In this new world of post-music business music business, we independent musicians have got used to having our huts built on quicksand. With all the advantages as well as all the disadvantages of the traditional music business having all but disappeared, there are a...
November November, a transitional month by all means. Summer is dead and buried, the shorter days are still somewhat of a depressing novelty and Christmas silently speeds towards us like an unstoppable festive torpedo. It can be tempting to flip off the word, finally...
Matthias Kringe is the founder and managing director at Revolver Promotion, a TV promotion agency which has expanded its territory in radio and online promotion over the past decade. Before starting with his own firm he worked as TV promotion manager for Sony product...
Jens-Markus Wegener is our first expert in indieberlin's current series Ask The Expert. The MD of Imagem Music, the world's leading independent music publisher with offices in Berlin, London and the US very nicely agreed to answer five questions from indieberlin...
Mark Löscher started working in the music industry in the late 90’s and has since boosted the careers of any number of artists. He started his own career in PR, marketing and booking and later became the general manager / CEO at Four Music. He is now the general...
We at indieberlin are extremely excited to announce the beginning of our new "ask the experts" series on the music industry. The truth is that it's so goddamn hard to actually know exactly what, as a musician/songwriter/band you're meant to be doing to get somewhere....
Smashwords, the popular ebook site, has done some research on the behalf of indie authors everywhere and given us some tips on what does and doesn't sell in the ebook world. Behold: It's a steep curve: Most books sell extremely few copies, a few sell extremely well....
There are many amazing success stories of self-published writers. They seem most encouraging. Other writers self-publish, and none of the amazing stuff happens. You have a closer look, and notice that the authors already had a sizeable following thanks to their...
What have you been doing with your Sunday afternoon? Something more useful than I have been with mine, I bet. Something constructive like nursing a hangover while checking out what videos to watch. Meantime I have been trying to figure out this whole SEO thing. Do you...
We’ve all been there: You spend ages rehearsing, you make lots of phone calls, you get the gig, you tell everyone about it, you make sure you get there on time, you do the sound check, you buy something to eat, you hang around, then you play. Maybe to a couple of hundred people, maybe to twenty…and its a great gig but after everythg’s paid you think, well, I’m not going to get rich like this.
So how do you make sure that every gig you play brings you proper results, makes you money and takes you further on the road to success?
Glad you asked!
I’ll admit, I fess up, I come clean. I’ve had this book in my possession for a while now and I’ve become strangely reluctant to let everyone else in on this…for no good reason, but like Kreecher in the Rings films darkly muttering „My precious…“ while casting evil glances at the others who might wrest the gem from my hand.
Odd perhaps, but there you go.
Sehr geehrte Leser,
hier meine Meinung über die GEMA, mit der ich als Kulturschaffender auf Grund von gesetzlichen Grundlagen zu einer Koexistenz verdammt bin. Vorweg möchte ich betonen: Geistiges Eigentum muß geschützt werden und Dritte, die dieses nutzen, sollen selbstverständlich dafür auch eine Lizenz bezahlen. Ich bin mit der GEMA und anderen Verwertungsgesellschaften auf mehreren Ebenen zu einer Zwangsgemeinschaft verdammt und habe mir daher gut 30 Jahre lang aus verschiedenen Perspektiven eine Meinung bilden können. Einmal als Komponist und Arrangeur, der vieles geschaffen hat und daher auch der GEMA beigetreten ist. Leider aber für das, was meine Veranstalter für meine Konzerte bezahlt haben, fast nichts erhalten hat. Dann als Verleger, der viele Werke in Verlag genommen, bei Funk und TV eingepflegt, live auf Tour geschickt, natürlich der GEMA gemeldet hat, aber auch dafür fast nichts ausbezahlt bekam. Dann als Boss einer Plattenfirma, die mechanische Lizenzen zahlen muß und last but not least als örtlicher Konzertveranstalter, der eine GEMA Abgabe für eine öffentliche Aufführung leisten muß. Ich stand und stehe sowohl auf der Seite der Empfänger als auch der Einzahlenden und ich sehe das klare Mißverhältnis.
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