Ep.9: Oleg Fomenko, CEO at Bloom.fm (DMT 1-2-1)

This week on DMT 1-2-1 an interview with Oleg Fomenko, CEO of Bloom.fm, recorded at Liverpool Sound City.

Bloom.fm is a music streaming service launched in January in the UK as an iOS app. The service introduces the idea of tiered, flexible pricing when it comes to consuming streaming music on a mobile device. So far consumers that wanted to access on-demand streaming via their smartphone had to pay the usual £10 per month for unlimited access, Bloom.fm lowers that barrier introducing £1 and £5 subscriptions which give users access to – respectively – 20 or 200 tracks that can be stored on the device and swapped at any time.  In the interview we chat about how Bloom got started, the challenges on the design and licensing front, the issue of discovery, the importance of a flexible pricing model to bring streaming to mainstream audiences.

Links:
http://www.bloom.fm
http://www.twitter.com/bloomfm


If you enjoyed this show check out http//www.digitalmusictrends.com to find the weekly DMT news show which covers everything that happens in the music tech space.
Have a great week and ’till next time!

Andrea Leonelli
http://www.twitter.com/digimusictrends

michela magas thumbnail

Ep.8: Michela Magas, Stromatolite & Music Tech Fest – DMT 1-2-1

This week on the DMT 1-2-1 show Michela Magas, co-founder of Stromatolite and founder of Music Tech Fest.
Stromatolite is a design research lab started in 2000. The company was involved with iTunes in the early days, worked on concepts with a number of brands then moved to academic research-based projects for innovation primarily in the music space. We talk about the importance of research and how sometimes business models emerge as a new technology gains mass adoption in ways that were not foreseeable before.
Stromatolite has been working with a variety of companies including CUEsongs and has generated a spin-off in the form of Sonaris Systems which is an audio analysis tool that helps match a specific part of a piece of music with a similar section of another track – based on musical phrases rather than an entire song.
We also talk about Music Tech Fest which started in 2012 as a way to bring together technology, music, industry and consumers in a festival of music ideas. Music Tech Fest takes place in London between the 17th to the 19th of May and is free to attend, get your free ticket on musictechefest.eventbrite.co.uk/.
Also Check out www.stromatolite.com and www.musictechfest.org


Andrea Leonelli
www.digitalmusictrends.com
www.twitter.com/digimusictrends

Ep.7: Tunezy CEO Derrick Fung (DMT 1-2-1)

This week on the DMT 1-2-1 show I chat with Derrick Fung, founder of the startup Tunezy. The company allows artists to fullfil their fan’s wishes by offering a number of unique experiences which can be anything from be an exclusive after-party to a day at the beach. This help both in strengthening the bond between artist and fan and allowing musicians to tap into a new revenue stream. We talk about the company’s evolution, challenges, future projects and more…


Andrea Leonelli
http://www.digitalmusictrends.com
http://www.twitter.com/digimusictrends

Ep.6: Timmy the Terror – DMT 1-2-1

This week on DMT 1-2-1 I chat with David Surnow and Tim Anderson founders of the startup Timmy the Terror (http://www.timmytheterror.com). The early stage company aims to provide consumers with great free content (whether music, videos or books) and content creators with 100% of advertising proceeds.
Andrea Leonelli
http://www.digitalmusictrends.com
http://twitter.com/digimusictrends

 


Ep.5: Wolfgang Senges, C3S – DMT 1-2-1

This week on DMT 1-2-1 Andrea Leonelli chats to Wolfgang Senges (twitter.com/wolfgangsenges), project lead and biz dev C3S, a not-for-profit project that aims to become a new music collection society operating first out of Germany and then throughout Europe. C3S wants to make it easy for songwriters to chose a Creative Commons license. See below the embeds for the questions in the interview (and their timing, so you can skip ahead if you want to) and visit http://www.c3s.cc for more information.



 

00:37 What is C3S?

02:15 In English C3S stands for Cultural Commons Collecting Society so a strong tie-in with Creative Commons as you mentioned before. What are the challenges in Germany and other European territories when it comes to musicians and Creative Commons?

04:30 There are some hugely complex processes involved in the day-to-day maintenance of a collection process, how do you plan on starting out C3S as an organism that can meet those challenges?

06:37 There must be an overlap at times between artists that want to be with Gema but that also want to have tracks live with Creative Commons licenses especially given how easy is to post tracks under CC on services like Soundcloud. How does that overlap work?

08:00 What is the feeling amongst artists in Germany about some of the latest developments for example in regards to the deal with YouTube?

09:35 Looking at the roadmap for C3S it’s a of course going to be a relatively long process, what are the next steps?

11:21 Do you find there are restraints or legal roadblocks in setting up an alternative to what is still essentially a monopoly since in Europe you only have one collection society in each territory?

14:10 Looking at some of the companies that are making good use of Creative Commons I was quite surprised to hear that one of the artists on your panel at SXSW mentioned how the amount of usage his music was getting changed overnight when he went from free for non-commercial use to free for commercial use which really enabled him to get music licensed on a number projects – people seem to be looking for free music even in a commercial setting. But the scary part is that you could see large corporations decide to save on music and use free creative commons tracks, and does that generate enough exposure for the artist to justify the music being free. Do you see that as being a problem?

17:00 And just to clarify for artists that may be listening if you do offer your music via Creative Commons allowing that to be for commercial use as well, what is the process? Do the people that decide to use the track for commercial use have to get in touch with you anyway? I guess that’s a major concern for artists.

20:00 That’s a very important point as it makes it even more glaring how there’s the need for a society like C3S that can take care of people that are using Creative Commons to help guarantee their rights. If you’re an independent musician working alone with Creative Commons it may be very daunting to initiate any sort of litigation if someone breaches your copyright so having someone backing you like C3S would be pretty great.
Looking at the next 12 months what are your biggest challenges as an organization? Funding?