There are many open questions for the podcast scene, as shown at the Podcastday 2006
"It works without the majors: the podcast scene is founded by your own music industry."No question mark, no exclamation point, no point – it’s amazing that the creators of the podcastday2006 simply put this thesis in the room as if the alternative music industry actually existed. But Podcaster expected from the present of the panel actually the clarification much more urgent questions. However, the answers remained amazingly vague, at least what the planned tariff affected.
That the parable of rigid olbo drilling platforms and the fleets of submarines, which used the moderator of the discussion round, the Berlin media lawyer Andreas Schardt, was quite appropriate, one could notice several times in the discussion round. In general, the impression is created: while moving a little bit on the problems in the field of music licensing, but the actual questions are currently unclear. Ironically, Thomas Stein, CEO of Jack White Productions AG, warned the Gema spokesman Urban Pappi, maybe the detailed questions about cephoto numbers that the podcasters are currently moving – because otherwise the credits of GEMA have suffered enormously.
The tariff, who might come from the GEMA in the summer of GEMA, is first moving below what the GEMA is currently required for a web radio: For funf euros, Podcaster should be an intro and an outro of the long of Ca. 20 seconds to play if it is a weekly podcast. If a song should be played anyway, the podcaster may pay 10, – Euro to the GEMA for this song, but the transactions should cost the cost of a web radio – that were currently 30, – Euro per month – not exceeding. The whole thing is to be licensed according to the model of the webshops on the GEMA page: a few clicks were to be pleased to be on the safe side.
That GEMA responded only now, justified. Urban pappi so that a new medium first needs new laws and had to be well thought-out. He referred to Music-on-Demand and the web radios, where the Gema finally found a uniform solution. In addition, the recovery society is bound to valid laws, and to seek them, need his time.
So this is the rough vision that could come this summer or not. But that’s why the questions that have the podcasters to the GEMA are not clarified. It is amazing that both sides have been in conversation for a long time, but details are never clearly clear. So the question of the accessibility of the podcast is still unexplained: How long may a podcast with a GEMA-licensed song remain accessible on your own web server?
The Music-on-Demand License Agreement of the Gema – Podcasts, so it was once again confirmed on the panel, are de facto on-demand offers on the Internet – does not have a temporal time limit. For music gates this makes sense, just as a permanent offer, in which the customer finds his music at any time and then buys them. 24/7. Also Podcaster liked to be available around the clock and, of course, build an archive. If you can show a well-made consignment, you will want to refer to you in the future if a specific topic is picked up again. Thus, the user offers added value, which certainly to practice. But if this shipment but z.B. After half a year has to be disappeared because a song was used from the GEMA repertoire, the archive of the podcaster, his past, practically completely destroyed. Certainly one could cut out the song’s blessed and put online again – then you had to save the licensing of the song completely. In this respect will be to be seen how long the podcasts will remain online
Uberndies is the question of how the podcaster of GEMA playlists must give on hand. The form for the message of a title is greatly made quickly, if you only play a song a week, provided the podcaster already has an iron discipline here. But what happens when you introduce four, five, six songs? Is then returned to the lump-sum control à la webradio – you pay and good is good? And how is that with the three-stucco regulation, more you can not imagine from the complete work of an artist within a certain period? If these for podcasts remain or there will be exceptions? Come what you pay, also benefit the artist or just in a coarse pot?
If the artist got the amount directly, then one can already imagine as Podcaster to pay the mentioned amounts, as they seemed to be agreed. But if you’re asked as a podcaster of bands and wants to play these, how should one know if you can do it or not? Here there is currently uncertainty in the scene; Questions about questions that there are only an uncertain "maybe". Strange that this is not closed so far. But maybe you just have to ask the right questions.
WHERE’S THE CASH?
That the artist needs its money that Podcaster are also willing to pay – that’s a principle that was denied in the discussion of anyone. But the basic literacy of how the cash flow should now reach the artist is fundamentally different. Here, worlds bounced.
Markus Koller, the land of Starfrosch.Ch from Bern, at the beginning of the discussion, that it has not been a properly functioning business model in his opinion, so far did not work properly so far. Gema-free music had always given it, through the podcasting she became a broader audience. Dance productions below the 1000 brand were usually not reported by the GEMA, as this scene was not worthwhile. Asked, from when the for the artist or the label was reinvented, came the number of 30.000-50.000 downloads in the game. Certainly utopian, at least for this genre.
C. C. Chapman, employees at the Podsafe Music Network, sees podcasting as a jump-off work for unknown artists. In his opinion, labels are no longer necessary, as they are able to write his stucco themselves today, to write himself and to promote themselves. If C. C. Chapman calls the artist’s website in Accident Hash, the Zuhorer will probably buy one or the other CD. For him myself, nothing jumps out, except that he is allowed to play the music chocolates.
A fair deal and a view that Thomas Stein was only very difficult to make. This mutual system of giving and taking seems at least in Europe, so Markus Koller, not to function, it came to him as if Europe is offline at this point. That, then Mr. Stein hooked at this point of the discussion, could be a product on the "full comprehensive mental tentatility" of the Germans – Americans were first made a product and then see what you can do with the Germans needed, however, the Germans needed hedges.
Quite a point, over the one can think. Nevertheless, here, the enthusiasm, the joy of making music to make and pass it on, on business thinking. Although they were friendly, but they have understood at this point certainly not.
Are labels overly reviewed?
It is reasonably lacking when Thomas Stein insisted on the viewpoint that it was still necessary in the future – not every musician Konne or wool in the age of self-distribution perceive his rights. In addition, a certain apparatus is necessary from a certain coarse, you do not talk about the artist, on 30.000 CDs even stick to the stamps.
A certain grain truth is certainly with it, not every artist will build his own label in the future or have the ability to promote themselves. But, that was C. C. Chapman to consider: not the artists needed the labels, but the labels the artists. In addition, the sales methods were also easier and faster in the digital age, Podcaster threw in the round, sending CDs in the age of MP3 downloads, now not necessarily more necessary.
And here, the breaking points in the thinking of the discussion partners: music is not perceived as a commodity in the podcasters, but as a thing that one operates with the heart that you call for because you find the band or song good. Of course, it is not reprehensible if you try this music also trying to make profit – but finally, it has guided the format radio with the well-known outbow. On the podcastday itself, at least there was here and there that you might have gone the wrong way.
It was not doubted that the majors also discover the topic of podcasting for themselves. Warner and Engine confirmed a special agreement with the GEMA, details were not price. Other majors will certainly follow. That, among other things, with Magnatune there is a label, which tries to sell music with CC-licensed music and a good price model, did not seem to be known.
Raised eyebrows and astonished looks harvested the Gema spokesman Dr. Urban Pappi, when he knew that, if it was about the online rights, yes, in the perception treaty as an artist, KONNE KONNE, the GEMA should only perceive the CD and television rights. One should simply pass the paragraphs, which do not like a pleasure. This possibility in the authorization agreement seemed so far unknown to have been unknown. If this should be the case, every musician could bleach his own individual GEMA contract – there is certainly an exciting question as to whether this is legally enforceable goods.