Archive for the ‘ Indaba Music ’ Category

Services: Indaba Online Music Collaboration (pt. 2)

image from creativecommons.org

Hypebot recently sat down with Indaba Music for an interview. This collaboration service now has over 500,000 users ranging from the inexperienced beginner to grammy award-winning established artists. I have checked out the service and it looks pretty useful, but I have yet to try. Maybe that is because I prefer to collaborate in person, or at least meet someone before I work with them. But the idea of being able to collaborate with a like-minded artist on another continent is appealing to me. And I feel that hip hop artists stand to benefit the most from a collaboration service like this since so much of hip hop depends upon rappers collaborating with the right producers.

Full Article: Hypebot’s interview with Indaba Music (pt. 2). This part of the interview gets more into the specific services offered by Indaba.

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Key Takeaways:

How do you provide opportunities for musicians that reward their intrinsic motivations, allowing them to behave in new ways? Are prospects advertised to musicians that would’ve been impossible previously?

Nate Lew: There is no shortage of companies in the digital music space, however, the large majority of these services, from sharing, to selling, licensing and marketing music, solve problems for musicians post-creation, and thus only serve their extrinsic motivations. So, while the commerce side of the value chain is crowded with quality tools to service music, Indaba Music addresses the other side, art, and provides a suite of tools to service musicians – tools that enable anyone with an internet connection to connect with fellow musicians, to make music and to become a better musician.

With 550,000 musicians across all skill sets and interests using Indaba Music, our core offering is fundamentally designed to reward the intrinsic motivations of musicians by providing an immersive social environment, professional creative tools and robust educational resources. The majority of the services we offer musicians would have been a pipe dream even 10 years, ago, but in 2010 they are a reality, and they’re enabling musicians to connect, create and learn in entirely new ways. Here are a few examples of what Indaba music offers as well as the intrinsic motivations (IM) that they reward:

Social Environment

– Networking tools, including personal profiles, people search and groups to meet like-minded musicians and find potential collaborators.

– Communication tools, including real-time chat and in-song commenting to communicate during collaborations and leave feedback in a song’s WAV form

IM Reward: 24/7 access to musicians around the world with whom to socialize, solicit feedback, exchange ideas. This environment is equally valuable to developing musicians who are looking for knowledge and professionals, many of whom are fragile by nature and the Indaba community provides them with a support system and sanctuary.

Creative Tools

– Online collaboration platform that enables musicians in different locations to create studio-quality music together, as well as exchange files, ideas and even rights.

– A free, web-based Digital Audio Workstation that enables anyone with an internet connection to record, edit and mix studio-quality music.

IM Reward: Anyone with an internet connection is now empowered to make music, as location and budget are no longer barriers. Musicians, once without access to qualified collaborators in their area, now have access to a global talent pool and an online platform to collaborate from the comfort of their own home. For musicians around the world who cannot afford a commercial DAW, Indaba Music provides a professional-grade alternative.

Education Resources

– 100,000+ titles of digital sheet music and tablature from all the major publishers

– 1,500+ digital video lessons

– Articles and tutorials from leading publications, including Electronic Musician Magazine

IM Reward: Musicians of all stages can learn and improve upon their craft. In just a few clicks, musicians can then apply what they learned in online collaborations or chat with like-minded musicians for further discussion.

How are these opportunities redefining the role and power of amateur musicians? Has it changed what it means to be a professional musician?

Nate Lew: Despite the fact that under the umbrella of the “music industry” there are (largely) independently operating industries for education, production, recorded sales and talent discovery, for musicians, this value chain is much more fluid. Many musicians, for example, use Indaba to make music and become better musicians, partially because they love music, but also because they have extrinsic motivations to monetize their music and establish themselves as artists with the public. As such, we’ve worked hard to provide our community of musicians with professional opportunities to further their careers and introduce their music to a world beyond the walls of Indaba.

Beyond sheer talent, getting work as a musician historically required a combination of physical proximity to opportunities (i.e. being in a major city), as well as a healthy number of industry connections. 10 years ago, the prospect of a bedroom musician in rural Canada dueting with Yo-Yo Ma and having that recording released by a major label, or a church organist in Detroit having his composition included as the theme song for a television show would have been unheard of, but, these types of opportunities for musicians are now possible through Indaba Music. In the past year alone, all 4 major record labels, as well as brands, film studios and video games have elected to bypass traditional “go to” musicians to source music for their projects, and, instead, tapped Indaba’s community of musicians.

 




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Services: Indaba Online Music Collaboration (pt. 1)

image from creativecommons.org

Hypebot recently sat down with Indaba Music for an interview. This collaboration service now has over 500,000 users ranging from the inexperienced beginner to grammy award-winning established artists. I have checked out the service and it looks pretty useful, but I have yet to try. Maybe that is because I prefer to collaborate in person, or at least meet someone before I work with them. But the idea of being able to collaborate with a like-minded artist on another continent is appealing to me. And I feel that hip hop artists stand to benefit the most from a collaboration service like this since so much of hip hop depends upon rappers collaborating with the right producers.

Full Interview: Hypebot’s interview with Indaba Music (pt. 1)

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Key Takeaways:

3 Major Innovations That Made Large-Scale Music Collaboration Possible Online

According tech-evangelist Clay Shirky, there’s now a cognitive surplus, an excess of free time and talents of the developed world. When considered as a whole, this amounts to well over a trillion hours a year. Part of the reason that it hadn’t been experienced as a surplus up until now mainly because there was no possible way to pool it together in aggregate and there was no way to introduce people with disparate, yet complementary skills or interests. With the rise of the Internet, what we got was a network that was natively good at supporting social communication and participation. Thus, not only do we have copious amounts of musicians and singers, but we also have a surplus of free time, combined with a public media that enables them to pursue activities that they like and care about.

What are the steps that you’ve taken to recognize the potential of this massive cultural resource and how have you tried to understand what we can make of it? What opportunities do you foresee in harnessing it?

Dan Zaccagnino: As the Indaba Music website has evolved we have taken many steps to understand not just what musicians want to do online, but howthey want to do it. We’ve re-conceptualized the process of online collaboration several times to reflect what naturally evolved as people began seriously collaborating online more and more. In 2007 we imagined what a typical collaboration would look like and designed the Session (the central tool for exchanging ideas, tracks, and discussion) to reflect that “typical” process.

Now, in 2010, with the launch of our new platform, we addressed a number of services across the value chain that musicians have been asking for – from creative tools, like a library of over 10,000 royalty-free clips to more career-oriented ones, like iTunes distribution and royalty allocation.

Really, with a platform that spans each area of an artists evolution – education, networking, production/collaboration, distribution, promotion – the possibilities for harnessing the creative power of a community such as Indaba’s, is remarkable. By continuing to offer additional tools that make musicians’ lives easier, we can continue to foster the incredible artistic output of our community by enabling musicians to focus on making music instead of trying to remember all the passwords to the different fragmented services they use.

What developments had to occur in order for massive collaborative projects to be facilitated on a global scale and what tools for social production are needed to be created to enable these efforts?

Chris Danzig: In my mind there were three major innovations that set the foundation for large-scale online collaboration (or collaboration on any scale for that matter).

  1. The falling price of digital audio production equipment. The commoditization of digital circuitry during the eighties and nineties brought the price point for professional quality production equipment within reach of the average consumer. For the first time, independent artists and amateur musicians had the production resources necessary to produce music in the same fidelity as the major studios.
  2. The falling price of bandwidth. Throughout the nineties advances in delivery and compression mechanisms in the telecommunications sector made bandwidth increasingly inexpensive. The result is a world where media is more easily, and in turn more readily shared. The drawback of this accessibility is of course piracy- the advantage is the early simmering of collaboration through bulletin boards and FTP.
  3. The birth of the social web. The birth of the social network acclimated the public to bringing previously off-line social behavior online. For examples see dating, professional networking and gaming (among many others). Music is no exception to this rule. As an alternative (and in some cases a replacement) for the offline music experience more and more musicians are turning to the internet to fulfill their music needs which is (of course) largely of not entirely a social experience.

Dan Zaccagnino – Co-founder, Co-CEO
Chris Danzig – Co-founder, EVP Product
Matt Siegel – Co-founder, Co-CEO

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