thinking entrepreneur aspect on top of the usual techy geekdom, and networking with some bright minds is always appealing.

If you are interested in attending also, registration details can be found here.

Lee Jarvis.

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The current state of Haiti is horrible. Millions of people, terrible conditions, and much needed long-term help. As a result, MTV put together a telethon packed with celebrities and musicians in order to help raise money for relief efforts in Haiti. Several major broadcast networks and cable channels aired MTV Networks’ “Hope for Haiti“, an all-star telethon for Haitian earthquake relief, on Jan. 22.

The telethon was presented by different hosts in different cities – Wyclef Jean (Haiti native) in New York, George Clooney in Los Angeles, and Anderson Cooper directly from Haiti. All proceeds from the show go to Wyclef Jean’s Yele Haiti Foundation, as well as UNICEF, Oxfam America, Partners in Health, and the Red Cross.

Some people tend to get annoyed by the “Bono” type musicians trying to save this and save that, but I disagree with those people. Musicians and celebrities have gained stardom, and with that stardom the attention of millions of people. They are creating awareness about topics, places, and efforts that need our attention. They are actually doing some real good and attempting to help make this world a better place. What’s wrong with that? If more people sought out those opportunities or made helping others a part of their lives, this world would be a much better place – for everyone.

I applaud these celebrities and musicians who are taking part in this telethon, for finding a positive way they can contribute to the relief fund in Haiti.

Check out a video from the event, of Bono and Jay-Z’s Haiti Single “Stranded”…

To review on the “Hope For Haiti” telethon, which aired last week – it was a phenomenal success. The music choices were pretty cool – I got to see a good portion of the performances. I also found it quite impressive that the stars of the telethon were also on the phones. I was not expecting that. I thought that it was a great idea and an additional incentive to get people to call in and donate. Call and speak with Steven Spielberg, Stevie Wonder, or Taylor Swift – heck yeah, where’s the number! I applaud the stars for getting in the trenches a bit more, in addition to their performances. I started watching it with Madonna singing “Like A Prayer” (a personal favorite). In a few of the blogs that I subscribe to, they have had quite the discussion about whether her performance was lip synched or not.

The collaboration between Jay-Z, Rihanna, Bono, etc. – was jam packed with stars. Their performance is currently the most downloaded song from the event on iTunes. I also thoroughly enjoyed Justin Timberlake and Matt Morris’ rendition of “Hallelujah” by Leonard Cohen. Beautiful song, beautiful performance, and so fitting.

Overall, the telethon was entertaining and it raised a lot of help for Haiti.

According to Rolling Stone, the event raised over $61 million dollars to help the destruction and devastation that has occurred throughout Haiti. Also, the organizers of the telethon will continue to collect donations for the next 6 months!

In addition, you can also download the entire live performance on iTunes, as well as purchase the album of all of the live performances from the telethon. Check out http://www.cmt.com/haiti for links to all available music and videos, and a variety of online stores to purchase from. Again, all of the proceeds, that’s 100%, go to relief efforts in Haiti. Hopefully over the next 6 months a lot more donations keep coming in.

Which was your favorite performance of the night?

T. Lynn

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Looking for something to help you find Music Jobs in LA? Want to learn new skills to help get more out of your music?

Top artists and producers share their secrets at The Producers Conference, a broad set of creative clinics and interactive classes for computer musicians. Don’t miss out on this opportunity to get the inside track on advanced production techniques, song writing, mixing methods and more.

The Producers Conference, Los Angeles, USA
November 14th, 2009. 1 PM to 6 PM. Doors open at 12:30 PM.
King King
6555 Hollywood Blvd.
Hollywood, CA 90028 (map)

Get Your Ticket Now!
Tickets are $30.00.

Conference Schedule

1:00-1:10pm – Gerry Bassermann
Record: Design Concept and Interface – Creating with ‘flow’
Gerry Bassermann lays out the why, what and how behind the development of Propellerhead’s recently released Record software. Discover what makes Record so powerful yet transparent.

1:15-2:00pm – Matt Piper
Unleashing Creativity with Record
Line 6’s Propellerhead Product Specialist Matt Piper will demonstrate how he stream-lines his creative workflow while offering arrangement tips-n-tricks; covering Record’s arrange window contextual tools and navigation, comping editor, groundbreaking tempo control, multiple racks, new devices, Line 6 technology, Reason integration and enhancements, file and audio formats, new authorization paradigm, and more.

2:00-2:50 – Artist Discussion
The presenters discuss topics like: maintaining creativity during production, careers and roles in the music biz, and answer questions from the audience.

3:00-3:50 pm – Kurt Kurasaki (aka Peff)
Signal Flow and Effects in Record
Peff discusses his development work on Record, especially the creation of many of the insert effect combinators and the design concepts behind this part of the Record Sound Bank. He’ll demonstrate the processing power of the mixer channel strip in combination with these insert effects and show how to clarify and enhance music tracks.

4:00-6:00 pm – Artist Presentations

About The Presenters

Gerry Bassermann
Gerry Bassermann is Propellerheads Director of North American Markets and an accomplished musician. He holds several degrees in music composition and performance and currently owns and operates OpusNine ( a project studio in the Los Angeles Bay area). For over twenty years, he has worked for many prominent music companies, as a product designer, demonstrator and musical consultant.

Matt Piper
Matt Piper, author of Reason 4 Ignite, is Line 6’s Propellerhead Product Specialist. Piper is an accomplished musician who makes innovative use of Propellerhead software for music production as well as for live performances with improvisational groups and DJ’s in the thriving underground electronic music scene in Los Angeles.

Peff (aka Kurt Kurasaki)
Kurt Kurasaki, author of Power Tools for Reason 3.0, is a noted Reason user with credits in Keyboard and Computer Music Magazines. He also works with Propellerhead Software as a sound designer and tutorial developer. Known as Peff throughout the Online ReBirth and Reason Communities, Kurt is one of the originators of ReBirth Mods.

Joe Solo
Joe Solo is a composer, producer, and songwriter for his own company Solo Productions, Inc. Previously he served as a composer for BMG’s Killer Tracks, Fox Sports, and worked as a songwriter/composer for Paramount’s Famous Music Publishing. Solo also co-wrote two hit songs, Sweet baby and Glad You’re Here, with Grammy Award winning artist Macy Gray and is currently working on a song for her new album, to be released in 2010.

Michael Elsner
Michael Elsner’s professional career began in 1998 when he moved to Nashville,TN. He began working on projects with such artists as Michael McDonald, Sixpence None The Richer, and Jon Anderson from YES to name just a few. During the four and a half years spent in Nashville, Elsner toured with various artists and in the studio producing and/or playing on countless sessions.

Since June of 2003, Michael Elsner has been living in Los Angeles, CA, where he have played on sessions for Miramax Films, Chrysalis Music Publishing, and various television, album and film projects. Select examples of these include the Ella Enchanted soundtrack, The Ex List, The Young & The Restless, and The Bold & the Beautiful. He have signed publishing deals with a number production music libraries and Elsner’s songs have been placed in various television shows and commercials, including High School Musical 2, Hannah Montana, CBS’s Cold Case, Beyond the Break, ABC’s ‘TV’s All-Time Funniest,’ History Channel’s ‘Modern Marvels,’ Baywatch, ESPN, as well as commercials for Audi, Mazda and Rent Way.

I hope that some Music Jobs Blog readers will be interested in this event. Please report back here if you attend!

Lee Jarvis.

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Dubspot and Ableton present the LA stop of their “Live 8 U.S. Sessions Tour”
Workshops & Panel Discussions Featuring World-Class Artists
@ King King in Hollywood – Saturday, Nov. 7 and Sunday, Nov. 8, 2009 (daytime)

Dubspot, New York’s premier DJ and electronic music production institute, announces the Los Angeles stop of their Ableton Live 8 U.S. Sessions Tour. This unique series of interactive workshops, Q&As and panel discussions features a diverse pool of world-class artists as well as Dubspot’s top-notch instructors sharing methods for the studio and the stage, centered around the powerful music software Ableton Live 8. Special guest workshop presenters for the Los Angeles weekend include Scientist, Daedelus, Kid Beyond, Justin Boreta, Christopher Willits, Thavius Beck, and Peter Kirn, along with the Dubspot crew. The LA session will be held at King King in Hollywood (6553 Hollywood Blvd / map) on Saturday November 7 (11:00am – 7:00pm) and Sunday November 8 (noon – 8:00pm), 2009. For details and registration please visit www.live8tour.com.

Check out their previous tour stop in NYC, and hear one heck of an endorsement from legendary DJ and producer Richie Hawtin.

This truly unique educational experience is intended to help both aspiring as well as established artists. Each day is organized into five “sessions” designed to develop a diverse range of production and performance skills, while enhancing creative abilities. Saturday sessions focus on production. Sunday sessions focus on performance. Tour workshops showcase how far-reaching the capabilities of Ableton Live 8 are by covering a wide variety of compositional, programming, mixing, and mastering issues. Topics include drum-programming, instrument and effect rack management, sequencing, automation, creating melody, harmonic awareness, mixing and mastering principles, sound stage management, synth programming, PA/DJ hybrid setups, controllers, live instruments in Ableton, efficient set management, looping, routing, licensing, and much more.

The tour involves pioneers of electronic music, along with new blood, to provide a more complete experience and perspective of yesterday, today, and tomorrow. In addition to the special guests lined up in each city, expert Dubspot instructors will present personally developed production and performance strategies in a dynamic interactive workshop environment.

The Los Angeles event is the third stop in a series of Ableton workshops that Dubspot is presenting in 8 U.S. cities. Next up on the tour is Austin, with the event to be held at The Parish Room on November 14th and 15th. Presenters and performers at the Austin event include Francis Preve (Different Pieces, Fap 7), Christopher Willits (Ghostly International, Overlap.org), Daniel Wyatt (Sonica Media Group, Atlantic), Jon Margulies (Heatercore, Hobotech), Barry Cole (Spot Music & Blue Mountain Music Publishing), and Michael Hatsis (Track Team Audio).

Again, the LA session will be held at King King in Hollywood (6553 Hollywood Blvd., Los Angeles, CA 90028; 323-960-5765 (map)) on Saturday November 7 (11:00am – 7:00pm) and Sunday November 8 (noon – 8:00pm), 2009. A weekend pass costs $195; a Saturday or Sunday day-pass costs $110. For details and registration please visit www.live8tour.com.

For more information on Dubspot, please check out www.dubspot.com

Lee Jarvis.

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The New Music Seminar is about “seeing the music business and your opportunities a new way”. The event was originally held from 1980 – 1995, and after a long hiatus, was revived this July in New York, featuring speakers and panelists from a variety of music companies, websites, institutions and backgrounds.

The Chicago event on October 6th was attended by artists, managers, label owners, and other individuals wanting to learn about the new evolving industry, and hoping to hear advice from inventive young music companies and long-time veterans who can acknowledge the recent changes and struggles of emerging artists and indie labels. Contributors such as Lou Plaia, the co-founder of Reverbnation, Michael Spiegelman, head of Yahoo! Music, Paul Resnikoff, founder and editor of Digital Music News, and Martin Atkins, author of Tour:Smart. Certainly enough interesting people and ideas for me to attend and report back here for our Music Jobs members.

Founder Tommy Silverman started the day with some shocking statistics. Although, he did point out that they should only concern you if you are on the board at one of the majors. The fact that only 110 albums released in 2008 sold over 250,000 copies that year is not an issue for a new independent artist. What it does enforce is something I’ve tried to help people with for some time, and that is re-evaluating your idea of success. You are not going to get scooped up by a label and go platinum. You CAN work hard and earn a living form your music, and if we are all in it for the love of the art, shouldn’t that be a more than reasonable level to consider success?

However, one statistic that you should pay attention to, is that of the 105,575 albums released in 2008, only 5945 sold more than 1,000 copies that year. This is the line of obscurity that you want to vault over. With a good strategy and understanding of the new music industry, you will sell enough albums and earn many valuable fans for you to reach this newly defined success.

Michael Spiegelman delivered a keynote focused on the tools that Yahoo and other services can provide to help an artist publish, market, engage, sell and monetise effectively. He emphasised the need to find relevant tools and fans, and how you can pull this information from the internet via different traffic sources, and how to act upon it using analytics. When asked by the audience what he saw as the latest in disruptive technologies, he replied that the cycle has moved from the initial surge of new ideas to a ‘maturity’ time, where we figure out what is sustainable and build a business model on top of that. In other words, the abundance of new websites and technologies over the last few years will slow, and some lesser ones will be brushed aside, as stronger ideas are built upon and emerge into a key part of the future industry.

The fist panel session was probably my favourite, for the fact that they shared some great advice, stayed focused on the topics at hand and made sure what they were saying was relevant given the audience. Emily White, of Whitesmith Entertainment pointed out the importance of communicating directly with your fans, and how you can do that with the help of Google Alerts and social networking tools such as Twitter. I couldn’t agree more with this, and Lou Plaia backed this up by saying that the more you do now and try to generate your own attention the more power you have further down the line – not just for bargaining with labels but the awareness of how this all works is healthy and will help propel you further by maximising any opportunities you come across.

The panel discussed the idea that 1000 “super fans” are something of a milestone to aim for, as these super fans are the people who are likely to spend around $100 a year on your work. This would give you a total income of $100,000 per year, and lead you to making a living from your music.

David Hazan, Chief Marketing Officer at The Bizmo encouraged artists to be creative in terms of merchandise offerings, as one ticket, one T-shirt and one album doesn’t equal $100 bucks. He offered that one band had handwritten lyrics and notes, which they uploaded as PDF, and their “super fans” paid for access to that premium content. This idea had the added bonus of no distribution costs, therefore earning the band good money.

To be honest, the next two panels lost the vibe a bit, as a result of lacking direction. Several long rants from panel members about their own achievements did not help. Some of the saviors were Ariel Hyatt of Cyber PR and Corey Denis of Reapandsow, both sharing great advice on social networking for musicians. DJ veterans Steve ‘Silk’ Hurley and Bad Boy Bill had some interesting points, sharing a different angle having been in electronic music, and therefore seen a different market for singles, EPs and mixtapes over the years. If only they could have fit in more comments instead of a majorly ill-fitting (and misguided) panel member spouting not only incredulous ideas, but contradicting himself, often within the same poorly structured sentence.

The final session was where Martin Atkins stole the show. Impervious and humble advice, shared with clear and concise translations for the entire audience, and demonstrated with a sense of humour produced great effect. I’m a Martin Atkins fan anyway, and if you ever choose to buy any music industry book at all (which you should), it should be his Tour:Smart masterpiece.

Overall, the seminar was interesting, and it was great for me to hear some speakers that I respect for the first time, but overall it was lacking something. I would prefer a closer connection with the industry experts, more interaction from them with the audience, and a working Wi-Fi network

I look forward to the event evolving in the future.

Lee Jarvis

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Tour:Smart is the brainchild of Martin Atkins. The ex- Public Image Ltd / Nine Inch Nails and Pigface drummer has applied his decades of experience and educated vision of the new music industry to a book, a DVD, and a series of crash-courses / seminars / discussions / school-events designed to aid musicians on their journey through the industry.

I don’t know how to describe the latest offering, Tour:Smart PLUS!, it is essentially a four year long educational course crammed into one 48-hour whirlwind weekend. It was intense, energising, humbling and motivating. Starting with learning from other band’s mistakes of touring, to learning to print your own merchandise, to filming and editing your own videos, and then what to do with them in the crazy online world of social media. This is as complete a course as you could find, without all the fodder of the ways the industry used to work or hiring other people who then get in your way (and cause you costly mistakes). It is the nitty-gritty of what YOU need to do to propel YOUR career forward; it is about taking responsibility, creating plans and leaping into action.

There is no magical guide to make you famous in six weeks, the music business is a long and dirty road, but with a hand from Tour Smart you will have all you need to prepare and inspire you to take this road, and start eating up the miles.

As I said, I could not even begin to regurgitate the learnings of last weekend, but here are just a few key snippets that were delivered by Martin in his own passionate way, and how they resonated with myself.

“The Music Business is Participatory…”
As a musician, you have to not only practice and record your music, but promote, network, hack, sell, distribute, tweak, market, deliver and everything else in order to create your own success. Sitting back and waiting to be ‘discovered’? (LINK) I’ll tell you now that it is not going to happen.

“Beware of Smokescreens…”
Hardware or soft synths? Cubase or Logic? MP3, CD, Vinyl or cassette tapes? Getting caught up in these arguments is a waste of time. Use what works for you, make your music, get it out there. Using your music wisely is far more important that the software involved.

“Free is the New Black…”
Giving your music away is pretty much essential. However, you shouldn’t be doing it just because other artists are, but because there is a lot to be gained. Collecting emails in return is often the simplest idea, but so much more can be created and retained, from remix competitions to treasure hunts, all in the name of promoting awareness of your music and your brand. Which leads nicely into…

“Sell the Space Around Your Music…”
If fans like your (free) music, how else would they like to relate to you and how can you monetise that? Live shows? T-shirts? DVDs? Skateboards? Coffee Cups? Music fans often want to be part of a community, and anything that they can wear as a badge to say that they are part of your support will appeal to them. Of course, the individual items or events will depend on your (sub-sub-sub-) genre of music.

“Data Driven Decisions…”
This is not about trial and error. There is something to be said for going whole-heartedly into a project, but you use the data you have to make smart decisions, and then commit yourself. Fanbase details can be collected and dissected in ever-more inventive ways, such as Google Analytics, Youtube Insights, mailing list tracking and good old at-the-venue discussing with fans.

Although just the tip of the iceberg, each of these points should give you and your career something to think about, and for further elaboration, I can’t recommend enough getting in touch with the Tour Smart Team.

Lee Jarvis.

Class photos (c) Lee Jarvis 2009.

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This was the first MET summit, organised by Chicago Booth GSB Students and held at the Harper Center, and I’m sure I’m not the only one who considered it a great success. The summit focused on Media, Entertainment and Technology (there’s the ‘M’, ‘E’ and ‘T’ for those of you paying attention), and featured some well chosen panelists and keynote speakers from a variety of backgrounds. I chose to follow the Social Entertainment and Music panels and will touch on them here as I feel they all shared good advice that you can apply to promotion of your music career / artist management / online marketing / record labels and much more. (note: Part 2 next week will go into the keynote speeches)

Session 1 – Social Entertainment
Cliff Warner, Principal/CEO, Thinkwell Design & Production; Matt Freeman, CEO, Betawave Corporation; Anisha Ahluwalia, Associate Director, Denuo; David Goldberg, CEO, Youbet.com

The panel spoke well about various types of customer engagement in the digital world, touching on the gap between huge scale tools such as Yahoo adverts which can reach millions of consumers but may only return impression figures, and the kind of niche tools that really help you to understand your customers needs when you connect with them in a relaxed state of mind and retain their attention; finding the right combination for your business / career holds the best possibility of engagement and ultimately, success.

With less disposable income and more choice than ever before it is harder to keep customers interest and retain return visits, and any business having strong offline comparables will have to offer something more compelling online. This may be as simple as ‘being able to shop at home in your underwear’, it may mean creating more interesting additional features to support custom, displaying reams of data that could not be processed or viewed physically, or offering real-time updates allowing instant changes to orders / decisions. Nike plus did this well and brought the physical act of running to an online state by offering a community to share advice and support.

We also heard about brands that needed to actually discover what their brands mean before launching into social media, and perhaps when it is unsuitable or just plain weird they are better off partnering other companies or launching a community based on a related but diverted niche of the brand. The panel finished up by suggesting where they see social entertainment moving in the future, and the points raised are something that I agree strongly with and will feature in future blogs, namely ‘mobility’, ‘filtering’ and ‘authenticity’. Customer will want access and entertainment on the go, and products such as the iPhone allow new ways to engage them all the time. They will also want and need ‘filters’, meaning that with more and more content being created and shared online, recommendation and guidance will bring quality to the end user and create a strong appeal. Lastly, authenticity is something that people crave, and with people becoming numb to faceless internet spamming, that means that genuine conversations, a strong offline connection and authentic actions / reactions create trust and loyalty to your brand (company / artist).

Session 2 – Music
Beverly Jackson, Sr. Marketing Manager, The Recording Academy; Jonas Tempel, CEO/Co-founder, Beatport.com; Peter Strand, Founding Partner, The Law Offices of Peter Strand; Brenden Mulligan, President & Director of Business Development, ArtistData

Well, obviously here is my forte, and the very well chosen panelists meant that i could have happily listened to a two hour speech by each of them, but I feel we covered a fair bit of ground in the session. Upon entering the room, there were already postcards advertising the Grammys (3 weeks late?!) and Recording Academy artists on all the seats… hmmm. Speaking of the Grammys, quote of the day goes to Jonas Tempel, who said after seeing the Jonas Brothers and Stevie Wonder performance, “I’m not sure if I was confused or offended”. Jonas and the panel also offered a wealth of knowledge regarding the music industry, mentioning that publishing rights are one revenue stream that should be protected, although I was a bit concerned at how this evolved into ‘illegal downloading is wrong’ and ‘they will get you if you do so’ style comments (maybe because of the watchful eye of the RA representative?). 10 years after the Napster hooplah started I thought there would be less of that.

We did move on, and somewhere that the panelists saw potential growth is in the live music sector. Concert tickets may be high, but people are obviously willing to pay that and even more on ebay and the like, so the demand for shows and discovery of music doesn’t seem to have slowed at all. Best Buy is apparently making shelf space in their stores for low-end musical instruments, obviously as a demand reflex rather than a good-will incentive to encourage young music types.

A variety of music players / widgets / promotion sites were brought up, all available to aid artists’ careers, and the panel agreed that independent artists are in a strong position in this shift in the industry, and also the new interesting ways of artist promotion such as the Prince CD giveaway with the Mail on Sunday in England, himself being a music visionary and now a savvy industry marketer and businessman. I would have loved someone to emphasise that the giveaway almost certainly helped Prince sell out 15 of 21 shows at London’s O2 Arena within the first hour of tickets becoming available.

Something I consider very important and is quite a hot topic recently is the Creative Commons Licensing. I wanted to ask the panel their thoughts, especially as to if this relates to the remix competitions that Beatport offers and to what the Recording Academy thought of the huge popularity and financial success of Nine Inch Nails’ operation with this licensing, but unfortunately we had run out of time.

I thought the discussions such a success and inspiration that I will endeavour to contact the recent panelists and other music industry professionals and report back with some interviews / quotes in the near future.

For more info on each of the panelists and keynote speakers, as well as general MET summit details is at www.metsummit.com, and I strongly suggest that you keep an eye out for next year’s event; if it is carried out as passionately and as smoothly as this year’s then I see it being a great opportunity for young entrepreneurs to enhance their knowledge and a key event to forge interesting relationships with intelligent forward-thinking media companies in 2010.

Lee Jarvis.

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