Tour revenues:
HAVING A POSITIVE APPTITUDE Adam Mardell of Live Band Audio and his DiGiCo SD8 desk
product,” insists Rowntree. “Over the past few years, workflow has remained pretty steady, but now we’ve been acquired by Universal, we’ve got a lot more artists to potentially provide for, so we’re actually pretty bullish about the future.” The ‘live double LP’ may be
long extinct, while we continue to suffer the profligacy of poor- quality gig bootlegs posted on YouTube. But the official live album concept does still have a legacy, and for the time being, the familiar silvery platter of the CD, burned during the concert itself, is still the platform of choice. The reasons behind that appear to be because of the satisfying physicality of the disc, its jewel case and some properly printed literature. However, financially it still makes sense to the outfits producing the discs on the night.
Several on-the-night service providers touched on the possibility of using apps in their live work, but what about from the musician’s standpoint? Are apps important to their live work?
Live Here Now’s Graham Rowntree cites ‘Lively’ as a particularly interesting tool for musicians – it’s designed to be used with the Apogee Duet audio interface, and the free App’s Audio Manager provides all the software, online purchase and download tools required to enable artists to capture and then sell quality audio.
Live Band Audio on the road: ready to bash out 300-400 USB sticks after a gig But might we be on the verge
of some kind of digital evolution? Concert Live’s direct- to-device idea is already a winner, and it’s barely even off the ground; and if you look at Generation Y and their smartphones, then what’s cooler
than getting the whole gig pinged to your mobile before you get the chance to text your mates how good the show was? It certainly beats queueing, and from the band’s point of view, you’re going to sell a lot more units – just ask Robbie Williams. PSNLIVE 2013
The Apple and Android App stores then take 30% of the revenue, and Lively splits the remaining revenue 70% to the artist and 30% to the company – not dissimilar to a standard artist/label publishing deal. Concert-goers can download the app and then purchase the performance immediately after the show for £3 (just audio) or £6 (audio and video).
Another useful tool is BandApp, which enables bands to upload songs, discover other bands, and promote
themselves, says tour manager Sean Hughes.
“It’s free, you can sell your music on it, and you can send out push alerts,” he explains. “It seems to be the new way of bands communicating for nothing.” An increasingly popular online tool is Band Camp, a website where music is downloadable in a number of ways. Lloyd Pell, bassist in St Albans-based band, Rumour Mill (pictured), is a fan. “It’s a great revenue stream for musicians as you can sell your music or stream it online; and unlike iTunes, all formats are available,” he explains. “On the flip-side, the big problem online is still people ripping bands’ work off and streaming it for free, which does no one any favours!” Nimbit is PreSonus’ own web platform which allows musicians to sell and promote their music, merchandise and tickets via social media and bands’ websites while building a core fanbase; and it’s even got an in-cart ‘tip-jar’ for purchases and free downloads – one in 20 transactions on Nimbit receive financial support, the average contribution being around €5.
www.psneurope.com
PSNLIVE 2013
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